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<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> '''Zhu Ziqing'''<br /> <br /> A third example, where an author shows another face in his essays is Zhu Ziqing. He is known as the author of the most often reprinted story-like Chinese essay &quot;''Back View''&quot; (Beiying), a standard school text. The success of this essay lies in the fact, that it applies to filial pity. From the reported fare-well scene with his father at the train station, he learned that his father loved him and that he had grown-up too now. <br /> ==Chang Huiyue 常慧月==<br /> This self-reflective essay helped Zhu to find himself through the observation of the other (here his father). The 2nd often printed essay is also from Zhu. Parallelistic and repetitive structures are the driving factor in the atmospherical nebulous lyrical landscape desription &quot;''The Moonlit Lotus Pond''&quot;, whose style easily may seem mannerist to the Western reader.<br /> <br /> Zhu Ziqing supposedly opposed all political engagement and, wrote about unspectacular things. In Taiwan he became a type of substitute for the categorically refused state writer of the People’s Republic, Lu Xun, mainly because of Zhu’s supposed political independence. <br /> ==Chen Han 陈涵==<br /> I would like to show with three examples that Zhu had absolutely clear political ideas: He had taken part in the demonstration March 18, 1926, which ended in a massacre. Zhu described this in ''&quot;Report On the Massacre of the Government''&quot;[ (Zhizhengfu da tusha ji).].<br /> <br /> ''Shots were still being fired, and the entrance of the east gate was packed with people. [...] Pushing and shoving, we climbed over them with great effort. We must have lost our senses then, not seeing, to our shame, the grotesqueness of our action. ''<br /> <br /> 我想用三个例子说明，朱自清有绝对明确的政治思想。1926年3月18日，他参加了示威游行，这场游行最终以屠杀告终。朱自清在《执政府大屠杀记》中对此进行了描述。<br /> <br /> ''这时枪声未歇，东门口拥塞得几乎水泄不通。[...] 我们便推推搡搡，拥挤着，挣扎着，从他们身上踏上去。那时理性真失了作用，竟恬然不以为怪似的。'' --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 26 December 2020 (UTC)<br /> <br /> ==Chen Hui 陈惠==<br /> ''[...]I was still walking on top of the people. No one dared to miss a single step, filing through the gate that divided safety from danger, one that would give us life or take our lives away. [...] My efforts finally brought me down to the ground, sealing my fate as I rolled down from the human pile. [...] I learned later that some of the people by the gate were dead, killed by the pistol squad firing from the other side of the gate. When I recall stepping over dead bodies, I cannot help but tremble with fear. [...]''<br /> ==Chen Jiangning 陈江宁==<br /> From this experience, Zhu addresses directly the repsonsible political leaders:<br /> <br /> ''Duan Qirui, you must think about it! [...] How could we explain this to the world? [...] Granted, Duan Qirui and others could commit such atrocities without a thought; but how could we, the people of China, face the world with such a shameless government? [...] We, [...], must ask, „So many were killed—what should we do?“''<br /> ==Chen Jiaxin 陈佳欣==<br /> In contrast, Lu Xun has portrayed the same massacre with sighing undertone and Zhou Zuoren bitter-humorously in his &quot;''Ways to die''&quot;[ (Si fa).] - in which he finds &quot;to be shot&quot; the best method to die. The supposedly less politically engaged Zhu shows here more engagement.<br /> <br /> The essay &quot;''Facing the New China''&quot;[ (Xin Zhongguo zai wang zhong).] is Zhu's political manifest: He asks for democracy, enlightenment and an increase of the education level.<br /> ==Chen Jingjing 陈静静==<br /> ''China has to be born again through democratization. [...] The people should express their own will, concentrate on their own strength. Every level of administration should build up on the expressed will and strength of the people and struggle for the majority and its greatest happiness. This means that the people govern, the people own, the people enjoy.''<br /> <br /> A few weeks before his death, he demanded in the speech ''&quot;Today's duty of the Intellectuals''&quot;[ (Zhishifenzi jintian de renwu).] the participation of the intellectual in the struggle for a better society.<br /> <br /> “中国必须通过民主化重生。[...]人们应该表达自己的意志，集中自己的力量。各级行政机关都应该建立在人民的意志和力量的基础之上，并且为大多数人及其最大化的幸福而奋斗。也就是民治，民有，民享。”<br /> <br /> ”中国必须用过民主化重生。[...]人们应当表达他们自身的意志，集中力量。各级政府都应建立在人民意志和力量基础之上，并为大部分人民及其最大幸福而奋斗。也就是民治、民有、民享。”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:15, 27 December 2020 (UTC)<br /> <br /> 在他去世的几周前，他在 “知识分子今天的职责”的演讲中要求知识分子参与建设更好的社会。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 11:31, 27 December 2020 (UTC)Chen Jingjing<br /> <br /> ==Chen Sha 陈莎==<br /> With only a handful of essays I have demonstrated, that the picture of these three authors changes substantially, if we read carefully also their less known essayistic work. Imagine now how the picture of 20th century Chinese literature might change, if the literary histories and anthologies would not only tell the history of drama, fiction and poetry, but would also grant the essay its proper place. The following part of my paper are results of my monograph on the 20th century Chinese essay.<br /> ==Chen Sunfu 谌孙福==<br /> '''The essay boom as a mirror reflecting growing individuality, participation in the public sphere, and the giddy-paced character of modern Chinese society'''<br /> <br /> Acquiring an overview of the essay and assessing its essence has required extensive research in bookstores and libraries, in the People's Republic of China, Taiwan, Hong Kong and the United States for available resources in the form of essay book collections as well as secondary literature dealing with the essay. <br /> ==Chen Yongxiang 陈永相==<br /> I built a database for a statistical analysis to rank more than 5000 essays and 1400 essayists. It turned out that out of the top 60 most famous Chinese essays only 14 had been translated into English so far. The forthcoming collection of Tam King-fai adds 4 and my own one the remaining 42.<br /> <br /> Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report[ (baogao wenxue) (Klaschka 1998).].<br /> <br /> 我建立了一个用于统计分析的数据库，对5000余篇散文和1400名散文家进行排名。事实证明，迄今为止，在中国最著名的60篇论文中，只有14篇被翻译成英文。 谭景辉即将出版的散文选集另有新翻译的4篇，我自己则翻译余下的42篇。<br /> <br /> 分析表明，自1979年以来，总体上来说，散文发表有所增加，在“文化大革命”之后还出现了两次热潮，在1990年达到了新的高度。首次增加出现在20世纪20年代和30年代，此后便被报告文学所取代（Klaschka 1998）。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:41, 27 December 2020 (UTC)<br /> <br /> ==Cheng Yusi 成于思==<br /> The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous essay bookseries[ sanwen congshu 散文叢書.].<br /> <br /> The reason for the increase in essay production, which we can date right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in the sampling of 130 ‘representative’ books I was able to collect for the survey. There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s: <br /> ==Deng Jinxia 邓锦霞==<br /> 1, The giddy-paced nature of current Chinese society with its demands for diverting and short texts, as Hall has put it: “[...] we live in an age of exposition”[ (Hall 1984:xiii).].<br /> <br /> 2, The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands. <br /> <br /> 3, A revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.<br /> ==Ding Daifeng 丁代凤==<br /> If we look carefully at essay collections not only published in the United States, but also in Hong Kong, Taiwan and the People’s Republic, we find the following three reasons for the under- and overestimation of single essayists or essays which correspond to regional differences:<br /> <br /> 1, EXOTIC In the United States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.<br /> <br /> 如果我们仔细观察在美国出版的，以及在香港、台湾和中华人民共和国出版的散文集，我们会发现以下三个原因导致人们低估和高估了回应地域差异的单个散文家或散文: <br /> <br /> 1、异国情调 在美国，散文往往是根据西方人的口味来选择的，完全不知名的作者和老牌作家拥有一样多的空间。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:37, 26 December 2020 (UTC)<br /> <br /> 如果我们细细研读在美国出版的，以及在中国香港、台湾和大陆出版的散文集，我们会发现以下三个原因导致人们因地域差异而低估或高估了某些散文家或散文: <br /> <br /> 1、异国情调 在美国，散文往往是根据西方人的口味来选择的，名不见经传的作者和著名的作家拥有同样多的市场。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 26 December 2020 (UTC)Mo Ling<br /> <br /> ==Fang Jieling 方洁玲==<br /> 2, SOCIO-POLITICAL In Taiwan, Lu Xun has been banned for a long time, but today, as the mentioned survey proofs, he ranks 12th among modern authors there. Wang Meng has been overestimated in the People’s Republic of China due to his political post.<br /> <br /> 3, PERSONAL Hong Kong literature on Yu Guangzhong has been censored by his disciple Huang Weiliang in favor for Yu.[ (see Lin Yaode 1989:50).]<br /> <br /> Having named reasons for the essay boom and for the support for and the suppression of different actors in the cultural field of the essay, I would like to finish my paper by naming a few trends of the essay as they appear at the eve of the century.<br /> ==Gan Fengyu 甘奉玉==<br /> The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consumer-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be &quot;art pourt l'art&quot;.<br /> <br /> 政治散文的主题从1907年兴起的启蒙教育散文转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影）都在讨论最佳社会制度，于是有关政治问题的主题复兴，但20世纪90年代时，主题又变成了非政治性，更加哲学道德的主题范畴，那会，散文家们首先对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:42, 27 December 2020 <br /> <br /> 政治类散文的局部发展从1907年兴起的启蒙教育类转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影中）对于最佳社会制度的探讨使得政治话题再次变得火热。但20世纪90年代时，写作主题又转向非政治性，以及更加哲学道德的范畴，那会，散文家们首先会对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:53, 27 December 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (&quot;''On dreams''&quot;[ &quot;Shuo meng 說夢&quot; On dreams in: Zhu Ziqing 1928.]) and Zhou Zuoren from 1917 (&quot;''My own garden''&quot;[ 9.1923.], &quot;''The Fly''&quot;[ 1924.], &quot;''Reading on the Toilet''&quot;[ 1936.]), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the newly encountered world of mass consumerism.<br /> <br /> 非政治类文章的局部发展始于朱自清以及周作人1917年开始写的每日随想（朱自清1928年发表的散文《说梦》；周作人1923年发表的《自己的园地》、1924年发表的《苍蝇》、1936年发表的《入厕读书》）。自1927年的修正，政治类文章成为主流，直到20世纪30年代末期，非政治类文章因为抗日战争的爆发完全消失。直到20世纪70年代，人民生活回归正常，非政治类文章才重新现世，由于消失太久，日常琐事成为当时热门的写作话题。20世纪90年代，由于政治话题热度的下降以及进入新时代为迎合广大群众而开发新话题的需要，非政治类文章又迎来一次高潮。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:46, 27 December 2020 (UTC)<br /> <br /> ==Gong Yumian 龚钰冕==<br /> In the end of this century not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. Among the upper list places of the political essay after 1949 there are critical essays. For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.<br /> ==Gu Dongfang 顾东方==<br /> A sign for the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation for customers (former: &quot;readers&quot;). Following the emotional essays of Zhu Ziqing who rank 1st and 2nd, ''nostalgia'' is the element of emotional identification in &quot;''Wild vegetables of my home region''&quot; by Zhou Zuoren, which ranks 3rd[ In Jia Pingwa's &quot;Moon traces&quot;, which ranks 11, and in Ba Jin's &quot;''Paradise for Birds''&quot;, which ranks 19]. Therefore one can state, that moving essays form the top.<br /> ==Guan Qinqing 管钦清==<br /> In 1927, Chinese literature took the form of 'engaged literature'. In the 1980/90s, the discussion of politics in daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. In the later half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. <br /> ==Gui Yizhi 桂一枝==<br /> In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only remiscent element left is the patriotism.[ ''Trends like the use of ordinary language'', which one finds in novels since 1993 (''Jia Pingwa'', Feidu; ''Gu Cheng'', Yingger) and New Borderlessness since 1995, cannot be proven in the essaywriting.The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable ''object d'art''.]<br /> <br /> 上个世纪90年代，80年代的政论文随笔文化逐渐隐没了，唯一剩下留有想象空间的元素就是爱国主义。[“比如使用普通语言的趋势”，这是从1993年以来在小说中发现的（“贾平凹”） 费杜，古格，英格）以及自1995年以来，《新无边际》都无法在论文写作中得到证明，我们之所以没有找到后现代小说意义上的后现代散文，是因为文章的直接性：随笔作为一种体裁，是作者和读者之间的对话，而不是想要引起不同解释的原因或可能依赖于特殊形式或内容甚至是按顺序引用前现代特征的艺术品，这使它成为一个与众不同的“艺术品”。]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 13:06, 26 December 2020 (UTC)<br /> <br /> '''References''' [partly mentioned with German translation] （不用翻）<br /> <br /> Vera Schwarcz 1996, Vera Schwarcz, &quot;The pain of sorrow: public uses of personal grief in modern China&quot;, in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)<br /> <br /> Ba Jin 1982, Ba Jin: &quot;Yi feng huixin 一封回信&quot; (Ein Antwortbrief (26.10.1982)), in: Bing zhong ji 病中集 (Auf dem Krankenlager), Hongkong 香港 1984(?) (Series Suixiang lu 隨想錄 (Thoughts) Bd 4), 147 pp.<br /> <br /> Ba Jin 1982a, Ba Jin: &quot;Yi pian xuwen 一篇序文&quot; (Ein Vorwort) [dated 1982.9/10], in: Ba Jin: Auf dem Krankenlager 1984<br /> <br /> Ba Jin 1956, Ba Jin 巴金: &quot;Duli sikao 獨立思考&quot; (Unabhängig denken), in: Li Jisheng 李濟生, Li Xiaolin 李小林 (Hgg.): Ba Jin liushi nian wenxuan (1927 - 1986), Suixiang lu, zagan, sanwen, xuba, yanjiang, shuxin 巴金六十年文選（１９２７－１９８６）隨想錄·雜感·散文·序跋· 演講·書信 (Ba Jin. Werkauswahl aus 60 Jahren (1927 - 1986), Gedanken, vermischte Gefühle, Essays, Vor- und Nachworte, Reden, Briefe), Shanghai 上海: Shanghai wenyi chubanshe 上海文藝出版社 (Literatur- und Kunstverlag Shanghai), 1986.12, S. 461 - 462 [Datiert auf 1956.]<br /> <br /> Ba Jin 1962, &quot;Zuojia de yongqi yu zerenxin 作家的勇氣與責任心&quot; (Mut und Verantwortungsbewußtsein der Schrifsteller) 1962; der Essay von Zhou Zuoren 周作人: &quot;Wenxue tan 文學談&quot; (Über Literatur), in: Tan long ji 談龍集 (Über Drachen. Sammlung), Shanghai 上海: Kaiming shudian 開明書店 (Kaiming Buchladen) 1927.12, Nachdruck: Hongkong 香港: Shiyong shuju 使用書局 (Praxisverlag) 1972.1, 310 S., S. 165 - 167<br /> <br /> Zhou Zuoren 1919, Zhou Zuoren, &quot;Zuxian chongbai 1919 (Ancestor Worship),&quot; in Early Essays, op.cit., pp. 78<br /> <br /> Zhou Zuoren 1920: Zhou Zuoren 周作人, Xin wenxue de yaoqiu 新文學的要求&quot; (The demand of the New Literature) [lecture], in Beiping shaonian xuehui 北平少年學會 (Beiping youth conference) 1920.1.6, in: Zhang Ruoying 長若英: Xin wenxue yundong shi ziliao 新文學運動史資料 (Material on the history of the New Literature movement), Shanghai 上海: Guangming shuju 光明書局 (Guangming bookstore) (1934.9) ²1936.9, 291-296<br /> <br /> Zhou Zuoren 1923, Zhou Zuoren: Yanzhicao ba (Preface to Yu Pingbo's Yanzhicao), in: Yongri ji (Book of Eternal Day), Shanghai: Beixin shuju 1929, 180-181<br /> <br /> Zhou Zuoren 1929, Zhou Zuoren: Ertong de shu (The books of children), in: Chenbao fukan (1923.8.17)<br /> <br /> Zhou Zuoren yuanliu, Zhou Zuoren: Zhongguo xin wenxue de yuanliu (Sources of New Chinese Literature), p 71<br /> <br /> Zhou Zuoren 1932, Zhou Zuoren: Lun baguwen 1932, in: Kanyun ji p. 148<br /> <br /> Source: NEAAS annual meeting 10/09/1999 New Haven (Yale University)<br /> <br /> ==Guo Lu 郭露==<br /> '''Modern Chinese Literature and the Essay Genre: A New Perspective'''<br /> <br /> ''Martin Woesler''<br /> <br /> In this paper, I will not recount the contents and propose interpretations of any essays, nor will I outline the main topics or styles of essaywriting in China, but I would like to take the opportunity to reflect a little bit on the phenomenon of the genre itself and discuss some conclusions and hypotheses with the attentive and critical audience which can be found at only a few places on earth, EALC at Harvard definitely being one of them.<br /> <br /> 《中国现代文学与散文体裁：以新视角》<br /> <br /> ''吴漠汀''<br /> <br /> 在本文中,我将不再赘述任何文章的内容和提出的观点,我也不会列出其主要主题或风格,但是我想借此机会,反映一些现象本身的类型，并与包括哈佛大学学生在内的观众对一些结论和假设进行探讨。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:16, 25 December 2020 (UTC)<br /> <br /> <br /> 《中国现代文学与散文体裁：新视角》<br /> <br /> 吴漠汀<br /> <br /> 本文将不再赘述或解释任何文章的内容，也不会列出中国散文的主要主题或风格。我想借此机会，反思体裁现象，同乐于助人、至关重要且世间少有的读者，包括哈佛大学东亚语言和文化学院的学生，对一些结论和假设进行探讨。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:28, 25 December 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> '''1. The unknown genre'''<br /> <br /> The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. In my paper I will ask, if the picture of literature can remain unchanged, if we take into consideration also the essay. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90, McDougall 1998);<br /> <br /> '''1.未知体裁'''<br /> <br /> 二十世纪文选和选集里的文学史的叙述对于整个中国文学来说是不完整的：散文题材是缺失的。 在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。 作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:09, 26 December 2020 (UTC)<br /> <br /> '''1.未知体裁'''<br /> <br /> 20世纪选集所讲述的文学历史叙事，描绘了一幅不完整的中国文学图景:：散文题材是缺失的。 在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。 作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:30, 26 December 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement. Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.<br /> ==He Changqi 何长琦==<br /> '''Excursion: Defining the essay as a non-fictional subjective representation in a free form'''<br /> <br /> Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (non-fictional prose)), lyrics (shige) and drama (xiqu). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term &quot;wu yunwen&quot; which corresponds to the term &quot;epic&quot; in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.<br /> ==Hu Baihui 胡百辉==<br /> In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet. The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.<br /> 在抒情诗中，读者被鼓励去感受当下的感觉，并且常常是诗人的忏悔式的感觉。戏剧直接在独白或对话中回忆起一个自足的动作，以这种方式释放了读者/观众重新创造的想象力。散文作为史诗的一种体裁，是一种超脱的、非虚构的、自由形式的主观表现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 02:29, 27 December 2020 (UTC)<br /> <br /> 在抒情诗中，鼓励读者感受诗人当下的感觉，且这种感觉常常是诗人的忏悔。戏剧直接以独白或对话的方式回忆一个自足的动作，并通过这种方式释放了读者/观众再创造的想象力。散文作为史诗的一种体裁，是以自由的形式进行的一种分离的非虚构的主观表现。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:11, 27 December 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> &quot;Essay&quot;, Chinese mostly ''sanwen'', is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Freedom in form and content is essential for the essay.<br /> <br /> “散文”，中文主要是“散文”，是一个较短的、独立的非虚构散文文本的体裁术语，作者试图从主观的角度调解个人对一个对象或问题的体验。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。资源由散文家自主掌握，主题在更大的背景下被看到，甚至可以幽默地呈现。文章在形式和内容上的自由是必不可少的。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 13:22, 27 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, a subcategorization in numerous small entities, like Zheng Mingli does with the essay, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.<br /> ==Ji Tiantian 纪甜甜==<br /> Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems. All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.<br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. This is a second hint that the modern Chinese essay belongs to the international genre of the essay.<br /> <br /> 在21世纪，世界共同发展，文化主要决定于现代化的水平。今天我们在刊物上看到的中国散文，已经具备了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文属于国际散文类别的第二个暗示。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 07:58, 25 December 2020 (UTC)<br /> <br /> 在21世纪，世界上的国家趋向于走到一起，而文化则主要取决于现代化水平。正如我们从现今报纸里面看到的那样，中国散文采用了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文开始趋同于国际散文体裁的第二个标志。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:27, 25 December 2020 (UTC)<br /> <br /> 21世纪，世界在共同成长，文化主要由现代化程度决定。我们今天在报纸上看到的中国散文，在形式和内容上都与西方散文相似，其目标群体也与之相似。这是中国现代散文属于国际散文的第二个暗示。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:44, 26 December 2020 (UTC)<br /> <br /> 在21世纪，世界共同发展，文化主要决定于现代化的水平。我们今天在报纸上看到的中国散文，已经呈现出西方散文的形式与内容，并且其目标群体也与西方散文不相上下。这是中国现代散文属于国际散文体裁的第二个迹象。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:17, 26 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 1992 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay).<br /> <br /> 尽管人们普遍接受用短小故事来翻译短篇小说，但两者的关系不如西方的散文和中国的同类文章密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)<br /> <br /> 尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系并不如西方散文与其中国同类文章密切。这个定义是我从5000多篇中国现代散文样本中得出的，也符合国际上对散文的特殊理解（继博尔兹于1992年 13:269-272 论西方散文的发展；布特莱姆于1989年论西方散文的理论）。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:34, 27 December 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it &quot;Chinese&quot;? In the occidental essay the form seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework.<br /> <br /> 除了首先由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文有独特本土的特征。中文散文如何形成其特有文化，其中文性又由何组成？和中文散文相比，西方散文的文章形式似乎是更重要的分类标准。在中国，甚至有些文章内容相似，但形式和类别大相径庭。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:06, 25 December 2020 (UTC)<br /> <br /> 除了最初由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文具有独特的本土特色。中文散文如何形成其特有文化，其中文性又由何组成？与中文散文相比，西方散文的形式分类标准似乎更重要。在中国，有些文章甚至是内容相似，但形式和类别大相径庭。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 25 December 2020 (UTC)<br /> <br /> 除了周作人提倡采用英语散文风格所体现的全球化社会趋势外，中文散文还具有独特的本土特色。中文散文如何在文化上定义，其中国性又是什么？在西方文章中，形式似乎是比中国文章更重要的区分标准。在中国，甚至包括那些只有类似内容，却跨越了形式上的属相框架的文本。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:05, 27 December 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> This can be shown with Zheng Mingli, who subcategorises the &quot;unfinished diary&quot; or the &quot;unfinished letter&quot;. Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Zheng Mingli: &quot;essay in diary form&quot; and &quot;essay in letter form&quot;), they are accepted as essays. <br /> ==Kang Lingfeng 康灵凤==<br /> '''The Chinese understanding of the genre is tendencially broader'''<br /> <br /> This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén'' &quot;non-rhythmic prose&quot;, which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning &quot;short literary essay pieces&quot;. <br /> <br /> Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.<br /> ==Kong Xianghui 孔祥慧==<br /> '''The Chinese essay is booming again in the 1980s and 1990s'''<br /> <br /> Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'').[ Klaschka 1998.] The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文叢書 (essay bookseries).<br /> ==Kong Yanan 孔亚楠==<br /> The increase in essay production right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.<br /> <br /> Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging xiangtu literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.<br /> ==Lei Fangyuan 雷方圆==<br /> '''2. Why is the essay as abundant as fiction?'''<br /> <br /> Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:<br /> <br /> - The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political zawen of Lu Xun, until today are mostly presented in essay form). The impact on literary reflection and theory is shown in the collection &quot;Modern Chinese Literary Thought&quot; 1996. The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry. The poem is the genre of retreat from social life, from political issues and time references.<br /> ==Lei Kuangxi 雷旷溪==<br /> Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of novel and opera in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.<br /> <br /> - The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.<br /> <br /> 胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌依赖于形象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。<br /> <br /> -散文也比诗歌和小说更能反映社会的趋势。个人主义在随笔中表现得比在诗歌中更直接，但在内容和形式上都有局限性。短文的短暂性体现在短文的形式上，可以在上班路上的地铁里读，而在地铁里读诗，可能就不能那么随性的享受了。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 26 December 2020 (UTC)Lei Kuangxi<br /> <br /> 胡适认为“诗”在现代化的过程中是最重要的，因为诗歌升华情感。但诗歌也依赖于意象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“散文”却能给事物命名，反映千变万化的生活。现代主体性就是以“散文”为工具建构的。<br /> <br /> - 随笔也比诗歌和小说更能反映社会的发展趋势。个人主义在随笔中的表现比在诗歌中更直接，因为诗歌在内容和形式上对此有所限制。随笔的短暂性体现在随笔的形式上，人们可以在上班路上的地铁里阅读，而在地铁里读诗，可能就没有那么随性的享受。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:55, 26 December 2020 (UTC)<br /> <br /> 胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌也依赖意向和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。<br /> <br /> -散文也比诗歌和小说更能反映社会的趋势。由于散文的内容和形式上受限，它比诗歌更能直接表达个人主义。散文很短，所以花时间少，可以在上班路上的地铁里读，但在地铁里读诗可能就不能那么随性的享受了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:54, 27 December 2020 (UTC)<br /> <br /> ==Li Haiquan 李海泉==<br /> - The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too. The essay itself a genre of high actuality, if not simply the genre of today.<br /> <br /> - The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society. Many authors turned to essay writing in the later periods of their lifes, like Lu Xun, Ba Jin, and Wang Meng.<br /> [[Media:Example.ogg]]==Li Lili 李丽丽==<br /> - The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[ Shenbao, Shibao etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his ''zawen''), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang lu'' derived).<br /> <br /> “随笔”的产量超过了“小说”：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:33, 27 December 2020 (UTC)<br /> <br /> “随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:54, 25 December 2020 (UTC)<br /> <br /> “随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报社是控制政府的机构；另一方面，他主张审查制度，报纸作为20世纪初的一个大众媒体，以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:19, 27 December 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> '''3. Let us assign the essay its proper place'''<br /> The consequence which must be driven from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place! I will describe the beginnings of the discovery of the essay.<br /> Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.<br /> <br /> 3.让我们为散文指定其适当的位置，<br /> 由此得出的结论是:让我们为散文指定其适当的位置!我将描述发现这篇文章的开始。尽管从1979年开始，论文写作有所增加，但对这一现象的第一次理论反思却花了10年时间才出现。又过了10年，中国研究的国际学者才意识到这一现象。<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).<br /> <br /> 20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。另外90年代的两次会议也没有趋于国际学术研究的动向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:54, 26 December 2020 (UTC)<br /> <br /> 20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。除此之外，20世纪90年代的两次会议也没有转向国际学术研究的方向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:37, 27 December 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998) and for the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, ''Modern Chinese Literary Thought'' 1996).<br /> <br /> Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.<br /> <br /> 在不早于上个世纪90年代下半叶之时，出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。 （《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。<br /> <br /> 关于中国大陆，台湾地区和西方的散文评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:23, 27 December 2020 (UTC)<br /> <br /> 上世纪90年代后半期以前, 出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。 （《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。中国大陆，台湾和西方对散文的评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:24, 27 December 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode 1989:50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.<br /> <br /> Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation.<br /> 在台湾,鲁迅很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家印刷量最大的时候,鲁迅排在了第16位。 如果只考虑现代作家,甚至排在了第12位。 香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。<br /> 然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:16, 27 December 2020 (UTC)<br /> <br /> 在台湾,鲁迅的作品很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家作品印刷量最大的时候,鲁迅排在了第16位。 如果只考虑现代作家,甚至排在了第12位。 香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。<br /> <br /> 然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:39, 27 December 2020 (UTC)<br /> <br /> ==Li Yongshan 李泳珊==<br /> Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai, Woesler) or already published (Pollard 1999). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. This year, scholars will meet on a first international conference on the essay (Achern, Germany August 25-26). In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays. <br /> ==Li Yu 李玉==<br /> '''4. Taking into consideration the essay will rewrite the history of Chinese literature'''<br /> <br /> I will give a few hints, what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Prusek and Anderson.<br /> <br /> We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the ''yuanyang hudie pai'' played in the choir of different voices in the awoken intellectual debate in the beginning of this century. <br /> ==Lin Min 林敏==<br /> The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.<br /> ==Lin Xin 林鑫==<br /> In the following, I will name three aspects (chronologically sorted by past, modern and contemporary time) to hold the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.<br /> <br /> '''5. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned'''<br /> <br /> How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay are both in China and the West notes written on the margins of books, they are letters and travel notes.<br /> <br /> 下面，我将从三个方面(在时间顺序上按过去、现代、当代排序)来论述对散文的考量将改写中国文学史，改变我们目前对它的认识这一论点。<br /> <br /> 5. 古典和前现代散文记录了中国哲学，其早期的主体性，仍然是对中国本土传统的质疑。<br /> 中国散文在历史上要如何定位，它是如何产生的，它的共有背景是什么？一般来说，中国和西方的散文都是起源于写在书本空白处的笔记，是书信和游记。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:18, 27 December 2020 (UTC)<br /> <br /> ==Ling Zijin 凌子瑾==<br /> These notes differed from the canonized literature through its informal style, its expression of individuality und subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.<br /> <br /> From the very beginning, the essay was valued lower than poetry: the oldest reference this far for the term ''sanwen'' that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù.<br /> ==Liu Bo 刘博==<br /> 詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatels, is limited.) (''Helin yulu''). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.<br /> <br /> In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge.<br /> <br /> “詩騷妙天下，而散文頗覺瑣碎局促。”罗大京提到的另一个骂名，是形式上的：与具有高度艺术性和长达一个世纪传统的诗歌写作相比，散文中直接的、白话文式的语言在他看来并不那么有价值。<br /> 在西方，16世纪晚期出现了一种真正的“散文写作艺术”，作为一种传播重组知识的媒介。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:50, 27 December 2020 (UTC)<br /> <br /> “诗騷妙天下，而散文颇觉瑣碎局促。”罗大经提出的另一个责难，是形式上的。在他看来，与高度艺术化的百年诗词写作传统相比，散文直接的、白话文式的语言没有什么价值。<br /> 在西方，真正的 “散文写作艺术 ”是在16世纪末作为重组知识的一种媒介出现的。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:30, 27 December 2020 (UTC)<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> The reorganization originated from the observations of Kopernikus, which destroyed the whole conception of the world of the Middle Age.<br /> <br /> In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters. The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of sǎn 散 as (to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''. <br /> ==Liu Liu 刘柳==<br /> Xunzi delivered the prototype of the later essay with his philosophical treatises. They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.<br /> <br /> During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written at the paper margins originated the ''biji'' µ§°O (occasional notes), flourishing in the Ming Dynasty.<br /> <br /> 荀子的哲学论著是后世散文的雏形，它们是哲学教学论文的早期形式。其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。<br /> <br /> 历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:25, 25 December 2020 (UTC)<br /> <br /> <br /> 荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，这些散文中传授的普遍定理不仅有引用经典著作，还首次借鉴其个人经历。这种个体性在当代的散文中仍有保留。<br /> <br /> 历朝历代，散文通过一些子类别得以呈现，如明朝盛行的在书页边上写的读书注释，它就是源于笔记。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:47, 25 December 2020 (UTC)<br /> <br /> 荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。<br /> <br /> 历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:20, 27 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as a genre of its own originated in China not before the Qing ²M dynastie, when numerous essay anthologies were compiled.<br /> <br /> Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences.<br /> <br /> 边缘主义是中西早期散文的一个纽带。散见的笔记包含了私人的历史记录，轶事，交谈和个人沉思。然而，尽管当时的散文选集众多，但将视散文作为一种文体的意识，清朝之前并没有出现。<br /> <br /> 考虑到当时的社会历史背景，人们在旧社会时，对短篇故事和小说的看法不同：散文更接近现实生活，因为它们表达了个人的困惑和经历。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:15, 27 December 2020 (UTC)<br /> <br /> 边缘主义是中西早期散文传统的一个纽带。偶尔的笔记可以包含私人的历史笔记，轶事，交流和沉思。然而，尽管当时中国散文选集有很多，一直到清朝之后我们才将散文视作一种文体意识。<br /> 考虑到当时的社会历史背景，人们对旧社会的看法与短篇小说和小说不同：散文更接近现实生活，因为它们表达了个人的问题和经历。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:43, 27 December 2020 (UTC)<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> Until now, the Chinese pre-''Hongloumeng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.<br /> <br /> Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the &quot;Eight legged essay&quot; as as appealing and intoxicating as the &quot;pleasure of doing opium.'' (Zhou 1932:148).<br /> <br /> 目前为止，中国红楼梦前的个体文学还只是通过诗中的间接语言与我们对话。通过重拾散文，我们可以知晓不同观点和社会历史状况等文学创作的丰富源泉。<br /> 现代散文之前的文学并不限于形式上受限制的八股文，一方面鲁迅本人也有一些散文是用八股文写成的，但另一方面他又把八股文当作古代社会的代名词。周作人把 &quot;八股文 &quot;的语言节奏看作是 &quot;做鸦片的快感 &quot;一样令人陶醉。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 08:42, 25 December 2020 (UTC)<br /> <br /> <br /> 直到现在，中国前“红楼梦”的个体文学只能通过诗歌的间接语言与我们对话。重新发掘这些散文，我们可以拥有丰富的观点来源，社会历史图片等。<br /> <br /> 前现代散文文学不仅仅包括它最为人所知的例子，正式的、有限制性的“八卦文”。鲁迅自己的一些文章就是用“八卦文”写的，但是在另一方面又把它当作古代社会的同义词。周作人认为《八股文》的语言节奏就像“吸鸦片的快感”一样令人陶醉。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:07, 25 December 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, Zhou Yuanliu:71).<br /> <br /> Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''Wenyi zai dao'' (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.<br /> <br /> <br /> 但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。<br /> <br /> 新儒家强调''文''（散文）是传播''道''的最重要工具：''文以载道''（文以载道）。如果我们从文体的角度来重新解读这句话，我们可以说，当时的散文已经被视为表达真理、主体性和自我的重要工具。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:01, 25 December 2020 (UTC)<br /> <br /> 但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。<br /> <br /> 理学强调“文”（散文）是传播“道”的最重要工具：“文以载道”。（以文学为载体的方式）。如果我们从体裁的角度来重新解读这一措辞，可以说，散文已成为表达真理、主体性和自我的重要工具。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:53, 27 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> Liang Qichao developed a ''xīn wéntǐ'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.<br /> <br /> '''6. The essay as the medium of modernity, the questioning of the genuiness of the Chinese essay'''<br /> <br /> To solve first of all the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Lin Shu: ''Irving'' 1907, ''Addison'' 1911). <br /> ==Liu Zhiwei 刘智伟==<br /> The current form of the genre is mostly based on the influence of Western essay translations. First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only. A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).<br /> <br /> This is older than the ones referred to in the ''Large Chinese Dictionary'' of Morohashi (Morohashi undated) and in the ''Encyclopaedic Dictionary of the Chinese Language'' 1966.<br /> <br /> ==Lou Cancan 娄灿灿==<br /> Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin 1992, Fan Peisong 1993; for Western impact in general see Průšek 1964, Gálik 1966, McDougall 1971. Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.<br /> <br /> 然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:57, 26 December 2020 (UTC)<br /> <br /> 然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:07, 26 December 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement. All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1933, the anarchist and later member of the Guomindang Wu Zhihui [1934]. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition:<br /> <br /> 以五四运动传奇作者为例可以看出个人观点对历史事实的叙述的影响有多大。 这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。 后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:19, 27 December 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> for example, Lu Xun with his theory &quot;'Zhǎnkāi' shuō yǔ 'méngyá' lùn “展開”說與“萌芽”論&quot;&quot; (Theory of &quot;Starting&quot; and &quot;Blossoming&quot;) came to see the fighting and critical character of the essay of the Jin dynasty (265 - 420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the ''biji'' (occasional notes) of the Ming, although he still tried to integrate the English essay in his &quot;Gonganpài yu Yīngguo xiaopin 'hecheng' lun 公安派與英國小品“合成”論&quot; (Theory of the Synthesis of the Gongan School and the English Essay). <br /> ==Ma Juan 马娟==<br /> Wang Zengqi regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays (Wang Zengqi 1993). The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay. One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.<br /> ==Ma Shuya 马淑雅==<br /> When Zhou Zuoren showed that only seven months after the incident at Marco Polo bridge it was again possible to write about a candy seller (1924), he was critizised as &quot;paralyzing&quot; (Lu Xun 1934, Zhu Zhaoluo 1943). When he wrote a piece on the &quot;Fly&quot;, he was reproached with dealing with subjects of minor importance. Reproaches like this lie in the very nature of the genre, since ''marginalism'' is substantial to the essay. The mentioned formal reproach of Luo Dajing can be found again in the 1990s, Hong Kong students critisized the literary style as it appears in Ba Jins &quot;Thoughts&quot; (Suixiang lu) as too direct and too less artful. But this perspective does not recognize the very nature of the essay, which is a very individual expression of an author's thoughts and not bound to tradition, and therefore much more free also in content.<br /> ==Ma Zhixing 马智星==<br /> The essay - from its very nature free and independant - almost disappeared in the time of the Cultural Revolution and - except for the ideologically influenced essays - had a hard struggle between Yan'an and the loss of moral legitimacy by the leadership in 1989.<br /> <br /> The essay was ''the'' genre of the modernizing society of the early 20th century. Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming &quot;needs&quot; of society, which also claimed the author to be one of its products.<br /> ==Meng Ying 孟莹==<br /> But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is &quot;a genre of self-reflection&quot;. Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art. <br /> <br /> I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).<br /> ==Mo Ling 莫玲==<br /> Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays. I mention only Zhou Zuoren. His ideas connected him spiritually to his contemporary collegues in Europe, Japan and America, but these where ideas for which China turned out to be not yet ready. At that time, China had taken a road which led away from progress, wealth, freedom and spiritual enlightenment. The consequences have yet to be overcome.<br /> <br /> 除开关注作家的小说和诗歌之外，如果我们对他们的散文有所涉猎，就会发现他们不仅对文学整体的理解发生了变化，单个作者的观点也发生了变化。仅就周作人来说，他的思想在精神上把他和他在欧洲、日本和美国的同伴们联系在一起，但是这些设想在中国行不通。当时的中国走的是一条远离进步、财富、自由和精神启蒙的道路，这一现状还并没有得到改变。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:34, 26 December 2020 (UTC)Mo Ling<br /> <br /> ==Mo Nan 莫南==<br /> In 1927, Chinese literature has taken the form of 'engaged literature'. The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. <br /> ==Nie Xiaolou 聂晓楼==<br /> Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be &quot;art pourt l'art&quot;.<br /> ==Ou Rong 欧蓉==<br /> The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (&quot;Shuo meng 說夢&quot; On dreams in: Zhu Ziqing 1928) and Zhou Zuoren from 1917 (My own garden 9.1923, &quot;The Fly&quot; 1924, &quot;Reading on the Toilet&quot; 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.<br /> ==Ouyang Jinglan 欧阳静兰==<br /> I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda. This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character. <br /> ==Ouyang Ling 欧阳玲==<br /> In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.<br /> <br /> Taking into account of a genre shifts the whole perspective on literature, taking into account the essayistic works of an author shifts also the view of the author. I will name only one author as an example for a modern essayist: Zhou Zuoren.<br /> <br /> 20世纪90年代，20、30年代民国时期的文本和当代的文本一样也经常被重印。显然，我们可得出一个结论：20世纪50年代的那些政治宣传文只能留存在特殊的政治文章选集当中，到了21世纪初，就不再有作者去写这类文章，也不会有中国读者去看这类文章了。<br /> <br /> 考虑到整个体裁对整个文学角度的转变，以及散文作品反映出的作者观点的变化，我只举一位现代散文家的例子：周作人。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:47, 25 December 2020 (UTC)<br /> <br /> 20世纪90年代，20-30年代民国时期的文章仍然和当代的同类文章一样经常被重印。显然，我们可以得出一个结论：20世纪50年代的政治宣传类散文只保存在专门的政治散文集中，到21世纪初，不再有人去写，也不再有人读这类文章了。<br /> <br /> 一种文学体裁会转变整个文学的视角，一位作家的散文作品，同样也会转变对这个作家的看法。我只以一位现代散文家为例：周作人。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:02, 25 December 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> '''Zhou Zuoren'''<br /> <br /> I mentioned already his theoretical contribution to the Chinese essayism, but still, his essays have been neglected until the 1980s. The reason does not lie in literary quality, but in political valuing. The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that the theoretical May Fourth genius &quot;degenerated&quot; and later became a &quot;traitor&quot;. Publishing in the Japanese sponsored magazines ''Reminiscences'',* and ''Chinese Literature'', he was blamed together with Zhu Pu and Yuan Xi of collaboration. An unanswered question is, why another author, who published there, Zhang Ailing, was never reproached with collaboratorship. The difference between all of them is that Zhang Ailing tried to avoid political committments, whereas Zhou felt guilty, Zhu justified it and Yuan simply accepted it.<br /> ==Peng Juan 彭娟==<br /> ''The 'mainstream' writers took an affirmative approach in their writing, whereas the other writers formed a minority. The individual authors did not necessarily belong to either one of these groups throughout their life, but may have moved between them. Since the essay is a medium which enables the individual to express thoughts directly, the writers chosen for this paper can be classified according to their position.''<br /> <br /> ''Yu Guangzhong's essay'' &quot;The wolves are coming&quot; ''shows that the ideological perspective did not only harm mainland essaywriting.''<br /> ==Peng Ruihong 彭锐宏==<br /> In his small literary pieces, Zhou tried to aesthetizise the little things of the everyday life out of the subjective experience of his private space. The major contribution of Zhou Zuoren is, that he set the turning point in Chinese essay writing with his call for writing short literary pieces (''Meiwen'' 1921). <br /> <br /> In foreign literature there is the so-called ''lunwen'' 論文 (treatise), which is roughly divided into two groups: the reflecting ones, piping 批評 (critical), are scientific articles. The others are ''jishu'' 記述 (descriptive) and ''yishuxing'' 藝術性 (artistic), they are also called ''meiwen'' 美文 (aesthetic essay). Within these texts, one can distinguish between ''xushi'' 敘事 (narrative) and ''shuqing'' 抒情 (lyric). But there are also mixed texts. [...] I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn’t that be wonderful?<br /> ==Peng Xiaoling 彭小玲==<br /> With these words from the essay &quot;''The aesthetic essay''&quot; this new vernacular form was defined. This starting point founded a whole new tradition of essay writing in China. Contemporary writers called this piece the &quot;king of essays&quot;. <br /> <br /> In order to bring this new form to his compatriots, he tried to find similiarities with the ''xiaopinwen'' of the Ming dynasty. He further discussed these thoughts in his essay theory. In his own essays, he profited a lot from ancient ''suibi''. Later he further developed his literary theory towards an up and down of two trends. In the modernizing society, he advocated the liberation of women and asked to &quot;treat children as full subjects with their own external and internal lives&quot; and to &quot;make children the essence of children's literature&quot; (Zhou 1923). He promoted the ''baguwen'' and the independance of literature from politics and effected the literary scene and the development towards a modern Chinese society especially between 1917 and 1938.<br /> <br /> “美学散文”中的这些词语定义了这种新的白话形式。这个起点在中国建立了一种新的散文写作传统。当代作家称此作品为“散文之王”。<br /> <br /> 为了将这种新形式带给他的同胞，他试图找到其与明朝“小品文”的相似之处。他在散文理论中进一步讨论了这些思想。 他自己的散文也从古代的“随笔”中受益匪浅。后来，他将文学理论朝着上下两种趋势进一步发展。在现代化社会中，他呼吁解放妇女、“将儿童看作具有外在和内在生命的完整主体”以及“让儿童成为儿童文学的本质”（Zhou 1923）。他提倡“八股文”和文学脱离政治的独立性，这对文学界产生了影响，并推动了中国向近代社会尤其是1917年至1938年的发展。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:48, 25 December 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> With this theoretical foundation and his own vo'luÉminous essayistic work, Zhou Zuoren through the example of his own form of short literary pieces within this genre, fought at that stage of the development of his literary theory like Benjamin Henri Constant de Rebecque 130 years ago in France for the idea &quot;l'art pour l'art&quot; , for individuality and independance of the writer, for disinterested literature. The jugdment, that Zhou was an apolitical author cannot be proved with his essays. Instead, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance (Zhou 1929:180-181). <br /> ==Peng Yuzhi 彭育志==<br /> In fact he saw himself as ‘patriotic underground fighter’ and looked at the collaboration with the Japanese puppet regime as a forced one, following his attempted assasination, through which his driver had lost his life. His own concept of essay writing served less the needs of the building of a nation-state and comes closer to the ideal of the individual. <br /> <br /> &quot;I don't really know why, but I am feeling as if I am born into a dark age. I admit, that our forests are not inhabited by dragons, tigers and wolves, but shapeless &quot;monsters&quot; and &quot;goblins&quot; are still creeping around and try to swallow our souls. [...] What alarms me most, is the absence of freedom in this prison, into which we writers have been thrown.&quot; <br /> ==Qi Kai 漆凯==<br /> Confronting tradition and progress in the essay &quot;''Ancestor Worship''&quot;, he is in favor of the latter, since past could only become present through changes (Zhou 1919:7-8). <br /> <br /> Benjamin Henri Constant de Rebecque (1767 - 1830) war französischer Romanschriftsteller und liberaler Politiker, der neben der Freiheit der Kunst nach der Französischen Revolution die Einführung der konstitutionellen Monarchie nach englischem Vorbild forderte.<br /> <br /> ==Qu Miao 瞿淼==<br /> Siehe ''Journal'' (10.2.1804). Die &quot;Kunst um der Kunst willen&quot; propagierte die Zweckfreiheit der Kunst. Im Gegensatz dazu versteht sich die engagierte Literatur. Die Parallele zwischen Zhou Zuorens Literaturverständnis und dem Konzept &quot;Kunst um der Kunst willen&quot; zieht auch Wolff: ''Chou Tso-jen'' 1971, S. 84.<br /> <br /> Siehe Zhou Zuoren: ''Der Ursprung der neuen chinesischen Literatur'' 1934, S. 95 - 98; vgl. auch Chen Zizhan: ''Vorträge zur chinesischen Literaturgeschichte'' 1937, Bd 3, pp. 416 - 422, besonders S. 422. Hinweis in: H. Martin: &quot;''Liang Qichao on Poetry Reform''&quot; 1996, Bd 1, S. 213.<br /> <br /> 见“期刊”（102.4804 年）。“艺术之艺术”宣传了艺术目的自由。相比之下，承诺的文学是可以理解的。周作人对文学的理解与“艺术之艺术”概念之间的相似之处也吸引了沃尔夫：“周作人”，1971 年 84.<br /> <br /> 参见周作人：“中国新文学的起源”，1934 年，第 95-98 页；另见陈子赞：“中国文学史讲座”，1937 年，第 3 卷，第 416-422 页，特别是 p422。注：H。马丁：“梁启超诗歌改革”，1996 年，第 1 卷，p213--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:55, 27 December 2020 (UTC)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:57, 27 December 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> Regarding Zhou Zuoren, I want to correct the official assessment of the People’s Republic, that his work would have experienced a caesura in 1938. In order to explain his opposition of the propaganda to build up national heroes about 1937 and his collaboration from 1939, it has been said officially, that his thoughts had &quot;duoluo 墮落&quot; (degenerated) at that time (Zhu Jinshun 1990:59). In fact, this caesura, namely the change in the style and subject in his essays on literature, art etc. to ''zhengjing'' 正經 (serious, intentional essays), and ''xianshi'' 閑適 (essays for one’s own enjoyment) is located not before his outlawing through Mao Zedong (1942), and his arrest through the Guomindang (1945).<br /> ==Sagara Seydou ==<br /> Therefore not the Japanese suppressors are responsible for the retreat of this great writer, but his Chinese compatriots'. <br /> <br /> On the basis of the stigma of the 'traitor', he has been undervalued until now. That his work in the 1990s is almost as often published as Lu Xun's and Zhu Ziqing's shows that his texts finally experience a more positive literaric evaluation through the audience, which now must be registered also by scholars.<br /> <br /> ==Shi Diwen 石迪文==<br /> Another example of a misread Zhou Zuoren is his short essay on &quot;''The Fly''&quot;, where he describes his changing attitude towards flies, which he had played with as child but later disgusted when he learned about their danger of passing on diseases. ”''The fly''” shows Zhou Zuoren’s strength to describe details and make them a real topic by recalling memories on them or describing a change of perspective on them. Zhou summarized the philosophical wisdom he learnt from this, that people did not judge on things objectively, but were likely to praise or damn things. <br /> ==Shi Haiyao 石海瑶==<br /> The official reading re¬proaches Zhou that he &quot;saw only the fly and not the cosmos&quot; , a quotation of the young Zhou about a position he himself clearly opposed.<br /> <br /> His ability to chat about the more pleasent things in life is displayed in his essay ”Birds’ twitter”. In ”''Peking cakes and sweet-meat''” and in ”''Wild vegetable of my home region''”, Zhou Zuoren shows his ability to make the reader feel at home at a region, where he feels at home himself, by describing the customs and special regional food. <br /> <br /> Siehe Zhou Zuoren: &quot;Cangying 蒼蠅&quot; (Die Stubenfliege), in: ''Chenbao fujuan'' 晨报副镌 (Beilage zur Morgenpost) (1924.7.13). Eine Zu¬sammenfassung des Inhalts findet sich in: Yu Daxiang (Hg.): ''Auswahllexikon chinesischer Essays mit Inhaltsangaben und Analysen'' 1993.<br /> <br /> ''Siehe Vollständige chinesische Anthologie der Wissenschaften - Bd Chinesische Literatur'' 1988, Bd 2, S. 1300. Dies spielt auf den Essay &quot;''Cangying'' 蒼蠅&quot; (Die Stubenfliege), in: Zhou Zuoren: ''Zhi Tang. Sammlung'' 1933 an.（文献无需翻译）<br /> <br /> 官方的解读指责他“只看到了渺小，而没有看到伟大”，这是对年轻的周作人的引用，他自己明确反对该立场。<br /> 他谈论生活中更愉快的事情，在他推特的文章“鸟”中得到了展示。在“北京蛋糕和甜食”与“我家乡的野菜”中，周作人通过描述风俗和特殊的地区食物，展示了他让读者感到宾至如归的能力。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:37, 27 December 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> His piece ”''Bitter rain''” shows the atmosphere, for what his essays had been labelled ”bitter tea”: There remains a taste in one’s mouth after reading. If you compare Lu Xun’s ”''On tea drinking''” (Yang/Yang 1961 3:325-326) with Zhou Zuoren’s essay with the same title, you see the difference of ”short and to the point” and ”eloquent and well-read”. ”''First love''” is more hilarious. The essay ”''Three different ways to die''” shows that Zhou Zuoren can compete with his elder brother in sarcasm. Lu Xun's essay on the same subject, the massacre on March 18, 1926, was a sight.<br /> <br /> 他的作品《苦雨》展现出了这种氛围，因此他的文章被称为“苦茶”：阅读完之后能感到余味悠长。如果你对比鲁迅和周作人的《论饮茶》(Yang/Yang 1961 3:325-326)，你可以看到“短小精辟”和“雄辩易读”的区别。《初恋》是最欢乐的作品。文章《三种不同的死法》表明周作人在讽刺小说方面足以与他的哥哥抗衡。鲁迅的同题作文《1926年3月18日的大屠杀》让人眼前一亮。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:36, 27 December 2020 (UTC)<br /> <br /> ==Song Jianru 宋建茹==<br /> Zhou asks for the ”best” way to die and favors the short and painless one. In ”''On alcohol''” and ”''The awning bunk boat''” Zhou Zuoren continues the tradition of late Ming ''biji''.<br /> <br /> '''7. The essay as a snapshot of contemporary thoughts'''<br /> <br /> ''What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.''<br /> <br /> ==Su Lin 苏琳==<br /> The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a consciously “corrected” truth.<br /> ==Tan Xingyue 谭星越==<br /> The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (Wang Meng: &quot;''Anxiang'' 安详&quot; (Serene) 1992, &quot;''Zuohao ni ziji de shi'' 做好你自己的事&quot; (First make your own things in a good way) 1994). <br /> ==Tan Xinjie 谭鑫洁==<br /> These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.<br /> <br /> Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive (&quot;''Shanxi opera''&quot;, Jia Pingwa 1984) or negative world (&quot;''The nightmare''&quot;, Si Yu 1995).<br /> <br /> From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:<br /> 这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。<br /> 20世纪80年代和90年代的其他散文虽是一种新的主观主义，其目标是摆脱当代的矛盾，但是通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。<br /> 从这篇文章中，我们可以看到当代文学的趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:30, 27 December 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> - The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall 1984:xiii); <br /> <br /> - The increasing consciousness of indivi¬duality for which the essay is the most direct form of subjecti¬ve expression, even more direct than the poem with its metrical and formal demands; <br /> <br /> - A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.<br /> <br /> - The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.<br /> <br /> - 当下中国社会的浮躁节奏，对转折性和短文的要求。&quot;[...]我们生活在一个论述的时代&quot;(Hall 1984:xiii)。<br /> <br /> - 越发增加的独立意识，对其而言，文章是最直接的主体表达形式，甚至比诗的格律和形式要求更直接。<br /> <br /> - 通过散文这一媒介讨论社会政治问题的兴趣的复苏，就像20世纪20/30年代的情况一样。<br /> <br /> - 日常生活的平庸性通过成为文学话题而变得自觉，最常见的是日常生活的文体--散文。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:06, 25 December 2020 (UTC)<br /> <br /> <br /> -当前中国社会节奏轻快，要求有趣味的短文：“[…]我们生活在一个博览会时代”（大厅1984:xiii）；<br /> <br /> -对于个人二元性意识的增强，散文是主体性表达的最直接形式，甚至比诗歌的韵律和形式要求更直接；<br /> <br /> -通过这篇文章讨论社会政治问题的兴趣的复复苏，如同20世纪20年代或30年代的情况一样。<br /> <br /> -日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:59, 25 December 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> - The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays. <br /> <br /> - Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.<br /> ==Tang Ming 唐铭==<br /> This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publis¬hing houses with an orientation toward customers (former: &quot;readers&quot;). <br /> <br /> - The criteria for essay best sellers in the P.R. of China are the following: In the most often printed essay &quot;''The Back View''&quot;, filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous &quot;''The Moonlit Lotus Pond''&quot;, both written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader.<br /> ==Tang Yiran 汤伊然==<br /> Nostalgic home feelings are the emotional identification element in &quot;''Wild vegetables of my home region''&quot; by Wang Zengqi. Therefore one can state, that moving es¬says form the top.<br /> <br /> - ''In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in¬dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.''<br /> <br /> ==Tao Ye 陶冶==<br /> ''In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph'' China can say no! – Possibilities for politics and emotions in the period after the cold war (''No''! 1996).<br /> <br /> - ''The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.''<br /> ==Wang Meiling 王美玲==<br /> ''Also trends like the use of ordinary language, which one finds in novels since 1993 (Jia Pingwa, Feidu; Gu Cheng, Yingger) and'' New Borderlessness ''since'' 1995, ''cannot be pro-ven in the essaywriting. ''<br /> <br /> - Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being &quot;''The Small Dog Baodi''&quot;, written by Ba Jin 1981, in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before (&quot;''In memoriam of Xiao Shan II''&quot;, Ba Jin 1984).<br /> ==Wang Xuan 王轩==<br /> Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's &quot;''Rain in Kunming''&quot; as well as for Jia Pingwa's &quot;''Shanxi opera''&quot;. <br /> 类似的还有想象怀旧的概念，正如王功权所说的沈从文作品中虚构的真实（王大卫·德维王1992），有助于解读汪曾祺的《昆明雨》，也有助于贾平凹的《山西剧》。<br /> <br /> - The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing fictional truth through the metaphor of his dog Baodi.<br /> 施瓦茨在“隐喻话语”中所表达的“个人悲伤”概念，有助于我们理解巴金是如何克服他以“存在的真理”而闻名的，却通过他的狗“宝坻”的隐喻而获得更具说服力的虚构真相。<br /> <br /> Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.（文献无需翻译）<br /> <br /> ''Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay &quot;The nightmare&quot;, where Si Yu appears as a de-constructionist, the I-narrator even is drawn near to suicide.''（文献无需翻译）<br /> <br /> And maybe for Xie Bingxins* reflections on her experience as one of the chosen voluntaries of the Wuhan military academy: She insisted to remain a lifelong &quot;woman soldier&quot; .（文献无需翻译）<br /> <br /> ==Wang Yu 王煜==<br /> '''8. Discussion: Is the genre of the essay the form of literary expression in 21st century China?'''<br /> <br /> Regarding the future of the Chinese literature, we can only speculate. But out the risk of being wild and provocative, I would like to suggest some questions for considering the place of the essay in the field of Chinese literature and literary studies.<br /> <br /> - People have less time for actions like reading, and get used to reduced visualized information through the Internet. Will the brevity of the essay make it the ideal medium?<br /> <br /> ==Wang Yuan 王源==<br /> - If the Chinese people are rediscovering their individuality, will the essay allow them to express individual thoughts more directly?<br /> <br /> - Modern societies are characterized by TV culture, mass consumption, and the loss of consciousness of one's own tradition, often partly due to the American impact on national cultures. Is the essay less bound to the restrictions of tradition, especially compared to the poem and thus more adaptable to the modern phenomenon of mass consumption?<br /> <br /> ==Wei Honglang 韦洪朗==<br /> - The alienation and the anonymity of citylife worldwide, in China is combined with a loss of traditional values like ideology, family, solidarity etc. in favor of the concept of profit for oneself, - if this has produced a longing for new orientation, will it possibly be filled by morally guiding essays or nationalistic thinking?<br /> <br /> - 在中国，世界范围内城市生活的异化和互相不认识的现象与传统价值观如意识形态、家庭、团圆等的丧失结合在一起，有利于为自己谋利的观念，如果这已经产生了对新方向的渴望，这个领域能否被道德指导性文章或民族主义思想所填补呢？--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 11:35, 27 December 2020 (UTC)<br /> <br /> 《红楼梦》与其他世界文学作品的相似性——推荐《红楼梦》列入世界记忆遗产名录<br /> <br /> '''Commonness between the Red Chamber Dreams and other World Literature Novels – Proposing the Red Chamber Dreams to the World Documentary Heritage List'''（修改）<br /> <br /> 吴漠汀，湖南师范大学 Martin Woesler, Hunan Normal University<br /> <br /> Source: Lecture at Harvard University, Cambridge, MA USA, 14.3.2000（文献无需翻译）<br /> <br /> ==Wei Yafei 魏亚菲==<br /> '''Abstract'''<br /> <br /> In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the Red Chamber Dreams, they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.<br /> <br /> Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. ''The Red Chamber Dreams'' function worldwide. <br /> <br /> 摘要<br /> <br /> 在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。<br /> <br /> 曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。（修改）<br /> <br /> 在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中衍生出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。<br /> <br /> 曹雪芹，甚至于他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:09, 25 December 2020 (UTC)<br /> <br /> ==Wen Sixing 文偲荇==<br /> ''The Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.<br /> <br /> 红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。（修改）<br /> <br /> 多元一体<br /> <br /> '''Key words'''<br /> <br /> Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage<br /> <br /> “红楼梦”是一个多元的中国文化综合体，是中国文化的体现和精髓，但它也具有全球影响力，因此应该被授予“世界文献遗产”的荣誉。（修改&lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;）<br /> <br /> 多元一体<br /> <br /> '''Key words'''<br /> <br /> Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage<br /> --[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:29, 25 December 2020 (UTC)<br /> <br /> 《红楼梦》是一个中国文化综合体，展示着中国文化的精髓的同时也极具全球影响力，理应被列入世界记忆遗产名录。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:00, 26 December 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> '''1. Chinese Ethics'''<br /> <br /> To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.<br /> <br /> When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.<br /> <br /> However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.<br /> <br /> ==Wu Kai 吴恺==<br /> '''2. Compatibility<br /> '''<br /> Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?<br /> <br /> First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. <br /> ==Wu Qi 吴琪==<br /> However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the ''Shuihuzhuan'' and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.<br /> <br /> '''3. Impact of translator’s native culture on the translation process'''<br /> <br /> There are intercultural parallels between the ''Red Chamber Dreams'' and Western works of literature.<br /> <br /> 然而，《红楼梦》章回结构不连续来自于《水浒传》中几乎没有联系的章回的传统，这是朝着章回更连贯、与故事线一致以及更集中于较少主角的方向迈出的一步。因此，《红楼梦》明显向西方小说传统迈进了一步，可能是因为西方对清代的影响越来越大。<br /> <br /> '''3.译者的本土文化对翻译过程的影响'''<br /> <br /> 《红楼梦》和西方文学作品之间有跨文化的相似之处。<br /> --[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:54, 27 December 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the ''Dreams'' will immediately think of.<br /> <br /> '''4. The novel as embodiment of “Zeitgeist”'''<br /> <br /> According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s ''Ilias'', which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality.<br /> ==Wu Xiang 邬香==<br /> The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist). <br /> <br /> The ''Red Chamber Dreams'' are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng.<br /> ==Wu Yilu 吴一露==<br /> While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Mann, including the turn to arts and music).<br /> <br /> 虽然作者在他的时代无法批判皇帝的制度和权力，但在小说中，他通过家族的日益衰败（修行道教、休闲、写诗、艺术和音乐，而不是为了能够谋生而学习）和自己没有实现作为家族继承人的期望中寻找受迫害的罪责，来接受这种生活。这种对没落家庭颓废的描述，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:35, 27 December 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the Dream appears as a documentary historical novel very much like Günter Grass’ The Tin Drum 1959.<br /> <br /> '''5. Coming-of-age and Alienation'''<br /> <br /> Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment.<br /> ==Xiao Shuangling 肖双玲==<br /> However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life. Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged.<br /> <br /> 然而，曹雪芹的信息不仅是“失乐园”的信息，而是他本人的一生。 尽管不如他的家人仍然享有皇帝的宠爱时富裕，但清初中国有一个工资体系和一个完整的社会网络，在那里他获得了足够的收入以独立于自己的富裕亲戚，可以有选择性地接受工作 在大自然的小房子里过着轻松的生活，与家人和朋友共度时光，遵循自己的兴趣，例如读书，写作和喝酒，为孩子们放风筝和思考处境不利的人。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:38, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> 然而，曹雪芹所传达的信息并不是简单的“失乐园”，相反，他把自己的生活过得很好。 虽然比起他的家族享受皇帝的宠爱，他过得没有那么富裕，但清初中国有一套薪俸制度和一张完整的社会网，他获得了足够的收入，可以独立于富贵亲戚，可以有选择性地接受工作，可以在大自然的小房子里过着悠闲的生活，可以与家人和朋友共度时光，可以追随自己的兴趣，例如读书，写作和饮酒，可以为孩子们做风筝，可以为弱势群体着想。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:27, 27 December 2020 (UTC)<br /> <br /> ==Xiao Ting 肖婷==<br /> Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.<br /> <br /> 曹雪芹对自己所处的时代和中国的文化成就有充分的认识，他熟悉社会的方方面面，他观察细致，叙事娴熟。他能把小说的结尾构思为对小说中人物不同性格的探讨，从而体现出他对人生的思考和对人性多样性的理解。他能够把握 &quot;时间精神&quot;(Zeitgeist)，并以他的亲身经历为材料创造了一部成熟的绝世之作，这不仅是为他的家庭、为清人、为中国人，更是为全人类。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:29, 26 December 2020 (UTC)Xiao Ting<br /> <br /> 曹雪芹充分了解自己所处的时代和中国的文化成就，熟悉社会的不同层次，是一个细致的观察者和娴熟的叙述者。他可能将小说的结局概念化为对小说中人物不同性格的讨论，从而表现出他对生活的反思和对人性多样性的心理理解。他能够把握“时代精神”(时代精神)，并以他的自传体经历，为他的家庭，为清朝人，为中国人，为人类创造了一部永恒的成长小说。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:01, 26 December 2020 (UTC)<br /> <br /> 曹雪芹对自己所处的时代和中国的文化成就了如指掌，他熟悉社会的不同层面，他是一个细致的观察者和娴熟的叙述者。因此，他在小说中对人的不同个性的理解和对小说中人物性格的多样性进行了概念化的探讨。他能够把握“时代精神”，用他的自传体经历，不仅为他的家庭，为清朝的中国人，为中国人民，而且为人类，创作了一部永恒的成人小说。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:43, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel ''Candide or Optimism''《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.<br /> ==Xiao Yining 肖伊宁==<br /> Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: ''Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802). <br /> ==Xie Fan 解帆==<br /> Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in ''Wilhelm Meister'' this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''. <br /> <br /> '''6. Pornography and True Love, female rivals'''<br /> <br /> Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit.<br /> <br /> 与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，这通过莎士比亚的经典戏剧得以体现。传统可以作为方向标，但主人公的个性需要通过解放才能发展，这是一种智慧，我们可以以上提过包括《梦》的所有小说中学习。<br /> “6.色情与真爱，女性对手&quot;<br /> 性是人类的一种基本需求，在不同文化中展现出不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是有固定程式的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:37, 25 December 2020 (UTC)<br /> <br /> 与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，在《威廉·迈斯特》中，莎士比亚戏剧中复兴的经典作品代表了这一点。传统可以给予导向，但主人公的个性需要通过解放来发展是一种智慧，我们可以从包括《梦》在内的所有小说中学习。<br /> “6。色情与真爱，女性对手&quot;<br /> 性是人类的一种基本需求，在各种文化中形成了不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是程式化的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:37, 26 December 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> In the barock literature of the 17th century even the physical act is described extensively. <br /> <br /> According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.<br /> <br /> The best study on ''qing'' passion in the Dreams is the one by Anthony Yu, who understood it as ''desire'' and as the central motif of the ''Dreams''. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).<br /> <br /> ==Xu Jia 徐佳==<br /> In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).<br /> <br /> In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”<br /> <br /> Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.<br /> <br /> 在《梦》的框架故事中，叙述者有意识地站在了反对低级动作和刻板色情文学的立场上，也站在了反对普遍存在的言情小说的立场上（以美丽的才女和通过公务员考试最终获得地位和财富的穷书生为经典角色）。<br /> <br /> 在第一章中，他说：&quot;年轻人的真情实感......至今无人报道&quot;。<br /> <br /> &quot;情色场面以体面和联想的方式描述（&quot;云和雨的游戏&quot;），同时表现出另一种开放性，例如对双性恋的开放。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:35, 27 December 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许晶==<br /> The ''Dreams'' narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.<br /> <br /> While Marián Galik saw as the central topic of both, the ''Dream'' and ''Faust'', the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”. <br /> <br /> ==Xu Jing 许静==<br /> In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in the Keller 凯勒 ''The Green Henry'' 《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth and Lin Daiyu are similar, e.g. they both strive for real love (Zhuang 2011).<br /> ==Xu Mengdie 徐梦蝶==<br /> '''7. Feudal society and slavery'''<br /> <br /> A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, would exclude slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals.<br /> <br /> 封建社会和奴隶<br /> 一种普遍的解释是，贾宝玉对家庭成员和奴隶一视同仁，这将成为奴隶解放的宣言。我并不同意这个解释，因为亚里士多德的民主就排除了奴隶的投票权。所以，我们并不能用现代观念去评判过去。在我看来，贾宝玉并不是和不平等作斗争，而是把人视作群体和个人。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 09:55, 25 December 2020 (UTC)Xu Mengdie<br /> <br /> 一种普遍的解释是，贾宝玉对家庭成员和奴隶的平等对待是解放奴隶的宣言。我也不同意这种解释，因为亚里士多德，当他要求民主的时候，会排除奴隶的投票权。所以我们不能用现代的概念来判断过去。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人看成是群体和个人。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:31, 25 December 2020 (UTC)<br /> <br /> 许多人认为，贾宝玉对家庭成员和仆人的平等对待是解放奴隶的宣言。我也不同意这种看法。因为当亚里士多德要求民主时，奴隶并没有投票权。所以我们不能用现代的概念来判断过去发生的事。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人分为是群体和个人。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:03, 27 December 2020 (UTC)<br /> <br /> 人们普遍认为贾宝玉对待家庭成员和奴隶的平等对待是解放奴隶的宣言。我不同意这种解释，因为亚里士多德吁民主时，会将奴隶从投票权中剔除。所以我们不能用现代观点评判古人。我认为，贾宝玉并不是在为不平等而做斗争，而是将人区分为人或是个体。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 12:02, 27 December 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> Also the understanding of the servants as slaves does not match the description in the Dream, since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with slave. Therefore, the translator preferred “servant” over “slave” in the translation.<br /> <br /> 另外，把仆人理解为奴隶也与《红楼梦》中所描述的不符，因为有些仆人自己也有仆人，他们离开贾家后，家人会照顾他们，为他们婚配，并且贾正把女儿迎春称为“丫头”，所以用奴隶来翻译这个词是不合适的。因此，译者在翻译中更倾向于“仆人”而不是“奴隶”。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:14, 25 December 2020 (UTC)Xu Pengfei<br /> <br /> 而且把仆人理解为奴隶与《红楼梦》中的描写不符，因为有些仆人自己还有仆人，贾府会在她们离府的时候为她们寻一门亲事，作为贾府对她们的照料；贾政也把自己的女儿迎春喊作 “丫头”， 所以把这些翻译成奴隶是不合适的。因此英文翻译中采用“servant”会比“slave”更为合适。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 10:08, 25 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Yang Chenting 杨晨婷==<br /> Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.<br /> <br /> 2009年，莫言代表中国作为主宾国参加法兰克福书展时，他在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的印象是，两者都没有表达这个愿望，但这是后来的概念和解释，而我们不应该以此来判断过去。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:36, 25 December 2020 (UTC)Yang chenting<br /> <br /> 2009年，莫言代表中国作为主宾国参加法兰克福书展时，在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的感觉是，两者都没有表达这个愿望，但这是后来的概念和解释，我们不应该以此来判断过去。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:43, 25 December 2020 (UTC)<br /> <br /> ==Yang Hairong 杨海容==<br /> '''8. Tragedy of all tragedies'''<br /> <br /> Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''.<br /> <br /> 8.所有悲剧的悲剧成分<br /> <br /> 亚里士多德在《悲剧论》（诗学VI）中解释说，悲剧使人们比喜剧更能吸引人，因为他们“模仿（mimēsis）一种严肃、完整和有程度的行动”（Aristotle 1971，51）。 欧洲的悲剧部分归因于亚里斯多德作品《喜剧》的丢失。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:16, 27 December 2020 (UTC)<br /> <br /> 8.所有悲剧含有的悲剧成分<br /> <br /> 亚里士多德在《悲剧论》（诗学VI）中解释道，悲剧之所以比戏剧更加动人，是因为它们“模仿（mimēsis）一种严肃、完整且具有一定规模的行动”（Aristotle 1971，51）。悲剧在欧洲拥有崇高地位部分归因于亚里士多德的作品《论喜剧》的失传。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:42, 27 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> While Europe has the Hamlet as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as &quot;tragedy of all tragedies&quot;. To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture. <br /> <br /> In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”.<br /> <br /> <br /> <br /> 尽管欧洲将“哈姆雷特”作为悲剧的悲剧，但长期以来中国传统文学中缺乏悲剧文学的现象一直令人遗憾。王国伟把“梦”看作“一切悲剧的悲剧”。对王国伟来说，浮士德和贾宝玉的苦难是小说的核心。然而，许多学者认为，浮士德主义是中国文化的核心。<br /> <br /> 在 18 世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:40, 27 December 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> '''9. “Non-Binary” Novels'''<br /> <br /> One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.<br /> <br /> 9. “非二进制小说”<br /> <br /> 可爱而神秘的主角贾宝玉是吸引西方读者的其中一点。由于他开放的双性恋倾向以及对同伴的兴趣，无论他们的社会地位如何，他彰显“现代”气质或至少不属于那个时代。 他与传统学习的斗争使他显得富有同情心，他与世隔绝的漫长状态使他既具有永恒的品格又具有神秘感。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:17, 27 December 2020 (UTC)<br /> <br /> <br /> “非二元”小说<br /> <br /> 一个吸引西方读者的东西是可爱而神秘的主人公贾宝玉。由于他开放的双性恋倾向和他对伴侣的兴趣，不管他们的社会地位如何，他显得“现代”或至少在时间上流离失所。他与传统学习的斗争使他显得富有同情心，他从世界上长期的狂喜给了他永恒的性格和神秘的气息。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:43, 27 December 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.<br /> According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the ''Heart Sutra''. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically. <br /> <br /> ==Yao Cheng 姚诚==<br /> '''10. Foreign Cultures in the Red Chamber Dreams'''<br /> <br /> Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties, especially the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel.<br /> <br /> ==Yao Jia 姚佳==<br /> The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.<br /> <br /> ==Yi Huan 易欢==<br /> The variety of cultures is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the Red Chamber Dreams as “World Documentary Heritage”. <br /> <br /> '''References'''（参考文献不用翻译）<br /> <br /> Anthony, C. Yu. (2001). ''Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber''. Princeton University Press.<br /> <br /> Aristotle. (1971). ''Poetics''. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.<br /> <br /> Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). ''Der Traum der Roten Kammer oder Die Geschichte vom Stein'' [''Red Chamber Dreams or The Story of the Stone''], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition<br /> <br /> Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. ''Hong lou meng xue kan'' 6: 274-289<br /> <br /> Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. ''Journal of Sino-Western Communications'' 2 (2010.12) 2:81-107<br /> <br /> Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. ''Journal of Language Teaching and Research'', Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.<br /> <br /> ==Yi Zichu 义子楚==<br /> '''Virtual Communication Between Machines with the Human as Their Object<br /> '''<br /> <br /> A new stage of multimodal communication after oral, written, printed, electronic and machine-human communication<br /> <br /> Martin Woesler, Hunan Normal University<br /> <br /> '''Abstract'''<br /> <br /> Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role. <br /> <br /> ==You Yuting 游雨婷==<br /> This paper argues, that there is a fundamentally new media epoch of “virtual communication” (communication 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.). <br /> <br /> Algorithms do not only listen to oral or read written human communication (between humans or between humans and bots), but they analyze multimodal communication (including likes, behaviour, surfing habits, mobility profile, values, dreams, aims, beliefs etc.), compare them with Big Data (e.g. cloud data) and base decisions of manipulation on a prediction of behavior according to a personality profile and correlations.<br /> <br /> 本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管，人类成为分析和操纵的对象(如顾客、选民等)。<br /> <br /> 算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:34, 26 December 2020 (UTC)<br /> <br /> 本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管世界，人类成为分析和操纵的对象(如顾客、选民等)。<br /> <br /> 算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:47, 27 December 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> These algorithms target not only the explicit communications, but the emotions and thoughts of humans too and predict future behavior, therefore allowing simulations of reality. Mightier algorithms have also taken over decision-making roles in societies where they: replace human court decisions, fine tune just-in-time and on-demand production, censor chatrooms etc. Sets of algorithms help to manage smart cities and a whole society. <br /> <br /> 这些算法不仅针对明确的交流，也针对人类的情绪和思想，并预测未来的行为，因此允许模拟现实。更强大的算法也在社会中占据了决策角色：取代人类法庭的判决，及时微调和按需制作，审查聊天室等。一套算法有助于管理智慧城市和整个社会。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:34, 27 December 2020 (UTC)<br /> <br /> <br /> ----<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> Although the human is still part of the communication, especially as the analyzed object and the target of the manipulation, the human is often unaware of the virtual communication and a passive receiver of the machine’s decisions, while the main actors in the virtual communication are machines.<br /> <br /> <br /> 虽然人仍然是通信的一部分，特别是作为被分析的对象和操纵的目标，但是人往往没有意识到虚拟通信和机器决策的被动接受者，而虚拟通信的主要参与者是机器。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:55, 25 December 2020 (UTC)<br /> <br /> 尽管人类仍然是交流活动的一个组成部分，特别是作为被分析的对象和操纵的目标，但是人类往往没有意识到，自己是虚拟沟通和机器决策的被动接受者，而虚拟沟通的主导者是机器。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:11, 25 December 2020 (UTC)<br /> <br /> 虽然人仍然是构成通信的一部分，尤其是作为分析对象和操纵目标，但人往往没有意识到人们在虚拟通信中扮演机器决策的被动接受者，而机器才是主要参与者。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:42, 25 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> Research describes these forms of virtual communication, finds evidence in social management systems and credit systems (in Germany, we have the “Schufa”, in the USA there are big players in credit history, which leads to credit-orientation and gamification of human life) or customized (fake) news filter bubbles and in customized consumption offers (Amazon, Facebook, Google, Netflix) and analyzes benefits, including security enhancements through such virtual communication.<br /> <br /> 研究对这些形式的虚拟沟通进行了描述，在社会管理系统、信用系统（定制的（虚假）新闻筛选泡沫）和定制的消费商（亚马逊、脸书、谷歌、网飞）里面找到了证据（德国有“Schufa”，美国则因为信用史有重大人物而使得社会信用至上并日趋游戏化），并对益处加以分析，这些益处包含通过这类虚拟沟通提升安全。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:20, 25 December 2020 (UTC)<br /> <br /> 研究描述了这些虚拟通信的形式，在社会管理系统和信用系统中找到证据（在德国，我们有 &quot;Schufa&quot;，在美国有信用记录的大玩家，这导致了信用导向和人类生活的游戏化）或定制化（假）新闻过滤气泡，以及在定制化的消费优惠中（亚马逊，Facebook，谷歌，Netflix），并分析了好处，包括通过这种虚拟通信增强安全性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:03, 25 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> But research also has the duty to warn of abuse or harmful developments and to raise ethical questions. Exoskeletal ethics, imposed by gamifications like credit systems, especially need to be valued against intrinsic ethics.<br /> <br /> '''Introduction'''<br /> <br /> In this paper dealing with machine to machine communication, I skip the machines assisting humans to make their life more convenient (ranging from “The milk is out, please add the usual amount of milk to the delivery list,” to “The old lady has not left her bed this morning, I’ll better call the doctor”).<br /> <br /> <br /> 但研究也有责任对滥用或有害的发展发出警告，同时要对引起的伦理问题也要承担责任。特别是信用体系游戏化所造成的外骨骼伦理问题更需要得到重视，要反对内在的伦理问题。<br /> <br /> 引言<br /> <br /> 本论文在涉及机器与机器之间的交流时，我不考虑那些帮助人类让生活更便捷的机器（从“牛奶没了，请在送货单上加平常剂量的牛奶”到“老太太今早卧床不起，我最好叫医生吧”）。<br /> --[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:10, 25 December 2020 (UTC)<br /> <br /> 但研究也有责任对滥用或有害的发展提出警告，并提出伦理问题。特别是信用体系等游戏化所强加的外骨骼伦理，更需要对照内在伦理加以重视。<br /> <br /> 引言<br /> <br /> 在本文中涉及机器与机器之间的交流，我跳过了机器协助人类提高生活便利的内容（从 &quot;牛奶没了，请把平时的牛奶量加到送货单上&quot;，到 &quot;老太太今天早上还没下床，我还是叫医生吧&quot;。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:40, 26 December 2020 (UTC)Xiao Ting<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> Instead, I deal with communication like: “Let’s create a user personality profile and compare it with Big Data to learn how I can best catch this user’s attention and make him/her vote for presidential candidate A or B.”; “Let’s check this users’ mouse movements and compare it with Big Data to get a correlation to estimate if (and if “yes” when) he will get Parkinson, to decide whether or not to deny him the loan or health insurance.”<br /> 实际上，本人研究涉及的方面如下：比如，“让我们创建一名用户的个性化主界面，并将其与大数据进行比对，学习如何最好的吸引该用户的注意，让他/她投票给总统候选人甲或乙。”“让我们检查这名用户鼠标的运动轨迹，通过与大数据进行比对，建立关联，来估计他是否会得帕金森。如果他患有帕金森疾病，我们会决定是否需要对他的贷款或医疗保险的申请予以拒绝。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:41, 26 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> “Let’s check this users sexual orientation, religious beliefs, fears, secrets like adultery etc. to blackmail him to get ransom money for my programmer.”; or even “Let’s use this user’s location to aim the killer drone.”<br /> <br /> The current neoliberal system with Amazon, Facebook, WhatsApp, Instagram, Google, Netflix etc. provides incentives to collect as much user data as possible and to abuse user data for manipulation, which creates huge profits.<br /> <br /> “让我们检查该用户的性取向、宗教信仰、恐惧、诸如通奸之类的秘密去勒索他为我的程序员去获取赎金”。或者甚至“使用用户的位置瞄准杀手无人机。”<br /> <br /> 当前具有亚马逊、脸谱网、瓦茨艾普、照片墙、谷歌、奈飞等的新自由主义系统激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:04, 25 December 2020 (UTC)<br /> <br /> &quot;让我们查一查这个用户的性取向、宗教信仰、恐惧、通奸等秘密，以勒索他为我的程序员获取赎金。&quot;；甚至&quot;利用这个用户的位置来瞄准杀手无人机。&quot;<br /> 目前亚马逊、脸书、WhatsApp、Instagram、谷歌、奈飞等的新自由主义体系，为收集尽可能多的用户数据，并滥用用户数据，从而创造了巨大的利润。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:39, 25 December 2020 (UTC)Yang chenting<br /> <br /> “让我们检查该用户的性取向、宗教信仰、惧怕的事物、诸如通奸之类的秘密，从而勒索他让我的程序员获取赎金”。更有甚时，“让我们使用用户的位置让攻击机瞄准他。”<br /> <br /> 当前亚马逊、脸书、联络电话、Instagram、谷歌、网飞等的新自由主义的系统软件，激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:53, 26 December 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> Very much like the financial crisis, which was caused by the unregulated use of derivatives, this is a systemic development, which currently follows a path to enslave the human race under the control of algorithms for the benefit of tech companies. The enslavement has already begun, as we can see from the world wide addiction to social media, from the growing mass of conspiracy theorists and from the polarization of the USA over Trump or the polarization of Great Britain over the Brexit.<br /> <br /> 这与因不受监管地使用衍生品导致的金融危机非常相似。这是一个系统性的发展，它目前走的是一条用算法控制奴役人们，为科技公司谋利的道路。从全世界对社交媒体的沉迷，从越来越多的阴谋论者，从美国对特朗普的两极分化或英国对英国脱欧的两极分化，我们都可以看出，奴役已经开始。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:07, 27 December 2020 (UTC)<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> '''1 History of Media Epochs'''<br /> <br /> Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role. <br /> <br /> This paper argues, that there is a fundamentally new stage of “virtual communication” (media epoch 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).<br /> <br /> 卢曼和贝克尔描述了从口头（媒体时代1.0）到文字（2.0）的通讯发展，再到印刷（3.0）数字通讯（4.0）<br /> 在所有这些阶段中，科技都只起到了协助作用。<br /> <br /> 本文认为，从根本上来说，“虚拟沟通”处于新阶段（媒体时代5.0），其中人工智能（由人类初始化）已被接管，人类已成为分析和操纵的对象（如顾客，选民等）--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:56, 26 December 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> While Luhmann would still summarize this under digital communication, I see a full new quality here, and have therefore coined the term “communication 5.0” or “virtual communication” for it. In Luhmann’s view, the computer consists out of the “surface” of the machine (the visible interfaces like screen, keyboard, mouse) and the “depth” of the machine (the invisible, often incomprehensive inside).<br /> <br /> 虽然卢曼仍然会在数字通信中总结这一点，但我在这里看到了一个全新的品质，因此创造了术语“通信5.0”或“虚拟通信”。在卢曼看来，计算机是由机器的“表面”(屏幕、键盘、鼠标等可见界面)和机器的“内里”(看不见的、内部不全面的部分)组成的。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:41, 25 December 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> However, we are almost constantly producing data, with our chats and geotracked movements, with our addiction to social media, our carrying of cell phones and more and more smart devices at all times, and we are therefore an object of analysis by algorithms.<br /> <br /> The traditional setting of a communicative act blurs: The machine can directly communicate with the human (there the Turing test marks a threshold), and, after a certain complexity, it can hide its machine nature.<br /> <br /> 但是，我们几乎一直在通过聊天和地理位置追踪运动，不断沉迷于社交媒体，携带手机以及越来越多的智能设备来生成数据，因此，我们一直是通过算法进行分析的对象。<br /> <br /> 交流行为的传统设置变得模糊：机器可以直接与人类交流（图灵测试标记了阈值），并且在经过一定的复杂性之后，它可以隐藏机器的本质。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:49, 25 December 2020 (UTC)<br /> <br /> 然而，我们几乎在不断地产生数据，我们的聊天和地理追踪的动作，我们对社交媒体的沉迷，我们随时携带手机和越来越多的智能设备，因而成为算法分析的对象。<br /> <br /> 传统的交流行为的设定模糊了。机器可以直接与人类交流（图灵测试标志着一个门槛），在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:03, 25 December 2020 (UTC)<br /> 然而，我们几乎是在不断地产生数据，我们的聊天和追踪移动，我们对社交媒体的沉迷，我们无时无刻都带着手机和越来越多的智能设备，因此我们是算法分析的对象。<br /> 传统的交流行为设定是模糊的:机器可以直接与人类交流(图灵测试在这里标记了一个阈值)，并且在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:49, 27 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> The machine can also indirectly communicate with the human by simply analyzing humans’ verbal communication, non-verbal multimodal communication, behavior, personality etc. and interacting with the human with, or without, revealing its existence. A human, growing up in a filter bubble and believing in conspiracy theories is one such example: The human has been manipulated by social media and news which prefer lies over truth.<br /> <br /> 机器还可以通过简单地分析人类的语言交流、非语言的多模态交流、行为、个性等，并与人类进行交互，从而间接地与人类进行交流，从而揭示人类的存在。一个在过滤器泡沫中成长并相信阴谋论的人就是这样一个例子：人们被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:33, 27 December 2020 (UTC)<br /> <br /> 机器也可以通过简单地分析人类的语言交流、非语言多模态交流、行为、个性等与人类进行交流，或者间接地与人类进行互动，从而揭示人类的存在。一个在过滤气泡中长大、相信阴谋论的人就是这样一个例子:这个人一直被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:45, 27 December 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> Without even noticing that there was an interaction taking place between the human and the machine, the human has lost his/her independence to the machine.<br /> <br /> '''2 Types of communicative acts'''<br /> <br /> 1.Texts (oral and written comments/chat texts/blogs/emails)<br /> <br /> 2.Surf behavior (websites visited)<br /> <br /> 3.Consumer behavior (purchases)<br /> <br /> 4.Likes (see OCEAN, UEBA)<br /> <br /> 5.Duration/Attention (see UEBA)<br /> <br /> 6.habits/repetitiveness/occurrences (is an element of analysis in different AI apps/tools)<br /> 甚至没有注意到人与机器之间发生的互动，人已经失去了他/她对机器的独立性。<br /> <br /> &quot;两种类型的交际行为&quot;<br /> <br /> 1.<br /> 文本(口头和书面评论/聊天文本/博客/电子邮件)<br /> <br /> 2.<br /> 上网行为(浏览网站)<br /> <br /> 3.<br /> 消费者行为(购买)<br /> <br /> 4.<br /> 喜欢(参见OCEAN, UEBA)<br /> <br /> 5.<br /> 持续时间/关注(见UEBA)<br /> <br /> 6.<br /> 习惯/重复/出现(是不同AI应用/工具的分析元素)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:46, 27 December 2020 (UTC)<br /> <br /> ==Zhang Qi 张琪==<br /> 7.Unconscious, often unique data allowing identification (way of writing, mouse movements pattern, see Raj Kannan 2020)<br /> <br /> 8.social interaction incl. friendships, sexual relationships<br /> <br /> 9.mobility behavior/pattern (e.g. immediate environment – e.g. unconsciously recording the inside of houses while playing “Pokemon Go”), travel: Travel  Behavior (Yu Cui et al. 2018)<br /> <br /> <br /> 7，无意识且通常唯一的数据可以识别（书写方式，鼠标移动方式，请参见Raj Kannan 2020）<br /> <br /> 8.社交互动，包括 友谊，性关系<br /> <br /> 9.出行行为/模式（例如周围环境-例如在玩``口袋妖怪Go''时不自觉地记录房屋内部），旅行：出行行为（于翠等人，2018年）--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:24, 27 December 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> '''3 Types of analysis'''<br /> <br /> 1.General (User and Entity Behavior Analytics UEBA: AI-assisted cybersecurity tools like by Gartner, Inc.)<br /> <br /> 2.True identity (e.g.: mouse movements, face recognition, find real name) (Verschuere 2016)<br /> <br /> 3.Personality profile: Big Five Personality Inventory: Openness to Experience, Consciousness, Extroversion, Agreeableness, Neuroticism “OCEAN” (Golbeck 2011), by only analyzing the users' likes, Facebook can generate personality profiles (AI-Demand 2020)<br /> <br /> 4.Mobility profile/pattern<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> 5.Health situation (health apps, ai supported disease research, see Daley 2020)<br /> <br /> 6.Job situation/job market (Talent Search People 2020 analyzes the job market, and classifies 4 different AI systems: 1. systems that think like humans, 2. systems that act like humans, 3. systems that think rationally, and 4.) systems that act rationally.)<br /> <br /> 5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)<br /> <br /> 6.就业形势/就业市场（2020年《人才搜索人》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:33, 27 December 2020 (UTC)<br /> <br /> 5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)<br /> <br /> 6.就业形势/就业市场（《人才搜索人 2020》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:58, 27 December 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 7.Financial credit-worthiness: E.g. German Schufa company uses AI in addition to human expertise for evaluations, see Banken-Technologie 2020. Banken-Technologie 2020. Schufa’s attempt to gain access to customers’ bank account transfer information was discussed in the news.<br /> <br /> 8.Consumer Behavior: e.g. the &quot;clickworker&quot; company analyses and optimizes customers' searches in respect to a client company's goals/products with the help of AI (clickworker 2019)<br /> <br /> 9.Secrets (like adultery)<br /> <br /> ==Zhang Yu 张瑜==<br /> '''4 Unique quality of media epoch 5.0'''[ I have coined the terms “media epoch 5.0” and “virtual communication” I have developed it from concepts like „Industry 4.0“ in Germany and the four media epochs Luhmann and Baecker developed (by Baecker called 1.0 … 4.0). There are several authors speculating about the media epoch 4.0, like Ray Kurzweil. The Age of Intelligent Machines. 1990.]<br /> <br /> 1.the human switches from active to passive<br /> <br /> 2.the human switches from subject to object<br /> <br /> 3.the human becomes addicted to social media, which enhances depression (Van Den Eijnden et al. 2016, Jasso-Medrano et al. 2018, Shensa et al. 2017)<br /> <br /> 4.the human switches from puppeteer, or entity with seemingly free will, to puppet<br /> <br /> 5.nature of the internet turns from freedom to surveillance<br /> <br /> 4.媒介5.0时代的独特品质 [我创造了 &quot;媒介5.0时代&quot;和 &quot;虚拟通信 &quot;这两个词，它们是从德国的“工业4.0”以及卢曼和贝克提出的媒介4.0时代（贝克称之为1.0...4.0）等概念发展而来的。一些作者揣测媒介4.0时代这个词的含义，比如1990年出版的雷-库兹韦尔的《灵魂机器时代》]<br /> <br /> 1.人从主动到被动的转换<br /> <br /> 2.人从主体到客体的转换<br /> <br /> 3.人沉迷于社交媒体，提高了患抑郁症的风险<br /> <br /> 4.人从木偶操纵者或看似拥有自由意志的实体到木偶人的转换<br /> <br /> 5.互联网的性质从自由到监测的转换--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:25, 26 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 6.direct communication turns into indirect communication (humans may not be aware of this communication/analysis)<br /> <br /> 7.explicit communication (voice, words) turns into implicit communication (preferences/thoughts/dreams/wishes/ values (first experiments with brain scanners in worker hats have started in Shanghai and Peking))<br /> <br /> 8.man-man communication turns to man-machine communication (phone bot) to machine-machine<br /> <br /> 9.4.0 was from centralization to decentralization, 5.0 is partial centralization and partial decentralization, but also concentration<br /> <br /> 6，直接交流变成间接交流（人们自己可能没有意识到这种交流/分析）。<br /> <br /> 7，明确的交流（声音，文字）变成隐性的交流（偏好/想法/梦想/愿望/价值观（上海和北京已开始在工人的帽子上使用脑扫描仪进行首次实验））。<br /> <br /> 8，人与人之间的通信变成了人与机器之间的通信（电话机器人）再到机器与机器之间的通信。<br /> <br /> 9.4.0是从集中到分散，5.0是部分集中和部分分散，也有集中。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:52, 27 December 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> So far, mass media has been considered one-way. The interaction and processing of data of millions of individual users seemed simply too much work. In the age of virtual communication, the media epoch 5.0, mass media is individualized and interactive and therefore even more influential.<br /> <br /> '''5 Types of manipulation (consciously or unconsciously, sometimes half-consciously)<br /> '''<br /> <br /> 1.Priming by unconscious advertisements: Influencing consumer decisions<br /> <br /> 2.Filter bubbles =&gt; supports conspiracy theories, influences judgments<br /> <br /> 到目前为止，大众媒体一直被认为是单一的。数百万个人用户数据的交互和处理似乎太费力。在虚拟传播时代，即媒体时代5.0，大众传媒是个性化和互动的，因此更具影响力。<br /> <br /> '''5 种操纵类型（有意识或无意识，有时是半意识的）'''<br /> <br /> 1.无意识广告发布：影响消费者决策<br /> <br /> 2.过滤泡沫=&gt;支持阴谋论，影响判断--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:08, 26 December 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> 3.Nature of social media: lies spread 6 times faster than truth. (Vosoughi et al. 2018).<br /> <br /> 4.Change of political attitude: Case Cambridge Analytica: Helped minority to win election by manipulating young people of majority not to vote (Do so: Don’t vote campaign, Oddleifson 2020); Trump election and Brexit were won by manipulation<br /> <br /> 5.Use of private information/dependencies to obtain advantages (blackmailing for money or for conducting crimes etc.)<br /> <br /> 6.Identity theft<br /> <br /> <br /> 3.社交媒体的本质：谎言的传播速度比真理快 6 倍。（Vosoughi等人，2018年）。<br /> <br /> 4.改变政治态度：案例剑桥分析：通过操纵多数年轻人不投票帮助少数民族赢得选举 （这样做：不要投票竞选。奥德利夫森 2020年）；特朗普选举和英国脱欧通过操纵获胜<br /> <br /> 5.利用私人信息/依赖关系获取好处（勒索钱财或犯罪等）<br /> <br /> 6.身份盗窃--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:18, 27 December 2020 (UTC)<br /> <br /> 3.社交媒体的性质：谎言传播速度是真相的6倍。（Vosoughi等人，2018年）。<br /> 4.政治态度的改变：剑桥分析案例：通过操纵大多数年轻人不投票帮助少数人赢得选举（Do Do Do:Do not vote campaign，Oddleifson 2020）；特朗普选举和脱欧是通过操纵赢得的<br /> 5.利用私人信息/依赖性获取利益（勒索钱财或犯罪等）<br /> 6.身份盗窃--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:03, 27 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> '''6 Consequences'''<br /> <br /> 1.Virtual Communication is mostly “hidden”, the human is mostly unaware of it, but may endure the consequences (policeman may detain suspect simply because the face recognition glass recognizes a pedestrian passing by and assesses him/her as “dangerous”; loan is declined; insurance company declines to accept new customer)<br /> <br /> 6.后果<br /> <br /> 1.虚拟通讯大多是 &quot;隐蔽 &quot;的，人多半不知道，但可能会承受后果（警察可能仅仅因为人脸识别玻璃识别出路过的行人，并评估其为 &quot;危险 &quot;而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新的客户）--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:02, 25 December 2020 (UTC)<br /> <br /> 6.后果<br /> <br /> 1.虚拟通信通常是“隐藏的”，人类大多数情况下是不知道的，但可能会承受后果（警察可能只是因为面部识别玻璃杯识别出行人经过并将他/她评估为“危险”而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:05, 25 December 2020 (UTC)<br /> <br /> '''6.后果<br /> '''<br /> <br /> 1.大多情况下，虚拟通信是“隐藏的”，人类也没有意识到这一点，但可能会承担由此带来的后果（警察可能会因为面部识别玻璃检测到行人通过，并将其评估为“危险人物”而将嫌疑犯拘留‘贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 26 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> 2.User becomes transparent (government can fight terrorism, any user can be blackmailed, jealous spouse can check on adultery) <br /> <br /> 3.Less will to communicate and discuss (since positions are too far apart)<br /> <br /> 4.Populists and populist views gain supporters<br /> <br /> 5.Polarization of Society<br /> <br /> 6.There is an incentive not to reveal how much one knows about the object, because the object then could question the legality, the system etc.<br /> <br /> 7.Last resort, the thinking, is tackled: Machine interprets “real” attitudes, not lip-service words<br /> <br /> <br /> <br /> 2.用户变得透明化（政府可以反恐，任何用户都可以被拉黑，嫉妒的配偶可以查奸情）<br /> <br /> 3.交流讨论意愿较弱（因为立场相差太远）<br /> <br /> 4.民粹主义者和民粹主义观点获得支持者<br /> <br /> 5.社会的两极分化<br /> <br /> 6.有动机不透露自己对对象了解多少，因为对象就可能质疑合法性、制度等。<br /> <br /> 7.最后的手段—思维，已经被破解：机器解释的是 &quot;真实 &quot;的态度，而不是口头禅--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:03, 27 December 2020 (UTC)<br /> <br /> <br /> 2.用户变得透明（政府可以反恐，任何用户都可以被勒索，嫉妒的配偶可以调查奸情）<br /> <br /> 3.缺乏沟通和讨论的意愿（因为立场相差太远）<br /> <br /> 4.民粹主义者和民粹主义观点获得支持者<br /> <br /> 5.社会两极分化<br /> <br /> 6.有动机不透露自己对客体了解多少，因为客体可能会质疑其合法性、制度等。<br /> <br /> 7.最后一个办法是思考：机器解释的是“真实”的态度，而不是口头禅--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:42, 27 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> 8.The knowing ones (algorithms, hackers, controllers of algorithms) have power over the unknowing ones (victims)<br /> <br /> 9.Exoskeleton ethics (like points/awards for measurable performances) reduce incentives to build inner ethics<br /> '''<br /> 7 Simulation of the imminent future'''<br /> <br /> 1.The imminent future behavior of a human can be predicted<br /> <br /> 2.With many analyzed humans, the imminent future of reality can be predicted =&gt; simulation<br /> <br /> 8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量<br /> 9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机<br /> '''<br /> 7模8拟即将到来的未来<br /> 1.人类即将发生的未来行为是可以预测的<br /> 2.有了许多被分析的人类，现实的即将到来的未来可以被预测=&gt;模拟--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:00, 27 December 2020 (UTC)<br /> <br /> 8.已知的人（算法、黑客、算法的控制者）比未知im min的人（受害者）更有力量<br /> 9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机<br /> '''<br /> 7模拟迫近的未来<br /> 1.人类的迫近未来行为是可以预测的<br /> 2.在分析了许多人类后，我们便可预测现实的迫近未来=&gt;模拟--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:22, 27 December 2020 (UTC)<br /> <br /> 8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量<br /> 9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机<br /> '''<br /> 7模8拟即将到来的未来<br /> 1.人类即将发生的未来行为是可以预测的<br /> 2.通过大量分析人类，现实里马上到来的未来便可预测到=&gt;模拟--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:32, 27 December 2020 (UTC)<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> Is this an Orwellian dystopia or reality? Some cases of the above listed phenomena have been documented. However, we are still at the beginning of “little” AI development (optimizing existing processes) and on the brink of a much more powerful development, that of “big” AI (rethinking whole industries, being able to reproduce and enhance itself). (cf. Euchner 2019). <br /> <br /> ==Zhou Shuyao 周书尧==<br /> '''8 Conclusion and Outlook'''<br /> <br /> Data has succeeded oil as the most valuable resource for today’s economy. Big Tech companies already use users’ data and make big profits with it while legislation is delayed and national boundaries (which do not exist for the Tech companies) are struggled over.<br /> Although input-legitimized liberal democracies and market economies, like that of the European Union, still protect privacy and data security, US- and China-based technology companies are already penetrating the European market.<br /> <br /> <br /> '''8 结论与展望''' <br /> <br /> 数据已经取代石油成为当今经济中最有价值的资源。大型科技公司已经在使用用户的数据并从中牟取暴利，与此同时，立法被拖延，国界（不存在科技公司）正在为之苦苦挣扎。<br /> <br /> 尽管像欧盟这样的以输入合法化的自由民主国家和市场经济，仍然保护着隐私和数据安全，但是中美两国的科技公司已经开始渗透欧洲市场。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:59, 27 December 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> We need to raise awareness and guide the youth to be careful with screen time and what they share online. We need to avoid addiction to social media.<br /> <br /> '''The algorithms do not just check which film to suggest viewing next, they have started to invade the innermost sanctum of personality, our thoughts, dreams, wishes, visions, hopes, fears and secrets.<br /> '''<br /> '''<br /> The listed consequences document a fundamental change of paradigms: <br /> '''<br /> 我们需要提高意识，引导青少年注意屏幕时间和他们在网上分享的东西。我们需要避免沉迷于社交媒体。<br /> <br /> '''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''<br /> <br /> 所列出的后果证明了范式的根本变化:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:38, 26 December 2020 (UTC)<br /> <br /> 我们需要提高意识，引导青少年留意屏幕时间和网上分享，需要避免沉迷于社交媒体。<br /> <br /> '''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''<br /> <br /> 所列出的后果证明了范式的基本变化:--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:11, 26 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> '''The cause-based decision-making by humans with established institutions like politicians, judges etc. is being replaced with correlation-based decision-making by algorithms which often serve the profit interests of tech companies or the political interests of election-manipulators.<br /> '''<br /> <br /> AI took the wrong development path, when it changed from serving humans to trying to manipulate humans for economic or political profit. When AI is used to educate citizens – like helping German customers to keep a clean credit history and a good credit score – then it changes the behavior of citizens to an exoskeletal ethic.<br /> <br /> 人类通过建立政治、法官等制度所形成的原因导向的决策方法正在被算法形成的关联导向的决策方法所取代，算法通常为科技公司的利润利益或选举操纵者的政治利益服务。<br /> <br /> 人工智能走上了错误的发展道路，它从为人类服务变成了试图为了经济或政治利益而操纵人类。当人工智能被用于教育公民——比如帮助德国客户保持干净的信用历史和良好的信用评分——它就会改变公民的行为，使其成为一种外骨骼伦理。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:42, 27 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> However, animals with an exoskeleton reduce their inside muscles and develop a soft inside, making them totally incapable of living without the exoskeleton. An exoskeletal ethic, giving reward points, for example, for behavior which is deemed positive and subtracting points for behavior which is deemed negative, deprives the human of the natural learning and developing process, in a social environment, of his responsibility and inner ethical judgment. If you were to meet a human with exoskeletal ethics and one who has inner ethics, whom would you trust more? <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> If we want to avoid the consequences listed in point 6, the public needs to become aware of this and nations and supranational organizations need to define legislation to a) protect privacy and data security, and b) give the user the control over his/her data including the commercial use of it where they earn a share from the profit made with the usage of his/her data.<br /> <br /> ==Zhu Meimei 祝美梅==<br /> '''9 Outlook'''<br /> <br /> We need to accept, that the development is irreversible. Every new technology has created fears. Important is, that we become aware of the developments and adjust where the development heads into the wrong direction. We need set the right framework and incentives that the new technology stays on track to serve humanity.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> New developments open new possibilities. We need to make sure that not only a few tech companies and terrorists use this powerful new technology to achieve their goals, but that the mass of smart device users emancipate themselves from addiction to and manipulation by technology and gain back their dignity, privacy and free will.<br /> <br /> '''References<br /> '''<br /> （参考文献不用翻译）<br /> <br /> AI-Demand. (2020). www.ai-demand.com/insights/data/big-data/big-data-and-facebook-the-heavenly-pair-that-isnt-quite-in-heaven/<br /> <br /> Baecker, Dirk. (2007). ''Studien zur nächsten Gesellschaft''. Frankfurt 2007<br /> <br /> Banken-Technologie. (2020). 26. Handelsblatt Jahrestagung. Banken-Technologie. „New Normal” in der Finanzwirtschaft: digital – intelligent – automatisiert – hybrid. 2. und 3.12.2020, Digital [Conference Announcement] https://veranstaltungen.handelsblatt.com/bankentechnologie/ki-machine-learning-finanzanalyse/ <br /> <br /> Booth, T. &quot;Cambridge Analytica controversy must spur researchers to update data ethics.&quot; ''Nature'' 555.7698 (2018): 559-560.<br /> <br /> Clickworker. (2019). www.clickworker.com/2019/04/30/ai-for-ecommerce/<br /> <br /> Cui, Yu, Qing He, and Alireza Khani. (2018). Travel behavior classification: an approach with social network and deep learning. ''Transportation research record'', 2672(47), 68-80. https://par.nsf.gov/servlets/purl/10109453 <br /> <br /> Daley, Sam. (2020). 32 Examples of AI in Healthcare that Will Make you Feel better about the Future (July 4, 2019, updated July 29, 2020). builtin.com/artificial-intelligence/artificial-intelligence-healthcare<br /> <br /> Euchner, Jim. (2019). Little ai, Big AI—Good AI, Bad AI. Terminology Management 62:3, 10-12. pdf: <br /> <br /> https://www.tandfonline.com/doi/pdf/10.1080/08956308.2019.1587280?needAccess=true<br /> <br /> Golbeck, Jennifer, Cristina Robles, and Karen Turner. (2011). &quot;Predicting personality with social media.&quot; ''CHI'11 extended abstracts on human factors in computing systems''. 2011. 253-262.<br /> <br /> Jasso-Medrano, José Luis, and Fuensanta Lopez-Rosales. (2018). &quot;Measuring the relationship between social media use and addictive behavior and depression and suicide ideation among university students.&quot; Computers in Human Behavior 87: 183-191.<br /> <br /> Luhmann, Niklas. (1997). ''Die Gesellschaft der Gesellschaft''. 1997<br /> <br /> Oddleifson, Evan. 2020, The Effects of Modern Data Analytics in Electoral Politics: Cambridge Analytica’s Suppression of Voter Agency and the Implications for Global Politics, ''Political Sciences Undergraduate Review'' 5 (2020) 7, 1-7.<br /> <br /> https://journals.library.ualberta.ca/psur/index.php/psur/article/view/130/90/130-Article%20Text-642-1-10-20200401.pdf<br /> <br /> Raj Kannan, J., Sabitha, R., Karthik, S., &amp; Shanthini, J. (2020). Mouse Movement Pattern Based Analysis of Customer Behavior (CBA-MMP) Using Cloud Data Analytics. ''Wireless Personal Communications'', OnlineFirst, 1-17.<br /> <br /> Ruan, Lotus, et al. &quot;One App, Two Systems: How WeChat uses one censorship policy in China and another internationally.&quot; (2016).<br /> Shensa, Ariel, et al. (2017). &quot;Problematic social media use and depressive symptoms among US young adults: A nationally-representative study.&quot; ''Social Science &amp; Medicine ''182: 150-157.<br /> <br /> Talent Search People. (2020). How Will Artificial Intelligence Affect the Job Market? www.talentsearchpeople.com/en/blog/494-how-will-artificial-intelligence-affect-the-job-market/.<br /> <br /> Van Den Eijnden, Regina JJM, Jeroen S. Lemmens, and Patti M. Valkenburg. (2016). &quot;The social media disorder scale.&quot; ''Computers in Human Behavior ''61: 478-487.<br /> <br /> Verschuere, Bruno, and Bennett Kleinberg. &quot;ID‐check: Online Concealed Information Test reveals true identity.&quot; ''Journal of forensic sciences'' 61 (2016): S237-S240.<br /> <br /> Vosoughi, Soroush, Deb Roy, and Sinan Aral. (2018). The spread of true and false news online. Science 359.6380: 1146-1151.. science.sciencemag.org/content/359/6380/1146<br /> <br /> ==Zhu Xu 朱旭==<br /> '''Bio'''<br /> <br /> Martin Woesler, PhD, is Jean Monnet Chair in European Studies with Hunan Normal University since 2020. At its Foreign Studies College, he is Distinguished Professor of Chinese Studies, Translation Studies and Comparative Literature since 2019. Woesler was elected Academian of the European Academy of Sciences and Arts, Salzburg in 2019.<br /> Woesler has co-edited the books &quot;China's Digital Dream&quot;, &quot;Ethics of Information Society&quot; and Springer has scheduled to publish the book &quot;Diverse Voices in Chinese Translation and Interpretation&quot; including his book chapter &quot;Modern Interpreting with Digital and Technical Aids&quot; in February 2021.<br /> <br /> 个人简历<br /> <br /> 自2020年起，吴漠汀（Martin Woesler）博士是湖南师范大学欧洲研究的讲座教授。自2019年来，他在湖师大外国语学院担任中国文化研究、翻译研究和比较文学的特聘教授。2019年，吴教授当选萨尔茨堡欧洲科学与艺术学院院士。吴教授曾与人合编《中国的数字梦想》、《信息社会伦理学》等书。施普林格（Springer）已计划于2021年2月出版《中国笔译与口译中的多种声音》一书，其中包括他的《数字与技术辅助的现代口译》一章。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:26, 27 December 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> Woesler was a Senior Fellow of the German Science Foundation's (Deutsche Forschungsgemeinschaft) Research College &quot;Media Cultures of Computer Simulations&quot; 2019‐2020 and hosted a related workshop with Bertelsmann Foundation in 2020. Woesler is also a researcher with Witten/Herdecke University, Germany, investigating the impact of daily screen time of children and of young people on their health.</div>

Qu Miao https://bou.de/u/index.php?title=20201228_trans&diff=119357 2020-12-27T13:55:38Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> '''Zhu Ziqing'''<br /> <br /> A third example, where an author shows another face in his essays is Zhu Ziqing. He is known as the author of the most often reprinted story-like Chinese essay &quot;''Back View''&quot; (Beiying), a standard school text. The success of this essay lies in the fact, that it applies to filial pity. From the reported fare-well scene with his father at the train station, he learned that his father loved him and that he had grown-up too now. <br /> ==Chang Huiyue 常慧月==<br /> This self-reflective essay helped Zhu to find himself through the observation of the other (here his father). The 2nd often printed essay is also from Zhu. Parallelistic and repetitive structures are the driving factor in the atmospherical nebulous lyrical landscape desription &quot;''The Moonlit Lotus Pond''&quot;, whose style easily may seem mannerist to the Western reader.<br /> <br /> Zhu Ziqing supposedly opposed all political engagement and, wrote about unspectacular things. In Taiwan he became a type of substitute for the categorically refused state writer of the People’s Republic, Lu Xun, mainly because of Zhu’s supposed political independence. <br /> ==Chen Han 陈涵==<br /> I would like to show with three examples that Zhu had absolutely clear political ideas: He had taken part in the demonstration March 18, 1926, which ended in a massacre. Zhu described this in ''&quot;Report On the Massacre of the Government''&quot;[ (Zhizhengfu da tusha ji).].<br /> <br /> ''Shots were still being fired, and the entrance of the east gate was packed with people. [...] Pushing and shoving, we climbed over them with great effort. We must have lost our senses then, not seeing, to our shame, the grotesqueness of our action. ''<br /> <br /> 我想用三个例子说明，朱自清有绝对明确的政治思想。1926年3月18日，他参加了示威游行，这场游行最终以屠杀告终。朱自清在《执政府大屠杀记》中对此进行了描述。<br /> <br /> ''这时枪声未歇，东门口拥塞得几乎水泄不通。[...] 我们便推推搡搡，拥挤着，挣扎着，从他们身上踏上去。那时理性真失了作用，竟恬然不以为怪似的。'' --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 26 December 2020 (UTC)<br /> <br /> ==Chen Hui 陈惠==<br /> ''[...]I was still walking on top of the people. No one dared to miss a single step, filing through the gate that divided safety from danger, one that would give us life or take our lives away. [...] My efforts finally brought me down to the ground, sealing my fate as I rolled down from the human pile. [...] I learned later that some of the people by the gate were dead, killed by the pistol squad firing from the other side of the gate. When I recall stepping over dead bodies, I cannot help but tremble with fear. [...]''<br /> ==Chen Jiangning 陈江宁==<br /> From this experience, Zhu addresses directly the repsonsible political leaders:<br /> <br /> ''Duan Qirui, you must think about it! [...] How could we explain this to the world? [...] Granted, Duan Qirui and others could commit such atrocities without a thought; but how could we, the people of China, face the world with such a shameless government? [...] We, [...], must ask, „So many were killed—what should we do?“''<br /> ==Chen Jiaxin 陈佳欣==<br /> In contrast, Lu Xun has portrayed the same massacre with sighing undertone and Zhou Zuoren bitter-humorously in his &quot;''Ways to die''&quot;[ (Si fa).] - in which he finds &quot;to be shot&quot; the best method to die. The supposedly less politically engaged Zhu shows here more engagement.<br /> <br /> The essay &quot;''Facing the New China''&quot;[ (Xin Zhongguo zai wang zhong).] is Zhu's political manifest: He asks for democracy, enlightenment and an increase of the education level.<br /> ==Chen Jingjing 陈静静==<br /> ''China has to be born again through democratization. [...] The people should express their own will, concentrate on their own strength. Every level of administration should build up on the expressed will and strength of the people and struggle for the majority and its greatest happiness. This means that the people govern, the people own, the people enjoy.''<br /> <br /> A few weeks before his death, he demanded in the speech ''&quot;Today's duty of the Intellectuals''&quot;[ (Zhishifenzi jintian de renwu).] the participation of the intellectual in the struggle for a better society.<br /> <br /> “中国必须通过民主化重生。[...]人们应该表达自己的意志，集中自己的力量。各级行政机关都应该建立在人民的意志和力量的基础之上，并且为大多数人及其最大化的幸福而奋斗。也就是民治，民有，民享。”<br /> <br /> ”中国必须用过民主化重生。[...]人们应当表达他们自身的意志，集中力量。各级政府都应建立在人民意志和力量基础之上，并为大部分人民及其最大幸福而奋斗。也就是民治、民有、民享。”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:15, 27 December 2020 (UTC)<br /> <br /> 在他去世的几周前，他在 “知识分子今天的职责”的演讲中要求知识分子参与建设更好的社会。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 11:31, 27 December 2020 (UTC)Chen Jingjing<br /> <br /> ==Chen Sha 陈莎==<br /> With only a handful of essays I have demonstrated, that the picture of these three authors changes substantially, if we read carefully also their less known essayistic work. Imagine now how the picture of 20th century Chinese literature might change, if the literary histories and anthologies would not only tell the history of drama, fiction and poetry, but would also grant the essay its proper place. The following part of my paper are results of my monograph on the 20th century Chinese essay.<br /> ==Chen Sunfu 谌孙福==<br /> '''The essay boom as a mirror reflecting growing individuality, participation in the public sphere, and the giddy-paced character of modern Chinese society'''<br /> <br /> Acquiring an overview of the essay and assessing its essence has required extensive research in bookstores and libraries, in the People's Republic of China, Taiwan, Hong Kong and the United States for available resources in the form of essay book collections as well as secondary literature dealing with the essay. <br /> ==Chen Yongxiang 陈永相==<br /> I built a database for a statistical analysis to rank more than 5000 essays and 1400 essayists. It turned out that out of the top 60 most famous Chinese essays only 14 had been translated into English so far. The forthcoming collection of Tam King-fai adds 4 and my own one the remaining 42.<br /> <br /> Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report[ (baogao wenxue) (Klaschka 1998).].<br /> <br /> 我建立了一个用于统计分析的数据库，对5000余篇散文和1400名散文家进行排名。事实证明，迄今为止，在中国最著名的60篇论文中，只有14篇被翻译成英文。 谭景辉即将出版的散文选集另有新翻译的4篇，我自己则翻译余下的42篇。<br /> <br /> 分析表明，自1979年以来，总体上来说，散文发表有所增加，在“文化大革命”之后还出现了两次热潮，在1990年达到了新的高度。首次增加出现在20世纪20年代和30年代，此后便被报告文学所取代（Klaschka 1998）。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:41, 27 December 2020 (UTC)<br /> <br /> ==Cheng Yusi 成于思==<br /> The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous essay bookseries[ sanwen congshu 散文叢書.].<br /> <br /> The reason for the increase in essay production, which we can date right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in the sampling of 130 ‘representative’ books I was able to collect for the survey. There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s: <br /> ==Deng Jinxia 邓锦霞==<br /> 1, The giddy-paced nature of current Chinese society with its demands for diverting and short texts, as Hall has put it: “[...] we live in an age of exposition”[ (Hall 1984:xiii).].<br /> <br /> 2, The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands. <br /> <br /> 3, A revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.<br /> ==Ding Daifeng 丁代凤==<br /> If we look carefully at essay collections not only published in the United States, but also in Hong Kong, Taiwan and the People’s Republic, we find the following three reasons for the under- and overestimation of single essayists or essays which correspond to regional differences:<br /> <br /> 1, EXOTIC In the United States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.<br /> <br /> 如果我们仔细观察在美国出版的，以及在香港、台湾和中华人民共和国出版的散文集，我们会发现以下三个原因导致人们低估和高估了回应地域差异的单个散文家或散文: <br /> <br /> 1、异国情调 在美国，散文往往是根据西方人的口味来选择的，完全不知名的作者和老牌作家拥有一样多的空间。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:37, 26 December 2020 (UTC)<br /> <br /> 如果我们细细研读在美国出版的，以及在中国香港、台湾和大陆出版的散文集，我们会发现以下三个原因导致人们因地域差异而低估或高估了某些散文家或散文: <br /> <br /> 1、异国情调 在美国，散文往往是根据西方人的口味来选择的，名不见经传的作者和著名的作家拥有同样多的市场。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 26 December 2020 (UTC)Mo Ling<br /> <br /> ==Fang Jieling 方洁玲==<br /> 2, SOCIO-POLITICAL In Taiwan, Lu Xun has been banned for a long time, but today, as the mentioned survey proofs, he ranks 12th among modern authors there. Wang Meng has been overestimated in the People’s Republic of China due to his political post.<br /> <br /> 3, PERSONAL Hong Kong literature on Yu Guangzhong has been censored by his disciple Huang Weiliang in favor for Yu.[ (see Lin Yaode 1989:50).]<br /> <br /> Having named reasons for the essay boom and for the support for and the suppression of different actors in the cultural field of the essay, I would like to finish my paper by naming a few trends of the essay as they appear at the eve of the century.<br /> ==Gan Fengyu 甘奉玉==<br /> The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consumer-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be &quot;art pourt l'art&quot;.<br /> <br /> 政治散文的主题从1907年兴起的启蒙教育散文转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影）都在讨论最佳社会制度，于是有关政治问题的主题复兴，但20世纪90年代时，主题又变成了非政治性，更加哲学道德的主题范畴，那会，散文家们首先对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:42, 27 December 2020 <br /> <br /> 政治类散文的局部发展从1907年兴起的启蒙教育类转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影中）对于最佳社会制度的探讨使得政治话题再次变得火热。但20世纪90年代时，写作主题又转向非政治性，以及更加哲学道德的范畴，那会，散文家们首先会对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:53, 27 December 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (&quot;''On dreams''&quot;[ &quot;Shuo meng 說夢&quot; On dreams in: Zhu Ziqing 1928.]) and Zhou Zuoren from 1917 (&quot;''My own garden''&quot;[ 9.1923.], &quot;''The Fly''&quot;[ 1924.], &quot;''Reading on the Toilet''&quot;[ 1936.]), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the newly encountered world of mass consumerism.<br /> <br /> 非政治类文章的局部发展始于朱自清以及周作人1917年开始写的每日随想（朱自清1928年发表的散文《说梦》；周作人1923年发表的《自己的园地》、1924年发表的《苍蝇》、1936年发表的《入厕读书》）。自1927年的修正，政治类文章成为主流，直到20世纪30年代末期，非政治类文章因为抗日战争的爆发完全消失。直到20世纪70年代，人民生活回归正常，非政治类文章才重新现世，由于消失太久，日常琐事成为当时热门的写作话题。20世纪90年代，由于政治话题热度的下降以及进入新时代为迎合广大群众而开发新话题的需要，非政治类文章又迎来一次高潮。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:46, 27 December 2020 (UTC)<br /> <br /> ==Gong Yumian 龚钰冕==<br /> In the end of this century not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. Among the upper list places of the political essay after 1949 there are critical essays. For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.<br /> ==Gu Dongfang 顾东方==<br /> A sign for the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation for customers (former: &quot;readers&quot;). Following the emotional essays of Zhu Ziqing who rank 1st and 2nd, ''nostalgia'' is the element of emotional identification in &quot;''Wild vegetables of my home region''&quot; by Zhou Zuoren, which ranks 3rd[ In Jia Pingwa's &quot;Moon traces&quot;, which ranks 11, and in Ba Jin's &quot;''Paradise for Birds''&quot;, which ranks 19]. Therefore one can state, that moving essays form the top.<br /> ==Guan Qinqing 管钦清==<br /> In 1927, Chinese literature took the form of 'engaged literature'. In the 1980/90s, the discussion of politics in daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. In the later half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. <br /> ==Gui Yizhi 桂一枝==<br /> In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only remiscent element left is the patriotism.[ ''Trends like the use of ordinary language'', which one finds in novels since 1993 (''Jia Pingwa'', Feidu; ''Gu Cheng'', Yingger) and New Borderlessness since 1995, cannot be proven in the essaywriting.The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable ''object d'art''.]<br /> <br /> 上个世纪90年代，80年代的政论文随笔文化逐渐隐没了，唯一剩下留有想象空间的元素就是爱国主义。[“比如使用普通语言的趋势”，这是从1993年以来在小说中发现的（“贾平凹”） 费杜，古格，英格）以及自1995年以来，《新无边际》都无法在论文写作中得到证明，我们之所以没有找到后现代小说意义上的后现代散文，是因为文章的直接性：随笔作为一种体裁，是作者和读者之间的对话，而不是想要引起不同解释的原因或可能依赖于特殊形式或内容甚至是按顺序引用前现代特征的艺术品，这使它成为一个与众不同的“艺术品”。]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 13:06, 26 December 2020 (UTC)<br /> <br /> '''References''' [partly mentioned with German translation] （不用翻）<br /> <br /> Vera Schwarcz 1996, Vera Schwarcz, &quot;The pain of sorrow: public uses of personal grief in modern China&quot;, in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)<br /> <br /> Ba Jin 1982, Ba Jin: &quot;Yi feng huixin 一封回信&quot; (Ein Antwortbrief (26.10.1982)), in: Bing zhong ji 病中集 (Auf dem Krankenlager), Hongkong 香港 1984(?) (Series Suixiang lu 隨想錄 (Thoughts) Bd 4), 147 pp.<br /> <br /> Ba Jin 1982a, Ba Jin: &quot;Yi pian xuwen 一篇序文&quot; (Ein Vorwort) [dated 1982.9/10], in: Ba Jin: Auf dem Krankenlager 1984<br /> <br /> Ba Jin 1956, Ba Jin 巴金: &quot;Duli sikao 獨立思考&quot; (Unabhängig denken), in: Li Jisheng 李濟生, Li Xiaolin 李小林 (Hgg.): Ba Jin liushi nian wenxuan (1927 - 1986), Suixiang lu, zagan, sanwen, xuba, yanjiang, shuxin 巴金六十年文選（１９２７－１９８６）隨想錄·雜感·散文·序跋· 演講·書信 (Ba Jin. Werkauswahl aus 60 Jahren (1927 - 1986), Gedanken, vermischte Gefühle, Essays, Vor- und Nachworte, Reden, Briefe), Shanghai 上海: Shanghai wenyi chubanshe 上海文藝出版社 (Literatur- und Kunstverlag Shanghai), 1986.12, S. 461 - 462 [Datiert auf 1956.]<br /> <br /> Ba Jin 1962, &quot;Zuojia de yongqi yu zerenxin 作家的勇氣與責任心&quot; (Mut und Verantwortungsbewußtsein der Schrifsteller) 1962; der Essay von Zhou Zuoren 周作人: &quot;Wenxue tan 文學談&quot; (Über Literatur), in: Tan long ji 談龍集 (Über Drachen. Sammlung), Shanghai 上海: Kaiming shudian 開明書店 (Kaiming Buchladen) 1927.12, Nachdruck: Hongkong 香港: Shiyong shuju 使用書局 (Praxisverlag) 1972.1, 310 S., S. 165 - 167<br /> <br /> Zhou Zuoren 1919, Zhou Zuoren, &quot;Zuxian chongbai 1919 (Ancestor Worship),&quot; in Early Essays, op.cit., pp. 78<br /> <br /> Zhou Zuoren 1920: Zhou Zuoren 周作人, Xin wenxue de yaoqiu 新文學的要求&quot; (The demand of the New Literature) [lecture], in Beiping shaonian xuehui 北平少年學會 (Beiping youth conference) 1920.1.6, in: Zhang Ruoying 長若英: Xin wenxue yundong shi ziliao 新文學運動史資料 (Material on the history of the New Literature movement), Shanghai 上海: Guangming shuju 光明書局 (Guangming bookstore) (1934.9) ²1936.9, 291-296<br /> <br /> Zhou Zuoren 1923, Zhou Zuoren: Yanzhicao ba (Preface to Yu Pingbo's Yanzhicao), in: Yongri ji (Book of Eternal Day), Shanghai: Beixin shuju 1929, 180-181<br /> <br /> Zhou Zuoren 1929, Zhou Zuoren: Ertong de shu (The books of children), in: Chenbao fukan (1923.8.17)<br /> <br /> Zhou Zuoren yuanliu, Zhou Zuoren: Zhongguo xin wenxue de yuanliu (Sources of New Chinese Literature), p 71<br /> <br /> Zhou Zuoren 1932, Zhou Zuoren: Lun baguwen 1932, in: Kanyun ji p. 148<br /> <br /> Source: NEAAS annual meeting 10/09/1999 New Haven (Yale University)<br /> <br /> ==Guo Lu 郭露==<br /> '''Modern Chinese Literature and the Essay Genre: A New Perspective'''<br /> <br /> ''Martin Woesler''<br /> <br /> In this paper, I will not recount the contents and propose interpretations of any essays, nor will I outline the main topics or styles of essaywriting in China, but I would like to take the opportunity to reflect a little bit on the phenomenon of the genre itself and discuss some conclusions and hypotheses with the attentive and critical audience which can be found at only a few places on earth, EALC at Harvard definitely being one of them.<br /> <br /> 《中国现代文学与散文体裁：以新视角》<br /> <br /> ''吴漠汀''<br /> <br /> 在本文中,我将不再赘述任何文章的内容和提出的观点,我也不会列出其主要主题或风格,但是我想借此机会,反映一些现象本身的类型，并与包括哈佛大学学生在内的观众对一些结论和假设进行探讨。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:16, 25 December 2020 (UTC)<br /> <br /> <br /> 《中国现代文学与散文体裁：新视角》<br /> <br /> 吴漠汀<br /> <br /> 本文将不再赘述或解释任何文章的内容，也不会列出中国散文的主要主题或风格。我想借此机会，反思体裁现象，同乐于助人、至关重要且世间少有的读者，包括哈佛大学东亚语言和文化学院的学生，对一些结论和假设进行探讨。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:28, 25 December 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> '''1. The unknown genre'''<br /> <br /> The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. In my paper I will ask, if the picture of literature can remain unchanged, if we take into consideration also the essay. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90, McDougall 1998);<br /> <br /> '''1.未知体裁'''<br /> <br /> 二十世纪文选和选集里的文学史的叙述对于整个中国文学来说是不完整的：散文题材是缺失的。 在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。 作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:09, 26 December 2020 (UTC)<br /> <br /> '''1.未知体裁'''<br /> <br /> 20世纪选集所讲述的文学历史叙事，描绘了一幅不完整的中国文学图景:：散文题材是缺失的。 在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。 作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:30, 26 December 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement. Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.<br /> ==He Changqi 何长琦==<br /> '''Excursion: Defining the essay as a non-fictional subjective representation in a free form'''<br /> <br /> Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (non-fictional prose)), lyrics (shige) and drama (xiqu). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term &quot;wu yunwen&quot; which corresponds to the term &quot;epic&quot; in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.<br /> ==Hu Baihui 胡百辉==<br /> In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet. The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.<br /> 在抒情诗中，读者被鼓励去感受当下的感觉，并且常常是诗人的忏悔式的感觉。戏剧直接在独白或对话中回忆起一个自足的动作，以这种方式释放了读者/观众重新创造的想象力。散文作为史诗的一种体裁，是一种超脱的、非虚构的、自由形式的主观表现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 02:29, 27 December 2020 (UTC)<br /> <br /> 在抒情诗中，鼓励读者感受诗人当下的感觉，且这种感觉常常是诗人的忏悔。戏剧直接以独白或对话的方式回忆一个自足的动作，并通过这种方式释放了读者/观众再创造的想象力。散文作为史诗的一种体裁，是以自由的形式进行的一种分离的非虚构的主观表现。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:11, 27 December 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> &quot;Essay&quot;, Chinese mostly ''sanwen'', is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Freedom in form and content is essential for the essay.<br /> <br /> “散文”，中文主要是“散文”，是一个较短的、独立的非虚构散文文本的体裁术语，作者试图从主观的角度调解个人对一个对象或问题的体验。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。资源由散文家自主掌握，主题在更大的背景下被看到，甚至可以幽默地呈现。文章在形式和内容上的自由是必不可少的。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 13:22, 27 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, a subcategorization in numerous small entities, like Zheng Mingli does with the essay, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.<br /> ==Ji Tiantian 纪甜甜==<br /> Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems. All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.<br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. This is a second hint that the modern Chinese essay belongs to the international genre of the essay.<br /> <br /> 在21世纪，世界共同发展，文化主要决定于现代化的水平。今天我们在刊物上看到的中国散文，已经具备了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文属于国际散文类别的第二个暗示。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 07:58, 25 December 2020 (UTC)<br /> <br /> 在21世纪，世界上的国家趋向于走到一起，而文化则主要取决于现代化水平。正如我们从现今报纸里面看到的那样，中国散文采用了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文开始趋同于国际散文体裁的第二个标志。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:27, 25 December 2020 (UTC)<br /> <br /> 21世纪，世界在共同成长，文化主要由现代化程度决定。我们今天在报纸上看到的中国散文，在形式和内容上都与西方散文相似，其目标群体也与之相似。这是中国现代散文属于国际散文的第二个暗示。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:44, 26 December 2020 (UTC)<br /> <br /> 在21世纪，世界共同发展，文化主要决定于现代化的水平。我们今天在报纸上看到的中国散文，已经呈现出西方散文的形式与内容，并且其目标群体也与西方散文不相上下。这是中国现代散文属于国际散文体裁的第二个迹象。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:17, 26 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 1992 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay).<br /> <br /> 尽管人们普遍接受用短小故事来翻译短篇小说，但两者的关系不如西方的散文和中国的同类文章密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)<br /> <br /> 尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系并不如西方散文与其中国同类文章密切。这个定义是我从5000多篇中国现代散文样本中得出的，也符合国际上对散文的特殊理解（继博尔兹于1992年 13:269-272 论西方散文的发展；布特莱姆于1989年论西方散文的理论）。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:34, 27 December 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it &quot;Chinese&quot;? In the occidental essay the form seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework.<br /> <br /> 除了首先由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文有独特本土的特征。中文散文如何形成其特有文化，其中文性又由何组成？和中文散文相比，西方散文的文章形式似乎是更重要的分类标准。在中国，甚至有些文章内容相似，但形式和类别大相径庭。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:06, 25 December 2020 (UTC)<br /> <br /> 除了最初由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文具有独特的本土特色。中文散文如何形成其特有文化，其中文性又由何组成？与中文散文相比，西方散文的形式分类标准似乎更重要。在中国，有些文章甚至是内容相似，但形式和类别大相径庭。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 25 December 2020 (UTC)<br /> <br /> 除了周作人提倡采用英语散文风格所体现的全球化社会趋势外，中文散文还具有独特的本土特色。中文散文如何在文化上定义，其中国性又是什么？在西方文章中，形式似乎是比中国文章更重要的区分标准。在中国，甚至包括那些只有类似内容，却跨越了形式上的属相框架的文本。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:05, 27 December 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> This can be shown with Zheng Mingli, who subcategorises the &quot;unfinished diary&quot; or the &quot;unfinished letter&quot;. Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Zheng Mingli: &quot;essay in diary form&quot; and &quot;essay in letter form&quot;), they are accepted as essays. <br /> ==Kang Lingfeng 康灵凤==<br /> '''The Chinese understanding of the genre is tendencially broader'''<br /> <br /> This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén'' &quot;non-rhythmic prose&quot;, which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning &quot;short literary essay pieces&quot;. <br /> <br /> Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.<br /> ==Kong Xianghui 孔祥慧==<br /> '''The Chinese essay is booming again in the 1980s and 1990s'''<br /> <br /> Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'').[ Klaschka 1998.] The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文叢書 (essay bookseries).<br /> ==Kong Yanan 孔亚楠==<br /> The increase in essay production right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.<br /> <br /> Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging xiangtu literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.<br /> ==Lei Fangyuan 雷方圆==<br /> '''2. Why is the essay as abundant as fiction?'''<br /> <br /> Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:<br /> <br /> - The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political zawen of Lu Xun, until today are mostly presented in essay form). The impact on literary reflection and theory is shown in the collection &quot;Modern Chinese Literary Thought&quot; 1996. The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry. The poem is the genre of retreat from social life, from political issues and time references.<br /> ==Lei Kuangxi 雷旷溪==<br /> Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of novel and opera in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.<br /> <br /> - The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.<br /> <br /> 胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌依赖于形象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。<br /> <br /> -散文也比诗歌和小说更能反映社会的趋势。个人主义在随笔中表现得比在诗歌中更直接，但在内容和形式上都有局限性。短文的短暂性体现在短文的形式上，可以在上班路上的地铁里读，而在地铁里读诗，可能就不能那么随性的享受了。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 26 December 2020 (UTC)Lei Kuangxi<br /> <br /> 胡适认为“诗”在现代化的过程中是最重要的，因为诗歌升华情感。但诗歌也依赖于意象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“散文”却能给事物命名，反映千变万化的生活。现代主体性就是以“散文”为工具建构的。<br /> <br /> - 随笔也比诗歌和小说更能反映社会的发展趋势。个人主义在随笔中的表现比在诗歌中更直接，因为诗歌在内容和形式上对此有所限制。随笔的短暂性体现在随笔的形式上，人们可以在上班路上的地铁里阅读，而在地铁里读诗，可能就没有那么随性的享受。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:55, 26 December 2020 (UTC)<br /> <br /> 胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌也依赖意向和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。<br /> <br /> -散文也比诗歌和小说更能反映社会的趋势。由于散文的内容和形式上受限，它比诗歌更能直接表达个人主义。散文很短，所以花时间少，可以在上班路上的地铁里读，但在地铁里读诗可能就不能那么随性的享受了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:54, 27 December 2020 (UTC)<br /> <br /> ==Li Haiquan 李海泉==<br /> - The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too. The essay itself a genre of high actuality, if not simply the genre of today.<br /> <br /> - The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society. Many authors turned to essay writing in the later periods of their lifes, like Lu Xun, Ba Jin, and Wang Meng.<br /> [[Media:Example.ogg]]==Li Lili 李丽丽==<br /> - The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[ Shenbao, Shibao etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his ''zawen''), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang lu'' derived).<br /> <br /> “随笔”的产量超过了“小说”：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:33, 27 December 2020 (UTC)<br /> <br /> “随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:54, 25 December 2020 (UTC)<br /> <br /> “随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报社是控制政府的机构；另一方面，他主张审查制度，报纸作为20世纪初的一个大众媒体，以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:19, 27 December 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> '''3. Let us assign the essay its proper place'''<br /> The consequence which must be driven from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place! I will describe the beginnings of the discovery of the essay.<br /> Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.<br /> <br /> 3.让我们为散文指定其适当的位置，<br /> 由此得出的结论是:让我们为散文指定其适当的位置!我将描述发现这篇文章的开始。尽管从1979年开始，论文写作有所增加，但对这一现象的第一次理论反思却花了10年时间才出现。又过了10年，中国研究的国际学者才意识到这一现象。<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).<br /> <br /> 20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。另外90年代的两次会议也没有趋于国际学术研究的动向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:54, 26 December 2020 (UTC)<br /> <br /> 20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。除此之外，20世纪90年代的两次会议也没有转向国际学术研究的方向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:37, 27 December 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998) and for the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, ''Modern Chinese Literary Thought'' 1996).<br /> <br /> Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.<br /> <br /> 在不早于上个世纪90年代下半叶之时，出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。 （《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。<br /> <br /> 关于中国大陆，台湾地区和西方的散文评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:23, 27 December 2020 (UTC)<br /> <br /> 上世纪90年代后半期以前, 出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。 （《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。中国大陆，台湾和西方对散文的评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:24, 27 December 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode 1989:50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.<br /> <br /> Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation.<br /> 在台湾,鲁迅很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家印刷量最大的时候,鲁迅排在了第16位。 如果只考虑现代作家,甚至排在了第12位。 香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。<br /> 然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:16, 27 December 2020 (UTC)<br /> <br /> 在台湾,鲁迅的作品很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家作品印刷量最大的时候,鲁迅排在了第16位。 如果只考虑现代作家,甚至排在了第12位。 香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。<br /> <br /> 然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:39, 27 December 2020 (UTC)<br /> <br /> ==Li Yongshan 李泳珊==<br /> Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai, Woesler) or already published (Pollard 1999). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. This year, scholars will meet on a first international conference on the essay (Achern, Germany August 25-26). In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays. <br /> ==Li Yu 李玉==<br /> '''4. Taking into consideration the essay will rewrite the history of Chinese literature'''<br /> <br /> I will give a few hints, what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Prusek and Anderson.<br /> <br /> We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the ''yuanyang hudie pai'' played in the choir of different voices in the awoken intellectual debate in the beginning of this century. <br /> ==Lin Min 林敏==<br /> The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.<br /> ==Lin Xin 林鑫==<br /> In the following, I will name three aspects (chronologically sorted by past, modern and contemporary time) to hold the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.<br /> <br /> '''5. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned'''<br /> <br /> How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay are both in China and the West notes written on the margins of books, they are letters and travel notes.<br /> <br /> 下面，我将从三个方面(在时间顺序上按过去、现代、当代排序)来论述对散文的考量将改写中国文学史，改变我们目前对它的认识这一论点。<br /> <br /> 5. 古典和前现代散文记录了中国哲学，其早期的主体性，仍然是对中国本土传统的质疑。<br /> 中国散文在历史上要如何定位，它是如何产生的，它的共有背景是什么？一般来说，中国和西方的散文都是起源于写在书本空白处的笔记，是书信和游记。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:18, 27 December 2020 (UTC)<br /> <br /> ==Ling Zijin 凌子瑾==<br /> These notes differed from the canonized literature through its informal style, its expression of individuality und subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.<br /> <br /> From the very beginning, the essay was valued lower than poetry: the oldest reference this far for the term ''sanwen'' that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù.<br /> ==Liu Bo 刘博==<br /> 詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatels, is limited.) (''Helin yulu''). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.<br /> <br /> In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge.<br /> <br /> “詩騷妙天下，而散文頗覺瑣碎局促。”罗大京提到的另一个骂名，是形式上的：与具有高度艺术性和长达一个世纪传统的诗歌写作相比，散文中直接的、白话文式的语言在他看来并不那么有价值。<br /> 在西方，16世纪晚期出现了一种真正的“散文写作艺术”，作为一种传播重组知识的媒介。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:50, 27 December 2020 (UTC)<br /> <br /> “诗騷妙天下，而散文颇觉瑣碎局促。”罗大经提出的另一个责难，是形式上的。在他看来，与高度艺术化的百年诗词写作传统相比，散文直接的、白话文式的语言没有什么价值。<br /> 在西方，真正的 “散文写作艺术 ”是在16世纪末作为重组知识的一种媒介出现的。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:30, 27 December 2020 (UTC)<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> The reorganization originated from the observations of Kopernikus, which destroyed the whole conception of the world of the Middle Age.<br /> <br /> In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters. The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of sǎn 散 as (to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''. <br /> ==Liu Liu 刘柳==<br /> Xunzi delivered the prototype of the later essay with his philosophical treatises. They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.<br /> <br /> During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written at the paper margins originated the ''biji'' µ§°O (occasional notes), flourishing in the Ming Dynasty.<br /> <br /> 荀子的哲学论著是后世散文的雏形，它们是哲学教学论文的早期形式。其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。<br /> <br /> 历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:25, 25 December 2020 (UTC)<br /> <br /> <br /> 荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，这些散文中传授的普遍定理不仅有引用经典著作，还首次借鉴其个人经历。这种个体性在当代的散文中仍有保留。<br /> <br /> 历朝历代，散文通过一些子类别得以呈现，如明朝盛行的在书页边上写的读书注释，它就是源于笔记。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:47, 25 December 2020 (UTC)<br /> <br /> 荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。<br /> <br /> 历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:20, 27 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as a genre of its own originated in China not before the Qing ²M dynastie, when numerous essay anthologies were compiled.<br /> <br /> Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences.<br /> <br /> 边缘主义是中西早期散文的一个纽带。散见的笔记包含了私人的历史记录，轶事，交谈和个人沉思。然而，尽管当时的散文选集众多，但将视散文作为一种文体的意识，清朝之前并没有出现。<br /> <br /> 考虑到当时的社会历史背景，人们在旧社会时，对短篇故事和小说的看法不同：散文更接近现实生活，因为它们表达了个人的困惑和经历。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:15, 27 December 2020 (UTC)<br /> <br /> 边缘主义是中西早期散文传统的一个纽带。偶尔的笔记可以包含私人的历史笔记，轶事，交流和沉思。然而，尽管当时中国散文选集有很多，一直到清朝之后我们才将散文视作一种文体意识。<br /> 考虑到当时的社会历史背景，人们对旧社会的看法与短篇小说和小说不同：散文更接近现实生活，因为它们表达了个人的问题和经历。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:43, 27 December 2020 (UTC)<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> Until now, the Chinese pre-''Hongloumeng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.<br /> <br /> Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the &quot;Eight legged essay&quot; as as appealing and intoxicating as the &quot;pleasure of doing opium.'' (Zhou 1932:148).<br /> <br /> 目前为止，中国红楼梦前的个体文学还只是通过诗中的间接语言与我们对话。通过重拾散文，我们可以知晓不同观点和社会历史状况等文学创作的丰富源泉。<br /> 现代散文之前的文学并不限于形式上受限制的八股文，一方面鲁迅本人也有一些散文是用八股文写成的，但另一方面他又把八股文当作古代社会的代名词。周作人把 &quot;八股文 &quot;的语言节奏看作是 &quot;做鸦片的快感 &quot;一样令人陶醉。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 08:42, 25 December 2020 (UTC)<br /> <br /> <br /> 直到现在，中国前“红楼梦”的个体文学只能通过诗歌的间接语言与我们对话。重新发掘这些散文，我们可以拥有丰富的观点来源，社会历史图片等。<br /> <br /> 前现代散文文学不仅仅包括它最为人所知的例子，正式的、有限制性的“八卦文”。鲁迅自己的一些文章就是用“八卦文”写的，但是在另一方面又把它当作古代社会的同义词。周作人认为《八股文》的语言节奏就像“吸鸦片的快感”一样令人陶醉。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:07, 25 December 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, Zhou Yuanliu:71).<br /> <br /> Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''Wenyi zai dao'' (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.<br /> <br /> <br /> 但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。<br /> <br /> 新儒家强调''文''（散文）是传播''道''的最重要工具：''文以载道''（文以载道）。如果我们从文体的角度来重新解读这句话，我们可以说，当时的散文已经被视为表达真理、主体性和自我的重要工具。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:01, 25 December 2020 (UTC)<br /> <br /> 但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。<br /> <br /> 理学强调“文”（散文）是传播“道”的最重要工具：“文以载道”。（以文学为载体的方式）。如果我们从体裁的角度来重新解读这一措辞，可以说，散文已成为表达真理、主体性和自我的重要工具。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:53, 27 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> Liang Qichao developed a ''xīn wéntǐ'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.<br /> <br /> '''6. The essay as the medium of modernity, the questioning of the genuiness of the Chinese essay'''<br /> <br /> To solve first of all the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Lin Shu: ''Irving'' 1907, ''Addison'' 1911). <br /> ==Liu Zhiwei 刘智伟==<br /> The current form of the genre is mostly based on the influence of Western essay translations. First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only. A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).<br /> <br /> This is older than the ones referred to in the ''Large Chinese Dictionary'' of Morohashi (Morohashi undated) and in the ''Encyclopaedic Dictionary of the Chinese Language'' 1966.<br /> <br /> ==Lou Cancan 娄灿灿==<br /> Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin 1992, Fan Peisong 1993; for Western impact in general see Průšek 1964, Gálik 1966, McDougall 1971. Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.<br /> <br /> 然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:57, 26 December 2020 (UTC)<br /> <br /> 然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:07, 26 December 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement. All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1933, the anarchist and later member of the Guomindang Wu Zhihui [1934]. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition:<br /> <br /> 以五四运动传奇作者为例可以看出个人观点对历史事实的叙述的影响有多大。 这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。 后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:19, 27 December 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> for example, Lu Xun with his theory &quot;'Zhǎnkāi' shuō yǔ 'méngyá' lùn “展開”說與“萌芽”論&quot;&quot; (Theory of &quot;Starting&quot; and &quot;Blossoming&quot;) came to see the fighting and critical character of the essay of the Jin dynasty (265 - 420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the ''biji'' (occasional notes) of the Ming, although he still tried to integrate the English essay in his &quot;Gonganpài yu Yīngguo xiaopin 'hecheng' lun 公安派與英國小品“合成”論&quot; (Theory of the Synthesis of the Gongan School and the English Essay). <br /> ==Ma Juan 马娟==<br /> Wang Zengqi regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays (Wang Zengqi 1993). The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay. One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.<br /> ==Ma Shuya 马淑雅==<br /> When Zhou Zuoren showed that only seven months after the incident at Marco Polo bridge it was again possible to write about a candy seller (1924), he was critizised as &quot;paralyzing&quot; (Lu Xun 1934, Zhu Zhaoluo 1943). When he wrote a piece on the &quot;Fly&quot;, he was reproached with dealing with subjects of minor importance. Reproaches like this lie in the very nature of the genre, since ''marginalism'' is substantial to the essay. The mentioned formal reproach of Luo Dajing can be found again in the 1990s, Hong Kong students critisized the literary style as it appears in Ba Jins &quot;Thoughts&quot; (Suixiang lu) as too direct and too less artful. But this perspective does not recognize the very nature of the essay, which is a very individual expression of an author's thoughts and not bound to tradition, and therefore much more free also in content.<br /> ==Ma Zhixing 马智星==<br /> The essay - from its very nature free and independant - almost disappeared in the time of the Cultural Revolution and - except for the ideologically influenced essays - had a hard struggle between Yan'an and the loss of moral legitimacy by the leadership in 1989.<br /> <br /> The essay was ''the'' genre of the modernizing society of the early 20th century. Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming &quot;needs&quot; of society, which also claimed the author to be one of its products.<br /> ==Meng Ying 孟莹==<br /> But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is &quot;a genre of self-reflection&quot;. Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art. <br /> <br /> I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).<br /> ==Mo Ling 莫玲==<br /> Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays. I mention only Zhou Zuoren. His ideas connected him spiritually to his contemporary collegues in Europe, Japan and America, but these where ideas for which China turned out to be not yet ready. At that time, China had taken a road which led away from progress, wealth, freedom and spiritual enlightenment. The consequences have yet to be overcome.<br /> <br /> 除开关注作家的小说和诗歌之外，如果我们对他们的散文有所涉猎，就会发现他们不仅对文学整体的理解发生了变化，单个作者的观点也发生了变化。仅就周作人来说，他的思想在精神上把他和他在欧洲、日本和美国的同伴们联系在一起，但是这些设想在中国行不通。当时的中国走的是一条远离进步、财富、自由和精神启蒙的道路，这一现状还并没有得到改变。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:34, 26 December 2020 (UTC)Mo Ling<br /> <br /> ==Mo Nan 莫南==<br /> In 1927, Chinese literature has taken the form of 'engaged literature'. The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. <br /> ==Nie Xiaolou 聂晓楼==<br /> Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be &quot;art pourt l'art&quot;.<br /> ==Ou Rong 欧蓉==<br /> The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (&quot;Shuo meng 說夢&quot; On dreams in: Zhu Ziqing 1928) and Zhou Zuoren from 1917 (My own garden 9.1923, &quot;The Fly&quot; 1924, &quot;Reading on the Toilet&quot; 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.<br /> ==Ouyang Jinglan 欧阳静兰==<br /> I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda. This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character. <br /> ==Ouyang Ling 欧阳玲==<br /> In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.<br /> <br /> Taking into account of a genre shifts the whole perspective on literature, taking into account the essayistic works of an author shifts also the view of the author. I will name only one author as an example for a modern essayist: Zhou Zuoren.<br /> <br /> 20世纪90年代，20、30年代民国时期的文本和当代的文本一样也经常被重印。显然，我们可得出一个结论：20世纪50年代的那些政治宣传文只能留存在特殊的政治文章选集当中，到了21世纪初，就不再有作者去写这类文章，也不会有中国读者去看这类文章了。<br /> <br /> 考虑到整个体裁对整个文学角度的转变，以及散文作品反映出的作者观点的变化，我只举一位现代散文家的例子：周作人。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:47, 25 December 2020 (UTC)<br /> <br /> 20世纪90年代，20-30年代民国时期的文章仍然和当代的同类文章一样经常被重印。显然，我们可以得出一个结论：20世纪50年代的政治宣传类散文只保存在专门的政治散文集中，到21世纪初，不再有人去写，也不再有人读这类文章了。<br /> <br /> 一种文学体裁会转变整个文学的视角，一位作家的散文作品，同样也会转变对这个作家的看法。我只以一位现代散文家为例：周作人。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:02, 25 December 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> '''Zhou Zuoren'''<br /> <br /> I mentioned already his theoretical contribution to the Chinese essayism, but still, his essays have been neglected until the 1980s. The reason does not lie in literary quality, but in political valuing. The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that the theoretical May Fourth genius &quot;degenerated&quot; and later became a &quot;traitor&quot;. Publishing in the Japanese sponsored magazines ''Reminiscences'',* and ''Chinese Literature'', he was blamed together with Zhu Pu and Yuan Xi of collaboration. An unanswered question is, why another author, who published there, Zhang Ailing, was never reproached with collaboratorship. The difference between all of them is that Zhang Ailing tried to avoid political committments, whereas Zhou felt guilty, Zhu justified it and Yuan simply accepted it.<br /> ==Peng Juan 彭娟==<br /> ''The 'mainstream' writers took an affirmative approach in their writing, whereas the other writers formed a minority. The individual authors did not necessarily belong to either one of these groups throughout their life, but may have moved between them. Since the essay is a medium which enables the individual to express thoughts directly, the writers chosen for this paper can be classified according to their position.''<br /> <br /> ''Yu Guangzhong's essay'' &quot;The wolves are coming&quot; ''shows that the ideological perspective did not only harm mainland essaywriting.''<br /> ==Peng Ruihong 彭锐宏==<br /> In his small literary pieces, Zhou tried to aesthetizise the little things of the everyday life out of the subjective experience of his private space. The major contribution of Zhou Zuoren is, that he set the turning point in Chinese essay writing with his call for writing short literary pieces (''Meiwen'' 1921). <br /> <br /> In foreign literature there is the so-called ''lunwen'' 論文 (treatise), which is roughly divided into two groups: the reflecting ones, piping 批評 (critical), are scientific articles. The others are ''jishu'' 記述 (descriptive) and ''yishuxing'' 藝術性 (artistic), they are also called ''meiwen'' 美文 (aesthetic essay). Within these texts, one can distinguish between ''xushi'' 敘事 (narrative) and ''shuqing'' 抒情 (lyric). But there are also mixed texts. [...] I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn’t that be wonderful?<br /> ==Peng Xiaoling 彭小玲==<br /> With these words from the essay &quot;''The aesthetic essay''&quot; this new vernacular form was defined. This starting point founded a whole new tradition of essay writing in China. Contemporary writers called this piece the &quot;king of essays&quot;. <br /> <br /> In order to bring this new form to his compatriots, he tried to find similiarities with the ''xiaopinwen'' of the Ming dynasty. He further discussed these thoughts in his essay theory. In his own essays, he profited a lot from ancient ''suibi''. Later he further developed his literary theory towards an up and down of two trends. In the modernizing society, he advocated the liberation of women and asked to &quot;treat children as full subjects with their own external and internal lives&quot; and to &quot;make children the essence of children's literature&quot; (Zhou 1923). He promoted the ''baguwen'' and the independance of literature from politics and effected the literary scene and the development towards a modern Chinese society especially between 1917 and 1938.<br /> <br /> “美学散文”中的这些词语定义了这种新的白话形式。这个起点在中国建立了一种新的散文写作传统。当代作家称此作品为“散文之王”。<br /> <br /> 为了将这种新形式带给他的同胞，他试图找到其与明朝“小品文”的相似之处。他在散文理论中进一步讨论了这些思想。 他自己的散文也从古代的“随笔”中受益匪浅。后来，他将文学理论朝着上下两种趋势进一步发展。在现代化社会中，他呼吁解放妇女、“将儿童看作具有外在和内在生命的完整主体”以及“让儿童成为儿童文学的本质”（Zhou 1923）。他提倡“八股文”和文学脱离政治的独立性，这对文学界产生了影响，并推动了中国向近代社会尤其是1917年至1938年的发展。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:48, 25 December 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> With this theoretical foundation and his own vo'luÉminous essayistic work, Zhou Zuoren through the example of his own form of short literary pieces within this genre, fought at that stage of the development of his literary theory like Benjamin Henri Constant de Rebecque 130 years ago in France for the idea &quot;l'art pour l'art&quot; , for individuality and independance of the writer, for disinterested literature. The jugdment, that Zhou was an apolitical author cannot be proved with his essays. Instead, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance (Zhou 1929:180-181). <br /> ==Peng Yuzhi 彭育志==<br /> In fact he saw himself as ‘patriotic underground fighter’ and looked at the collaboration with the Japanese puppet regime as a forced one, following his attempted assasination, through which his driver had lost his life. His own concept of essay writing served less the needs of the building of a nation-state and comes closer to the ideal of the individual. <br /> <br /> &quot;I don't really know why, but I am feeling as if I am born into a dark age. I admit, that our forests are not inhabited by dragons, tigers and wolves, but shapeless &quot;monsters&quot; and &quot;goblins&quot; are still creeping around and try to swallow our souls. [...] What alarms me most, is the absence of freedom in this prison, into which we writers have been thrown.&quot; <br /> ==Qi Kai 漆凯==<br /> Confronting tradition and progress in the essay &quot;''Ancestor Worship''&quot;, he is in favor of the latter, since past could only become present through changes (Zhou 1919:7-8). <br /> <br /> Benjamin Henri Constant de Rebecque (1767 - 1830) war französischer Romanschriftsteller und liberaler Politiker, der neben der Freiheit der Kunst nach der Französischen Revolution die Einführung der konstitutionellen Monarchie nach englischem Vorbild forderte.<br /> <br /> ==Qu Miao 瞿淼==<br /> Siehe ''Journal'' (10.2.1804). Die &quot;Kunst um der Kunst willen&quot; propagierte die Zweckfreiheit der Kunst. Im Gegensatz dazu versteht sich die engagierte Literatur. Die Parallele zwischen Zhou Zuorens Literaturverständnis und dem Konzept &quot;Kunst um der Kunst willen&quot; zieht auch Wolff: ''Chou Tso-jen'' 1971, S. 84.<br /> <br /> Siehe Zhou Zuoren: ''Der Ursprung der neuen chinesischen Literatur'' 1934, S. 95 - 98; vgl. auch Chen Zizhan: ''Vorträge zur chinesischen Literaturgeschichte'' 1937, Bd 3, pp. 416 - 422, besonders S. 422. Hinweis in: H. Martin: &quot;''Liang Qichao on Poetry Reform''&quot; 1996, Bd 1, S. 213.<br /> <br /> 见“期刊”（102.4804 年）。“艺术之艺术”宣传了艺术目的自由。相比之下，承诺的文学是可以理解的。周作琳对文学的理解与“艺术之艺术”概念之间的相似之处也吸引了沃尔夫：“周子仁”，1971 年 84.<br /> <br /> 参见周作仁：“中国新文学的起源”，1934 年，第 95-98 页；另见陈子赞：“中国文学史讲座”，1937 年，第 3 卷，第 416-422 页，特别是 p422。注：H。马丁：“梁启超诗歌改革”，1996 年，第 1 卷，p213--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:55, 27 December 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> Regarding Zhou Zuoren, I want to correct the official assessment of the People’s Republic, that his work would have experienced a caesura in 1938. In order to explain his opposition of the propaganda to build up national heroes about 1937 and his collaboration from 1939, it has been said officially, that his thoughts had &quot;duoluo 墮落&quot; (degenerated) at that time (Zhu Jinshun 1990:59). In fact, this caesura, namely the change in the style and subject in his essays on literature, art etc. to ''zhengjing'' 正經 (serious, intentional essays), and ''xianshi'' 閑適 (essays for one’s own enjoyment) is located not before his outlawing through Mao Zedong (1942), and his arrest through the Guomindang (1945).<br /> ==Sagara Seydou ==<br /> Therefore not the Japanese suppressors are responsible for the retreat of this great writer, but his Chinese compatriots'. <br /> <br /> On the basis of the stigma of the 'traitor', he has been undervalued until now. That his work in the 1990s is almost as often published as Lu Xun's and Zhu Ziqing's shows that his texts finally experience a more positive literaric evaluation through the audience, which now must be registered also by scholars.<br /> <br /> ==Shi Diwen 石迪文==<br /> Another example of a misread Zhou Zuoren is his short essay on &quot;''The Fly''&quot;, where he describes his changing attitude towards flies, which he had played with as child but later disgusted when he learned about their danger of passing on diseases. ”''The fly''” shows Zhou Zuoren’s strength to describe details and make them a real topic by recalling memories on them or describing a change of perspective on them. Zhou summarized the philosophical wisdom he learnt from this, that people did not judge on things objectively, but were likely to praise or damn things. <br /> ==Shi Haiyao 石海瑶==<br /> The official reading re¬proaches Zhou that he &quot;saw only the fly and not the cosmos&quot; , a quotation of the young Zhou about a position he himself clearly opposed.<br /> <br /> His ability to chat about the more pleasent things in life is displayed in his essay ”Birds’ twitter”. In ”''Peking cakes and sweet-meat''” and in ”''Wild vegetable of my home region''”, Zhou Zuoren shows his ability to make the reader feel at home at a region, where he feels at home himself, by describing the customs and special regional food. <br /> <br /> Siehe Zhou Zuoren: &quot;Cangying 蒼蠅&quot; (Die Stubenfliege), in: ''Chenbao fujuan'' 晨报副镌 (Beilage zur Morgenpost) (1924.7.13). Eine Zu¬sammenfassung des Inhalts findet sich in: Yu Daxiang (Hg.): ''Auswahllexikon chinesischer Essays mit Inhaltsangaben und Analysen'' 1993.<br /> <br /> ''Siehe Vollständige chinesische Anthologie der Wissenschaften - Bd Chinesische Literatur'' 1988, Bd 2, S. 1300. Dies spielt auf den Essay &quot;''Cangying'' 蒼蠅&quot; (Die Stubenfliege), in: Zhou Zuoren: ''Zhi Tang. Sammlung'' 1933 an.（文献无需翻译）<br /> <br /> 官方的解读指责他“只看到了渺小，而没有看到伟大”，这是对年轻的周作人的引用，他自己明确反对该立场。<br /> 他谈论生活中更愉快的事情，在他推特的文章“鸟”中得到了展示。在“北京蛋糕和甜食”与“我家乡的野菜”中，周作人通过描述风俗和特殊的地区食物，展示了他让读者感到宾至如归的能力。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:37, 27 December 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> His piece ”''Bitter rain''” shows the atmosphere, for what his essays had been labelled ”bitter tea”: There remains a taste in one’s mouth after reading. If you compare Lu Xun’s ”''On tea drinking''” (Yang/Yang 1961 3:325-326) with Zhou Zuoren’s essay with the same title, you see the difference of ”short and to the point” and ”eloquent and well-read”. ”''First love''” is more hilarious. The essay ”''Three different ways to die''” shows that Zhou Zuoren can compete with his elder brother in sarcasm. Lu Xun's essay on the same subject, the massacre on March 18, 1926, was a sight.<br /> <br /> 他的作品《苦雨》展现出了这种氛围，因此他的文章被称为“苦茶”：阅读完之后能感到余味悠长。如果你对比鲁迅和周作人的《论饮茶》(Yang/Yang 1961 3:325-326)，你可以看到“短小精辟”和“雄辩易读”的区别。《初恋》是最欢乐的作品。文章《三种不同的死法》表明周作人在讽刺小说方面足以与他的哥哥抗衡。鲁迅的同题作文《1926年3月18日的大屠杀》让人眼前一亮。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:36, 27 December 2020 (UTC)<br /> <br /> ==Song Jianru 宋建茹==<br /> Zhou asks for the ”best” way to die and favors the short and painless one. In ”''On alcohol''” and ”''The awning bunk boat''” Zhou Zuoren continues the tradition of late Ming ''biji''.<br /> <br /> '''7. The essay as a snapshot of contemporary thoughts'''<br /> <br /> ''What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.''<br /> <br /> ==Su Lin 苏琳==<br /> The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a consciously “corrected” truth.<br /> ==Tan Xingyue 谭星越==<br /> The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (Wang Meng: &quot;''Anxiang'' 安详&quot; (Serene) 1992, &quot;''Zuohao ni ziji de shi'' 做好你自己的事&quot; (First make your own things in a good way) 1994). <br /> ==Tan Xinjie 谭鑫洁==<br /> These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.<br /> <br /> Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive (&quot;''Shanxi opera''&quot;, Jia Pingwa 1984) or negative world (&quot;''The nightmare''&quot;, Si Yu 1995).<br /> <br /> From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:<br /> 这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。<br /> 20世纪80年代和90年代的其他散文虽是一种新的主观主义，其目标是摆脱当代的矛盾，但是通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。<br /> 从这篇文章中，我们可以看到当代文学的趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:30, 27 December 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> - The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall 1984:xiii); <br /> <br /> - The increasing consciousness of indivi¬duality for which the essay is the most direct form of subjecti¬ve expression, even more direct than the poem with its metrical and formal demands; <br /> <br /> - A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.<br /> <br /> - The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.<br /> <br /> - 当下中国社会的浮躁节奏，对转折性和短文的要求。&quot;[...]我们生活在一个论述的时代&quot;(Hall 1984:xiii)。<br /> <br /> - 越发增加的独立意识，对其而言，文章是最直接的主体表达形式，甚至比诗的格律和形式要求更直接。<br /> <br /> - 通过散文这一媒介讨论社会政治问题的兴趣的复苏，就像20世纪20/30年代的情况一样。<br /> <br /> - 日常生活的平庸性通过成为文学话题而变得自觉，最常见的是日常生活的文体--散文。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:06, 25 December 2020 (UTC)<br /> <br /> <br /> -当前中国社会节奏轻快，要求有趣味的短文：“[…]我们生活在一个博览会时代”（大厅1984:xiii）；<br /> <br /> -对于个人二元性意识的增强，散文是主体性表达的最直接形式，甚至比诗歌的韵律和形式要求更直接；<br /> <br /> -通过这篇文章讨论社会政治问题的兴趣的复复苏，如同20世纪20年代或30年代的情况一样。<br /> <br /> -日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:59, 25 December 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> - The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays. <br /> <br /> - Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.<br /> ==Tang Ming 唐铭==<br /> This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publis¬hing houses with an orientation toward customers (former: &quot;readers&quot;). <br /> <br /> - The criteria for essay best sellers in the P.R. of China are the following: In the most often printed essay &quot;''The Back View''&quot;, filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous &quot;''The Moonlit Lotus Pond''&quot;, both written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader.<br /> ==Tang Yiran 汤伊然==<br /> Nostalgic home feelings are the emotional identification element in &quot;''Wild vegetables of my home region''&quot; by Wang Zengqi. Therefore one can state, that moving es¬says form the top.<br /> <br /> - ''In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in¬dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.''<br /> <br /> ==Tao Ye 陶冶==<br /> ''In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph'' China can say no! – Possibilities for politics and emotions in the period after the cold war (''No''! 1996).<br /> <br /> - ''The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.''<br /> ==Wang Meiling 王美玲==<br /> ''Also trends like the use of ordinary language, which one finds in novels since 1993 (Jia Pingwa, Feidu; Gu Cheng, Yingger) and'' New Borderlessness ''since'' 1995, ''cannot be pro-ven in the essaywriting. ''<br /> <br /> - Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being &quot;''The Small Dog Baodi''&quot;, written by Ba Jin 1981, in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before (&quot;''In memoriam of Xiao Shan II''&quot;, Ba Jin 1984).<br /> ==Wang Xuan 王轩==<br /> Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's &quot;''Rain in Kunming''&quot; as well as for Jia Pingwa's &quot;''Shanxi opera''&quot;. <br /> 类似的还有想象怀旧的概念，正如王功权所说的沈从文作品中虚构的真实（王大卫·德维王1992），有助于解读汪曾祺的《昆明雨》，也有助于贾平凹的《山西剧》。<br /> <br /> - The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing fictional truth through the metaphor of his dog Baodi.<br /> 施瓦茨在“隐喻话语”中所表达的“个人悲伤”概念，有助于我们理解巴金是如何克服他以“存在的真理”而闻名的，却通过他的狗“宝坻”的隐喻而获得更具说服力的虚构真相。<br /> <br /> Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.（文献无需翻译）<br /> <br /> ''Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay &quot;The nightmare&quot;, where Si Yu appears as a de-constructionist, the I-narrator even is drawn near to suicide.''（文献无需翻译）<br /> <br /> And maybe for Xie Bingxins* reflections on her experience as one of the chosen voluntaries of the Wuhan military academy: She insisted to remain a lifelong &quot;woman soldier&quot; .（文献无需翻译）<br /> <br /> ==Wang Yu 王煜==<br /> '''8. Discussion: Is the genre of the essay the form of literary expression in 21st century China?'''<br /> <br /> Regarding the future of the Chinese literature, we can only speculate. But out the risk of being wild and provocative, I would like to suggest some questions for considering the place of the essay in the field of Chinese literature and literary studies.<br /> <br /> - People have less time for actions like reading, and get used to reduced visualized information through the Internet. Will the brevity of the essay make it the ideal medium?<br /> <br /> ==Wang Yuan 王源==<br /> - If the Chinese people are rediscovering their individuality, will the essay allow them to express individual thoughts more directly?<br /> <br /> - Modern societies are characterized by TV culture, mass consumption, and the loss of consciousness of one's own tradition, often partly due to the American impact on national cultures. Is the essay less bound to the restrictions of tradition, especially compared to the poem and thus more adaptable to the modern phenomenon of mass consumption?<br /> <br /> ==Wei Honglang 韦洪朗==<br /> - The alienation and the anonymity of citylife worldwide, in China is combined with a loss of traditional values like ideology, family, solidarity etc. in favor of the concept of profit for oneself, - if this has produced a longing for new orientation, will it possibly be filled by morally guiding essays or nationalistic thinking?<br /> <br /> - 在中国，世界范围内城市生活的异化和互相不认识的现象与传统价值观如意识形态、家庭、团圆等的丧失结合在一起，有利于为自己谋利的观念，如果这已经产生了对新方向的渴望，这个领域能否被道德指导性文章或民族主义思想所填补呢？--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 11:35, 27 December 2020 (UTC)<br /> <br /> 《红楼梦》与其他世界文学作品的相似性——推荐《红楼梦》列入世界记忆遗产名录<br /> <br /> '''Commonness between the Red Chamber Dreams and other World Literature Novels – Proposing the Red Chamber Dreams to the World Documentary Heritage List'''（修改）<br /> <br /> 吴漠汀，湖南师范大学 Martin Woesler, Hunan Normal University<br /> <br /> Source: Lecture at Harvard University, Cambridge, MA USA, 14.3.2000（文献无需翻译）<br /> <br /> ==Wei Yafei 魏亚菲==<br /> '''Abstract'''<br /> <br /> In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the Red Chamber Dreams, they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.<br /> <br /> Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. ''The Red Chamber Dreams'' function worldwide. <br /> <br /> 摘要<br /> <br /> 在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。<br /> <br /> 曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。（修改）<br /> <br /> 在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中衍生出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。<br /> <br /> 曹雪芹，甚至于他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:09, 25 December 2020 (UTC)<br /> <br /> ==Wen Sixing 文偲荇==<br /> ''The Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.<br /> <br /> 红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。（修改）<br /> <br /> 多元一体<br /> <br /> '''Key words'''<br /> <br /> Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage<br /> <br /> “红楼梦”是一个多元的中国文化综合体，是中国文化的体现和精髓，但它也具有全球影响力，因此应该被授予“世界文献遗产”的荣誉。（修改&lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;）<br /> <br /> 多元一体<br /> <br /> '''Key words'''<br /> <br /> Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage<br /> --[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:29, 25 December 2020 (UTC)<br /> <br /> 《红楼梦》是一个中国文化综合体，展示着中国文化的精髓的同时也极具全球影响力，理应被列入世界记忆遗产名录。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:00, 26 December 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> '''1. Chinese Ethics'''<br /> <br /> To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.<br /> <br /> When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.<br /> <br /> However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.<br /> <br /> ==Wu Kai 吴恺==<br /> '''2. Compatibility<br /> '''<br /> Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?<br /> <br /> First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. <br /> ==Wu Qi 吴琪==<br /> However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the ''Shuihuzhuan'' and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.<br /> <br /> '''3. Impact of translator’s native culture on the translation process'''<br /> <br /> There are intercultural parallels between the ''Red Chamber Dreams'' and Western works of literature.<br /> <br /> 然而，《红楼梦》章回结构不连续来自于《水浒传》中几乎没有联系的章回的传统，这是朝着章回更连贯、与故事线一致以及更集中于较少主角的方向迈出的一步。因此，《红楼梦》明显向西方小说传统迈进了一步，可能是因为西方对清代的影响越来越大。<br /> <br /> '''3.译者的本土文化对翻译过程的影响'''<br /> <br /> 《红楼梦》和西方文学作品之间有跨文化的相似之处。<br /> --[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:54, 27 December 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the ''Dreams'' will immediately think of.<br /> <br /> '''4. The novel as embodiment of “Zeitgeist”'''<br /> <br /> According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s ''Ilias'', which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality.<br /> ==Wu Xiang 邬香==<br /> The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist). <br /> <br /> The ''Red Chamber Dreams'' are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng.<br /> ==Wu Yilu 吴一露==<br /> While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Mann, including the turn to arts and music).<br /> <br /> 虽然作者在他的时代无法批判皇帝的制度和权力，但在小说中，他通过家族的日益衰败（修行道教、休闲、写诗、艺术和音乐，而不是为了能够谋生而学习）和自己没有实现作为家族继承人的期望中寻找受迫害的罪责，来接受这种生活。这种对没落家庭颓废的描述，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:35, 27 December 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the Dream appears as a documentary historical novel very much like Günter Grass’ The Tin Drum 1959.<br /> <br /> '''5. Coming-of-age and Alienation'''<br /> <br /> Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment.<br /> ==Xiao Shuangling 肖双玲==<br /> However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life. Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged.<br /> <br /> 然而，曹雪芹的信息不仅是“失乐园”的信息，而是他本人的一生。 尽管不如他的家人仍然享有皇帝的宠爱时富裕，但清初中国有一个工资体系和一个完整的社会网络，在那里他获得了足够的收入以独立于自己的富裕亲戚，可以有选择性地接受工作 在大自然的小房子里过着轻松的生活，与家人和朋友共度时光，遵循自己的兴趣，例如读书，写作和喝酒，为孩子们放风筝和思考处境不利的人。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:38, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> 然而，曹雪芹所传达的信息并不是简单的“失乐园”，相反，他把自己的生活过得很好。 虽然比起他的家族享受皇帝的宠爱，他过得没有那么富裕，但清初中国有一套薪俸制度和一张完整的社会网，他获得了足够的收入，可以独立于富贵亲戚，可以有选择性地接受工作，可以在大自然的小房子里过着悠闲的生活，可以与家人和朋友共度时光，可以追随自己的兴趣，例如读书，写作和饮酒，可以为孩子们做风筝，可以为弱势群体着想。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:27, 27 December 2020 (UTC)<br /> <br /> ==Xiao Ting 肖婷==<br /> Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.<br /> <br /> 曹雪芹对自己所处的时代和中国的文化成就有充分的认识，他熟悉社会的方方面面，他观察细致，叙事娴熟。他能把小说的结尾构思为对小说中人物不同性格的探讨，从而体现出他对人生的思考和对人性多样性的理解。他能够把握 &quot;时间精神&quot;(Zeitgeist)，并以他的亲身经历为材料创造了一部成熟的绝世之作，这不仅是为他的家庭、为清人、为中国人，更是为全人类。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:29, 26 December 2020 (UTC)Xiao Ting<br /> <br /> 曹雪芹充分了解自己所处的时代和中国的文化成就，熟悉社会的不同层次，是一个细致的观察者和娴熟的叙述者。他可能将小说的结局概念化为对小说中人物不同性格的讨论，从而表现出他对生活的反思和对人性多样性的心理理解。他能够把握“时代精神”(时代精神)，并以他的自传体经历，为他的家庭，为清朝人，为中国人，为人类创造了一部永恒的成长小说。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:01, 26 December 2020 (UTC)<br /> <br /> 曹雪芹对自己所处的时代和中国的文化成就了如指掌，他熟悉社会的不同层面，他是一个细致的观察者和娴熟的叙述者。因此，他在小说中对人的不同个性的理解和对小说中人物性格的多样性进行了概念化的探讨。他能够把握“时代精神”，用他的自传体经历，不仅为他的家庭，为清朝的中国人，为中国人民，而且为人类，创作了一部永恒的成人小说。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:43, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel ''Candide or Optimism''《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.<br /> ==Xiao Yining 肖伊宁==<br /> Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: ''Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802). <br /> ==Xie Fan 解帆==<br /> Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in ''Wilhelm Meister'' this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''. <br /> <br /> '''6. Pornography and True Love, female rivals'''<br /> <br /> Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit.<br /> <br /> 与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，这通过莎士比亚的经典戏剧得以体现。传统可以作为方向标，但主人公的个性需要通过解放才能发展，这是一种智慧，我们可以以上提过包括《梦》的所有小说中学习。<br /> “6.色情与真爱，女性对手&quot;<br /> 性是人类的一种基本需求，在不同文化中展现出不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是有固定程式的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:37, 25 December 2020 (UTC)<br /> <br /> 与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，在《威廉·迈斯特》中，莎士比亚戏剧中复兴的经典作品代表了这一点。传统可以给予导向，但主人公的个性需要通过解放来发展是一种智慧，我们可以从包括《梦》在内的所有小说中学习。<br /> “6。色情与真爱，女性对手&quot;<br /> 性是人类的一种基本需求，在各种文化中形成了不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是程式化的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:37, 26 December 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> In the barock literature of the 17th century even the physical act is described extensively. <br /> <br /> According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.<br /> <br /> The best study on ''qing'' passion in the Dreams is the one by Anthony Yu, who understood it as ''desire'' and as the central motif of the ''Dreams''. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).<br /> <br /> ==Xu Jia 徐佳==<br /> In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).<br /> <br /> In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”<br /> <br /> Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.<br /> <br /> 在《梦》的框架故事中，叙述者有意识地站在了反对低级动作和刻板色情文学的立场上，也站在了反对普遍存在的言情小说的立场上（以美丽的才女和通过公务员考试最终获得地位和财富的穷书生为经典角色）。<br /> <br /> 在第一章中，他说：&quot;年轻人的真情实感......至今无人报道&quot;。<br /> <br /> &quot;情色场面以体面和联想的方式描述（&quot;云和雨的游戏&quot;），同时表现出另一种开放性，例如对双性恋的开放。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:35, 27 December 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许晶==<br /> The ''Dreams'' narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.<br /> <br /> While Marián Galik saw as the central topic of both, the ''Dream'' and ''Faust'', the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”. <br /> <br /> ==Xu Jing 许静==<br /> In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in the Keller 凯勒 ''The Green Henry'' 《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth and Lin Daiyu are similar, e.g. they both strive for real love (Zhuang 2011).<br /> ==Xu Mengdie 徐梦蝶==<br /> '''7. Feudal society and slavery'''<br /> <br /> A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, would exclude slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals.<br /> <br /> 封建社会和奴隶<br /> 一种普遍的解释是，贾宝玉对家庭成员和奴隶一视同仁，这将成为奴隶解放的宣言。我并不同意这个解释，因为亚里士多德的民主就排除了奴隶的投票权。所以，我们并不能用现代观念去评判过去。在我看来，贾宝玉并不是和不平等作斗争，而是把人视作群体和个人。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 09:55, 25 December 2020 (UTC)Xu Mengdie<br /> <br /> 一种普遍的解释是，贾宝玉对家庭成员和奴隶的平等对待是解放奴隶的宣言。我也不同意这种解释，因为亚里士多德，当他要求民主的时候，会排除奴隶的投票权。所以我们不能用现代的概念来判断过去。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人看成是群体和个人。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:31, 25 December 2020 (UTC)<br /> <br /> 许多人认为，贾宝玉对家庭成员和仆人的平等对待是解放奴隶的宣言。我也不同意这种看法。因为当亚里士多德要求民主时，奴隶并没有投票权。所以我们不能用现代的概念来判断过去发生的事。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人分为是群体和个人。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:03, 27 December 2020 (UTC)<br /> <br /> 人们普遍认为贾宝玉对待家庭成员和奴隶的平等对待是解放奴隶的宣言。我不同意这种解释，因为亚里士多德吁民主时，会将奴隶从投票权中剔除。所以我们不能用现代观点评判古人。我认为，贾宝玉并不是在为不平等而做斗争，而是将人区分为人或是个体。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 12:02, 27 December 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> Also the understanding of the servants as slaves does not match the description in the Dream, since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with slave. Therefore, the translator preferred “servant” over “slave” in the translation.<br /> <br /> 另外，把仆人理解为奴隶也与《红楼梦》中所描述的不符，因为有些仆人自己也有仆人，他们离开贾家后，家人会照顾他们，为他们婚配，并且贾正把女儿迎春称为“丫头”，所以用奴隶来翻译这个词是不合适的。因此，译者在翻译中更倾向于“仆人”而不是“奴隶”。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:14, 25 December 2020 (UTC)Xu Pengfei<br /> <br /> 而且把仆人理解为奴隶与《红楼梦》中的描写不符，因为有些仆人自己还有仆人，贾府会在她们离府的时候为她们寻一门亲事，作为贾府对她们的照料；贾政也把自己的女儿迎春喊作 “丫头”， 所以把这些翻译成奴隶是不合适的。因此英文翻译中采用“servant”会比“slave”更为合适。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 10:08, 25 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Yang Chenting 杨晨婷==<br /> Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.<br /> <br /> 2009年，莫言代表中国作为主宾国参加法兰克福书展时，他在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的印象是，两者都没有表达这个愿望，但这是后来的概念和解释，而我们不应该以此来判断过去。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:36, 25 December 2020 (UTC)Yang chenting<br /> <br /> 2009年，莫言代表中国作为主宾国参加法兰克福书展时，在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的感觉是，两者都没有表达这个愿望，但这是后来的概念和解释，我们不应该以此来判断过去。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:43, 25 December 2020 (UTC)<br /> <br /> ==Yang Hairong 杨海容==<br /> '''8. Tragedy of all tragedies'''<br /> <br /> Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''.<br /> <br /> 8.所有悲剧的悲剧成分<br /> <br /> 亚里士多德在《悲剧论》（诗学VI）中解释说，悲剧使人们比喜剧更能吸引人，因为他们“模仿（mimēsis）一种严肃、完整和有程度的行动”（Aristotle 1971，51）。 欧洲的悲剧部分归因于亚里斯多德作品《喜剧》的丢失。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:16, 27 December 2020 (UTC)<br /> <br /> 8.所有悲剧含有的悲剧成分<br /> <br /> 亚里士多德在《悲剧论》（诗学VI）中解释道，悲剧之所以比戏剧更加动人，是因为它们“模仿（mimēsis）一种严肃、完整且具有一定规模的行动”（Aristotle 1971，51）。悲剧在欧洲拥有崇高地位部分归因于亚里士多德的作品《论喜剧》的失传。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:42, 27 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> While Europe has the Hamlet as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as &quot;tragedy of all tragedies&quot;. To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture. <br /> <br /> In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”.<br /> <br /> <br /> <br /> 尽管欧洲将“哈姆雷特”作为悲剧的悲剧，但长期以来中国传统文学中缺乏悲剧文学的现象一直令人遗憾。王国伟把“梦”看作“一切悲剧的悲剧”。对王国伟来说，浮士德和贾宝玉的苦难是小说的核心。然而，许多学者认为，浮士德主义是中国文化的核心。<br /> <br /> 在 18 世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:40, 27 December 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> '''9. “Non-Binary” Novels'''<br /> <br /> One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.<br /> <br /> 9. “非二进制小说”<br /> <br /> 可爱而神秘的主角贾宝玉是吸引西方读者的其中一点。由于他开放的双性恋倾向以及对同伴的兴趣，无论他们的社会地位如何，他彰显“现代”气质或至少不属于那个时代。 他与传统学习的斗争使他显得富有同情心，他与世隔绝的漫长状态使他既具有永恒的品格又具有神秘感。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:17, 27 December 2020 (UTC)<br /> <br /> <br /> “非二元”小说<br /> <br /> 一个吸引西方读者的东西是可爱而神秘的主人公贾宝玉。由于他开放的双性恋倾向和他对伴侣的兴趣，不管他们的社会地位如何，他显得“现代”或至少在时间上流离失所。他与传统学习的斗争使他显得富有同情心，他从世界上长期的狂喜给了他永恒的性格和神秘的气息。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:43, 27 December 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.<br /> According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the ''Heart Sutra''. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically. <br /> <br /> ==Yao Cheng 姚诚==<br /> '''10. Foreign Cultures in the Red Chamber Dreams'''<br /> <br /> Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties, especially the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel.<br /> <br /> ==Yao Jia 姚佳==<br /> The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.<br /> <br /> ==Yi Huan 易欢==<br /> The variety of cultures is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the Red Chamber Dreams as “World Documentary Heritage”. <br /> <br /> '''References'''（参考文献不用翻译）<br /> <br /> Anthony, C. Yu. (2001). ''Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber''. Princeton University Press.<br /> <br /> Aristotle. (1971). ''Poetics''. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.<br /> <br /> Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). ''Der Traum der Roten Kammer oder Die Geschichte vom Stein'' [''Red Chamber Dreams or The Story of the Stone''], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition<br /> <br /> Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. ''Hong lou meng xue kan'' 6: 274-289<br /> <br /> Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. ''Journal of Sino-Western Communications'' 2 (2010.12) 2:81-107<br /> <br /> Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. ''Journal of Language Teaching and Research'', Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.<br /> <br /> ==Yi Zichu 义子楚==<br /> '''Virtual Communication Between Machines with the Human as Their Object<br /> '''<br /> <br /> A new stage of multimodal communication after oral, written, printed, electronic and machine-human communication<br /> <br /> Martin Woesler, Hunan Normal University<br /> <br /> '''Abstract'''<br /> <br /> Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role. <br /> <br /> ==You Yuting 游雨婷==<br /> This paper argues, that there is a fundamentally new media epoch of “virtual communication” (communication 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.). <br /> <br /> Algorithms do not only listen to oral or read written human communication (between humans or between humans and bots), but they analyze multimodal communication (including likes, behaviour, surfing habits, mobility profile, values, dreams, aims, beliefs etc.), compare them with Big Data (e.g. cloud data) and base decisions of manipulation on a prediction of behavior according to a personality profile and correlations.<br /> <br /> 本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管，人类成为分析和操纵的对象(如顾客、选民等)。<br /> <br /> 算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:34, 26 December 2020 (UTC)<br /> <br /> 本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管世界，人类成为分析和操纵的对象(如顾客、选民等)。<br /> <br /> 算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:47, 27 December 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> These algorithms target not only the explicit communications, but the emotions and thoughts of humans too and predict future behavior, therefore allowing simulations of reality. Mightier algorithms have also taken over decision-making roles in societies where they: replace human court decisions, fine tune just-in-time and on-demand production, censor chatrooms etc. Sets of algorithms help to manage smart cities and a whole society. <br /> <br /> 这些算法不仅针对明确的交流，也针对人类的情绪和思想，并预测未来的行为，因此允许模拟现实。更强大的算法也在社会中占据了决策角色：取代人类法庭的判决，及时微调和按需制作，审查聊天室等。一套算法有助于管理智慧城市和整个社会。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:34, 27 December 2020 (UTC)<br /> <br /> <br /> ----<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> Although the human is still part of the communication, especially as the analyzed object and the target of the manipulation, the human is often unaware of the virtual communication and a passive receiver of the machine’s decisions, while the main actors in the virtual communication are machines.<br /> <br /> <br /> 虽然人仍然是通信的一部分，特别是作为被分析的对象和操纵的目标，但是人往往没有意识到虚拟通信和机器决策的被动接受者，而虚拟通信的主要参与者是机器。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:55, 25 December 2020 (UTC)<br /> <br /> 尽管人类仍然是交流活动的一个组成部分，特别是作为被分析的对象和操纵的目标，但是人类往往没有意识到，自己是虚拟沟通和机器决策的被动接受者，而虚拟沟通的主导者是机器。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:11, 25 December 2020 (UTC)<br /> <br /> 虽然人仍然是构成通信的一部分，尤其是作为分析对象和操纵目标，但人往往没有意识到人们在虚拟通信中扮演机器决策的被动接受者，而机器才是主要参与者。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:42, 25 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> Research describes these forms of virtual communication, finds evidence in social management systems and credit systems (in Germany, we have the “Schufa”, in the USA there are big players in credit history, which leads to credit-orientation and gamification of human life) or customized (fake) news filter bubbles and in customized consumption offers (Amazon, Facebook, Google, Netflix) and analyzes benefits, including security enhancements through such virtual communication.<br /> <br /> 研究对这些形式的虚拟沟通进行了描述，在社会管理系统、信用系统（定制的（虚假）新闻筛选泡沫）和定制的消费商（亚马逊、脸书、谷歌、网飞）里面找到了证据（德国有“Schufa”，美国则因为信用史有重大人物而使得社会信用至上并日趋游戏化），并对益处加以分析，这些益处包含通过这类虚拟沟通提升安全。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:20, 25 December 2020 (UTC)<br /> <br /> 研究描述了这些虚拟通信的形式，在社会管理系统和信用系统中找到证据（在德国，我们有 &quot;Schufa&quot;，在美国有信用记录的大玩家，这导致了信用导向和人类生活的游戏化）或定制化（假）新闻过滤气泡，以及在定制化的消费优惠中（亚马逊，Facebook，谷歌，Netflix），并分析了好处，包括通过这种虚拟通信增强安全性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:03, 25 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> But research also has the duty to warn of abuse or harmful developments and to raise ethical questions. Exoskeletal ethics, imposed by gamifications like credit systems, especially need to be valued against intrinsic ethics.<br /> <br /> '''Introduction'''<br /> <br /> In this paper dealing with machine to machine communication, I skip the machines assisting humans to make their life more convenient (ranging from “The milk is out, please add the usual amount of milk to the delivery list,” to “The old lady has not left her bed this morning, I’ll better call the doctor”).<br /> <br /> <br /> 但研究也有责任对滥用或有害的发展发出警告，同时要对引起的伦理问题也要承担责任。特别是信用体系游戏化所造成的外骨骼伦理问题更需要得到重视，要反对内在的伦理问题。<br /> <br /> 引言<br /> <br /> 本论文在涉及机器与机器之间的交流时，我不考虑那些帮助人类让生活更便捷的机器（从“牛奶没了，请在送货单上加平常剂量的牛奶”到“老太太今早卧床不起，我最好叫医生吧”）。<br /> --[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:10, 25 December 2020 (UTC)<br /> <br /> 但研究也有责任对滥用或有害的发展提出警告，并提出伦理问题。特别是信用体系等游戏化所强加的外骨骼伦理，更需要对照内在伦理加以重视。<br /> <br /> 引言<br /> <br /> 在本文中涉及机器与机器之间的交流，我跳过了机器协助人类提高生活便利的内容（从 &quot;牛奶没了，请把平时的牛奶量加到送货单上&quot;，到 &quot;老太太今天早上还没下床，我还是叫医生吧&quot;。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:40, 26 December 2020 (UTC)Xiao Ting<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> Instead, I deal with communication like: “Let’s create a user personality profile and compare it with Big Data to learn how I can best catch this user’s attention and make him/her vote for presidential candidate A or B.”; “Let’s check this users’ mouse movements and compare it with Big Data to get a correlation to estimate if (and if “yes” when) he will get Parkinson, to decide whether or not to deny him the loan or health insurance.”<br /> 实际上，本人研究涉及的方面如下：比如，“让我们创建一名用户的个性化主界面，并将其与大数据进行比对，学习如何最好的吸引该用户的注意，让他/她投票给总统候选人甲或乙。”“让我们检查这名用户鼠标的运动轨迹，通过与大数据进行比对，建立关联，来估计他是否会得帕金森。如果他患有帕金森疾病，我们会决定是否需要对他的贷款或医疗保险的申请予以拒绝。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:41, 26 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> “Let’s check this users sexual orientation, religious beliefs, fears, secrets like adultery etc. to blackmail him to get ransom money for my programmer.”; or even “Let’s use this user’s location to aim the killer drone.”<br /> <br /> The current neoliberal system with Amazon, Facebook, WhatsApp, Instagram, Google, Netflix etc. provides incentives to collect as much user data as possible and to abuse user data for manipulation, which creates huge profits.<br /> <br /> “让我们检查该用户的性取向、宗教信仰、恐惧、诸如通奸之类的秘密去勒索他为我的程序员去获取赎金”。或者甚至“使用用户的位置瞄准杀手无人机。”<br /> <br /> 当前具有亚马逊、脸谱网、瓦茨艾普、照片墙、谷歌、奈飞等的新自由主义系统激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:04, 25 December 2020 (UTC)<br /> <br /> &quot;让我们查一查这个用户的性取向、宗教信仰、恐惧、通奸等秘密，以勒索他为我的程序员获取赎金。&quot;；甚至&quot;利用这个用户的位置来瞄准杀手无人机。&quot;<br /> 目前亚马逊、脸书、WhatsApp、Instagram、谷歌、奈飞等的新自由主义体系，为收集尽可能多的用户数据，并滥用用户数据，从而创造了巨大的利润。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:39, 25 December 2020 (UTC)Yang chenting<br /> <br /> “让我们检查该用户的性取向、宗教信仰、惧怕的事物、诸如通奸之类的秘密，从而勒索他让我的程序员获取赎金”。更有甚时，“让我们使用用户的位置让攻击机瞄准他。”<br /> <br /> 当前亚马逊、脸书、联络电话、Instagram、谷歌、网飞等的新自由主义的系统软件，激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:53, 26 December 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> Very much like the financial crisis, which was caused by the unregulated use of derivatives, this is a systemic development, which currently follows a path to enslave the human race under the control of algorithms for the benefit of tech companies. The enslavement has already begun, as we can see from the world wide addiction to social media, from the growing mass of conspiracy theorists and from the polarization of the USA over Trump or the polarization of Great Britain over the Brexit.<br /> <br /> 这与因不受监管地使用衍生品导致的金融危机非常相似。这是一个系统性的发展，它目前走的是一条用算法控制奴役人们，为科技公司谋利的道路。从全世界对社交媒体的沉迷，从越来越多的阴谋论者，从美国对特朗普的两极分化或英国对英国脱欧的两极分化，我们都可以看出，奴役已经开始。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:07, 27 December 2020 (UTC)<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> '''1 History of Media Epochs'''<br /> <br /> Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role. <br /> <br /> This paper argues, that there is a fundamentally new stage of “virtual communication” (media epoch 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).<br /> <br /> 卢曼和贝克尔描述了从口头（媒体时代1.0）到文字（2.0）的通讯发展，再到印刷（3.0）数字通讯（4.0）<br /> 在所有这些阶段中，科技都只起到了协助作用。<br /> <br /> 本文认为，从根本上来说，“虚拟沟通”处于新阶段（媒体时代5.0），其中人工智能（由人类初始化）已被接管，人类已成为分析和操纵的对象（如顾客，选民等）--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:56, 26 December 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> While Luhmann would still summarize this under digital communication, I see a full new quality here, and have therefore coined the term “communication 5.0” or “virtual communication” for it. In Luhmann’s view, the computer consists out of the “surface” of the machine (the visible interfaces like screen, keyboard, mouse) and the “depth” of the machine (the invisible, often incomprehensive inside).<br /> <br /> 虽然卢曼仍然会在数字通信中总结这一点，但我在这里看到了一个全新的品质，因此创造了术语“通信5.0”或“虚拟通信”。在卢曼看来，计算机是由机器的“表面”(屏幕、键盘、鼠标等可见界面)和机器的“内里”(看不见的、内部不全面的部分)组成的。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:41, 25 December 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> However, we are almost constantly producing data, with our chats and geotracked movements, with our addiction to social media, our carrying of cell phones and more and more smart devices at all times, and we are therefore an object of analysis by algorithms.<br /> <br /> The traditional setting of a communicative act blurs: The machine can directly communicate with the human (there the Turing test marks a threshold), and, after a certain complexity, it can hide its machine nature.<br /> <br /> 但是，我们几乎一直在通过聊天和地理位置追踪运动，不断沉迷于社交媒体，携带手机以及越来越多的智能设备来生成数据，因此，我们一直是通过算法进行分析的对象。<br /> <br /> 交流行为的传统设置变得模糊：机器可以直接与人类交流（图灵测试标记了阈值），并且在经过一定的复杂性之后，它可以隐藏机器的本质。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:49, 25 December 2020 (UTC)<br /> <br /> 然而，我们几乎在不断地产生数据，我们的聊天和地理追踪的动作，我们对社交媒体的沉迷，我们随时携带手机和越来越多的智能设备，因而成为算法分析的对象。<br /> <br /> 传统的交流行为的设定模糊了。机器可以直接与人类交流（图灵测试标志着一个门槛），在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:03, 25 December 2020 (UTC)<br /> 然而，我们几乎是在不断地产生数据，我们的聊天和追踪移动，我们对社交媒体的沉迷，我们无时无刻都带着手机和越来越多的智能设备，因此我们是算法分析的对象。<br /> 传统的交流行为设定是模糊的:机器可以直接与人类交流(图灵测试在这里标记了一个阈值)，并且在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:49, 27 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> The machine can also indirectly communicate with the human by simply analyzing humans’ verbal communication, non-verbal multimodal communication, behavior, personality etc. and interacting with the human with, or without, revealing its existence. A human, growing up in a filter bubble and believing in conspiracy theories is one such example: The human has been manipulated by social media and news which prefer lies over truth.<br /> <br /> 机器还可以通过简单地分析人类的语言交流、非语言的多模态交流、行为、个性等，并与人类进行交互，从而间接地与人类进行交流，从而揭示人类的存在。一个在过滤器泡沫中成长并相信阴谋论的人就是这样一个例子：人们被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:33, 27 December 2020 (UTC)<br /> <br /> 机器也可以通过简单地分析人类的语言交流、非语言多模态交流、行为、个性等与人类进行交流，或者间接地与人类进行互动，从而揭示人类的存在。一个在过滤气泡中长大、相信阴谋论的人就是这样一个例子:这个人一直被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:45, 27 December 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> Without even noticing that there was an interaction taking place between the human and the machine, the human has lost his/her independence to the machine.<br /> <br /> '''2 Types of communicative acts'''<br /> <br /> 1.Texts (oral and written comments/chat texts/blogs/emails)<br /> <br /> 2.Surf behavior (websites visited)<br /> <br /> 3.Consumer behavior (purchases)<br /> <br /> 4.Likes (see OCEAN, UEBA)<br /> <br /> 5.Duration/Attention (see UEBA)<br /> <br /> 6.habits/repetitiveness/occurrences (is an element of analysis in different AI apps/tools)<br /> 甚至没有注意到人与机器之间发生的互动，人已经失去了他/她对机器的独立性。<br /> <br /> &quot;两种类型的交际行为&quot;<br /> <br /> 1.<br /> 文本(口头和书面评论/聊天文本/博客/电子邮件)<br /> <br /> 2.<br /> 上网行为(浏览网站)<br /> <br /> 3.<br /> 消费者行为(购买)<br /> <br /> 4.<br /> 喜欢(参见OCEAN, UEBA)<br /> <br /> 5.<br /> 持续时间/关注(见UEBA)<br /> <br /> 6.<br /> 习惯/重复/出现(是不同AI应用/工具的分析元素)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:46, 27 December 2020 (UTC)<br /> <br /> ==Zhang Qi 张琪==<br /> 7.Unconscious, often unique data allowing identification (way of writing, mouse movements pattern, see Raj Kannan 2020)<br /> <br /> 8.social interaction incl. friendships, sexual relationships<br /> <br /> 9.mobility behavior/pattern (e.g. immediate environment – e.g. unconsciously recording the inside of houses while playing “Pokemon Go”), travel: Travel  Behavior (Yu Cui et al. 2018)<br /> <br /> <br /> 7，无意识且通常唯一的数据可以识别（书写方式，鼠标移动方式，请参见Raj Kannan 2020）<br /> <br /> 8.社交互动，包括 友谊，性关系<br /> <br /> 9.出行行为/模式（例如周围环境-例如在玩``口袋妖怪Go''时不自觉地记录房屋内部），旅行：出行行为（于翠等人，2018年）--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:24, 27 December 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> '''3 Types of analysis'''<br /> <br /> 1.General (User and Entity Behavior Analytics UEBA: AI-assisted cybersecurity tools like by Gartner, Inc.)<br /> <br /> 2.True identity (e.g.: mouse movements, face recognition, find real name) (Verschuere 2016)<br /> <br /> 3.Personality profile: Big Five Personality Inventory: Openness to Experience, Consciousness, Extroversion, Agreeableness, Neuroticism “OCEAN” (Golbeck 2011), by only analyzing the users' likes, Facebook can generate personality profiles (AI-Demand 2020)<br /> <br /> 4.Mobility profile/pattern<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> 5.Health situation (health apps, ai supported disease research, see Daley 2020)<br /> <br /> 6.Job situation/job market (Talent Search People 2020 analyzes the job market, and classifies 4 different AI systems: 1. systems that think like humans, 2. systems that act like humans, 3. systems that think rationally, and 4.) systems that act rationally.)<br /> <br /> 5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)<br /> <br /> 6.就业形势/就业市场（2020年《人才搜索人》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:33, 27 December 2020 (UTC)<br /> <br /> 5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)<br /> <br /> 6.就业形势/就业市场（《人才搜索人 2020》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:58, 27 December 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 7.Financial credit-worthiness: E.g. German Schufa company uses AI in addition to human expertise for evaluations, see Banken-Technologie 2020. Banken-Technologie 2020. Schufa’s attempt to gain access to customers’ bank account transfer information was discussed in the news.<br /> <br /> 8.Consumer Behavior: e.g. the &quot;clickworker&quot; company analyses and optimizes customers' searches in respect to a client company's goals/products with the help of AI (clickworker 2019)<br /> <br /> 9.Secrets (like adultery)<br /> <br /> ==Zhang Yu 张瑜==<br /> '''4 Unique quality of media epoch 5.0'''[ I have coined the terms “media epoch 5.0” and “virtual communication” I have developed it from concepts like „Industry 4.0“ in Germany and the four media epochs Luhmann and Baecker developed (by Baecker called 1.0 … 4.0). There are several authors speculating about the media epoch 4.0, like Ray Kurzweil. The Age of Intelligent Machines. 1990.]<br /> <br /> 1.the human switches from active to passive<br /> <br /> 2.the human switches from subject to object<br /> <br /> 3.the human becomes addicted to social media, which enhances depression (Van Den Eijnden et al. 2016, Jasso-Medrano et al. 2018, Shensa et al. 2017)<br /> <br /> 4.the human switches from puppeteer, or entity with seemingly free will, to puppet<br /> <br /> 5.nature of the internet turns from freedom to surveillance<br /> <br /> 4.媒介5.0时代的独特品质 [我创造了 &quot;媒介5.0时代&quot;和 &quot;虚拟通信 &quot;这两个词，它们是从德国的“工业4.0”以及卢曼和贝克提出的媒介4.0时代（贝克称之为1.0...4.0）等概念发展而来的。一些作者揣测媒介4.0时代这个词的含义，比如1990年出版的雷-库兹韦尔的《灵魂机器时代》]<br /> <br /> 1.人从主动到被动的转换<br /> <br /> 2.人从主体到客体的转换<br /> <br /> 3.人沉迷于社交媒体，提高了患抑郁症的风险<br /> <br /> 4.人从木偶操纵者或看似拥有自由意志的实体到木偶人的转换<br /> <br /> 5.互联网的性质从自由到监测的转换--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:25, 26 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 6.direct communication turns into indirect communication (humans may not be aware of this communication/analysis)<br /> <br /> 7.explicit communication (voice, words) turns into implicit communication (preferences/thoughts/dreams/wishes/ values (first experiments with brain scanners in worker hats have started in Shanghai and Peking))<br /> <br /> 8.man-man communication turns to man-machine communication (phone bot) to machine-machine<br /> <br /> 9.4.0 was from centralization to decentralization, 5.0 is partial centralization and partial decentralization, but also concentration<br /> <br /> 6，直接交流变成间接交流（人们自己可能没有意识到这种交流/分析）。<br /> <br /> 7，明确的交流（声音，文字）变成隐性的交流（偏好/想法/梦想/愿望/价值观（上海和北京已开始在工人的帽子上使用脑扫描仪进行首次实验））。<br /> <br /> 8，人与人之间的通信变成了人与机器之间的通信（电话机器人）再到机器与机器之间的通信。<br /> <br /> 9.4.0是从集中到分散，5.0是部分集中和部分分散，也有集中。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:52, 27 December 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> So far, mass media has been considered one-way. The interaction and processing of data of millions of individual users seemed simply too much work. In the age of virtual communication, the media epoch 5.0, mass media is individualized and interactive and therefore even more influential.<br /> <br /> '''5 Types of manipulation (consciously or unconsciously, sometimes half-consciously)<br /> '''<br /> <br /> 1.Priming by unconscious advertisements: Influencing consumer decisions<br /> <br /> 2.Filter bubbles =&gt; supports conspiracy theories, influences judgments<br /> <br /> 到目前为止，大众媒体一直被认为是单一的。数百万个人用户数据的交互和处理似乎太费力。在虚拟传播时代，即媒体时代5.0，大众传媒是个性化和互动的，因此更具影响力。<br /> <br /> '''5 种操纵类型（有意识或无意识，有时是半意识的）'''<br /> <br /> 1.无意识广告发布：影响消费者决策<br /> <br /> 2.过滤泡沫=&gt;支持阴谋论，影响判断--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:08, 26 December 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> 3.Nature of social media: lies spread 6 times faster than truth. (Vosoughi et al. 2018).<br /> <br /> 4.Change of political attitude: Case Cambridge Analytica: Helped minority to win election by manipulating young people of majority not to vote (Do so: Don’t vote campaign, Oddleifson 2020); Trump election and Brexit were won by manipulation<br /> <br /> 5.Use of private information/dependencies to obtain advantages (blackmailing for money or for conducting crimes etc.)<br /> <br /> 6.Identity theft<br /> <br /> <br /> 3.社交媒体的本质：谎言的传播速度比真理快 6 倍。（Vosoughi等人，2018年）。<br /> <br /> 4.改变政治态度：案例剑桥分析：通过操纵多数年轻人不投票帮助少数民族赢得选举 （这样做：不要投票竞选。奥德利夫森 2020年）；特朗普选举和英国脱欧通过操纵获胜<br /> <br /> 5.利用私人信息/依赖关系获取好处（勒索钱财或犯罪等）<br /> <br /> 6.身份盗窃--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:18, 27 December 2020 (UTC)<br /> <br /> 3.社交媒体的性质：谎言传播速度是真相的6倍。（Vosoughi等人，2018年）。<br /> 4.政治态度的改变：剑桥分析案例：通过操纵大多数年轻人不投票帮助少数人赢得选举（Do Do Do:Do not vote campaign，Oddleifson 2020）；特朗普选举和脱欧是通过操纵赢得的<br /> 5.利用私人信息/依赖性获取利益（勒索钱财或犯罪等）<br /> 6.身份盗窃--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:03, 27 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> '''6 Consequences'''<br /> <br /> 1.Virtual Communication is mostly “hidden”, the human is mostly unaware of it, but may endure the consequences (policeman may detain suspect simply because the face recognition glass recognizes a pedestrian passing by and assesses him/her as “dangerous”; loan is declined; insurance company declines to accept new customer)<br /> <br /> 6.后果<br /> <br /> 1.虚拟通讯大多是 &quot;隐蔽 &quot;的，人多半不知道，但可能会承受后果（警察可能仅仅因为人脸识别玻璃识别出路过的行人，并评估其为 &quot;危险 &quot;而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新的客户）--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:02, 25 December 2020 (UTC)<br /> <br /> 6.后果<br /> <br /> 1.虚拟通信通常是“隐藏的”，人类大多数情况下是不知道的，但可能会承受后果（警察可能只是因为面部识别玻璃杯识别出行人经过并将他/她评估为“危险”而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:05, 25 December 2020 (UTC)<br /> <br /> '''6.后果<br /> '''<br /> <br /> 1.大多情况下，虚拟通信是“隐藏的”，人类也没有意识到这一点，但可能会承担由此带来的后果（警察可能会因为面部识别玻璃检测到行人通过，并将其评估为“危险人物”而将嫌疑犯拘留‘贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 26 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> 2.User becomes transparent (government can fight terrorism, any user can be blackmailed, jealous spouse can check on adultery) <br /> <br /> 3.Less will to communicate and discuss (since positions are too far apart)<br /> <br /> 4.Populists and populist views gain supporters<br /> <br /> 5.Polarization of Society<br /> <br /> 6.There is an incentive not to reveal how much one knows about the object, because the object then could question the legality, the system etc.<br /> <br /> 7.Last resort, the thinking, is tackled: Machine interprets “real” attitudes, not lip-service words<br /> <br /> <br /> <br /> 2.用户变得透明化（政府可以反恐，任何用户都可以被拉黑，嫉妒的配偶可以查奸情）<br /> <br /> 3.交流讨论意愿较弱（因为立场相差太远）<br /> <br /> 4.民粹主义者和民粹主义观点获得支持者<br /> <br /> 5.社会的两极分化<br /> <br /> 6.有动机不透露自己对对象了解多少，因为对象就可能质疑合法性、制度等。<br /> <br /> 7.最后的手段—思维，已经被破解：机器解释的是 &quot;真实 &quot;的态度，而不是口头禅--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:03, 27 December 2020 (UTC)<br /> <br /> <br /> 2.用户变得透明（政府可以反恐，任何用户都可以被勒索，嫉妒的配偶可以调查奸情）<br /> <br /> 3.缺乏沟通和讨论的意愿（因为立场相差太远）<br /> <br /> 4.民粹主义者和民粹主义观点获得支持者<br /> <br /> 5.社会两极分化<br /> <br /> 6.有动机不透露自己对客体了解多少，因为客体可能会质疑其合法性、制度等。<br /> <br /> 7.最后一个办法是思考：机器解释的是“真实”的态度，而不是口头禅--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:42, 27 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> 8.The knowing ones (algorithms, hackers, controllers of algorithms) have power over the unknowing ones (victims)<br /> <br /> 9.Exoskeleton ethics (like points/awards for measurable performances) reduce incentives to build inner ethics<br /> '''<br /> 7 Simulation of the imminent future'''<br /> <br /> 1.The imminent future behavior of a human can be predicted<br /> <br /> 2.With many analyzed humans, the imminent future of reality can be predicted =&gt; simulation<br /> <br /> 8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量<br /> 9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机<br /> '''<br /> 7模8拟即将到来的未来<br /> 1.人类即将发生的未来行为是可以预测的<br /> 2.有了许多被分析的人类，现实的即将到来的未来可以被预测=&gt;模拟--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:00, 27 December 2020 (UTC)<br /> <br /> 8.已知的人（算法、黑客、算法的控制者）比未知im min的人（受害者）更有力量<br /> 9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机<br /> '''<br /> 7模拟迫近的未来<br /> 1.人类的迫近未来行为是可以预测的<br /> 2.在分析了许多人类后，我们便可预测现实的迫近未来=&gt;模拟--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:22, 27 December 2020 (UTC)<br /> <br /> 8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量<br /> 9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机<br /> '''<br /> 7模8拟即将到来的未来<br /> 1.人类即将发生的未来行为是可以预测的<br /> 2.通过大量分析人类，现实里马上到来的未来便可预测到=&gt;模拟--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:32, 27 December 2020 (UTC)<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> Is this an Orwellian dystopia or reality? Some cases of the above listed phenomena have been documented. However, we are still at the beginning of “little” AI development (optimizing existing processes) and on the brink of a much more powerful development, that of “big” AI (rethinking whole industries, being able to reproduce and enhance itself). (cf. Euchner 2019). <br /> <br /> ==Zhou Shuyao 周书尧==<br /> '''8 Conclusion and Outlook'''<br /> <br /> Data has succeeded oil as the most valuable resource for today’s economy. Big Tech companies already use users’ data and make big profits with it while legislation is delayed and national boundaries (which do not exist for the Tech companies) are struggled over.<br /> Although input-legitimized liberal democracies and market economies, like that of the European Union, still protect privacy and data security, US- and China-based technology companies are already penetrating the European market.<br /> <br /> <br /> '''8 结论与展望''' <br /> <br /> 数据已经取代石油成为当今经济中最有价值的资源。大型科技公司已经在使用用户的数据并从中牟取暴利，与此同时，立法被拖延，国界（不存在科技公司）正在为之苦苦挣扎。<br /> <br /> 尽管像欧盟这样的以输入合法化的自由民主国家和市场经济，仍然保护着隐私和数据安全，但是中美两国的科技公司已经开始渗透欧洲市场。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:59, 27 December 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> We need to raise awareness and guide the youth to be careful with screen time and what they share online. We need to avoid addiction to social media.<br /> <br /> '''The algorithms do not just check which film to suggest viewing next, they have started to invade the innermost sanctum of personality, our thoughts, dreams, wishes, visions, hopes, fears and secrets.<br /> '''<br /> '''<br /> The listed consequences document a fundamental change of paradigms: <br /> '''<br /> 我们需要提高意识，引导青少年注意屏幕时间和他们在网上分享的东西。我们需要避免沉迷于社交媒体。<br /> <br /> '''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''<br /> <br /> 所列出的后果证明了范式的根本变化:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:38, 26 December 2020 (UTC)<br /> <br /> 我们需要提高意识，引导青少年留意屏幕时间和网上分享，需要避免沉迷于社交媒体。<br /> <br /> '''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''<br /> <br /> 所列出的后果证明了范式的基本变化:--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:11, 26 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> '''The cause-based decision-making by humans with established institutions like politicians, judges etc. is being replaced with correlation-based decision-making by algorithms which often serve the profit interests of tech companies or the political interests of election-manipulators.<br /> '''<br /> <br /> AI took the wrong development path, when it changed from serving humans to trying to manipulate humans for economic or political profit. When AI is used to educate citizens – like helping German customers to keep a clean credit history and a good credit score – then it changes the behavior of citizens to an exoskeletal ethic.<br /> <br /> 人类通过建立政治、法官等制度所形成的原因导向的决策方法正在被算法形成的关联导向的决策方法所取代，算法通常为科技公司的利润利益或选举操纵者的政治利益服务。<br /> <br /> 人工智能走上了错误的发展道路，它从为人类服务变成了试图为了经济或政治利益而操纵人类。当人工智能被用于教育公民——比如帮助德国客户保持干净的信用历史和良好的信用评分——它就会改变公民的行为，使其成为一种外骨骼伦理。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:42, 27 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> However, animals with an exoskeleton reduce their inside muscles and develop a soft inside, making them totally incapable of living without the exoskeleton. An exoskeletal ethic, giving reward points, for example, for behavior which is deemed positive and subtracting points for behavior which is deemed negative, deprives the human of the natural learning and developing process, in a social environment, of his responsibility and inner ethical judgment. If you were to meet a human with exoskeletal ethics and one who has inner ethics, whom would you trust more? <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> If we want to avoid the consequences listed in point 6, the public needs to become aware of this and nations and supranational organizations need to define legislation to a) protect privacy and data security, and b) give the user the control over his/her data including the commercial use of it where they earn a share from the profit made with the usage of his/her data.<br /> <br /> ==Zhu Meimei 祝美梅==<br /> '''9 Outlook'''<br /> <br /> We need to accept, that the development is irreversible. Every new technology has created fears. Important is, that we become aware of the developments and adjust where the development heads into the wrong direction. We need set the right framework and incentives that the new technology stays on track to serve humanity.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> New developments open new possibilities. We need to make sure that not only a few tech companies and terrorists use this powerful new technology to achieve their goals, but that the mass of smart device users emancipate themselves from addiction to and manipulation by technology and gain back their dignity, privacy and free will.<br /> <br /> '''References<br /> '''<br /> （参考文献不用翻译）<br /> <br /> AI-Demand. (2020). www.ai-demand.com/insights/data/big-data/big-data-and-facebook-the-heavenly-pair-that-isnt-quite-in-heaven/<br /> <br /> Baecker, Dirk. (2007). ''Studien zur nächsten Gesellschaft''. Frankfurt 2007<br /> <br /> Banken-Technologie. (2020). 26. Handelsblatt Jahrestagung. Banken-Technologie. „New Normal” in der Finanzwirtschaft: digital – intelligent – automatisiert – hybrid. 2. und 3.12.2020, Digital [Conference Announcement] https://veranstaltungen.handelsblatt.com/bankentechnologie/ki-machine-learning-finanzanalyse/ <br /> <br /> Booth, T. &quot;Cambridge Analytica controversy must spur researchers to update data ethics.&quot; ''Nature'' 555.7698 (2018): 559-560.<br /> <br /> Clickworker. (2019). www.clickworker.com/2019/04/30/ai-for-ecommerce/<br /> <br /> Cui, Yu, Qing He, and Alireza Khani. (2018). Travel behavior classification: an approach with social network and deep learning. ''Transportation research record'', 2672(47), 68-80. https://par.nsf.gov/servlets/purl/10109453 <br /> <br /> Daley, Sam. (2020). 32 Examples of AI in Healthcare that Will Make you Feel better about the Future (July 4, 2019, updated July 29, 2020). builtin.com/artificial-intelligence/artificial-intelligence-healthcare<br /> <br /> Euchner, Jim. (2019). Little ai, Big AI—Good AI, Bad AI. Terminology Management 62:3, 10-12. pdf: <br /> <br /> https://www.tandfonline.com/doi/pdf/10.1080/08956308.2019.1587280?needAccess=true<br /> <br /> Golbeck, Jennifer, Cristina Robles, and Karen Turner. (2011). &quot;Predicting personality with social media.&quot; ''CHI'11 extended abstracts on human factors in computing systems''. 2011. 253-262.<br /> <br /> Jasso-Medrano, José Luis, and Fuensanta Lopez-Rosales. (2018). &quot;Measuring the relationship between social media use and addictive behavior and depression and suicide ideation among university students.&quot; Computers in Human Behavior 87: 183-191.<br /> <br /> Luhmann, Niklas. (1997). ''Die Gesellschaft der Gesellschaft''. 1997<br /> <br /> Oddleifson, Evan. 2020, The Effects of Modern Data Analytics in Electoral Politics: Cambridge Analytica’s Suppression of Voter Agency and the Implications for Global Politics, ''Political Sciences Undergraduate Review'' 5 (2020) 7, 1-7.<br /> <br /> https://journals.library.ualberta.ca/psur/index.php/psur/article/view/130/90/130-Article%20Text-642-1-10-20200401.pdf<br /> <br /> Raj Kannan, J., Sabitha, R., Karthik, S., &amp; Shanthini, J. (2020). Mouse Movement Pattern Based Analysis of Customer Behavior (CBA-MMP) Using Cloud Data Analytics. ''Wireless Personal Communications'', OnlineFirst, 1-17.<br /> <br /> Ruan, Lotus, et al. &quot;One App, Two Systems: How WeChat uses one censorship policy in China and another internationally.&quot; (2016).<br /> Shensa, Ariel, et al. (2017). &quot;Problematic social media use and depressive symptoms among US young adults: A nationally-representative study.&quot; ''Social Science &amp; Medicine ''182: 150-157.<br /> <br /> Talent Search People. (2020). How Will Artificial Intelligence Affect the Job Market? www.talentsearchpeople.com/en/blog/494-how-will-artificial-intelligence-affect-the-job-market/.<br /> <br /> Van Den Eijnden, Regina JJM, Jeroen S. Lemmens, and Patti M. Valkenburg. (2016). &quot;The social media disorder scale.&quot; ''Computers in Human Behavior ''61: 478-487.<br /> <br /> Verschuere, Bruno, and Bennett Kleinberg. &quot;ID‐check: Online Concealed Information Test reveals true identity.&quot; ''Journal of forensic sciences'' 61 (2016): S237-S240.<br /> <br /> Vosoughi, Soroush, Deb Roy, and Sinan Aral. (2018). The spread of true and false news online. Science 359.6380: 1146-1151.. science.sciencemag.org/content/359/6380/1146<br /> <br /> ==Zhu Xu 朱旭==<br /> '''Bio'''<br /> <br /> Martin Woesler, PhD, is Jean Monnet Chair in European Studies with Hunan Normal University since 2020. At its Foreign Studies College, he is Distinguished Professor of Chinese Studies, Translation Studies and Comparative Literature since 2019. Woesler was elected Academian of the European Academy of Sciences and Arts, Salzburg in 2019.<br /> Woesler has co-edited the books &quot;China's Digital Dream&quot;, &quot;Ethics of Information Society&quot; and Springer has scheduled to publish the book &quot;Diverse Voices in Chinese Translation and Interpretation&quot; including his book chapter &quot;Modern Interpreting with Digital and Technical Aids&quot; in February 2021.<br /> <br /> 个人简历<br /> <br /> 自2020年起，吴漠汀（Martin Woesler）博士是湖南师范大学欧洲研究的讲座教授。自2019年来，他在湖师大外国语学院担任中国文化研究、翻译研究和比较文学的特聘教授。2019年，吴教授当选萨尔茨堡欧洲科学与艺术学院院士。吴教授曾与人合编《中国的数字梦想》、《信息社会伦理学》等书。施普林格（Springer）已计划于2021年2月出版《中国笔译与口译中的多种声音》一书，其中包括他的《数字与技术辅助的现代口译》一章。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:26, 27 December 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> Woesler was a Senior Fellow of the German Science Foundation's (Deutsche Forschungsgemeinschaft) Research College &quot;Media Cultures of Computer Simulations&quot; 2019‐2020 and hosted a related workshop with Bertelsmann Foundation in 2020. Woesler is also a researcher with Witten/Herdecke University, Germany, investigating the impact of daily screen time of children and of young people on their health.</div>

Qu Miao https://bou.de/u/index.php?title=20201228_cult&diff=119355 2020-12-27T13:50:34Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Alsied, Saffana==<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> ==Chen Han 陈涵==<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> ==Chen Yongxiang 陈永相==<br /> 1. 道可道，非常道；名可名，非常名。<br /> <br /> The Tao that can be trodden is not the enduring and unchanging Tao.<br /> <br /> The name that can be named is not the enduring and unchanging name.<br /> <br /> 2. 子曰：“学而时习之，不亦悦乎？有朋自远方来，不亦乐乎？人不知而不愠，不亦君子乎？”<br /> <br /> The Master said, To learn and at due times to repeat what one has learnt, is that not after all a pleasure? That friends should come to one from afar, is this not after all delightful? To remain unsound even though one's merits are unrecognized by others, is that not after all what is expected of a gentleman?<br /> <br /> 3. 菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。<br /> <br /> No such thing as the Budhi tree,<br /> <br /> Nor a mirror stand that can be.<br /> <br /> There is nothing in the first place,<br /> <br /> Whereon can the dust and dirt creep?<br /> <br /> 4. 生之享受包括许多东西：我们本身的享受、家庭生活的享受，树木、花朵、云霞、溪流、瀑布，以及大自然的形形色色，都足以称为享受；此外又有诗歌、艺术、沉思、友情、谈天、读书等的享受，后者的这些都是心灵交流的不同表现。<br /> <br /> The enjoyment of life covers many things: the enjoyment of ourselves, of home life, of trees, flowers, clouds, winding rivers and falling cataracts and the myriad things in Nature, and then the enjoyment of poetry, art, contemplation, friendship, conversation, and reading, which are all some form or other of the communion of spirits.<br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:26, 27 December 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> 1.老子曾做过周朝守藏史，后退隐，作《道德经》，其思想的核心是“道”。<br /> <br /> Lao Zi once worked as an archivist in the imperial library of the Zhou Dynasty before he retired from public life. It is widely believed that he was the author of Tao Te Ching and the core of Lao Zi's thought is &quot;Tao&quot;.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)<br /> <br /> Lao Zi once worked as an archivist in the imperial library of the Zhou Dynasty before he lived in seclusion. It is widely believed that he was the author of Tao Te Ching and the core of his thoughts is &quot;Tao&quot;.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)<br /> <br /> Lao Zi once worked as an archivist in the imperial library of the Zhou Dynasty before his retirement. Later he created the Tao Te Ching, of which the core thought is &quot;Tao&quot;.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:09, 27 December 2020 (UTC)<br /> <br /> 2.《论语》记录了孔子的言行。它涵盖了广泛的主题，从政治、哲学、文学和艺术到教育再到道德修养。<br /> <br /> The Analects of Confucius records the words and deeds of Confucius. It covers a wide variety of subjects, ranging from politics, philosophy, literature and art to education to moral cultivation.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)<br /> <br /> The Analects of Confucius records the words and deeds of Confucius. It covers a wide variety of subjects, ranging from politics, philosophy, literature to art,and from education to moral cultivation.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)<br /> <br /> The Analects recorded Confucius' words and deeds. It covers a wide range of topics, from politics, philosophy, literature and art to education to moral cultivation.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:09, 27 December 2020 (UTC)<br /> <br /> 3.惠能禅学思想的主要特点是“识心见性”和“顿悟成佛”。<br /> <br /> The main features of Hui Neng's Zen thoughts are &quot;knowing the heart and seeing the nature&quot; and &quot;becoming Buddha by epiphany&quot;.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)<br /> <br /> Hui Neng's Zen thoughts are characterized by &quot;knowing the heart and seeing the nature&quot; and &quot;becoming Buddha by epiphany&quot;.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)<br /> <br /> 4.《生活的艺术》是一本洗涤心灵的书籍，是一杯好茶，是一种良药。阅读此书能使我们被尘沙玷污的心灵洗涤，使我们能在嚣闹的城市中得到宁静。<br /> <br /> The Importance of Living is a book for washing the soul, a good cup of tea and a good medicine. Reading this book can wash our hearts polluted by dust and sand, and make us get peace in the noisy city.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:52, 26 December 2020 (UTC)<br /> <br /> The Importance of Living is a book for refreshing the soul, a good cup of tea and a good medicine. Reading this book can purify our hearts tarnished by dust and sand, and make us get peace in the noisy city.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:05, 27 December 2020 (UTC)<br /> <br /> The Importance of Living is a book that cleanses the mind, a cup of good tea and a good medicine. Reading this book can wash our hearts stained with dust and allow us to find peace in noisy cities--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:09, 27 December 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响 。<br /> <br /> Tao Te Ching is one of the greatest masterpieces in Chinese history, which has a profound influence on traditional philosophy, science, politics and religion. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)<br /> <br /> As one of the greatest masterpieces in Chinese history, Tao Te Ching has a profound influence on traditional philosophy, science, politics and religion.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC)<br /> <br /> 2.《论语》较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。<br /> <br /> The Analects embodies the political ideas, ethical thought, moral concepts and educational principles of Confucius and Confucianism. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)<br /> <br /> The Analects embodies the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and Confucianism.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC) <br /> <br /> 3.《慧能经》主张世上一切事物空幻不实，即对于现实世界不应执著或留恋。<br /> <br /> The Sutra of Hui-neng holds that everything in the world is empty and unreal, that is, it should not be persistent or nostalgic for the real world.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)<br /> <br /> The Sutra of Hui-neng holds that everything in the world is illusory, that is, it should not be persistent or nostalgic for the real world.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC)<br /> <br /> 4.《生活的艺术》是林语堂旅美专事创作后的第一部书，该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周。<br /> <br /> The Importance of Living is Lin Yutang's first book, which was published in the United States in 1937 and topped the bestseller list for 52 weeks.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 15:13, 26 December 2020 (UTC)<br /> <br /> The Importance of Living is Lin Yutang's first book after his study in the United States, which was published in the United States in 1937 and topped the bestseller list for 52 weeks.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:59, 26 December 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> <br /> ==Grosheva, Anna==<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> ==Guan Qinqing 管钦清==<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> ==Guo Lu 郭露==<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> ==He Changqi 何长琦==<br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> 1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。<br /> <br /> The land Silk Road originated from the Western Han Dynasty (202-8 BC) when Emperor Wu of Han Dynasty sent Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, and to connect Mediterranean countries.<br /> <br /> 2.海上丝绸之路形成于汉武帝时期。南海航线从中国出发，向西航行，是海上丝绸之路的主线。<br /> <br /> The maritime silk road was formed in the time of Emperor Wu of Han Dynasty. The South China Sea route, which starts from China and sails westward, is the mainstream of the maritime silk road.<br /> <br /> 3.苏曼殊浪漫主义不是西学东渐的直接产物，而是固有文化生态发生结构变动之结果。<br /> <br /> The formation of Su Manshu's romantic style was not the direct result of the eastward spread of Western learning but was the natural outcome of structural change in China's innate cultural ecosystem. <br /> <br /> 4.洋务派是中国近代最早的全面系统地接触近代科学技术的一个政治派别。<br /> <br /> Advocates of the westernization movement was the first political school that touched modern science and technology comprehensively and systematically in China.<br /> <br /> ==Hu Jin 胡瑾==<br /> 1. 《道德经》简称老子，是中国的经典文本。根据传统，它是由公元前6世纪的圣人老子所写，老子是周朝的一位记录者，在中国广为人知。尽管最早出土的文字可以追溯到公元前4世纪晚期，但文字的真正作者和撰写或编纂日期仍有争议。<br /> <br /> 1. The Tao Te Ching simply referred to as the Laozi，is a Chinese classic text. According to tradition, it was written around 6th century BC by the sage Laozi, a record-keeper at the Zhou dynasty court, by whose name the text is known in China. The text's true authorship and date of composition or compilation are still debated, although the oldest excavated text dates back to the late 4th century BC.<br /> <br /> 2. 《论语》是儒家学派的经典著作之一，由孔子的弟子及其再传弟子编撰而成。它以语录体和对话文体为主，记录了孔子及其弟子言行，集中体现了孔子的政治主张、论理思想、道德观念及教育原则等。<br /> <br /> 2. The Analects is one of the classical works of Confucianism, compiled by the disciples of Confucius and his disciples. It is mainly in the style of discourses and dialogues, recording the words and deeds of Confucius and his disciples, concentrating on Confucius' political ideas, theoretical thoughts, moral concepts and educational principles.<br /> <br /> 3. 《慧能经》附有慧能对《金刚经》的逐条注释——这是它有史以来第一次出版的英文译本。他的谈话集也被称为《六祖坛经》，是唯一的禅宗记录，一般被尊称为经，或经文。<br /> <br /> 3. The Sutra of Hui-neng is here accompanied by Hui-neng's verse-by-verse commentary on the Diamond Sutra—in its very first published English translation ever.This collection of his talks, also known as the Platform or Altar Sutra, is the only Zen record of its kind to be generally honored with the appellation sutra, or scripture.<br /> <br /> 4. 《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继之后再获成功的又一英文作品。该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周，且接连再版四十余次，并为十余种文字所翻译。<br /> <br /> 4. “The Art of Living” was Lin Yutang's first book after he had traveled to the U.S. and was another successful work in English. It was published in the United States in 1937 and topped the American bestseller list for 52 weeks the following year, and was reprinted more than forty times and translated into more than a dozen languages.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 07:31, 25 December 2020 (UTC)<br /> <br /> 4. 《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继《吾国与吾民》之后再获成功的又一英文作品。该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周，且接连再版四十余次，并为十余种文字所翻译。<br /> <br /> ''The Art of Living'' was Lin Yutang's first book after he had traveled to the U.S. and was another successful English work after ''My Country and My People''. It was published in the United States in 1937 and topped the American bestseller list for 52 weeks at the following year. Besides, it was reprinted more than forty times and translated into more than a dozen languages.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:20, 26 December 2020 (UTC)Mo Ling<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> 1、丝绸之路被认为是连结亚欧大陆的古代东西方文明的交汇之路，而丝绸则是最具代表性的货物。数千年来，游牧民族或部落、商人、教徒、外交家、士兵和学术考察者沿着丝绸之路四处活动。<br /> <br /> The Silk Road is considered to be the ancient crossroads of eastern and western civilizations linking Asia and Europe, with Silk being the most iconic cargo. For thousands of years, nomadic peoples or tribes, merchants, religious, diplomats, soldiers and academic researchers moved around along the Silk Road.<br /> <br /> 2、郑和七次奉旨率船队远航西洋，航线从西太平洋穿越印度洋，直达西亚和非洲东岸，途经30多个国家和地区。他的航行比哥伦布发现美洲大陆早87年，比达·伽马早92年，比麦哲伦早114年。在世界航海史上，他开辟了贯通太平洋西部与印度洋等大洋的直达航线。<br /> <br /> Zheng He was ordered to lead seven voyages to the Atlantic Ocean, with routes from the western Pacific Ocean across the Indian Ocean to West Asia and the east coast of Africa, passing through more than 30 countries and regions. His voyage was 87 years before Columbus discovered the American continent, 92 years before Da Gama, and 114 years before Magellan. In the history of world navigation, he opened up a direct route through the western Pacific Ocean and the Indian Ocean and other great oceans.<br /> <br /> 3、西学书籍的翻译和著述，是西学东渐相当重要的媒介，在当时出现了大量的由教士及士大夫合著合译的书籍，但这些书籍未能受到当时一般社会的重视，也未能打入晚明已十分发达的商业出版界，因此虽西学书籍有刻印出版，但主要仍仅流通于少数有兴趣的士大夫阶层。<br /> <br /> The translation and writing of books on Western studies was an important medium for the gradual expansion of Western studies to the east. A large number of books co-authored and translated by clergy and scholars emerged at that time, but these books were not taken seriously by the general society at that time, nor did they penetrate into the commercial publishing world, which was already well developed in the late Ming Dynasty.<br /> <br /> 4、随着军事工业的创办，洋务派认识到，强大的国防基础在于整个国家经济的发展，要求能源、钢铁等工业与之配套。同时，为了维护民族利益，也必须发展民族经济，与洋人&quot;商战&quot;、&quot;争利&quot;。于是，他们提出了求富的口号，民用工业和新式交通运输业也发展起来了。<br /> <br /> With the founding of the military industry, the School of Westernization realized that the basis of a strong national defense lay in the development of the entire national economy, requiring energy, steel and other industries to go along with it. At the same time, in order to safeguard national interests, it was also necessary to develop the national economy and to &quot;negotiate&quot; and &quot;compete for profits&quot; with the foreigners. Thus, they put forward the slogan of seeking wealth, and the civil industry and new transportation industry were developed.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 14:10, 26 December 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Lili 李丽丽==<br /> 1. 写于两千多年前的《道德经》是真正的精神文学经典之一。它是一个培养和平、宁静和同情的指南。<br /> Written more than two thousand years ago, the Tao Te Ching is one of the true classics of spiritual literature. It is a guide to cultivating peace, serenity, and compassion.<br /> <br /> 2.《论语》写于春秋战国时期（约公元前479年至公元前221年），被认为是儒家思想最具代表性的著作之一，至今仍对中国文化和东亚产生了重大影响。<br /> Written during the Period of Spring and Autumn and Warring States Period (ca. 479 BC - 221 BC), the Analects are considered among the most representative works of Confucian thought, and still have a great influence on Chinese culture and East Asia.<br /> <br /> 3.慧能（638-713）也许是禅宗中最受人喜爱和尊敬的人物。他本是一个目不识丁的樵夫，却一下子获得了觉悟，成为中国禅宗的第六宗师，被誉为“顿悟派”的创始人。<br /> Hui-neng (638–713) is perhaps the most beloved and respected figure in Zen Buddhism. An illiterate woodcutter who attained enlightenment in a flash, he became the Sixth Patriarch of Chinese Zen, and is regarded as the founder of the &quot;Sudden Enlightenment&quot; school.<br /> <br /> 4.生活的艺术是对现代世界令人眼花缭乱的节奏的一种讽刺、诙谐的解毒剂。<br /> The Importance of Living is a wry, witty antidote to the dizzying pace of the modern world.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:35, 27 December 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。<br /> <br /> As one of the greatest masterpieces in Chinese history, ''Tao Te Ching'' has a profound impact on traditional philosophy, science, politics, and religion.<br /> <br /> Tao Te Ching, as one of the greatest masterpieces in Chinese history, has a profound impact on traditional philosophy, science, politics and religion.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)<br /> <br /> 2.孔子因材施教，对于不同的对象，考虑其不同的素质、优点和缺点、进德修业的具体情况，给予不同的教诲，表现了诲人不倦的可贵精神。<br /> <br /> Confucius taught students in accordance with their aptitude. He gave different instructions to different students, taking into account their different qualities, strengths and weaknesses, and the specific circumstances of their advancement and cultivation, showing the valuable spirit of tireless teaching.<br /> <br /> Confucius taught students in accordance with their aptitude. For different objects, he considered their different qualities, advantages and disadvantages, and the specific situation of moral education, and gave different instructions, which showed the valuable spirit of tireless teaching.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)<br /> <br /> <br /> 3.近年来，中国大多数学者都认为《坛经》的基本内容代表了慧能思想，同时其中也有后人增益的成分。<br /> <br /> In recent years, most Chinese scholars believe that the basic content of the ''The Sutra of Huineng'' represents the thought of Huineng, while there are also some elements of later additions to it.<br /> <br /> In recent years, most Chinese scholars believe that the basic content of Tanjing represents Huineng's thought, and it also contains the later additions.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)<br /> <br /> 4.《生活的艺术》是林语堂旅美专事创作后的第一部书，也是继《吾国与吾民》之后再获成功的又一英文作品。该书于1937年在美国出版，次年便居美国畅销书排行榜榜首达52周，且接连再版四十余次，被翻译为十余种文字全球发行。<br /> <br /> ''The Importance of Living'' was the first book after Lin Yutang had traveled to the United States and was another successful work in English after ''My Country and My People''. It was published in the United States in 1937 and topped the American bestseller list for 52 weeks the following year, and was republished more than forty times and translated into more than a dozen languages for global distribution.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:14, 25 December 2020 (UTC)<br /> <br /> ''The Art of Life'' is the first book written by Lin Yutang after his trip to the United States. It is also another successful English work after ''My Country and My People''. The book was published in the United States in 1937. The following year, it ranked the top of the best seller list in the United States for 52 weeks. It has been reprinted for more than 40 times and has been translated into more than 10 languages for global distribution.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 25 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ==Liu Yi 刘艺==<br /> 1、传统的丝绸之路，起自中国古代都城长安，经中亚国家、阿富汗、伊朗、伊拉克、叙利亚等而达地中海，以罗马为终点，全长6440公里。这条路被认为是连结亚欧大陆的古代东西方文明的交汇之路，而丝绸则是最具代表性的货物。<br /> <br /> The traditional Silk Road, which started from Chang'an, the ancient capital of China, and reached the Mediterranean Sea via Central Asian countries, Afghanistan, Iran, and Syria, and ended in Rome, was 6,440 kilometers long. This road is considered to be the intersection of ancient eastern and western civilizations linking Asia and Europe, and silk is the most representative cargo. The road reached the Mediterranean Sea from Iraq, Syria, etc. and ended in Rome, with a total length of 6,440 kilometers. This road is considered to be the crossroads of ancient civilizations between East and West, linking Asia and Europe, and silk is the most representative cargo.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)<br /> <br /> 2、东海航线，也叫“东方海上丝路”。春秋战国时期，齐国在胶东半岛开辟了“循海岸水行”直通辽东半岛、朝鲜半岛、日本列岛直至东南亚的黄金通道。唐代，山东半岛和江浙沿海的中韩日海上贸易逐渐兴起。宋代，宁波成为中韩日海上贸易的主要港口。<br /> <br /> The East Sea Route, also known as the &quot;Eastern Sea Silk Road&quot;. During the Spring and Autumn Period and the Warring States Period, the State of Qi opened up a golden route on the Jiaodong Peninsula, which led to the Liaodong Peninsula, the Korean Peninsula, the Japanese islands and Southeast Asia. During the Tang Dynasty, the maritime trade between China, Korea and Japan on the Shandong Peninsula and the coast of Jiangsu and Zhejiang gradually emerged. During the Song Dynasty, Ningbo became the main port for maritime trade between China, Korea and Japan.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)<br /> <br /> 3、东学西渐指的是一个和西学东渐互相补充的东西方文化交流过程。东学西渐有一千多年的历史，对世界文化的发展有十分深远的影响。<br /> <br /> Eastern learning and Western learning refers to a process of cultural exchange between East and West that complements Western learning and Eastern learning. With a history of over a thousand years, East to West has had a profound impact on the development of world culture.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)<br /> <br /> 4、洋务运动虽然在客观上刺激中国资本主义发展、并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。<br /> <br /> Although the foreign affairs movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic import of foreign capitalism, it did not put China on the road to wealth and power.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 12:58, 25 December 2020 (UTC)<br /> <br /> Although the Westernization Movement objectively stimulated the development of Chinese capitalism and resisted the economic input of foreign capitalism to a certain extent, it did not make China prosperous and strong.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:52, 27 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.“道”作为《道德经》中最抽象的概念范畴，是天地万物生成的动力源。<br /> <br /> The way, as the most abstract concept in Tao Te Ching, is the power source for the creation of all things.<br /> <br /> As the most abstract conceptual category in Tao Te Ching, &quot;Tao&quot; is the source of power for the creation of heaven and earth.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:21, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> 2.《论语》主要以语录和对话文体的形式记录了孔子及其弟子的言行，集中体现了孔子的政治、审美、道德伦理和功利等价值思想。<br /> <br /> The Analects of Confucius mainly records the words and deeds of Confucius and his disciples in the form of quotations and dialogues, which embodies Confucius' political, aesthetic, moral and utilitarian values.<br /> <br /> 3.若欲修行，在家亦得，不由在寺。<br /> <br /> If people are sincerely keen on the practice,it is no need for them to practise in the temple and they can be successful even at home.<br /> <br /> 4.林语堂的翻译特点是通畅易懂，少用“行语”，中等文化的读者都能看懂。<br /> <br /> The translation works of Lin Yutang are characterized by fluency and transparency since he hardly adopt jargons,so that his works can be understood by less-educated readers.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:11, 26 December 2020 (UTC)Mo Ling<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> ==Phyo, Su Kyi==<br /> <br /> 1-道德经，也被称为老子或老子，是中国传统文字，传统上被认为是公元前6世纪的圣人老子。文章的作者，撰写日期和编辑日期受到争议。<br /> <br /> The Tao Te Ching, also known as Lao Tzu or Laozi, is a Chinese classic text traditionally credited to the 6th-century BC sage Laozi. The text's authorship, date of composition and date of compilation are debated.<br /> <br /> The ''Tao Te Ching'', also known as Laozi, is a Chinese classic text traditionally credited to the 6th-century BC sage Laozi. The text's authorship, date of composition and date of compilation are debated.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:08, 27 December 2020 (UTC)<br /> <br /> 2-《论语》约写于公元前500年，传统上归功于孔子。这段文字是由他的学生们在他去世后三十到五十年的时间内写的。<br /> <br /> The Analects, were written about 500 BC and are traditionally attributed to Confucius. The text was written by his students over a time period spanning the thirty to fifty years following his death.<br /> <br /> ''The Analects'', was written about 500 BC and was traditionally attributed to Confucius. The text was written by his disciples over a time period spanning the thirty to fifty years following his death.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:08, 27 December 2020 (UTC)<br /> <br /> ''The Analects'', was written in about 500 BC and was traditionally attributed to Confucius. The text was written by his disciples over a period of time spanning the thirty to fifty years following his death.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:35, 27 December 2020 (UTC)<br /> <br /> 3-大建会能，又称禅宗第六祖或禅宗第六祖，是中国禅宗早期历史中的半传奇人物，但却是中心人物。根据传统，他是一个没有受过教育的外行，在听到《金刚经》后突然醒悟。<br /> <br /> Dajian Huineng, also commonly known as the Sixth Patriarch or Sixth Ancestor of Chan, is a semi-legendary but central figure in the early history of Chinese Chan Buddhism. According to tradition he was an uneducated layman who suddenly attained awakening upon hearing the Diamond Sutra.<br /> <br /> Dajian Huineng, also commonly known as the Sixth Patriarch or Sixth Ancestor of Zen, is a semi-legendary but central figure in the early history of Chinese Zen Buddhism. According to the tradition, he was an uneducated layman who suddenly awakened upon hearing the contents of ''Diamond Sutra''.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:08, 27 December 2020 (UTC)<br /> <br /> 4-林语堂是中国发明家，语言学家，小说家，哲学家和翻译家。他的中英文不拘一格但又优美的风格使他成为这一代人中最有影响力的作家之一，他将经典的中国文字汇编和翻译成英文在西方是畅销书。<br /> <br /> Lin Yutang was a Chinese inventor, linguist, novelist, philosopher, and translator. His informal but polished style in both Chinese and English made him one of the most influential writers of his generation, and his compilations and translations of classic Chinese texts into English were bestsellers in the West.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 07:07, 27 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ==Qu Miao 瞿淼==<br /> 1、据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。<br /> <br /> According to UNESCO, ''the Tao Te Ching'' is the most widely translated cultural masterpiece in foreign languages after the ''Bible''.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)<br /> <br /> 2、孔子是当时社会上最博学者之一，在世时就被尊奉为“天纵之圣”“天之木铎”，更被后世统治者尊为孔圣人、至圣、至圣先师、大成至圣文宣王先师、万世师表。<br /> <br /> Confucius was one of the most famous scholars in the society at that time. He was honored as &quot;the sage of Heaven&quot; and &quot;the Wooden priest of Heaven&quot; when he was alive. He was also honored as the sage of Confucius, the most holy, the most holy Teacher of Confucius, the most holy Master of Dacheng, the king of Wenxuan and the master of all ages by later rulers.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)<br /> <br /> 3、经文主要记载慧能的生平事迹和言教。根据“自性本清净”之说，宣扬“明心见性”“顿悟成佛”的基本思想。<br /> <br /> The sutra mainly records Huineng's life story and his teachings. According to the theory of &quot;self-nature is pure and pure&quot;, it advocates the basic idea of &quot;seeing nature with clear heart&quot; and &quot;becoming Buddha with enlightenment&quot;.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)<br /> <br /> 4、林语堂在书中谈论了庄子的淡泊，赞扬了陶渊明的闲适，诵读了《归去来兮辞》，讲解了《圣经》故事，以及中国人如何品茗，如何行酒令，如何观山，如何玩水，如何看云，如何鉴石，如何养花、蓄鸟、赏雪、听雨、吟风、弄月等等。<br /> <br /> Lin yutang talked about in the book zhuangzi's indifferent, praised tao yuanming's leisurely, read the &quot;I'm going home!&quot;, explained the bible stories, and how the Chinese tea, how do drinkers' wager game, how to view mountain, how to play water, how to look at the cloud, how to guide, how to grow flowers, birds, snow, rain, song of the wind, to month, and so on.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:50, 27 December 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ==Seydou, Sagara==<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> ==Si Yu 司妤==<br /> <br /> <br /> 1.虽然丝绸之路是沿线各国共同促进经贸发展的产物，但很多人认为，中国的张骞两次通西域，开辟了中外交流的新纪元。从此，这条路线被作为“国道”踩了出来，各国使者、商人、传教士等沿着张骞开通的道路，来往络绎不绝。<br /> <br /> The Silk Road is the product of joint economic and trade development of countries along the route, but many people think that Zhang Qian’s traveling to the West for two times launched a new era for China and foreign exchanges. Since then, this route was deemed as “international route” as envoys, merchants and missionaries came and went along the route opened by Zhang Qian.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)<br /> <br /> 2.通过海上丝绸之路，中国还传播着民族工艺和儒道思想，对&quot;海上丝路&quot;沿线国家和地区以及欧洲各地产生不同程度的影响，甚至掀起了&quot;中国热&quot;。其中，瓷器和茶叶对世界有着很大的影响。<br /> <br /> China spread its national craft, Confucianism and Taoism through the Maritime Silk Road, impacting countries along the route and European regions of varying degrees and even created “China fever”. Among them, porcelains and Tea have great influence upon the world.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)<br /> <br /> 3.甲午战争以后，中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。<br /> <br /> Because of the First Sino-Japanese War, the Chinese people faced the fate of losing their country and families. Thus many scholars started to learn from western countries more positively and comprehensively, and a number of thinkers emerged, such as Liang Qichao, Kang Youwei and Tan Sitong. They learned a great amount of knowledge of natural science and social science and asked political reforms.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)<br /> <br /> 4.在洋务运动存续的35年里，文化出版事业的发展达到了一个前所未有的水平。京师同文馆、上海广方言馆以及江南制造局的译书馆，是当时翻译西方的中心。译书经历了由单纯的西方科技著作和书籍，向自然科学和社会科学，人文科学等著作并重，甚至后者略占上风的过程。<br /> <br /> During the 35 years of The Westernization Movement, the development of culture and publishing reached an unprecedented level. The Tongwenguan in Beijing, the Guangfangyanguan in Shanghai and the Yishuguan of the Jiangnan Manufacturing Bureau were the center of translating western works. The translation of books has gone through a process from purely Western scientific and technical works and books to works on natural sciences and social sciences and humanities, with the latter even slightly prevailing.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 11:50, 27 December 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> 1.汉武帝刘彻即位时，张骞已在朝廷担任名为“郎”的侍从官。据史书记载，他“为人强力，宽大信人”。即具有坚韧不拔、心胸开阔，并能以信义待人的优良品质。建元三年，即公元前138年，张骞“以郎应募，使月氏”。“郎”，是皇帝的侍从官，没有固定职务，又随时可能被选授重任。<br /> <br /> When Emperor Wu of Han Dynasty Liu Che assumed the throne, Zhang Qian was already working at the court as a retainer named &quot;Lang&quot;. According to historical records, he was &quot;a strong, generous and trustworthy&quot;. In other words, he was tough, open-minded, and could treat people with faith and justice. In the third year of Jian Yuan, that is, 138 B.C., Zhang Qian was recruited to make a mission to the Moon Dynasty. The &quot;Lang&quot;, the emperor's retainer, has no fixed position, and may be chosen at any time to reappoint.<br /> <br /> 2.有观点认为，明初时海外威胁受到重视，故有郑和下西洋之事。然而，或许郑和过于成功了，“他的海军满载荣誉胜利归来，并确认帝国没有来自海上的威胁”，因此“郑和与他的随从也可以说失去了继续远航的意义。”<br /> <br /> It has been argued that the overseas threat was taken seriously at the beginning of the Ming Dynasty, hence Zheng He's voyage to the West. However, perhaps Zheng He was too successful, &quot;his navy returned triumphantly laden with glory and confirmed that there was no threat to the empire from the sea&quot;, so &quot;Zheng He and his entourage could be said to have lost the point of continuing their voyage&quot;.<br /> <br /> 3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。这一时期大量的西方知识传入中国，影响非常广泛。许多人以转译日本人所著的西学书籍来接受西学。进入民国时期，由于对政治的不满又进一步导致知识分子们提出全盘西化的主张，在五四时期这种思想造成了很大的影响。这一波的西学东渐，一直持续到当代而未止。<br /> <br /> After the First Sino-Japanese War, as China was facing the fate of national ruin, many learned people began to learn more actively and comprehensively from the West, and a group of thinkers emerged, such as Liang Qichao, Kang Youwei and Tan Sitong. They learned a lot of natural and social science knowledge from the West, and also demanded reforms in politics. A great deal of Western knowledge was introduced into China during this period, and its influence was very widespread. Many people embraced Western learning by translating Western books written by the Japanese. In the Republican period, dissatisfaction with politics further led intellectuals to advocate wholesale Westernization, which had a great impact in the May Fourth period. This wave of Western learning continued into contemporary times.<br /> <br /> 4.洋务派前期创办的军事工业，经费由清政府调拨，产品分配给军队使用，管理方式是封建衙门式的。虽然这些企业采用机器生产，但本质上属于带有资本主义因素的封建官办企业。<br /> <br /> The military industries founded by the foreign affairs faction in the early period were financed by the Qing government, and the products were allocated to the army for use, and managed in a feudal government office style. Although these enterprises adopted machine production, they were essentially feudal government-run enterprises with capitalist elements.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:23, 25 December 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> ==Wu Yilu 吴一露==<br /> 1. 《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。<br /> <br /> The Tao Te Ching is one of the greatest masterpieces in Chinese history and has had a profound impact on traditional philosophy, science, politics, and religion. According to UNESCO, the Tao Te Ching is the most translated and published cultural masterpiece into foreign languages, except for the Bible.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)<br /> <br /> 2. 《论语》内容涉及政治、教育、文学、哲学以及立身处世的道理等多方面。早在春秋后期孔子设坛讲学时期，其主体内容就已初始创成。<br /> <br /> The Analects covers politics, education, literature, philosophy, and the principles of living in the world. As early as the late Spring and Autumn period, when Confucius set up a forum to teach, the main content of the Analects was already in its infancy.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)<br /> <br /> 3.《六祖坛经》记载惠能一生得法传法的事迹及启导门徒的言教,内容丰富,文字通俗,是研究禅宗思想渊源的重要依据。<br /> <br /> The Sutra of Hui-neng is a richly written account of Hui-neng's life and teachings of his disciples, also working as an important basis for studying the origins of Zen’s thought.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)<br /> <br /> 4. 读书使人得到一种优雅和风味，这就是读书的整个目的。读书并不是要“改进心智”，若是如此，一切读书的乐趣便丧失净尽了。<br /> <br /> 4. Reading gives one a grace and flavor, and that is the whole purpose of reading. Reading is not to &quot;improve the mind&quot;; if it were, all the pleasure of reading would be lost.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:27, 27 December 2020 (UTC)<br /> <br /> <br /> Reading gives people an elegance and flavor, which is the whole purpose of reading.Reading is not meant to &quot; improve the mind &quot;; if so, all the pleasure of reading is lost.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:37, 27 December 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> 1.老子认为世界上的任何事物都是相比较而存在的。美丑、善恶、有无、难易、长短都是相互依存的，有此才有彼，有是才有非，有善才有恶。表面看来，正相反对的两个方面是相互对立的，而实际上又是相互包含、相互渗透的。<br /> <br /> 1.Laozi believes that everything in the world exists by comparison. Beauty and ugliness, good and evil, existence and existence, difficulty and difficulty, length and length are interdependent. There is one and there is another, there is yes and there is no, there is good and there is evil. On the surface, the two opposite aspects are opposite, but in fact they are mutually contained and permeated.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:16, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> 2.《论语》既是语录体又是若干断片的篇章集合体。这些篇章的排列不一定有什么道理；就是前后两章间，也不一定有什么关联。而且这些断片的篇章绝不是一个人的手笔。<br /> <br /> 2.The Analects of Confucius is a collection of quotations and fragments. The arrangement of these chapters does not necessarily make sense; Even between the two chapters, there is not necessarily a connection. And these fragmentary passages are not the work of one man.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:16, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> 3.毛泽东还谈到过惠能的思想在佛教史上的地位。他说，惠能主张佛性人人皆有，创顿悟成佛之学，一方面使繁琐的佛教简易化，一方面也使从印度传入的佛教中国化。因此，他被视为禅宗的真正创始人。<br /> <br /> 3.Mao Zedong also talked about the position of Huineng's thought in the history of Buddhism. He said that Huineng advocates that everyone has the Buddha nature and creates the theory of enlightenment to become a Buddha, which, on the one hand, simplifies the tedious Buddhism and, on the other hand, makes the Buddhism introduced from India Chinese. Therefore, he is regarded as the real founder of Zen.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:16, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> 4.林语堂早年已立志发明“中文打字机”。当时科学严谨的汉字检索系统仍未建立起来；又由于汉字本身是符号文字而非字母文字，长期以来人们对制成中文打字机的可能性多持怀疑态度。<br /> <br /> 4.In his early years, Lin yutang aspired to invent the &quot;Chinese typewriter&quot;. At that time, the scientific and rigorous Chinese character retrieval system had not yet been established. Because Chinese characters are symbolic characters rather than alphabetic characters, people have long been skeptical of the possibility of making Chinese typewriters.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 13:14, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> 1.《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响。据联合国教科文组织统计，《道德经》是除了《圣经》以外被译成外国文字发布量最多的文化名著。<br /> <br /> The Tao Te Ching is one of the greatest masterpieces in Chinese history and has had a profound impact on traditional philosophy, science, politics, and religion . According to UNESCO, the Tao Te Ching is the most popular translated and published cultural masterpiece in foreign languages, except for the Bible.<br /> <br /> 2.《论语》中的第一句话就是“学而时习之，不亦说乎？”可见，孔子狠强调学用结合、学以致用、言行相符。<br /> <br /> The opening sentence of The Analects of Confucius says, “It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what you have acquired.” From here we see that Confucius emphasized the integration of learning with application and the consistence of words and actions.<br /> <br /> 3.经文主要记载慧能的生平事迹和言教。《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。<br /> <br /> The sutra mainly records Huineng's life story and his teachings. The ideas of the Tanjing played an important role in the development of Zen Buddhism. This is the only Chinese Buddhist work that has been honored as a &quot;sutra&quot;.<br /> <br /> 4.1939年，林语堂在美国纽约的世界笔会上发表了一篇《希特勒与魏忠贤》的演讲。他说，当今德国人有人把希特勒比为耶稣，由此他想起中国明朝有一位读书人倡议一说，称颂魏忠贤与孔夫子应当有同样的地位。<br /> <br /> In 1939, Lin Yutang made a speech entitled “Hitler and Wei Zhongxian” at a PEN meeting held in New York City. reminded him of a Chinese scholar of the Ming Dynasty, who advocated that Wei Zhongxian, the then dictatorial chief palace eunuch, be ranked as equal of Confucius--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:29, 27 December 2020 (UTC)Xiao Ting<br /> <br /> ==Xie Fan 解帆==<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> 1.《道德经》主要论述“道”与“德”：“道”不仅是宇宙之道、自然之道，也是个体修行即修道的方法；“德”不是通常以为的道德或德行，而是修道者所应必备的特殊的世界观、方法论以及为人处世之方法。<br /> <br /> Tao Te Ching mainly discusses &quot;Dao&quot; and &quot;De&quot; : &quot;Dao&quot; is not only the way of universe and nature, but also the method of individual cultivation; &quot;De&quot; is not the morality or virtue as commonly thought, but the special world view, methodology and way of dealing with people that a monastic should have.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia<br /> <br /> <br /> 2.《论语》是儒家经典之一，是一部以记言为主的语录体散文集，主要以语录和对话文体的形式记录了孔子及其弟子的言行，集中体现了孔子的政治、审美、道德伦理和功利等价值思想。<br /> <br /> The Analects, one of the Confucian classics，is a collection of quotations and essays, which records the words and deeds of Confucius and his students. It embodies Confucius' thoughts in politics, aesthetics, moral ethics and utilitarianism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia<br /> <br /> <br /> 3.《坛经》的思想对禅宗发展起到了重要作用。中国佛教著作被尊称为“经”的，仅此一部。<br /> <br /> The Sutra of Huineng, the only one Buddist work that has been honored as &quot;sutra&quot;, contributes a lot to the development of Zen.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia<br /> <br /> <br /> The Sutra of Hui-neng, the only Chinese Buddist work that has been honored as &quot;sutra&quot;, played an important role in the development of Zen Buddhism.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:32, 27 December 2020 (UTC)<br /> <br /> 4.林语堂在书中谈论了庄子的淡泊，赞扬了陶渊明的闲适，诵读了《归去来辞》，还讲解了《圣经》故事，谈及中国人如何品茗，如何行酒令，如何观山，如何玩水，如何看云，如何鉴石，如何养花、蓄鸟、赏雪、听雨、吟风、弄月，等等。<br /> <br /> In his book, Lin talked about the unworldliness of Chuang Tzu, praised the leusure of Tao Yuanming，and read one of Tao's prose named On Returning Home. He also explained the stories of the Bible, talked about how the Chinese people taste tea,play drinking games, watch mountains and waters, observe clouds and rocks, raise flowers and birds, enjoy the snow, listen to rain, and enjoy the air and the moon.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:26, 27 December 2020 (UTC)Xu Jia<br /> <br /> In the book, Lin Yutang talks about Zhuangzi's indifference, praises Tao Yuanming's leisure, reads the song of returning home, and explains the story of the Bible. He talks about how Chinese people drink tea, how to drink, how to watch mountains, how to play with water, how to see clouds, how to learn from stones, how to raise flowers, keep birds, watch snow, listen to rain, recite wind, and play with the moon, and so on.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:34, 27 December 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> ==Yang Hui 阳慧==<br /> 1.丝绸之路全程，从西安经安西、喀什噶尔、撒马尔罕和塞流西亚，直至推罗，直线距离是4200英里，如果加上沿途绕弯的地方，总共约有6000英里，相当于赤道的四分之一。<br /> <br /> The Silk Road runs from Xi'an through Anxi, Kashgar, Samarkand and Seleucia to Tyre at a straight distance of 4200 miles, or about 6000 miles, or a quarter of the equator, if combined with the curving.<br /> <br /> <br /> 2.海上丝绸之路是指古代中国与世界其他地区进行经济文化交流交往的海上通道。2000 多年前，一条以中国徐闻港、合浦港等港口为起点的海上丝绸之路成就了世界性的贸易网络。<br /> <br /> Maritime Silk Road refers to ancient China and the rest of the world for economic and cultural exchanges of the sea channel.More than 2000 years ago, a maritime Silk Road, which started with ports such as China's Xuwen Port and Hepu Port, became a worldwide trading network.<br /> <br /> <br /> 3.随着西学大举东来，国内知识分子的大力鼓吹，使得妇女问题开始受到社会的重视。<br /> <br /> With the western learning coming to the east in a large scale, the domestic intellectuals advocated vigorously, so that women's issues began to receive social attention.<br /> <br /> <br /> 4.自全球化进程不断加快以来，中国教育已无可避免地成为世界教育的一部分。西学的存在,对我国教育界的认识论和理论体系，带来了什么挑战和启示呢?<br /> <br /> Since the accelerating process of globalization, China's education has inevitably become a part of the world's education.What challenges and enlightenment does the existence of western learning bring to the epistemology and theoretical system of education in China? <br /> --[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:27, 27 December 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> ==Yu Ni 余妮==<br /> 1.以“道”解释宇宙万物的演变，即“道生一，一生二，二生三，三生万物”，“道”乃“夫莫之命而常自然”，因而“人法地，地法天，天法道，道法自然”。<br /> <br /> He used &quot;Tao&quot; to explain the evolution of all things in the universe, that is, &quot;Tao generates one, two, two generates three, three generates all things&quot;, &quot;Tao&quot; is &quot;Fu Mo's life is always natural&quot;, so &quot;man follows earth, earth follows heaven, heaven follows Tao, Tao follows nature&quot;.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)<br /> <br /> 2.《论语》内容涉及政治、教育、文学、哲学以及立身处世的道理等多方面。早在春秋后期孔子设坛讲学时期，其主体内容就已初始创成;孔子去世以后，他的弟子和再传弟子代代传授他的言论，并逐渐将这些口头记诵的语录言行记录下来。<br /> <br /> The content of the Analects of Confucius involves politics, education, literature, philosophy and the truth of life. As early as the late spring and Autumn period when Confucius set up an altar to give lectures, its main content had been initially created; after Confucius died, his disciples and his disciples taught him his words from generation to generation, and gradually recorded these oral quotations, words and deeds.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)<br /> <br /> 3.慧能的禅法以定慧为本，认为觉性本有，烦恼本无。直接契证觉性，便是顿悟。他说自心既不攀缘善恶，也不可沉空守寂，即须广学多闻，识自本心，达诸佛理。<br /> <br /> Huineng's Zen is based on Dinghui. He thinks that consciousness is there and worry is not. The direct evidence of consciousness is epiphany. He said that the self mind should neither climb up to good and evil, nor sink into silence. That is to say, it is necessary to learn a lot, to know the self mind, and to reach all Buddhist principles.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)<br /> <br /> 4.只有快乐的哲学，才是真正深湛的哲学；西方那些严肃的哲学理论，我想还不曾开始了解人生的真义哩。 在我看来，哲学的唯一效用是叫我们对人生抱一种比一般人较轻松较快乐的态度。——林语堂《生活的艺术》<br /> <br /> Only the philosophy of happiness is really profound philosophy; I don't think those serious western philosophical theories have begun to understand the true meaning of life. In my opinion, the only effect of philosophy is to make us have a more relaxed and happy attitude towards life than ordinary people. ——The Importance of Living by Lin Yutang--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:32, 27 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> ==Zeng Liang 曾良==<br /> 1.公元前123年，张骞随大将军卫青出使匈奴，在他的引导下，平息了多年来北方匈奴对汉王朝的骚扰，张骞因此被封为博望侯。<br /> <br /> In 123 B. C. , Zhang Qian followed General Wei Qing in a major military raid against the Xiongnu. His guidance led to a number of victories, which succeeded in ending the harassment by the Xiongnu of the Han Dynasty. Zhang Qian was therefore conferred the title of Marquis of Bowang.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)<br /> <br /> In 123 B.C., Zhang Qian accompanied the great general Wei Qing on a mission to the Xiongnu. Under his guidance, the Xiongnu harassment of the Han dynasty in the north for many years was quelled, and Zhang Qian was thus made the Marquis of Bowang.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)<br /> <br /> <br /> 2.郑和的船队由三百艘大船及三万多名水兵组成，船队中最大的一艘船被称为“宝船”，其船身长达133米，船桅多达九根，可搭载一千人。郑和和汉人与穆斯林船员一起打开了中国在非洲、印度及东南亚的贸易航线。<br /> <br /> Zheng He’s fleet had more than 300 ships and 30,000 sailors. The largest vessels, 133-meter-long “treasure ships”, had up to nine masts and could carry a thousand people. Along with a Han and Muslim crew, Zheng opened up trade routes in Africa, India, and Southeast Asia.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)<br /> <br /> Zheng He's fleet consisted of 300 ships and more than 30,000 sailors, the largest ship in the fleet was called the &quot;treasure ship&quot;, with a hull length of 133 meters and as many as nine masts, which could carry 1,000 people. Zheng He and the Chinese and Muslim crews together opened up Chinese trade routes in Africa, India and Southeast Asia.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)<br /> <br /> <br /> Zheng He’s fleet had more than 300 ships and 30,000 sailors. The largest vessels(also called “treasure ships”),133-meter-long ,had up to nine masts and could carry a thousand people. Along with a Han and Muslim crew, Zheng opened up trade routes in Africa, India, and Southeast Asia.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:26, 25 December 2020 (UTC)<br /> <br /> 3.清末时，在“西学东渐”浪潮的冲击下，传统儿童教育踏入近代的门槛。<br /> <br /> In late Qing dynasty, impacted by the wave of “ The Eastward Spread of Western Learning”, traditional children education stepped into the threshold of modern education. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)<br /> <br /> At the end of the Qing Dynasty, under the impact of the wave of &quot;Western learning&quot;, traditional children's education entered the threshold of modern times.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)<br /> <br /> 4.西进运动促进了农业、工业、交通业的飞速发展，也促进了美国城市化的进程。<br /> <br /> The Westernization Movement promoted the rapid devepment of agrilucture, industry, transportation and the urbanization process of the United States as well. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)<br /> <br /> The westward movement contributed to the rapid development of agriculture, industry, and transportation, as well as to the urbanization of the United States.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> 1.张骞出使西域,接触到西域各国的风土人情，是汉朝开始对西域各国有所了解，使汉朝与西域建立了友好关系，为后来西汉政府设置西域都护府，使西域正式归西汉政府管辖打下了基础。<br /> <br /> Zhang Qian’s mission to the Western Regions brought in contact with the customs of the Western Regions. It was the Han dynasty that began to understand the Western Regions countries, which enabled the Han dynasty to establish friendly relations with the Western Regions. Later, the Western Han government set up the Western Regions Protectorate and made the Western Regions officially returned to the Western Han government. Jurisdiction laid the foundation.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)<br /> <br /> Zhang Qian's mission to the Western Regions brought him into contact with the customs and traditions of the countries in the Western Regions, and enabled the Han Dynasty to establish friendly relations with the Western Regions, which later laid the foundation for the Western Han government to set up the Western Regions Capital Protection Office, making the Western Regions officially under the jurisdiction of the Western Han government.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)<br /> <br /> <br /> 2.海上丝绸之路自秦汉时期开通以来，一直是沟通东西方经济文化交流的重要桥梁，而东南亚地区自古就是海上丝绸之路的重要枢纽和组成部分。<br /> <br /> Since the opening of the Maritime Silk Road during the Qin and Han Dynasties, it has always been an important bridge for the economic and cultural exchanges between the East and the West. Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)<br /> <br /> Since the opening of the Maritime Silk Road during the Qin and Han dynasties, it has been an important bridge to bridge the economic and cultural exchanges between the East and the West, and the Southeast Asian region has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)<br /> <br /> 3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展。<br /> <br /> Western learning has brought various new academic achievements in modern Western modern times into China, deeply affecting the development of various academics, and many disciplines that are not valued or even existed in traditional China have also been developed under this influence.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)<br /> <br /> The gradual expansion of Western learning brought various new achievements in modern Western scholarship into China, which deeply influenced the development of various academic disciplines, and many disciplines that were not valued or even did not exist in traditional China also developed under this influence.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)<br /> <br /> 4.洋务运动虽然在客观上刺激中国资本主义发展、并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。<br /> <br /> Although the Westernization Movement objectively stimulated the development of Chinese capitalism, and to a certain extent resisted the economic import of foreign capitalism, it did not make China embark on a path of prosperity.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:58, 25 December 2020 (UTC)<br /> <br /> Although the foreign affairs movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic import of foreign capitalism, it did not put China on the road to wealth and power.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:12, 25 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.除了朴素的唯物主义观点，《道德经》一书中还包括大量朴素辩证法观点，如一切事物均具有正反两面。<br /> <br /> In addition to the simple materialistic view, ''Tao Te Ching'' also includes a large number of simple dialectical views, such as all things have positive and negative sides.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)<br /> <br /> Apart from the simple materialistic views, ''Tao Te Ching'' also includes a large number of simple dialectical views, for example, every coin has two sides.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)<br /> <br /> 2.《论语》较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。<br /> <br /> ''The Analects'' embodies the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a more concentrated manner.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)<br /> <br /> ''The Analects'' embodies the political views, ethical thoughts, moral ideas and educational principles of Confucius and the Confucianism in a relatively concentrated manner.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)<br /> <br /> 3.经文主要记载慧能的生平事迹和言教。《坛经》的思想对禅宗发展起到了重要作用。<br /> <br /> The Sutra mainly records the life story and teachings of Hui-neng. ''The Sutra of Hui-neng'' played an important role in the development of Zen Buddhism.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)<br /> <br /> The Sutra mainly recorded the life story and teachings of Hui-neng. The thought in ''The Sutra of Hui-neng'' played an important role in the development of Zen Buddhism.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)<br /> <br /> 4.林语堂先生在《生活的艺术》中将中国人旷怀达观、陶情遣兴的生活方式和浪漫高雅的东方情调充分传达出来。<br /> <br /> In ''The Importance of Living'', Lin Yutang fully conveys the Chinese way of life of being open-minded and broad-minded, and the romantic and elegant oriental sentiment.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:36, 25 December 2020 (UTC)<br /> <br /> In ''The Importance of Living'', Lin Yutang fully conveys the Chinese lifestyle of open-mindedness and broad-mindedness, and the oriental sentiment of romance and elegance.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:50, 26 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 《道德经》是中国历史上最伟大的名著之一，对传统哲学、科学、政治、宗教等产生了深刻影响.<br /> <br /> &quot;Tao De Jing&quot; is one of the greatest masterpieces in Chinese history, which has had a profound impact on traditional philosophy, science, politics, religion, etc.<br /> <br /> 《论语》，是孔子弟子及再传弟子记录孔子及其弟子言行而编成的语录文集，较为集中地体现了孔子及儒家学派的政治主张、伦理思想、道德观念及教育原则等。<br /> <br /> &quot;The Analects of Confucius&quot; is a collection of quotations compiled by Confucius and his disciples to record the words and deeds of Confucius and his disciples, which more concentratedly embodies the political views, ethics, moral concepts and educational principles of Confucius and Confucianism.<br /> <br /> 《坛经》是禅宗的主要经典之一,主要记载慧能的生平事迹和言教.<br /> <br /> The Tantra is one of the main Zen classics, mainly recording the life deeds and teachings of Huineng.<br /> <br /> 林语堂的翻译特点是通畅易懂，中等文化的读者都能看懂，这也是他探索的结果。<br /> <br /> Lin Yutang's translation features are easy to understand and can be understood by readers of intermediate culture. This is also the result of his exploration.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:31, 27 December 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> 1.先秦时期，连接中国东西方交流的通道已经存在，丝绸正式西传始于西汉通西域，丝绸之路真正形成始于西汉张骞凿空。<br /> <br /> The pre-Qin period, connecting China's East and West exchange channel has existed, the official western transmission of silk began in the Western Han Dynasty through the Western Regions, the Silk Road really formed from the Western Han Dynasty Zhang Qian chiseling.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)<br /> <br /> In the pre-Qin period, a channel connecting China's east and west already existed. The official spread of silk to the west began in the Western Han Dynasty, and the real formation of the Silk Road began when Zhang Qian's hollowed out in the Western Han Dynasty.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)<br /> <br /> 2.海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称&quot;海上陶瓷之路&quot;和“海上香料之路”，1913年由法国的东方学家沙畹首次提及。<br /> <br /> The Maritime Silk Road, also known as the &quot;Maritime Route of Ceramics&quot; and the &quot;Maritime Route of Spices&quot;, was first mentioned by the French orientalist Chavannes in 1913, and is a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)<br /> <br /> The Maritime Silk Road was an ancient maritime channel for communication and cultural exchanges between China and foreign countries. It was also called the &quot;Sea Ceramic Road&quot; and &quot;Sea Spice Road&quot;. It was first mentioned in 1913 by the French orientalist Shawan.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)<br /> <br /> 3.明代万历年间，以利玛窦为代表的西书七千部传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。<br /> <br /> During the Wanli period of the Ming Dynasty, the seven thousand missionaries of the Western Book, represented by Matteo Ricci, came to China to preach, and at the same time brought Western technology and culture. This has touched the traditional Chinese thought and culture.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)<br /> <br /> During the Wanli period of the Ming Dynasty, 7,000 missionaries represented by Matteo Ricci came to China to preach, and at the same time brought Western technology and culture. This has touched traditional Chinese thought and culture.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)<br /> <br /> 4.洋务运动，又称自强运动，是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。<br /> <br /> The Foreign Affairs Movement, also known as the Self-Strengthening Movement, was a self-help movement conducted by the Foreign Affairs faction of the late Qing Dynasty from the 1860s to the 1990s to introduce Western military equipment, machinery production and science and technology to save the Qing Dynasty.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:53, 25 December 2020 (UTC)<br /> <br /> The Westernization Movement, also known as the Self-Strengthening Movement, was a self-rescue movement carried out by the Westernization Movement from the 1860s to the late Qing Dynasty that introduced Western military equipment, machine production, and science and technology to save the Qing rule.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:01, 25 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> 1.老子生于春秋战国时期，当时的环境是周朝势微，各诸侯为了争夺霸主地位，战争不断。严酷的动乱与变迁，让老子目睹到民间疾苦，作为周朝的守藏史，于是他提出了治国安民的一系列主张。<br /> <br /> Laozi was born in the Spring and Autumn Period and the Warring States Period. At that time, the Zhou Dynasty was in a weak state. As the official historian of Zhou Dynasty, Lao Zi put forward a series of propositions of governing the country and keeping the people safe.<br /> <br /> 2.作为儒家经典的《论语》，其内容博大精深，包罗万象，《论语》的思想主要有三个既各自独立又紧密相依的范畴：伦理道德范畴——仁，社会政治范畴——礼，认识方法论范畴——中庸。<br /> <br /> As a Confucian classic, the Analects of Confucius has a broad and profound content and is all-embracing. The thoughts of the Analects of Confucius mainly consist of three independent and closely related categories: ethical and moral category -- benevolence, social and political category -- rites, and cognitive methodology category -- the doctrine of the mean.<br /> <br /> 3.慧能偈曰：<br /> 菩提本无树，明镜亦非台。<br /> 本来无一物，何处惹尘埃？<br /> <br /> My stanza read:  <br /> There is no Bodhi-tree, <br /> Nor there’s a mirror bright. <br /> Since all is void in fact,<br /> Say, where can dust alight?<br /> <br /> <br /> 4.幽默大师林语堂以人生优游者的独特视角，诠释中国人“生活的艺术”，展现出诗样人生、才情人生、幽默人生、智慧人生的别样风情。<br /> <br /> Lin Yutang, a humorist, interprets the &quot;art of life&quot; of The Chinese people from the unique perspective of a good traveler in life, showing a unique style of poetic life, talented life, humorous life and intelligent life.<br /> --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:29, 27 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> ==Zhu Xu 朱旭==<br /> 1.《道德经》不仅在中国影响深远而广泛，而且漂洋过海，传遍了世界五大洲，深受外围人的青眯，引起浓厚的学习兴趣和研究热情。他们赞誉《道德经》为“东方智慧的结晶”。当代西方流行广泛的一句话，就是老子是国际性的，目前研究老子思想已成为一种国际性的文化现象。<br /> <br /> ''The Tao Te Ching'' not only has a far-reaching influence in China, but also has spread all over the five continents of the world. They praised''the Tao te ching'' for the “crystallization of Eastern Wisdom. A popular saying in the west today is that Laozi is international, and the study of Oigo’s thought has become an international cultural phenomenon.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)<br /> <br /> 2.作为儒家最经典和最受欢迎的著作，《论语》不仅是中国传统最核心的作品之一，而且是中国人伦理道德标准和行为准则的核心。《论语》中蕴含的儒家思想是中华民族的宝贵财富。自从16世纪末以来，《论语》被中西方学者源源不断地翻译，并且传播到世界各地。<br /> <br /> As the most classical and popular works of Confucianism, ''the Analects'' is not only one of the core works of Chinese tradition, but also the core of Chinese ethical standards and codes of conduct. The Confucian thought contained in ''the Analects'' is the precious wealth of the Chinese nation. Since the end of the 16th century, ''the Analects'' has been continuously translated by Chinese and Western scholars and spread all over the world.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)<br /> <br /> 3.《慧能经》不仅是研究惠能思想的重要资料,而且是具有中国特色的佛教禅宗一派的重要经典,在中国佛教思想史、哲学史上具有深远的影响。<br /> <br /> ''The Sutra of Huineng'' is not only an important material to study Huineng’s thought, but also an important classic of Zen Buddhism with Chinese characteristics. It has a far-reaching influence on the history of Chinese Buddhist thought and philosophy.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)<br /> <br /> 4.《生活的艺术》是一本与你畅谈如何听风赏月的家常闲聊，又是一本关乎生活态度甚至生活智慧的严肃论文。林语堂从生活、家庭、文化、旅行、思想、宗教等方面探讨人必须学会享受生命。<br /> <br /> ''The Importance of Living'' is a book about how to feel the wind, enjoy the moon. It is also a serious essay about life attitude and even life wisdom. Lin Yutang analyzed from the aspects of life, family, culture, travel, thought, religion and so on. Then he drew a conclusion that people must learn to enjoy life.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:12, 27 December 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> ==Zubareva, Ekaterina==</div>

Qu Miao https://bou.de/u/index.php?title=20201221_cult&diff=119350 2020-12-27T13:39:28Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Alsied, Saffana==<br /> 1. Their king was killed and his skull turned into a drinking vessel. As a result, the Rouzhi fled and bore a constant grudge against the Xiongnu. At this time, the Han became increasingly strong, and Emperor Wu was determined to defeat the Xiongnu.--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 12:11, 25 December 2020 (UTC)<br /> <br /> 他们的国王被杀，他的头骨变成了饮酒器。 结果，柔脂逃走了，对熊怒不断地怀恨在心。 这时，汉人变得越来越强大，吴皇帝决心打败匈奴。<br /> <br /> 他们的国王被杀，他的头骨变成了饮酒器。 结果，大月氏逃走了，却仍然对匈奴怀恨在心。 这时，汉朝变得越来越强大，汉武帝决定攻打匈奴。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:52, 27 December 2020 (UTC)<br /> <br /> 2.They even carried on their ships many foreign heads of state and envoys to China. On the voyage of 1423 alone, they brought 1,200 envoys from 16 countries to China, some of whom even preferred not to go back. --[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 12:11, 25 December 2020 (UTC)<br /> <br /> 他们甚至还搭载了许多外国国家元首和特使前往中国。 仅在1423年的航行中，他们就将来自16个国家的1200名使节带到了中国，其中一些人甚至不愿回国。<br /> <br /> 3.In the second half of the 16th century, foreign missionaries from the Society of Jesus came to China. They spread religious doctrines on the one hand and introduced on the other hand works on astronomy, mathematics, physics, geography, paintings, and music to China. Meanwhile, they brought to the West Chinese Confucian and Daoist doctrines, and made contributions to cultural exchanges between China and the West. <br /> <br /> 16世纪下半叶，耶稣会的外国传教士来到中国。 他们一方面传播宗教学说，另一方面向中国介绍天文学，数学，物理学，地理，绘画和音乐方面的著作。 同时，他们把西方的儒道思想带到了西方，为中西文化交流做出了贡献。<br /> <br /> 16世纪下半叶，耶稣会的外国传教士来到中国。 他们一方面传播宗教学说，另一方面把天文学，数学，物理学，地理，绘画和音乐方面的著作引入中国。 同时，他们把中国的儒家和道家思想带到了西方，为中西文化交流做出了贡献。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:52, 27 December 2020 (UTC)<br /> <br /> 4.After the Second Opium War (1856-1860), Yi Xin (Prince Gong) and local officials realized that China had lagged far behind the West in weaponry and military technology, and advocated learning advanced production technology and troop training methods from the West so as to build a modern national defense. Known as the School of Westernization, these people launched a movement to learn from Western powers.<br /> <br /> 第二次鸦片战争（1856-1860）之后，巩义王子和当地官员意识到中国在武器装备和军事技术方面远远落后于西方，并主张从西方学习先进的生产技术和部队训练方法，以便 建立现代国防。 这些人被称为洋务派，他们发起了向西方列强学习的运动。<br /> <br /> 第二次鸦片战争（1856-1860）之后，奕䜣（恭亲王）和国内官员意识到中国在武器装备和军事技术方面远远落后于西方，因而他们主张从西方学习先进的生产技术和部队训练方法，旨在建立一支现代化的国防军队。 这些人被称为洋务派，他们发起了一场向西方列强学习的运动。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:40, 26 December 2020 (UTC)Mo Ling<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> ==Chen Han 陈涵==<br /> <br /> 1.汉政府在西域设置常驻官员，派士卒屯田，设校尉统领保护，使汉族同新疆少数民族交往更加密切。汉朝在西域设立西域都护府为标志，丝绸之路进入繁荣时代。<br /> <br /> The government of the Han Dynasty set up permanent officials in the Western Regions, dispatched soldiers to garrison the fields, and assigned a captain to lead the protection, so that the Han people had closer exchanges with ethnic minorities in Xinjiang. Marked by the establishment of Protectorate of the Western Regions by the Han Dynasty, the Silk Road entered the era of prosperity. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)<br /> <br /> 2.三国时代，魏、蜀、吴均有丝绸生产，而吴雄踞江东，汉末三国正处在海上丝绸之路从陆地转向海洋的承前启后与最终形成的关键时期。<br /> <br /> During the Three Kingdoms Period, the states of Wei, Shu and Wu all produced silk. And Wu stood firmly on the east bank of the Yangtze River. In the late Han Dynasty, the three states were at a crucial period when the Maritime Silk Road shifted from the land to the sea and eventually took shape. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)<br /> <br /> 3.澳门由于在明嘉靖年间由朝廷让与葡萄牙人，因此在明末清初的西学东渐中，西方传教士常以澳门为中继站，而一些学术思想亦经由此逐渐传入中国内地，而许多与西人打交道的中国人亦在澳门及广州等地学习西方语言及文化。<br /> <br /> Since Macau was ceded to the Portuguese by the imperial court during the years of Jaijing in the Ming Dynasty, Western missionaries often regarded it as a transition for eastward spreading of Western learning during the late Ming and early Qing dynasties, and some academic ideas were gradually introduced to the Chinese mainland, while many Chinese who had dealings with Westerners also learned Western languages and cultures in Macau and Guangzhou. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)<br /> <br /> 4.洋务派后期创办的民用工业，投资大多采取官督商办和官商合办形式，产品主要作为商品投放市场，管理上采取劳动雇佣制，所以其本质上属于带有封建因素的资本主义性质的企业。<br /> <br /> The civil industry founded by Westernization Group in the late period of the Movement was funded mostly by taking the government-supervised and merchant-managed form and the government-merchant cooperation. Its products were mainly put on the market as commodities and its management adopted the labor-employment system, so that it belongs to capitalist enterprises in essence featuring feudalism. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> 1.丝绸之路不仅是古代亚欧互通有无的商贸大道，还是促进亚欧各国和中国的友好往来，沟通东西方文化的友谊之路。<br /> <br /> The Silk Road is a commercial avenue for exchanges between Asia and Europe in ancient times as well as a road of frienndship that promotes friendly exchanges between Asian and European countries and China.<br /> <br /> The Silk Road is not only a commercial avenue for exchanges of needed goods between ancient Asia and Europe, but also a road of friendship that promotes friendly communications, and cultural exchanges between China and European countries.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)<br /> <br /> 2.在群星璀璨的中华英杰中，郑和不但以先于西方人航海，胜于西方人的航海技术受到国际社会的关注，而且以其所代表的一种文化精神得到人们的关注。<br /> <br /> Among the distinguished Chinese heroes, Zheng He not only got the attention for his sailing sills which precended and surpassed Westerns, but also attracted people's attention with the cultural spirit he represented.<br /> <br /> Among the distinguished Chinese heroes, Zheng He received international concerns not only because of his navigation skills which surpassed the Westerners, but also for a cultural spirit he represented.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)<br /> <br /> 3.西学东渐意味着以西方之学术，灌输于中国，使中国日趋于文明富强之境。<br /> <br /> The eastwars spread of western learning means instilling in China with Weastern academics so as to make China more civilized and prosperous.<br /> <br /> The Eastward Spread of Western Learning means to instill western academics into China so as to make it more civilized and prosperous.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)<br /> <br /> 4.处于传统国家和农业文明体系下的中国在面对经过资产阶级革命后的现代国家和工业文明的英国的挑战时显得不堪一击。<br /> <br /> Under the traditional agricultural civilization system, China was such vulnerable to the challenges from England, which was already a modern and highly industrilized country after the bourgeois revolution. --[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 12:15, 27 December 2020 (UTC)Chen Jingjing<br /> <br /> Under the traditional agricultural system, China was too vulnerable to face challenges from the British, which was already a modern and highly industrialized country after the bourgeois revolution.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> 1.丝绸之路沿途的大批历史文物、引人入胜的自然风景以及富有情趣的地方文化，使这一长途远游成了世界上最精彩的旅游项目之一。<br /> <br /> A wealth of historical relics, fascinating scenery and interesting local cultures along the Silk Road make this long trip one of the world’s most exciting tourist attractions.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)<br /> <br /> A vast batch of historical relics, fascinating scenery and interesting local cultures along the Silk Road enable this long trip to be one of the world’s most exciting tourist attractions.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 11:54, 27 December 2020 (UTC)<br /> <br /> 2.作为一个具有野心的拥有回族血统的穆斯林太监、一个典型的游离于儒家学者精英体制之外的人，郑和在1405到1433年间七下西洋，其中六次都在永乐帝的支持下进行。<br /> <br /> An ambitious Muslim eunuch of Hui descent, a quintessential outsider in the establishment of Confucian scholar elites, Zheng He led seven expeditions from 1405 to 1433 with six of them under the auspices of Yongle.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)<br /> <br /> As an ambitious Muslim eunuch of Hui descent and a quintessential outsider in the establishment of Confucian scholar elites, Zheng He led seven expeditions from 1405 to 1433, with six expeditions under the auspices of Yongle.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:26, 26 December 2020 (UTC)<br /> <br /> 3.从19世纪下半叶到20世纪初,伴随着“西学东渐”的进程,西方妇女生活现状、人权思想及女权理论渐次传入中国,引起了中国思想界的关注。<br /> <br /> From the second half of 19th century to the beginning of 20th century, with the progress of the eastward spread of western learning, western women's living situations, thoughts of human rights and feminist theories were gradually introduced into China and attracted the attention of the Chinese ideological circle.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)<br /> <br /> 4.在具有现代性思维的汉家学者的引导下，人们学习了西方的科学和语言，一些大城市开设了特殊的学校，军械库、工厂和船坞也参照西方的模型得到了建造。<br /> <br /> Under the direction of modern-thinking Han officials, western science and languages were studied, special schools were opened in the larger cities, and arsenals, factories, and shipyards were established according to western models.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)<br /> <br /> Under the guidance of the Han scholars with modern thinking, people learned the science and language of the west opened special schools in some big cities. Armouries, factories and docks were also built with reference to Western models.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 11:54, 27 December 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 1.张骞被誉为伟大的外交家、探险家，是“第一个睁开眼睛看世界的中国人”、“丝绸之路的开拓者”、“东方的哥伦布”。<br /> <br /> Zhang Qian, rated as a great diplomat and explorer, is &quot;the first Chinese to open his eyes to see the world &quot;,&quot; the pioneer of the Silk Road&quot; and &quot;Columbus of the East &quot;. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)<br /> <br /> 2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举，对中外经济、文化交往起到了积极作用。<br /> <br /> Zheng He's voyage to the West was an unprecedented feat in the history of world navigation in the early 15th century and played a positive role in economic and cultural exchanges between China and foreign countries.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)<br /> <br /> <br /> 3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。<br /> <br /> The Eastward World Spread of Western Learning refers to the historical process of spreading western academic thought to China from the late Ming Dynasty to modern times. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)<br /> <br /> The Eastward World Spread of Western learning refers to the historical process from the late Ming Dynasty to modern times when western academic thoughts spread to China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:08, 27 December 2020 (UTC)<br /> <br /> 4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。<br /> <br /> Westernization Movement, also known as self-strengthening movement. It is a self-help movement that introduced western military equipment, machine production and science and technology to save the rule of Qing Dynasty from 1860s to 1990s by Westernization School. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> 1、张骞出使西域这一历史事件具有特殊的历史意义。张骞对开辟从中国通往西域的丝绸之路有卓越贡献，至今举世称道。<br /> <br /> Zhang Qian’s westward travel is of historic and special significance in Chinese history. Zhang Qian made excellent contributions to the opening of the Silk Road from China to “The Western Regions”, which is even praised by today’s world.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)<br /> <br /> 2、陆路是中西往来的最古老的通道，其主要工具是马和骆驼。但牲畜负载有限，费用巨大。此外沿途自然条件艰险，安全没有保障。所以当航海技术发展起来以后，海路在中西交通中所起的作用越来越重要。<br /> <br /> Land route is the oldest access between China and“The Western Regions” and the major transportation tools were horses and camels. However, the load of those livestock was limited and cost much. Besides, the natural environment along the land route was hard and dangerous, making travelers lost security assurance.Therefore, with the development of seamanship, sea route began to play an increasingly important role in the communications between China and “The Western Regions”. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)<br /> <br /> 3、明万历年间，随着耶稣会传教士的到来，对中国的学术思想有所触动。传教士在传播基督教的教义同时，也传入大量科学技术。当时中国一些士大夫及皇帝接受了科学技术上的知识，但是在思想上基本没有受到影响。<br /> <br /> During Wanli period of Ming Dynasty, as the coming of Jesuit missionaries in China, Chinese academic thought was slightly effected by western thought. At the same time of the spreading of Christian doctrines by those missionaries, a large amount of science and technology was introduced into China. Back then, Chinese emperor and some officials accepted knowledge of western science and technology,but their thought didn’t be influenced by the knowledge.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)<br /> <br /> 4、洋务运动进行30多年虽然没有使中国富强起来，但洋务运动引进了西方先进的科学技术，使中国出现了第一批近代企业，在客观上为中国民族资本主义的产生和发展起到了促进作用。<br /> <br /> The westernization movement which lasted for over 30 years did not make China become richer or stronger, but it introduced the advanced western science and technology which stimulated the emergence of the first modern enterprises, objectively promoting the emergence and development of Chinese national capitalism. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)<br /> <br /> ==Grosheva, Anna==<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> ==Guan Qinqing 管钦清==<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> ==Guo Lu 郭露==<br /> <br /> 1. 丝绸之路是古代横贯亚欧的通道。其起点一般认为是长安（今西安），其实它随朝代更替政治中心转移而变化。长安（今西安）、洛阳、平城（今大同）、汴梁（今开封）、北京曾先后为丝路起点。<br /> <br /> The Silk Road is an ancient across of asia-europe. Its starting point is usually ascribed to Changan (now xian), actually the starting point is changed according to the changed political center. Changan (now Xian), Luoyang, Pingcheng (now Datong), Bianliang (today Kaifeng), and Beijing has been the starting point of the Silk Road.<br /> <br /> The Silk Road was an ancient crossing between Asia and Europe. Its starting point is generally considered to be Chang'an (present-day Xi'an). In fact, it changes with the change of the political center of dynasties. Chang'an (present-day Xi'an), Luoyang, Pingcheng (present-day Datong), Wei Liang (now Kaifeng), Beijing has been the starting point of silk road.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:09, 27 December 2020 (UTC)<br /> <br /> 2. 海上丝绸之路较之陆上，有共性，也有特性；有优势和潜力，也有难度和挑战。要推进21世纪海上丝绸之路建设，要在对接合作上下功夫。<br /> <br /> Compared with the Silk Road, the Maritime Silk Road shares similarities but also has its unique characters. It has its own set of advantages, potentials, as well as difficulties and challenges. Going forward, I believe the success of the Maritime Silk Road of the 21st Century would require effective efforts to coordinate our cooperation.<br /> <br /> Compared with the Silk Road, the Maritime Silk Road shares similarities but also has its unique characteristics. It has its own set of advantages, potentials, as well as difficulties and challenges. Going forward, the success of the Maritime Silk Road of the 21st Century would require effective efforts to coordinate cooperation.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:14, 25 December 2020 (UTC)<br /> <br /> 3. 在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。 <br /> <br /> The rising modern press during the period of the Eastward Spread of Western Learning deeply transformed the traditional aesthetic mechanism from the content to the form. Then the modern press has facilitated the modern reforms of Chinese esthetics.<br /> <br /> 4. 这场运动由士大夫们领导，比如李鸿章（1823——1901）和左宗棠（1812——1885），他们曾在太平起义中与政府军作战。1861到1894年间，现在成为大臣们的这些人负责建立了现代的机构，发展基础工业、通信和交通业并是军队现代化。<br /> <br /> The movement was championed by scholar-generals like Li Hongzhang (1823—1901) and Zuo Zongtang (1812—1885), who had fought with the government forces in the Taiping Rebellion. From 1861 to 1894, leaders such as these, now turned scholar-administrators, were responsible for establishing modem institutions, developing basic industries, communications, and transportation, and modernizing the military.<br /> --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:01, 24 December 2020 (UTC)<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> ==He Changqi 何长琦==<br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> ==Hu Jin 胡瑾==<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> 1.张骞（前164年-前114年），字子文，西汉外交家、探险家，是“丝绸之路的开拓者”“东方的哥伦布”。 前139年，张骞奉汉武帝之命，出使西域，打通了汉朝通往西域的道路，即赫赫有名的丝绸之路，促进了东西方文明的交流。汉武帝以军功封其为博望侯。史学家司马迁高度称赞了其出使西域。<br /> <br /> Zhang Qian( B.C. 164- B.C. 114), whose style name is Ziwen, was the diplomat and explorer in Western Han dynasty. He was called as the pioneer of the Silk Road and the Columbus of the East. In B.C. 139, at the command of Emperor Wu of Western Han dynasty, Zhang Qian visited Western Regions and carved out a way, advancing the communication between the Eastern and Western civilization. Therefore, Emperor Wu of the Han dynasty granted him the title of Marquis Bowang with military merit. And Historian Sima Qian highly praised his work.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)<br /> <br /> 2.海上丝绸之路是古代中国与外国交通贸易和文化交往的海上通道，分为东海航线和南海航线两条线路，主要以南海为中心。海上丝路萌芽于商周，发展于春秋战国，形成于秦汉，兴于唐宋，转变于明清，是已知最为古老的海上航线。 海上丝绸之路途经100多个国家和地区，是中国与外国贸易往来和文化交流的海上大通道，推动了沿线各国的共同发展。<br /> <br /> The Maritime Silk Road was a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries. It was divided into two routes, the East China Sea route and the South China Sea route, with the South China Sea as the center. The Maritime Silk Road originated in the Shang and Zhou dynasties, developed in the Spring and Autumn and Warring States periods, formed in the Qin and Han dynasties, flourished in the Tang and Song dynasties, and transformed in the Ming and Qing dynasties. And it is the oldest known maritime route. The Maritime Silk Road, passing through more than 100 countries and regions, is a major maritime corridor for trade and cultural exchanges between China and foreign countries and has promoted the common development of countries along the route.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)<br /> <br /> 3.西学东渐是指近代西方学术思想向中国传播的历史过程，通常而言是指在明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思想的传入。<br /> <br /> The Eastward Spread of Western Learning refers to the historical process of the spread of western academic ideas to China in modern times. Generally speaking, it is the introduction of academic ideas from Europe and America in the late Ming and early Qing dynasties and the early Ming and Early Ming Dynasties.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)<br /> <br /> <br /> 4.洋务运动是19世纪60到90年代晚清洋务派进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。 前期，洋务派以“自强”为旗号，创办了一批近代军事工业。后期，以“求富”为旗号，兴办了一批民用工业。甲午中日战争中，北洋海军全军覆没，洋务运动宣告破产。洋务运动虽然没有使中国富强起来，但期间引进了西方先进的科学技术，客观上促进了民族资本主义的产生和发展。<br /> <br /> The Westernization Movement was a self-help movement carried out by the Westernization Group of the Qing Dynasty from the 1960s to the late 1990s, which introduced western military equipment, machine production and science and technology to save the Qing dynasty. In the early stage, the Westernization Movement established a number of modern military industries under the banner of &quot;self-improvement&quot;. In the later period, under the banner of &quot;seeking wealth&quot;, lots of civil industries were set up. In the Sino-Japanese War of 1894-1895, the entire Beiyang Navy was wiped out, and the Westernization Movement was bankrupt. Although Westernization Movement did not make China rich and powerful, it drew in advanced science and technology from the West, which objectively promoted the emergence and development of national capitalism.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> ==Li Lili 李丽丽==<br /> 1.1417年，永乐皇帝下令郑和将使节送回国内。郑和和他的舰队再次回到海上启航，进行他的第五次远征（1417-1419）。他在许多相同的地方停留，包括爪哇岛、苏门答腊岛，还为他遇到的不同的统治者带来了信件和财富。<br /> <br /> By 1417, the Yongle Emperor ordered Zheng He to return the envoys home. Once more back on the seas, Zheng He and his large fleet set sail for his fifth expedition (1417-1419). He stopped in many of the same places, including Java, Sumatra, and also brought letters and riches to the different rulers Zheng He met. <br /> <br /> In 1417, Emperor Yongle ordered Zheng He to send the envoys back home. Zheng He and his fleet returned to sea again to set sail on his fifth expedition (1417-1419). He stopped at many of the same places, including Java and Sumatra, and also brought letters and wealth to the different rulers he met. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)<br /> <br /> 2.海上丝绸之路从福建泉州开始, 是秦汉时期形成、三国时期发展到隋朝、盛唐宋朝、明清衰落的最早航程航线。<br /> <br /> Starting from Quanzhou Fujian Province, the maritime Silk Road was the earliest voyage route that was formed in the Qin and Han dynasties, developed from the Three Kingdoms Period to the Sui Dynasty, flourished in the Tang and Song dynasties, and fell into decline in the Ming and Qing dynasties.<br /> <br /> The Maritime Silk Road began in Quanzhou, Fujian Province, and was the earliest voyage route formed during the Qin and Han dynasties, developed during the Three Kingdoms Period to the Sui dynasty, flourished in the Tang and Song dynasties, and fell into decline in the Ming and Qing dynasties. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)<br /> <br /> 3.西学东渐不仅客观上促成了马克思主义哲学在中国的广泛传播, 构成了马克思主义哲学中国化的一个重要历史前提, 而且引发了中国哲学历史发展过程中的重大变革, 推动了中国哲学从古代传统向近代传统的转变。<br /> <br /> The spread of Western learning to the East objectively promoted the dissemination of Marxist philosophy, forming an important historical precondition for its Sinicization. Moreover, it triggered a great transformation in the historical development of Chinese philosophy and facilitated its transition from an ancient to an early modern tradition.<br /> <br /> The eastward spread of Western learning has not only objectively contributed to the widespread dissemination of Marxist philosophy in China, constituting an important historical premise for the Chineseization of Marxist philosophy, but also triggered a major change in the historical development of Chinese philosophy, promoting the transformation of Chinese philosophy from the ancient to the modern tradition. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)<br /> <br /> 4.鸦片战争、不平等条约和19世纪中叶的大规模起义的残酷现实，使清朝朝臣和官员认识到壮大中国的必要性。自19世纪40年代以来，中国学者和官员一直在研究和翻译“西学”。<br /> <br /> The rude realities of the Opium War, the unequal treaties, and the mid- 19th century mass uprisings caused Qing courtiers and officials to recognize the need to strengthen China. Chinese scholars and officials had been examining and translating &quot;Western Learning&quot; since the 1840s.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:05, 25 December 2020 (UTC)<br /> <br /> The harsh realities of the Opium War, the unequal treaties, and the mass uprisings of the mid-19th century made courtiers and officials of the Qing Dynasty realize the need to strengthen China. Since the 1840s, Chinese scholars and officials had been studying and translating &quot;Western Learning&quot;. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> 1. 汉通西域，虽然起初是出于军事目的，但西域开通以后，它的影响，远远超出了军事范围。这条通道，就是后世闻名的“丝绸之路”。丝绸之路则成为“一带一路”的重要历史符号，使得我们高举和平发展的旗帜，积极发展与沿线国家的经济合作伙伴关系。 <br /> <br /> Although the missions to the western Regions in the Han Dynasty were originally aimed for military purposes, their influence went far beyond the military scope. This passageway was later known as the Silk Road. The silk road has become an important historical symbol of &quot;One Belt And One Road&quot;, which makes us hold high the banner of peaceful development and actively develop economic partnership with countries along the route.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)<br /> <br /> 2. 郑和当时率领着世界上最强大的船队下西洋，带去的不是血与火、掠夺与殖民，而是瓷器、丝绸、茶叶。下西洋是世界航海史上的壮举，现在东南亚一带还有许多几年内郑和的建筑物，表达了人们对他的尊敬。<br /> <br /> Leading the most powerful fleet in the world, Zheng He made seven voyages to the Western Seas, bringing there porcelain, silk and tea, rather than bloodshed, plundering or colonialism. Zheng He's voyages were a great feat in the world's navigation history. There are still many buildings in present Southeast Asia dedicated to his memory.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)<br /> <br /> 3. 自十七世纪开始的西学东渐，对明清之际实学思潮的兴起起到了催生作用。<br /> <br /> Since the 17th century, the west knowledge spread to the east gradually, which accelerated the rise of ideological trend during the period of Ming and Qing dynasty.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC) <br /> <br /> Eastward Spread of Western Learning starting from the 17th century accelerated the rise of ideological trend during the period of Ming and Qing dynasties.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:04, 27 December 2020 (UTC)<br /> <br /> 4. 洋务运动的历史作用不仅仅表现在经济上，其对中国近代思想启蒙的影响也是巨大的。洋务教育是洋务派为了满足洋务运动的需要，培养洋务人才进行的教育变革。<br /> <br /> The effect of Westernization Movement in history is not only on economy but also greatly on contemporary ideological enllightenment in China. Westernization education was an education reformation launched by Westernization Faction intending to meet the needs of cultivating new-type talents.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)<br /> <br /> The historical role of the foreign affairs movement is not only in the economy, but also in the enlightenment of modern Chinese thought. Westernization education is the educational reform carried out by Westernization Faction in order to meet the needs of cultivating new-type talents.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:12, 27 December 2020 (UTC)<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1.张骞先后两次出使西域，打开了中国与中亚、西亚、南亚以至通往欧洲的陆路交通，从此中国人通过这条通道向西域和中亚等国出售丝绸、茶叶、漆器和其他产品，同时从欧洲、西亚和中亚引进宝石、玻璃器等产品。<br /> <br /> Zhang Qian has made two missions to the Western Regions, opening up the land transportation between China and Central Asia, West Asia, South Asia and even Europe. Since then, the Chinese have sold silk, tea, lacquerware and other products to the Western Regions and Central Asia and other countries through this road, while importing gems, glassware and other products from Europe, West Asia and Central Asia.<br /> <br /> 2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。<br /> <br /> The Maritime Silk Road was a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries, which was mainly centered on the South China Sea, so it was also known as the South China Sea Silk Road. The Maritime Silk Road was formed during the Qin and Han Dynasties, developed during the Three Kingdoms to the Sui Dynasty, flourished during the Tang and Song Dynasties, and transformed during the Ming and Qing Dynasties, which is the oldest maritime route known to people.<br /> <br /> 3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术活动的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展。<br /> <br /> The Eastward Spread of Western Learning brought various new academic achievements in modern West into China, which deeply influenced the development of various academic activities, and many academic disciplines that were not valued or even did not exist in traditional China also developed under this influence.<br /> <br /> 4.洋务运动虽然在客观上刺激了中国资本主义发展，并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。<br /> <br /> Although the Westernization Movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic input of foreign capitalism, it did not make China become prosperous and strong.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 06:42, 25 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ==Liu Yi 刘艺==<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 1 陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。东汉时期丝绸之路的起点在洛阳，它的最初作用是运输中国古代出产的丝绸。<br /> <br /> The Overland Silk Road originated from the Western Han Dynasty (202-8 BC), when Emperor Wudi of the Han Dynasty sent Zhang Qian on a mission to the western Regions. Starting from the capital Chang 'an (now Xi 'an), it passed through Gansu and Xinjiang, reached central Asia and West Asia, and connected the Mediterranean countries on land. In the Eastern Han Dynasty, the starting point of the Silk Road was Luoyang. Its primary function was to transport silk produced in ancient China.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)<br /> <br /> 2 郑和具备军事才能，并且得到朱棣的信任。在朱棣决策下西洋时，郑和正当壮年。朱棣曾询问袁忠彻以郑和率军出使是否合适，袁忠彻认为合适。<br /> <br /> Zheng He had military talents and Zhu Di trusted him. When Zhu Di was planning to the West, Zheng He was in his prime. Zhu Di had asked Yuan Zhongche whether Zheng was the right person on such massion. Yuan Zhongche thought he was appropriate.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)<br /> <br /> 3 徐光启较早师从利玛窦学习西方的天文、历法、数学、测量和水利等科学技术，毕生致力于科学技术的研究，勤奋著述，是介绍和吸收欧洲科学技术的积极推动者，为17世纪中西文化交流作出了重要贡献。<br /> <br /> Xu Guangqi studied western science and technology such as astronomy, calendar, mathematics, measurement and water conservancy under Matteo Ricci. He devoted his whole life to the research of science and technology and wrote assiduously. He was an active promoter in introducing and absorbing European science and technology and made important contributions to the cultural exchanges between China and the West in the 17th century.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)<br /> <br /> 4 曾国藩的崛起，对清王朝的政治、军事、文化、经济等方面都产生了深远的影响。在曾国藩的倡议下，建造了中国第一艘轮船，建立了第一所兵工学堂，印刷翻译了第一批西方书籍，安排了第一批赴美留学生。<br /> <br /> Zeng Guofan's rise had a profound influence on the politics, military affairs, culture and economy of the Qing Dynasty. At Zeng's initiative, He built China's first ship, established the first military academy, printed and translated the first batch of Western books, and arranged for the first batch of overseas students to go to the United States.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> 1.丝绸之路沿途的大批历史文物、引人入胜的自然风景以及富有情趣的地方文化，使这一长途远游成了世界上最精彩的旅游项目之一。<br /> A wealth of historical relics, fascinating scenery and interesting local cultures along the Silk Road make this long trip one of the world’s most exciting tourist attractions.<br /> <br /> 2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举，对中外经济、文化交往起到了积极作用。<br /> Zheng He's voyage to the West was an unprecedented feat in the history of world navigation in the early 15th century and played a positive role in economic and cultural exchanges between China and foreign countries.<br /> <br /> 3.西学东渐是指近代西方学术思想向中国传播的历史过程。<br /> The Eastward Spread of Western Learning refers to the historical process of the spread of western academic ideas to China in modern times.<br /> <br /> 4.洋务运动虽然在客观上刺激了中国资本主义发展，并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。<br /> Although the Westernization Movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic input of foreign capitalism, it did not make China become prosperous and strong.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:28, 27 December 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.汉通西域，虽然起初是出于军事目的，但丝绸之路开通以后，它的影响，远远超出了军事范围。<br /> <br /> Although the Han Dynasty connected with the Western Regions for military purposes at first, its influence was far beyond the military scope after the opening of the Silk Road.<br /> <br /> Although the Han Dynasty connected with the Western Regions for military purposes at first, its influence was far-reaching, well beyond the military scope after the opening of the Silk Road.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:38, 26 December 2020 (UTC)<br /> <br /> 2.明初工商业的恢复和发展，宋、元以来中国海外贸易的发达，对外移民的增加，所有这一切，都为郑和下“西洋”准备了坚实的经济基础和物质条件。<br /> <br /> The recovery and development of industry and Commerce in the early Ming Dynasty, the development of China's overseas trade since the song and Yuan Dynasties, and the increase of foreign immigrants all prepared a solid economic foundation and material conditions for Zheng He's &quot;western&quot; voyage.<br /> <br /> 3.利玛窦向中国社会传播了西方的几何学、地理学知识以及人文主义的观点，开了晚明士大夫学习西学的风气。<br /> <br /> Matteo Ricci spread the western knowledge of geometry, geography and humanism to the Chinese society, which initiated the practice for the literati to absorb western learnings in the late Ming Dynasty.<br /> <br /> Ricci spread western knowledge of geometry and geography as well as humanist views to Chinese society, opening the way for scholars in the late Ming Dynasty to absorb western studies.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:07, 26 December 2020 (UTC)<br /> <br /> 4.江南制造局虽是清末洋务派创办的规模最大的兵工厂，但是技术上仍是由外国技师垄断．<br /> <br /> Although Jiangnan Manufacturing Bureau was the largest arms factory founded by Westernization Group in the late Qing Dynasty, it was still monopolized by foreign technicians in the aspect of technique.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:33, 26 December 2020 (UTC)Mo Ling<br /> <br /> Although Jiangnan Manufacturing Bureau was the largest arsenal founded by the Westernization Group in the late Qing Dynasty, the technology was still monopolized by foreign technicians.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:07, 26 December 2020 (UTC)<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> 1.建元二年（前139年），张骞率领100多名随行人员，由匈奴人堂邑父为向导从长安出发前往西域。西行进入河西走廊。这一地区自月氏人西迁后，已完全为匈奴人所控制。正当张骞一行匆匆穿过河西走廊时，不幸碰上匈奴的骑兵，他们全部被抓获。<br /> <br /> In the second year of Jianyuan(139 B.C.), Zhang Qian set off to the Western Regions leading an entourage of more than 100 men from Chang'an under the guidance of Tang Yifu who is a Hun. They travelled westward into the Hexi Corridor which had been completely controlled by the Huns since they moved westward. When they tried to hurry through this region, unfortunately they met the Hun cavalry, and they were all captured.<br /> <br /> 2.郑和下西洋所到之处主要是开展贸易活动，以“朝贡贸易”为基本形式，同时推行“官方贸易”、带动“民间互市”等。<br /> <br /> Zheng He's voyages are mainly to carry out trade activities, during which they took &quot;tribute trade&quot; as the basic activity, and at the same time promoted &quot;official trade&quot; and &quot;non-governmental trade&quot;.<br /> <br /> 3.在明末清初的一波西学东渐中，传教士扮演著相当重要的角色，当时主要以天主教耶稣会为主的传教士们，在试图将天主教传入中国的同时，引介了西方的科技学术思想，译著了大量的西方学术相关书籍。<br /> <br /> From the late Ming Dynasty to the early Qing Dynasty, missionaries played an important role in the Eastward Spread of Western Learning. While trying to introduce Catholicism into China, the missionaries mainly composed of the Catholic Jesuits introduced western scientific and technological thoughts and translated a large number of western academic books.<br /> <br /> 4.在洋务运动存续的35年里，文化出版事业的发展达到了一个前所未有的水平。译书经历了由单纯的西方科技著作和书籍，向自然科学和社会科学，人文科学等著作并重，甚至后者略占上风的过程。<br /> <br /> During the 35 years of Westernization Movement, the development of cultural publishing reached an unprecedentedly high level. The translation of books experienced a process from the dominance of western scientific and technological works to the emphasis laid equally on works of natural and social sciences and humanities, and even the latter took the majority.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 12:15, 24 December 2020 (UTC)<br /> <br /> 1. In the second year of Jian Yuan (139 BC), Zhang Qian led more than 100 serve men, with the Xiongnu man Tang Yi as the guide, to set off from Chang’ an to the West. This area has been completely controlled by the Xiongnu since the westward migration of the Ziyue people. Just as Zhang Qian passed through the Hexi Corridor, they unfortunately ran into the Xiongnu cavalry, who captured them all.<br /> <br /> 2. Zheng He mainly carried out trade activities in all the places he visited, taking “tribute trade” as the basic form. At the same time, he also promoted “official trade” and “private mutual market”.<br /> <br /> 3. In the wave of Western learning in the late Ming and early Qing dynasties, missionaries played an important role, mainly the Jesuit missionaries, who tried to introduce Catholicism into China, introduced Western scientific and academic ideas, and translated a large number of Western academic books.<br /> <br /> 4. During the 35 years’ Westernization Movement, the development of publishing reached an unprecedented level. The translation of books went through a process from purely Western scientific and technological works and books to works on natural sciences and social sciences, humanities, etc., with the latter even slightly prevailing.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:54, 25 December 2020 (UTC)Yang chenting<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> ==Phyo, Su Kyi==<br /> 1-张谦出生于西汉（公元前206年至公元24年）的城固县（今陕西省城固县）。他是中国历史上杰出的使节和探险家，开辟了古老的丝绸之路，并带来了有关西部地区的可靠信息.<br /> <br /> Zhang Qian was born in Chenggu (the present Chenggu County of Shaanxi Province) of Western Han Dynasty (206 BC-24 AD). He was an outstanding envoy and explorer in Chinese history, opening up the ancient Silk Road and bringing reliable information about the Western Regions.<br /> <br /> Zhang Qian was born in Chenggu (the present Chenggu County of Shaanxi Province) of Western Han Dynasty (206 B.C.-24 A.D.). He was an outstanding envoy and explorer in Chinese history, opening up the ancient Silk Road and bringing reliable information about the Western Regions to China.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)<br /> <br /> 2-郑和（1371-1433）是一位伟大的中国探险家和舰队司令。他进行了七次主要探险，以探索中国皇帝的世界并在新地区建立中国贸易。<br /> <br /> Zheng He (1371 - 1433) was a great Chinese explorer and fleet commander. He went on seven major expeditions to explore the world for the Chinese emperor and to establish Chinese trade in new areas.<br /> <br /> Zheng He, a great Chinese explorer and fleet captain, has carrried out 7 major explorations to broaden Chinese emperor's world and establish Chinese trade in new regions.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:02, 24 December 2020 (UTC)<br /> <br /> 3-西方的儒道教说，为中西文化交流做出了贡献。<br /> <br /> The West Chinese Confucian and Daoist doctrines, and made contributions to cultural exchange between China and the West.<br /> <br /> The Chinese Confucian and Daoist doctrines in the West, and made contributions to cultural exchange between China and the West.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)<br /> <br /> 4-自强运动，又称为洋务运动（西洋运动或西洋运动）（约1861年至1895年），是鸦片战争的军事灾难后在清朝后期在中国发起的体制改革时期。<br /> <br /> The Self-Strengthening Movement, also known as the Westernization or Western Affairs Movement ( c. 1861–1895), was a period of institutional reforms initiated in China during the late Qing dynasty following the military disasters of the Opium Wars.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 09:43, 24 December 2020 (UTC)Phyo Su Kyi<br /> <br /> The Self-Strengthening Movement, also known as the Westernization Movenment or Western Affairs Movement ( c. 1861–1895), was a period of institutional reforms initiated in China during the late Qing Dynasty following the military disasters of the Opium Wars.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ==Qu Miao 瞿淼==<br /> 1、丝绸之路是起始于古代中国，连接亚洲、非洲和欧洲的古代陆上商业贸易路线，最初的作用是运输古代中国出产的丝绸、瓷器等商品，后来成为东方与西方之间在经济、政治、文化等诸多方面进行交流的主要道路。<br /> <br /> The Silk Road was an ancient overland commercial and trade route connecting Asia, Africa and Europe that started from ancient China. Its initial function was to transport commodities such as silk and porcelain produced in ancient China. Later, it became the main road for economic, political and cultural exchanges between the East and the West.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)<br /> <br /> 2、郑和下西洋，是15世纪初叶世界航海史上的空前壮举， 对中外经济、文化交往起到了积极作用；郑和本人，也在这一历史事件中展现出其外交才能、军事谋略以及精神品质，并赢得世人的尊重和纪念。 晚清以降，郑和研究获得迅速发展，但不少重要课题仍无定论。<br /> <br /> Zheng He's voyages to the West were an unprecedented feat in the maritime history of the world at the beginning of the 15th century, which played a positive role in the economic and cultural exchanges between China and foreign countries. Zheng himself showed his diplomatic skills, military strategies and spiritual qualities in this historical event, and won the respect and memory of the world. Since the late Qing Dynasty, the study of Zheng has achieved rapid development, but many important issues are still not conclusive.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)<br /> <br /> 3、徐光启，上海人，是自李时珍后的明代又一位杰出的科学家。他生于嘉靖41年即公元1562年，父亲是个小商人，家里有一点土地，但日子过得并不宽裕，所以徐光启从小就从事农业生产劳动，这对他后来的成长有很大影响。<br /> <br /> Xu Guangqi, a Native of Shanghai, was another outstanding scientist in the Ming Dynasty after Li Shizhen. He was born in 1562, the year of the 41st emperor jiajing. His father was a merchant and his family had a little land, but his life was not very well-off. Therefore, Xu Guangqi was engaged in agricultural production and labor from an early age, which had a great influence on his later growth.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)<br /> <br /> 4、曾国藩的崛起，对清王朝的政治、军事、文化、经济等方面都产生了深远的影响。在曾国藩的倡议下，建造了中国第一艘轮船，建立了第一所兵工学堂，印刷翻译了第一批西方书籍，安排了第一批赴美留学生。<br /> <br /> Zeng Guofan's rise had a profound influence on the politics, military affairs, culture and economy of the Qing Dynasty. At Zeng's initiative, He built China's first ship, established the first military academy, printed and translated the first batch of Western books, and arranged for the first batch of overseas students to go to the United States.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ==Seydou, Sagara==<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> ==Si Yu 司妤==<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> ==Wang Meiling 王美玲==<br /> 1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。<br /> <br /> The land Silk Road originated from the Western Han Dynasty (BC 202-AD 8 ) when Emperor Wu of Han Dynasty dispatched Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, with connection to Mediterranean countries.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)<br /> <br /> 2.向西航行的郑和七下西洋：这是明朝政府组织的大规模航海活动，曾到达亚洲、非洲39个国家和地区，这对后来达·伽马开辟欧洲到印度的地方航线，以及对麦哲伦的环球航行，都具有先导作用。<br /> <br /> Westward sailing of Zheng He's seven voyages was a large-scale sailing activity organized by the Ming government, which travelled 39 countries and regions in Asia and Africa, which had a pioneering effect on the Da Gamma’s opening up the local route from Europe to India, as well as on Magellan's worldwide voyage.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)<br /> <br /> 3.西学东渐所造成中国思想文化的影响和变化之大，在中国历史上只有百家争鸣可以与之媲美。中国人经过西学的洗礼，对于世界、历史发展、政治、经济、社会、自然界万事的看法，都有了巨大的改变。<br /> <br /> The impact and the changes in Chinese thought and culture caused by Western learning can be rivaled only by the Hundred Schools of Thought in the history of China. After the baptism of Western learning, tremendous changes have been made on Chinese people's views on the world, historical development, politics, economy, society, and the whole nature.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)<br /> <br /> 4.清政府统治集团内的一些开明人士为了维护清政府的封建统治，而采取了一系列“自强”“求富”的措施，虽然其目的是为了维护封建统治，但这一运动是符合历史潮流的。<br /> <br /> Some enlightened people in the Qing government adopted a series of measures for &quot;self-improvement&quot; and &quot;seeking wealth&quot; in order to maintain the feudal rule of the Qing government. Although they were aimed to maintain the feudal government, this movement was in line with the historical trend.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)<br /> <br /> ==Wang Xuan 王轩==<br /> 1. 张骞出使西域，既是一次极为艰险的外交旅行，同时也是一次卓有成效的科学考察。张骞对广阔的西域进行了实地的调查研究工作。<br /> Zhang Qian's mission to the western regions was not only an extremely difficult diplomatic trip, but also an effective scientific investigation. Zhang Qian made a field investigation on the vast western regions.<br /> <br /> Zhang Qian's mission to the Western Regions was not only an extremely difficult and dangerous diplomatic trip, but also a fruitful scientific investigation. Zhang Qian conducted field investigation and research work on the vast Western Regions.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> 2. 十五世纪初期，郑和下西洋作为军事史上一项意义重大的事件，当前学术界从郑和下西洋的政治、经济及文化等角度对该事件的作用及影响进行了分析，鲜少从历史意义层面进行研究。郑和七次下西洋所到达的地区、实施的措施在人类航行史上占据至关重要的地位，了解郑和下西洋的历史意义非常必要。<br /> At the beginning of the 15th century, Zheng He's voyages to the West was a significant event in the military history. At present, the academic circles have analyzed the role and influence of Zheng He's voyages from the political, economic and cultural perspectives, but rarely from the perspective of historical significance. The area Zheng He arrived at and the measures he took during his seven voyages to the West occupy an important position in the history of human navigation. It is necessary to understand the historical significance of Zheng He's voyages to the West.<br /> <br /> At the beginning of the 15th century, Zheng He's voyages to the West was a significant event in the military history. At present, the academia have analyzed the role and influence of Zheng He's voyages from the political, economic and cultural perspectives, but rarely from the perspective of historical significance. The area Zheng He arrived at and the measures he took during his seven voyages to the West occupy an important position in the history of human navigation. It is necessary to understand the historical significance of Zheng He's voyages to the West.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:49, 26 December 2020 (UTC)<br /> <br /> 3. 明代万历年间，以利玛窦为代表的西方传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。<br /> During the Wanli period of the Ming Dynasty, Western missionaries represented by Matteo Ricci came to China to preach, bringing Western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, Western science and technology began to develop rapidly, while the development of science and technology in China was relatively slow, lagging behind Europe in the same period.<br /> <br /> During the Wanli period of Ming Dynasty, western missionaries represented by Matteo Ricci came to China to preach and bring western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, western science and technology began to develop rapidly, while The development of Science and technology in China was relatively slow and lagged behind that in Europe at the same time.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> 4. 随着经济全球化的发展，国与国之间的界限已经减少了。中国不断引进西方的文化，外国也不断引进中国的文化。在这个过程中，中国从最原始的封建社会，也逐步走向西化。<br /> With the development of economic globalization, the boundaries between countries have been reduced. China is constantly introducing western culture, and foreign countries are also constantly introducing Chinese culture. In this process, China gradually moved from the most primitive feudal society to Westernization.<br /> --[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 10:38, 26 December 2020 (UTC)Wang Xuan<br /> <br /> With the development of economic globalization, the boundaries between countries have been reduced. China continues to introduce Western culture, and foreign countries continue to introduce Chinese culture. In this process, China has gradually moved from the most primitive feudal society to Westernization.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> 1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。东汉时期丝绸之路的起点在洛阳。它的最初作用是运输中国古代出产的丝绸。<br /> <br /> 1.The land Silk Road originated from the Western Han Dynasty (202-8 BC) when Emperor Wu of Han Dynasty sent Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, and to connect Mediterranean countries. The starting point of the Silk Road in the Eastern Han Dynasty was Luoyang. Its original function was to transport silk from ancient China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> 2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。<br /> <br /> 2.The &quot;maritime Silk Road&quot; is a maritime channel for communication, trade and cultural exchanges between ancient China and foreign countries. The road is mainly centered on the South China Sea, so it is also called the South China Sea Silk Road. The maritime silk road was formed in the Qin and Han Dynasties, developed from the Three Kingdoms to the Sui Dynasty, flourished in the Tang and Song Dynasties, and transformed into the Ming and Qing Dynasties. It is the oldest known maritime route.<br /> <br /> 3.除了传教士之外，许多来华的官员、探险家等也成为传入西学的重要媒介，例如将领戈登对于中国洋务时期军事的影响。主持海关总税务司的赫德对于西方管理制度的引入，以及译介书籍、最早西方军乐队的引入都有影响。<br /> <br /> 3.Besides missionaries, many officials and explorers who came to China also became important media for the introduction of Western learning, such as general Gordon's influence on China's military during the Westernization period. Hurd, who presided over the General Revenue Department of customs, had an influence on the introduction of Western management system, the translation of books and the introduction of the earliest Western military band.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> 4.洋务运动内容涉及军事、政治、经济、外交等，以“自强”为名，兴办军事工业并围绕军事工业开办其他企业，建立新式武器装备的陆海军。洋务派经营的这些近代企业，是在不改变封建统治为前提下所办企业，具有很强的对外依赖性、封建性和一定程度的垄断性。<br /> <br /> 4.The Westernization Movement involved military affairs, politics, economy, diplomacy and so on. In the name of &quot;self-improvement&quot;, the Westernization Movement set up military industry and other enterprises around the military industry to establish the army and Navy with new weapons and equipment. These modern enterprises managed by the Westernization clique were established on the premise of not changing the feudal rule, and had strong external dependence, feudalism and a certain degree of monopoly.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> 1.2100多年前，中国汉代的张骞两次出使中亚，开启了中国同中亚各国友好交往的大门，开辟出一条横贯东西、连接欧亚的丝绸之路。千百年来，在这条古老的丝绸之路上，各国人民共同谱写出千古传诵的友好篇章。<br /> <br /> The Silk Road first emerged more than 2,100 years ago during the Han Dynasty (206 BC-AD 24) after China's imperial envoy Zhang Qian twice visited Central Asia. It became a bridge between East and West, opening the door to friendly engagement between China and Central Asia. For two millennia, countless tales of everlasting friendship between peoples have been woven into this ancient network.<br /> <br /> 2.中国走的是一条和平发展之路。作为拥有五千年文明积淀的东方大国，中国人历来崇尚以和为贵，从来就没有对外扩张的基因。600多年前，郑和率领当时世界上最强大的船队七次远航太平洋和西印度洋，到访30多个国家和地区，没有侵占一寸土地。这对于当年热衷于殖民扩张的西方国家来说，简直是不可思议，但中国确实做到了。<br /> <br /> China follows a path of peaceful development. China is a big country in the East with a five-thousand-year civilization. The Chinese believe in peace. There’s not a single bone of making external expansionism in the body of the Chinese. As early as over six hundred years ago, the Chinese navigator Zheng He led the biggest fleet in the world to the Pacific and west Indian Oceans on seven expeditions, visiting over thirty countries and regions, not taking a single inch of land. That was actually quite inconceivable for those Western powers who were busy making colonial expansion, but the Chinese did that. <br /> <br /> 3.在19世纪的西学东渐中，基督新教的教士也开始进入中国，天主教士也随口岸的开放来往各地，他们成立教会学校、医院，并开设印书馆、设立期刊、并译著大量各种书籍。对于西学的传入有很大贡献。<br /> <br /> In the 19th century, Protestant priests also began to enter China, and Catholics also came with the opening of the ports. They established schools and hospitals, printed books, set up periodicals, and translated a large number of books. They contributed greatly to the Eastward Spread of Western learning。<br /> <br /> 4.在新航路的开辟，文艺复兴，宗教改革运动，资产阶级革命，产业革命的推动下，至洋务运动发生时，资本主义世界体系已初步完成，人类进入了一个新时期，这也是历史发展的必然。<br /> <br /> Driven by the opening of new routes, the Renaissance, the Reformation, the bourgeois revolution, the industrial revolution, and by the time of the foreign affairs movement, the capitalist world system had been initially completed and mankind had entered a new period, which was a natural development of history.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:04, 27 December 2020 (UTC)Xiao Ting<br /> <br /> ==Xie Fan 解帆==<br /> 1.张骞第一次虽然没有完成出使目的，但是对西域诸国的山川地理、风土民情等重要信息，有了非常细致全面的掌握。<br /> <br /> Although Zhang Qian did not reach the destination for the first time, he had a very detailed and comprehensive grasp of important information such as mountains, rivers, geography, people and local conditions of the western countries.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)<br /> <br /> Although Zhang Qian did not arrive at the destination for the first time, he had a very detailed and comprehensive grasp of important information such as mountains, rivers, geography, people and local conditions of many western countries.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)<br /> <br /> 2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举。郑和本人也在这一历史事件中展现出其外交才能、军事谋略以及精神品质，并赢得世人的尊重和纪念。<br /> <br /> Zheng He's voyage was an unprecedented achievement in the world's maritime history in the early 15th century. Zheng He, showed his diplomatic skills, military strategies and spiritual qualities in this historical event, and won the respect and honor of the world.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:06, 25 December 2020 (UTC)<br /> <br /> Zheng He's voyage was an unprecedented achievement in the world's maritime history in the early 15th century. Zheng He himself showed his diplomatic skills, military strategies and spiritual qualities in this historical event who has won the respect and honor of the world.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)<br /> <br /> 3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。<br /> <br /> After the War of 1894, as China was reduced to separation, many people of insight began to learn from the West more actively and comprehensively. At that time appeared Liang Qichao, Kang Youwei, Tan Si-tong and other thinkers.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)<br /> <br /> After the War of 1894, as China was reduced to separation, many people of insight began to learn from the Western countries more actively and comprehensively. At that time appeared Liang Qichao, Kang Youwei, Tan Si-tong and other thinkers.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)<br /> <br /> 4.戊戌变法是一次具有爱国救亡意义的变法维新运动，是中国近代史上一次重要的政治改革，也是一次思想启蒙运动。<br /> <br /> The Hundred Days' Reform is a movement with the significance of patriotic salvation, an important political reform in modern China's history, as well as an ideological enlightenment movement.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)<br /> <br /> The Hundred Days' Reform is a movement with the significance of patriotic salvation, a significant political reform in modern China's history, as well as an ideological enlightenment movement.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> 1.丝绸之路是古代中国联系中亚、西亚、非洲和欧洲的交通要道。19世纪，德国一个地理学家首次使用“丝绸之路”这一术语，一直沿用到今天。期初，它指从中国新疆到中亚的陆地通道。<br /> <br /> The Silk Road was a general name for the ancient strategic transportation channel which started from China and passed through Central Asia, West Asia, Africa and Europe. In the 19th century, when the name of Silk Road was first used by a German geographer, it just included the land road from China’s Xinjiang to Central Asia.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia<br /> <br /> <br /> 2.海上丝绸之路在时间和空间上经过了长期的发展，在东方各国共同的经营下，形成了东方历史上一道独特而壮丽的风景，至今仍然承载着东方文明的传统。<br /> <br /> The Maritime Silk Road has gone through long-term development in time and space. Under the joint management of eastern countries, it has formed a unique and magnificent scenery in the history of the East and still carries the tradition of eastern civilization.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia<br /> <br /> <br /> 3.中华文明是古代六大原生文明之一，由于所处的独特地理位置，中华文明的发展一直具有极强的独立性，较少受到其他文明的影响。但随着历史向前发展，中国与世界的联系也更为密切，直到明末清初“西学东渐”，中国人才第一次系统地接触到西方文明。<br /> <br /> The Chinese civilization is one of the six ancient civilizations. Due to its unique geographical location, the development of the Chinese civilization has always been highly independent and less influenced by other civilizations. As history progressed, however, China became more connected with the rest of the world. It was not until the eastward spread of western learning in the late Ming and early Qing Dynasty that Chinese people formed systematic knowledge about western civilization.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia<br /> <br /> The Chinese civilization is one of the six ancient civilizations. Due to its unique geographical location, the development of the Chinese civilization has always been highly independent and less influenced by other civilizations. As history moving forward, however, China became more connected with the rest of the world. It was not until the eastward spread of western learning in the late Ming and early Qing Dynasty that Chinese people formed systematic knowledge about western civilization.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:09, 27 December 2020 (UTC)Xiao Ting<br /> <br /> 4.洋务运动创办了近代中国由国人自办的最早一批军用和民用近代企业，揭开了中国资本主义生产方式的序幕。<br /> <br /> The Westernization Movement established the first modern military and civilian enterprises run by Chinese people in modern China, which provided an opening for capitalist production in China.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia<br /> <br /> <br /> The Westernization Movement established the first bunch of modern military and civilian enterprises run by Chinese people in modern China, which provided an opening for capitalist production in China.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:09, 27 December 2020 (UTC)Xiao Ting<br /> <br /> ==Xu Jing 许静==<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> 1. 丝绸之路经济带，是在古丝绸之路概念基础上形成的一个新的经济发展区域。包括西北五省区陕西、甘肃、青海、宁夏、新疆。<br /> <br /> 1. Silk Road Economic Belt is a new economic development region formed on the basis of the ancient Silk Road. It includes the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. <br /> <br /> The Silk Road Economic Belt is a new economic development region based on the ancient Silk Road. It includes the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:03, 24 December 2020 (UTC)<br /> <br /> The Silk Road Economic Belt is a new economic development region based on the ancient one. It covers the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:08, 25 December 2020 (UTC)<br /> <br /> 2. 海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称&quot;海上陶瓷之路&quot;和“海上香料之路”，1913年由法国的东方学家沙畹首次提及。<br /> <br /> 2. Maritime Silk Road is a maritime route of trade and cultural exchanges between ancient China and foreign countries, also known as “Maritime Ceramic Road” and “Maritime Spice Road”, first mentioned by the French orientalist Chavan in 1913.<br /> <br /> 3. 西学东渐是指从明朝末年到近代的西方学术思想向中国传播的历史过程，虽然也可以泛指自上古以来一直到到当代的各种西方事物传入中国，但通常而言是指明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思传入。<br /> <br /> 3. The Eastward Spread of Western Learning is a historical process of spreading Western academic thought to China from the late Ming Dynasty to modern times. Although it can also refer to the introduction of various Western things into China from ancient times to contemporary times, but usually refers to the introduction of academic thought from Europe and the United States in the late Ming and early Qing dynasties.<br /> <br /> 4. 鸦片战争后，他们的基本思想就是了解夷情,“师夷长技以制夷”。这些卓识远见表明近代向西方学习的思潮的始初就和爱国精神交融在一起。<br /> <br /> 4. After the Opium War, their basic idea was to understand the situation of the barbarians and “learn from them in order to control them”. These insights show that the modern trend of learning from the West was intertwined with the spirit of patriotism from the very beginning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 02:34, 24 December 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> 1.明代中期以后，政府采取了闭关锁国的政策，与此同时，造船技术和航海技术不断发展，海上交通代之而起，使丝绸之路贸易全面走向衰落。<br /> <br /> After the mid-Ming Dynasty, the government adopted a policy of shutting down the country. At the same time, shipbuilding technology and navigation technology continued to develop, and maritime traffic took its place, causing the Silk Road trade to decline in an all-round way.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)<br /> <br /> 2.郑和，这位航海史上的先驱，以智慧为舵，扬起和平的风帆，缔造了世界航海业发展的里程碑，厚植了“一带一路”的文化底色与民心基石，书写了中国同其他国家友好交往的千古佳话。<br /> <br /> Zheng He, a pioneer in the history of navigation, took wisdom as the rudder and raised the sail of peace. He created a milestone in the development of the world’s navigation industry. An eternal story of friendly exchanges between countries.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)<br /> <br /> 3.利玛窦向中国社会传播了西方的几何学、地理学知识以及人文主义的观点，开了晚明士大夫学习西学的风气。<br /> <br /> Matteo Ricci spread Western geometry, geography knowledge, and humanistic views to Chinese society, and developed the ethos of scholar-officials in the late Ming Dynasty to learn Western studies.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> ==Yang Yue 杨悦==<br /> 1、丝绸之路经过亚洲、中东、北非和欧洲。几个世纪以来，丝绸之路是东西方交流的最重要的线路。尽管名字叫丝绸之路，人们进行贸易的商品却不仅仅是丝绸。玄奘和马可·波罗都留下了他们丝绸之路之旅的详尽记录。<br /> <br /> The Silk Road went through Asia, the Middle East, North Africa and Europe. For centuries, the Silk Road was the most important line of communication connecting East and West. Although it's called the Silk Road, people traded much more than silk. Both Xuan Zang and Marco Polo left detailed records of their journeys along the Silk Road.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)<br /> <br /> 2、郑和（1317-1435）是中国最有名的探险家之一。1405至1433年间，郑和完成了七次著名的航行。他游览了亚洲和非洲的许多国家。郑和还从他游览的国家带回来很多礼物，像药品，珍珠和珍禽异兽。<br /> <br /> Zheng He (1371-1435) was one of China's most famous explorers. Zheng He completed seven famous voyages between 1405 and 1433. He visited many countries in Asia and Africa. Zheng He also brought back many gifts from the countries he visited, such as medicines, pearls and strange animals.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)<br /> <br /> As one of China's most famous explorers,Zheng He completed seven famous voyages between 1405 and 1433. He visited many countries in Asia and Africa. Zheng He also brought back many gifts from the countries he visited, such as medicines, pearls and strange animals.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:11, 27 December 2020 (UTC)<br /> <br /> 3、在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。 <br /> <br /> The rising modern press deeply transformed the traditional aesthetic mechanism from the content to the form. Then the modern press has facilitated the modern reforms of Chinese esthetics.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)<br /> <br /> 4、洋务运动是部分先进的中国人探索中国近代化的过程。太平天国运动加速了中国近代历史的进程，推动了洋务运动的勃兴。洋务运动的历史作用不仅仅表现在经济上，其对中国近代思想启蒙的影响也是巨大的。 <br /> <br /> Westernization Movement is the process in which some Chinese with advanced knowledge explore how to modernize China. The Taiping movement accelerated the progress of China's modern history and promoted the Westernization movement. The effect of Westernization Movement in history is not only on economy but also greatly on contemporary ideological enlightenment in China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> 1.张骞出使西域本为贯彻汉武帝联合大月氏抗击匈奴之战略意图，但出使西域后汉夷文化交往频繁，中原文明通过&quot;丝绸之路&quot;迅速向四周传播。<br /> <br /> Zhang Qian's mission to the Western regions was to implement the strategic intention of emperor Wudi of the Han Dynasty to unite with the Yuezhi clan to fight against the Xiongnu. However, after his mission to the Western regions, there were frequent cultural exchanges between the Han and The Barbarians, and the civilization of the Central Plains rapidly spread around through the &quot;Silk Road&quot;.<br /> <br /> 2.海上丝绸之路自秦汉时期开通以来，一直是沟通东西方经济文化交流的重要桥梁，而东南亚地区自古就是海上丝绸之路的重要枢纽和组成部分。<br /> <br /> Since its opening in the Qin and Han Dynasties, the Maritime Silk Road has been a significant bridge for economic and cultural exchanges between the East and the West, and Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.<br /> <br /> 3.西学东渐所造成中国思想文化的影响和变化之大，在中国历史上只有百家争鸣可以与之媲美。<br /> <br /> The influence and change of Chinese ideology and culture brought by the eastward dissemination of Western learning can only be matched by the contention of a hundred schools of thought in Chinese history.<br /> <br /> 4.洋务运动推动了近代中国生产力的发展，促使了中国民族资本主义的产生。<br /> <br /> Westernization movement advanced the development of productive forces in modern China and the emergence of Chinese national capitalism.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:47, 26 December 2020 (UTC)<br /> <br /> 1.Zhang Qian's mission to the Western regions was originally to implement the strategic intention of emperor Wudi of the Han Dynasty to unite with the Yuezhi clan to fight against the Xiongnu. However, after his mission to the Western regions, there were frequent cultural exchanges between the Han and the Barbarians, and the civilization of the Central Plains rapidly spread around through the &quot;Silk Road&quot;.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)<br /> <br /> 2.Since the opening of the Maritime Silk Road in Qin and Han Dynasties, it has been a significant bridge for economic and cultural exchanges between the East and the West, and Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)<br /> <br /> 3.In Chinese history, only contention of a hundred schools of thought can match the great influence and change of Chinese ideology and culture caused by the the eastward spreading of western learning.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)<br /> <br /> 4.The Westernization Movement promoted the development of productive forces in modern China and the emergence of Chinese national capitalism.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> 1.&quot;海上丝绸之路&quot;是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。<br /> <br /> The &quot;South China Sea Silk Road&quot; is also known as the Maritime Cultural Communication Center of China. The maritime silk road was formed in the Qin and Han Dynasties, developed from the Three Kingdoms to the Sui Dynasty, flourished in the Tang and Song Dynasties, and transformed into the Ming and Qing Dynasties. It is the oldest known maritime route.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)<br /> <br /> 2.郑和下西洋是中国古代规模最大、船只最多（240多艘）、海员最多、时间最久的海上航行，比欧洲国家航海时间早几十年，是明朝强盛的直接体现。<br /> <br /> Zheng He's voyages to the West were the largest, the largest number of ships (more than 240), the largest number of seafarers and the longest voyages in ancient China. They were decades earlier than those of European countries. They were the direct manifestation of the prosperity of the Ming Dynasty.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)<br /> <br /> 3.明代万历年间，以利玛窦为代表的西方传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。传教士在传播基督教的教义同时，也传入大量科学技术。<br /> <br /> During the Wanli period of the Ming Dynasty, Western missionaries represented by Matteo Ricci came to China to preach, bringing Western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, Western science and technology began to develop rapidly, while the development of science and technology in China was relatively slow, lagging behind Europe in the same period. Missionaries not only spread Christian doctrine, but also introduced a lot of science and technology.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)<br /> <br /> 4.洋务运动的最根本的指导思想是&quot;自强&quot;、&quot;求富&quot;。 其分类思想就是&quot;师夷制夷&quot; 、&quot;中体西用&quot; 八个字。前四个字&quot;师夷制夷&quot; 表明洋务运动与外国资本主义侵略者的关系，即学习西方的长技用以抵制西方的侵略。<br /> <br /> The most fundamental guiding ideology of Westernization Movement is &quot;self strengthening&quot; and &quot;seeking wealth&quot;. Its classification thought is &quot;learning from foreigners, controlling foreigners&quot; and &quot;Chinese style and western use&quot;. The first four words &quot;learning from foreigners and controlling foreigners&quot; indicate the relationship between the Westernization Movement and foreign capitalist invaders, that is, learning from Western long-term skills to resist Western aggression.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> 唐代丝绸之路的畅通繁荣，也进一步促进了东西方思想文化交流，对以后相互的社会和民族意识形态发展，产生了很多积极、深远的影响。<br /> <br /> The smooth and prosperous development of the Silk Road in the Tang Dynasty also further accelerated the ideological and cultural exchanges between the East and the West, causing a lot of positive and far-reaching influences on the development of mutual social and national ideologies in the future.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)<br /> <br /> 宋代海上丝绸之路的持续发展，大大增加了朝廷和港市的财政深收入，一定程度上促进了经济发展和城市化生活，也为中外文化交流提供了便利条件。<br /> <br /> The continuous development of the Maritime Silk Road in the Song Dynasty greatly increased the deep financial income of the imperial court and the port city, promoted the economic development and urban life to a certain extent, and also provided convenient conditions for the cultural exchanges between China and foreign countries.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)<br /> <br /> 西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展，<br /> <br /> The eastward spread of Western learning brought various new academic achievements of modern Western learning into China, which deeply influenced the development of various academic disciplines. Under such an influence, many disciplines that were not valued or even did not exist in traditional China also developed.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)<br /> <br /> 甲午中日战争中，北洋海军全军覆没，标志着清朝海军实力的完全丧失，也标志着35年的洋务运动宣告破产。<br /> <br /> The total annihilation of the Beiyang Navy in the Sino-Japanese War marked the complete loss of naval power in the Qing Dynasty and the bankruptcy of the 35-year-old Westernization Movement.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> 丝绸之路是汉唐千余年间中外经济、文化交流的重要通道，为汉朝的强大，乃至整个中华民族的强大奠定了坚实的基础。<br /> Silk Road, a significant path of economic and cultural exchanges between China and foreign countries during the Han and Tang Dynasty, which lasted for over thousand years, laying a solid foundation for greatness of the Han Dynasty, and even that of the whole Chinese nation.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)<br /> <br /> <br /> 回望历史，浩浩荡荡，郑和七下西洋堪称中国“海上丝绸之路”最壮丽的诗篇，也是人类航海史第一个高峰。<br /> Looking back at the history, Zheng He’s seven voyages to the wast was the most magnificent poem of China’s “Maritime Silk Road”, as well as the first peak in the history of human navigation.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)<br /> <br /> <br /> 鸦片战争后，他们的基本思想就是了解夷情,“师夷长技以制夷”。<br /> After the Opium War, their basic idea was to understand the situation of foreigners and &quot;learn from the advanced technologies in the West in order to resist the invasion of the Western powers.”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)<br /> <br /> 洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。<br /> Westernization Movement, also known as self-improvement movement, was a self-saving movement that westernization school in the late Qing Dynasty introduced western military equipments, machine production, science and technology to save the rule of Qing Dynasty from 1860s to 1990s.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> 1. 丝绸之路全长约7000公里，经由这条线路所进行的贸易中，中国的丝绸最具代表性，因此得名“丝绸之路”。<br /> <br /> The total length of the silk road is about 7000 km. Among the trade carried out along this route, China's silk is the most representative, so it is named the &quot;Silk Road&quot;. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)<br /> <br /> 2. 在中国，作为国家的政治任务，郑和下西洋对于中国的经济的刺激作用微乎其微。而在西方，东方的商品和航海贸易的利润直接加速了资本主义的原始积累。<br /> <br /> In China, as a national political task, Zheng He's Voyages had little stimulating effect on China's economy. However, in the west, the profits from the eastern commodity and maritime trade directly accelerated the primitive accumulation of capitalism. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)<br /> <br /> 3. 甲午战争以后，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。这一时期大量的西方知识传入中国，影响非常广泛。<br /> <br /> After the Sino-Japanese War of 1894-1895, many people with breadth of vision began to learn from the West more actively and comprehensively, and a group of thinkers such as Liang Qichao, Kang Youwei and Tan Sitong appeared. They learned a lot from the West about natural science and social science, and demanded political reform. During this period, a large amount of Western knowledge was introduced into China, and its influence was very extensive. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)<br /> <br /> 4. 洋务运动前期，洋务派以“自强”为旗号，采用西方先进生产技术，创办了一批近代军事工业。<br /> <br /> In the early stage of Westernization Movement, the School of Westernization established a number of modern military industries under the banner of &quot;self-improvement&quot; and adopting advanced western production technology. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)<br /> <br /> In the early stage of Westernization Movement, under the banner of &quot;self-improvement&quot;,the School of Westernization adopted advanced western production technology and established a number of modern military industries.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:21, 27 December 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.通过张骞的外交实践，构建了汉朝与西方国家友好交往的桥梁，促进了东西方文化、经济的交流和发展，为中国汉代昌盛和后世的对外开放奠定了坚实的基础。<br /> <br /> Through Zhang Qian's diplomatic practice, he built a bridge of friendly relations between the Han Dynasty and the West, promoting cultural and economic exchanges and development between the East and the West, and laying a solid foundation for the prosperity of the Han Dynasty and the opening up of China to the outside world in later generations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)<br /> <br /> 2.郑和下西洋折射出的中国先进航海科技光辉，表现了中国古代人的伟大智慧，从而创造了郑和下西洋的伟大航程。<br /> <br /> Zheng He's voyage to the West reflected the glory of China's advanced navigation technology and demonstrated the great wisdom of ancient Chinese people, thus creating the great voyage of Zheng He to the West.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)<br /> <br /> 3.西学东渐，是指从明朝末年到近代的西方学术思想向中国传播的历史过程。<br /> <br /> The Eastward Spread of Western learning refers to the historical process of the spread of Western academic thoughts to China from the end of the Ming Dynasty to modern times.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)<br /> <br /> 4.甲午中日战争中，北洋海军全军覆没，标志着清朝海军实力的完全丧失，也标志着35年的洋务运动宣告破产。<br /> <br /> In the Sino-Japanese War of the First Sino-Japanese War, the Beiyang Navy was wiped out, marking the complete loss of the Qing Dynasty's naval power and the bankruptcy of the 35-year Westernization Movement.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 1.东汉时期丝绸之路的起点在洛阳，它的最初作用是运输中国古代出产的丝绸。<br /> <br /> The starting point of the Silk Road in the Eastern Han Dynasty was Luoyang. Its original function was to transport silk produced in ancient China.<br /> <br /> 2.海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称&quot;海上陶瓷之路&quot;和“海上香料之路”<br /> <br /> The Maritime Silk Road was a maritime passage for communication, trade and cultural exchanges between China and foreign countries in ancient times. It was also called the &quot;Maritime Ceramic Road&quot; and the &quot;Sea Spice Road&quot;.<br /> <br /> 3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。<br /> <br /> The spread of Western learning to the east refers to the historical process of the spread of Western academic thought to China from the late Ming Dynasty to modern times.<br /> <br /> 4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。<br /> <br /> The Westernization Movement, also known as the self-improvement movement. It was a self-rescue movement carried out by the Westernization School in the late Qing Dynasty from the 1860s to the 1990s to bring in Western military equipment, machine production, and science and technology to save the Qing Dynasty.<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> 1. 张骞出使西域本为贯彻汉武帝联合大月氏抗击匈奴之战略意图，但出使西域后汉夷文化交往频繁，中原文明通过“丝绸之路”迅速向四周传播。<br /> <br /> Zhang Wei out of the Western Region to carry out the Han Wu Emperor United Moon's strategic intention to fight against the Hunnu, but out of the Western Region after the Hanyi cultural exchanges frequent, the Central Plains civilization through the &quot;Silk Road&quot; spread rapidly around.<br /> <br /> 2. 郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。<br /> <br /> Zheng He's Voyage to the West Was the largest, largest and longest maritime voyage in ancient China, and the largest series of maritime expeditions in the history of the world before the great geographical discovery of Europe at the end of the 15th century.<br /> <br /> 3. 在明末清初的一波西学东渐中，传教士扮演著相当重要的角色，当时主要以天主教耶稣会为主的传教士们（较晚亦有方济各会、多明我会等的教士），在试图将天主教传入中国的同时，引介了西方的科技学术思想，译著了大量的西方学术相关书籍。<br /> <br /> Missionaries played a very important role in a wave of Western studies in the late Ming and early Qing years, when the missionaries, mainly Catholic Jesuits (later franciscans, polyseigns, etc.), introduced Western scientific and technological academic ideas and translated a large number of Western academic books while trying to introduce Catholicism to China.<br /> <br /> 4. 甲午战争的结果给中华民族带来空前严重的民族危机，大大加深了中国社会半殖民地化的程度；另一方面则使日本国力更为强大，为其跻身列强奠定了重要基础。<br /> <br /> The result of the Sino-Japanese War brought unprecedented serious national crisis to the Chinese nation, which greatly deepened the degree of semi-colonization of Chinese society, and on the other hand, made Japan stronger and laid an important foundation for its ranks among the great power.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:22, 26 December 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> 1.“丝绸之路”是指起始于古代中国，连接亚洲、非洲和欧洲的古代陆上商业贸易路线。<br /> <br /> Silk Road refers to the ancient land trade route which started in the ancient China and connected Asia, Africa and Europe.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)<br /> <br /> Silk Road refers to the ancient land trade route which originated from ancient China and connected Asia, Africa and Europe.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)<br /> <br /> 2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。<br /> <br /> Maritime Silk Road is the sea-lane by through which ancient China traded and did cultural exchanges with other countries. This Silk Road is mainly centered with the South China Sea, thus is called the South China Sea Silk Road as well. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)<br /> <br /> Maritime Silk Road is the sea route through which ancient China traded and did cultural exchanges with foreign countries. This Silk Road centered on the South China Sea, thus being called the South China Sea Silk Road as well.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)<br /> <br /> 3.西学东渐，是指从明朝末年到近代的西方学术思想向中国传播的历史过程。<br /> <br /> Eastward Spread of Western Learning refers to the historic process of the spread of western academic thought to China from the end of Ming Dynasty and the modern times.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC) <br /> <br /> Eastward Spread of Western Learning refers to the historic course of the spread of western academic thought to China from the end of Ming Dynasty to the modern times.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)<br /> <br /> 4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。<br /> <br /> Westernization Movement, also known as Self-strengthening Movement, is a self-helping movement carried out by the late Qing dynasty in the 1860s and 1990s to introduce Western military equipment, machine production and science and technology to save the Qing dynasty.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)<br /> <br /> Westernization Movement, also known as Self-strengthening Movement, was a self-helping movement carried out by the westernization group of the late Qing dynasty from the 1860s to 1990s for introducing Western military equipment, machine production and science and technology to China to save the Qing government.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> 1.张骞到大宛后，向大宛国王说明了自己出使月氏的使命和沿途种种遭遇，希望大宛能派人相送，并表示今后如能返回汉朝，一定奏明汉皇，送他很多财物，重重酬谢。大宛王本来早就风闻东方汉朝的富庶，很想与汉朝通使往来，但苦于匈奴的中梗阻碍，未能实现。汉使的意外到来，使他非常高兴。<br /> <br /> After arriving in Dayuan, Zhang Qian explained to the king of Dawan his mission and experiences along the way, and hoped that Dawan could send men to escort him to the Darouzhi. He also said that if he could return to the Han Dynasty in the future, he would tell the emperor of Han and implore him to send a lot of wealth and rewards to the The the king of Dawan. The King of Dawan had long heard of the wealth of the Han Dynasty and wanted to communicate with Han, but he failed to do so because of the hindrance from the Xiongnu. The unexpected arrival of han Emissary made him very happy.<br /> <br /> 2.郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。<br /> <br /> Zheng He's expeditions were the largest in ancient China, with the largest number of ships and sailors and the longest time. They were also the largest series of maritime expeditions in the history of the world before the voyages of European geographical discoveries at the end of the 15th century.<br /> <br /> 3.此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。传教士在传播基督教的教义同时，也传入大量科学技术。<br /> <br /> At this time, western science and technology began to develop rapidly, while the development of Science and technology in China was relatively slow and lagged behind that in Europe at the same time. Missionaries spread the Christian doctrine, but also spread a lot of science and technology.<br /> <br /> 4.为了解除内忧外患，实现富国强兵，以维护清朝统治，开始学习西方文化及先进的技术，这样一部分人被称为洋务派。<br /> <br /> In order to relieve domestic troubles and foreign invasion, enrich the country and strengthen the army to maintain the rule of Qing dynasty, some people began to learn Western culture and advanced technology, so they were called westernization Group.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:00, 27 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> ==Zhu Xu 朱旭==<br /> 1.唐代丝绸之路的畅通繁荣，也进一步促进了东西方思想文化交流，对以后相互的社会和民族意识形态发展，产生了很多积极、深远的影响。<br /> <br /> The prosperous Silk Road in the Tang dynasty also further promoted the exchange of thoughts and cultures between the east and the west, and had a lot of positive and far-reaching effects on the later development of both side’s social and national ideologies.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC) <br /> <br /> 2.欧洲人相继进行全球性海上扩张活动，特别是地理大发现，开启了大航海时代，开辟了世界性海洋贸易新时代。西欧商人的海上扩张，改变了传统海上丝绸之路以和平贸易为基调的特性，商业活动常常伴随着战争硝烟和武装抢劫。<br /> <br /> The European maritime expansion around the world, especially the discovery of the Age of Discovery, ushered in a new era of world trade in the oceans. The maritime expansion of western european merchants, often accompanied by war and armed robbery, changed the traditional sea route of Silk Road of peaceful trade.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)<br /> <br /> 3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展,但许多传统的学术受到西学的冲击。<br /> <br /> The Eastward Spread of Western Learning brought to China various new academic achievements in modern times, deeply affecting the development of various academic disciplines. Many subjects which were not valued or even did not exist in traditional China were also developed under this influence. On the contrary many traditional academies have been impacted by Western academies.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)<br /> <br /> 4.洋务运动是近代教育的开端。要开始洋务运动，兴办洋务就必须要有精通洋务的人才，但是中国传统的科举制教育却远远无法满足洋务运动对人才的需要。因此兴办新式学堂，派遣留学生，就成了洋务运动进行下去的一项重要的举措。<br /> <br /> Westernization Movement was the beginning of modern education. In order to start the Westernization Movement, it is necessary to have people who are proficient in Westernization, but the traditional imperial examination system in China can not meet the needs of the Westernization Movement. Therefore, the establishment of new schools and the dispatch of foreign students has become an important initiative of the Westernization Movement.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> ==Zubareva, Ekaterina==</div>

Qu Miao https://bou.de/u/index.php?title=History_of_Translation_Studies_14&diff=118851 2020-12-21T15:26:39Z

<p>Qu Miao: /* 3.3 The Application of Foreignization Translation in Idiom Translation */</p> <hr /> <div>='''Translation of Cultural Words'''=<br /> <br /> <br /> ==Translation of Culture-Loaded Words in Li Qingzhao's Ci-Poetry Based on Scopos Theory 周思庆 Zhou Siqing 英美文学==<br /> &lt;center&gt;周思庆 Zhou Siqing, 202020080673 &lt;/center&gt;<br /> ===Abstract===<br /> This paper attempts to illustrate the influence of Skopos theory on translation strategies and the influence of translation strategies on translation effect by analyzing the different translations of culture-loaded words in Li Qingzhao’s Ci-Poetry based on Scopos Theory according to Nida’s classification of culture-loaded words. This research is of great significance to refresh blood into the study of Li Qingzhao’s Ci Poems and promote excellent Chinese traditional culture to go abroad.<br /> <br /> ===Key word===<br /> culture-loaded word, Li Qingzhao, Scopos Theory<br /> <br /> ===题目===<br /> 从目的论看李清照词中的文化负载词英译<br /> <br /> ===摘要===<br /> 本文主要以目的论为指导，以奈达对文化负载词的分类为依据，从对不同英译版本的李清照词中文化负载词的翻译进行分析，说明目的论对翻译策略的影响以及翻译策略对译文效果的影响，旨在为李清照词的英译研究注入新鲜血液，推动中国优秀传统文化走向世界。<br /> <br /> ===关键词===<br /> 文化负载词， 李清照， 目的论<br /> <br /> ===Introduction===<br /> Li Qingzhao, is the representative of the graceful and restrained school well-known for her elegant, fresh and refined language as well as rich and vivid images. Her poetry is an unparalleled cultural treasure in the history of Chinese literature. Culture-loaded words are those words rich in cultural connotations.(Fu Guiying, 2013：3) Nida divided culture-loaded words into five categories, namely ecological, material, social, religious and linguistic culture-loaded words.(Nida, Eugene A, 1993:25) As the representative of the “German school”, Hans J. Vermeer proposed the Scopos Theory and continued the functionalist tradition. Analyzing the culture-loaded words in different translations of Li Qingzhao's Ci Poems according to Scopos theory is conducive for the readers to grasp the elegant style of Li Qingzhao, to figure out the proper translation strategies, and to encourage more creation of excellent translation works.(Reiss and Vermeer, 1984:196)<br /> <br /> ===Chapter 1 Introduction of Li Qingzhao and her Ci-Poetry===<br /> ====1.1 Brief introduction of Li Qingzhao====<br /> Li Qingzhao, a well-known poetess in Song Dynasty, is the only woman who is generally compared with the most outstanding poets. As a female writer, she suffered a lot in that unstable age full of oppression and discrimination, but still kept a resolute and resistant attitude toward life no matter how much turns and twists in the process of struggle. Li Qingzhao was born in a rich and cultured family in 1083. Thanks to her father Li Gefei, the Minister of Rites, and her well-educated mother, she had a peaceful and favorable childhood and received a good education, which paved the way for her literary career. Unlike most ignorant women in that age, she had great talents in many aspects, such as painting and music, especially writing. She was a versatile writer whose Ci Poems and prose are both excellent. Her contribution in literature earned great fame for her.(Fu Guiying, 2013：3)<br /> <br /> She married to Zhao Mingcheng, the son of a vice-president of the Board of Rides when she was eighteen years old. The marriage life was happy and idyllic in the early years. They collected and appreciated rare books, paintings and antiques together. However, their peaceful and harmonious life was ruined by the invasion of the Jurchens in 1127. They were forced to fled to the southern areas and separated with each other. The bulk of precious collections, including the ancient paintings, vessels, and books, lost during the fugitive way. Her husband was dispatched to a new official post in Zhe Jiang province and died on the way. Since then, Li Qingzhao lived lonely and homelessly with endless sorrow. The miserable and painful life experiences didn't destroy her poetry proposition but deepened the theme of her literary works. The concern for the fate of the masses and country showed her great integrity and patriotic passion.(Fu Guiying, 2013：3)<br /> <br /> ====1.2 Development and characteristics of Li Qingzhao's Ci-Poetry====<br /> As a literary form, Song Ci, also called Ci Poems or long-short lines, emerged in Tang Dynasty and popularized in Song Dynasty. Ci Poems revolved from a kind of folk music used for expressing emotions through its original melody. Li Qingzhao is regarded as the representative of the graceful and restrained party. (Fu Guiying, 2013：4)<br /> <br /> Generally, Li Qingzhao's Ci Poems can be divided into two periods according to the critical historical events in Song Dynasty and her personal life experience. The former period works mostly depicted her delightful life as a young girl. The theme includes the praise of nature and beauty, her pure love to her husband, and the memories of the innocent childhood, such as Rumengling( 如 梦 令 ), Dian Jiangchun( 点 绛 唇 ), Jianzimulanhua( 减 字 木 兰 花 ) ， Cai Sangzi( 采 桑 子 ), Zuihuayin(醉花阴), Yijianmei(一剪梅). As for the latter period, her works changed dramatically because of the downfall of the Northern Song Dynasty as well as the death of her husband. The theme of her poems turned to homesickness, the grief for the instability of the nation and the melancholy meditation of the miserable life. She transmitted her feelings in the images implicitly rather than cry out her sorrow directly. The poems written in this period include Spring in Wulin(武陵春), Shengshengman(声声慢), Yongyule(永遇乐) and so on.(Fu Guiying, 2013：4)<br /> <br /> To conclude, her elegant and pure language and sensitive emotion were demonstrated in both of her literary period. Her Ci Poems are full of accurate and vivid images, leaving readers a wide imagery space. No other poetess in Song Dynasty can replace her position in the Chinese history of literature.(Fu Guiying, 2013：4)<br /> <br /> ===Chapter 2 Introduction of Scopos theory===<br /> ====2.1 Historical development of Scopos theory====<br /> <br /> Functional approaches emerged in 1970s and developed through three stages: (1)Katharina Reiss introduced the functional category of translation criticism; (2) Hans J. Vermeer proposed Scopos theory; (3) Justa Holz-Manttari put forward the theory of translation action.(Zhang Chenxiang, 2007:32)<br /> <br /> In the first stage, Katharina Reiss proposed the text function and translation strategy, which paves the way for the Scopos theory. The theory foundation of Reiss’s theory is the functional equivalence theory, which aims to establish a model of translation criticicm based on the functional relationship between source text and target text (Zhang Chenxiang, 2007:32). Katharina Reiss divided text into three categories: expressive text, informative text and vocative text. The proposal of functional translation theory signifies that translation study gradually gets rid of static linguistic typologies.(Zhang Chenxiang, 2007:32)<br /> <br /> In the second stage, Hans J. Vermeer established the initial theory of functional group, Scopos theory, further developing the functional translation theory. He pointed out that translation is a human activity and a kind of transformation. Every human activity has its purpose and will create certain consequence, a new situation or event or a new thing.(Zhang Chenxiang, 2007:34) This is the origin of Scopos theory. Reiss mentioned, “the source text can be assigned to a text type and a genre, and in making this assignment, the transoator can decide on the hierarchy of postulates which has to be observed during target-text production”. Vermeer thinks that translators needn’t be restrained to certain translation method, instead, the translators should consider the purpose of translation and the psychology of the target audience and use the translation strategies flexibly. In the process of translation, the translator can adapt literal translation or free translation according to the situation to make sure the expected effect can be realized. (Reiss and Vermeer, 1984:196)<br /> <br /> In the third stage, Justa Holz-Manttari developed Vermeer’s theory and proposed the theory of translation action 1n 1984. She avoided using the term“translation” and focused on the process of translation which concludes traditional translation and other text building activity. In Holz-Manttari’s model, translation was defined in a broader sense as “a complex action designed to achieve a particular purpose”, or an intercultural communication whose product is the target text which achieves appropriate function in a particular cultural context. According to the functional approach, all participants have certain functions or roles in the interaction. The TT addressees are crucial in specification of the purposes of translation(Nord, 2001:20).<br /> <br /> ====2.2 Basic rules of Scopos theory====<br /> In the Scopos theory, there are three basic rules, namely skopos rule, coherence rule and fidelity rule. Among the three rules, scopos rule is the most significant one. “Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precissely in the way they want it to function.” This rule can help solve the contradiction between literal translation and free translation. It means that the choosing of translation strategies depends on translation purpose. When the scopos focuses on the original language, as long as the features of the original culture is well expressed, literal translation or even word for word translation can be adopted.(Reiss and Vermeer, 1984: 98)<br /> <br /> The coherence rule is also named intra-textual coherence by functionalists. It requires that the translated text should make sense on the communicative situation in which it is received. It specifies that a translation should be acceptable in a sense that it is coherent with the receivers’ situation (Reiss and Vermeer, 1984: 100) Being coherent means being “part of the receiver’s situation”, so the cultural aspects should be taken into consideration. Besides, the target readers’ culture-specific world-knowledge, expectations and communicative needs are also important factors which may affect the way of handing a text, translators ought to analyze these factors carefully. (Li Zhao, 2011:24)<br /> <br /> Since the source text is the offer of information , it should also be taken into account. Fidelity rule is also named “intertextual coherence”. This coherence balances the source text and the target text and the form and degree of such intertextual coherence are determined by the translator’s interpretation of the source text and the translation skopos. However, intertextual coherence is subordinate to intra-textual, and both of the two are subordinate to the skopos rule.(Li Zhao, 2011:28)<br /> <br /> ===Chapter 3 Introduction of culture-loaded words===<br /> ====3.1 Definition of culture-loaded words==== <br /> Since Bassnett and Lefervere put forward the concept of “cultural turn” in 1990, the interaction between translation and culture has been drawn more attention. During the five thousand years’ civilization, China has accumulated its unique culture due to the unique geographical locations, living environments, historical background, etc. Many scholars have made different definitions to cultural loaded words. J. F Aixel gave these words another name “cultural-specific items” and defined them as: “some items appearing in the source text do not have equivalent items in the target reader’s cultural systems” (J. F Aixel, 1996:58). <br /> <br /> Later, Mona Baker defined culture-loaded words as: “The source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as ‘cultural-specific’.” This paper studies the translation of culture-loaded words according to Nida’s classification of cultural elements. Nida divided culture into five categories: ecological culture, material culture, social culture, religious culture and linguistic culture. This paper will analyze the culture-loaded words according to the five categories. (Baker, 2004:21)<br /> <br /> ====3.2 Classification of culture-loaded words====<br /> =====3.2.1 Ecological culture-loaded words=====<br /> Culture develops in certain ecological environment, so different region has different culture. Ecological culture-loaded words refer to those words that reflect the distinctive geographical conditions, the natural surroundings, feature of the climate, plants and animals, etc. in a language. Even the connotations of the same thing in western and eastern culture are different or even opposite. (Liao Huihua, 2010:9)<br /> <br /> For example, the “west wind” in China is totally different from that in western countries. Because China lies in the Eastern Hemisphere, with mountains to the west and oceans to the east. This location makes it dry and cold in autumn and winter when the west wind blows. Therefore, the west wind in Chinese culture often refers to the cold wind in autumn an winter, which is often used to describe the desolate, cold, and sometimes also compared to the decadent force of the fall of the sun with a derogatory meaning. (Liao Huihua, 2010:9)<br /> <br /> Such as “古道西风瘦马” in Ma Zhiyyuan’s 《天净沙·秋思》. On the contrary, Britain is located in the western hemisphere, the west Atlantic island, and the east is the continent of Europe. When the west wind blows from the Atlantic Ocean, Britain is in the season of revival. Therefore, in English culture, the west wind is the symbol of hope and strength. For example, Ode to the West Wind, a famous British poem, reflects this meaning. Obviously, through the above analysis, we know that “西风” and the west wind have the same conceptual meaning but have very different associative meaning due to different ecological environment. (Liao Huihua, 2010:9)<br /> <br /> =====3.2.2 Material culture-loaded words=====<br /> <br /> Material culture-loaded words include the words related to the economic life, daily supplies, commodities, food, transportation, etc. Different nations have different living habits, so the material products are quite different. For example: “旗袍”(qi pao), “麻将”(ma jiang),”馄饨”(Wonton), etc. (Liao Huihua, 2010:10)<br /> <br /> =====3.2.3 Social culture-loaded words=====<br /> <br /> The tradition, custom, living habit, social activity, etc. All belong to the category of social culture. Due to different historical background, political feature, tradition and custom, the social culture-loaded words formed and developed. For instance, “重阳节”(chong yang jie) is a traditional Chinese festival to give the blessings to the old people, which is familiar to Chinese but unfamiliar to foreigners.(Han Zhouwen, 2014:18)<br /> <br /> =====3.2.4 Religious culture-loaded words=====<br /> Religious culture is composed by the religious faith and and ideology under the different nation’s cultural background, which demonstrates the difference in psychology and language behavior. Chinese people advocate Confucianism, Buddhism and Taoism whereas western people mainly believe in God. Therefore, the cross-cultural communication barriers and language translation barriers emerged. Religious culture-loaded words reflect the characteristics of religious beliefs, so it is quite difficult for the foreigners to understand the Chinese religious culture-loaded words. For example, western people believe in God while Chinese people believe in “天”(tian), “菩萨”(pu sa), “佛”(fo). (Han Zhouwen, 2014:23)<br /> <br /> =====3.2.5 Linguistic culture-loaded words=====<br /> Language as one part of culture also produces translation problems. Since the two languages belong to two different language systems, their different language features will be involved in translation. These particularities may be reflected in phonetics, morphemes, vocabulary and syntax. For example, reduplicative words and four-character words and expressions are frequently seen in Chinese but are rarely seen in English.(Han Zhouwen, 2014:24)<br /> <br /> ===Chapter 4 The application of Scopos theory in the translation of culture-loaded words===<br /> <br /> Chinese culture and western culture are so different due to different geographical location and historical background. And these differences also reflect in the two language systems, which is also known as cultural gap. In the process of translating Li Qingzhao’s Ci-Poetry, the translator may face all kinds of problems due to the cultural gap. In this chapter, the focus is on analyzing the suitable translation strategies from the perspective of Scopos theory.(Fu Guiying, 2013:56)<br /> <br /> ====4.1 Translation of ecological culture-loaded words====<br /> <br /> (1)梨花欲谢恐难禁。(《浣溪沙》）<br /> <br /> I am afraid pear blossoms cannot bear at all<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:25)<br /> <br /> O bright pods/ Of the pepper plant, you do not/ Need to bow and beg pardon./ I know you cannot hold back/ The passing day.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:66)<br /> <br /> Some plants and flowers have certain connotation in Chinese, which leaves the gap of further imagination. Snow is often compared to pear-blossom, which is a common metaphor in Chinese poetry, for example: “忽如一夜春风来，千树万树梨花开” is used to describe the beautiful snow-covered landscape. Here, Xu Yuanchong translated “梨花”into “pear blossoms”directly is to reproduce this often-used metaphor. Both the basic meaning and the cultural content have been well transmitted. Xu Yuanchong adopted literal translation to realize foreignization. In contrast, Kenneth Rexroth adopted demestication and free translation and translate “梨花” as “the pepper plant” to achieve the skopos of translation. Here, “the pepper plant” is used to serve as a substitution because it is a New Year decoration which shows the passion of spring. This passionate image can contrast the depressed mood of Li Qingzhao for the fleeting time.(Liao Huihua, 2010:40)<br /> <br /> (2)试问卷帘人，却道海棠依旧？（《如梦令》）<br /> <br /> I ask the maid rolling up the screen./ “The same crab-apple tree,”she says, “is seen”<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:34)<br /> <br /> I asked my maid as she rolled up the curtains,/ “Are the begonias still the same?”<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:44)<br /> <br /> In Chinese culture, “海棠” usually symbolizes bitter love. When people encounter twists and turns in love, they often use it to express the sad feeling of parting. Xu Yuanchong adopted literal translation and translated “海棠” into “crab-apple tree”, which maintains the traditional Chinese culture by employing foreignization. However, Kenneth Rexroth translated it into”begonias” by demestication, which makes this image more familiar to the target readers. The aim of Xu Yuanchong is to introduce Chinese culture to foreigners whereas the purpose of Kenneth Rexroth is to make the text be accepted by the taget readers, therefore, the former uses foreignization while the latter uses demestication.(Liao Huihua, 2010:41)<br /> <br /> ====4.2 Translation of material culture-loaded words====<br /> <br /> (3)常记溪亭日暮 (《如梦令》)<br /> <br /> I oft remember what a happy day/ We passed in creekside arbour when it glooming.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:38)<br /> <br /> I remember in Hsi T’ing/ All the many times/ We got lost in the sunset.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:21)<br /> <br /> The meaning of “溪亭” can be interpreted as the name of a place in Ji’nan, Shandong Province or a pavilion by the river side. Therefore, different versions of this word appears according to the different understanding of this word. Xu Yuanchong translated it as “creekside arbour” by employing literal translation whereas Kenneth Rexroth translated it into “Hsi T’ing” according to its sound by using transliteration. The version “creekside arbour” is more acceptable by Chinese readers because it shows the basic meaning of this word. But the version “Hsi T’ing” is more understandable for foreigners because it’s just a name of a place.(Liao Huihua, 2010:48)<br /> <br /> (4)轻解罗裳，独上兰舟。(《一剪梅》)<br /> <br /> My silk robe doffed, I float/ Alone in orchid boat<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:49)<br /> <br /> I open/ My silk dress and float alone/ On the orchid boat.<br /> <br /> —translated by Kenneth Rexroth &amp; Chung Ling (Kenneth Rexroth,&amp; Chung Ling,1979:56)<br /> <br /> Generally speaking, “兰舟” refers to a small boat which is made of the trunk of a magnolia tree. <br /> However, both Xu Yuanchong and Kenneth Rexroth translated “兰舟” into “orchid boat” in order to reproduce the poetic language of the original text. If they translate it according to the literal meaning, the beautiful poetic language cannot be reproduced in the target language. So, they associated the boat with orchid, a kind of beautiful flower to achieve “literariness”, making poetry as poetic as possible.(Zheng Yanhong. 2001:129)<br /> <br /> ====4.3 Translation of social culture-loaded words====<br /> <br /> (5)海燕未来人斗草。(《浣溪沙》)<br /> <br /> The swallows not yet come, a game of grass we play.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:55)<br /> <br /> People are gathering wild flowers and herbs in the meadow.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:93)<br /> <br /> Viewed literally, “斗草” is mostly interpreted as “to fight with grass”. But actually, it refers to a particular custom on the Dragon Boat Festival according to the notes in various anthologies of Li Qingzhao. On the Dragon Boat Festival (the fifth day of May), people usually participate a kind of game in which every one needs to gather flowers and plants to be the winner. Xu Yuanchong knows that “斗草” is a traditional game, so he adopted literal translation as “a game of grass we play”, which is direct and correct. While Kenneth Rexroth adopted amplification and translated it as”gathering wild flowers and herbs in the meadow” in order to create concrete scene for the target reader. Generally speaking, both the two versions realized the skopos of translating the cultural connotation of “斗草” by adopting different translation strategies.(Liao Huihua, 2010:49)<br /> <br /> (6)佳节又重阳(《醉花阴》)<br /> <br /> The Double Ninth comes now again.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:54)<br /> <br /> Again it is the Ninth of the Ninth Month.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:47)<br /> <br /> “重阳” is a traditional Chinese festival on the ninth day of the ninth lunar month. People would always miss their families and relatives on this day every year. Here, when this festival was coming around, the poetess felt sad and lonely because of the separation from her husband, Zhao Mingcheng. In Xu Yuanchong’s version, he translated it literally as The Double Ninth and made a annotation to explain the cultural meaning of this festival to make target readers know the background information about this term. The unique feature of the ST is fully conveyed in the TT through foreignization. The skopos of Xu Yuanchong is to maintain the original feature of Chinese culture as much as possible, so he adopted foreignization to achieve this goal. In contrast, Kenneth Rexroth translated it into “the Ninth of the Ninth Month”. Although the time of the event was translated, but the connotation of this festival was lost. Sometimes literal translation for words with rich connotation can cause cultural loss. Here, Rexroth omitted the cultural meaning because he thought it was not necessary to add the burden of understanding the text. In this way, the target reader can easily understand the TT within their own knowledge.(Liao Huihua, 2010:49)<br /> <br /> ====4.4 Translation of religious culture-loaded words====<br /> <br /> (7)仿佛梦魂归帝所 (《渔家傲》)<br /> <br /> In leaf-like boat my soul to God’s abode would fly.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:62)<br /> <br /> I am rapt away to the place of the Supreme/ And hear the words of Heaven.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:33)<br /> <br /> As we all known, Chinese culture is much influenced by Taoism whereas western culture is much affected by Christianity. Here, “帝所” refers to the place of the Jade Emperor. Because western people are not familiar with the myths of Taoist culture, here “God” is the substitution of “帝” in Xu Yuanchong’s version by literal translation. In contrast, Kenneth Rexroth translated it as “the place of the Supreme”, which means the Sovereign. We can see the religious devotion of the ST is neglected. To conclude, Xu Yuanchong’s version is more faithful to the original text because he aims to introduce Chinese culture to foreigners. Kenneth Rexroth translated it without Taoist culture because he aims to remove cultural barriers and make target readers easier to understand the meaning of the text.(Li Qing, 2005:148)<br /> <br /> (8)造化可能偏有意，故叫明月玲珑地。(《渔家傲》)<br /> <br /> You find a special favor in Creator’s eye,<br /> <br /> The moon caresses you with pure beams from on high.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:76)<br /> <br /> Making the bright moon shine splendid on your curving flesh.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:45)<br /> <br /> In Xu Yuanchong’s version, “造化” was translated directly into “Creator” but in Kenneth Rexroth’s version, this image was deleted. In China, “上天”（heaven）is the governor of the universe under the influence of Taoism and Buddhism. “造化” is a unique concept in Taoist culture. Xu Yuanchong aimed to maintain the Taoist culture and introduce it to foreigners. However, in western countries, Christianity is the mainstream of religious belief. Therefore, Kenneth Rexroth neglected this image to make the TT more acceptable to western people who believes in Christianity. In summary, Xu Yuanchong focused more on the culture of the ST whereas Kenneth Rexroth payed more attention on the acceptability of the target readers.(Liao Huihua, 2010:45)<br /> <br /> ====4.5 Translation of linguistic culture-loaded words====<br /> <br /> (9) 寻寻觅觅，冷冷清清， 凄凄惨惨戚戚。(《声声慢》)<br /> <br /> I look for what I miss;<br /> <br /> I know not what it is.<br /> <br /> I feel so sad, so drear,<br /> <br /> So lonely, without cheer.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:81)<br /> <br /> Search. Search. Seek. Seek.<br /> <br /> Cold. Cold. Clear. Clear.<br /> <br /> Sorrow. Sorrow. Pain. Pain.<br /> <br /> —translated by Kenneth Rexroth &amp; Chung Ling (Kenneth Rexroth,1979:78)<br /> <br /> Tune: Slow, Slow, Song is recognized as the representative of reduplication. The use of seven sequential reduplicative words add the powerfulness of the miserable tone. We can find some similarities between these reduplicative words such as “清清”, “凄凄” and “戚戚”. They sound quite similar or even the same, which really strengthen the melodious effect of the language. Xu Yuanchong adopted free translation in order to reproduce the beautiful artistic conception in the ST. The form of reduplication is neglected but the sad atmosphere that the reduplicarive words create is reproduced. Rexroth used literal translation to imitate the original reduplicative words. The repetition of the same word reproduces the sound of reduplication in ST, and words with one syllable are also very similar to Chinese character. But the sense is not well conveyed. The target readers fail to experience the painful atmosphere and the great sadness of the poetess in the TT.(Li Qing, 2005:149) <br /> <br /> <br /> (10) 小风疏雨萧萧地 (《孤雁儿》)<br /> <br /> A grizzling wind and drizzling rain<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:90)<br /> <br /> Small wind, fine rain, hsiao, Hsiao<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:56)<br /> <br /> In the ST, “萧萧” is a reduplicative word in order to foil the depressed and sad atmosphere. It is difficult to reproduce this unique structure in the TT. We can see in Xu Yuanchong’s version, he omitted the original form and tried to reproduce the beautiful sound and sense. The rhymes of “grizzling” and “drizzling” are the same. This internal rhyme can make compensation for the loss of reduplication. And the strong sad mood is fully conveyed. Here, foreignization is employed. Kenneth Rexroth focused on the reproduction of the form, so he adopted transliteration to maintain the form of reduplicative word. Although the sound and form are beautiful, in this way, the sad cultural conception may lose at the same time.(Li Qing, 2005:75)<br /> <br /> ===Conclusion===<br /> In this paper, the present author studies the translation of cultural-loaded words in Li Qingzhao’s Ci-Poetry from the perspective of Scopos theory. By contrast analysis, we can find that Xu Yuanchong and Kenneth Rexroth adopted different translation strategies: the former adopted foreignization whereas the latter adopted domestication because of their different translation skopos. Xu Yuanchong devoted himself to introduce excellent Chinese culture to foreigners and Kenneth Rexroth aimed to make target reader better understand the TT. This study still has some shortcomings. ((Liao Huihua, 2010:64)<br /> <br /> Although this paper can shed some light on the study of culture-loaded word, it still has some limitations. If more samples of culture-loaded words are taken for the analysis, the study could be more comprehensive and systematic. Thus, the English translation of the culture-loaded words of her Ci poetry based on Skopos theory deserves further study. The author believes that wider cases will be involved in this study.((Liao Huihua, 2010:64)<br /> <br /> ===References===<br /> *Nida, Eugene A. (1993). ''Language, Culture and Translating''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nord, Christiane. (2001). ''Translating as a Purposeful Activity: Functionalist Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Reiss, Katharina. (1971). ''Translation Criticism: The Potentials and Limitations: Categories and Criteria for Translation Quality Assessment''[M]. 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(2007). 功能目的理论与应用翻译研究[Scopos Theory and Applied Translation Studies]. [M].长沙:湖南师范大学出版社.<br /> <br /> *Zheng Yanhong 郑燕虹. (2001). 风筝之线——评王公红、钟玲翻译的李清照诗词[The String of the Kite -Comments on Kenneth Rexroth and Chung Ling's Translation of Li Qingzhao's Ci-Poetry]. [J].外语学刊,160(3):125-129.<br /> <br /> --[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 07:19, 21 December 2020 (UTC)<br /> <br /> ==A Study on Culture-loaded Words in ''Six Chapters of a Floating Life'' Translated by Lin Yutang from the Perspective of Domestication and Foreignization 蒋淇玮 Jiang Qiwei 202070080592 MTI 英语笔译==<br /> &lt;center&gt;蒋淇玮, 202070080592.&lt;/center&gt;<br /> <br /> ===Abstract===<br /> <br /> ''Six Chapters of a Floating Life'' is an autobiographical prose written by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines.<br /> <br /> Among the current English versions of this book, Lin Yutang's ''Six Chapters of a Floating Life'' is written first and the closest with the original version in style, which enables lots of foreign readers to catch a glimpse of the life of an obscure Chinese scholar.<br /> <br /> Six Chapters of a Floating Life is written in classical Chinese and has a long history, which both make the translation more difficult, especially the translation of its culture-loaded words.<br /> <br /> Culture-loaded words refer to words, phrases and idioms that demonstrate specific things in a culture. As we all know, China has a centuries-old history and rich civilization, possessing plenty of unique cultural phenomena, not to mention numerous culture-loaded words. In Six Chapters of a Floating Life, there are many culture-loaded words that are worthy of study.<br /> <br /> By consulting relevant materials, I find that there are only a few works analyzing cultural-loaded words in Six Chapters of a Floating Life from the perspective of domestication and foreignization.<br /> <br /> This pair of translation terms was put forward by Lawrence Venuti, a famous American translation theorist, in The Translator's Invisibility in 1995. As a matter of fact, domestication and foreignization are a unity of opposites and complement each other. Neither absolute domestication nor foreignization exists. There are different degrees of domestication and foreignization in all translation activities and works. Therefore, it is reasonable, scientific and feasible to analyze Mr. Lin’s translation from this perspective, which can fill certain research vacancy and benefit future studies in this field.<br /> <br /> Thus, in this thesis, the author will subdivide domestication and foreignization into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words.<br /> <br /> ===Key Words===<br /> <br /> domestication; foreignization; ''Six Chapters of a Floating Life''; Lin Yutang; culture-loaded words<br /> <br /> ===摘要===<br /> <br /> 《浮生六记》是清代文人沈复于1808年所著的自传体散文，以真言诉真情，为历代读者所推崇。目前流传较广的《浮生六记》英译本中，林语堂先生的Six Chapters of a Floating Life成文最早且与沈复原文风格最为接近，让不少外国读者得以一窥中国一无名文人的若梦浮生。<br /> <br /> 沈复此书以文言文著就，加上距今年代较为久远，译者的翻译之路可谓困难重重，这其中文化负载词的处理更是值得反复推敲。文化负载词是标志某种文化中特有事物的词、词组和习语。众所周知，中华民族的历史文明源远流长，独有的文化现象数不胜数，应运而生的文化负载词自然不在少数。《浮生六记》一书中就有相当数目的文化负载词具有研究价值。<br /> <br /> 通过查阅相关资料，本人发现从归化和异化角度来解读林译中文化负载词的研究还少之又少。归化和异化这对翻译术语是由美国著名翻译理论学家劳伦斯·韦努蒂（Lawrence Venuti）于1995年在《译者的隐身》中提出的。作为两种翻译策略，归化和异化是对立统一、相辅相成的，绝对的归化和绝对的异化都是不存在的。所有的翻译活动及作品都存在不同程度的归化和异化现象，故而，从这一角度来分析林译具有合理性、科学性和可行性，且能填补一定的研究空缺，为之后的相关研究提供可参考的思路与借鉴。<br /> <br /> 因此，本文作者将聚焦这一文学经典，将归化与异化这两种翻译策略细分为不同的翻译方法，对林译中有代表性的文化负载词进行分析解读，以小见大，从词见章，进而证明归化与异化的翻译策略的指导性，找出林译在国内外成功的原因，指出其在中国文化“走出去”中所起的积极作用，并为文化负载词的翻译难题提供解题思路及开口，引起大众对于文化翻译的重视与思考。<br /> <br /> ===关键词===<br /> <br /> 归化，异化，《浮生六记》，林语堂，文化负载词<br /> <br /> ===Chapter One Introduction===<br /> <br /> With globalization surging ahead, cultural communication and exchange have become rising tides that no one can fight against. Chinese and English, as the language with the largest number of users and the language most widely used around the globe, are both crucial languages, which work as vital bridges in cultural world. (Shen Fu 2019)<br /> <br /> However, as is known to all, China is a nation of age-old history and rich civilization. On her vast earth, there grows plenty of unique cultural phenomena. As a result, quite a number of culture-loaded words have been emerging. For culture-loaded words have their specific cultural connotations, it is hard to render them so that foreign readers could understand, which is a real and tough task for translators. (Shen Fu 2019)<br /> <br /> ''Six Chapters of a Floating Life'' is an autobiographical prose written in classical Chinese by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines. In this book, there are many culture-loaded words, which are worth studying. (Shen Fu 2019)<br /> <br /> Among the current English versions of it, Lin Yutang's ''Six Chapters of a Floating Life'' is written first and the closest to the original version in style, which enables lots of foreign readers to take a look at the life of an obscure Chinese scholar. (Shen Fu 2019)<br /> <br /> Thus, in this thesis, under the guidance of translation strategies, domestication and foreignization, the author will subdivide them into several detailed translation methods so as to analyze representative culture-loaded words in ''Six Chapters of a Floating Life''. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words. (Shen Fu 2019)<br /> <br /> ===Chapter Two Literature Review===<br /> <br /> ====2.1 A Study on ''Six Chapters of a Floating Life''====<br /> For the sake of carrying on this study, we must have a basic understanding of both our original and translated text sources: ''Six Chapters of a Floating Life''. Hence we will have a brief review of its original version and English version translated by Mr. Lin in the following paragraphs. (Shen Fu 2019)<br /> <br /> =====2.1.1 A Brief Review of Its Original Version=====<br /> ''Six Chapters of a Floating Life'' is an autobiographical prose written by Shen Fu, who was an unknown scholar in Qing dynasty, in the 13th year during the Jiaqing period (AD 1808). It includes six chapters, of which only four remain, recording Shen Fu’s wedded bliss, pleasures of life, ups and downs, travel experiences, experiences in Formosa and the way of life. The phrase in this book’s title &quot;floating life&quot; derives from a passage in Li Po's poem, “ Our floating life is like a dream; how often can one enjoy oneself ?” (Shen Fu 2019)<br /> <br /> Shen Fu, whose courtesy name is Sanbai, and alternative name Meiyi, was born in Suzhou, Jiangsu province in China in the 28th year during the Jiaqing period (AD 1763). He was a man of letters, who was once an assistant to ranking officials and a merchant. (Shen Fu 2019)<br /> <br /> The remaining four chapters of ''Six Chapters of a Floating Life'' was accidentally found on a stall in Suzhou by a man called Yang Yinchuan. Yang passed it on to Wang Tao, his brother-in-law, who then published it with a movable type in 1877. Subsequently, this book gradually established itself on the literary field. (Shen Fu 2019)<br /> <br /> This book is a pure and fair record of Shen Fu's ordinary but difficult life, which is still full of unforgettable and beautiful moments. It is incredibly touching, for Mr. Shen wrote down his real experiences and sincere feelings in plain words naturally, without traces of sham. (Shen Fu 2019)<br /> <br /> Nowadays, Six Chapters of a Floating Life has become a classic and owned a mass of readers. Many people even called it “little A Dream in Red Mansions” for its description of the conflicts in the feudal family and society, which highly affirms its literary value and achievements. (Shen Fu 2019)<br /> <br /> =====2.1.2 A Brief Review of Its English Version Translated by Lin Yutang=====<br /> In the spring and summer time of 1935, Lin Yutang successively translated ''Six Chapters of a Floating Life'' into English and serialized them in the English magazines T'ien Hsia Monthly and Hsi Feng published in Shanghai. For the sake of better work, Mr. Lin has modified his translation no less than ten times. Now, his translation version has been acknowledged as the most popular one for it is the closest to the original text in terms of writing style. (Shen Fu 2019)<br /> <br /> Lin Yutang once highly praised Shen Fu’s wife Yün, “Yün, I think, is one of the loveliest women in Chinese literature.” Mr. Lin said he translated the work for two reasons, one is to let the world know Yün by her name, and the other is that he has found lots of things in the simple life of this couple, the pursuit of beauty, the experience of ups and downs, and the unswerving love for carefreeness. (Shen Fu 2019)<br /> <br /> In February of 1999, Foreign Language Teaching and Research Press reprinted ''Six Chapters of a Floating Life'' with Mr. Lin’s translation in the form of picture book. Its introductory notes claim that the reprinting is first due to Mr. Lin’s translation work, which has contributed a lot in the promotion of Chinese culture, secondly Mr. Lin’s superb artistic attainments and extraordinary cultural accomplishments, and lastly his beautiful and skilled use of English language. It demonstrates that Mr. Lin's translation has a far-reaching influence. (Shen Fu 2019)<br /> <br /> ====2.2 An Introduction of Culture-loaded Words====<br /> Here we will focus on another important item in this study: culture-loaded words. This introduction covers three aspects, including definition, categorization and previous studies on them in ''Six Chapters of a Floating Life'', which enable us to distinguish, select and analyse culture-loaded words in future steps. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.1 Definition of Culture-loaded Words=====<br /> There are many definitions for culture-loaded words, and I have presented three different versions below. First, Mona Baker claims that &quot;the source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as `culture-specific' &quot;. (Mona Baker 2000,21)<br /> <br /> This definition mentions three fields, namely religion, custom and food, which are now recognized to be among the main sources of culture-loaded words. Second, it means that the cultural information words carrying in the source language finds no equivalent in the target language. (Bao Huinan 2001,10)<br /> <br /> In this version, the focus is “no equivalent”, which reveals why it is significant to study the translation of culture-loaded words. For in numerous cases, there is no equivalent in the target language. Third, J.F. Aixelá, a Spanish translator and translation theorist, defines them as &quot;culture-specific items&quot; and states in his book Culture-specific Item in Translation that &quot;Some items appeared in the source text do not have equivalent items in the target readers' cultural system or these items have different textual status with those in the target readers' cultural system, thus leading to translation difficulty while transferring the function and meaning of the source text to the target text&quot;. (Zhang Nanfeng 2004,19)<br /> <br /> From this definition, we are able to get a new perspective. Besides “no equivalent”, it makes a point that culture-loaded words can exist in the target cultural system but with different function and meaning.<br /> <br /> To sum up, as barriers to translation, culture-loaded words have no equivalent in other cultural systems and are marks and mirrors of a nation’s distinct environment, which are often seen in fields like religion, custom, food etc. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.2 Categorization of Culture-loaded Words===== <br /> Eugene Nida considers that &quot;if translators want to do a good job in cross-cultural translation, there are five types of cultural factors: 1) ecological culture; 2) material culture; 3) social culture; 4) religious culture; and 5) linguistic culture&quot;. (Hu Zhuanglin, Jiang Wangqi，2002)<br /> <br /> In line with Nida's categorization of cultural factors, culture-loaded words can also be classified into five types accordingly, namely ecological culture-loaded words, religious culture-loaded words, material culture-loaded words, social culture-loaded words and linguistic culture-loaded words. This thesis will analyze Lin Yutang’s translation of culture-loaded words in Six Chapters of a Floating Life on the basis of Nida's categorization. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.3 Previous Studies on Translation of Culture-loaded Words in Six Chapters of a Floating Life=====<br /> Among those studies of the English versions of Shen Fu’s ''Six Chapters of a Floating Life'', the studies of Mr. Lin’s account for a large proportion of it. In Quan Shulian’s article “Translator’s Cultural Orientation: Comparative Study of Translation of Culture-loaded Words in Six Chapters of a Floating Life”, she compares the translation of culture-loaded words done by Mr. Lin and Shirley Black and then claims that Shirley Black tends to use domestication while Mr. Lin applies foreignization more frequently. With a different focus, Li Yi, who has studied the culture-loaded words in ''Six Chapters of a Floating Life'' translated by Lin Yutang, analyzes the translation of culture-loaded words in three aspects: wording, Chinese idioms and the looks of women, and concludes that it is the purpose of translation determines which translation strategies to use and domestication and foreignization are a unity of opposites which should not be discussed apart. (Li Yi 2013,43-44)<br /> <br /> ===Chapter Three An Analysis of Translation Strategies Based on ''Six Chapters of a Floating Life''===<br /> <br /> ====3.1 Translation Strategy of Domestication====<br /> Domestication, as opposed to foreignization, refers to a translation strategy, which aims to translate the source text into target language in a transparent, fluent and natural style so as to minimize the strangeness for target readers. (Xiong Bing 2014,82-88)<br /> <br /> As free translation is the most widely used translation method pertaining to domestication, we will discuss it and its two branches paraphrase and idiomatic translation. (Xiong Bing 2014,82-88)<br /> <br /> =====3.1.1 Free Translation===== <br /> Free translation refers to a translation method that reproduces the transferred meaning of the source text, which can be further divided into paraphrase and idiomatic translation. (Xiong Bing 2014,82-88)<br /> <br /> =====3.1.1.1 Paraphrase===== <br /> When applying paraphrase, the translator translates the source text explanatorily, without application of collocations and idioms in the target language as replacement of those parts in the source text. (Xiong Bing 2014,82-88)<br /> <br /> 1a. 合卺后，并肩夜膳，……（沈复，2018：7）<br /> <br /> 1b. After the drinking of the customary twin cups between bride and groom, we sat down together at dinner… (Lin Yutang, 2019: 35)<br /> <br /> The Chinese phrase “合卺” refers to a characteristic part of ancient Chinese wedding ceremonies that the newlyweds drink cross-cupped wine in their wedding room. Foreign readers would have difficulty comprehending this phrase as there is no such a rite in their countries. Thus, Lin Yutang applies the translation method of paraphrase, explaining exactly what the custom is, which enables foreign readers to understand this special activity.<br /> <br /> ====3.1.1.2 Idiomatic Translation====<br /> Idiomatic translation is an explanatory method of translation as well, with application of collocations and idioms in the target language as replacement of the parts in the source text. (Xiong Bing 2014,82-88)<br /> <br /> 2a. 井井然未尝稍失。（沈复，2018：9）<br /> <br /> 2b. Whatever she did was done well, and it was difficult to find fault with her. (Lin Yutang, 2019: 40-41)<br /> <br /> “未尝稍失”means that someone handles things incredibly well, without anything wrong. And we can translate this Chinese phrase just in such an explanatory way, for it is clear and correct in meaning. But it is comparatively lengthy. That’s why here Mr. Lin adopts the English phrase “find fault with”, which is quite familiar to English users. For it conveys the meaning of the source text precisely and concisely, and improves the smoothness of foreign readers’ reading activity.<br /> <br /> ====3.2 Translation Strategy of Foreignization====<br /> Compared to domestication, foreignization refers to a translation strategy that retains the original expressions and differences between source and target languages to a larger extent. This translation strategy can offer foreign readers more exotic information if they are willing to explore, but the reading process is less natural and efficient. (Xiong Bing 2014,82-88)<br /> <br /> And foreignization consists of three translation methods, namely transliteration, word-for-word translation and literal translation, which will be presented below. (Xiong Bing 2014,82-88)<br /> <br /> =====3.2.1 Transliteration===== <br /> Transliteration refers to the rendering of alphabets, words or phrases in one language with symbols of similar or even the same pronunciations in another language. (Xiong Bing 2014,82-88)<br /> <br /> 3a. 服余衣，长一寸又半；于腰间折而缝之，外加马褂。（沈复，2018：31）<br /> <br /> 3b. As my gown was found to be an inch and a half too long, she tucked it round the waist and put on a makua on top. (Lin Yutang, 2019: 108)<br /> <br /> The Chinese phrase “马褂” refers to the mandarin jacket worn over a gown, which is a kind of special costume of Chinese characteristics. It is popular in Qing dynasty and the Republic of China. Originally, it’s worn by the Chinese Manchu people on horseback. “马” means “horse” in English. “褂” means a short gown. And that is the reason why this costume is called “马褂”in Chinese. Though foreign readers barely know this kind of clothes and its origin, Mr. Lin translates it as “makua” tersely according to its Chinese pronunciation, which offers foreign readers an opportunity to get a clue of the new item “makua” and shows his confidence of Chinese history and culture.<br /> <br /> =====3.2.2 Word-for-word Translation=====<br /> Word-for-word translation is the rendering of text in which a word is used to replace another in the source text without considering the differences between the two languages in morphology, syntax and semantics, so as to translate a word in accordance with the paraphrasing method. (Xiong Bing 2014,82-88)<br /> <br /> 4a. 一场，主考得香钱百文。（沈复，2018：57）<br /> <br /> 4b. The official examiner would get one hundred cash “incense money”. (Lin Yutang, 2019: 253)<br /> <br /> “Incense” translated into Chinese is “香”, while the English equivalent of “钱” is “money”. From this we can find that “incense money” is a word-for-word correspondence with “香钱”. There are much fewer people in English-speaking countries who are Buddhists, compared with China. So the concept of “incense money” may be strange to them. Here, Mr. Lin translates this phrase literally without transforming or considering morphological differences in two languages, which shows a brand-new concept to plentiful foreign readers. And it might arouse their interest to figure out what this phrase implies and what’s the culture connotation behind it.<br /> <br /> =====3.2.3 Literal Translation=====<br /> Literal translation, or directed translation, is the rendering of text in which a word is used to replace another word in the original text correspondingly, with consideration of the differences between the two languages in morphology, syntax and semantics, so as to enable the translation to conform to the lexical and syntactic norms of the target language. (Xiong Bing 2014,82-88)<br /> <br /> 5a. 急人之难，成人之事，嫁人之女，抚人之儿，指不胜屈，挥金如土，多为他人。（沈复，2018：63）<br /> <br /> 5b. He used to help people in trouble, bring up other people's sons and marry off other people's daughters in innumerable instances, spending money like dirt, all for the sake of other people. (Lin Yutang, 2019: 299)<br /> <br /> “挥金如土” in Chinese means to throw one’s money about. There is a set expression in English both in meaning and construction, which is “spending money like water”. But instead of the image “water”, which is more common and well-accepted among English people, Mr. Lin keeps the original image “dirt” in his translation. That’s because the image “dirt” is more acknowledged by Chinese people, who have been rooted in agriculture civilization and dealt with dirt all the time. Hence, the literal translation of “dirt” into English is able to let readers of different culture background grasp more of the source text and aware of the culture differences.<br /> <br /> ====3.3 A Brief Conclusion on the Translation Strategies==== <br /> In this Chapter, we have mainly discussed five translation methods based on ''Six Chapters of a Floating Life''. Among them, two belong to the translation strategy of domestication while three the translation strategy of foreignization. (Xiong Bing 2014,82-88)<br /> <br /> The former instances from the book have proved that the application of the translation methods under domestication enables foreign readers to comprehend and accept literary works in a closer and more natural way, while the translation methods under foreignization provides them with a choice to feel the cultural differences and find out more valuable information. There is no absolute domestication or foreignization and no perfect choice of translation strategies. It is the purposes of translation that determine which translation strategy or methods to use. As to Mr. Lin, he has combined the usage of both the two superior strategies and their translation methods in his translation of ''Six Chapters of a Floating Life''. (Xiong Bing 2014,82-88)<br /> <br /> ===Chapter Four An Analysis of the Translation of Culture-loaded Words in ''Six Chapters of a Floating Life''===<br /> <br /> ====4.1 Domestication Applied in Culture-loaded Words====<br /> In this part, we will center upon some culture-loaded words in ''Six Chapters of a Floating Life'' that are translated by Mr. Lin with the adoption of domestication. (Xiong Bing 2014,82-88)<br /> <br /> =====4.1.1 Free Translation of Culture-loaded Words=====<br /> As we have mentioned before, free translation is the most commonly used translation method pertaining to domestication and it includes paraphrase and idiomatic translation. Therefore, we will discuss them with examples of culture-loaded words in the book. (Xiong Bing 2014,82-88)<br /> <br /> ======4.1.1.1 Paraphrase of Culture-loaded Words======<br /> The following two examples are able to demonstrate the brilliant use of paraphrase by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 6a. 自此耳鬓相磨，亲同形影。（沈复，2018：9）<br /> <br /> 6b. And so every day we rubbed shoulders together and clung to each other like an object and its shadow… (Lin Yutang, 2019: 42)<br /> <br /> The Chinese phrase “耳鬓相磨” is culture-loaded, which just derives from this book of Shen Fu. It literally means the rubbing of people’s ears and sideburns, whose extended meaning refers to the close relationship among people. Here Mr. Lin applies the new image of shoulders instead of the original images of ears and sideburns, for it would be hard for foreign audience to grasp the connection between ears and sideburns and the intimacy within them. Meanwhile, rubbing shoulders can accurately express the meaning of closeness in English. So he uses the phrase “rubbed shoulders” to convey the original meaning in an explanatory way.<br /> <br /> 7a. 粉颈 （沈复，2018：8）<br /> <br /> 7b. Beautiful white neck (Lin Yutang, 2019: 38)<br /> <br /> In China, scholars conventionally adopt the word “粉”, which is “pink” in English, to modify one’s face, neck, etc. to show that one’s skin is white touched with red. However, if translating the Chinese term “粉颈” literally, we will get the phrase “pink neck”. There is no doubt that it will be odd for foreign audience. Therefore, Mr. Lin uses “beautiful white” rather than “pink” to modify “neck”, which expresses the meaning of “粉” briefly and precisely without causing troubles to readers and makes their reading activities more natural and pleasant.<br /> <br /> ======4.1.1.2 Idiomatic Translation of Culture-loaded Words======<br /> The following example is able to demonstrate the fine use of idiomatic translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 8a. 大醉而卧（沈复，2018：7）<br /> <br /> 8b. I fell asleep drunk like a fish. (Lin Yutang, 2019: 37)<br /> <br /> This four-character Chinese phrase means one is lying in a state of terrible drunkenness. In the processing of this phrase, Mr. Lin uses a set English phrase “drunk like a fish”, which describes that one is terribly drunk. The adoption of this ready-made phrase in translation does convey the meaning of the source text correctly and vividly, which makes it easy for foreign readers to catch on and picture the scene. From this we can see that wise use of idiomatic translation may yield twice the result with half the effort.<br /> <br /> ====4.2 Foreignization Applied in Culture-loaded Words====<br /> In this part, we will center on some culture-loaded words in ''Six Chapters of a Floating Life'' that are translated by Mr. Lin with the adoption of foreignization. (Xiong Bing 2014,82-88)<br /> <br /> =====4.2.1 Transliteration of Culture-loaded Words=====<br /> The following two examples are able to show the use of transliteration by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 9a. 故上下呼芸为“三娘”。后忽呼为“三太太”……（沈复，2018：63）<br /> <br /> 9b. hence they used to call Yün “san niang” at home, but this was later suddenly changed into “san t'ai t'ai”. (Lin Yutang, 2019: 301)<br /> <br /> “San” refers to “number three” in Chinese. “Niang” generally means a young married woman in a big household, while “t’ai t’ai” suggests the mistress of an independent home. “Niang” and “t’ai t’ai” are two of those unique terms of addressing people in ancient Chinese society, so there are no equivalents in English. That’s why Mr. Lin chooses to introduce their Chinese sounds to foreign audience, which leaves them a hint to learn two interesting addresses with era characteristics and know the distinct Chinese system of addressing.<br /> <br /> 10a. 余则从之学画，写草篆，镌图章…… （沈复，2018：56）<br /> <br /> 10b. They would then either write “grass-script”, or “chüan-script” or carve seals… (Lin Yutang, 2019: 247)<br /> <br /> “篆书” refers to a style in Chinese calligraphy, often used on seals. If we translate the Chinese character “篆” literally into English it would be “seal”. However, Mr. Lin abandons the easy translation of “seal- script” and renders this calligraphy style as “chüan-script” according to its Chinese pronunciation, which exhibits an individual kind of Chinese writing style to foreign readers. There will be problems that most people who know little about China will feel difficult to understand this ancient “script”. And if they desire to figure it out, they need to do extra work beyond reading this book. Nevertheless, in this way, they have chances to know much more about China, which is an efficient way of spreading Chinese culture and driving cross-cultural communication.<br /> <br /> =====4.2.2 Word-for-word Translation of Culture-loaded Words=====<br /> The following example is able to show the masterly use of word-for-word translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 11a. 芸笑曰：“白字有缘，将来恐白字连篇耳。”（沈复，2018：13）<br /> <br /> 11b. “It is all right,” Yün smiled and replied. “to have one's life bound up with the Po's, only I am afraid I shall be writing Po characters all my life.” (Lin Yutang, 2019: 54-55)<br /> <br /> The so-called Po characters are words written wrong. This kind of words indeed exists in Chinese writing system, but they are used in a wrong way by people for they are of similar pronunciations and forms while in different meanings. In translation of this sentence, Mr. Lin renders “白字”, which means misspelt words, as “Po characters” word for word. “Po” is close to the pronunciation of Chinese character “白”, while “character” literally means “字” in Chinese. Mr. Lin translates the culture-loaded phrase like this to demonstrate a new term to foreign readers, instead of “misspelt word” which is easy to grasp but lack of Chinese charm. In this way, foreign readers can be more conscious of the original cultural genes lie behind those English words.<br /> <br /> =====4.2.3 Literal Translation of Culture-loaded Words=====<br /> The last two examples will show the tactful use of literal translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 12a. 但李诗宛如姑射仙子，有一种落花流水之趣，令人可爱。（沈复，2018：12）<br /> <br /> 12b. but Li Po’s poems have the wayward charm of nymph. His lines come naturally like dropping petals and flowing waters, and are so much lovelier for their spontaneity. (Lin Yutang, 2019: 53)<br /> <br /> In Chinese, “落花流水” is an idiom, which usually refers to the beauty of the scenes is waning in the late spring or one is defeated utterly. But this phrase is used here to compliment Li Po’s poems’ fluency and naturalness. Even though this expression is full of Chinese features, it is not too hard for foreign readers to get its implication from the images of “dropping petals” and “flowing waters”. For we have a common sense about these two natural scenery that they are both in the state of harmony and fluency. So Mr. Lin’s adoption of the method of literal translation is quite appropriate here and leaves some space for readers to imagine and taste by themselves.<br /> <br /> 13a. 芸曰：“世传月下老人专司人间婚姻事……” （沈复，2018：27）<br /> <br /> 13b. “It is said that the Old Man under the Moon is in charge of matrimony,” said Yün. (Lin Yutang, 2019: 92)<br /> <br /> “月下老人” is the god of marriage who is in charge of human love relationships in Chinese mythology. This image is peculiar to China, so it stands to reason that there is no equivalent expression in other countries. When rendering this culture-loaded phrase, Mr. Lin chooses the method of literal translation with words of capitalized initial letters, which enables readers to feel that it is obviously a new culture symbol for them and the Old Man may be a Chinese god. Then it is up to the readers themselves if they want to search for some more information about this “Old Man under the Moon” or not. In this way, the translation becomes briefer and it rests with the readers concerning how much information they will get beyond the lines.<br /> <br /> ===Chapter Five Conclusion===<br /> <br /> Concerning the current fact that different cultural systems around the world are becoming increasingly connected, translation activities have been literally taking place at every moment. However, the cultural differences in different counties have made it an arduous task. In view of the tremendous differences between China and English-speaking countries, the translation works are no easy tasks as well. As symbols which carry lots of cultural information, culture-loaded words are obstacles in translation, for they have no equivalents in other languages. So when translating these words, translators need to be alert and adopt the most proper translation strategies and methods so as to achieve the translation purposes to the deepest extent. (Eugene, A. Nida. 2001)<br /> <br /> In this thesis, guided by domestication and foreignization, the author has discussed several culture-loaded words in Six Chapters of a Floating Life, which translated by Lin Yutang. Different from other theses focusing on this issue, the author probes it in five detailed translation methods under the two translation strategies we have mentioned before.Through the analysis of former examples, we can come to the point that domestication and foreignization are the unity of opposites. There is no standard answer that which translation strategy should be used in which circumstances. It is the purposes of translation that determine our choice. In the translation of Six Chapters of a Floating Life, Lin Yutang has proved this to us by using different translation methods in accordance with his purposes, which contributes to his translation success both at home and abroad and the cultural exchanges between China and other countries. (Xiong Bing 2014,82-88)<br /> <br /> In total, this thesis has basically fulfilled its tasks to prove the instructiveness of the translation strategies of domestication and foreignization, and find out the reasons why Lin Yutang’s translation version turns out to be a huge success and receives warm responses. At the same time, it points out that this translation has played an active role when Chinese culture steps out to the global stage, and provides reference for the translation of culture-loaded words. (Li Yi 2013, 43-44)<br /> <br /> ===Bibliography===<br /> <br /> Lawrence, Venuti. (2004). The Translator’s Invisibility [M]. 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(2004). 艾克拉西的文化专有项翻译策略评介[J] [Review on the Translation Strategies of Cultural Items by Akerasie]. ''中国翻译'' Chinese Translation.<br /> <br /> Zhu Yitian 朱怡天. (2013). 《浮生六记》林语堂英译本中文化负载词的翻译[MA] [Translation of Culture-loaded Words in ''Six Chapters of a Floating Life'' by Lin Yutang]. ''上海外国语大学硕士学位论文'' Master's Thesis of Shanghai International Studies University.<br /> <br /> ==How to Keep &quot;Chineseness&quot; in Idiom Translation from Chinese to English 瞿淼 202070080604 Qu Miao MTI英语笔译==<br /> <br /> ===How to Keep &quot;Chineseness&quot; in Idiom Translation from Chinese to English===<br /> <br /> ===Abstract===<br /> <br /> Idiom is a form of expression naturally to a language, person, or group of people. With rich cultural information, Chinese idioms carry the characteristics of Chinese language and culture. In the process od translating idoms from Chinese to English, &quot;Chineseness&quot; in idioms is often lost, since Chinese and English belong to different language systems,there exist great cultural differences between them. (Wang Tao, 2018, 32) <br /> <br /> This article, from the perspective of domestication and foreignization, compares the different effects of the text translated repectively by domestication and foreignization method and discusses the way to keep &quot;Chineseness&quot; in idiom translation form Chinese to English. And the article ends with the conclusion that in idiom translation from Chinese to English,translators should, according to the needs of a specific context, find a balance between foreignization and domestication, so that &quot;Chineseness&quot; in the original text can be kept in translated text as much as possible.<br /> <br /> ===Key Words===<br /> <br /> idiom translation; cultural deficiency; cultural differences; foreignization; domestication<br /> <br /> ===汉语习语英译如何保持&quot;中国性&quot;===<br /> <br /> ===摘要===<br /> 俗语是流传在人民群众口头上的，结构相对稳定的通俗语句，一般包括谚语、歇后语、惯用语和俗成语。汉语俗语承载着中国语言文化特色，蕴含着丰富的文化信息。在汉英俗语翻译中，因为汉语和英语属于不同的语言系统，并且文化差异较大，所以常常出现译文丢失了中国特色的情况。（王涛，2018，32）<br /> <br /> 本文从归化和异化的角度，对比了分别使用归化和异化翻译方法的译文的效果，讨论汉英俗语翻译保持中国特色的方法，得出结论，在中文习语的翻译过程中，译者应该根据特定语境的需要，在异化和归化之间找到一个平衡点，以此来最大限度地保持俗语的中国特色。<br /> <br /> ===关键词===<br /> 习语翻译；文化缺失；文化差异；异化；归化<br /> <br /> === Introduction===<br /> <br /> An idiom is a set phrase of two or more words that means something different from the literal meaning of the individual words．Generally speaking, idioms include colloquialisms, allegorical sayings, proverbs, slang, jargons and so on. The composition and semantics of idioms are very conventional, which is inseparable from the social and cultural background of idioms. Language is the carrier of culture, and idioms are an essential part of language. Idioms are deeply rooted in the social and cultural background where they were produced, and fully reflect the geographical environment, customs, religious beliefs and social, political, economic, and cultural systems in this background. Therefore, idioms are national and cultural. (Wang Tao, 2018, 32)<br /> <br /> As an effective means to promote cross-cultural communication, translation is a bridge connecting different languages and thus enhance the communication between different cultures. As the essence of national culture, the translation of idioms plays an increasingly important role in promoting cultural exchanges, and the biggest difficulty in translation is how to deal with the cultural conventions of source idioms. For translators, idiom translation must not only be fluent and express meaning precisly, but also realize the transfer of cultural connotations implied in idioms. (Jiang Lei, 2003, 54)<br /> <br /> Idioms in Chinese are the carriers that convey the rich connotations of the Chinese language. They have some characteristics such as, concise language, brilliant meaning, typical connotation, and wide range of uses. Since idioms are the most quintessential and typical part of Chinese culture and the shining pearl in Chinese culture, idiom translation is of great significance for the communication between the China and the West. Due to the differences between Chinese and Western cultures, there exist cultural deficiencies in the translation of Chinese idioms, which makes it difficult for people in different cultural backgrounds to establish coherent and unobstructed semantics when communicating. (Liu Ning, 2016, 81)<br /> <br /> The first chapter of this article is an overview of Chinese idiom translation, analyzing the problems of Chinese idioms translation and the importance of keeping &quot;Chineseness&quot; in idiom translation. In the second chapter, this article mainly discusses the reasons for cultural deficiency in Chinese idiom translation from four aspects: different emotional orientation, historical and cultural background, religious beliefs and ways of thinking. The third chapter is a comparative analysis of foreignization and domestication translation in idiom translation. This chapter begins with a brief introduction of foreignization and domestication translation methods, and then compares the application of the two methods in idiom translation. At last, this article ends with the conclusion that translators should, according to the needs of a specific context, find a balance between foreignization and domestication.<br /> <br /> ===Chapter One An Overview of the Idiom Translation form Chinese to English===<br /> <br /> Chinese idioms are mainly created by the folk and widely circulated. From the expression of Chinese idioms, it has a large connotation, rich and profound content, hence it is surely informative with a good expression effect. As for language structure, it is usually characterized by popularity and colloquialism. In view of the current situation of the translation of Chinese idioms, the cultural connotation is obviously missing due to the influence of cultural forms. Idiom is a window for foreigners to understand Chinese culture. Therefore, it is of significance to keep Chinese characteristics in the translation of Chinese idioms as much as possible to spread Chinese culture. (Jia Yunpeng, 2015, 65)<br /> <br /> ====1.1 The Problems of Idiom Translation form Chinese to English ====<br /> <br /> Chinese idioms involve many contents and cover a wide range of knowledge. There is no doubt that this colloquial language has the characteristics of popularity, reflecting commonly used factors in daily life, so that the meaning of Chinese idioms can be fully expressed.Chinese idiom is a kind of inheritance of folk culture. In the process of translation, it is affected by its own cultural form and historical factors, and there is a certain cultural deficiency, or &quot;loss of Chineseness&quot;, in the translation of Chinese colloquial language. (Liu Ning, 2016, 81)<br /> <br /> The cultural deficiency in the translation of Chinese idioms is mainly due to the errors in the translation of the inherent meanings conveyed by the Chinese idioms, and the discrepancy in the intrinsic values between the translator and the original Chinese idioms after translation. As a result, the inheritance and development of culture are hindered, and there is a lack of comprehensive understanding in the process of foreign translation. (Guo Jianzhong, 2000, 65)<br /> <br /> The emergence of this phenomenon is the manifestation of cultural deficiency and the contradiction of cultural mechanism orientation between readers and translators, which lead to the emergence of cultural deficiency.On the basis of the semantic meaning of the original text, the translation of Chinese colloquial language is in accordance with the linguistic environment and the operational environment of grammar. The translation process emphasizes the cultural inheritance and the expression of intrinsic value.It is precisely the collision between different cultures that causes the phenomenon of culture loss. (Liu Ning, 2016, 82)<br /> <br /> ====1.2 The Importance of Keeping &quot;Chineseness&quot; in Chinese Idiom Translation to English====<br /> <br /> Idioms are the quintessence of human language. As the treasure of national culture, they carry the cultural information such as geography, history, religion and living habits of a country or a nation. Translation is a kind of cross-cultural communication activity, which conveys cultural characteristics. If separated from the culture of a nation, translation would miss its due role. (Wang Tao, 2018, 33)<br /> <br /> Since the 1980s and 1990s, translation studies have ushered in a new stage, namely the shift of translation. Susan Bassnett is the representative of the school of &quot;cultural translation&quot;. Her view of cultural translation emphasizes the special status of culture in translation -- as language and culture are closely related, culture, rather than text, should be regarded as the basic unit of translation. In short, translation is by no means an act of pure language. It is deeply rooted in the culture in which the language is located. Translation is the communication within and between cultures, and translation equivalence is the cultural function equivalence between the source language and the target language. In a word, it is significant to keep Chinese characteristics in Chinese idiom translation to English as much as possible to spread Chinese culture. (Jiang Lei, 2003, 53)<br /> <br /> === Chapter Two The Reasons for the Loss of &quot;Chineseness&quot; in Idiom Translation from Chinese to English===<br /> <br /> Chinese and English have completely different cultural backgrounds so that they have large cultural differences, which make the Chinese and Western people have huge understanding barriers in language exchanges, especially idioms in traditional Chinese culture. Since idioms contains rich and profound cultural background knowledge, translators will inevitably encounter the problem of cultural deficiency in the process of idiom translation, transplanting one culture to the other one. The problem of cultural deficiency in idiom translation occurs frequently. The reasons for the loss of &quot;Chineseness&quot; in idiom translation from Chinese to English are mainly reflected in the following four aspects. (Qiu Nengsheng, 2019, 51)<br /> <br /> ====2.1 Different Emotional Orientation====<br /> <br /> Although there are many words that refer to the same thing in Chinese and English, the word may mean differently in different language contexts, for the same word may bear different associative meanings. (Jia Yunpeng, 2015, 65)<br /> <br /> For example, Chinese people and Westerns often have different understanding words about colors. The semantic associations of the word &quot;yellow&quot; are different in English and Chinese cultures. In Chinese culture, yellow is the symbol of imperial power and status, so it plays an important role in Chinese culture. For example, &quot;黄袍加身&quot;（the yellow robe adds the body） refers to being an emperor.However, in modern Chinese, the word &quot;黄&quot; often has a derogatory meaning, which means lewdness and depravity. It forms many new words with other words and is widely used.For example: &quot;黄色影片&quot;, &quot;黄色书籍&quot; and so on, most of them are related to the concept of sex. Nevertheless, yellow represents justice, wisdom and glory in Western culture.In Western art St. Peter is dressed in yellow.Of course, yellow also has a bad symbolic meaning. It reminds people of the color of the clothes Judas dressed, who betrayed Jesus. Therefore, yellow can be used to express &quot;timid, unreliable, jealous, sensationalist, low-level sensationalism&quot; and other derodic meanings. But in English the word &quot;yellow&quot; doesn't have an obscene meaning. (Jia Yunpeng, 2015, 66)<br /> <br /> Chinese people has regarded the &quot;dragon&quot; as the symbol of the nation since ancient times, and they call themselves as the &quot;descendant of the dragon&quot;. However, in western culture, &quot;dragon&quot; is a lizard with scales, wings and tails, which can breathe fire. It is a symbol of evil and cruelty. Therefore, if the Chinese idiom &quot;望子成龙&quot; was translated into &quot;hope one’s children to become a dragon&quot;, it would lead to great misunderstanding. But we translate it into &quot;hope one’s children will have a bright future&quot;, foreigners may not get the metaphoric meaning of the word &quot;龙&quot;. This is what we said the loss of &quot;Chineseness&quot;, namely, cultural deficiency. (Qiu Nengsheng, 2019, 52)<br /> <br /> ====2.2 Different Historical and Cultural Background====<br /> <br /> Chinese culture has a long history and bears a profound and sophisticated cultural nature. As the essence of Chinese culture, Chinese idioms often contain many historical allusions. And idioms originated from literary quotation or historical events should not be conceived literally because they have deeper meanings. Without cultural background knowledge, it is not easy to understand this kind of idioms, not to mention to translate them. (Wang Tao, 2018, 114)<br /> <br /> For instance, the Chinese idiom &quot;三顾茅庐&quot;, which means repeatedly requesting somebody to take up a responsible post, derives from a historical story of Zhuge Liang. At the end of the Eastern Han Dynasty, Zhuge Liang lived in a thatched cottage in Longzhong. Xu Shu, a counsellor, recommended zhuge Liang to Liu Bei and said that zhuge Liang was a genius. In order to ask Zhuge Liang to help him win the war, Liu Bei went with Guan Yu and Zhang Fei to ask him to leave the mountain. However, Zhuge Liang was not at home, so Liu Bei had to leave his name and went back unhappily. A few days later, Liu Bei learned that Zhuge Liang had returned and went with Guan Yu and Zhang Fei against the wind and snow.But Zhuge Liang went out again, and Liu Bei and his men left again. Liu Bei went to Longzhong for the third time and finally met Zhuge Liang.In the conversation, Zhuge Liang made a very incisive analysis of the situation, which impressed Liu Bei. Liu Bei visited the thatched cottage three times, which greatly moved Zhuge Liang and he promised to go out to help him. Zhuge Liang helped Liu Bei win many victories and laid the foundation of the state of the Han dynasty for him. (Qiu Jixin, 2002, 43)<br /> <br /> This idiom comes form this story.If we just translate &quot;三顾茅庐&quot; into &quot;repeatedly to request somebody to take up a responsible post” or &quot;have visited the cottage thrice in succession to call on somebody repeatedly&quot;, foreigners would not get the allusion of it, hence the Chinese characteristics is lost somehow. (Qiu Jixin, 2002, 43)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:58, 18 December 2020 (UTC)<br /> <br /> Likewise, the idioms like &quot;班门弄斧&quot; and &quot;卧薪尝胆&quot; are all relevant to some historical figures, who are known by all Chinese people but unfamiliar to foreigners. Only when they have learned something about Zhuge Liang, Lu Ban, and Gou Jian can they get the meaning of these idioms. And it is the profound historical and cultural backgrounds that make the Chinese idioms hard to translate. (Qiu Jixin, 2002, 43)<br /> <br /> ====2.3 Different religious beliefs====<br /> <br /> As a special form of human culture, religion is produced and developed almost synchronously with human culture, and all ethnic groups have their own religious beliefs and cultures. Religion not only exerts a certain influence on people's values and ways of thinking, but also on language expression. (Jia Yunpeng, 2015, 65)<br /> <br /> In the late Western Han Dynasty, Buddhism was introduced into China, and it has a history of more than one thousand years in China. Accompanied with the introduction of Buddhism came some idioms of Buddhism or related to Buddhism, such as &quot;放下屠刀，立地成佛&quot;, &quot;苦海无边，回头是岸&quot;, and &quot;醍醐灌顶&quot;. Most Chinese people believe in Buddhism and Taoism, while most Westerners believe in Christianity and Catholicism. In the context of two different religious cultures, translators often meet translation difficulties. (Jia Yunpeng, 2015, 65)<br /> <br /> Take &quot;放下屠刀，立地成佛&quot; as an example. The idiom &quot;放下屠刀&quot; (lay down the butcher's knife) does not refer to the butcher's knife(lethal weapon). The &quot;butcher's knife&quot; here refers to malice, evil deeds ,all delusions, confusion, differentiation and persistence. The sentence &quot;放下屠刀，立地成佛&quot; (Put down the butcher's knife and become a Buddha on the spot) means: the one who puts down delusion, distinction, persistence, is the Buddha! The essence of &quot;butcher knife&quot; is &quot;man's confusion to himself&quot;. Many translation versions of this idiom are given, like &quot;A killer becomes a Buddha at the moment he drops the knife to kill.&quot; and &quot;A wrongdoer may become a man of virtue once he does good.&quot;; however, these versions both neglect the Buddhist factors of original idiom. If the cultural connotation is not expressed in translation, westerners would feel confused while reading. (Jia Yunpeng, 2015, 65)<br /> <br /> ====2.4 Different Ways of Thinking====<br /> <br /> As for the characteristics of the deep structure of Chinese culture, from Hager to Derrida, the western academic circle has formed a prejudice that China has no rationality and no philosophy. Previous Chinese scholars have found some similarities and differences between Chinese and Western cultures in material, institutional and ideological aspects, but they have neglected the rationality in the Chinese and Western cultures. (Jiang Lei, 2003, 54)<br /> <br /> Reason has different contents and categories. Different categories of reason make up different rational structures. Although the outbreak of rationality is the common characteristic of Chinese and Western civilizations in the axial age, their rational structure is not the same.The rational structure of the ancient West includes logical reason, natural reason, practical reason, and aesthetic reason, but it lacks historical reason. Its rational structure is dominated by pure reason, while logical reason occupies a dominant position. (Jiang Lei, 2003, 54)<br /> <br /> The rational structure of China includes historical reason, natural reason and moral reason. It has logical thought which has not developed into logical reason. Among which historical reason occupies a dominant position. Logical reason dominates western thinking, while historical reason leads Chinese thinking. This difference in rational structure is the fundamental reason for the difference in Chinese and Western thinking. (Guo Jianzhong, 2000, 66)<br /> <br /> The difference between Chinese civilization and Western civilization lies in the difference of rational structure. The difference between the western civilization and the Chinese civilization lies in the difference of dichotomy.Some of the differences between Chinese and Western dichotomies can be traced back to the differences between Chinese and Western languages. Different language features are the source of the differences between Chinese and Western cultures. (Jia Yunpeng, 2015, 66)<br /> <br /> ===Chapter Three Comparative Analysis of foreignization and domestication Translation in Idiom Translation===<br /> <br /> As a literary form, Chinese idioms have many inherent and connotative meanings. In the process of translation, the phenomenon of loss of Chinese characteristics is quite severe. In order to reduce the loss of Chinese characteristics in translation to minimum, we should choose the appropriate translation method. (Guo Jianzhong, 2000, 65)<br /> <br /> Domestication and foreignization translation have always been the focus of debate in the field of translation. The essence of the contradiction lies in the proposition that the expression form of the original language introduced into the target language or the idiomatic expression in the target language. This article, from the perspective of domestication and foreignization, compares the different effects of the text translated by domestication and foreignization methods repectively and discusses the way to keep &quot;Chineseness&quot; in idiom translation form Chinese to English. (Guo Jianzhong, 2000, 65)<br /> <br /> ====3.1 A Brief Introduction of foreignization and domestication Translation====<br /> <br /> Foreignization and domestication translation are systematically put forward by Lawrence Venuti in his book Translator's Invisibility: A History of Translation (1995).<br /> <br /> Domestication is to transform the foreign element in one culture into something familiar in another culture.It puts aside the sentence and image of the original text, but grasps its pragmatic meaning. From the target language and the original text of the pragmatic meaning of the same way of expression.Strictly speaking, domestication is a revision of the culture of the target language. However, it is easier for the readers to accept the translation text at the expense of the large culture contained information as well as the appreciation and understanding of the meaning of heterogeneous culture to some extent. (Jiang Lei, 2003, 53)<br /> <br /> On the contrary, foreignization is to transform the information from one culture and language to another culture and language in a way that remains almost as it is. It endows the target language with new linguistic elements and also novel and unique forms of expression, which is conducive to the mutual communication and penetration of two heterogeneous cultures and languages, so as to promote their mutual integration. (Jiang Lei, 2003, 53)<br /> <br /> In his book, Venuti made a critical study of western translation from the early 17th century to the present, and revealed that the strategy of &quot;smooth translation&quot; has always been dominant in the history of Western translation. The fundamental reason is to form a norm of foreign literature in English based on the western ideology. Venuti put it bluntly that his purpose of writing this book was to go against tradition, namely, to advocate the visibility of translators. Venuti opposed domestication and advocated foreignization in tradition. This translation strategy, he says, can be called &quot;resistance&quot;. (Venuti, 1995,105)<br /> <br /> Such translation not only avoids smooth translation, but also challenges the culture of the target language, because smooth translation tampers with the foreign text with the ethnocentrism of the culture of the target language.<br /> &quot;Resistance&quot; means resistance to the ethnocentrism of the target language culture, so that the translator is no longer invisible in translation. (Jiang Lei, 2003, 53)<br /> <br /> Nida is the representative of the domestication translation. He put forward the concept of functional equivalence, &quot;The relationship between the target receptor and the target text should be equivalent to that between the source language receptor and the source text&quot;, in order to eliminate the differences in language and culture in the translation. (Nida, 1993)<br /> <br /> ====3.2 The Application of domestication Translation in Idiom Translation====<br /> <br /> The ideal of Nida's domestication translation is the closest natural equivalent. Domestication maximizes the dominant position of the target language and brings the target language closer to readers. It tries to overcome cultural differences to realize the equivalent translation. Due to the cultural differences between different languages, translators are required to have a keen sense of culture and ability to fully and accurately tranlate the national psychology and cognitive mode of the source culture, so that they can reproduce the profound cultural connotations of the source language. (Qiu Jixin, 2002, 42)<br /> <br /> Generally speaking, idioms are words with rich cultural connotations. Undoubtedly, the choice of foreignization and domestication methods will produce different results: whether the culture of the source language can be preserved, and to what extent can be preserved. If we choose domestication method, we should realize that there are two premises to distinguish it: one is the domestication under the principle of fidelity, which is prescriptive and centered on the source language; the other is domestication under the premise of non-faithfulness, which is descriptive and oriented by the translation into Chinese. (Qiu Jixin, 2002, 42)<br /> <br /> That is to say, domestication method can be divided two way. One is a faithful principle under domestication, we can refer it as equivalent translation. While using this method to translate idioms, translators try to look for expressions from target language which has the same semantic effect as that of the source language, thus to make the translation natural, direct and vivid, improving the readability and acceptability of the translation. For example, the Chinese idiom &quot;时间就是金钱&quot; is translated as &quot;Time is money&quot;, and &quot;事实胜于雄辩&quot; as &quot;Facts speak louder than words&quot;. (Qiu Jixin, 2002, 42)<br /> <br /> The other is a loyal premise of domestication, which is similar to free translation. When the cultural characteristics of source language idioms expressed cannot be transformed through literal translation, translators should adopt free translation, not only to convey the deep meaning of the source language, but also to reflect characteristics of the target language, realizing the harmonious development of the two different languages. For instance, &quot;胆小如鼠&quot; is translated into &quot;as timid as a hare&quot; instead of &quot;as timid as a mouse&quot;. (Jiang Lei, 2003, 54)<br /> <br /> Another example of the application of domestication is the translation version of the famous Chinese novel 《红楼梦》 by David Hawkes. There are a large number of idioms in the novel, and Hawkes generally translated them by using the method of domestication. For the sentence &quot;癞蛤蟆想天鹅吃。&quot;(曹雪芹,1791, 165) , Hawkes translated it into &quot; The toad on the ground wanting to eat the goose in the sky&quot; (Hawkes, 2012, 242). Here, Hawkes replaced &quot;swan&quot;(天鹅) with &quot;goose&quot;(鹅), since the associative meanings of &quot;swan&quot; and &quot;goose&quot; are completely different in western culture. (He Fang, 2019, 171)<br /> <br /> ====3.3 The Application of Foreignization Translation in Idiom Translation====<br /> <br /> Foreignization translation means that, under the pressure of cultural value deviationism, the reader is brought into the context of the translation and accepts the language and cultural differences of the foreign language text. It takes the source language culture as the destination, adopting the source language expression methods that correspond to the original author, approaching the source language text author, and conveying the original content most truthfully. (Qiu Jixin, 2002, 43)<br /> <br /> For example, if &quot;一箭双雕&quot; is translated into &quot;kill two hawks with one arrow&quot; instead of &quot;kill two birds with one stone&quot;, the cultural information of the source language would be preserved to the greatest extent, so that the different cultural connotations can be truly presented to readers. The differences in the culture of the source language are reflected, allowing readers to experience foreign cultures through their own cultural cultivation. The foreignization translation method reflects a trend of cultural integration, allowing the strong culture and the weak culture to develop in the collision, and finally achieves equal dialogue in the continuous exchange. It not only promotes cultural exchanges, but also contributes to the enrichment and development of the target language culture. (Jiang Lei, 2003, 54)<br /> <br /> Moreover, another example of the application of foreignization is the translation version of the famous Chinese novel 《红楼梦》 by Yang Xianyi(杨宪益). Contrary to Hawkes’s translation, Yang adopted the method of foreignization while confronting with cultural factors in translating. As for &quot;癞蛤蟆想天鹅吃&quot;(曹雪芹, 1791, 165), Yang translated it into &quot;A toad hankering for a tatste of swan&quot;(Yang Xianyi, 1978). Here, Yang keeps the &quot;Chineseness&quot; in source language through literal translation. (He Fang, 2019, 172)<br /> <br /> Choosing domestication or foreignization is not a question of black and white, but a question of grasping &quot;degree&quot;, or finding a balance. Translation involves the pragmatic rules of two different languages and is a cross-linguistic and cross-cultural communicative activity. Foreignization and domestication shouldn’t be treated separately. In many cases, the two methods must be combined. It is impossible for a translator to choose only one method to translate a work and use it to the end. The key to the translation of idioms is to grasp a balance point between domestication and foreignization. If we simply emphasize the readability of the translated version, we may ignore the cultural characteristics of the source language, leading to excessive domestication and loss of the culture of the source language. (Qiu Nengsheng, 2019, 56)<br /> <br /> However, if we only focus on the transmission of the cultural information of the source language, it may damage the readability of the translated text and lead to excessive foreignization. The loss of readability of the translated text will eventually lead to the failure of the translator's efforts. The selection of foreignization and domestication should be a dynamic mechanism, flexible and changing with the change of corresponding influencing factors. Due to the need of specific context, the same idiom may be translated in different ways. In the process of idiom translation, whether to adopt domestication or foreignization, communicative purpose and pragmatic environment all affect the choice of methods. (Qiu Nengsheng, 2019, 56)<br /> <br /> For example, the primary purpose of Yang’s translation of ''Dream in Red Chamber'' is to spread Chinese culture; therefore, he mainly adopted the method of foreignization in idiom translation, so that the &quot;Chineseness&quot; in idioms could be kept as much as possible. And Hawkes mainly used domestication in his translation, because he wanted to reduce the difficulties of reading, making it easier for western readers to accept the novel. So we can see, different communicative purposes lead to different choices of translation methods. (He Fang, 2019, 172)<br />  <br /> <br /> ===Conclusion===<br /> <br /> Fomestication and foreignization have always been the focus of controversy in translation circles. The essence of the contradiction is to advocate the introduction of the original expression in the target language or the authentic expression of the target language. The article believes that the contradiction between the two is not irreconcilable under normal circumstances. In fact, mere foreignization or domestication cannot appear alone in translation. The balance between the two should be sought as much as possible on the premise of loyalty to translation duties. (Guo Jianzhong, 2000, 65)<br /> <br /> One of the purposes of translation is to spread the source language culture, promoting cultural exchange and integration as well as the diversified development of the world. The foreignizing translation method can reserve enough space for readers to appreciate and analyze foreign cultures. <br /> <br /> The translator should have enough confidence in readers when adopting foreignization strategies, and believe that readers can give full play to their imagination to understand foreign countries on the basis of comparing their own and foreign culture. The ultimate goal of translation is to promote cross-cultural communication. It is necessary to consciously retain relevant cultural factors in the translation process. Simply using domestication translation will inevitably hide or even distort the cultural connotation of the source language. In order to preserve and spread the source language culture, the use of foreignizing translation methods should be emphasized when translating idioms rich in cultural meaning. (Guo Jianzhong, 2000, 12)<br /> <br /> However, the foreignization strategy has its limitations. Regardless of interpretation or translation, it does not mean that all idioms containing cultural factors should be preserved. Information transmission and cultural transmission are equally important in the translation process. One cannot lose sight of the other. <br /> <br /> In the process of idiom translation, the expression of cultural factors cannot be ignored. The retention of unique cultural images can attract readers of the target language. The actual acceptance ability of the target language readers cannot be ignored, otherwise it may cause poor communication. In the translation process, the translator must adhere to the principle of the inter-growth of different languages and cultures, and pay attention to the fact that the translation must be helpful to communication, coordination and dock with the world, and at the same time, it must not be inappropriately eliminated in order to comply with the needs of the target country. The source language and the target language are inherent in language and culture. (Qiu Jixin, 2002, 45)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:23, 21 December 2020 (UTC)<br /> <br /> ===Bibliography===<br /> <br /> *Guo Jianzhong 郭建中. (2000). 韦努蒂及其解构主义的翻译策略 [Venuti and his deconstructionist translation strategy]. 中国翻译 [Chinese translation]. 【文献中杂志缺页数】<br /> <br /> *He Fang 贺 芳. (2019). 异化翻译与文化传播——以杨宪益《红楼梦》歇后语翻译为个案 [Alienation Translation and Cultural Communication-- A Case Study of Yang Xianyi's Idiom Translation in A Dream of Red Mansions]<br /> <br /> *Jia Yunpeng 贾云鹏. (2015). 汉语四字成语翻译中的文化补偿与缺失 [Cultural Compensation and Deficiency in the Translation of Chinese Four-character Idioms]. 语文建设 [China Academic Journal].<br /> <br /> *Jiang Lei 蒋 磊. (2003). 英汉文化差异与习语翻译的归化和异化 [E -C Cultural Differences and Foreignization &amp;Domestication in Idioms Translation]. 武汉: 武汉大学出版社 [Wuhan: Wuhan University Press].<br /> <br /> *Qiu Jixin 裘姬新. (2002). 论习语翻译中的异化与归化 [On Alienation and Adaptation in Idiom Translation]. 语言与翻译 [Language and Translation].<br /> <br /> *Wang Tao 王 涛. (2018). 英汉习语翻译中的文化缺失与补偿 [Cultural Deficiency and Compensation in Translation of English and Chinese Idioms]. 三峡大学 [China Three Gorges University].<br /> <br /> *Qiu Nengsheng 邱能生. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization and Domestication in Translation of English and Chinese Idioms under the Background of Cultural Differences]. 上海翻译 [Shanghai Journal of Translators].<br /> <br /> *Yang Xianyi 杨宪益. (1978). 红楼梦 [A Dream of Red Mansions]. 外文出版社 [Foreign Language Press].<br /> <br /> *David Hawkes. (2012). The Story of The Stone. Shanghai Foreign Language Education Press.<br /> <br /> *Venuti,L.The Translator′s Invisibility [M].London &amp; New York:Routledge,1995:20<br /> <br /> *Nida, Eugene. A.(1993). Language, Culture and Translating. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nida, Eugene A. &amp; Charles R. Taber. (1969). The Theory and Practice of Translation. Leiden: E. J. Brill.<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:23, 21 December 2020 (UTC)<br /> <br /> ==Translation of English Proverbs from the Perspective of Culture 韩海洋 202020080602 Han Haiyang 英美文学==<br /> <br /> ===Abstract===<br /> As close communication between eastern and western countries,nowadays cultural influence is increasingly becoming more and more importance than before in language exchanging. As for translation of English proverbs, proper translation strategies should be considered in order to better understand their meanings and characters. By looking up thesis and documents, some translation strategies need to be concluded. In terms of cultural influence and social communication, foreignization and domestication are chosen in which the former is used more frequently than the latter. It arrives the conclusion that foreignization applied for translation of English proverbs is on the increase.<br /> <br /> ===Key Words===<br /> proverbs; culture; translation strategies<br /> <br /> ===从文化视角来看英语谚语的翻译===<br /> <br /> ===摘要===<br /> 由于文化因素在不同语言之间的交流具有一定的影响，特别在中西方交往日益密切的背景下。为了更好的翻译英语谚语，使其达到应有预期效果，适当的翻译策略可以在翻译过程中更好地了解谚语的含义与特色。通过查阅资料和文献，总结出合适的翻译方法。根据现在的社会背景和文化影响，对于归化和异化两种方法，异化的选择得到了更多的倾向。在翻译的过程中，将文化因素考虑进去对于语言翻译上面，异化的趋势将会逐渐增大。<br /> <br /> ===关键词===<br /> 谚语; 文化; 翻译方法 <br /> <br /> ===1. Introduction===<br /> With the advent of 21th century, society has been changed in a wide scope, and shed light on the unparalleled interaction of culture and economy as most exemplified phenomenon happening everywhere. Translation is thereby a way to transfer from one culture to another, in which the effect of cultural background is behind language the essence of best fruit of translation. The history of translation has been lasted for a long time, for example when it comes to English proverbs, which can be traced to centuries ago, like Bible and works of Shakespeare. It is not rare to see that each country has its own unique culture, and under the cover abundant resources mirroring a country can be exploited. English proverbs as a product of culture the bridge for cultural exchange is been studied since centuries ago. The strategies of proverbs translation also have been experimentally discussed from time to time as the rapid development of culture and economy. Translation plays a key role in promoting a country’s own culture, because that is the way of importing and exporting knowledge of culture to another country. Proverbs is the product of culture that cannot be understood directly without any effort to digest it. So translation is needed, which could impose exotic flavors to new conception or understanding, but the premise is that translation is properly chosen in regard to nowadays strongly cultural promotion awareness.<br /> <br /> Usually proverbs are concise, concrete and pithy words which are rhythmed and organized for the sake of being simple to remember and spread to people. Proverbs are summarized by certain people from all walks of life in a specialized area, including eating habits, farming, belief, customs and so many. Proverbs composed of words the exact symbol of language, are named as the crystal of culture in a easily understandable way. Culture awareness is highly appreciated whatever it is developed country or developing country. For the fulfillment of translation of English proverbs, therefore this thesis aims to translate English proverbs with appropriate translation strategies-mainly foreignization and domestication from the perspective culture.<br /> <br /> With the advent of 21th century, society has been changed in a wide scope, and shed light on the unparalleled interaction of culture and economy as most exemplified phenomenon happening everywhere. Translation is thereby a way to transfer from one culture to another, in which the effect of cultural background is behind language the essence of best fruit of translation. The history of translation has been lasted for a long time, for example when it comes to English proverbs, which can be traced to centuries ago, like Bible and works of Shakespeare. It is normal to see that each country has its own unique culture, and under the cover abundant resources mirroring a country can be exploited. English proverbs as a product of culture the bridge for cultural exchange has been studied since centuries ago. The strategies of proverbs translation also have been experimentally discussed from time to time as the rapid development of culture and economy. Translation plays a key role in promoting a country’s own culture, because that is the way of importing and exporting knowledge of culture to another country. Proverbs is the product of culture that cannot be understood directly without any effort to digest it. So translation is needed, which could impose exotic flavors to new conception or understanding, but the premise is that translation is properly chosen in regard to nowadays strongly cultural promotion awareness.<br /> <br /> Usually proverbs are concise, concrete and pithy words which are rhythmed and organized for the sake of being simple to remember and spread to people. Proverbs are summarized by certain people from all walks of life in a specialized area, including eating habits, farming, belief, customs and so many. Proverbs composed of words the exact symbol of language, are named as the crystal of culture in a easily understandable way. Culture awareness is highly appreciated whatever it is developed country or developing country. For the fulfillment of translation of English proverbs, therefore this thesis aims to translate English proverbs with appropriate translation strategies-mainly foreignization<br /> <br /> ===2. Chapter 1 General Introduction to English proverbs===<br /> <br /> ====1.1 Definition of Proverbs====<br /> As far as history is concerned, proverbs can be dated back to the times that language is produced. According to Dictionary of Proverbs, proverbs are “a succinct and memorable statement that contains advice, a warning or a prediction, or an analytical observation”. Maybe the first definition is given by Socrates that a proverb is noted as brevity, philosophical tone, and common usage. In the 15th century, Michael Apostolius of Byzantium wrote, “A proverb is a statement which clarifies the unclear, or which through concrete images indicates intellectual concepts, or which makes clear the truth in furtive fashion”.(Honeck 1997,12)<br /> <br /> Champion (1966:xi) has claimed his idea “a proverb in my opinion is a racial aphorism which has been, or still is, in common use, conveying advice or counsel, invariably camouflaged figuratively, disguised in metaphor or allegory.” According to Mieder (1993), “A proverb is a short generally known sentence of the folk which contains wisdom, truth, morals, and traditional views in a metaphorical, fixed and memorable form and which is handed down from generation to generation”. Although definition is definitely different from one to another, one thing is for sure is that proverbs have been proved to exist for a long time. From all the above have been talked, proverbs can be boiled down to a simple, culture-loaded, and wide-circled saying enjoying great popularity throughout the whole country. Considering it that a majority of elements are included in proverbs, especially when it comes to perspective of culture, some feasible measures should be properly taken to handle it.(Champion 1966,15)<br /> <br /> 1.1.1 Origin of Proverbs from Abroad<br /> Proverbs are not come out from nowhere, and the amounts and meanings of them do not stay the same eternally. As a rule, comparison between at home and abroad is always been found. From abroad, English proverbs could be seen in Bible, and works from Shakespeare and other fables. Part of old proverbs are stemmed from Bible, which largely related to God and so many fairy tales, or in other word like “God” or any related implication are sometimes recorded in proverbs. Like the famous one said: “man proposes, God disposes”, it shows that in western country people faithfully believe in God who is enshrined in most<br /> <br /> Except from Bible, in the times of Renaissance Shakespeare’s works can be found in which some proverbs are known from that time. For example, in Romeo and Juliet there is one sentence “a rose by any other means would smell as sweet”. It means that irrespective of how things’ names are changed, the essence embedded in them would still intact. Shakespeare is as one of the most brilliant play writers just on the behalf of renaissance period. There are still amounts of proverbs created by other scholars like Francis Bacon, John Milton and so on.(Li Keshi 2009,35-38)<br /> <br /> 1.1.2 Origin of Proverbs at home<br /> <br /> In china, proverbs can be traced to Spring and Autumn periods. At that time, people mostly work at farm, so there are a lot of proverbs related to farming or country life. with Zuo’s Commentary( 左 传 ) deserves the first.In it, the Chinese proverb “山有木，工则度之；宾有礼，主则择之”has its track, and most of the proverbs mentioned in Zuo’s Commentary are from Zhou Dynasty as “Zhou proverbs”(周谚). Besides, terms like “Xia proverbs(夏谚)” can also be found in Mencius(孟子). Like the proverb “吾王不游，吾何以休？吾王不豫，吾何以助？一游一豫，为诸侯度”from Mencius, though have not been handed down, it is regarded as the earliest proverb that have been recorded (ibid,2003). <br /> <br /> Xia is an extremely ancient dynasty in Chinese history, as far as over 4,000years from today. So maybe proverbs are not as popular as today, they are definitely has records and can shed light on Chinese history.It is said that proverbs in China dated back to as early as before the words came into being. People at that time did not pass down their knowledge and experience by writing, while they made it by speaking and saying in a simple and memorable way. With time moving forward, proverbs are gradually been regarded as important as written words which play a great role in future generation in dealing with culture and heritage. No matter what kind of proverbs are produced, from the historical evidence it can be observed that proverbs can across ocean and land, moving to another country, another culture domain.(ibid 2003,31)<br /> <br /> ====1.2 Characteristics of Proverbs====<br /> Proverbs are memorable, vivid words which are succinct and simple in form summarized by people from all walks of life. Both Chinese and English are bountiful in considering the thousands of proverbs have been recorded and there are still more proverbs to be created as time goes on. For the record, proverbs are not spoken at random and created at one’s free will. Some rules can be depended on, such as the lifestyle, living environment, education, social value, and so on. Taking environment for example, the British lived near to ocean or sea, and therefore it is common to see proverbs related to sea spoken by English people “In a clam sea, every man is a pilot.”<br /> <br /> 1.2.1 Cultural Characteristics of Proverbs<br /> <br /> Broadly speaking, culture contains all the aspects of the society and gives its people ability to view the world. Meanwhile, culture also can be regarded as a deciding element on distinguishing the difference from each country. It is no exaggeration to say that a country’s most standing heritage is its culture, which keeps changeable in line with the history. Although nowadays similarities of culture are seen more easily than ever before, the reason is under the influence of globalization-culture import and export take place here and there. The logic is culture formed from all walks of life, which means language is included, and proverbs are product of language. <br /> <br /> Therefore, proverbs carry characteristics of culture whatever the country is and how singular its culture is. Social customs is one of the big parts in a cultural society, there are some symbols or people are widely used in proverbs. Jack and Jill usually refer to man and woman in general such as: “every Jack has his Jill”. The counterpart in china is also easy to find. To name a few, there are more could be found in each cultural community. The next indispensable one is religion. It is well acknowledged that western countries like America and the UK, are religious countries, in which the words like: “God, devil, and church” are seen here and there. Like it has been said before, language is the product of culture, which contains every aspect of people’s life from individuality to the whole society. <br /> <br /> What is more, value concept is also included since it reflects how a country embodies its culture to the outside world. Giving respect for the aged in china is a necessary and ethic social value passed on and on for thousands of years. In Chinese, there is proverb saying that: “不听老人言，吃亏在眼前”. It means youth should listen to what the old men told you, or you will pay the price of what you have done. Instead, traditional values favor in masculinity, people think that men are superior to women and they have direct control over them. Ego and individuality in America is felt deeply, because they think that they are going to be successful by themselves from any given chance. They seldom make big achievement by working in group rather than enjoying doing it by their own hands. Proverbs like “near is my shirt, but near is my skin” is emphasizing that someone himself is more important than others.(Li Keshi 2009,35-38)<br /> <br /> 1.2.2 Rhetorical Characteristics of Proverbs<br /> <br /> As proverbs express concrete meaning by only a few words, sometimes it has to apply some kind of rhetorical devices for perfectly presenting the delicacy of proverbs. Some meaningful proverbs are not understood directly by adding each word all together, however, it only can be realized by using proper rhetorical methods to give their deep meaning, in another word, connotative meaning. <br /> <br /> Simile is often seen in proverbs, and it usually compares one thing to another thing, in order to show its vivid or obscure picture to receptor who may not understand directly from plain words. In sentences with simile, “like” and “as” are widely used for example, “March come in like a lion and goes out like a lamb”, and “time tries friend, as fire tries gold”. The former means that the changes of March is different from how it is coming and ending, and the latter means that friend like gold needs to be tested then you would find who is your real friend. Both of them impressively express the core meaning from unfamiliar thing or abstract thing to specific and easily understandable thing. <br /> <br /> Metaphor is seemingly like simile, but it is more implicitly explaining meaning than simile. Like “brevity is the soul of wit” and “an empty bag cannot stand upright”. The former means brevity is so important to wit like the soul of a person, the latter one translated in Chinese is “人是铁，饭是钢，一顿不吃饿的慌。” Hyperbole is a rhetoric that uses overstatement or obvious exaggeration to emphasize something, such as “Our life is but a span” and “An unfortunate man would drown in teacup”. The former means life lasts in a few times as short as span, which is obviously overstated. The latter means if a person is feeling unlucky at that day, whatever you do will bring bad lucky. Personification is the ability to endow common lifeless things with features of human-being. For instance, “Money is a good servant but a bad master”, and “fortunate knocks once at least at every man’s gate”. The former means money should be rationally handled or it may be a burden for you. The latter means everyone has a chance to be fortunate at least once.(Guo Min 2008,123-127)<br /> <br /> From all above have been discussed, they are just the most common figurative devices formed into proverbs. In terms of the function of rhetorical, proverbs can come into being in a simple, memorable form. It can be inferred that proverbs in a much degree use rhetorical to express refined and concrete meaning. Meanwhile it reflects the problem that when doing translation of proverbs, focus are more than just words themselves needed to be considered, as well as culture, form and connotative meaning.<br /> <br /> ====1.3 Differences Between Proverbs and Maxims, Sayings, Idioms====<br /> <br /> It seems that proverbs are looked the same as maxims, sayings, and idioms one way or another, but in fact there still exists some differences between them. For one thing, the existence of proverbs is across the whole world, therefore, no one can precisely calculate how many of them are recorded, and how many of them are still unknown to us. In terms of the number of proverbs is uncertain, so making a convincing definition is unrealistic, at least not perfect. If referring to it could be found that the definition in the dictionary is also easy to distinguish from each other. Some researchers disagree with each other on the definitions of these similar terms. <br /> <br /> Fergusson (1983) states some proverbs are simple folk sayings. Burton Stevenson (1987)’s idea about proverb is that― “A maxim is the sententious expression of some general truth or rule and it becomes a proverb when it gets its wings by winning popular acceptance.” Some scholars believe that sayings are one stream in the vast ocean of proverbs while others argue that proverbs should be included in the realm of sayings. In one source defining idioms and proverbs, NTC’s American Idioms Dictionary (1987) mentioned that ― “the idiom ‘a bird in the hand is worth two in the bush’ is a proverb meaning that something you already have is better than something you might get.” (Burton Stevenson 1987,20)<br /> <br /> As for classifying maxims and proverbs, Cordry (1997) suggests that “one defines a maxim as a rule of conduct and a proverb as a comment or observation with regard to the universal experience of life, the distinction is not always clear.” And as given in Concise Oxford English-Chinese Dictionary (2003), saying is defined as “a maxim, proverb, adage, etc.” Even so, there must be some obvious features we could rely on to categorize them in general. It could be concluded that maxim and saying are mostly the expression of principle or behavior of man or the rules that summarized by famous writers or philosophers.(Cordry 1997,26-28)<br /> <br /> Thus maxim and saying are seldom heard or seen except reading in the books and hearing from author himself. As a number of them are in a serious or form expression, there they are not as popular as proverbs which are created from daily experience by common people. In regard to idiom, its meaning is not the meaning which each word put together, but by understanding it form local people who made them and made it spread in his surrounding places. Idioms sometimes are not complete sentences but simple phrases. While, proverbs enjoy great popularity and are universally spread because of their concrete, succinct and vivid description.(Fergusson 1983,28-31) <br /> <br /> In conclusion, proverbs are prevalent in the world enjoying widespread social value and abundant sentence structures, but for sayings and maxims they are carrying the color of literature. Idioms have local color that is only understood within the same or similar speech community. With such understanding, it lays the foundation for researcher to better study and distinguish the distinctions form others.<br /> <br /> ===2. Chapter 2 Relation Between Culture and Proverbs Translation===<br /> <br /> ====2.1 Definition of Culture====<br /> <br /> As many scholars have been studied the definition culture, there have been existed sorts of definitions, in which they do not have big difference in one way or another. Culture is a general word that could take language, customs, religion, and others into account. One of the oldest and most quoted definitions of culture, which is frequently mentioned regardless of so many entries of definitions, was formulated by the 19th-century English anthropologist Edward Burnett Tylor in the first paragraph of his Primitive Culture (1871) as “Culture… is that complex whole which includes knowledge, belief, morals, custom, and any other capabilities and habits acquired by man as a member of society. …” . <br /> <br /> While Nida, a famous linguistic and translation theorist, gave his definition of culture as “the totality of beliefs and practices of a society” in the book Language and Culture (2001:139) and as “the way of life and its manifestations that are peculiar to a community that uses a particular language as its means of expression” by New mark given in his book of A Textbook of Translation (2001:94).From the mentioned above, culture includes every aspect of human life such as housing, transporting, communicating with people, recording of history and so on. Therefore, it is no exaggeration to say that proverb, or even language is a part of culture. Some scholar even put that language is the medium of culture, without language there may be no existence of culture. So the importance of culture cannot be ignored in order to better understand the deep meaning when studying proverb, a culture-loaded word, and more attention should be given to perspective of culture.(Katan 2004,16)<br /> <br /> ====2.2 Language and Proverb====<br /> <br /> It is no exaggeration to say that language is the product of culture since culture is culturally transmitted from the view of linguistics. Therefore, proverbs are composed of a set of words, which are selected from a particular language community. Taking English and Chinese for example, they both represent their special culture and unique characteristics respectively. More importantly, proverbs are the crystal of language, which can be used as a convenient tool to understand different cultures for language is the bridge leading to culture.<br /> <br /> ====2.3 Value and proverbs====<br /> <br /> Value is associated with sorts of people’s lives and is defined by these people living in a specific area. Value of appreciation on people is an obvious example that eastern and western countries have extreme angles on how to appraise a person. Tanned skin and jeans clothes are symbols as to select people whom they like more, but for eastern, white skin and Qipao maybe are thresholds for people to judge a person whether he or she is more stylish. Value of eating is still a big mark to differentiate race or natality. Cooked meal in china and salad in the west make the difference that eating habit is so little sameness on each other. There are still more, living environment and national policy if is related to country. All of them shape all kinds of values which are on behave of its countries or people. Like east or west, home is the best means “金窝，银窝，不如自己的狗窝.” Proverbs are not just created form nowhere but they are existed for ages and still available only if they are still reflecting meaningful viewpoints.(Chen Jinshi 2006,72-77) <br /> <br /> Language is a part of culture and also at the same time a reflection of culture. Taking Chinese and English for example, they belong to different language families, therefore there exist some distinctions between them. Chinese people usually don’t say daring or family name directly, which is so different from western people who call their parents’ name and say sweet words without any concerning of awkwardness or shyness. It works to proverbs, and that is the social custom defining a society what is their core valve. <br /> As far as we know, social value between western country and eastern country are of great differences. In western country, self-awareness and individuality are mostly emphasized, but for eastern, more attention is given to collective wisdom and working in groups. Like Chinese proverbs “ 三个臭皮匠，顶个诸葛亮。”and in English proverbs such as “ God helps those who help themselves.” From above being said that it has a lot benefits to study proverbs to better understand culture and language.(Chen Jinshi 2006,72-77)<br /> <br /> ====2.4 Cultural Similarity on Chinese and English Proverbs====<br /> <br /> Without any effort it can tell that Chinese and English are defined by different language families. Even so, Chinese and English proverbs share some similarities in various ways, which are performed in different form and speech of proverbs. Because there exist universal truths and life styles, they are more or less understood by people from society to society. Like the truth of the universe in the definition of right and wrong and subjects including philosophy, math, chemistry, they are all developed separately in different areas but shared and summarized by all members form all the world. In this point, proverbs play the role in spreading some common knowledge and experience to the outside world, though forms are created by different society, they are carrying the same meaning or implying one way or another. Examples like “a snow year, a rich year(瑞雪兆丰年), strike while the iron is hot, and a neighbor is better than a distant cousin.” All of them are proved to share universal life experience and truth in the everyday life. Because people live under the same sky, sun, star, they go on making their living by hard working.(Han Jiaoyang 2009,111-117)<br /> <br /> It is no exaggeration to say that cultural exchanges are rapidly happening all over the world, and foreign culture may be assimilated by domestic culture or rejected by its opposite expression of culture. In this sense, we have same expressions in different ways of forms, like “情人眼里出西施” (Beauty is in the eyes of the beholder). They are describing the same thing but with different cultural background, therefore they sometimes have similarities in one way or another.(Han Jiaoyang 2009,111-117)<br /> <br /> They describe the same thing but with different cultural background, therefore they sometimes have similarities in one way or another.(Han Jiaoyang 2009,111-117)<br /> <br /> <br /> ====2.5 Cultural Differences in Chinese and English Proverbs====<br /> <br /> Without a doubt that cultural similarities surely make translation easier in understanding foreign proverbs, but they are not silver bullets to taking all the proverbs into consideration. When it comes to separate boundaries which cut the Earth into several parts, under this context, local culture will be formed and promoted in its own birth place. One of the most common features of culture is religion in western and eastern country, because western people have belief in God, Chinese people believe in Buddhism, which are of two great differences. That is the reason why in the process of translation, factor of culture has to be reckoned, especially in the new eras. As Nord have ever put forward in Translating as a Purposeful Activity that ―A culture-specific phenomenon is one that is found to exist in a particular form or function in only one of the two cultures being compared‘‘ (Nord,2001:34), therefore culture will be compared at a time when people have different perceptions on things, in which language would be the first. The grammatically sentence structure and the pronunciation for example, have little in common regarding they belong to different language family.(Fu Yanli 2016,91-92)<br /> <br /> Living environment is an element on deciding the formation of proverbs. Traditional Chinese people were busy doing farming, agriculture, so there are proverbs associated with them. Like “ 瓜熟蒂落” means things will be done when they are mature, and “人靠血样，苗考水活”means blood is a necessity for existence of human being as well as water to seedlings.” Moreover, a fruitful harvest is dependent on the weather, producing proverbs such as “三月三，著蓑衣，三月十五冷凄凄”, which means lunar early month has heavy and the middle is heavily cold. But for English proverbs, which are to a large extent related to fishery or marine affairs such as “to sink or swim”, “to keep one’s feet above water” and so many. Therefore both of the proverbs are created under the influence surrounding environment. Except for living environment, living customs are also reflected on formation of proverbs. <br /> <br /> In different communities, people have different perception of things like animals. In Chinese proverbs, “杀鸡取卵” which equals to “kill the goose that lays golden eggs”, in which different animals are choose represent local customs. English proverbs would say that “look for a needle in a haystack”, which has a Chinese counterpart as “大海捞针”. It means that doing something is as difficult as finding out a small piece in an immerse container. Dog is also a featured sign that stand for different views in Chinese and English proverbs. In China, although dog is loyal to his master, it always leaves unrespectable impression on people, on the contrary, English love dogs and cherishes them so much sometimes even more than their family.(Fu Yanli 2016,91-92) <br /> <br /> Different cultural heritages and religious beliefs also play a key role in the formation of proverbs. It is not hard to refer that understanding proverbs on the bases of translation is convenient for study foreign culture. With all the differences and sameness, the range of translation, culture is a must during translation.<br /> <br /> ===3. Chapter 3 Translation Strategies for English Proverbs===<br /> <br /> Translation strategies have long been studied for a long time, during that time, domestication and foreignization have been considered as dominating strategies that were applied by a lot of scholars. Cross-culture exchange has gained great trend, especially in those years global communication between countries develops rapidly. It is true that here exists another method like “functional equivalent” created by famous scholar Eugene Nida who claims that in the process of translation source text and target text are both considered as author and reader are separated by the language or culture. <br /> <br /> The best function of translation is aiming to make source text as readable as reader-oriented text, which is popular in centuries ago in the era of underdeveloped cultural exchanges. In Chinese culture, the history of translation can also be traced to hundreds of years ago, some brilliant point of view like “信，达，雅”by Yan Fu, then it was changed into “信，达，切”by Liu Chongde. It means that translated text in which the flavor of text should be close to its original color of its culture. Taking what translation strategies into consideration should comply with the trend of culture exchange and its development.(Chen Daoen 2015,257-258)<br /> <br /> ====3.1 Domestication and Foreignization====<br /> <br /> Domestication is a target language oriented translation device, which is to change the flavor into reader’s interest. It is compatible with the taste of people who think their country is strong enough to set international standard and in which all other countries will prepare for the transmission of culture. It is the assimilation that causes translator to change resource text into native flavor. But for this phenomenon, the reason is that people’s recognition is limited and their hold self-importance to the most, therefore, everything from outside will be transmitted into domestic flavor. <br /> <br /> As communication of culture and technology grows rapidly and each country would like to strengthen its comprehensive power by take into foreign culture. As for translation strategies, which are still be reckoned which one should be adapted. Foreignization is a source language oriented translation device, which is to change the flavor into author’s meet. The roots of the terms “domestication” and “foreignization” can be traced back to the German philosopher Schleiermacher‘s argument in 1813 in a lecture on the different methods of translation, he found only two methods of affecting the domestic reader‘s understanding of the foreign author, “Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Venuti 2004,19-20).<br /> <br /> In China, some scholars also have put forward their own opinions about the definitions of domestication and foreign. Among them, Lu Xun's opinion is famous. He claimed that domestication was as “rewriting, changing the foreign story into Chinese story and changing the foreigners into Chinese” , while foreign was “translation is like going abroad for traveling, it must reflect the scene and flavor of the foreign country concerned.”(ibid 1984,301) Expect the definition of domestication and foreignization, when doing the work of translation, translator should consider the perspective of culture and the intention of the writer as well as readers whether they want to the culture of source text to be originally intact or changed into readers’ culture.(罗新璋 1984,301)<br /> <br /> ====3.2 Foreignization over Domestication for Translation====<br /> <br /> As far as social development is concerned, cultural exchange is more frequent than now or ever. In previous centuries, domestication is always been advocated by Chinese and western translators. as the exchange of economy and culture, it is not as common as today. Countries blindly think themselves as the leading one, so naturally take translated text as a respect from other countries. In translated works, any trace of alien culture is eliminated, in favor of own country’s culture to be admired and promoted. The awareness of culture is not developed because people only unconsciously find that in their mind anything enters into their country is no foreign at all, because every product from aboard will be transferred into familiarly native fruit with sense of closeness. <br /> <br /> As far as social development is concerned, cultural exchange is more frequent than ever before<br /> <br /> In another way, people at that time are barely having the chance to access to education, in particular for poor family that most of them are illiterate.It is without saying that no room is left for people in their countries to study culture abroad while native culture still did not gain completely popularity. From the above being mentioned, at an early age, domestication has upper hand indeed.So in choosing translation strategies, it is no doubt that it should be domestication centered.(Ding Min 2014,72-76)<br /> <br /> For another thing, as technology and economy develop from nowhere, cultural exchange between countries has witnessed great changes in the past decades. In highly developed areas, people in their countries universally receive full education in which their counties’ historical culture has been deeply absorbed. So, in the process of translation, foreign culture as novel things fulling with exotic flavor has attracted people a lot to see the differences and experience a foreign journey. The untouchable place of domestication did not enjoy its popularity an anymore for its limitation of spreading of foreign culture. <br /> <br /> Therefore, foreignization became more and more important as translation tool in the view of people’s eye. It not only translated the original foreign text into native character, but also carried the foreign special into domestic text. Take china for example, although as a developing country in the Asian, china has so much say in the stage of the world in the aspect of culture and world peace. Language as the bridge of communication, have to be understood by others in the way of translation. In one way or another, domestication and foreignization can both play the role in the translation, but from the perspective of culture, foreignization seems to weigh more in nowadays choosing translation strategies.(Ding Min 2014,72-76)<br />  <br /> <br /> ===4. Conclusion===<br /> <br /> Proverbs are culture-loaded words that have been transmitted and renewed from generation to generation as well as the changes of different eras. As a part of language and the product of culture, it is no exception that proverbs can be a medium, which offers the opportunity to learn language and culture. With the advent of new technology and wide economic communication, translation is playing an indispensable role in this process. <br /> <br /> Proper translation strategies are essential that whether foreign culture should be taken into consideration since it stands as the soft strength of a country. By considering this, foreignization has more superiority when compared with domestication. Foreignization as a trend translation, has been keeping the original culture intact to target readers, meanwhile can enrich a native country’s culture and expand vocabulary. There is no doubt that domestication is not totally worthless, regarding proverbs has multiple varieties, which cannot be translated simply by foreignization, therefore domestication is worked as supplementary tool to assist foreignization in translation. <br /> <br /> Foreignization leaves the culture of source text untouched, wishing to give target reader exotic environment where readers experience different aspects of culture, like religion, belief, custom and others.<br /> <br /> In the end, as cultural development and social progress is moving forward, foreignization has more advantages than domestication.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 15:45, 20 December 2020 (UTC)<br /> <br /> ===5. References===<br /> *Bian Xiaofei, 边晓霏(2013). 从文化视角探究谚语翻译[Exploring proverb translation from a cultural perspective]. ''保定:河北大学''[Baoding:Hebei University] .<br /> *Chen Jinshi,陈金诗(2006). 英汉谚语的特征与翻译[Characteristics and translation of English-Chinese proverbs]. ''武汉:中南民族大学''[uhan: Zhongnan University for Nationalities].<br /> *Dong Jing,董晶,Liu Yalou,刘亚楼(2015).英语谚语的文化内涵与翻译方法[The cultural connotation and translation of English proverbs]. ''河北联合大学学报(社科版)'',(1): p: 100-103.<br /> *Fu Yanli,付艳丽(2016). 跨文化语境下英语谚语翻译的意蕴与特征表达[The Meaning and Characteristics of English Proverbs Translation in Cross-cultural Context]. ''济南职业学院学报''[Journal of Jinan Vocational College],(4): p: 90-91.<br /> *Ding Min,丁敏(2014). 从文化视角看英语谚语的翻译[Translation of English proverbs from a cultural perspectiv]. 西安:西安外国语大学[Xi'an:Xi'an University of Foreign Languages].<br /> *Guo Min,郭敏(2008). 英汉谚语中的文化差异及其翻译[Cultural differences in English and Chinese proverbs and their translation]. 重庆:西南大学[Chongqing: Southwest University].<br /> *Han Jiaoyang,韩娇阳(2009). 从谚语英汉互译中看文化缺省及其补偿策略[Cultural default and its compensation strategy in English-Chinese translation of proverbs]. 长春:吉林大学[Changchun: Jilin University],.<br /> *Lu Daoyen,陆道恩(2015).文化视角下英语谚语的翻译技巧[Translation skills of English proverbs from a cultural perspectiv]. ''高教学刊''[Journal of Higher Education],(24): P:257-258.<br /> *Li Keshi,李克时(2009). 论英语谚语汉译的异化趋势[On the trend of alienation in Chinese translation of English proverbs]. 南京:南京农业大学[Nanjing: Nanjing Agricultural University].<br /> *Liu Weiping,刘卫平(2008). 文化视角下的美国谚语翻译[Translation of American Proverbs in Cultural Perspective]. 桂林:广西师范大学[Guilin: Guangxi Normal University].<br /> *Li, H.(2012) A Study of Film Subtitle Translation from the Perspective of Domestication and Foreignization[MA]. Shenyang: Liaoning University.<br /> *Mo, L, H.(2014) A Study on Chinese and English Proverbs about Marriage from the Perspective of Contrastive Linguistics[MA]. Nanning: Guangxi University.<br /> *Mao, Q.(2017) A Study on the Proverbs in Shakespeare’s Play in Their Chinese Translations in the Perspective of Conceptual Metaphor[MA]. Guilin: Guangxi Normal Univeristy .<br /> *You, X, J.(2009) A Contrastive Study On Hypotaxis and Parataxis in English and Chinese and Its Influence on the Chinese-English Translation of Ancient Fables[D]. Suzhou: Suzhou University.<br /> *Zhao, C, H.(2012) A Study on Proverb Translation from Cross-Cultural Perspective[D].Changchun:Jilin University.<br /> <br /> ==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory 刘金惺琦 liu jinxingqi==<br /> <br /> ==Translation of Chinese Neologisms from the Perspective of Cross-cultural Translation Theory-解帆 Xie Fan 202070080637 MTI 英语口译==<br /> &lt;center&gt;解帆 Xie Fan 202070080637 MTI 英语口译&lt;/center&gt;<br /> <br /> ===Abstract===<br /> <br /> With the continuous enhancement of China's overall national strength and international influence, Chinese is playing an increasingly important role in communications and exchanges among countries all over the world. An increasing number of Chinese neologisms are used to express and describe the status quo. These neologisms invigorate Chinese culture, however, meanwhile, they make it harder for the world to understand Chinese. <br /> <br /> On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.<br /> <br /> ===Key Words===<br /> <br /> Chinese neologisms; cross-cultural theory; English translation; strategies<br /> <br /> ===题目===<br /> <br /> 跨文化翻译理论指导下汉语新词英译的研究<br /> <br /> ===摘要===<br /> <br /> 随着我国综合国力和国际影响力不断增强，汉语在世界各国沟通与交流中起到越来越重要的作用，用来表达和描述社会状态的汉语新词也日益增多。这些新词给中国文化带来生命力的同时，也给世界人民理解汉语带来了困难。<br /> <br /> 一方面，语言本身存在着不可译性，每种语言在其组词造句、表达方式上都具有其独特性，现实中并不存在两种完全对等的符号系统。另一方面，不同的民族有着不同的历史传统、宗教信仰、思维方式，这尤其增加了语言理解的难度。因此，跨文化翻译成为中华文化传播过程中的重要一环。通过翻阅相关资料，不难发现由于汉语新词的英译起步较晚，国内外相关翻译研究尚未成熟，因此在英译汉语新词的过程中出现了一些问题。前人已有相关文章指出过这些问题，但没有提出如何才能避免这种问题、提高译文质量。基于前人的相关理论和观点，并结合实例，本文将首先介绍汉语新词分类及其特点，然后说明跨文化翻译理论对于英译汉语新词的意义，最后介绍在跨文化翻译理论下英译汉语新词时的几种方法，希望为后续规范汉语新词英译行为提供必要参考。<br /> <br /> ===关键词===<br /> <br /> 汉语新词；跨文化翻译；英译；策略<br /> <br /> ===Introduction===<br /> <br /> With the growing power of China and the further improvement of the globalization, China's contact with other countries in the world has become closer. And how to maintain Chinese culture’s uniqueness when it is introduced to the world has been the top priority for translators. The development of China has given birth to a large number of Chinese neologisms with its uniqueness. The society changes with each passing day, covering from international affairs to domestic matters. Against this background, neologisms are likely to be derived. These words attract widespread attention and gradually enter people's daily life. Since the implementation of the reform and opening up to the outside world, a great number of Chinese neologisms have appeared. <br /> <br /> Not only do these neologisms with Chinese characteristics vividly show Chinese people’s understanding of their unique phenomena, but also they largely enrich the expression of Chinese. However, at the same time, these words pose serious problems for translators as well. On the one hand, the differences between Chinese culture and western countries’ culture are numerous, which makes it hard to find equivalent of Chinese neologisms in English. On the other hand, with the times going forward, the number of Chinese neologisms is steadily increasing, which results in difficulties in translating Chinese neologisms into English. Therefore, Cross-cultural translation of Chinese neologisms into English becomes prevailing. Cross-cultural translation theory was proposed by Mary Snell Hornby in her well-known representative book Translation Studies: an Integrated Approach. She believes that translation is not a process of decoding or the transformation of language symbols, but also the transformation of cultural patterns. Due to the rapid development of Chinese society in the past decade, more and more translators have turned to Chinese neologisms, making the study of English translation of Chinese neologisms a new focus. Chinese Translators Journal, Lexicographical Studies and other authoritative academic journals have set up columns for translation of Chinese neologism. There are also vocabulary books compiled according to the specific types of Chinese neologisms, such as Chinese-English Expressions of Current Events by Yang Quanhong and English Translation of Buzzwords and Sayings by Chen Dezhang. In addition, the most representative ones include Yang Quanhong's Approaches to Translation of Chinese Words and Expressions into English and Zhang Jian's On Translation of Chinese Press Neologisms into English. In the age of information, it is not hard to find English translation of Chinese neologisms on English learning websites such as https://www.chinadaily.com.cn/, https://www.en84.com/ and so on. These websites have launched platforms for English translation of Chinese neologisms and updated them timely. So far, scholars have studied Chinese neologism from different perspectives. This paper is based on 138 related articles including these key words such as “cross-cultural theory” “Chinese neologisms” and “English translation” on http://kns.cnki.net. Fu Rong narrated the difficulties and methods in The English Translation of Chinese Neologism from a Cross-cultural Perspective. Zhou Hongjie elaborated on the basic principles, methods and key points in The English Translation of Chinese neologisms from a Cross-cultural Perspective. In addition, a majority of articles analyzed the status quo in the English translation of Chinese neologisms from the perspective of cross-cultural translation theory, but few dwell on strategies of solving the problems during the course of translation. This paper introduces Chinese neologisms and its classifications and characteristic in the second section, the significance of cross-translation to Chinese neologisms in the third section and ways of translating in the fourth section. It is based on the previous viewpoints and puts forward practical strategies to be followed in the translation of Chinese neologisms from the perspective of cross-translation theory combining with examples.<br /> <br /> ===Chapter 1 Overview of Chinese Neologisms===<br /> <br /> Neologisms are words new in connotation or form. In other words, they can either be new words created to express new concepts and phenomena in line with times or existing words given new meanings. These words help the further development of language, embody Chinese people's latest understanding of the world with the times going forward, and enrich the expression and promote the transmission of Chinese language. (Fu Rong, 2015,79)<br /> <br /> To better translate Chinese neologisms into English, we need to have a deeper understanding of Chinese neologisms, including its classifications and characteristics. Generally speaking, Chinese neologisms can be classified into four categories, namely, old words endowed with new meanings, Chinese abbreviations, newly generated words and loan words. (Fu Rong, 2015,80)<br /> <br /> ====1.1 Classifications of Chinese Neologisms====<br /> <br /> Old words endowed with new meanings, as the name suggests, are existent words that have been endowed with new meanings for reuse even though have been forgotten for a long time. Take “备胎(spare tire)”as an example, which refers to an extra tire carried in a motor vehicle for emergencies. It now refers to a back-up, second line, just-in-case, or a B-plan or contingency, in other words, someone who is benched now. Besides, “粉(powder)”originally refers to fine powder used for makeup or paint, while it means having a crush on or adoring a famous celebrity now. (Li Chunjiang, 2015,59)<br /> <br /> With the changing society of China, the essential characteristics of the things or phenomena referred to by the old words have changed as well. Because of the uniqueness pf Chinese words, it may be defective to use substitute words and fail to reflect the pun. Not only does endowing the existing words with new meanings produce connection between old words and new meanings, but also reduces the trouble of creating new words. (Li Chunjiang, 2015,62)<br /> <br /> Chinese abbreviations are the result of refining existing words. The process of extracting mainly depends on the importance of each part of the words. Those significant parts are selected to replace the lengthy words. The most common Chinese abbreviations can be divided into three forms. (Liao Yingying 2008,66)<br /> <br /> First, extracted initials. Such as “哥哥(brother)--GG”, “笑死我了(It’s so funny that I have a shortness of breathe)” and “漂亮小姐姐(good-looking sister)--PLXJJ”. Second, syllable imitation. Such as “呜呜呜 (onomatopoetic words of cry)--555”, “我爱你一生一世(I love you forever)--5201314” and “不要这样子(don’t do like this)--表酱紫”. Third: reduced words. Such as “很累，感觉不会再爱了(feel so tired that will not fall in love again)--累感不爱” and “躺着也中枪(a lying person can be shot as well)--躺枪”. (Liao Yingying 2008,67)<br /> <br /> Nowadays, people are always pursing a simple and peaceful life, which gives rise to the frequent use of abbreviations. Nevertheless, the abbreviations of words should neither be arbitrarily imitated, nor be simply carried out by way of analogy. Instead, the abbreviations with the widest social acceptance should be selected through investigation and evidence collection from multiple aspects. (Liao Yingying 2008,68)<br /> <br /> Newly generated words can be roughly divided into two types. The first is generated through metaphors, similes and metonymy. For instance, “虎妈(tiger mom) is defined as strict disciplinarian mothers who demand high achievement from their children and maintain control of their activities”, and“猫爸(cat dad)”refers to fathers who take a more softly approach to parenting, preferring to be emotionally sensitive, gentle and relaxed about rules and discipline, and they are in the belief that this kind of parenting will make their offspring self-sufficient and independent. (Ou Yangyin 2000,23)<br /> <br /> With new things springing up, people need words to describe them but there are no ready expressions at hand. The metaphorical use of some expressions will do the job as it will reflect the same essence of the objects through metaphor. The second type is created with the arrival of new phenomenon. For instance, “APEC蓝” is employed to describe the quality air and the exceptionally blue sky in Beijing during the APEC meeting in 2014. And “蒜你狠”is used to illustrate the price of garlic which soared more than 100 times in 2010, even outstripping meat and eggs. (Ou Yangyin 2000,24)<br /> <br /> A great number of new phenomena and new concepts spring up, however, it’s hard to describe them with the existing words. Under this circumstance, the vocabulary system needs to produce more new words to meet the requirements of social communication.(Liu Miqing 2005,45)<br /> <br /> The advancement of globalization, communication and cooperation in some fields among countries are deepening day by day, which inevitably bring changes in language, and that is so-called “Chinese localization”. Loan words are “transformed” into Chinese words in accordance with the rules of pronunciation, semantics, structure and grammatical system of Chinese. (Li Chunjiang, 2015,63)<br /> <br /> In the mid-1970s, Taiwanese used “show--秀” as morphemes to match with &quot;做&quot; and &quot;作&quot;. To the surprise of the editor, these newly created words were so well-received in the entertainment industry that a large number of words such as “歌舞秀、双人秀、真人秀、脱口秀”were produced. Nowadays, the neologism “秀儿” referring to those who like to show off their resources is widely accepted. Similarly, “博客、思客、播客、朋客、创客”appeared one by one. “客” was derived from “黑客(hacker)”, in other words, the word group of “X客” were generated. (Li Chunjiang, 2015,63)<br /> <br /> ====1.2 Characteristics of Chinese Neologisms====<br /> <br /> In order to have better quality of translation of Chinese neologisms, translators need to have a deep insight into its characteristics. Chinese neologisms are characterized by cultural uniqueness, simplicity, vividness and uncertainty. (Kang Shiyong 2003,152)<br /> <br /> Chinese neologisms come from a wide range of sources, but they all have roots in China. Some are based on Chinese culture. For instance, “山寨(mountain fastness)”originated from Water Margin, which used to refer to the place where the poor live. But when used online, the original meaning is transformed to plagiarism, imitation, parody and other popular cultural phenomena. Others are on the basis of customs. Take “红色炸弹(red bomb)” as an example. Since Chinese traditional wedding ornament is red, the word &quot;红色炸弹(red bomb)&quot; is used to describe the overwhelming wedding invitations. (Wang Weidong 2011,347)<br /> <br /> We are living in a fast-paced era. The speed of generation and transmission of information are accelerating. Under this situation, we crave for cost-effective communication. This status quo requires concise language. Chinese abbreviations exactly exemplify the simplicity. Abbreviations are condensed with rich information content, and effectively reinforce the expressiveness of Chinese vocabulary. Therefore, the number of abbreviations in vocabulary increases rapidly.(Wang Weidong 2011,349)<br /> <br /> The appearance of Chinese neologisms meets people's needs to describe an object or a phenomenon more vividly. Such as “人艰不拆” means that since life has been so hard, some things should not be exposed. And “酸菜鱼”is used for persons who are jealous, ugly, and redundant to make fun of themselves. “剁手党”refers to the addicted shopping crowd. They buy countless things, but often regret after calming down, even vow to chop off their hands if they don't act rationally next time. The vividness of Chinese neologisms adds humorous effects to the expression.(Wang Weidong 2011,350)<br /> <br /> With the crazy tempo of life, Chinese neologisms emerge in an endless stream. For one thing, with the increasing influence of network to people's life, online language is a shock to traditional language since many words are not compatible with Chinese language system. For another, neologisms fade away with the end of an event and are quickly replaced by neologisms with the times.(Wang Weidong 2011,351)<br /> <br /> ===Chapter 2 Cross-cultural Translation Theory and Its Significance===<br /> <br /> As Chinese neologisms are rooted in Chinese culture, translators are supposed to turn to cross-cultural translation theory when translating Chinese neologisms into English. Hence, having a deep insight into it and its significance helps improve the quality of translation.(Fu Rong 2015,80）<br /> <br /> ====2.1 Hornby’s Cross-cultural Translation Theory====<br /> <br /> Cross-cultural translation theory refers to translation across cultural divide and be less influenced by factors such as politics, religions, regions and ideologies. Cross-cultural translation theory was put forward by German translation theorist Mary Snell-Hornby. From her perspective, translation is a kind of cross-cultural communication. In this way, translators should not only have a bilingual ability, but also the cultural backgrounds of the source language and the target language. (Snell Hornby 1995,21)<br /> <br /> In reality, there are no two completely equivalent language systems. Each language has its own uniqueness in terms of word formation, sentence construction and expression, which is even more distinctive in translating into the target language with totally different economic, political, social and cultural backgrounds. Therefore, cross-cultural translation becomes a rigid demand. In the process of cross-cultural translation, translators are supposed to strike a balance between Chinese style and maximize the recipients’ understanding and acceptances’ of Chinese culture. (Snell Hornby 1995,24)<br /> <br /> Mary Snell-Hornby proposed that translators should skillfully switch the two languages in the process of translation as well as deeply dig into the culture backgrounds behind the two languages. In other words, translation is more bicultural transformation than bilingual transformation. (Snell Hornby 1995,30)<br /> <br /> In the process of translation, the cultural deposits have a direct bearing on the expression of words, its connotations and emotions. Hence, translators must take these factors into consideration in translation. Cross-cultural translation theory has the following requirements for translation, which can be divided into three aspects: first, to express the meaning of the source language. Second, to dig out the cultural connotation of the source language. Third, to convey the emotion of the source language. Only when translator meets the three requirements above can the quality of the translation be guaranteed.(Jing Huang 2019,433)<br /> <br /> ====2.2 Significance of Cross-cultural Translation Theory====<br /> <br /> The significance of Cross-cultural Theory to English Translation of Chinese Neologisms can be divided into the following three aspects. The British historian Dr. Toynbee once said, it is not surprising to say that the 21st century belongs to East Asia led by China for China’s control over East Asia is not merely political, but also cultural. Though East Asian countries such as Korea and Japan maintain their political independence, they are strongly influenced by Chinese culture.” Therefore, promoting English translation of Chinese neologisms is very important for enriching the world language system, improving China’s soft power and introducing Chinese culture into the world.(Snell Hornby 1995,47)<br /> <br /> =====2.2.1 Learning the Chinese Idiomatic Expression=====<br /> <br /> Translators can learn the rules of Chinese word-formation and characteristics of Chinese expression in the process of translating from the perspective of cross-cultural translation theory. There are great differences between Chinese and English word-formations. Take the three main forms of Chinese neologisms as example. Subject-predicate forms, such as “私聊” and“群聊”; Verb-object forms, such as: “煞风景”“抬杠”; Complementary forms, such as: “吓尿”and so on. (Kang Shiyong 2003,178)<br /> <br /> In English vocabulary system, most compound words are in the form of nouns, while Chinese has a variety of parts, such as verbs, nouns and adjectives. Translators can grasp the characteristics of Chinese word-formation through the translation and readers can understand the Chinese idiomatic expression. (Kang Shiyong 2003,179)<br /> <br /> =====2.2.2 Spreading Chinese Culture Contained in Chinese Neologisms=====<br /> <br /> Chinese neologisms are produced in China’s distinctive environment, containing culture with Chinese characteristics. They are epitomes of China's development in a certain period, carrying much social information. The world can learn about the development of China through Chinese neologisms. (Kang Shiyong 2003,181)<br /> <br /> It is an effective way to spread Chinese culture contained in Chinese neologisms through cross-cultural translation. For example, “打虎” and “拍蝇” have become buzzwords in China these years. In fact, both above two neologisms are political terms. The “tigers” refer to corrupt officials at higher level and “flies” at grassroots level. Accordingly, determination of Chinese government to take out “tigers” and swat “flies” can be seen through these coinage of new terms such as “打虎” and “拍蝇”. Therefore, cross-cultural translation helps spread Chinese culture contained in Chinese neologisms. (Kang Shiyong 2003,182)<br /> <br /> =====2.2.3 Conveying Emotion Expressed by Chinese Neologisms=====<br /> <br /> Emotional expressions are essential to translation of Chinese neologisms. Translation of Chinese neologisms from the perspective of cross-cultural translation theory helps to convey emotion expressed. (Kang Shiyong 2003,183)<br /> <br /> For example, it is not proper to translate“和事佬”into“peacemaker”. In Chinese, “和事佬”refers to persons who are unprincipled and blindly promote reconciliations, with derogatory meaning. While in English, “peacemaker” refers to those who create and safeguard peace, with commendatory emotions. Therefore, if the cross-cultural principles are violated in translation, there will be differences in the expression of emotions, which will hinder the expression of real emotions and lead to misunderstanding. (Kang Shiyong 2003,183)<br /> <br /> ===Chapter 3 Methods of Chinese Neologisms Translation===<br /> <br /> To improve the quality of Chinese neologisms translation, translators need to have a full knowledge of problems existing in the process of the translation of Chinese neologisms, and then avoid them by choosing appropriate ways of translating and following principles of cross-cultural translation theory. The late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. (Liu Miqing 2005,77)<br /> <br /> Nowadays, it is common to see rigid translation, which leads to failure to convey its true meaning. For example, if “我好方”is translated into “I’m so square”, it will confuse readers. In fact, this neologism refers to people in panic. As its word “方”pronounces similarly to the word “慌”，it is employed to make fun of those who can't distinguish between “f”sound and “h” sound. Similarly, “蓝瘦，香菇” can’t be translated into “blue monsters and shiitake mushrooms” for it refers to “I’m so sad that I’m going to cry”. Hence, rigid translation will result in misunderstanding. Not only should we make translations interesting, but also we need to ensure they are correct.(Li Chunjiang 2015,63)<br /> <br /> Many Chinese neologisms, after being translated into English, can express their meanings accurately, though fairly lengthy. For instance, if“无语”is translated into “have nothing to say”, it seems a little bit lengthy. We can translate it into“speechless”, instead. When translating Chinese neologisms, translators are supposed to use as few words as possible to accurately convey as much information as possible, making readers spend as little time as possible to understand them.(Li Chunjiang 2015,63)<br /> <br /> Till now, many neologisms lack Chinese uniqueness after being translated into English. For example, “杠精”will lose the uniqueness the word“精”carries if it is translated into“argumentative person”. In China, “精”commonly describe demons and ghosts, with derogatory meaning, such as those used in“白骨精”“蜘蛛精”and“蜈蚣精”. In this case, it is not proper to translate“精”into “person”. Therefore, we need to ensure Chinese culture be spread in the process of translation.(Li Chunjiang 2015,64)<br /> <br /> ====3.1 Transliteration====<br /> <br /> Transliteration is the translation of Chinese neologisms into English which sounds similarly to Chinese. Transliteration of Chinese neologisms into English can fully retain the pronunciation of Chinese and traditional Chinese culture. What’s more, it is more efficient. Zeng Lisa once proposed that translators should accurately convey more information with as few words as possible, so that the audience can obtain the clearest and smoothest information with as little time as possible. Transliteration gives priority to efficiency and can meet the requirements of the fast pace of modern society, improve the communicative efficiency of readers, and save space for readers' cognitive ability to play. (Fu Rong 2015,81)<br /> <br /> For example, &quot;大妈&quot; is transliterated into &quot;dama&quot; and entered the Oxford dictionary. In addition to this, there are a sea of transliterations of Chinese neologisms in modern English vocabulary, for example: &quot;风水&quot; (fengshui), &quot;八卦&quot; (bagua), &quot;太极&quot; (taichi), &quot;气功&quot; (qigong), and &quot;武术 &quot;(wushu), &quot;功夫&quot; (kungfu), &quot;胡同&quot; (hutong), &quot;麻将&quot; (mahjong), &quot;叩头&quot; (while), and so on. Transliteration makes Chinese neologisms widely spread and its culture behind. However, if translators stick to the literal interpretation or explanatory translation of some words, it may lead to cumbersome words and poor quality. (Fu Rong 2015,82)<br /> <br /> ====3.2 Literal Translation====<br /> <br /> Literal translation is one of the efficient way of translation. Literal translation enables us to directly find equivalent expressions in English in terms of form, style and connotation, which is the perfect embodiment of &quot;commonness&quot; between English and Chinese. Above all, literal translation helps promote Chinese culture. Language carries and transmits culture, as it is the heart of the cultural system. Culture influences and even shapes language, which is the foundation of language and the source of innovation. In the current context of cross-cultural communication, translation is not only a process of language conversion, but also a process of cultural transplantation. (Fu Rong 2015,82)<br /> <br /> The transmission between eastern and western cultures is practical in theology, but it is limited in reality. Chinese neologisms are the most active part of Chinese vocabulary, which reflect way of thinking, values, customs and lifestyles formed by the Chinese people in the new natural and social environment. Therefore, literal translation works for spreading Chinese culture. (Fu Rong 2015,83)<br /> <br /> In modern English, examples of literal translation of Chinese neologisms can be found everywhere, such as “一国两制--one country, two systems”, “二孩政策--two-child policy”, “希望工程--Hope Project” and “好久不见long time no see” and so on. Literal translation is straightforward, concise and efficient. Not only can it effectively reduce the boredom caused by the transformation from Chinese to English, enrich the expressiveness of English, but also maximize the retention of Chinese cultural. Therefore, it is necessary to interpret or add annotations in the context, otherwise it is difficult to convey its Chinese characteristics and cultural connotation. (Fu Rong 2015,83)<br /> <br /> ====3.3 Free Translation====<br /> <br /> Free translation is another way of translating, which emphasizes the relative independence of both Chinese and English. On the one hand, differences exist in different language systems including grammatical constructions and expressions. On the other hand, there are quite a few distinctions between different cultures including historical traditions, religious beliefs and even ways of thinking, ways of thinking. Therefore, sometimes free translation is required to avoid misunderstanding and disputes. Free translation refers to reproduce the matter without the manner, or, the content without form. Put another way, it explains the general idea of Chinese neologisms. (Fu Rong 2015,84)<br /> <br /> For example, “豆腐渣工程” refers to the construction project that collapsed or did not comply with relevant regulations due to cutting corners in the construction process. It is translated into English as “jerry-built project”. “白色污染”, the pollution of the environment by plastic waste that is difficult to degrade, is translated as “plastic pollution”. In a word, although the paraphrased neologisms need not strictly stick to Chinese, it can better reflect the meaning of Chinese. (Fu Rong 2015,84)<br /> <br /> ===Conclusion===<br /> <br /> The emergence of Chinese neologisms demonstrates a new face of China. Neologisms are new in content, form, and content, which are produced to express new concepts and phenomena. However, due to the obvious cultural differences between China and western countries, there are many obstacles in the course of translating Chinese neologisms into English. Neologisms are perhaps the number one problem for non-literary translators and professional translators. Under this circumstance, cross-cultural translation of Chinese neologisms becomes a prevailing trend. Cross-cultural translation refers to translating crossing cultural divide and being less influenced by factors such as politics, religions, regions and ideologies. (Ou Yangyin 2008,88)<br /> <br /> In a way, translating Chinese neologisms into English from the perspective of cross-cultural translation theory can help to promote understanding of Chinese. In another, it can effectively convey the emotions expressed by neologisms. Moreover, it can help to promote the spread of Chinese culture. (Ou Yangyin 2008,91)<br /> <br /> In spite of the continuous standardization and improvement of translation, there are still some problems in the process of translating Chinese neologisms into English, such as rigid translation, wordy translation and translation with cultural loss. English translation of Chinese neologisms may be a daunting problem, so we need translators with joint efforts, both stick to effective translation methods, flexible and innovative, and latest changes, in order to improve the overall quality of translation of Chinese neologisms, thus speak up aloud in the international community. In this paper, three main strategies are suggested, and they are transliteration, literal translation, and free translation. (Ou Yangyin 2008,143)<br /> <br /> To better translate Chinese neologisms from the perspective of cross-cultural translation theory, translators need to adopt compatible ways of translating with different types of Chinese neologisms and target readers. On the one hand, it is necessary to fully grasp Chinese neologisms, which requires translators to have more knowledge of Chinese cultural background and Chinese idiomatic expression. On the other hand, we should find the way of translating which is most accepted by readers. (Ou Yangyin 2008,155)<br /> <br /> Moreover, Chinese neologisms are constantly updated with the development of the society. If we do not keep pace with the times and know the latest meaning of Chinese neologisms, it may lead to misunderstanding. Therefore, translators should constantly supplement, update or revise the English translation of those Chinese neologisms without definite translation, which is an important guarantee to keep the English translation of Chinese neologisms accurate. Advancing with the times often requires translators to pay close attention to the post-translation effect. (Liu Miqing 2005,387)<br /> <br /> Plus, translators should also constantly draw on new English words. Chinese neologisms have strong timeliness, especially with the increase of Internet users, hence, at any one time emerge Chinese neologisms which are closely associated with the society. In short, in the process of translation, translators must pay attention to riding on the trend of the times so as to update the expression of the target language and readily accepted by readers. Update expressions means keeping up with the development of the times and use idiomatic English to illustrate new things, new words and new expressions. (Liu Miqing 2005,389)<br /> <br /> In other words, on the basis of grasping the exact meaning of Chinese neologisms, we should make it understood in English. Translators should not only improve their ability to understand Chinese, enhance their ability to translate Chinese into English, but also be keeping with the times so as to introduce more Chinese neologisms into English and continuously inject more Chinese elements into English. In this way, Chinese culture can be spread and the expression of English can be innovated.(Liu Miqing 2005,391)<br /> <br /> ===References===<br /> <br /> *Baker Mona. In Other Words: A Coursebook on Translation [M]. London/New York: Routledge, 1992.<br /> <br /> *Jing Huang. Study on the Influence of Cultural Construction and Cultural Deficiency on English Translation[A].He Nan: Proceedings of 2019 International Conference on Humanities,Cultures,Arts and Design, 2019.<br /> <br /> *Kata. An introduction for translators, interpreters and mediators. [D].Manchester: St Jerome, 2004.<br /> <br /> *Min Deng. Cultural Differences between Chinese and English Color Words and Their Translation[A].Hong Kong: Proceedings of 2019 International Linguistics, Education and Literature Conference, 2019.<br /> <br /> *Newmark Peter. A Textbook of Translation [M].Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> <br /> *Pym. Translation and text transfer. An essay on the principles of intercultural communication [A].Frankfurt: Peter Lang, 1992.<br /> <br /> *Snell Hornby, Mary. Translation studies: An Integrated Approach. Amsterdam: John Benjamins, 1995.<br /> <br /> *Fu Rong付蓉.(2015).从跨文化的角度探讨汉语新词新语的英译[A Study of English Translation of Chinese Neologisms from a Cross-cultural Perspective].语文建设Language Planning<br /> <br /> *Kang Shiyong亢世勇.(2003).《新词语大辞典》的编撰[The Compiling of Dictionary of Chinese Neologisms].辞书研究Lexicographical Studies<br /> <br /> *Li Chunjiang李春江.(2015).汉语网络新词的英译探究[A Study of Chinese Online Neologisms].宁波工程学院学报Journal of Ningbo University of Technology<br /> <br /> *Liao Yingying廖颖颖．(2008).论中国主流英语新闻报刊对中国特色词语的英译策略[Strategies of English Translation of Words with Chinese Characteristics Used by Chinese Mainstream English Newspapers].湖南师范大学学报Journal of Hunan Normal University<br /> <br /> *Liu Miqing刘宓庆.(2005).''新编当代翻译理论''[''A New Edition of Contemporary Translation Theory''].北京：中国对外翻译出版公司 Beijing:National Translation and Publishing Company of China<br /> <br /> *Ou Yangyin欧阳因.(2000).''朗文中国流行新词语''[''Langwen Chinese Neologisms''].北京：北京大学出版社 Beijing:Peking University Press<br /> <br /> *Wang Weidong王维东.(2011).网络热词汉译英探究[A Study of the English Translation of Chinese Online Neologisms]. 北京:''中国翻译'' Beijing: ''Chinese Translators Journal''<br /> <br /> *Zhang Jian &amp; Tang Jianduan张健,唐见端.(1996).略谈汉语新词新义的英译[A brief Discussion on the English Translation of Chinese Neologisms].北京:''中国翻译''''Chinese Translators Journal''<br /> <br /> --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:53, 20 December 2020 (UTC)<br /> <br /> ='''Translation of Dish Names'''=<br /> <br /> <br /> ==On the C-E Translation of Chinese Dish Names: From a Functional Equivalence Perspective——刘洋诺Liu Yangnuo 英美文学==<br /> &lt;center&gt;刘洋诺Liu Yangnuo, 202020080621.&lt;/center&gt;<br /> <br /> === Abstract ===<br /> <br /> With increasing global influence, the task of cultural communication is a formidable project. Translation as a medium plays an important role in cultural communication. ''A Bite of China'', a TV program to introduce Chinese dishes, has gained popularity at home and abroad, thus broadcasting Chinese dishes. But difficulties in translating Chinese dishes are evitable considering abundant culture-loaded expressions and complex cooking skills. The chapter discusses the theoretical and practical significance of researching Chinese dish names. We summarize some points of view from other scholars. Also, we analyze the difficulties in translating Chinese cuisines from a functional equivalence perspective. We will discuss three strategies for translating Chinese dish names combined with translation examples.(Zhangtingli 2015,1-2)<br /> <br /> === Keywords ===<br /> <br /> Chinese-English Translation; Chinese Dish Names; Functional Equivalence<br /> <br /> === 题目 ===<br /> 从功能对等理论浅析中式菜名的英译<br /> <br /> === 摘要 ===<br /> <br /> 中国国际影响力不断提高，文化交流的使命更加艰巨。翻译作为文化交流媒介，其重要性也不容忽视。中国饮食文化节目《舌尖上的中国》在海内外热播也进一步推动了中国特色饮食文化的传播，但是其丰富的文化内涵和多样的烹饪技巧也给译者带来不少困难。本文探讨研究中国菜名翻译的理论和实践意义，总结中国菜名翻译目前的研究成果。从功能对等理论出发，分析中国菜名翻译的困难，同时也结合翻译实例，提出三个中国菜名翻译的策略。<br /> <br /> === 关键词 ===<br /> <br /> 中译英；中国菜名；功能对等<br /> <br /> === Introduction ===<br /> <br /> As the old Chinese saying goes, food is the God of the people. In other words, we regard food as the primary need. Chinese cuisine has a firm connection between our daily life and Chinese culture. But when it comes to Chinese cuisine, there are many aspects left for us to consider, such as the etiquette of a dining table, dietary structure or habits, the art of dietary decorations, and cultural connotation. In the chapter, we will mainly focus on Chinese dish names. From a semantic linguistic point of view, there are two structures in a language. The surface structure is Chinese dish names themselves, but the deep structure is the meaning behind these dish names. (Chu Yiyi 2017, 3-7)<br /> <br /> It’s not surprising that we will discuss the relationship between some Chinese dish names and their cultural connotation in the latter part of this chapter. Chinese dish names are endowed with Chinese culture through culture-loaded expressions or idioms. When we dive into our research, it’s easy to find out that behind some dish names from historical stories and anecdotes are layer upon layer of meanings. Although the majority of us understand the importance of translating Chinese dish names, good translations remain in the dark. The reasons abound, ranging from a great variety of Chinese dishes and difficulty in fully understanding of cultural connotation behind Chinese dishes. (Chu Yiyi 2017, 3-7)<br /> <br /> The chapter takes functional equivalence coined by Eugene Nida as a theoretical basis. In the first part, we look back on previous studies on the C-E translation of Chinese dish names. In the second part, we try to discuss difficulties in translating Chinese dish names in terms of basic information and cultural backgrounds. In the third part, we review the functional equivalence theory. In the last part, we turn to discuss the possibility of applying the theory into translation practice on Chinese dish names to improve C-E translation of Chinese cuisine. We consolidate commonly used strategies into three combined with translation examples in reality. (Chu Yiyi 2017, 6)<br /> <br /> And then we summarize what we have discussed before and point out the limitations of this chapter. The purpose of our research is to have a better understanding of our own culture and transmitting Chinese culture to foreigners. Apart from the cultural aspect, cultural communication interconnects with economic and political aspects, which is one of the reasons why China attaching much importance to cross-cultural communication and transmission. (Chu Yiyi 2017, 6)<br /> <br /> === Previous Studies on the C-E Translation of Chinese Dish Names ===<br /> <br /> Some scholars have paved the way for further researches. Among these researches, almost all scholars share the same Chinese cultural background. Some of them describe strategies for C-E translation of Chinese dish names based on several translation theories. Others analyze the C-E translation of Chinese dish names at restaurants abroad. Zhang Tingli (Zhang Tingli 2015, 1-2) summarized six characteristics of Chinese dish names based on ''A Bite of China'', a popular TV program in China. Below are six characteristics: place names plus ingredients, personal names plus ingredients, main ingredients plus supplementary ingredients, cooking procedures, various flavors, and cultural elements.(Zhang Tingli 2015, 1-2) <br /> <br /> Li Weiwei (Li Weiwei 2017, 1-2) wrote a report on Chinese-English cuisine interpretation under the guidance of Skopos Theory, including the Skopos rule, the coherence rule, the fidelity rule, and the loyalty rule. Che Yimo (Che Yimo 2019, 1-2) summarizes three principles to analyze the menu translation quality of a Chinese restaurant based on cross-cultural communication theories. The three principles include semantic proximity, cultural communication, and aesthetics. Xue Jingnan (Xue Jingnan 2015, 1-2) involves an analysis of the translation of Chineseness by Chinese-Canadians in food discourse from a cultural perspective, which provides a glimpse into Chinese culinary identity. (Che Yimo 2019, 1-2)<br /> <br /> Similarly, Lee Yi Yan (Lee Yi Yan 2016, 1-2) mainly focus on cultural and sociological phenomenon behind Chinese food. His research is based on two types of popular Chinese food narratives: Ang Lee's Eat Drink Man Woman was published in 1994 with a televisual documentary series ''A Bite of China'' released in 2012. As the chapter published in International Communication of Chinese Culture (Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp; Radina Mohamad Deli 2018,1-2), four scholars collected from Malaysian Chinese weddings and the lunar new year celebration to investigate the concrete and abstract naming of Chinese dishes and to discuss the common cultural considerations underlying them. (Lee Yi Yan 2016, 1-2)<br /> <br /> They found that concrete naming deals with the tangible aspects of a dish by incorporating the method of preparation, taste/aroma, the appearance of the dish, as well as container used. Under the guidance of their chapters, we can explore more in this infinite sphere. We pay tribute to the great efforts they have paid. While researches on the C-E translation of Chinese dish names have spread into most sectors, researches from a functional equivalence theory are few because previous scholars mainly apply Skopos theory and cross-cultural theory into their researches. In the chapter, we will discuss the C-E translation of Chinese dish names coupled with functional equivalence theory. In the next part, we will turn to existing problems in the C-E translation of Chinese dish names. (Zhang Tingli 2015, 1-2)<br /> <br /> === Existing Difficulties on the C-E Translation of Chinese Dish Names ===<br /> <br /> (1) Difficulty in Transmitting Basic Information of Chinese Dish Names<br /> <br /> Different translation versions of a Chinese dish always make foreigners confused. For example, there are at least three versions of 炮弹鱼, including Shell fish, bullet mackerel and trigger fish. We often blur the lines between scientific name and general name in our translation. Also, sometimes we seem to ignore distinct difference between two things by using the same name to define them. For example, some translators use bamboo fungus and edible tree fungus to stand for竹笋 and 木耳 respectively, but in reality 竹笋is completely different from 木耳. There are some subtle differences among Chinese dishes. (Mo Chuanxia &amp; Yue Lin 2020,5)<br /> <br /> As Mo Chuanxia and Yue Lin (Mo Chuanxia &amp; Yue Lin 2020,5) mentioned in their chapter, 水米籺is cooked rice pounded into a paste with stuffing inside for worship or diet. 籺is a defining food for South China, especially in Guangdong provinces. It is different from cake or pastry in Western culture. The best way to translate it is to use explanatory words. Below are some C-E translations related to Chinese dishes: 黄馍馍(yellow steamed bun), 肉夹馍(the marinated meat in a baked bun), 榴莲酥(crispy durian cake) and蒿子粑粑(crown daisy rice cake). Everyone who has ever eaten these four kinds of food will have an inkling of knowledge about the different flavor and shape between 黄馍馍and肉夹馍. (Mo Chuanxia &amp; Yue Lin 2020,5)<br /> <br /> Likewise, the word “sausage” is insufficient to translate 血肠, 腊肠, and 香肠. For some well-known Chinese food such as tofu, it’s unnecessary to translate it into bean curd as in 油豆腐(fried bean curd puff). It seems to be a nonessential part of translating Chinese dish names because we often are encouraged to create our translation. But for long-term effects, chaos will lead to a negative impact on the economic benefits of those Chinese dishes and cross-cultural communication. (Mo Chuanxia &amp; Yue Lin 2020,5) <br /> <br /> Judging from a great variety of cooking techniques in many Chinese dish names, they bring a lot difficulties in the rendering of Chinese cuisine. In Chinese, there are a lot of verbs to describe how to cook. I list some common verbs below: 炒, 煮, 炖, 炸, 煎, 煲, 蒸, 烧, 焖 and 拌. But when it comes to C-E translation, we translators seem to ignore these verbs and use the same &quot;with&quot; structure to translate all of them as in 莴笋炒火腿(Stir-fried ham with asparagus lettuce), 莲藕炖排骨(Stewed ribs with lotus root) and 虾子焖茭白(Shrimp roe stewed with cane shoots). On top of these commonly used verbs, some verbs are really difficult to understand for native speakers who are unfamiliar with cooking, let alone for foreigners.(Chu Yiyi 2017,13) <br /> <br /> The four words list below is a case in point: 煸, 焙, 焗, and 烩. The reason behind this phenomenon lies in lacking language about cooking techniques. The word list in this paragraph is more about the duration and degree of heating while cooking Chinese cuisine. As a translator, we should not only know general translation skills that can be applied to a large number of texts but also should have the inkling of other fields. Without background knowledge on cooking procedures, they will be stumbling blocks for translators striving for concise and accurate renderings. (Chu Yiyi 2017,13)<br /> <br /> After discussing cooking techniques in Chinese dish names, we will turn to the different flavors of Chinese cuisine. When burying myself into oceans of Chinese dishes, I divide all sorts of flavors into two categories. In the first category, the word list includes 酸辣, 三鲜, 川味, 麻辣, 卤味, 家常, 酱香, 五香, 香辣, and 酥. In the second category, 孜然, 铁板, 鼓汁, 姜汁, 泡椒, 糖醋 and 蒜泥 will put in a group because these nouns mainly derived from ingredients and cooking utensils rather than the flavor itself. The main function of these words is not referential but beautifying. The flavor of delicious Chinese cuisine was represented by these beautifying words, thus triggering a mouth-watering effect. (Che Yimo 2019, 6)<br /> <br /> But it's hard for the target reader to get the same effect as the source reader through translation due to lacking equivalent words and expressions. Likewise, some Chinese words that refer to all sorts of food don't have equivalent ones in English such as 什锦, 八宝, and 拼盘. If we translate them into &quot;all sorts of food&quot;, the aesthetic effect weaken. Whereas translation loss and gain are inevitable, the underlying aesthetic effect plays an important role in the translation process. On top of this, cuisines with Chinese characteristics lead to translation problems. Below are some Chinese dish names: 红豆沙, 撞奶, 龟苓膏, 木瓜雪耳羹, and 蛋白果糖水. Lexical vacancy leads to losing the adding touch that brings a work of art to life. (Che Yimo 2019, 6) <br /> <br /> Many translators tend to use word-for-word rendering to translate these Chinese dish names such as 红豆沙(orange-flavored red bean paste). Since Chinese dish names not only contains basic information of main ingredients and cooking skills but also mirrors culinary identity and wisdom, translators are supposed to pay considerable attention to convey layers of meaning in Chinese dish names. (Che Yimo 2019，6）<br /> <br /> (2) Difficulty in Considering Different Cultural Backgrounds<br /> <br /> The difference between Western culture and Chinese culture leads to problems in culture-loaded Chinese dish names. Chinese dish names are endowed with good omen. 鸳鸯锅(double-flavor hot pot) is a case in point. In Chinese culture, 鸳鸯 is a symbol of beautiful love and perfect marriage. But the beautiful underlying meaning is lost in Western culture. Appropriate ways to deal with culture-loaded words or expressions become an issue in the C-E translation of Chinese dish names. Though double-flavor hot pot conveys the basic information of this dish, the signified meaning remains in the darkness. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> Likewise, attention-grabbing Chinese dish names combined with Chinese culture background lead to translation problems such as 刀板香(sliced salted pork) and 片儿川(noodles with preserved vegetable). 刀板香 is a traditional pickled food in Anhui province. Through its dish names, it's difficult to know the main ingredients of this dish. A story lies behind the dish: When a person called Hu Zongxian came by one of his teachers, the wife of his teacher treated him to a delicious dish made of pork slices. Hu Zongxian felt satisfied with the dish and named it &quot;刀板香&quot;. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> 片儿川 is the most well-known dish in 奎元馆(a famous restaurant in Hangzhou). In the Qing Dynasty, many examinees were rushing to join an ancient test for selecting officials in Hangzhou, Zhejiang. Examinees from all over the country gathered in Hangzhou. To attract them, the shopkeeper supplied noodles made of pour-sweet vegetables, bamboo shoots, and pork slices. Three eggs were added to breakfast noodles, which contained a good omen for examinees. Therefore, a large number of examinees often came to eat noodles because Kuiyuan’s noodles were so cheap. Later, one of the examinees was got number one in a round of tests. When he went to the store to thank the owner, he found that the restaurant didn't have a name. So he named it &quot;Kuiyuan Hall&quot;. Since then, 片儿川 in Kuiyuan Hall has become famous and tables in Kuiyuan Hall are in full bloom. All those who come to Hangzhou to take the exam will come here to eat noodles for good luck. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> 片儿川 has special meaning for the person who is going to test. Similarly, foreign foods invade our daily life with increasing cultural communication. The origin of 罗宋汤(Borscht) is in Ukraine. 罗宋 is the transliteration of Russian and is originated from the early Shanghai Pidgin English. Russian Borscht (Borshch) is another commonly used name. During the October Revolution, a large number of Russians moved to Shanghai. They brought vodka and Russian-style western cuisine. The first western-style cuisine restaurant in Shanghai was opened by the Russians. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> This soup evolved from the Russian-style red cabbage soup. The Russian-style red cabbage soup is spicy and sour but Shanghai people are not used to it. Later, influenced by local taste, it gradually formed unique Shanghai-style borscht. In Shanghai-style borscht, we take beets as the main ingredient with supplements such as potatoes and carrots, spinach and beef, cubes, and butter. From what we discussed before, we can conclude that Chinese dish names often pay considerable attention to good connotations. Abstract meaning is mainly derived from legends, idioms, historical events, and auspicious words. When we start to translate Chinese cuisine, cultural considerations are an indispensable part to consider. It should be noted that translators take the responsibility to fill the gap between Chinese culture and Western culture. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> Except for source cultural background, target cultural background is also of great importance. When it comes to cultural taboos, 龙(dragon) is the first symbol coming to our minds. Whereas 龙 are often embedded with good connotations in Chinese cultures such as good fortune and bright future, 龙 often stands for brutal animal or person as in the well-known epic Beowulf. Below are some Chinese dish names with 龙: 龙抄手 (Easter Bunny Wonton), 龙须面(fine noodles), and 乌龙吐珠 (Sea Cucumber with Quail Eggs). Some translators replace dragon with bunny due to different preferences between Chinese culture and Western culture. Others omit word-for-word translation, rather emphasizing the main ingredients of the dish.(Wu Tingting 2017, 4)<br /> <br /> Also, some Chinese dish names with internal organs such as intestines or blood may keep target readers at bay. For example, in 肠粉(Steamed vermicelli roll) and 脑花(brain or brain flower), the former highlights main ingredients rather than being confined to word-for-word translation, but the latter fails to arouse the target reader's appetite. Further explanation and translation skills are involved in these dish names. Other examples include 夫妻肺片(Sliced Beef and Ox Tongue in Chili Sauce) and 撒尿牛丸(juicy beef ball). Word-for-word translation can be confusing or even disgusting for people who are unfamiliar with Chinese dishes. (Wu Tingting 2017, 4)<br /> <br /> 夫妻肺片 is a well-known dish mainly made of ox tongue, tripe, and beef. Guo Chaohua (husband) and Zhang Tianzheng (wife) created the dish. Nowadays, it becomes part of Chuan cuisine. Contrary to the dish name, the lungs of different animals are not the main component of the dish because 肺片 is originated from 废片. 废片 is a humorous name for all sorts of sliced internal organs. Likewise, though juicy beef ball conveys the basic information of the dish, it loses its attraction and refreshing impression. Therefore, target readers will have a totally different feeling from source readers. The equivalence between SL and TL can be broken. In the next part, we will have a brief review of functional equivalence theory to discuss the application of the theory into the C-E translation of Chinese dish names. (Wu Tingting 2017, 4)<br /> <br /> === Functional Equivalence Theory ===<br /> <br /> Functional Equivalence put forward by Eugene. A. Nida, a renowned American linguist, and translation theorist. Functional equivalence theory focuses on the verbal comparison between the SL and TL. Nida attempts to offer a new way to produce an equivalent, taking the relationship of the receptor to the text into account. Functional equivalence theory developed from dynamic equivalence. He defined dynamic equivalence as &quot;the quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors.(Nida 1993, 127)<br /> <br /> Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida 1969, 200). In the later works, he thought that the adequacy of a translation depended on “the reliability of the text itself, the discourse type, the intended audience, how the translated text is to be used, and the purpose for which the translation has been made” (Nida 1993, 127). Under the influence of Eugene. A. Nida, other subsequent scholars also put forward their understanding of functional equivalence.(Nida 1993, 127)<br /> <br /> The translator recreates the text in the target language by keeping some source-text information or linguistic elements invariant and adapting the rest to the receivers’ background knowledge, expectations, and communicative needs or such factors as medium-restrictions and deixis requirements(Yue Siwei 2013, 61-68). The term the closest natural equivalent implies that the rendering must be readable (related to the language form) and understandable (related to the content) to the target receptors, since different languages have different features of grammar and lexicon.(Nida 1993, 127)<br /> <br /> Functional-equivalence requires the highest degree of proximity (Zhang Qing &amp; Wang Jiaqi 2010, 880-888). The translation is a reproduction process of the source text in the target language, observing the target culture. The target language features in terms of contents, sentence structure, and lexis should be considered as criteria to adapt the source text before translating. The source text elements that do not fit in target culture should be revised or even neglected in translating to transfer the flavor of the source text while not violating target culture. (Nida 1993, 127)<br /> <br /> In Nida's view, the success of the translation depends above all on achieving an equivalent response. It is one of the four basic requirements of a translation, which are 1. making sense; 2. conveying the spirit and manner of the original; 3. having a natural and easy form of expression; 4. producing a similar response. He pays great attention to equivalence and the reader's response. Nida's functional equivalence theory has gone through three stages of development ranging from formal equivalence and dynamic equivalence to functional equivalence. The core of Nida's theoretical framework is mainly functional equivalence.(Jeremy Munday 2016, 126）<br /> <br /> Functional equivalence is mainly to enable the translation and original text to be equivalent in language function, rather than language form correspondence. The reader of the target language should fully understand the customs, social consciousness, and habitual expression mentioned in the original context. This receptor-oriented approach considers adaptations of grammar, lexicon, and cultural references to be essential to achieve naturalness. The target language should not show interference from the source language and the foreignness of the source text setting is minimized.(Jeremy Munday 2016, 126)<br /> <br /> Except for equivalence, the reader's response plays an important role in functional equivalence theory. In contrast with traditional translation views towards the source text and the target text, functional equivalence translation pays considerable attention to the receptor‟s response and the naturalness of the target language rather than language forms as formal equivalence. Though later translation theorists criticize Nida's functional equivalence given the impossibility of achieving functional equivalence in the translation process, his functional equivalence has still paved the road away from traditional translation views by instilling fresh views into translation studies.(Jeremy Munday 2016, 126) <br /> <br /> Functional equivalence theory provides a glimpse into dealing with the relationship between target text and related cultural expectations. For real and practical translation, functional equivalence sets the standard for what good translation is. So in the next part, we will discuss the application of this theory in the C-E translation of Chinese dish names. (Jeremy Munday 2016, 126)<br /> <br /> === Application of Functional Equivalence Theory in the C-E translation of Chinese Cuisine ===<br /> <br /> 4.1Princples of C-E translation of Chinese Cuisine<br /> <br /> Principles on C-E translation abound given different original texts. When it comes to the C-E translation of Chinese Cuisine, two principles should be mentioned. What comes first is faithfulness. The translator is supposed to translate the basic information of Chinese cuisine. Sometimes, ingredients and cooking procedures should be included in the translation process. The main purpose of our translation is to inform target readers, especially foreigners who know nothing about Chinese. In Chinese, we often use the number three to represent three kinds of ingredients. (Qing Zhang &amp; Jiaqi Wang 2010, 880)<br /> <br /> Therefore, we translators should list three ingredients clearly in the translation process. For example, in 扣三丝, some translators render it into Chicken, mushroom, ham threads in consommé. Though this rendering is in great detail, target readers can catch the point quickly. But for other larger numbers such as five and eight, listing all ingredients will lead to clumsiness. 八宝菠菜(Spinach with Eight Delicacies) is a case in point. This is the living proof for precise and clear translation. Faithfulness is not equal to a word-for-word translation. Various translation skills should be involved in the translation process to arrive at the principle of faithfulness. But the principle of faithfulness is not enough for a good translation. (Qing Zhang &amp; Jiaqi Wang 2010, 880)<br /> <br /> It’s noted that a distinct cultural difference plays an important role in cultural communication. If a translator fails to deliver cultural connotation in Chinese cuisine, these cultural-loaded dish names lost their attraction towards foreigners. Even though native speakers can understand what Chinese cuisine refers to, the functional equivalence is out of balance. The purpose of our study is not only to provide a glimpse into informing foreigners when they barge into a Chinese restaurant but also to spread Chinese culture behind Chinese cuisine. For example, in 烩南北(Stewed Mushrooms with Winter Bamboo Shoots), target readers fail to get the meaning from original words.(Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> Literal translation doesn’t fit in this Chinese cuisine because ingredients and cooking procedures are difficult to understand unless we dig more information on the Internet. The origin of the dish name lies in two different ingredients. Bamboo shoots are most in the south of China and mushrooms are most in the north of China. The combination of bamboo and mushroom represents the combination of culture in two parts of China. The precious value of Stewed mushrooms with winter bamboo shoots also lies in the combination of two precious ingredients.(Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> The same goes for榆钱饭(Elm Seeds Meal). 榆钱 is originally an ingredient in Shangxi province. But the dish name also bodes well for a well-off or prosperous future. Chinese people attribute their wish of getting more money to the word 钱(money). It sounds vulgar but the true wish is to live a better life. When translating Chinese cuisine, translators should consider the different cultural backgrounds to spare no efforts to broadcast Chinese culture. On top of this, some dish names are complicated to render them. For example, 龙, an image with red and gold color, refers to good wishes for a prosperous future in China but it’s disgusting in Western culture. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> Therefore, when we translate龙抄手, the word 龙 should be replaced by other words. Some translators try to translate it into Easter Bunny Wonton. Also, the same goes for words referring to an internal organ. 肠粉is a case in point. A dish name with intestines will lead to vomiting before eating. What’s more, the main ingredient in肠粉has nothing about intestines. Steamed vermicelli roll is a better translation version. The scariest and well-known Chinese dish name I have heard is 夫妻肺片. But the power of ingenious translation can help foreigners understand this dish and avoid awkwardness ahead of them. While broadcasting Chinese culture, cultural taboos in the culture of target readers also need to be taken into our consideration. After we have put forward two principles for C-E translation of Chinese cuisine, the next part will discuss some strategies available for translators in the translation process. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> 4.2Strategies for C-E translation of Chinese Cuisine<br /> <br /> First and foremost, a large number of Chinese cuisines can apply literal translation in some way. The main cooking procedures, ingredients, and skills should be very clear in dish names. Lexical equivalence is the main purpose of a literal translation. Also, we can divide the application of literal translation into four parts. The first part is the combination of the main ingredient and other supplementary ingredients. For example, in 羊肚包肉, roasted mutton wrapped in lamb tripe can avoid ambiguity. The most special ingredient in the dish is roasted mutton, which delivers some flavors to target readers. We can also render “番茄牛腩” into tomato and beef brisket.(Chu Yiyi 2017, 9)<br /> <br /> The spicy beef briskets and sour tomatoes arouse different feelings in the heart of target readers. Sometimes, the flavor of a dish makes itself clear in the name of a dish. When we use the literal translation, the flavor of a dish such as剁椒 and 家常 cannot be ignored. For example, in剁椒鸭肠(Duck Intestines with Chili) and家常烧蹄筋(Home-Style Braised Beef Tendon), Chili and home-style not only inform foreigners of basic information of this dish but also arouse a sense of taste in their mouths. The third part of the application of literal translation is the combination of utensils and ingredients such as 砂锅面(Casserole Noodles). In Chinese, 砂锅 is a utensil for cooking. (Chu Yiyi 2017, 9)<br /> <br /> But with the increasing popularity of noodles cooking by casseroles, casserole noodles have become a Chinese dish. The last part of the application of literal translation lies in the combination of cooking methods, eating methods, and ingredients. 手抓饼(Shredded Cake) is a case in point. As opposed to forks in Western culture, the Chinese tend to use chopsticks. Therefore, Shredded Cake is a dish without using chopsticks or any other dinner sets. But the literal translation is not a silver bullet for all C-E translation of Chinese cuisine. Sometimes, a dish includes too many ingredients or cooking procedures. If we apply to literal translation in this case, we will sacrifice simplicity to maintain faithfulness.(Chu Yiyi 2017, 9)<br /> <br /> Also, some translators applied literal translation with annotation to render dish names. For instance, let’s take “长寿面”, a cuisine name from A Bite of China as an example. The translation provided in “longevity noodles”, followed by the annotation “the noodles are long and slim, and long is homophonic to ‘chang’ and slim to ‘shou’, ‘changshou’ means longevity”. In this case, not only can the foreigners know the basic meaning of the dish, but they can also understand its cultural meanings (Chu Yiyi 2017, 9). Another example is螺蛳粉. Some translate it into Snail Rice-flour Noodles, a local snack in Liuzhou. Snail Rice-flour Noodles is very faithful to the Chinese dish name. But the translator added some explanations to emphasize local characteristics. The origin of Snail Rice-flour Noodles is in Liuzhou, Yunnan province. In this case, the translator tried to spread local culture in a dish name. (Chu Yiyi 2017, 9)<br /> <br /> Secondly, dishes with local names can apply to transliteration such as兰州拉面 Lanzhou Beef Noodles), 金华火腿(Jinhua Ham) and重庆小面(Chongqing Small Noodles). Some local names have become a brand for selling. They emphasize the authentic flavor of these dishes to attract people from other places or countries. As for some culture-loaded dish names, we fail to find the equivalent words in English. That’s the reason why we resort to transliteration. It’s a translation method mainly dependent on Chinese pinyin such as Lanzhou, Jinhua, and Chongqing as we mentioned above.(Chu Yiyi 2017, 12)<br /> <br /> One of the perks of transliteration is to emphasize local characteristics and spread local cultures. But transliteration is not confined to this area. Some translators combine transliteration into literal translation. For instance, if we simply translate “东坡肉” literally into“Dongpo’s Pork” without any further explanations, the target readers will get confused if they first see the translation. Thus, the explanation “Dongpo, a famous poet in the Song Dynasty” needs to be added (Chu Yiyi, 2017). Some dish names are from foreign countries such as 生鱼片(Sashimi). Sashimi is the Japanese way of speaking. Transliteration with sounds of foreign languages can apply to these Chinese dish names. Some translators also translate腌制泡菜 into kimchi rather than pickles cabbages, thus emphasizing Korean flavor rather than Chinese flavor. But few dish names originated from foreign languages. (Chu Yiyi 2017, 12)<br /> <br /> Lastly, some Chinese cultural-loaded dish names fail to fit the framework of literal translation and transliteration. Translators should apply free translation into their translation process. There are four categories of free translation applied to C-E translation of Chinese cuisines: named according to the characteristics of ingredients metaphorically, named after historical allusions, named according to the production process metaphor, and named after the meaning of good. As for the first category, 蚂蚁上树is a good example. The word-for-word translation of蚂蚁上树 is ants on a tree but it does not deliver the essence of the dish.(Siwei Yue 2013, 65-68)<br /> <br /> The main ingredients of the dish are minced pork and fine vermicelli. The final dish is similar to ants on the tree, so the Chinese give it a metaphorical dish name. Sauteed Vermicelli with Minced Pork is a better version than the original translation. Some dish names are full of historical allusions such as霸王别姬. The deep-level meaning of the expression霸王别姬 is to reveal the tragic ending of a hero in history. But there is a coincidence for the combination of turtle and chicken in the dish 霸王别姬. Different from mandarin, Chinese people give the nickname “王八” for the turtle. 姬in 霸王别姬 sounds are similar to 鸡(chicken).(Siwei Yue 2013, 65-68)<br /> <br /> The word-for-word translation of 霸王别姬 is farewell my Concubine, but turtle stewed chicken is easier to understand for target readers. As for the third category——named according to the production process metaphor, 驴打滚 is a case in point. 驴打滚 is one of the traditional snacks in northeast China, especially in Beijing and Tianjin. It is a three-color snack with yellow, white, and red. The final process of making is to sprinkle on the soybean noodles, which look like wild donkeys rolling up of the loess in suburb, so we named it 驴打滚(Donkey Roll). But compared to the donkey doll, fried chop rice cake shows the main ingredients of the dish, thus lowering the hurdles for understanding.(Siwei Yue 2013, 65-68) <br /> <br /> As for the last category, 佛跳墙 is a case in point. The literal meaning of 佛跳墙 is that a Buddha jumps over the wall. But actually, 佛跳墙 is a dish cooking all things in one pot. It comes from a story: when we open the jar, the smell of a dish becomes popular in other places as well. That attracts many Buddhas who jump over the wall to have a see. Also, the dish bodes well for longevity and reunion. That’s why we also call it 福寿全, a word full of good omens. From the strategies discussed above, we can find that there is no fixed pattern for C-E translation of Chinese cuisines. We, translators, should bear these principles and strategies in mind and put them into practice in our translation process. The ultimate goal for our translation is to produce a simple but accurate translation to inform target readers, especially foreigners. (Siwei Yue 2013, 65-68)<br /> <br /> === Conclusion ===<br /> <br /> With the popularity of Chinese culture, there has been a resurgence of interest in C-E translation of Chinese cuisine. In this chapter, I discussed the previous studies on this topic with functional equivalence theory to emphasize the importance of our research and try to find a research gap among these chapters. After discussing the existing problems on C-E translation of Chinese cuisine, I summarized some principles and strategies that can apply to C- E translation of Chinese cuisine. But what I discussed in the chapter is only a panoramic view of Chinese dish names.(Yi-Yan Lee, 2016, 10)<br /> <br /> There are eight classifications of Chinese famous cuisines ranging from Lu Cuisine and Chuan Cuisine, Yue Cuisine and Min Cuisine, Su Cuisine and Zhe Cuisine, Xiang Cuisine and Hui Cuisine. Under these eight Chinese cuisines, there are distinct differences in dish names considering the region and ethnic group. As we know, one size can’t fit all. Aside from researches on Chinese dish names, the cultural elements behind idioms related to Chinese dishes deserve more attention. (Yi-Yan Lee, 2016, 10)<br /> <br /> === References ===<br /> <br /> *Caiqiao Huo, Xiaomei Du &amp; Weichen Gu.(2020). The Metaphor and Translation of the Dish Names in Chinese Food Culture. Open Journal of Modern Linguistics (5) 423-428.<br /> <br /> *Jiangnan Xue. (2015). A Chinese Bite of Translation: A Translational Approach to Chineseness and Culinary Identity. Ottawa: University of Ottawa.<br /> <br /> *Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp; Radina Mohamad Deli. (2018). Between concrete and abstract: the Malaysian Chinese way of naming dishes. International Communication of Chinese Culture (3) 247–259.<br /> <br /> *Munday J. (2016). ''Introducing Translation Studies: Theories and Applications''. New York: Routledge.<br /> <br /> *Nida, Eugene A. &amp; Charles R. Taber.(1969). ''The Theory and Practice of Translation''. Leiden: E. J. Brill.<br /> <br /> *Nida, Eugene. A.(1993). ''Language, Culture and Translating''. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nord, C. (2001). ''Translating as a Purposeful Activity: Functionalists Approaches Explained''. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Qing Zhang &amp; Jiaqi Wang. (2010). Application of Functional Equivalence Theory in English Translation of Chinese Idioms. Journal of Language Teaching and Research (6) 880-888.<br /> <br /> *Siwei Yue. (2016). Functionalism Theory Applied in C-E Translation of Chinese Food Culture Text. Theory and Practice in Language Studies (1) 61-68.<br /> <br /> *Yi-Yan Lee. (2016). Imaging Identity with Food: A Study of Cultural Translation in Ang Lee's Eat Drink Man Woman and Documentary ''A Bite of China''. Hong Kong: The University of Hong Kong.<br /> <br /> *车宜默[Che Yimer].(2019). 跨文化交际视角下的中餐菜单英译案例研究[A case study of English translation of Chinese menus from a cross-cultural communication perspective].北京：北京外国语大学[Beijing: Beijing Foreign Studies University].<br /> <br /> *李玮玮[Li Weiwei]. (2017). 目的论视角下的中国菜名汉英口译实践报告[A practical report on Chinese-English interpretation of Chinese cuisine names from the perspective of purpose theory].山东：山东大学[Shangdong: Shandong University].<br /> <br /> *莫传霞,岳玲[Mo Chuanxia, Yue Ling].(2020).“再创作”翻译思想下的北海民俗饮食文化英译[The English translation of Beihai folk food culture under the idea of &quot;re-creation&quot; translation]. 广西教育学院学报[Journal of Guangxi Education College] (05) 78-81.<br /> <br /> *屠易义[Tu Yiyi].(2017). 从文化角度谈中式菜名的英译方法[The English Translation of Chinese Cuisine Names from a Cultural Perspective].上海：上海外国语大学[Shanghai:Shanghai International Studies University].<br /> <br /> *邬婷婷[Wu Tingting].(2017). 目的论视角下中式菜肴简介英译的翻译报告[A Translation Report on the English Translation of Chinese Cuisine Introduction from the Perspective of Purpose Theory].宁波：宁波大学[Ningbo: Ningbo University].<br /> <br /> *吴慧琦[Wu Huiqi]. (2020). 中西方饮食文化差异与菜名翻译——评《中西方饮食文化差异及翻译研究》[Chinese and Western food culture differences and the translation of dish names--Review of &quot;Chinese and Western food culture differences and translation research&quot;]. 食品工业[Food Industry] (09) 364-365.<br /> <br /> *张婷丽[Zhang Tingli].(2015). 目的论指导下的《舌尖上的中国》菜名英译策略[The strategy of English translation of the dish names of &quot;China on the Tip of the Tongue&quot; guided by purpose theory].湖南：湖南师范大学[Hunan: Hunan Normal University].<br /> <br /> --[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 13:40, 20 December 2020 (UTC)<br /> <br /> ==The Untranslatability and Loss of Meaning in Chinese Dish Names Translation--Taking Hunan cuisine names an Example - 袁雨晨 Yuan Yuchen==<br /> &lt;center&gt; 袁雨晨 Yuan Yuchen 202020080665 法语语言文学 &lt;/center&gt;<br /> ===Abstract===<br /> Chinese food culture has attracted much attention both at home and abroad, and chinese cuisine is gradually going to global markets. Cultural differences make the translation of chinese dish names a challenge for translators. Taking Hunan cuisine an example, we try to explore the translation methods of chinese dish names from the untranslatability theory of Catford and loss of meaning theory of Newmark, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.<br /> <br /> Chinese food culture has attracted much attention both at home and abroad, and Chinese cuisine is gradually going to global markets. Cultural differences make the translation of Chinese dish names a challenge for translators. Taking Hunan cuisine an example, we try to explore the translation methods of Chinese dish names from the untranslatability theory of Cat ford and loss of meaning theory of Newmark, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.<br /> --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:11, 19 December 2020 (UTC)<br /> <br /> ===Key words===<br /> Untranslatability，loss of meaning，Hunan cuisine names<br /> <br /> ===题目===<br /> 中国菜名的不可译性和意义的缺失——以湘菜菜名为例<br /> <br /> ===摘要===<br /> 中国的饮食文化在国内外备受关注，中国菜也逐渐走向世界，文化差异使得中国菜名的译法给译者带来了挑战。试以湘菜为例，从卡特福德的不可译理论和纽马克的意义缺失理论来探究湘菜菜名的翻译方法，从而在翻译过程中规避问题，达成中国菜名的相对可译性。<br /> <br /> ===关键词===<br /> 不可译性；意义缺失；湘菜菜名<br /> <br /> ===Introduction===<br /> Translation, as an indispensable means of the communication among different cultures, contributes a lot to the development of human civilization. But to translate the source language into target language accurately and perfectly is hardly impossible for every translator. Debates about untranslatability are one of the most heated issues about translation. On the one hand, we should insist that translation is possible due to the similarity of human experience, linguistic and cultural universality; on the other hand, we have to admit the fact that there are some insurmountable obstacles and difficulties in translation practices owing to linguistic and cultural disparities.Among cultural differences, the cuisine culture plays a very important role.(Wang Lijun 2008, 10)<br /> <br /> Translation, as an indispensable means of the communication among different cultures, contributes a lot to the development of human civilization. But to translate the source language into target language accurately and perfectly is hardly impossible for every translator. Debates about untranslatability are one of the most heated issues about translation. On the one hand, we should insist that translation is possible due to the similarity of human experience, linguistic and cultural universality; on the other hand, we have to admit the fact that there are some insurmountable obstacles and difficulties in translation practices owing to linguistic and cultural disparities. Among cultural differences, the cuisine culture plays a very important role.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:24, 19 December 2020 (UTC)<br /> <br /> <br /> The most outstanding example is Chinese cuisine culture which is different from most western countries. It is not only famous for daintiness but also the attractive dish names.The major concern of this paper is &quot;The Untranslatability and Loss of Meaning in Chinese Dish Names&quot;. Chinese cuisine is regarded as a great wonder of collection of cooking skills in foreign people's eyes. Westerners are often attracted to the looks of Chinese dishes besides their delicious flavor and taste. While the sight of Chinese dishes brings pleasure, the names of dishes also catch much attention of westerners. (Wang Lijun 2008, 10)<br /> <br /> The most outstanding example is Chinese cuisine culture which is different from most western countries. It is not only famous for daintiness but also the attractive dish names. The major concern of this paper is &quot;The Untranslatability and Loss of Meaning in Chinese Dish Names&quot;. Chinese cuisine is regarded as a great wonder of collection of cooking skills in foreign people's eyes. Westerners are often attracted to the looks of Chinese dishes besides their delicious flavor and taste. While the sight of Chinese dishes brings pleasure, the names of dishes also catch much attention of westerners.(Wang Lijun 2008, 10)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:57, 19 December 2020 (UTC)<br /> <br /> When people from different countries enjoy Chinese dishes, they are often curious and eager to know the exact meaning of the dish name and its origin. Since the dish name is the first impression given to a diner when he or she decides to order a dish. So it is important to convey accurate information to the patron. Since Chinese cuisine culture has continued to be exported overseas, translation of dish names plays an important role and is faced with a high demand determined by the complex nature of Chinese cuisine culture.(Wang Lijun 2008, 10)<br /> <br /> Based on the Catford's theory of untranslatability and Newmark's theory of loss of meaning, taking Hunan cuisine an example, this paper explore the translation methods of chinese dish names, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.At first it illustrates the linguistic and cultural untranslatability. And it then emphasizes particularly on constitutions and fonctions of Hunan cuisine names. Finally, according to the classification of dish names, translation techniques are suggested and some of them are just the compensative measures to those untranslatable dish names. (Wang Lijun 2008, 10)<br /> <br /> Based on the Catford's theory of untranslatability and Newmark's theory of loss of meaning, taking Hunan cuisine an example, this paper explore the translation methods of Chinese dish names, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names. At first it illustrates the linguistic and cultural untranslatability. And it then emphasizes particularly on constitutions and functions of Hunan cuisine names. Finally, according to the classification of dish names, translation techniques are suggested and some of them are just the compensatory measures to those untranslatable dish names. (Wang Lijun 2008, 10)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:57, 19 December 2020 (UTC)<br /> <br /> ===Chapter 1 An Overview of Untranslatability, Loss of Meaning and Hunan Cuisine Names===<br /> <br /> ====1.1 Linguistic Untranslatability and Cultural Untranslatability Put Forward by J. C. Catford====<br /> Catford was the first translation theoretician who explored equivalence at different levels of language. He distinguished two kinds of untranslatability in A Linguistic Theory of Translation, that is, linguistic untranslatability and cultural untranslatability.(Catford 1965, 93)<br /> <br /> Catford thought that linguistic untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. (Catford 1965, 93)<br /> <br /> Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences, for instance, the names of some institutions, clothes, foods and dishes, abstract concepts, and the like.(Catford 1965, 93)<br /> <br /> According to Catford's view of untranslatability, the dichotomy mentioned above would not exist if it could be demonstrated that all instances of cultural untranslatability respond to &quot;the impossibility of finding an equivalent collocation in the target language&quot;. This impossibility is, in his opinion, a case of linguistic untranslatability.(Catford 1965, 93)<br /> <br /> According to Catford, &quot;Translation fails---or untranslatability occurs---when it is impossible to build functionally features of the situation into the contextual meaning of the TL text.&quot; (Catford 1965, 93)<br /> <br /> ====1.2 Loss of Meaning Put Forward by Peter Newmark====<br /> Peter Newmark analyzed the loss of meaning as follows:<br /> <br /> First, if the text describes a situation which has elements peculiar to the environment, institutions and culture of its language area, there is an inevitable loss of meaning, since the translator's language can only be approximate to the source language. Unless there is already a recognized translation equivalent, the translator has to choose from transcribing the foreign word, translating it, substituting a similar word in his own culture, naturalizing the word with a loan translation, sometimes adding or substituting a suffix from his own language, defining it or paraphrasing, which is sometimes added in parenthesis or as a footnote to a transliteration. (Tan Zaixi 2004, 215)<br /> <br /> Second, an inevitable source of loss is the fact that the two languages, both in their basic character and their social varieties, have many different lexical, grammatical and sound systems, and segment many physical objects and all intellectual concepts differently. (Tan Zaixi 2004, 215)<br /> <br /> Third, the individual uses of language of the writer and the translator do not coincide. Everybody has lexical if not grammatical idiosyncrasies, and attaches &quot;private&quot; meanings to a few words. The translator normally writes in a style that comes naturally to him, desirably with a certain elegance and sensitivity unless the text precludes it. Moreover, a good writer's use of language is often remote from some of the conventional canons of good writing, and it is the writer not the canons that the translator must respect. (Tan Zaixi 2004, 215)<br /> <br /> Last, the translator and the text-writer have different theories of meaning and different values. The translator's theory colors his interpretation of the text. He may get greater value than the text-writer on connotation and correspondingly less on denotation. He may look for symbolism where realism was intended; for several meanings where only one was intended; for different emphasis, based on his own philosophy or even his reading of the syntax. The resulting loss of meaning is inevitable and is unrelated to the obscurity or the deficiencies of the text and the incompetence of the translator, which are additional possible sources of this loss of meaning. Therefore, absolute equivalence can never be reached. A translator can't convey all the meanings of the original in his translation.(Tan Zaixi 2004, 215)<br /> <br /> ====1.3 Constitution and Functions of Hunan Cuisine Names====<br /> Hunan cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi areas. It is characterized by thick and pungent flavors. As a mirror of Chinese cuisine culture, dish names play an important role in transmitting Chinese cuisine culture to the whole world. Today, there are countless and various Chinese dish names, so it's so hard to translate them without a clear analysis of their constitutions and functions.<br /> <br /> Many of the Hunan cuisine are named after the ingredients, seasonings, cooking methods, flavour or colour, shape. Hunan cuisine can be cooked in a variety of ways,which can be divided into cooking methods for hot dishes,such as stir-fried, fried, roasted, grilled, boiled, stewed, steamed and son on; and cooking methods for cold dished, such as frozed, mixed, marinated, smoked and so on. The flavour is the sensation caused by a substance that stimulate the taste buds, flavour can be divided into two categories: one is the natural single flavour, also called the basic flavour; another is the compound flavour made of two or more single flavour.(Zhang Qiang 2017, 19) <br /> <br /> Many of the Hunan cuisine are named after the ingredients, seasonings, cooking methods, flavour or colour, shape and so on. Hunan cuisine can be cooked in a variety of ways， which can be divided into cooking methods for hot dishes,such as stir-fried, fried, roasted, grilled, boiled, stewed, steamed and so on; and cooking methods for cold dishes, such as frozed, mixed, marinated, smoked and so on. The flavour is the sensation caused by a substance that stimulate the taste buds, flavour can be divided into two categories: one is the natural single flavour, also called the basic flavour; another is the compound flavour made of two or more single flavour.(Zhang Qiang 2017, 19) --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)<br /> <br /> The single flavour of Hunan cuisine is mainly salty, sweet, sour, spicy, bitter, fresh and so on; the compound flavour is mainly hot and sour, sweet and sour, salty and spicy, spicy and hot and so on.Most dish names are made of a combination of flavours and the name of the main ingredient, such as “酸辣鸡杂”、 “麻辣肚丝”. Spicy is a highly used word in Hunan cuisine names.Not many dishes are named directly with words that indicate colour (red, yellow, white, green, etc.) and shape (round, flat, pointed, square, etc.),but more often the colour and shape express the substance.For example, “金钱蛋”is named after a substance that has a colour and shape. “金钱” is borrowed from the coins in Chinese history which are round, square-hole. “菊花鱿鱼”“菊花” isn’t real chrysanthemum, but the shape of the finished dishes.(Zhang Qiang 2017, 19)<br /> <br /> The single flavour of Hunan cuisine is mainly salty, sweet, sour, spicy, bitter, fresh and so on; the compound flavour is mainly hot and sour, sweet and sour, salty and spicy, spicy and hot and so on. Most dish names are made of a combination of flavour and the name of the main ingredient, such as “酸辣鸡杂”、 “麻辣肚丝”. Spicy is a highly used word in Hunan cuisine names. Not many dishes are named directly with words that indicate colour (red, yellow, white, green, etc.) and shape (round, flat, pointed, square, etc.), but more often the colour and shape express the substance. For example, “金钱蛋”is named after a substance that has a colour and shape. “金钱” is borrowed from the coins in Chinese history which are round, square-hole. “菊花鱿鱼”“菊花” isn’t real chrysanthemum, but the shape of the finished dishes.(Zhang Qiang 2017, 19)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)<br /> <br /> The utensils such as casseroles, stones pots, hanging pots, dry pots, flat pots, iron pots are used to serve the Hunan cuisine. So the names of kitchen utensils sometimes appear in Hunan cuisine names, the names of untensils and the main ingredients are combined to form the name of a dish, in order to show the characteristics of the dishes, such as “石锅玉兔”，“干锅鸡”，“砂锅熊掌”.(Zhang Qiang 2017, 19)<br /> <br /> And there are many dishes which are named by means of metaphor are connected with allusion，a person's name or a place name. The names of dishes containing the name &quot;组庵&quot; and the name of the main ingredient in dishes are related to Tan Yanyan. Tan Yanyan (1880-1930), a native of Chaling in Hunan, was the governor of Hunan province after the Revolution of 1911. Tan Yanyan was a famous gourmet and played a major role in the innovation and development of Hunan cuisine at the time. (Zhang Qiang 2017, 19)<br /> <br /> And there are many dishes which are named by means of metaphor are connected with allusion, a person's name or a place name. The names of dishes containing the name &quot;组庵&quot; and the name of the main ingredient in dishes are related to Tan Yanyan. Tan Yanyan (1880-1930), a native of Chaling in Hunan, was the governor of Hunan province after the Revolution of 1911. Tan Yanyan was a famous gourmet and played a major role in the innovation and development of Hunan cuisine at that time. (Zhang Qiang 2017, 19)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)<br /> <br /> Above all, the constitution of Hunan cuisine names are various and mainly have the above mentioned features. Almost all Hunan cuisine names are characterized by elegance and try to convey a kind of aesthetic sense to diners.<br /> <br /> A dish name usually keeps people informed of the main ingredients of the dish, and sometimes uses beautiful words to add aesthetic value and finally it will stimulate the diners' appetite. Particularly, Chinese dish names have a special function that is cultural function owing to transmitting cultures.<br /> <br /> Informative Function<br /> <br /> The informative function means that the communicative aim of language is to provide people with information. As the fundamental function of Chinese dish names, it supplies the basic information of a dish, such as the ingredients, seasonings, cooking methods and so on. Chinese cooking methods are famous for its variety and the ingredients. People can get these information through most of Chinese dish names. So when Chinese dish names are translated into English, this function should be kept completely. (Wang Lixia 2017, 19)<br /> <br /> <br /> Aesthetic Function<br /> <br /> If a dish were a work of art, the dish name would be a part of the art.Besides the informative function, there is an aesthetic value. Although not all Chinese dish names possess the aesthetic value, such as those self-descriptive ones, a lot of names formed by metaphors or other special means to bring the sense of beauty and satisfy the aesthetic need of people. The beautiful names such as“碧绿双脆”， “金银烩双丸”， “天麻炖双飞”， “蝴蝶飘海”, it’s difficult to identify the original ingredient, and the basic information of the dishes are deduce by metaphor,but which attract the diners to image, to get an enjoyment. The subtle integration of aesthetics and culinary science greatly enhance the aesthetic function of these dish names.(熊力游 2004, 84)<br /> <br /> If a dish were a work of art, the dish name would be a part of the art. Besides the informative function, there is an aesthetic value. Although not all Chinese dish names possess the aesthetic value, such as those self-descriptive ones, a lot of names formed by metaphors or other special means to bring the sense of beauty and satisfy the aesthetic need of people. The beautiful names such as“碧绿双脆”， “金银烩双丸”， “天麻炖双飞”， “蝴蝶飘海”, it’s difficult to identify the original ingredient, and the basic information of the dishes are deduce by metaphor, but which attract the diners to image, to get an enjoyment. The subtle integration of aesthetics and culinary science greatly enhance the aesthetic function of these dish names.(熊力游 2004, 84)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)<br /> <br /> Cultural Function<br /> <br /> Chinese dish names also function as a culture carrier. Numerous cultural words play a significant role to demonstrate the national specialties.“百鸟朝凤”, “全家福”, “龙女触珠” “桃园三结义”and many other culturally loaded terms are frequently used in dish names, which are unique to the Chinese culture. This is a best way to arouse foreigners' interests on Chinese culture.(熊力游 2004, 84)<br /> <br /> ===Chapter 2 Reasons for the Untranslatability and Loss of Meaning in Chinese Dish Names===<br /> <br /> ====2.1 Differences of Thinking====<br /> There is a fundamental difference between the traditional Chinese concept of &quot;unity of human and nature&quot; and the traditional Western concept of &quot;humanism&quot;, and the way of thinking and philosophies of each nationality differ. The food cultures of China and the West are therefore influenced by the obvious differences between them, and the same food cultures influence the naming of dishes in a certain way. Traditional Chinese philosophical thinking places emphasis on Qi and existence and non-existence, and in terms of cultural spirit and mode of thinking, this has led to the formation of a unity between human and nature, an emphasis on integral functions and a focus on ambiguity, which has led to the development of unique concepts in the science of food, namely the ecological concept of the correspondence between human and nature, the nutritional concept of food treatment and nourishment, and the concept of the harmonisation of the five tastes. (Cao Binbin 2016, 23)<br /> <br /> There is a fundamental difference between the traditional Chinese concept of &quot;unity of human and nature&quot; and the traditional Western concept of &quot;humanism&quot;, and the way of thinking and philosophies of each nationality differ. The food cultures of China and the West are therefore influenced by the obvious differences between them, and the same food cultures influence the naming of dishes in a certain way. Traditional Chinese philosophical thinking places emphasis on “Qi” and existence and non-existence, and in terms of cultural spirit and mode of thinking, this has led to the formation of a unity between human and nature, an emphasis on integral functions and a focus on ambiguity, which has led to the development of unique concepts in the science of food, namely the ecological concept of the correspondence between human and nature, the nutritional concept of food treatment and nourishment, and the concept of the harmonization of the five tastes. (Cao Binbin 2016, 23)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:33, 19 December 2020 (UTC)<br /> <br /> Westerners hold a rational and scientific concept of diet. They emphasise the nutritional value of the diet, the amount of protein, fat, calories and vitamins contained in the food, and pay particular attention to whether the nutrient content of the food is well matched, whether the calorie supply is optimal, and whether these nutrients can be fully absorbed by the eater. For example, Westerners generally do not eat animal offal or anything that they consider to be of no nutritional value, such as liver, chicken feet, duck heads, dog meat, etc., which are absolutely delicious in China and which Westerners may never have eaten in their lives. Some of the ingredients used in Chinese dishes are not offensive to diners in China, for example animals such as snakes and frogs. For good luck, Chinese names are often borrowed from inedible objects or animals that are taboo for Westerners, such as “红烧狮子头”. Such dishes are unacceptable to Westerners and can sometimes be offensive to them. (Cao Binbin 2016, 24)<br /> <br /> Westerners hold a rational and scientific concept of diet. They emphasize the nutritional value of the diet, the amount of protein, fat, calories and vitamins contained in the food, and pay particular attention to whether the nutrient content of the food is well matched, whether the calorie supply is optimal, and whether these nutrients can be fully absorbed by the eater. For example, Westerners generally do not eat animal offal or anything that they consider to be of no nutritional value, such as liver, chicken feet, duck heads, dog meat, etc., which are absolutely delicious in China and which Westerners may never have eaten in their lives. Some of the ingredients used in Chinese dishes are not offensive to diners in China, for example animals such as snakes and frogs. For good luck, Chinese names are often borrowed from inedible objects or animals that are taboo for Westerners, such as “红烧狮子头”. Such dishes are unacceptable to Westerners and can sometimes be offensive to them. (Cao Binbin 2016, 24)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:33, 19 December 2020 (UTC)<br /> <br /> ====2.2 Different Beliefs and Values====<br /> Belief and value constitute an important part in culture. Chinese and westerners are living in different social background, having their own history and religion. So, disparity in value and belief is inevitable, such as Buddhism in China. It has history of thousands years. Some vocabularies in Chinese are related with Buddhism, such as “立地成佛”，“谋事在人，成事在天”.These expressions all reflect the great influence of Buddhism on language. In western countries, people have been more influenced by Christianity. Phrases like &quot;man proposes God disposes&quot;; &quot;God help those who help themselves&quot; are typical examples. But if“谋事在人，成事在天”is translated to &quot;man proposes, God disposes&quot;, it disobeys Chinese belief which is the Buddhism rather than the Christianity.(Liu Chuang 2012, 120)<br /> <br /> Belief and value constitute an important part in culture. Chinese and westerners are living in different social background, having their own history and religion. So, disparity in value and belief is inevitable, such as Buddhism in China. It has history of thousands years. Some vocabularies in Chinese are related with Buddhism, such as “立地成佛”， “谋事在人，成事在天”. These expressions all reflect the great influence of Buddhism on language. In western countries, people have been more influenced by Christianity. Phrases like &quot;man proposes God disposes&quot;; &quot;God help those who help themselves&quot; are typical examples. But if“谋事在人，成事在天” is translated to &quot;man proposes, God disposes&quot;, it disobeys Chinese belief which is the Buddhism rather than the Christianity.(Liu Chuang 2012, 120)<br /> --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> The value of a certain culture is a set of behavioral standards for people to make choices and solve conflicts and it is usually displayed in people's philosophic and moral concept. The concept that is thought highly by one nation may be neglected by another nation. And this phenomenon becomes a great obstacle in the cross-cultural communication and translation. <br /> <br /> As far as animal vocabularies are concerned, the value of Chinese and westerners are quite different. Take &quot;dog&quot; for example, Chinese often use them to guard door. In their concepts, dogs have nothing to praise. So vocabularies with dogs often have derogatory connotations, such as“狗腿子”，“狐朋狗友”，“狼心狗肺”，“狗眼看人低”，“狗改不了吃屎”.Whereas, in western countries, owing to dogs' loyalty, courage and intelligence, people regard dogs as their favorite and loyal friends and give great honor to them, such as &quot;love me, love my dog&quot;, &quot;lucky dog&quot; and &quot;every dog has his day&quot;. So long as westerners know that dog meat is cooked into dishes in China, they will feel shocked and horrible. Hence although the dish name“狗肉汤”is translatable, we had better avoid translating it or we should not treat westerners to eat dog meat. If it is unavoidable, we should explain those dogs are raised for dinners.(Liu Chuang 2012, 120)<br /> <br /> As far as animal vocabularies are concerned, the value of Chinese and westerners are quite different. Take &quot;dog&quot; for example, Chinese often use them to guard door. In their conceptions, dogs have nothing to praise. So vocabularies with dogs often have derogatory connotations, such as“狗腿子”，“狐朋狗友”，“狼心狗肺”，“狗眼看人低”，“狗改不了吃屎”. Whereas, in western countries, owing to dogs' loyalty, courage and intelligence, people regard dogs as their favorite and loyal friends and give great honor to them, such as &quot;love me, love my dog&quot;, &quot;lucky dog&quot; and &quot;every dog has his day&quot;. So long as westerners know that dog meat is cooked into dishes in China, they will feel shocked and horrible. Hence although the dish name“狗肉汤”is translatable, we had better avoid translating it or we should not treat westerners to eat dog meat. If it is unavoidable, we should explain those dogs are raised for dinners.(Liu Chuang 2012, 120)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> When translating, it is important to take into account the cultural differences, accepting psychology and eating habits of foreigners, otherwise it will be difficult to achieve the intended function and purpose of the translation. After all, although the translator &quot;deals with individual words, he is dealing with two major cultures&quot;.(Liu Chuang 2012, 120)<br /> <br /> ====2.3 Different Customs and Living Environment====<br /> Custom refers to the way of living formed in the long-term development of human's history. It is embodied in various aspects of people's daily lives such as garment, etiquette, marriage, funeral, traditional dishes and so on, due to the different living habits and the customs of different people, which constitute a great obstacle in the cross-cultural communication and translation.(Wang Lijun 2017, 23)<br /> <br /> ====2.4 Lexical Non-equivalence Concerned with Cultural Difference====<br /> The lexical non-equivalence generally refers to the non-equivalence of lexical meanings. As we all know, the meaning of a word, which is involved in many aspects, such as the denotative meaning, the associative meaning and so on, is not a simple concept. Therefore, there are several kinds of untranslatable phenomena concerned with the lexical non-equivalence.(Wang Lijun 2017, 24)<br /> <br /> ====2.5 Absence of Terms====<br /> Absence of terms is a frequent phenomenon leading to untranslatability. It refers to the case that in translation we fail to find counterpart in target language. In Chinese, there are many terms as “风水”, “阴阳”, “属相”and so on. These words are derived from unique Chinese culture, which are almost impossible to translate to English, since there are no such things in western countries.(Wang Lijun 2017, 24)<br /> <br /> ====2.6 Discrepancy of Semantic Association====<br /> Terms and expressions, as embodiment of culture, have rich meanings and profound connotations. Therefore discrepancies of terms lead to translation barriers inevitably. For example, dragon in English and “龙“ in Chinese represents different connotation though it is the same imaginary image. Owing to this difference, terms concerning dragon in these two languages differ greatly. To Chinese, “龙“ is something sacred and has been referred to as the ancestor of the Chinese nation-that's why Chinese people call themselves“龙的传人 (descendants of the dragon)“. “龙” is used frequently in Chinese daily life in order to convey a propitious meaning, such as in dish names“龙凤呈祥”，“二龙戏珠”and “青龙过海”.To westerners, however, the dragon is a symbol of evil. Many heroes in stories struggled against dragons which were slain in most cases.(Wang Lijun 2017, 25)<br /> <br /> Terms and expressions, as embodiment of culture, have a wide variety of meanings and profound connotations. Therefore discrepancies of terms lead to translation barriers inevitably. For example, dragon in English and “龙” in Chinese represents different connotation though it is the same imaginary image. Owing to this difference, terms concerning dragon in these two languages differ greatly. To Chinese, “龙” is something sacred and has been referred to as the ancestor of the Chinese nation—that's why Chinese people call themselves “龙的传人 (descendants of the dragon)”. “龙” is used frequently in Chinese daily life in order to convey a propitious meaning, such as in dish names“龙凤呈祥”， “二龙戏珠”and “青龙过海”. To westerners, however, the dragon is a symbol of evil. Many heroes in stories struggled against dragons which were slain in most cases.(Wang Lijun 2017, 25)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> Take “喜鹊(pied magpie)” for another instance. In Chinese culture, this bird is always regarded as a messenger of good news, for the first character of its Chinese name(喜)means &quot;happiness&quot;. So the chattering of a pied magpie had the connotative meaning of &quot;good news is coming&quot;. But in English culture, people pay more attention to the appearance of this black-and-white bird and the noises it makes. Then the connotative meaning of it in English is &quot;a chatterbox&quot;. (Wang Lijun 2017, 28)<br /> <br /> Take “喜鹊 (pied magpie)” for another instance. In Chinese culture, this bird is always regarded as a messenger of good news, for the first character of its Chinese name “喜” means &quot;happiness&quot;. So the chattering of a pied magpie had the connotative meaning of &quot;good news is coming&quot;. But in English culture, people pay more attention to the appearance of this black-and-white bird and the noises it makes. Then the connotative meaning of it in English is &quot;a chatterbox&quot;.(Wang Lijun 2017, 28)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ===Chapter 3 Strategies of Untranslatability and Loss of Meaning of Hunan Cuisine Names===<br /> The purpose of translation is to communicate, therefore transfering the information is very important in translation. Regardless of the method of translation, it is important to convey as much information as possible about the main ingredients, cooking methods, etc., so that foreigners can understand them and communicate with each other. Clearly conveying information about the dishes means that the English translation of Hunan cuisine names can help people from other countries understand the basic information about the dishes, the unique cooking techniques and regional characteristics of Hunan cuisine, and appreciate the colourful culinary culture of Hunan. (Wang Caiying 2009, 108)<br /> <br /> The purpose of translation is to communicate, therefore transferring the information is very important in translation. Regardless of the method of translation, it is important to convey as much information as possible about the main ingredients, cooking methods, etc. So that foreigners can understand them and communicate with each other. Clearly conveying information about the dishes means that the English translation of Hunan cuisine names can help people from other countries understand the basic information about the dishes, the unique cooking techniques and regional characteristics of Hunan cuisine, and appreciate the colourful culinary culture of Hunan.(Wang Caiying 2009, 108)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> Some contain profound historical allusions or folk legends, while others have changed their names based on raw materials, shapes and cooking methods. This makes English translation difficult and makes it difficult to fully reflect the linguistic and cultural features of the Chinese language. In this case, the English translation of Hunan cuisine names should be purpose-oriented, so that foreign friends can understand as much as possible about the basic information of Hunan cuisine. The name of the dish should first of all ensure that the customer knows the ingredients，the supplementary ingredients, the cooking method and the flavour of the dish, so the most important thing when translating the name of a dish, whether it is realistic or associative, is that it should firstly convey its denotative meaning. (Wang Caiying 2009, 108)<br /> <br /> In some cases, it is also possible to make major changes to the presentation of the translation, avoiding or diluting words in the dish that have strong symbolic meaning but are incompatible with Western culture, and keeping the basic content of the dish as far as possible in order to achieve the basic purpose and function of conveying the message of the dish.The names of some dishes are quoted from poems and idioms, and the English translation method of &quot;literal+interpretative translation&quot; can be used to express the specific meaning of the ingredients while retaining their distinctive national characteristics. Some of the common cooking methods used in Hunan cuisine, such as &quot;stir-frying, roasting, boiling, stewing, deep-frying, steaming&quot;, etc., make the translation more effective.(Wang Caiying 2009, 108)<br /> <br /> In some cases, it is also possible to make major changes to the presentation of the translation, avoiding or diluting words in the dish that have strong symbolic meaning but are incompatible with Western culture, and keeping the basic content of the dish as far as possible in order to achieve the basic purpose and function of conveying the message of the dish. The names of some dishes are quoted from poems and idioms, and the English translation method of &quot;literal+interpretative translation&quot; can be used to express the specific meaning of the ingredients while retaining their distinctive national characteristics. Some of the common cooking methods used in Hunan cuisine, such as &quot;stir-frying, roasting, boiling, stewing, deep-frying, steaming&quot;, make the translation more effective.(Wang Caiying 2009, 108)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.1 English Translations of Hunan Cuisine Names Based on Cooking Methods and Main Ingredient====<br /> The name of such a dish includes both the cooking method and the main ingredient, with the cooking method preceding and the main ingredient following. The English translation uses “cooking method (past participle of the verb)+main ingredient”, such as“炒生菜&quot;, where &quot;炒&quot; is the practice. &quot;生菜&quot; is the main ingredient, which translates as Sauteed Lettuce &quot; and “花生炖猪蹄&quot;，where“炖&quot; is the cooking method, peanuts and pig's feet are the main ingredients, the name of the dish can be translated as“cooking method+main ingredient+and+main ingredient”,that‘s “Stewed Pig's Trotters and Peanuts&quot;.(Zhang Qiang 2017, 23)<br /> <br /> The name of such a dish includes both the cooking method and the main ingredient, with the cooking method preceding and the main ingredient following. The English translation uses “cooking method (past participle of the verb)+main ingredient”, such as“炒生菜&quot;, where &quot;炒&quot; is the practice. &quot;生菜&quot; is the main ingredient, which translates as Sauteed Lettuce &quot; and “花生炖猪蹄&quot;，where“炖&quot; is the cooking method, peanuts and pig's feet are the main ingredients, the name of the dish can be translated as “cooking method+main ingredient+and+main ingredient”, which calls “ Stewed Pig's Trotters and Peanuts&quot;.(Zhang Qiang 2017, 23)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.2 English Translation of Hunan Cuisine Names Based on &quot;Ingredient and Main Ingredient&quot; or &quot;Main ingredient and Soup&quot;====<br /> The names of such Hunan dishes mainly consist of main ingredients and ingredients, which form Hunan cuisine names as &quot;ingredient+main ingredient&quot;, which can be translated in English as &quot;main ingredient+with/in+ingredients&quot;. Connected by with or in. e.g.&quot;冬笋腊肉&quot; and &quot;蟹黄海参&quot; can be translated respectively as “Preserved Pork (Smoked Pork) with Winter Bamhoo Shoot” and “Sea Cucumber with Crab Roe”. If the ingredient is soup, use the expression &quot;soup+main ingredient&quot;, which is translated as &quot;main ingredient+in/with+ Soup/Sauce&quot;. Yhe choice of in or with is determined by the actual &quot;sauce&quot;. Use &quot;in&quot; if the main ingredient is immersed in the sauce, and if the sauce is separate from the main ingredient, or if it is poured over the main dish, we should use “with” e.g. &quot;蜜汁白莲&quot; is translated as &quot;Lotus-seed in Honey Sauce&quot;and &quot;茄汁鱼片&quot; is translated as &quot;Sliced Fish with Tomato Sauce &quot;.(Zhang Qiang 2017, 24)<br /> <br /> The names of such Hunan dishes mainly consist of main ingredients and ingredients, which form Hunan cuisine names as &quot;ingredient+main ingredient&quot;, which can be translated in English as &quot;main ingredient+with/in+ingredients&quot;. Connected by “with or in”, for example, &quot;冬笋腊肉&quot; and &quot;蟹黄海参&quot; can be translated respectively as “Preserved Pork (Smoked Pork) with Winter Bamhoo Shoot” and “Sea Cucumber with Crab Roe”. If the ingredient is soup, use the expression &quot;soup+main ingredient&quot;, which is translated as &quot;main ingredient+in/with+ Soup/Sauce&quot;. The choice of in or with is determined by the actual &quot;sauce&quot;. Use &quot;in&quot; if the main ingredient is immersed in the sauce, and if the sauce is separate from the main ingredient, or if it is poured over the main dish, we should use “with”, for example, &quot;蜜汁白莲&quot; is translated as &quot;Lotus-seed in Honey Sauce&quot;and &quot;茄汁鱼片&quot; is translated as &quot;Sliced Fish with Tomato Sauce &quot;.(Zhang Qiang 2017, 24)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.3 English Translation of Hunan Cuisine Names According to the Flavour and the Main Ingredients====<br /> When the name of a dish is &quot;flavour+main ingredient&quot;, the English translation puts the flavour in the front and the main ingredient at the back, highlighting the taste of the dish, e.g. in &quot;麻辣牛肉&quot;, &quot;麻辣&quot; is the taste. &quot;牛肉&quot; is the main ingredient, which translates as &quot;Spicy and Hot Beef&quot;and &quot;酸辣&quot; in &quot;酸辣鸡杂&quot; is the flavour, &quot;鸡杂&quot; is the main ingredient and it can be translated as &quot;Hot and Sour Chicken Giblets&quot;.(Zhang Qiang 2017, 26)<br /> <br /> When the name of a dish is &quot;flavour+main ingredient&quot;, the English translation puts the flavour in the front and the main ingredient at the back, highlighting the taste of the dish, for example, in &quot;麻辣牛肉&quot;, &quot;麻辣&quot; is the taste. &quot;牛肉&quot; is the main ingredient, which translates as &quot;Spicy and Hot Beef&quot;and &quot;酸辣&quot; in &quot;酸辣鸡杂&quot; is the flavour, &quot;鸡杂&quot; is the main ingredient and it can be translated as &quot;Hot and Sour Chicken Giblets&quot;.(Zhang Qiang 2017, 26)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.4 English Translation of Hunan Cuisine Names Based on Seasonings and Main Ingredients====<br /> The English translation of Hunan cuisine name in the form of &quot;seasoning+main ingredient&quot; can use the structure of &quot;main ingredient+with+seasoning&quot;, such as &quot;芥末鸡条&quot; can be translated as “Chicken Strips with Mustard”, a literal translation can also be used in the original structure, such as “孜然牛肉” can be translated as &quot;Cumin Beef&quot;.(Wang Lijun 2017, 23)<br /> <br /> ====3.5 English Translation of Hunan Cuisine Names Based on Seasonings, Cooking Methods and Main Ingredients====<br /> Chinese Hunan cuisine names has the structure of &quot;seasoning+cooking method+main ingredient&quot;, which can be translated in English as &quot;cooking method (past participle of the verb)+main ingredient+ with+seasoning&quot;, e.g. &quot;豆瓣酱烧肥鱼&quot; can be translated as &quot;Braised Fish with Thick Broad-bean Sauce&quot; and &quot;豆豉蒸排骨&quot; as &quot;Steamed Pork Chops with Lobster Sauce&quot;.(Zhang Qiang 2017, 26)<br /> <br /> Chinese Hunan cuisine names has the structure of &quot;seasoning+cooking method+main ingredient&quot;, which can be translated in English as &quot;cooking method (past participle of the verb)+main ingredient+ with+seasoning&quot;, for example, &quot;豆瓣酱烧肥鱼&quot; can be translated as &quot;Braised Fish with Thick Broad-bean Sauce&quot; and &quot;豆豉蒸排骨&quot; as &quot;Steamed Pork Chops with Lobster Sauce&quot;.(Zhang Qiang 2017, 26)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.6 English Translation of Hunan Cuisine Names According to the Colour and Shape of the Finished Dish====<br /> The names of such dishes are generally translated using the literal and free translation method. For example, &quot;芙蓉鸡片&quot; can be translated as &quot;Fried Sliced Chicken with Egg White&quot; and &quot;菊花鱿鱼&quot;as &quot;Fried Chrysanthemum-shaped Squid&quot;.(Wang Lijun 2017, 23)<br /> <br /> ====3.7 English Translation of Hunan Cuisine Names According to the Flavour and the Shape of the Raw Material after it has been cut====<br /> The English translation of Hunan cuisine names can be in the form of &quot;flavour+shape+main ingredient&quot;, e.g. &quot;麻辣&quot; in &quot;麻辣羊肚丝&quot; denotes the flavour. &quot;羊肚&quot; is the main ingredient, and the goat tripe is shredded, which can be translated as &quot;Spicy and Hot shredded Goat Tripe&quot;. (Zhang Qiang 2017, 29)<br /> <br /> The English translation of Hunan cuisine names can be in the form of &quot;flavour+shape+main ingredient&quot;, for example, &quot;麻辣&quot; in &quot;麻辣羊肚丝&quot; denotes the flavour. &quot;羊肚&quot; is the main ingredient, and the goat tripe is shredded, which can be translated as &quot;Spicy and Hot shredded Goat Tripe&quot;. (Zhang Qiang 2017, 29)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.8 English Translation of Hunan Cuisine Name According to the Cooking Method and the Main Ingredient and its modified Shape====<br /> Chinese Hunan cuisine names &quot;--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)cooking method+main ingredient+shape&quot; can be translated as &quot;cooking method (past participle of the verb)+shape+main ingredient&quot;, such as &quot;干煸牛肉丝&quot;. &quot;干煸&quot; is the cooking method, &quot;牛肉&quot; is the main ingredient and &quot;丝&quot; is the shape of the modified ingredient, it can be translated as &quot;Dry-fried Shredded Beef&quot;.(Zhang Qiang 2017, 29)<br /> <br /> ====3.9 English Translations of Hunan Cuisine Names from &quot;Name of Person or Place + Main Ingredient&quot; to &quot;Name of Person or Place+Cooking Method + Main Ingredient&quot;====<br /> In addition to the above principles, the names of such dishes should also be transliterated from the names of people and places, which is good for promoting the Chinese language and culture. The translation of Hunan cuisine names as &quot;person's name+main ingredient&quot; can be made directly. For example, in &quot;组庵豆腐&quot;, &quot;组庵&quot; is the name of a person and &quot;豆腐&quot; is the main ingredient, which is transliterated as &quot;Zu'an Tofuo&quot;.(Zhang Qiang 2017, 26)<br /> <br /> The name of the dish &quot;place name+main ingredient&quot; can be translated as &quot;main ingredient+，+place name+Style&quot; with the main ingredient separated from the place name by a comma. For example, &quot;湖南&quot; in &quot;湖南腊肉&quot; is the name of the place, and &quot;腊肉&quot; is the main ingredient, which is translated as &quot; Preserved Pork (Smoked Pork), Hunan Style&quot;, the name of a Hunan dish in the form of &quot;place name+main ingredient&quot; can also be translated into the form of &quot;place name+main ingredient&quot;, e.g. &quot;东安鸡&quot; can be translated as &quot;Dong' an Chicken&quot;.(Zhang Qiang 2017, 26)<br /> <br /> The name of the dish &quot;place name+main ingredient&quot; can be translated as &quot;main ingredient+place name+Style&quot; with the main ingredient separated from the place name by a comma. For example, &quot;湖南&quot; in &quot;湖南腊肉&quot; is the name of the place, and &quot;腊肉&quot; is the main ingredient, which is translated as &quot; Preserved Pork (Smoked Pork), Hunan Style&quot;, the name of a Hunan dish in the form of &quot;place name+main ingredient&quot; can also be translated into the form of &quot;place name+main ingredient&quot;, for example, &quot;东安鸡&quot; can be translated as &quot;Dong' an Chicken&quot;.(Zhang Qiang 2017, 26)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> The name of a dish can be translated in the form of &quot;cooking method+main ingredient+，+person (place name)+style&quot;, e.g. &quot;毛氏红烧肉&quot;, which can be translated as &quot;Braised Pork, Mao's Family Style. &quot;(Zhang Qiang 2017, 30)<br /> <br /> ====3.10 An English Translation of Hunan Cuisine Names as &quot;Utensil + Main Ingredient&quot;====<br /> Containers such as iron plates, dry pans, casseroles, etc. are also used in combination with the main ingredient to name the chinese Hunan cuisine names, which can be translated as “utensils+main ingredient”，e.g. “干锅茶树菇” is translated as Dry Pot (Griddle Cooked) Tea Tree Mushrooms, it can also be translated as“main ingredient+in/on+main ingredient”, e.g. “铁板牛肉”can be translated as Beef Steak Served on Sizzling Iron Plate.(Zhang Qiang 2017, 30) <br /> <br /> Containers such as iron plates, dry pans, casseroles, etc. are also used in combination with the main ingredient to name the Chinese Hunan cuisine names, which can be translated as “utensils+main ingredient”，e.g. “干锅茶树菇” is translated as Dry Pot (Griddle Cooked) Tea Tree Mushrooms, it can also be translated as“main ingredient+in/on+main ingredient”, for example, “铁板牛肉”can be translated as “Beef Steak Served on Sizzling Iron Plate”.(Zhang Qiang 2017, 30)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.11 The English Translation of Hunan Cuisine Names that Do Not Reflect Information on Cooking Methods, Main Ingredients, Tastes, etc.====<br /> Some Hunan cuisine names do not reflect basic information such as cooking method, main ingredients, taste, etc. These names usually combine the colour, aroma, cooking method and stylistic features of the dish to give it a pleasant name. For example, “全家福” could be translated as Quan Jia Fu (A tonic recipe of chicken breast fried with sea cucumber peeled shrimp and squid, carrying the implied meaning of a happy family reunion) (Zhang Qiang 2017, 31)<br /> <br /> Some Hunan cuisine names do not reflect basic information such as cooking method, main ingredients, taste, etc. These names usually combine the colour, aroma, cooking method and stylistic features of the dish to give it a pleasant name. For example, “全家福” could be translated as “Quan Jia Fu” (A tonic recipe of chicken breast fried with sea cucumber peeled shrimp and squid, carrying the implied meaning of a happy family reunion.)(Zhang Qiang 2017, 31)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ===Conclusion===<br /> Chinese dish names are rich in connotation, vividly reflecting China's cuisine culture. Their English translations are an effective means to inform foreigners of Chinese culture. Therefore, it is of great importance to make a study on translations of these dish names. The current studies in this field have given an analysis to Chinese dish names' features, functions as well as the principles for their translation. (Wang Lijun 2017, 23)<br /> <br /> This paper has made a tentative study of Chinese dish names from the angle of untranslatability and loss of meaning. The study covers the analysis of the untranslatability and loss of meaning caused by the differences between Chinese and English, from linguistic and cultural perspectives, taking Hunan cuisine names an example, the introduction of the constitution and function of dish names. Then since Chinese dish names play an important role in Chinese culture, according to untranslatabiltiy caused by culture differences between Chinese and English, the paper analyzes the untranslatable phenomena existing in the English translation of Chinese dish names from the aspects of thinking, beliefs and values, customs, and lexical non-equivalence.(Zhang Qiang 2017, 26) <br /> <br /> Although there are many translated versions of various Chinese dishes nowadays, and some of them have been accepted by the public, it is undeniable that there are cultural obstacles which cannot be translated. If translators don't know untranslatabiltiy of dish names, they cannot translate them properly, since they couldn't avoid the obstacles and adopt some compensatory measures. strangeness in front of cultural differences.<br /> <br /> A translation should on the one hand keep as much as possible the original flavor and on the other hand try to make it accessible to the target language readers.<br /> <br /> ===References===<br /> [1]Cao Binbin. 曹彬彬.(2016). 从翻译的不可译性看中式菜名英. [English Translation of Chinese Cuisine Names from the Perspective of Translation Untranslatability]. 英语广场. [English Square].24-25.<br /> <br /> [1]Cao Binbin. 曹彬彬.(2016). 从翻译的不可译性看中式菜名英. [English Translation of Chinese Cuisine Names from the Perspective of Translation Untranslatability]. 英语广场. [English Square]24-25.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [2]J. C. Catford. (1965). A Linguistic Theory of Translation . London: Oxford University.93-95<br /> <br /> [3]Liu Chuang. 刘闯.(2012). 浅析中餐菜名英译的不可译性及解决. [An analysis of the untranslatability of the English translation of Chinese cuisine names and its solution]. 校园英语. [Campus English].120-121.<br /> <br /> [3]Liu Chuang. 刘闯.(2012). 浅析中餐菜名英译的不可译性及解决. [An analysis of the untranslatability of the English translation of Chinese cuisine names and its solution]. 校园英语. [Campus English]120-121.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [4]Tan Zaixi. 谭载喜. (2004). 西方翻译简史(增订版). [ A Brief History of Western Translation (Updated Edition)]. 商务印书馆. [The Commercial Press] 200-220<br /> <br /> [4]Tan Zaixi. 谭载喜. (2004). 西方翻译简史(增订版). [ A Brief History of Western Translation (Updated Edition)]. 商务印书馆. [The Commercial Press]200-220.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [5]Wang Caiying.王才英.(2009). 试论中国菜名的相对不可译及对策. [Experimental discussion on the relative untranslatability of Chinese dish names and Strategies].长沙大学学报. [Journal of Changsha University]. 108-109.<br /> <br /> [5]Wang Caiying.王才英.(2009). 试论中国菜名的相对不可译及对策. [Experimental discussion on the relative untranslatability of Chinese dish names and Strategies].长沙大学学报. [Journal of Changsha University]108-109.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [6]Wang Lijun. 王丽君.(2008). 中文菜名的不可译性研究. [On Untranslatability of Chinese Dish Names]. 吉林大学学报. [Journal of Jilin University]. 10-13<br /> <br /> [6]Wang Lijun. 王丽君.(2008). 中文菜名的不可译性研究. [On Untranslatability of Chinese Dish Names]. 吉林大学学报. [Journal of Jilin University]10-13.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [7]Wang Lixia. 王丽霞.(2017).《湘菜六味—湘菜缘分》汉译英实践报告.[A Report on the C-E Translation of the 3rd Chapter of Xiangcailiuwei].湖南师范大学.[Hunan Normal University]<br /> <br /> [8]Xiong Liyou. 熊力游. (2004). 中华菜名功能与翻译处理. [Functions and Translation processing of Chinese Cuisine names]. 长沙大学学报. [Journal of Changsha University]. 84-86.<br /> <br /> [8]Xiong Liyou. 熊力游. (2004). 中华菜名功能与翻译处理. [Functions and Translation processing of Chinese Cuisine names]. 长沙大学学报. [Journal of Changsha University]84-86.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [9]Zhang Qiang. 张强. (2017). 湘菜菜名词语与对外汉语教学.[Name of Hunan Cuisine in Teaching Chinese as a Second Language].湖南师范大学.[Hunan Normal University]. 18-33<br /> <br /> [9]Zhang Qiang. 张强. (2017). 湘菜菜名词语与对外汉语教学.[Name of Hunan Cuisine in Teaching Chinese as a Second Language].湖南师范大学.[Hunan Normal University]18-33.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ==A Study of English Translation of Chinese Dish Names from the Perspective of Domestication and Foreignization -- Taking Hunan Cuisine an Example - 邬香 Wu Xiang==<br /> &lt;center&gt; 邬香 Wu Xiang 202020080651 俄语语言文学.&lt;/center&gt;<br /> ===Abstract===<br /> As a bright pearl in the storehouse of traditional Chinese culture, catering culture plays a more and more important role in the increasingly frequent cross-cultural communication. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the neglect of cultural connotations of dishes and the lack of unified translation standards. Foreignization and domestication can effectively solve the above problems. From the perspective of foreignization and domestication, this chapter takes the English translation of Hunan cuisine as an example and uses the above two different translation strategies for realistic and freehand dishes from the linguistic and cultural levels. Although domestication and foreignization can't remove all the obstacles in English translation of Chinese dish names, they can help to accurately express the meanings of dish names, reflect their cultural connotations and promote cultural exchanges and dissemination.<br /> <br /> ===Key words===<br /> Chinese dish names; English translation; domestication and foreignization; cross-cultural communication<br /> <br /> ===题目===<br /> 异化和归化视角下中国菜名英译研究——以湘菜为例<br /> <br /> ===摘要===<br /> 饮食文化作为中国传统文化宝库中一颗璀璨的明珠，在如今日益频繁的跨文化交流中的作用愈发重要。但是目前中国菜名英译出现不少问题，主要包括使用直接生硬的表达方式、忽略菜肴文化内涵、缺乏统一的翻译标准。运用异化和归化翻译策略能有效解决上述问题。本章拟从异化和归化的视角出发，以湘菜英译为例，针对写实型和写意型菜肴从语言和文化层面使用上述不同的翻译策略。尽管归化和异化不能扫除菜名英译中所有的障碍，但其有助于准确表达菜名含义，体现其蕴藏的文化内涵，促进文化交流与传播。<br /> <br /> ===关键词===<br /> 中国菜名；英译；归化和异化；跨文化交流<br /> <br /> ===1. Introduction===<br /> After thousands of years of precipitation and inheritance, Chinese food culture emerged on the international stage and gradually has gained the favor and recognition of foreigners. In modern society cultural exchanges between countries and nations are increasingly frequent. As a cross-cultural communication activity, translation refers not only to the process of language conversion, but also to the process of cultural transformation and dissemination. Because Chinese food contains a large number of cultural and artistic features, which reflect the Chinese cultural landscape. However, at present we have different translation versions in the process of translating Chinese dishes. This is not conducive to the cross-cultural communication.(Xiong Bing 2014,84)<br /> <br /> 中国饮食文化历经数千年的沉淀和传承后，在国际舞台上崭露头角，逐渐得到外国人的青睐和认可。当今社会世界各国、各民族文化交流日益频繁，翻译作为一种跨文化交际活动，不仅指语言转换的过程，而且是文化转换和传播的过程。中国菜名含有丰富的文化与艺术特征，其体现了中国文化图景。然而，目前中国菜名译本众多，这不利于跨文化交流。<br /> <br /> It's known that translation strategies of domestication and foreignization can retain the cultural elements in the original text to the greatest extent. As one of the eight major cuisines in China, Hunan cuisine has its unique characteristics and rich cultural heritages, so it is suitable to adopt domestication and foreignization in English translation. Many Chinese scholars focus on specific translation methods and skills in the researches on translation of Chinese dish names.They rarely consider the translation strategies of foreignization and domestication.(Xiong Bing 2014,84)<br /> <br /> 归化和异化策略能最大程度保留原文中的文化元素，解决目前中国菜名翻译过程中存在的一些问题。湘菜作为中国八大菜系之一，具有独特的特点和丰富的文化底蕴，适合采用归化和异化英译。中国许多学者对中国菜名翻译的研究多着眼于具体的翻译方法和技巧，很少从异化和归化的翻译策略高度来考虑。<br /> <br /> However, it is necessary to clarify what kind of translation strategy to adopt before choosing appropriate translation methods and skills, because the implementation of the former is reflected in the application of specific translation skills, while the application of the latter requires certain translation strategies. Therefore, in this chapter I will discuss the application of translation strategies of domestication and foreignization in the English translation of traditional Chinese dish names based on the corpus of Hunan cuisine. (Xiong Bing 2014,84)<br /> <br /> 然而，首先明确采用怎样的翻译策略，继而才能选用合适的翻译方法和技巧，因为前者的实施体现在特定翻译技巧的运用，同时后者的运用需依据一定的翻译策略。因此，本文将以湘菜菜品名为语料，探讨翻译策略在传统中国菜名英译中的运用。(熊兵，2014,84）<br /> <br /> ===2. Exiting Problems in English Translation of Chinese Dish Names===<br /> Chinese food culture is extensive and profound with a long history. The importance of English translation of Chinese dish names in cross-cultural communications between China and foreign countries is self-evident. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the lack of unified translation standards and the ignorance of cultural connotations of Chinese dishes. These problems make foreigners and some Chinese English learners confused. Next I will analyze them in detail with examples.(Xia Ying 2016, 259)<br /> <br /> 中国饮食文化博大精深，源远流长。中餐翻译在中外文化交流中的重要性不言而喻。然而，目前中国菜名英译存在不少问题，诸如使用直接生硬表达法、缺乏统一翻译标准、忽视菜肴文化内涵等。这些问题不仅引起外国人的困惑，中国英语学习者亦云里雾里。下面我将结合实例具体分析。(夏瑛 2016, 259)<br /> <br /> ====2.1 The Use of Direct and Rigid Expressions====<br /> China has a vast territory and abundant resources. The eating habits and cooking methods in different regions of the country are different. Some dishes are named after myths, legends and allusions, while others are complex in cooking methods and various in ingredients. Direct and stiff expressions can't express the rich connotations of these dishes and even make people funny.(Zhang Yang 2016, 48)<br /> <br /> 中国地大物博，全国各地区的饮食习惯与烹饪方法各不相同，其中一些菜肴以神话、传说及典故命名，还有一些佳肴烹饪方法复杂，食材多种多样。直接生硬的表达法不能很好表达这些菜肴的丰富内涵，甚至会让人啼笑皆非。<br /> <br /> For example, if &quot;Jiaohua chicken, a whole chicken roasted in caked mud&quot;(叫花鸡) is translated into &quot;beggar's chicken&quot;(叫花子的鸡), it doesn't reflect the origin and the cooking method of this dish. It is said that in the late Ming Dynasty and early Qing Dynasty a beggar in Changshu（常熟，a city of Jiangsu province） got a chicken by chance. He had no cooking utensils and seasonings. So he had to put the chicken into the mud to simmer and roast it. When the chicken was cooked, he knocked off the mud shell. The aroma overflowed, and it became a delicious dish. (Zhang Yang 2016, 48)<br /> <br /> 比如，”叫花鸡”(Jiaohua Chicken，a whole chicken roasted in caked mud)若译成”Beggar’s Chicken”则完全没有体现这道菜的由来及做法。相传明末清初时，常熟一个乞丐偶然间得到一只鸡，苦于没有炊具和调料，只能将鸡处理后放入泥土中煨烤，鸡熟后敲掉泥壳，香气四溢，成为一道美味佳肴。<br /> <br /> Another example is that &quot;木须肉&quot; is translated as &quot;wood mustache meat&quot;（木头胡子肉）. This translation is confusing and doesn't reflect the main ingredients of this dish. I think that it is appropriate and reasonable to translate it into &quot;stir fried pork with eggs and black fungus&quot;. (Zhang Yang 2016, 48)<br /> <br /> 又如，“木须肉”被译为”Wood mustache meat”（木头胡子肉），这种译法让人不知所云，更没有体现这道菜的主要原料。笔者认为将其译为”Stir-fried pork with eggs and black fungus”比较恰当合理。(张扬 2016, 48)<br /> <br /> ====2.2 The Lack of Unified Translation Standards====<br /> At present there is no uniform international standard for the translation of Chinese dish names, which leads to the emergence of multiple translation versions in the book market and restaurants. It brings inconvenience and trouble to foreigners and affects the spread of Chinese catering culture. For example, there are several different translation versions of &quot;麻婆豆腐&quot; in China: bean curd with minced pork in hot sauce; Mapo Tofu; tofu made by woman with freckles. The last translation version is not very appropriate and easy to cause disgust. Foreigners are familiar with the translation of &quot;Mapo Tofu&quot; and have already accepted it, so it is acceptable not to explain it. The first translation version is more vivid and can make people salivate. It reflects the method and raw materials of this dish.(Lin Hong 1991, 41)<br /> <br /> 目前，国际上没有关于中国菜名翻译的统一的标准，这导致在图书市场和餐厅内出现多个翻译版本，给外国人带来不便与麻烦，影响中国饮食文化的传播。例如，国内“麻婆豆腐”有以下几种不同的翻译：Bean curd with minced pork in hot sauce; Mapo tofu; Tofu made by woman with freckles.笔者认为，最后一种译法不是很贴切，容易引起反感。外国人已熟知并接受”Mapo tofu”的译法，故不解释亦可。第一种译法较为形象，体现了菜肴的做法和原料，让人垂涎欲滴。<br /> <br /> There are also many ways to translate &quot;宫保鸡丁&quot;, including &quot;Kung Pao chicken&quot;, &quot;fried diced chicken in Sichuan style&quot; or &quot;sauteed chicken cubes with chili and peanuts&quot;. So many translation versions will not only make readers confused, but also fail to reflect the characteristics and cultural connotations of Chinese dish names. Therefore, the translation of the unified dish names is one of the problems to be solved in correctly understanding Chinese cooking culture. (Lin Hong 1991, 41)<br /> <br /> “宫保鸡丁”五花八门的译法包括”Kung Pao Chicken”, “Fried diced chicken in Sichuan style” 或”Sautéed chicken cubes with chili and peanuts”. 如此多的译名不仅会引起读者思维上的混乱，而且没有很好地体现中国菜名的特点与文化内涵。由此可见，统一菜名的翻译是正确领略中国饮食文化亟待解决的问题之一。 (林红 1991, 41)<br /> <br /> ====2.3 The Neglect of Cultural Connotations of Dishes====<br /> The differences between Chinese and western cultures lead to the differences between Chinese and Western catering cultures, which stems from the different attitudes towards rationality and sensibility. Chinese people have strong perceptual thinking, so they pursue beauty and artistry. Chinese dishes are full of color, fragrance and other cultural connotations. Westerners pay more attention to rationality, truth and science. The names of Western dishes are easy to understand, and the raw materials and nutrients are relatively clear. (Wang Junjian 2017，107)<br /> <br /> 中西文化的差异导致中西饮食文化的不同，而这种差异归根结底源于双方对待理性和感性的不同态度。中国人感性思维较强，故而追求美和艺术性，中餐讲究色香味俱全，通常含有祝福、美好等文化内涵。西方人则更注重理性、真理和科学，西餐菜名通俗易懂，原料和营养成分较为清楚。<br /> <br /> For example, &quot;onion soup in French style&quot;(法式洋葱汤) is used in Western food, while &quot;stewed snake and chicken&quot;(龙凤呈祥) in Chinese food is the soup stewed with snake and chicken. Snake is regarded as a small dragon (Jiao 蛟) in China, and there is a folk saying that pheasant flies on the branch and becomes a phoenix(野鸡飞上枝头变凤凰). Therefore, a snake is compared to a dragon, and a chicken - a phoenix, which is used to bless and praise things and others. (Wang Junjian 2017，107)<br /> <br /> 比如，西餐中的Onion soup in French style(法式洋葱汤),而中餐中的”龙凤呈祥”（Stewed snake and chicken）是用蛇和鸡炖的汤。蛇在中国视为小龙（蛟），且民间有“野鸡飞上枝头变凤凰”的俗语。故把蛇比作龙，鸡比作凤凰，用作对事物和他人的祝福和赞美。<br /> <br /> The main ingredient of &quot;more than every year&quot;(年年有余) is fish. &quot;Yu&quot;(余) in Chinese refers to surplus, which is homophonic with &quot;fish”(鱼), which expresses people's good wishes for a prosperous family and surplus every year. If foreigners don't understand the Chinese culture implied in these dishes, they will find these translations very strange. Therefore, cultural factors must be taken into account in translating Chinese dishes to avoid misunderstanding. (Wang Junjian 2017，107)<br /> <br /> “年年有余”（More than every year）的主要食材是鱼，“余”在汉语中指剩余，与“鱼”谐音，表达人们对家业发达、年年有余的美好愿望。如果外国人不了解这些菜隐含的中国文化，则会觉得这种翻译很奇怪。因此，在翻译中国菜名时必须考虑文化因素，避免造成误解。(王君健 2017,107)<br /> <br /> To a large extent, the above problems are caused by the fact that people pay attention to the intuitive feelings in the process of translation, ignoring the cultural connotations of dish names and using inappropriate translation methods. In this chapter I will try to solve these problems by adopting translation strategies of domestication and foreignization from the linguistic and cultural levels, then introduce the above two translation strategies and analyzes how to use them to improve the quality of translation in the process of translating Hunan cuisine into English. (Xia Ying 2016, 259+273)<br /> <br /> 以上问题很大程度上是因为人们在翻译过程中注重直观的感受，忽略菜名蕴含的文化底蕴，使用不恰当的翻译方法造成的。笔者试图从语言和文化层面采用归化和异化翻译策略来解决这些问题。接下来将介绍着这两种翻译策略并分析在湘菜英译过程中如何运用它们来提高翻译质量。(夏瑛 2016, 259+273)<br /> <br /> ===3. Translation Strategies of Domestication and Foreignization ===<br /> <br /> ====3.1 Definitions of Domestication and Foreignization====<br /> Domestication and foreignization are two different translation strategies in the process of translation. These two terms were first put forward by Lawrence Venuti in his book &quot;Translator's Invisibility&quot; according to the theory of German philosopher Schleiermacher. (Wang Shaofei 2006,30)<br /> <br /> “归化”和“异化”是翻译过程中两种不同的翻译策略。这两个术语最初是由劳伦斯韦努蒂( Lawrence Venuti) 根据德国哲学家施莱尔马赫( Schleiermarcher) 的理论在他的著作《译者的隐身》中提出的。(王少飞，2006, 30)<br /> <br /> Domestication refers to a translation strategy that localizes the source language, takes the target language or target language readers as the destination and adopts the expressions that the readers are used to convey the content of the original text. It can help readers better understand the translation and enhance its readability and appreciation.（Su Songlonghua 2011） <br /> <br /> 归化指把源语本土化，以目标语或译文读者为归宿，采取目标语读者所习惯的表达方式来传达原文的内容的一种翻译策略。归化翻译要求译者向目的语的读者靠拢。归化翻译有助于读者更好地理解译文，增强译文的可读性和欣赏性。<br /> <br /> Foreignization in the process of translation considers the linguistic characteristics of foreign cultures and absorbs foreign language expressions. It requires translators to approach the author and adopt the corresponding source language expressions to convey the content of the original text, which means that we should take the source culture as the destination. The purpose of using foreignization is to consider the differences of national cultures, to preserve and reflect characteristics of foreign cultures and their language styles, to retain the exotic sentiment for the target readers.（Su Songlonghua 2011）<br /> <br /> 异化在翻译上迁就外来文化的语言特点，吸纳外语表达方式，要求译者向作者靠拢，采取相应于作者所使用的源语表达方式，来传达原文的内容，即以源语文化为归宿。使用异化策略的目的在于考虑民族文化的差异性、保存和反映异域民族特征和语言风格特色，为译文读者保留异国情调。（百度百科,宿松龙华，2011）<br /> <br /> ====3.2 Two Levels of Domestication and Foreignization====<br /> Foreignization and domestication should be investigated from the level of language form and cultural content. On the one hand, on the linguistic level adopting the translation strategy of foreignization is beneficial to enrich the expression of the target language, but only in a few cases the purpose of translation is to show the language form of the source language. Because of reader-oriented characteristics domestication can ensure that the translation is easy to understand, and it is favored by readers. Therefore, at the language level domestication is the mainstay and foreignization is the supplement.(Zhang Zhizhong 2005,46) <br /> <br /> 谈论异化和归化，应从语言形式和文化内容层面考察。（张智中，2005,46）一方面，在语言层面上，采取异化翻译策略有利于丰富目的语的表达方式，但是只有在少数情况下翻译的目的是展现源语的语言形式。而归化由于读者导向性的特点能保证译文通俗易懂，受到广大读者的青睐。故而在语言层面提倡主要采用归化策略，异化策略辅助的原则。<br /> <br /> On the other hand, on the cultural level foreignization can retain the cultural elements and connotations contained in the source language as much as possible, which helps to spread foreign cultures, and in this aspect its advantages are greater than domestication. However, it is impossible to completely adopt the foreignization, because there are too many cultural differences in cross-cultural communications, so it is necessary to use domestication to remove communication barriers.(Shen Sangshuang，Wang Shuqiong 2017, 87)<br /> <br /> 另一方面，在文化层面上，异化能尽可能保留源语中蕴藏的文化元素和内涵，有助于传播异国文化，其优势大于归化。但是，完全采用异化策略是不可能的，因为在跨文化交际中存在文化差异过大的情况，需要采用归化来扫除交流障碍。<br /> <br /> Therefore, on the cultural level the principle of foreignization as the mainstay and domestication as the supplement is adopted. In addition, using domestication on the language level can clearly express the meaning of the original text, which helps to better reflect the cultural elements expressed by the use of foreignization on the cultural level. In short, when the source language has distinctive national characteristics, the use of a combination of translation strategies of domestication and foreignization can maximize strengths,avoid weaknesses and promote cultural transmission.(Shen Sangshuang，Wang Shuqiong 2017, 87)<br /> <br /> 因此，在文化层面上采用异化为主，归化为辅的原则。此外，在语言层面上采取归化策略能清楚的表达原文意思，有助于更好地体现在文化层面采用异化策略所表达的文化元素。总之，当源语具有鲜明的民族特色时，采用归化和异化结合的翻译策略能够扬长避短，促进文化传播。(沈桑爽，王淑琼，2017，87）<br /> <br /> Theoretically speaking, foreignization and domestication are two opposite translation strategies. However, they are closely related and interact with each other in specific translation practices and applications. When domestication and foreignization are applied in the translation of Chinese dish names, the translator should deal with the relationship between the readers and the author. On the one hand, we should use habitual expressions of readers and consider their way of thinking and understanding ability to make sure they can understand the translation. On the other hand, we should pay attention to retaining the essence of Chinese traditional culture contained in Chinese dish names, so as not to blindly please readers without knowing to change. (Su Songlonghua 2011)<br /> <br /> 从理论上看异化和归化这两种翻译策略是对立的，然而在具体的翻译实践和应用中二者有紧密的联系，且相互作用。在中国菜名翻译中应用归化和异化翻译策略时，译者应处理好读者与作者之间的关系。一方面，应从读者的角度出发尽可能用其惯用的表达方式，考虑他们的思维方式和理解能力，以达到他们能明白翻译内容的目的。另一方面，应注意保留中国菜名中所蕴含的中国传统文化精髓，做到既不一味取悦读者，也不不知变通（一成不变）。( 百度百科 宿松龙华 2011)<br /> <br /> ===4. Application of Domestication and Foreignization in English Translation of Hunan Cuisine===<br /> <br /> ====4.1 Composition and Nomenclature of Hunan Cuisine====<br /> As one of the eight major cuisines in China, Hunan cuisine has the unique characteristics of color, flavor and taste of Chinese dishes, and its naming also shows different styles. Hunan cuisine can be generally divided into realistic dishes and freehand dishes. The first type of dishes directly reflects the cooking elements. The second one usually uses rhetorical skills to endow dishes with certain cultural connotations according to their own composition. If foreigners don't understand Chinese culture, from literal translation they don't know the specific methods and raw materials of this kind of dishes, and it is difficult to understand their meanings. (Chen Wei 2007，108)<br /> <br /> 湘菜作为中国八大菜系之一，具有中国菜肴独有的色香味俱全的特点，其命名亦显示不同的风格。湘菜一般可分为写实型菜肴和写意型菜肴，写实型菜肴直接体现烹饪要素。写意型佳肴则通常使用修辞手法，根据其本身的组成赋予菜肴一定的文化内涵。如果外国人不了解中国的文化，单从字面翻译他们不知道这类菜肴具体做法和原料，难以理解其具体含义。(陈蔚 2007，108)<br /> <br /> =====4.1.1 Realistic Dishes=====<br /> Realistic dishes are often named according to the combination of cooking elements. The cooking elements of Hunan cuisine mainly include raw materials(原料), seasonings(调料), knife techniques(刀法), taste(口味) and cooking methods(烹饪方法). Common main ingredients embody fish, meat and chicken; seasonings involve star anise(八角), cinnamon(桂皮), green onion(葱), ginger(姜), garlic(蒜); knife techniques are various, such as slicing(切片), shredding(切丝), cutting into wicker shapes(切柳) ; the taste is famous for its sour and spicy(酸辣), fresh and tender(鲜嫩), crisp and fragrant(酥脆) taste; the cooking methods are mainly sauted(爆), simmered(煨), stewed(炖), fried(炒), braised(烩) and steamed(蒸).(Chen Wei 2007, 108)<br /> <br /> 写实型菜一般根据其菜肴烹饪要素的组合命名，湘菜的烹饪要素主要包括原料、调料、刀法、口味和烹饪方法。常见的主料包括鱼、肉、鸡等；调料有八角、桂皮、葱、姜、蒜；种类繁多的刀法如，切片、切丝、切柳等；口味以酸辣、鲜嫩、酥脆、香熏著称；烹饪方法以爆、煨、炖、炒、烩、蒸为主。<br /> <br /> The common combination methods include following three types: cooking materials + methods + knife method, such as sauted shredded pork with green pepper(青椒炒肉丝); seasoning + raw materials, such as bullfrog with ginger sauce and pepper(姜辣牛蛙), hot and sour radish strips(酸辣萝卜条); taste + cooking method + raw materials, such as smoked fish in five flavors(五香熏鱼). (Chen Wei 2007, 108)<br /> <br /> 常见的组合方式包括以下三种：烹饪原料+方法+刀法，如青椒炒肉丝（Sauteed Shredded Pork with Green Pepper）；调料+原料，如姜辣牛蛙（Bullfrog with ginger sauce and pepper ）、酸辣萝卜条（Hot and sour radish strips）；口味+烹饪方法+原料，如五香熏鱼（Smoked fish in five flavors)。(陈蔚 2007，108)<br /> <br /> =====4.1.2 Freehand Dishes=====<br /> There are two types of freehand dishes. The first one is named according to the raw materials, colors, shapes or origin places of dishes. This type of dishes contains rich historical and cultural backgrounds and local flavors, expresses good wishes for auspiciousness and has Chinese characteristics. They are often named after allusions, legends or use metaphors, such as steamed glutinous rice ball (with meat / sugar in it)(姊妹团子), hotpot of snakeheaded fish slices as butterflies out of the soup(蝴蝶飘海). The second one refers to the names of people and place names related to dishes. They have distinctive local characteristics, such as Mao's braised pork(毛氏红烧肉), braised chestnut with green cabbage(板栗烧菜心), Changde rice noodles(常德米粉) and Lixian County stewed pork gut(澧县肠子). (Chen Wei 2007，108)<br /> <br /> 写意型菜包括两种类型。第一种根据菜肴的原料、色形或产地取名，使其不仅蕴含丰富的历史文化背景和地方风味，也表达了吉祥美好的祝愿，更具有中国特色。这些菜常以典故、传说命名或使用隐喻等修辞手法，如姊妹团子（Steamed Glutinous Rice Ball (with meat/sugar in it)）、蝴蝶飘海(Hotpot of snakeheaded fish<br /> slices as butterflies out of the soup)。第二种引用与菜肴相关的人名、地名命名，具有鲜明的地方特色，如毛氏红烧肉（Mao's braised pork）、板栗烧菜心（Braised chestnut with green cabbage）、常德米粉(Changde rice noodles)，澧县肠子(Lixian county stewed pork gut)。(陈蔚 2007，108)<br /> <br /> According to the composition and nomenclature of Hunan cuisine, as well as the high acceptability and comprehensibility of domestication and foreignization, the use of domestication-based and foreignization-assisted translation strategies of realistic Chinese dish names reproduces the original style well. Translation strategies of adopting foreignization as the main and domestication as the supplement for English translation of freehand dish names can better convey the interesting characteristics of Chinese cuisine and the broad and profound cultural heritages. In the following I will use exemplification to analyze it from different perspectives. (Jiang Jun 2017, 203)<br /> <br /> 根据湘菜构成及命名方法和归化和异化的可接受度高和可理解性强的特点，翻译写实型中国菜名时采用归化为主、异化为辅的翻译策略很好地再现原作的风格，而针对写意型菜名英译采用异化为主、归化为辅的策略能较好地传达中餐妙趣横生的特征及博大精深的文化底蕴。下面我将从不同的角度使用例证法具体分析。 (姜君 2017, 203)<br /> <br /> ====4.2 On the Language Level Domestication is the Mainstay and Domestication is the Supplement====<br /> Domestication on the language level means that the English translation of Hunan dishes should use common and appropriate expressions in English to convey the meaning of Chinese dish names on different levels of linguistics such as vocabulary, semantics, and grammar, so as to ensure the acceptability of English translation of Chinese dish names for foreigners. (Shen Sangshuang，Wang Shuqiong 2017, 88)<br /> <br /> 语言层面的归化指湘菜的英译要在词汇、语义、语法等语言学的不同层面上，使用英语中常见、贴切的表达方式传达中国菜名的含义，以确保英译菜名在外国人中的接受度。(沈桑爽，王淑琼 2017, 88)<br /> <br /> =====4.2.1 Domestication on Lexical Level=====<br /> “童子鸡”can be translated as &quot;Tender chicken&quot;(嫩滑的鸡肉), but it can't be translated as &quot;chicken without sexual life&quot;(没有性生活的鸡). According to this literal translation, “童子鸡” refers to chickens that have not mate. However, this dish originally emphasizes that the chicken is tender and tastes very good. Therefore, when translating “童子鸡”, the translation strategy of domestication is used at the lexical level. The word &quot;Tender&quot; is used to express the concept of “童子”, which means that the chicken is not mature enough. It expresses the essence of this dish vividly and avoids misunderstanding.(Lin Hong 1991, 41)<br /> <br /> “童子鸡”可译为Tender chicken(嫩滑的鸡肉)，但不能译成“chicken without sexual life”。按照这种字面翻译，“童子鸡”指的是没有交配的小鸡。然而，这道菜原本强调的是鸡肉很嫩，口感十分好。因此翻译“童子鸡”时在词汇层面使用归化策略，用tender表示“童子”这个概念，指鸡尚未发育成熟，可传神地表达这道菜的本质，避免误解。(Lin Hong 1991, 41)<br /> <br /> This method is also applicable to the English translation of “鱼香肉丝”. &quot;Shredded pork with garlic sauce or fish-flavored shredded pork in hot sauce&quot;(蒜蓉猪肉丝或鱼香肉丝) refers to shredded pork mixed with minced garlic. The &quot;fish fragrance&quot;(鱼香) of this dish doesn't refer to the fragrance of fish meat, but a complex flavor composed of various seasonings such as pickled peppers, sugar and vinegar. The above-mentioned translation not only retains the original meaning of Chinese, but also arouses foreigners' associations with the smell of fish. (Lin Hong 1991, 41)<br /> <br /> 这种方法同样适用于“鱼香肉丝”的英译。“鱼香肉丝”（Shredded pork with garlic sauce or Fish-flavored shredded pork in hot sauce）指混合着蒜末的肉丝。这道菜的“鱼香”并非指鱼肉的香味，而是一种用泡椒、糖、醋等多种调料组成的复合味道。上述译法即保留了中文的原意，又能引起外国人对鱼香味的联想。(林红 1991, 41)<br /> <br /> In addition, pinyin (拼音) can be used in English translation of dishes with Chinese characteristics which have been included in major foreign English dictionaries, such as wonton(馄饨), tofu(豆腐), jiaozi(饺子) and shaomai(烧卖). These dishes are traditional Chinese food which has been widely accepted by foreigners. Moreover, the use of pinyin can promote Chinese and Chinese cooking culture. (Shen Sangshuang, Wang Shuqiong 2017, 88)<br /> <br /> 此外，具有中国特色且被国外主要英文字典收录的，使用汉语方言拼音或音译拼写的菜名，英译时可使用拼音，如“馄饨”（Wonton）、“豆腐”（Tofu）、“饺子”（Jiaozi）、“烧卖”(Shaomai)等。这些菜肴都是已被外国人普遍接受的中国传统食品，使用拼音能推广汉语和中国饮食文化。(沈桑爽，王淑琼 2017, 88)<br /> <br /> =====4.2.2 Domestication on Semantic Level=====<br /> Domestication on semantic level is conducive to convey the meanings of dish names simply and clearly. For example, “一卵孵双凤” can be translated as &quot;two phoenix were hatched from an egg (two chickens, winter bamboo shoots and mushrooms steamed in watermelon)&quot;. From the above translation you can clearly understand the main ingredients and cooking methods of this dish, so as not to be confused by its name. (Zhang Yang 2016, 48)<br /> <br /> 语义上的归化有利于简单明了地传达菜名的含义。例如，“一卵孵双凤”可译为Two phoenix were hatched from an egg(two chickens, winter bamboo shoots and mushrooms steamed in watermelon).从上述翻译可以十分清楚地了解这道菜的主要食材和制作方法，从而不会再被菜名弄得一头雾水。 （张扬 2016，48）<br /> <br /> In another example, “金鱼戏莲” is made with squid as the main ingredient. The squid rolls resemble goldfishes, playing among the lotus clusters composed of eggs, shrimps and green beans. The name of this dish comes from it. If this dish is directly translated as &quot;goldfish plays with lotus&quot; with the use of foreignization, it is difficult for people to figure out what it means. Therefore, &quot;oil-fried squid files and steamed shrimp meat, albumen and lima bean to mean&quot;(金鱼戏莲) vividly expresses the essence of this dish, and a vivid and interesting picture can be constructed in the reader's mind through the representation of the image of &quot;floating lotus&quot;(浮莲).(Zhang Yanping, Zhang Weiping 2016, 120)<br /> <br /> 又如，“金鱼戏莲”以鱿鱼为主料制作而成，鱿鱼卷似金鱼，嬉戏于由鸡蛋、虾仁和青豆组成的群莲中，菜名由此而来。如果采用异化策略直接译为Goldfish plays with lotus,外国人很难弄明白这指的是什么。故用Oil-fried squid files and steamed shrimp meat, albumen and lima bean表示“金鱼戏莲”,既十分形象地表达了这道菜的本质，又通过“浮莲”意象的再现，能在读者脑海里构建一幅生动有趣的画面。<br /> <br /> Similar examples include &quot;stewed assorted meats/hotchpotch&quot; (全家福), &quot;hotpot of snakeheaded fish slices as butterflies out of the soup&quot; (蝴蝶飘海) and &quot;steamed whole hen with litchi, longan, jujube, lotus and medlar&quot;(五元神仙鸡). (Zhang Yanping, Zhang Weiping 2016, 120)<br /> <br /> 类似的例子还包括“全家福”（Stewed assorted meats/hotchpotch）、“五元神仙鸡”（Steamed whole hen with litchi, longan, jujube, lotus and medlar）、“蝴蝶飘海”（Hotpot of snakeheaded fish slices as butterflies out of the soup）。 (张艳萍, 张伟平 2016, 120)<br /> <br /> =====4.2.3 Domestication on Grammatical Level=====<br /> The domestication of Hunan cuisine on the grammatical level is mainly reflected in the use of prepositions and verb past participles in English translation of Chinese dish names. There are various cooking methods for Hunan cuisine, including simmer, stew, steam, fry, smoke, and the past participle is usually used in their English translations. Such as &quot;Dongting spicy salted duck&quot;(洞庭酱板鸭), &quot;Dongting barbecued mandarin fish&quot;(网油叉烧洞庭桂鱼), and &quot;fried winter bamboo shoots&quot;(油辣冬笋尖).(Shen Sangshuang, Wang Shuqiong 2017, 88)<br /> <br /> 湘菜在语法层面的归化主要体现在英译菜名时介词和动词过去分词的使用方面。湘菜多种多样的烹调方法，包括煨simmer、炖stew、蒸steam、炒fry、熏smoke，在译文中通常用过去分词。如“洞庭酱板鸭”（Dongting spicy salted duck ）、“网油叉烧洞庭桂鱼”（Dongting barbecued mandarin fish）、“油辣冬笋尖”（Fried winter bamboo shoots）。<br /> <br /> Dishes with main ingredients and supplemented by ingredients, seasonings and soups are generally translated by prepositions, such as &quot;preserved eggs with hot pepper&quot;(尖椒皮蛋),&quot;fragments of garlic bolt without using knife&quot;(手撕蒜苗), &quot;Yongzhou fried duck pieces together with its blood and balsam pear&quot; (永州血鸭) and &quot;braised pig knuckle in brown sauce&quot; (走油猪腿). (Shen Sangshuang, Wang Shuqiong 2017, 88)<br /> <br /> 而以主料为主，配料、调料、汤汁为辅的菜肴一般会使用介词翻译，如“尖椒皮蛋”（Preserved Egg with Hot Pepper）、“手撕蒜苗”（Fragments of garlic bolt without using knife）、“永州血鸭”（Yongzhou fried duck pieces together with its blood and balsam pear）、“走油猪蹄”（Braised pig knuckle in brown sauce）。 (沈桑爽，王淑琼 2017, 88)<br /> <br /> ====4.3 On the Cultural Level Foreignization is the Mainstay and Domestication is the Supplement====<br /> As we all know, the exchanges of food culture in cross-cultural communication are closely connected with daily life. Chinese dishes are both delicacies and arts. They have profound cultural heritages and aesthetic values. There are many dishes named after allusions, legends and dishes with names of people and places in Hunan cuisine. When people understand their cultural backgrounds, they can better understand the meanings of those dishes. On the cultural level the translation strategies of foreignization as the mainstay and domestication as the supplement help to inform customers of the taste, cooking methods and ingredients of the dishes to the greatest extent, and accurately convey the cultural elements of the dishes.(Zhou Yonghong 2008, 101)<br /> <br /> 众所周知，跨文化交际中饮食文化的交流与日常生活紧密相连。中国菜品既是佳肴又是艺术品，其具有深厚的文化底蕴和审美价值。湘菜中有许多以典故、传说命名的菜肴以及带人名和地名的菜肴，人们了解其文化背景后能更好地理解菜名的含义。文化层面采取异化为主，归化为辅的翻译策略有助于最大程度告知顾客菜肴的口味、烹饪法和食材，精准传递菜品的文化元素。<br /> <br /> In my opinion, the use of foreignization to translate Chinese food should first understand the characteristics of the naming of western food. According to the famous French chef Auguste Escoffier, western dishes are usually named after people, places, gods, historical events and main ingredients. Comparing the naming and composition characteristics of Hunan cuisine and western dishes, it can be seen that when translating freehand Chinese dish names, the taste, ingredients, cooking methods and necessary backgrounds of these dishes must be reflected. So understanding the characteristics of western dishes names is beneficial to the translation of Chinese freehand dish names. (Zhou Yonghong 2008, 101)<br /> <br /> 我认为，使用异化的翻译策略翻译中餐首先要了解西餐的命名的特点。法国名厨Auguste Escoffier 的认为，西餐菜肴通常用人名、地名、神灵、历史事件以及主要原料等命名。对比湘菜和西餐命名和构成特点，可知翻译写意型中餐菜名时需要体现菜名的口味、食材、烹饪方法以及必要的知识背景。由此可见，了解西餐菜名的特点有利于翻译中国写意型菜名的翻译。(周永红 2008, 101)<br /> <br /> =====4.3.1 Dishes Named after Allusions and Legends=====<br /> 以典故、传说命名的菜肴<br /> There are many dishes named after allusions and legends in Chinese and western dishes. These dishes have historical and cultural origins and are not suitable for literal translation. For example, the famous French dish Veronique（薇洛妮克）is named after the mythical goddess. The white juice symbolizes her beautiful appearance, and the white grapes next to it symbolize her tears.(operations12, 2008)<br /> <br /> 中餐和西餐中有不少以典故、传说命名的菜肴。这些菜有历史文化渊源，不适合采用直译的方法。例如，法国名菜Veronique（薇洛妮克）以神话女神命名，白汁与象征着她的美丽容貌，配在旁边的白色提子象征着她的眼泪。<br /> <br /> “姊妹团子” is a local snack in Hunan province. It is made by grinding the finest glutinous rice into a fine powder, and the inset is a meat filling made of raw materials such as fresh meat, mushrooms, monosodium glutamate and sesame oil. The shape is a long cone with a pointed top and a flat bottom. After being steamed, it looks like a small white pagoda. The origin of this dish is as follows: in the early 1920s the young and beautiful Jiang sisters set up a stall selling glutinous rice dumplings in the polder of the Fire Palace in Changsha. The dumplings they made were delicious and beautiful, and people were full of praise for it. The translation &quot;Steamed glutinous rice ball (with meat/sugar in it)&quot; points out that the main raw material of this dish is rice ball, the auxiliary materials are meat and sugar, and the cooking method is steam, which makes it clear at a glance.(operations12, 2008)<br /> <br /> “姊妹团子”是湖南省地方特色小吃。其制作时用上等糯米磨成细粉，内陷是由鲜肉、香菇、味精、芝麻油等原料构成的肉馅。外形是尖顶平底长型锥体，蒸熟后像一座白色的小宝塔。这道菜肴的由来如下：本世纪20年代初在长沙火宫殿的圩场上年轻漂亮的姜氏姐妹摆了一个卖团子的摊子，她们制作的团子既好吃又好看，人们对此赞不绝口。译文“Steamed glutinous rice ball (with meat/sugar in it)”指出此菜主要原料是rice ball、辅料为meat和sugar,烹饪方法为steam,让人一目了然。(百度百科operations12, 2008)<br /> <br /> “湘西土匪鸭”is a dish named after an allusion. It's said that a woman surnamed Zhang(张氏) opened a restaurant in Xiangxi (湘西，the west of Hunan province), but her business was not very good due to the large area and sparse population. To make matters worse, her ducks raised in the house are fierce and domineering, ruining the crops every day, not laying eggs properly and causing Zhang to hold the bamboo poles, rush and scold them every day: &quot;You damn ducks, you are like bandits!&quot; She was so angry with these ducks to kill all of them. Because these wild ducks are delicious and Zhang's cooking skills are good, the ducks she burns are soft and tender, and they are delicious, attracting people to smell the fragrance and attracting a large number of guests. Someone asked what this dish was called. Because of the ducks Zhang was extremely angry at that time, and she casually replied: &quot;What kind of dish? Wild ducks!&quot; Since then this dish has become famous. If we use the translation strategy of domestication to translate this dish as &quot;Brigand in Xiangxi ducks&quot;, it is incredible. Translating “湘西土匪鸭” into &quot;Xiangxi wild ducks&quot; not only allows guests to understand the special ingredients of this dish, but it embodies the legendary story of Xiangxi. (Zhang Yanping, Zhang Weiping 2016, 121-122)<br /> <br /> “湘西土匪鸭”是以典故命名的菜肴。传说湘西以前一个姓张的妇人开了一家餐馆，由于地广人稀，生意不太好。更糟糕的是，家中饲养的鸭子凶悍霸道，天天糟蹋庄稼，不好好下蛋，害得张氏天天拿着竹竿又赶又骂:“你们这些该死的鸭子，简直像土匪!。她一气之下把这些鸭子全杀了。由于这些爱撒野的鸭子肉质鲜美，且张氏厨艺很好，她烧的鸭子酥软嫩滑，鲜香绝伦，引得食客闻香而至,吸引大量的客人。有人问这叫什么菜，张氏气极，随口答：“什么菜/土匪鸭!”从此这道菜名声大震。(百度百科)若使用归化的翻译策略将这道菜译为“Brigand in Xiangxi ducks”让人匪夷所思。把“湘西土匪鸭”译成“Xiangxi wild duck”不仅能让客人了解菜的特殊食材，而且体现了湘西这个传奇的故事。 (张艳萍, 张伟平 2016, 121-122)<br /> <br /> =====4.3.2 Dish Names with Place Names and People's Names=====<br /> There are usually two translation methods for the dish names with a person's name and a place name in western dishes: dish name + place + style; place /person’s name + dish name. For example, Macedonia de fruta(马其顿水果) uses the second translation method, indicating the origin and ingredients of the dish name. This is a classic dessert in Spanish restaurants. All kinds of fruits are cut into small pieces and then mixed with sugar water or juice. The name of this dish is related to the Great Alexander of the Macedonian Empire in the fourth century BC. At the age of 30 Alexander established the largest empire in the history of the time and promoted the integration of races, cultures and languages throughout the empire. In the 18th century the French called things that combined various elements &quot;Macedonia&quot;. Therefore, this candied fruit chowder is named &quot;Fruit Macedonia&quot;.(zzpingic1130, 2010)<br /> <br /> 西式菜名中带人名和地名的菜名通常有两种翻译方法：菜名+地名+style ; 地名/人名+菜名。例如，Macedonia de fruta(马其顿水果)的译文使用了第二种翻译方法，指明菜名的产地和原料. 这是西班牙餐馆中一道经典的饭后甜点。各种水果切成小丁后，伴上糖水或果汁。这道菜名和公元前四世纪的马其顿帝国的亚历山大大帝有关。亚历山大大帝在30岁时就建立了当时史上最大的帝国，并促进帝国内各地的种族、文化、语言等的大融合。到了18世纪，法国人就把融合了各种各样元素的事物称之为“马其顿”。因此，这道糖渍水果大杂烩就取名为“水果马其顿”了。<br /> <br /> “攸县香干”is a famous characteristic traditional soy product in Hunan Province, which originated in Youxian county, Hunan province(湖南省攸县). This dish tastes smooth and tender. Tofu is easy to taste and has an aftertaste after eating. It is a home-cooked dish which is suitable for all ages. The translation &quot;dried tofu, Youxian style&quot; uses the foreignization to point out from the cultural level that the raw material of this dish is dried tofu, and it reflects the local characteristics of Youxian county. (zzpingic1130, 2010)<br /> <br /> “攸县香干”是湖南省著名的特色传统豆制品，起源于湖南省攸县境内。这道菜口感滑嫩、韧性足、口味纯、细而不腻，有点劲道。豆腐很容易入味，吃完后有回味，是一道老少适宜的家常菜。译文“Dried tofu ，Youxian style”采用异化的翻译策略从文化层面指出了菜的原料是烘干的豆腐，而且体现攸县的地方特色。 (百度百科 zzpingic1130, 2010)<br /> <br /> “玉麟香腰”was created by the chef of Peng Yulin(彭玉麟), a famous official in Hengyang(衡阳,a city of Hunan province) in the Qing Dynasty, and the name of the dish came from this. The main ingredient is pork loin. The dishes are divided into seven layers, stacked one after another and shaped like a pagoda(宝塔). It's also known as &quot;pagoda fragrant waist&quot;(宝塔香腰). If this dish is translated as &quot;sweet pig kidney&quot;, it is difficult to explain its cultural heritage, and it doesn't show the beauty of this dish visually &quot;step by step&quot;(步步高升) like a pagoda. “玉麟香腰”can be translated into English as &quot;Yulin's best homely dish&quot;. According to the legend, when Peng Yulin returned home to banquet his fellow villagers, he used “玉麟香腰” as the first dish. &quot;Peng Yulin's best family banquet dish&quot;(彭玉麟最好的家宴菜) can ingeniously explain the origin of this dish and undoubtedly explain why this dish is also called &quot;touwan&quot;(头碗,the first dish). The English translation of this dish implies &quot;top&quot;(顶级，最好). It seems to mean &quot;to reach the highest level&quot;(登塔至级). Translation of &quot;Yulin's best homely dish&quot; not only conforms to the psychological world of diners, but also fully considers the audience’s cognitive needs and aesthetic expectations. （Zhang Yanping，Zhang Weiping，2016,121-122）<br /> <br /> “玉麟香腰”是清代衡阳名官彭玉麟家厨创作而成，菜名由此而来。其主要食材是猪腰，菜分七层，层层堆砌，形状象宝塔，又名“宝塔香腰”。若将此菜译为“Sweet pig kidney”则很难解释它的文化底蕴，亦没有呈现这道菜视觉上“步步高升”如宝塔的美感。，“玉麟香腰”可以英译成 Yulin’s Best Homely Dish，因相传彭玉麟回乡宴请父老乡亲时，为表示丰盛，第一道菜就用的是“玉麟香腰”。“彭玉麟最好的家宴菜”能巧妙地解释了此菜的起源，无疑说明了此菜又称为“头碗”的缘由，且菜名英译中“最好”有蕴含“顶级”，似“登塔至级”之意：菜英译名 Yulin’s Best Homely Dish 不仅顺应了食客的心理世界，也充分考虑到受众的认知需要与审美期待。（张艳萍，张伟平，2016,121-122）<br /> <br /> ====4.4 Limitations of Domestication and Foreignization in English Translation of Hunan Cuisine====<br /> Translation strategies that adopt the combination of domestication and foreignization can ensure the clarity of English translation of Hunan cuisine and retain their cultural connotations, but there are still shortcomings, which are mainly reflected in the following three aspects.(Fan Jiwen 2016, 13-14)<br /> <br /> 采用归化和异化结合的翻译策略能最大限度地保证湘菜译文清晰明了，保留其蕴含的文化内涵，但仍有不足，主要体现在以下三个方面。<br /> <br /> Firstly, foreignization requires translators to move closer to readers and try their best to use their familiar and accustomed expressions, but sometimes it is difficult to find corresponding words in the target language, especially when we translate the culturally loaded words. For example, the dishes which represent happiness and lucky in Chinese include “四喜丸子”, “百鸟朝凤” and “全家福”. When we translate these dishes from Chinese into English, we don't know which words should be used to convey auspicious and beautiful meanings on the basis of accurately expressing the meanings of them.(Fan Jiwen 2016, 13-14)<br /> <br /> 第一，异化要求译者向读者靠拢，尽可能用他们熟悉和习惯的表达方式，但有时候很难在目的语中找到对应的词语，尤其是文化负载词的翻译。比如汉语中表示吉祥的菜包括“四喜丸子”、“百鸟朝凤”、“全家福”，翻译时在准确表达菜名含义的基础上不知道该用什么词来传达吉祥美好的意思。<br /> <br /> Secondly, due to the limitation of menu capacity, the meaning of Chinese dishes named after allusions, legends, and myths can’t be fully expressed. If it is literally translated or transliterated, the guests may be very confused. The choice of transliteration and annotation is too much content, which violates the principle of concise menus. For example, if we translate“佛跳墙” into &quot;Fotiaoqiang&quot; or &quot;Buddha jumping the wall&quot;, it doesn't reflect the essence of this dish. &quot;Fotiaoqiang-steamed abalone with shark's fin and fish maw in broth&quot; is more appropriate, but not concise enough.(Fan Jiwen 2016, 13-14)<br /> <br /> 第二，由于菜单容量的限制，以典故、传说、神话等命名的中国菜肴的含义不能完全表达。如果直译或者音译，客人可能会十分困惑。选择音译加注解的方式则内容太多，违背菜单简洁的原则。例如，“佛跳墙”如果译成“Fotiaoqiang”or “Buddha jumping the wall”未体现这道菜的本质。“Fotiaoqiang-steamed abalone with shark’s fin and fish maw in broth”比较贴切，但不够精简。<br /> <br /> Thirdly, due to the variety of cooking methods and seasonings in China, when translating Hunan cuisine into English the use of domestication is beneficial to people who understand Chinese food culture, but for most foreigners who do not know or are not familiar with these cooking methods and seasonings this type of translation will increase the difficulty of understanding. For example,“干锅烧明虾” and “红烧肉” both have the word &quot;burn&quot;(烧), but the translations are completely different. They should be translated as follows: &quot;fried prawns with pepper sauce&quot; and &quot;braised pork with brown sauce&quot;. The cooking method of the first dish is &quot;fried&quot;(煎), and the second dish - &quot;stewed&quot;（炖）.（Zhang Yang 2016,48）<br /> <br /> 第三，由于中国的烹饪方法和调料多种多样，英译时使用归化的翻译策略对于了解中国饮食文化的人来说是有利的，但是对于大部分不知道或者不熟悉这些烹饪方法和调料的外国人来说，这类的译文会增加他们的理解难度。(范继文 2016, 13-14) 比如， “干锅烧明虾”与“红烧肉”都有“烧”字，但是译法却是完全相同的，应该分别翻译如下：“Fried Prawns with Pepper Sauce”与“Braised Pork with Brown Sauce”。第一道菜的烹饪方法是“煎”，第二道菜则是“炖”。（张扬，2016,48）<br /> <br /> ===5. Conclusion===<br /> Although foreignization and domestication are opposite in theory, they are complementary and indispensable in the process of English translation of Chinese dish names. Taking translation strategies of domestication and foreignization from the linguistic and cultural levels can not only be faithful to the original, but also embody the rich cultural connotations and Chinese elements contained in the dish names. Therefore, the English translation of Chinese dish names is an indispensable part of cross-cultural communication and an important link in spreading Chinese traditional culture. I hope this chapter can provide some valuable references for future researches on the English translation of Chinese dish names. (Wang Yingying, Zhang Yu 2009, 58)<br /> <br /> 尽管异化与归化在理论上是对立的，但在中国菜名英译过程中二者的作用是相辅相成，缺一不可的。针对写实型和写意型的菜肴从语言和文化层面采取异化和归化的翻译策略不仅能够尽可能地忠于原文，还可以体现菜名中蕴含的丰富文化内涵和中国元素。由此可见，中国菜名的英译是跨文化交际中不可或缺的一部分，是传播中国传统文化的重要环节。希望本文能为未来中国菜名英译研究提供一些有价值的参考。 (王瑛瑛， 张瑜 2009, 58)<br /> <br /> ===References===<br /> *Chen Wei. 陈蔚. 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(2008). “接受美学视阈下的湘菜翻译探讨” [A Study on the Translation of Hunan Cuisine from the Perspective of Reception Aesthetics]. “贵州工业大学学报” [Journal of Guizhou University of Technology] (1):101-102+105.<br /> *Zhang Yanping, Zhang Weiping. 张艳萍，张伟平. (2016). “基于语料库的湘菜菜名英译研究” [A Corpus-based Study on the English Translation of Hunan Dishes]. “南华大学学报” [Journal of Nanhua University] (1):119-122.<br /> *Zzpingic1130 (2010.8.7). 攸县香干. [Dried Tofu, Youxian Style]. “Baidu Encyclopedia”. https://baike.baidu.com/item/攸县香干.<br /> *Zhang Zhizhong. 张志中. (2005). “兼容并蓄 双层操作——异化归化之我见” [Inclusive and Double Operation -- My View on Foreignization and Domestication]. “语言与翻译” [Language and translation] (2):44-48.<br /> --[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:09, 21 December 2020 (UTC)</div>

Qu Miao https://bou.de/u/index.php?title=History_of_Translation_Studies_14&diff=118845 2020-12-21T15:25:37Z

<p>Qu Miao: /* 3.2 The Application of domestication Translation in Idiom Translation */</p> <hr /> <div>='''Translation of Cultural Words'''=<br /> <br /> <br /> ==Translation of Culture-Loaded Words in Li Qingzhao's Ci-Poetry Based on Scopos Theory 周思庆 Zhou Siqing 英美文学==<br /> &lt;center&gt;周思庆 Zhou Siqing, 202020080673 &lt;/center&gt;<br /> ===Abstract===<br /> This paper attempts to illustrate the influence of Skopos theory on translation strategies and the influence of translation strategies on translation effect by analyzing the different translations of culture-loaded words in Li Qingzhao’s Ci-Poetry based on Scopos Theory according to Nida’s classification of culture-loaded words. This research is of great significance to refresh blood into the study of Li Qingzhao’s Ci Poems and promote excellent Chinese traditional culture to go abroad.<br /> <br /> ===Key word===<br /> culture-loaded word, Li Qingzhao, Scopos Theory<br /> <br /> ===题目===<br /> 从目的论看李清照词中的文化负载词英译<br /> <br /> ===摘要===<br /> 本文主要以目的论为指导，以奈达对文化负载词的分类为依据，从对不同英译版本的李清照词中文化负载词的翻译进行分析，说明目的论对翻译策略的影响以及翻译策略对译文效果的影响，旨在为李清照词的英译研究注入新鲜血液，推动中国优秀传统文化走向世界。<br /> <br /> ===关键词===<br /> 文化负载词， 李清照， 目的论<br /> <br /> ===Introduction===<br /> Li Qingzhao, is the representative of the graceful and restrained school well-known for her elegant, fresh and refined language as well as rich and vivid images. Her poetry is an unparalleled cultural treasure in the history of Chinese literature. Culture-loaded words are those words rich in cultural connotations.(Fu Guiying, 2013：3) Nida divided culture-loaded words into five categories, namely ecological, material, social, religious and linguistic culture-loaded words.(Nida, Eugene A, 1993:25) As the representative of the “German school”, Hans J. Vermeer proposed the Scopos Theory and continued the functionalist tradition. Analyzing the culture-loaded words in different translations of Li Qingzhao's Ci Poems according to Scopos theory is conducive for the readers to grasp the elegant style of Li Qingzhao, to figure out the proper translation strategies, and to encourage more creation of excellent translation works.(Reiss and Vermeer, 1984:196)<br /> <br /> ===Chapter 1 Introduction of Li Qingzhao and her Ci-Poetry===<br /> ====1.1 Brief introduction of Li Qingzhao====<br /> Li Qingzhao, a well-known poetess in Song Dynasty, is the only woman who is generally compared with the most outstanding poets. As a female writer, she suffered a lot in that unstable age full of oppression and discrimination, but still kept a resolute and resistant attitude toward life no matter how much turns and twists in the process of struggle. Li Qingzhao was born in a rich and cultured family in 1083. Thanks to her father Li Gefei, the Minister of Rites, and her well-educated mother, she had a peaceful and favorable childhood and received a good education, which paved the way for her literary career. Unlike most ignorant women in that age, she had great talents in many aspects, such as painting and music, especially writing. She was a versatile writer whose Ci Poems and prose are both excellent. Her contribution in literature earned great fame for her.(Fu Guiying, 2013：3)<br /> <br /> She married to Zhao Mingcheng, the son of a vice-president of the Board of Rides when she was eighteen years old. The marriage life was happy and idyllic in the early years. They collected and appreciated rare books, paintings and antiques together. However, their peaceful and harmonious life was ruined by the invasion of the Jurchens in 1127. They were forced to fled to the southern areas and separated with each other. The bulk of precious collections, including the ancient paintings, vessels, and books, lost during the fugitive way. Her husband was dispatched to a new official post in Zhe Jiang province and died on the way. Since then, Li Qingzhao lived lonely and homelessly with endless sorrow. The miserable and painful life experiences didn't destroy her poetry proposition but deepened the theme of her literary works. The concern for the fate of the masses and country showed her great integrity and patriotic passion.(Fu Guiying, 2013：3)<br /> <br /> ====1.2 Development and characteristics of Li Qingzhao's Ci-Poetry====<br /> As a literary form, Song Ci, also called Ci Poems or long-short lines, emerged in Tang Dynasty and popularized in Song Dynasty. Ci Poems revolved from a kind of folk music used for expressing emotions through its original melody. Li Qingzhao is regarded as the representative of the graceful and restrained party. (Fu Guiying, 2013：4)<br /> <br /> Generally, Li Qingzhao's Ci Poems can be divided into two periods according to the critical historical events in Song Dynasty and her personal life experience. The former period works mostly depicted her delightful life as a young girl. The theme includes the praise of nature and beauty, her pure love to her husband, and the memories of the innocent childhood, such as Rumengling( 如 梦 令 ), Dian Jiangchun( 点 绛 唇 ), Jianzimulanhua( 减 字 木 兰 花 ) ， Cai Sangzi( 采 桑 子 ), Zuihuayin(醉花阴), Yijianmei(一剪梅). As for the latter period, her works changed dramatically because of the downfall of the Northern Song Dynasty as well as the death of her husband. The theme of her poems turned to homesickness, the grief for the instability of the nation and the melancholy meditation of the miserable life. She transmitted her feelings in the images implicitly rather than cry out her sorrow directly. The poems written in this period include Spring in Wulin(武陵春), Shengshengman(声声慢), Yongyule(永遇乐) and so on.(Fu Guiying, 2013：4)<br /> <br /> To conclude, her elegant and pure language and sensitive emotion were demonstrated in both of her literary period. Her Ci Poems are full of accurate and vivid images, leaving readers a wide imagery space. No other poetess in Song Dynasty can replace her position in the Chinese history of literature.(Fu Guiying, 2013：4)<br /> <br /> ===Chapter 2 Introduction of Scopos theory===<br /> ====2.1 Historical development of Scopos theory====<br /> <br /> Functional approaches emerged in 1970s and developed through three stages: (1)Katharina Reiss introduced the functional category of translation criticism; (2) Hans J. Vermeer proposed Scopos theory; (3) Justa Holz-Manttari put forward the theory of translation action.(Zhang Chenxiang, 2007:32)<br /> <br /> In the first stage, Katharina Reiss proposed the text function and translation strategy, which paves the way for the Scopos theory. The theory foundation of Reiss’s theory is the functional equivalence theory, which aims to establish a model of translation criticicm based on the functional relationship between source text and target text (Zhang Chenxiang, 2007:32). Katharina Reiss divided text into three categories: expressive text, informative text and vocative text. The proposal of functional translation theory signifies that translation study gradually gets rid of static linguistic typologies.(Zhang Chenxiang, 2007:32)<br /> <br /> In the second stage, Hans J. Vermeer established the initial theory of functional group, Scopos theory, further developing the functional translation theory. He pointed out that translation is a human activity and a kind of transformation. Every human activity has its purpose and will create certain consequence, a new situation or event or a new thing.(Zhang Chenxiang, 2007:34) This is the origin of Scopos theory. Reiss mentioned, “the source text can be assigned to a text type and a genre, and in making this assignment, the transoator can decide on the hierarchy of postulates which has to be observed during target-text production”. Vermeer thinks that translators needn’t be restrained to certain translation method, instead, the translators should consider the purpose of translation and the psychology of the target audience and use the translation strategies flexibly. In the process of translation, the translator can adapt literal translation or free translation according to the situation to make sure the expected effect can be realized. (Reiss and Vermeer, 1984:196)<br /> <br /> In the third stage, Justa Holz-Manttari developed Vermeer’s theory and proposed the theory of translation action 1n 1984. She avoided using the term“translation” and focused on the process of translation which concludes traditional translation and other text building activity. In Holz-Manttari’s model, translation was defined in a broader sense as “a complex action designed to achieve a particular purpose”, or an intercultural communication whose product is the target text which achieves appropriate function in a particular cultural context. According to the functional approach, all participants have certain functions or roles in the interaction. The TT addressees are crucial in specification of the purposes of translation(Nord, 2001:20).<br /> <br /> ====2.2 Basic rules of Scopos theory====<br /> In the Scopos theory, there are three basic rules, namely skopos rule, coherence rule and fidelity rule. Among the three rules, scopos rule is the most significant one. “Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precissely in the way they want it to function.” This rule can help solve the contradiction between literal translation and free translation. It means that the choosing of translation strategies depends on translation purpose. When the scopos focuses on the original language, as long as the features of the original culture is well expressed, literal translation or even word for word translation can be adopted.(Reiss and Vermeer, 1984: 98)<br /> <br /> The coherence rule is also named intra-textual coherence by functionalists. It requires that the translated text should make sense on the communicative situation in which it is received. It specifies that a translation should be acceptable in a sense that it is coherent with the receivers’ situation (Reiss and Vermeer, 1984: 100) Being coherent means being “part of the receiver’s situation”, so the cultural aspects should be taken into consideration. Besides, the target readers’ culture-specific world-knowledge, expectations and communicative needs are also important factors which may affect the way of handing a text, translators ought to analyze these factors carefully. (Li Zhao, 2011:24)<br /> <br /> Since the source text is the offer of information , it should also be taken into account. Fidelity rule is also named “intertextual coherence”. This coherence balances the source text and the target text and the form and degree of such intertextual coherence are determined by the translator’s interpretation of the source text and the translation skopos. However, intertextual coherence is subordinate to intra-textual, and both of the two are subordinate to the skopos rule.(Li Zhao, 2011:28)<br /> <br /> ===Chapter 3 Introduction of culture-loaded words===<br /> ====3.1 Definition of culture-loaded words==== <br /> Since Bassnett and Lefervere put forward the concept of “cultural turn” in 1990, the interaction between translation and culture has been drawn more attention. During the five thousand years’ civilization, China has accumulated its unique culture due to the unique geographical locations, living environments, historical background, etc. Many scholars have made different definitions to cultural loaded words. J. F Aixel gave these words another name “cultural-specific items” and defined them as: “some items appearing in the source text do not have equivalent items in the target reader’s cultural systems” (J. F Aixel, 1996:58). <br /> <br /> Later, Mona Baker defined culture-loaded words as: “The source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as ‘cultural-specific’.” This paper studies the translation of culture-loaded words according to Nida’s classification of cultural elements. Nida divided culture into five categories: ecological culture, material culture, social culture, religious culture and linguistic culture. This paper will analyze the culture-loaded words according to the five categories. (Baker, 2004:21)<br /> <br /> ====3.2 Classification of culture-loaded words====<br /> =====3.2.1 Ecological culture-loaded words=====<br /> Culture develops in certain ecological environment, so different region has different culture. Ecological culture-loaded words refer to those words that reflect the distinctive geographical conditions, the natural surroundings, feature of the climate, plants and animals, etc. in a language. Even the connotations of the same thing in western and eastern culture are different or even opposite. (Liao Huihua, 2010:9)<br /> <br /> For example, the “west wind” in China is totally different from that in western countries. Because China lies in the Eastern Hemisphere, with mountains to the west and oceans to the east. This location makes it dry and cold in autumn and winter when the west wind blows. Therefore, the west wind in Chinese culture often refers to the cold wind in autumn an winter, which is often used to describe the desolate, cold, and sometimes also compared to the decadent force of the fall of the sun with a derogatory meaning. (Liao Huihua, 2010:9)<br /> <br /> Such as “古道西风瘦马” in Ma Zhiyyuan’s 《天净沙·秋思》. On the contrary, Britain is located in the western hemisphere, the west Atlantic island, and the east is the continent of Europe. When the west wind blows from the Atlantic Ocean, Britain is in the season of revival. Therefore, in English culture, the west wind is the symbol of hope and strength. For example, Ode to the West Wind, a famous British poem, reflects this meaning. Obviously, through the above analysis, we know that “西风” and the west wind have the same conceptual meaning but have very different associative meaning due to different ecological environment. (Liao Huihua, 2010:9)<br /> <br /> =====3.2.2 Material culture-loaded words=====<br /> <br /> Material culture-loaded words include the words related to the economic life, daily supplies, commodities, food, transportation, etc. Different nations have different living habits, so the material products are quite different. For example: “旗袍”(qi pao), “麻将”(ma jiang),”馄饨”(Wonton), etc. (Liao Huihua, 2010:10)<br /> <br /> =====3.2.3 Social culture-loaded words=====<br /> <br /> The tradition, custom, living habit, social activity, etc. All belong to the category of social culture. Due to different historical background, political feature, tradition and custom, the social culture-loaded words formed and developed. For instance, “重阳节”(chong yang jie) is a traditional Chinese festival to give the blessings to the old people, which is familiar to Chinese but unfamiliar to foreigners.(Han Zhouwen, 2014:18)<br /> <br /> =====3.2.4 Religious culture-loaded words=====<br /> Religious culture is composed by the religious faith and and ideology under the different nation’s cultural background, which demonstrates the difference in psychology and language behavior. Chinese people advocate Confucianism, Buddhism and Taoism whereas western people mainly believe in God. Therefore, the cross-cultural communication barriers and language translation barriers emerged. Religious culture-loaded words reflect the characteristics of religious beliefs, so it is quite difficult for the foreigners to understand the Chinese religious culture-loaded words. For example, western people believe in God while Chinese people believe in “天”(tian), “菩萨”(pu sa), “佛”(fo). (Han Zhouwen, 2014:23)<br /> <br /> =====3.2.5 Linguistic culture-loaded words=====<br /> Language as one part of culture also produces translation problems. Since the two languages belong to two different language systems, their different language features will be involved in translation. These particularities may be reflected in phonetics, morphemes, vocabulary and syntax. For example, reduplicative words and four-character words and expressions are frequently seen in Chinese but are rarely seen in English.(Han Zhouwen, 2014:24)<br /> <br /> ===Chapter 4 The application of Scopos theory in the translation of culture-loaded words===<br /> <br /> Chinese culture and western culture are so different due to different geographical location and historical background. And these differences also reflect in the two language systems, which is also known as cultural gap. In the process of translating Li Qingzhao’s Ci-Poetry, the translator may face all kinds of problems due to the cultural gap. In this chapter, the focus is on analyzing the suitable translation strategies from the perspective of Scopos theory.(Fu Guiying, 2013:56)<br /> <br /> ====4.1 Translation of ecological culture-loaded words====<br /> <br /> (1)梨花欲谢恐难禁。(《浣溪沙》）<br /> <br /> I am afraid pear blossoms cannot bear at all<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:25)<br /> <br /> O bright pods/ Of the pepper plant, you do not/ Need to bow and beg pardon./ I know you cannot hold back/ The passing day.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:66)<br /> <br /> Some plants and flowers have certain connotation in Chinese, which leaves the gap of further imagination. Snow is often compared to pear-blossom, which is a common metaphor in Chinese poetry, for example: “忽如一夜春风来，千树万树梨花开” is used to describe the beautiful snow-covered landscape. Here, Xu Yuanchong translated “梨花”into “pear blossoms”directly is to reproduce this often-used metaphor. Both the basic meaning and the cultural content have been well transmitted. Xu Yuanchong adopted literal translation to realize foreignization. In contrast, Kenneth Rexroth adopted demestication and free translation and translate “梨花” as “the pepper plant” to achieve the skopos of translation. Here, “the pepper plant” is used to serve as a substitution because it is a New Year decoration which shows the passion of spring. This passionate image can contrast the depressed mood of Li Qingzhao for the fleeting time.(Liao Huihua, 2010:40)<br /> <br /> (2)试问卷帘人，却道海棠依旧？（《如梦令》）<br /> <br /> I ask the maid rolling up the screen./ “The same crab-apple tree,”she says, “is seen”<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:34)<br /> <br /> I asked my maid as she rolled up the curtains,/ “Are the begonias still the same?”<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:44)<br /> <br /> In Chinese culture, “海棠” usually symbolizes bitter love. When people encounter twists and turns in love, they often use it to express the sad feeling of parting. Xu Yuanchong adopted literal translation and translated “海棠” into “crab-apple tree”, which maintains the traditional Chinese culture by employing foreignization. However, Kenneth Rexroth translated it into”begonias” by demestication, which makes this image more familiar to the target readers. The aim of Xu Yuanchong is to introduce Chinese culture to foreigners whereas the purpose of Kenneth Rexroth is to make the text be accepted by the taget readers, therefore, the former uses foreignization while the latter uses demestication.(Liao Huihua, 2010:41)<br /> <br /> ====4.2 Translation of material culture-loaded words====<br /> <br /> (3)常记溪亭日暮 (《如梦令》)<br /> <br /> I oft remember what a happy day/ We passed in creekside arbour when it glooming.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:38)<br /> <br /> I remember in Hsi T’ing/ All the many times/ We got lost in the sunset.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:21)<br /> <br /> The meaning of “溪亭” can be interpreted as the name of a place in Ji’nan, Shandong Province or a pavilion by the river side. Therefore, different versions of this word appears according to the different understanding of this word. Xu Yuanchong translated it as “creekside arbour” by employing literal translation whereas Kenneth Rexroth translated it into “Hsi T’ing” according to its sound by using transliteration. The version “creekside arbour” is more acceptable by Chinese readers because it shows the basic meaning of this word. But the version “Hsi T’ing” is more understandable for foreigners because it’s just a name of a place.(Liao Huihua, 2010:48)<br /> <br /> (4)轻解罗裳，独上兰舟。(《一剪梅》)<br /> <br /> My silk robe doffed, I float/ Alone in orchid boat<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:49)<br /> <br /> I open/ My silk dress and float alone/ On the orchid boat.<br /> <br /> —translated by Kenneth Rexroth &amp; Chung Ling (Kenneth Rexroth,&amp; Chung Ling,1979:56)<br /> <br /> Generally speaking, “兰舟” refers to a small boat which is made of the trunk of a magnolia tree. <br /> However, both Xu Yuanchong and Kenneth Rexroth translated “兰舟” into “orchid boat” in order to reproduce the poetic language of the original text. If they translate it according to the literal meaning, the beautiful poetic language cannot be reproduced in the target language. So, they associated the boat with orchid, a kind of beautiful flower to achieve “literariness”, making poetry as poetic as possible.(Zheng Yanhong. 2001:129)<br /> <br /> ====4.3 Translation of social culture-loaded words====<br /> <br /> (5)海燕未来人斗草。(《浣溪沙》)<br /> <br /> The swallows not yet come, a game of grass we play.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:55)<br /> <br /> People are gathering wild flowers and herbs in the meadow.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:93)<br /> <br /> Viewed literally, “斗草” is mostly interpreted as “to fight with grass”. But actually, it refers to a particular custom on the Dragon Boat Festival according to the notes in various anthologies of Li Qingzhao. On the Dragon Boat Festival (the fifth day of May), people usually participate a kind of game in which every one needs to gather flowers and plants to be the winner. Xu Yuanchong knows that “斗草” is a traditional game, so he adopted literal translation as “a game of grass we play”, which is direct and correct. While Kenneth Rexroth adopted amplification and translated it as”gathering wild flowers and herbs in the meadow” in order to create concrete scene for the target reader. Generally speaking, both the two versions realized the skopos of translating the cultural connotation of “斗草” by adopting different translation strategies.(Liao Huihua, 2010:49)<br /> <br /> (6)佳节又重阳(《醉花阴》)<br /> <br /> The Double Ninth comes now again.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:54)<br /> <br /> Again it is the Ninth of the Ninth Month.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:47)<br /> <br /> “重阳” is a traditional Chinese festival on the ninth day of the ninth lunar month. People would always miss their families and relatives on this day every year. Here, when this festival was coming around, the poetess felt sad and lonely because of the separation from her husband, Zhao Mingcheng. In Xu Yuanchong’s version, he translated it literally as The Double Ninth and made a annotation to explain the cultural meaning of this festival to make target readers know the background information about this term. The unique feature of the ST is fully conveyed in the TT through foreignization. The skopos of Xu Yuanchong is to maintain the original feature of Chinese culture as much as possible, so he adopted foreignization to achieve this goal. In contrast, Kenneth Rexroth translated it into “the Ninth of the Ninth Month”. Although the time of the event was translated, but the connotation of this festival was lost. Sometimes literal translation for words with rich connotation can cause cultural loss. Here, Rexroth omitted the cultural meaning because he thought it was not necessary to add the burden of understanding the text. In this way, the target reader can easily understand the TT within their own knowledge.(Liao Huihua, 2010:49)<br /> <br /> ====4.4 Translation of religious culture-loaded words====<br /> <br /> (7)仿佛梦魂归帝所 (《渔家傲》)<br /> <br /> In leaf-like boat my soul to God’s abode would fly.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:62)<br /> <br /> I am rapt away to the place of the Supreme/ And hear the words of Heaven.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:33)<br /> <br /> As we all known, Chinese culture is much influenced by Taoism whereas western culture is much affected by Christianity. Here, “帝所” refers to the place of the Jade Emperor. Because western people are not familiar with the myths of Taoist culture, here “God” is the substitution of “帝” in Xu Yuanchong’s version by literal translation. In contrast, Kenneth Rexroth translated it as “the place of the Supreme”, which means the Sovereign. We can see the religious devotion of the ST is neglected. To conclude, Xu Yuanchong’s version is more faithful to the original text because he aims to introduce Chinese culture to foreigners. Kenneth Rexroth translated it without Taoist culture because he aims to remove cultural barriers and make target readers easier to understand the meaning of the text.(Li Qing, 2005:148)<br /> <br /> (8)造化可能偏有意，故叫明月玲珑地。(《渔家傲》)<br /> <br /> You find a special favor in Creator’s eye,<br /> <br /> The moon caresses you with pure beams from on high.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:76)<br /> <br /> Making the bright moon shine splendid on your curving flesh.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:45)<br /> <br /> In Xu Yuanchong’s version, “造化” was translated directly into “Creator” but in Kenneth Rexroth’s version, this image was deleted. In China, “上天”（heaven）is the governor of the universe under the influence of Taoism and Buddhism. “造化” is a unique concept in Taoist culture. Xu Yuanchong aimed to maintain the Taoist culture and introduce it to foreigners. However, in western countries, Christianity is the mainstream of religious belief. Therefore, Kenneth Rexroth neglected this image to make the TT more acceptable to western people who believes in Christianity. In summary, Xu Yuanchong focused more on the culture of the ST whereas Kenneth Rexroth payed more attention on the acceptability of the target readers.(Liao Huihua, 2010:45)<br /> <br /> ====4.5 Translation of linguistic culture-loaded words====<br /> <br /> (9) 寻寻觅觅，冷冷清清， 凄凄惨惨戚戚。(《声声慢》)<br /> <br /> I look for what I miss;<br /> <br /> I know not what it is.<br /> <br /> I feel so sad, so drear,<br /> <br /> So lonely, without cheer.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:81)<br /> <br /> Search. Search. Seek. Seek.<br /> <br /> Cold. Cold. Clear. Clear.<br /> <br /> Sorrow. Sorrow. Pain. Pain.<br /> <br /> —translated by Kenneth Rexroth &amp; Chung Ling (Kenneth Rexroth,1979:78)<br /> <br /> Tune: Slow, Slow, Song is recognized as the representative of reduplication. The use of seven sequential reduplicative words add the powerfulness of the miserable tone. We can find some similarities between these reduplicative words such as “清清”, “凄凄” and “戚戚”. They sound quite similar or even the same, which really strengthen the melodious effect of the language. Xu Yuanchong adopted free translation in order to reproduce the beautiful artistic conception in the ST. The form of reduplication is neglected but the sad atmosphere that the reduplicarive words create is reproduced. Rexroth used literal translation to imitate the original reduplicative words. The repetition of the same word reproduces the sound of reduplication in ST, and words with one syllable are also very similar to Chinese character. But the sense is not well conveyed. The target readers fail to experience the painful atmosphere and the great sadness of the poetess in the TT.(Li Qing, 2005:149) <br /> <br /> <br /> (10) 小风疏雨萧萧地 (《孤雁儿》)<br /> <br /> A grizzling wind and drizzling rain<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:90)<br /> <br /> Small wind, fine rain, hsiao, Hsiao<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:56)<br /> <br /> In the ST, “萧萧” is a reduplicative word in order to foil the depressed and sad atmosphere. It is difficult to reproduce this unique structure in the TT. We can see in Xu Yuanchong’s version, he omitted the original form and tried to reproduce the beautiful sound and sense. The rhymes of “grizzling” and “drizzling” are the same. This internal rhyme can make compensation for the loss of reduplication. And the strong sad mood is fully conveyed. Here, foreignization is employed. Kenneth Rexroth focused on the reproduction of the form, so he adopted transliteration to maintain the form of reduplicative word. Although the sound and form are beautiful, in this way, the sad cultural conception may lose at the same time.(Li Qing, 2005:75)<br /> <br /> ===Conclusion===<br /> In this paper, the present author studies the translation of cultural-loaded words in Li Qingzhao’s Ci-Poetry from the perspective of Scopos theory. By contrast analysis, we can find that Xu Yuanchong and Kenneth Rexroth adopted different translation strategies: the former adopted foreignization whereas the latter adopted domestication because of their different translation skopos. Xu Yuanchong devoted himself to introduce excellent Chinese culture to foreigners and Kenneth Rexroth aimed to make target reader better understand the TT. This study still has some shortcomings. ((Liao Huihua, 2010:64)<br /> <br /> Although this paper can shed some light on the study of culture-loaded word, it still has some limitations. If more samples of culture-loaded words are taken for the analysis, the study could be more comprehensive and systematic. Thus, the English translation of the culture-loaded words of her Ci poetry based on Skopos theory deserves further study. The author believes that wider cases will be involved in this study.((Liao Huihua, 2010:64)<br /> <br /> ===References===<br /> *Nida, Eugene A. (1993). ''Language, Culture and Translating''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nord, Christiane. (2001). ''Translating as a Purposeful Activity: Functionalist Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Reiss, Katharina. (1971). ''Translation Criticism: The Potentials and Limitations: Categories and Criteria for Translation Quality Assessment''[M]. 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(2007). 功能目的理论与应用翻译研究[Scopos Theory and Applied Translation Studies]. [M].长沙:湖南师范大学出版社.<br /> <br /> *Zheng Yanhong 郑燕虹. (2001). 风筝之线——评王公红、钟玲翻译的李清照诗词[The String of the Kite -Comments on Kenneth Rexroth and Chung Ling's Translation of Li Qingzhao's Ci-Poetry]. [J].外语学刊,160(3):125-129.<br /> <br /> --[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 07:19, 21 December 2020 (UTC)<br /> <br /> ==A Study on Culture-loaded Words in ''Six Chapters of a Floating Life'' Translated by Lin Yutang from the Perspective of Domestication and Foreignization 蒋淇玮 Jiang Qiwei 202070080592 MTI 英语笔译==<br /> &lt;center&gt;蒋淇玮, 202070080592.&lt;/center&gt;<br /> <br /> ===Abstract===<br /> <br /> ''Six Chapters of a Floating Life'' is an autobiographical prose written by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines.<br /> <br /> Among the current English versions of this book, Lin Yutang's ''Six Chapters of a Floating Life'' is written first and the closest with the original version in style, which enables lots of foreign readers to catch a glimpse of the life of an obscure Chinese scholar.<br /> <br /> Six Chapters of a Floating Life is written in classical Chinese and has a long history, which both make the translation more difficult, especially the translation of its culture-loaded words.<br /> <br /> Culture-loaded words refer to words, phrases and idioms that demonstrate specific things in a culture. As we all know, China has a centuries-old history and rich civilization, possessing plenty of unique cultural phenomena, not to mention numerous culture-loaded words. In Six Chapters of a Floating Life, there are many culture-loaded words that are worthy of study.<br /> <br /> By consulting relevant materials, I find that there are only a few works analyzing cultural-loaded words in Six Chapters of a Floating Life from the perspective of domestication and foreignization.<br /> <br /> This pair of translation terms was put forward by Lawrence Venuti, a famous American translation theorist, in The Translator's Invisibility in 1995. As a matter of fact, domestication and foreignization are a unity of opposites and complement each other. Neither absolute domestication nor foreignization exists. There are different degrees of domestication and foreignization in all translation activities and works. Therefore, it is reasonable, scientific and feasible to analyze Mr. Lin’s translation from this perspective, which can fill certain research vacancy and benefit future studies in this field.<br /> <br /> Thus, in this thesis, the author will subdivide domestication and foreignization into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words.<br /> <br /> ===Key Words===<br /> <br /> domestication; foreignization; ''Six Chapters of a Floating Life''; Lin Yutang; culture-loaded words<br /> <br /> ===摘要===<br /> <br /> 《浮生六记》是清代文人沈复于1808年所著的自传体散文，以真言诉真情，为历代读者所推崇。目前流传较广的《浮生六记》英译本中，林语堂先生的Six Chapters of a Floating Life成文最早且与沈复原文风格最为接近，让不少外国读者得以一窥中国一无名文人的若梦浮生。<br /> <br /> 沈复此书以文言文著就，加上距今年代较为久远，译者的翻译之路可谓困难重重，这其中文化负载词的处理更是值得反复推敲。文化负载词是标志某种文化中特有事物的词、词组和习语。众所周知，中华民族的历史文明源远流长，独有的文化现象数不胜数，应运而生的文化负载词自然不在少数。《浮生六记》一书中就有相当数目的文化负载词具有研究价值。<br /> <br /> 通过查阅相关资料，本人发现从归化和异化角度来解读林译中文化负载词的研究还少之又少。归化和异化这对翻译术语是由美国著名翻译理论学家劳伦斯·韦努蒂（Lawrence Venuti）于1995年在《译者的隐身》中提出的。作为两种翻译策略，归化和异化是对立统一、相辅相成的，绝对的归化和绝对的异化都是不存在的。所有的翻译活动及作品都存在不同程度的归化和异化现象，故而，从这一角度来分析林译具有合理性、科学性和可行性，且能填补一定的研究空缺，为之后的相关研究提供可参考的思路与借鉴。<br /> <br /> 因此，本文作者将聚焦这一文学经典，将归化与异化这两种翻译策略细分为不同的翻译方法，对林译中有代表性的文化负载词进行分析解读，以小见大，从词见章，进而证明归化与异化的翻译策略的指导性，找出林译在国内外成功的原因，指出其在中国文化“走出去”中所起的积极作用，并为文化负载词的翻译难题提供解题思路及开口，引起大众对于文化翻译的重视与思考。<br /> <br /> ===关键词===<br /> <br /> 归化，异化，《浮生六记》，林语堂，文化负载词<br /> <br /> ===Chapter One Introduction===<br /> <br /> With globalization surging ahead, cultural communication and exchange have become rising tides that no one can fight against. Chinese and English, as the language with the largest number of users and the language most widely used around the globe, are both crucial languages, which work as vital bridges in cultural world. (Shen Fu 2019)<br /> <br /> However, as is known to all, China is a nation of age-old history and rich civilization. On her vast earth, there grows plenty of unique cultural phenomena. As a result, quite a number of culture-loaded words have been emerging. For culture-loaded words have their specific cultural connotations, it is hard to render them so that foreign readers could understand, which is a real and tough task for translators. (Shen Fu 2019)<br /> <br /> ''Six Chapters of a Floating Life'' is an autobiographical prose written in classical Chinese by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines. In this book, there are many culture-loaded words, which are worth studying. (Shen Fu 2019)<br /> <br /> Among the current English versions of it, Lin Yutang's ''Six Chapters of a Floating Life'' is written first and the closest to the original version in style, which enables lots of foreign readers to take a look at the life of an obscure Chinese scholar. (Shen Fu 2019)<br /> <br /> Thus, in this thesis, under the guidance of translation strategies, domestication and foreignization, the author will subdivide them into several detailed translation methods so as to analyze representative culture-loaded words in ''Six Chapters of a Floating Life''. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words. (Shen Fu 2019)<br /> <br /> ===Chapter Two Literature Review===<br /> <br /> ====2.1 A Study on ''Six Chapters of a Floating Life''====<br /> For the sake of carrying on this study, we must have a basic understanding of both our original and translated text sources: ''Six Chapters of a Floating Life''. Hence we will have a brief review of its original version and English version translated by Mr. Lin in the following paragraphs. (Shen Fu 2019)<br /> <br /> =====2.1.1 A Brief Review of Its Original Version=====<br /> ''Six Chapters of a Floating Life'' is an autobiographical prose written by Shen Fu, who was an unknown scholar in Qing dynasty, in the 13th year during the Jiaqing period (AD 1808). It includes six chapters, of which only four remain, recording Shen Fu’s wedded bliss, pleasures of life, ups and downs, travel experiences, experiences in Formosa and the way of life. The phrase in this book’s title &quot;floating life&quot; derives from a passage in Li Po's poem, “ Our floating life is like a dream; how often can one enjoy oneself ?” (Shen Fu 2019)<br /> <br /> Shen Fu, whose courtesy name is Sanbai, and alternative name Meiyi, was born in Suzhou, Jiangsu province in China in the 28th year during the Jiaqing period (AD 1763). He was a man of letters, who was once an assistant to ranking officials and a merchant. (Shen Fu 2019)<br /> <br /> The remaining four chapters of ''Six Chapters of a Floating Life'' was accidentally found on a stall in Suzhou by a man called Yang Yinchuan. Yang passed it on to Wang Tao, his brother-in-law, who then published it with a movable type in 1877. Subsequently, this book gradually established itself on the literary field. (Shen Fu 2019)<br /> <br /> This book is a pure and fair record of Shen Fu's ordinary but difficult life, which is still full of unforgettable and beautiful moments. It is incredibly touching, for Mr. Shen wrote down his real experiences and sincere feelings in plain words naturally, without traces of sham. (Shen Fu 2019)<br /> <br /> Nowadays, Six Chapters of a Floating Life has become a classic and owned a mass of readers. Many people even called it “little A Dream in Red Mansions” for its description of the conflicts in the feudal family and society, which highly affirms its literary value and achievements. (Shen Fu 2019)<br /> <br /> =====2.1.2 A Brief Review of Its English Version Translated by Lin Yutang=====<br /> In the spring and summer time of 1935, Lin Yutang successively translated ''Six Chapters of a Floating Life'' into English and serialized them in the English magazines T'ien Hsia Monthly and Hsi Feng published in Shanghai. For the sake of better work, Mr. Lin has modified his translation no less than ten times. Now, his translation version has been acknowledged as the most popular one for it is the closest to the original text in terms of writing style. (Shen Fu 2019)<br /> <br /> Lin Yutang once highly praised Shen Fu’s wife Yün, “Yün, I think, is one of the loveliest women in Chinese literature.” Mr. Lin said he translated the work for two reasons, one is to let the world know Yün by her name, and the other is that he has found lots of things in the simple life of this couple, the pursuit of beauty, the experience of ups and downs, and the unswerving love for carefreeness. (Shen Fu 2019)<br /> <br /> In February of 1999, Foreign Language Teaching and Research Press reprinted ''Six Chapters of a Floating Life'' with Mr. Lin’s translation in the form of picture book. Its introductory notes claim that the reprinting is first due to Mr. Lin’s translation work, which has contributed a lot in the promotion of Chinese culture, secondly Mr. Lin’s superb artistic attainments and extraordinary cultural accomplishments, and lastly his beautiful and skilled use of English language. It demonstrates that Mr. Lin's translation has a far-reaching influence. (Shen Fu 2019)<br /> <br /> ====2.2 An Introduction of Culture-loaded Words====<br /> Here we will focus on another important item in this study: culture-loaded words. This introduction covers three aspects, including definition, categorization and previous studies on them in ''Six Chapters of a Floating Life'', which enable us to distinguish, select and analyse culture-loaded words in future steps. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.1 Definition of Culture-loaded Words=====<br /> There are many definitions for culture-loaded words, and I have presented three different versions below. First, Mona Baker claims that &quot;the source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as `culture-specific' &quot;. (Mona Baker 2000,21)<br /> <br /> This definition mentions three fields, namely religion, custom and food, which are now recognized to be among the main sources of culture-loaded words. Second, it means that the cultural information words carrying in the source language finds no equivalent in the target language. (Bao Huinan 2001,10)<br /> <br /> In this version, the focus is “no equivalent”, which reveals why it is significant to study the translation of culture-loaded words. For in numerous cases, there is no equivalent in the target language. Third, J.F. Aixelá, a Spanish translator and translation theorist, defines them as &quot;culture-specific items&quot; and states in his book Culture-specific Item in Translation that &quot;Some items appeared in the source text do not have equivalent items in the target readers' cultural system or these items have different textual status with those in the target readers' cultural system, thus leading to translation difficulty while transferring the function and meaning of the source text to the target text&quot;. (Zhang Nanfeng 2004,19)<br /> <br /> From this definition, we are able to get a new perspective. Besides “no equivalent”, it makes a point that culture-loaded words can exist in the target cultural system but with different function and meaning.<br /> <br /> To sum up, as barriers to translation, culture-loaded words have no equivalent in other cultural systems and are marks and mirrors of a nation’s distinct environment, which are often seen in fields like religion, custom, food etc. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.2 Categorization of Culture-loaded Words===== <br /> Eugene Nida considers that &quot;if translators want to do a good job in cross-cultural translation, there are five types of cultural factors: 1) ecological culture; 2) material culture; 3) social culture; 4) religious culture; and 5) linguistic culture&quot;. (Hu Zhuanglin, Jiang Wangqi，2002)<br /> <br /> In line with Nida's categorization of cultural factors, culture-loaded words can also be classified into five types accordingly, namely ecological culture-loaded words, religious culture-loaded words, material culture-loaded words, social culture-loaded words and linguistic culture-loaded words. This thesis will analyze Lin Yutang’s translation of culture-loaded words in Six Chapters of a Floating Life on the basis of Nida's categorization. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.3 Previous Studies on Translation of Culture-loaded Words in Six Chapters of a Floating Life=====<br /> Among those studies of the English versions of Shen Fu’s ''Six Chapters of a Floating Life'', the studies of Mr. Lin’s account for a large proportion of it. In Quan Shulian’s article “Translator’s Cultural Orientation: Comparative Study of Translation of Culture-loaded Words in Six Chapters of a Floating Life”, she compares the translation of culture-loaded words done by Mr. Lin and Shirley Black and then claims that Shirley Black tends to use domestication while Mr. Lin applies foreignization more frequently. With a different focus, Li Yi, who has studied the culture-loaded words in ''Six Chapters of a Floating Life'' translated by Lin Yutang, analyzes the translation of culture-loaded words in three aspects: wording, Chinese idioms and the looks of women, and concludes that it is the purpose of translation determines which translation strategies to use and domestication and foreignization are a unity of opposites which should not be discussed apart. (Li Yi 2013,43-44)<br /> <br /> ===Chapter Three An Analysis of Translation Strategies Based on ''Six Chapters of a Floating Life''===<br /> <br /> ====3.1 Translation Strategy of Domestication====<br /> Domestication, as opposed to foreignization, refers to a translation strategy, which aims to translate the source text into target language in a transparent, fluent and natural style so as to minimize the strangeness for target readers. (Xiong Bing 2014,82-88)<br /> <br /> As free translation is the most widely used translation method pertaining to domestication, we will discuss it and its two branches paraphrase and idiomatic translation. (Xiong Bing 2014,82-88)<br /> <br /> =====3.1.1 Free Translation===== <br /> Free translation refers to a translation method that reproduces the transferred meaning of the source text, which can be further divided into paraphrase and idiomatic translation. (Xiong Bing 2014,82-88)<br /> <br /> =====3.1.1.1 Paraphrase===== <br /> When applying paraphrase, the translator translates the source text explanatorily, without application of collocations and idioms in the target language as replacement of those parts in the source text. (Xiong Bing 2014,82-88)<br /> <br /> 1a. 合卺后，并肩夜膳，……（沈复，2018：7）<br /> <br /> 1b. After the drinking of the customary twin cups between bride and groom, we sat down together at dinner… (Lin Yutang, 2019: 35)<br /> <br /> The Chinese phrase “合卺” refers to a characteristic part of ancient Chinese wedding ceremonies that the newlyweds drink cross-cupped wine in their wedding room. Foreign readers would have difficulty comprehending this phrase as there is no such a rite in their countries. Thus, Lin Yutang applies the translation method of paraphrase, explaining exactly what the custom is, which enables foreign readers to understand this special activity.<br /> <br /> ====3.1.1.2 Idiomatic Translation====<br /> Idiomatic translation is an explanatory method of translation as well, with application of collocations and idioms in the target language as replacement of the parts in the source text. (Xiong Bing 2014,82-88)<br /> <br /> 2a. 井井然未尝稍失。（沈复，2018：9）<br /> <br /> 2b. Whatever she did was done well, and it was difficult to find fault with her. (Lin Yutang, 2019: 40-41)<br /> <br /> “未尝稍失”means that someone handles things incredibly well, without anything wrong. And we can translate this Chinese phrase just in such an explanatory way, for it is clear and correct in meaning. But it is comparatively lengthy. That’s why here Mr. Lin adopts the English phrase “find fault with”, which is quite familiar to English users. For it conveys the meaning of the source text precisely and concisely, and improves the smoothness of foreign readers’ reading activity.<br /> <br /> ====3.2 Translation Strategy of Foreignization====<br /> Compared to domestication, foreignization refers to a translation strategy that retains the original expressions and differences between source and target languages to a larger extent. This translation strategy can offer foreign readers more exotic information if they are willing to explore, but the reading process is less natural and efficient. (Xiong Bing 2014,82-88)<br /> <br /> And foreignization consists of three translation methods, namely transliteration, word-for-word translation and literal translation, which will be presented below. (Xiong Bing 2014,82-88)<br /> <br /> =====3.2.1 Transliteration===== <br /> Transliteration refers to the rendering of alphabets, words or phrases in one language with symbols of similar or even the same pronunciations in another language. (Xiong Bing 2014,82-88)<br /> <br /> 3a. 服余衣，长一寸又半；于腰间折而缝之，外加马褂。（沈复，2018：31）<br /> <br /> 3b. As my gown was found to be an inch and a half too long, she tucked it round the waist and put on a makua on top. (Lin Yutang, 2019: 108)<br /> <br /> The Chinese phrase “马褂” refers to the mandarin jacket worn over a gown, which is a kind of special costume of Chinese characteristics. It is popular in Qing dynasty and the Republic of China. Originally, it’s worn by the Chinese Manchu people on horseback. “马” means “horse” in English. “褂” means a short gown. And that is the reason why this costume is called “马褂”in Chinese. Though foreign readers barely know this kind of clothes and its origin, Mr. Lin translates it as “makua” tersely according to its Chinese pronunciation, which offers foreign readers an opportunity to get a clue of the new item “makua” and shows his confidence of Chinese history and culture.<br /> <br /> =====3.2.2 Word-for-word Translation=====<br /> Word-for-word translation is the rendering of text in which a word is used to replace another in the source text without considering the differences between the two languages in morphology, syntax and semantics, so as to translate a word in accordance with the paraphrasing method. (Xiong Bing 2014,82-88)<br /> <br /> 4a. 一场，主考得香钱百文。（沈复，2018：57）<br /> <br /> 4b. The official examiner would get one hundred cash “incense money”. (Lin Yutang, 2019: 253)<br /> <br /> “Incense” translated into Chinese is “香”, while the English equivalent of “钱” is “money”. From this we can find that “incense money” is a word-for-word correspondence with “香钱”. There are much fewer people in English-speaking countries who are Buddhists, compared with China. So the concept of “incense money” may be strange to them. Here, Mr. Lin translates this phrase literally without transforming or considering morphological differences in two languages, which shows a brand-new concept to plentiful foreign readers. And it might arouse their interest to figure out what this phrase implies and what’s the culture connotation behind it.<br /> <br /> =====3.2.3 Literal Translation=====<br /> Literal translation, or directed translation, is the rendering of text in which a word is used to replace another word in the original text correspondingly, with consideration of the differences between the two languages in morphology, syntax and semantics, so as to enable the translation to conform to the lexical and syntactic norms of the target language. (Xiong Bing 2014,82-88)<br /> <br /> 5a. 急人之难，成人之事，嫁人之女，抚人之儿，指不胜屈，挥金如土，多为他人。（沈复，2018：63）<br /> <br /> 5b. He used to help people in trouble, bring up other people's sons and marry off other people's daughters in innumerable instances, spending money like dirt, all for the sake of other people. (Lin Yutang, 2019: 299)<br /> <br /> “挥金如土” in Chinese means to throw one’s money about. There is a set expression in English both in meaning and construction, which is “spending money like water”. But instead of the image “water”, which is more common and well-accepted among English people, Mr. Lin keeps the original image “dirt” in his translation. That’s because the image “dirt” is more acknowledged by Chinese people, who have been rooted in agriculture civilization and dealt with dirt all the time. Hence, the literal translation of “dirt” into English is able to let readers of different culture background grasp more of the source text and aware of the culture differences.<br /> <br /> ====3.3 A Brief Conclusion on the Translation Strategies==== <br /> In this Chapter, we have mainly discussed five translation methods based on ''Six Chapters of a Floating Life''. Among them, two belong to the translation strategy of domestication while three the translation strategy of foreignization. (Xiong Bing 2014,82-88)<br /> <br /> The former instances from the book have proved that the application of the translation methods under domestication enables foreign readers to comprehend and accept literary works in a closer and more natural way, while the translation methods under foreignization provides them with a choice to feel the cultural differences and find out more valuable information. There is no absolute domestication or foreignization and no perfect choice of translation strategies. It is the purposes of translation that determine which translation strategy or methods to use. As to Mr. Lin, he has combined the usage of both the two superior strategies and their translation methods in his translation of ''Six Chapters of a Floating Life''. (Xiong Bing 2014,82-88)<br /> <br /> ===Chapter Four An Analysis of the Translation of Culture-loaded Words in ''Six Chapters of a Floating Life''===<br /> <br /> ====4.1 Domestication Applied in Culture-loaded Words====<br /> In this part, we will center upon some culture-loaded words in ''Six Chapters of a Floating Life'' that are translated by Mr. Lin with the adoption of domestication. (Xiong Bing 2014,82-88)<br /> <br /> =====4.1.1 Free Translation of Culture-loaded Words=====<br /> As we have mentioned before, free translation is the most commonly used translation method pertaining to domestication and it includes paraphrase and idiomatic translation. Therefore, we will discuss them with examples of culture-loaded words in the book. (Xiong Bing 2014,82-88)<br /> <br /> ======4.1.1.1 Paraphrase of Culture-loaded Words======<br /> The following two examples are able to demonstrate the brilliant use of paraphrase by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 6a. 自此耳鬓相磨，亲同形影。（沈复，2018：9）<br /> <br /> 6b. And so every day we rubbed shoulders together and clung to each other like an object and its shadow… (Lin Yutang, 2019: 42)<br /> <br /> The Chinese phrase “耳鬓相磨” is culture-loaded, which just derives from this book of Shen Fu. It literally means the rubbing of people’s ears and sideburns, whose extended meaning refers to the close relationship among people. Here Mr. Lin applies the new image of shoulders instead of the original images of ears and sideburns, for it would be hard for foreign audience to grasp the connection between ears and sideburns and the intimacy within them. Meanwhile, rubbing shoulders can accurately express the meaning of closeness in English. So he uses the phrase “rubbed shoulders” to convey the original meaning in an explanatory way.<br /> <br /> 7a. 粉颈 （沈复，2018：8）<br /> <br /> 7b. Beautiful white neck (Lin Yutang, 2019: 38)<br /> <br /> In China, scholars conventionally adopt the word “粉”, which is “pink” in English, to modify one’s face, neck, etc. to show that one’s skin is white touched with red. However, if translating the Chinese term “粉颈” literally, we will get the phrase “pink neck”. There is no doubt that it will be odd for foreign audience. Therefore, Mr. Lin uses “beautiful white” rather than “pink” to modify “neck”, which expresses the meaning of “粉” briefly and precisely without causing troubles to readers and makes their reading activities more natural and pleasant.<br /> <br /> ======4.1.1.2 Idiomatic Translation of Culture-loaded Words======<br /> The following example is able to demonstrate the fine use of idiomatic translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 8a. 大醉而卧（沈复，2018：7）<br /> <br /> 8b. I fell asleep drunk like a fish. (Lin Yutang, 2019: 37)<br /> <br /> This four-character Chinese phrase means one is lying in a state of terrible drunkenness. In the processing of this phrase, Mr. Lin uses a set English phrase “drunk like a fish”, which describes that one is terribly drunk. The adoption of this ready-made phrase in translation does convey the meaning of the source text correctly and vividly, which makes it easy for foreign readers to catch on and picture the scene. From this we can see that wise use of idiomatic translation may yield twice the result with half the effort.<br /> <br /> ====4.2 Foreignization Applied in Culture-loaded Words====<br /> In this part, we will center on some culture-loaded words in ''Six Chapters of a Floating Life'' that are translated by Mr. Lin with the adoption of foreignization. (Xiong Bing 2014,82-88)<br /> <br /> =====4.2.1 Transliteration of Culture-loaded Words=====<br /> The following two examples are able to show the use of transliteration by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 9a. 故上下呼芸为“三娘”。后忽呼为“三太太”……（沈复，2018：63）<br /> <br /> 9b. hence they used to call Yün “san niang” at home, but this was later suddenly changed into “san t'ai t'ai”. (Lin Yutang, 2019: 301)<br /> <br /> “San” refers to “number three” in Chinese. “Niang” generally means a young married woman in a big household, while “t’ai t’ai” suggests the mistress of an independent home. “Niang” and “t’ai t’ai” are two of those unique terms of addressing people in ancient Chinese society, so there are no equivalents in English. That’s why Mr. Lin chooses to introduce their Chinese sounds to foreign audience, which leaves them a hint to learn two interesting addresses with era characteristics and know the distinct Chinese system of addressing.<br /> <br /> 10a. 余则从之学画，写草篆，镌图章…… （沈复，2018：56）<br /> <br /> 10b. They would then either write “grass-script”, or “chüan-script” or carve seals… (Lin Yutang, 2019: 247)<br /> <br /> “篆书” refers to a style in Chinese calligraphy, often used on seals. If we translate the Chinese character “篆” literally into English it would be “seal”. However, Mr. Lin abandons the easy translation of “seal- script” and renders this calligraphy style as “chüan-script” according to its Chinese pronunciation, which exhibits an individual kind of Chinese writing style to foreign readers. There will be problems that most people who know little about China will feel difficult to understand this ancient “script”. And if they desire to figure it out, they need to do extra work beyond reading this book. Nevertheless, in this way, they have chances to know much more about China, which is an efficient way of spreading Chinese culture and driving cross-cultural communication.<br /> <br /> =====4.2.2 Word-for-word Translation of Culture-loaded Words=====<br /> The following example is able to show the masterly use of word-for-word translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 11a. 芸笑曰：“白字有缘，将来恐白字连篇耳。”（沈复，2018：13）<br /> <br /> 11b. “It is all right,” Yün smiled and replied. “to have one's life bound up with the Po's, only I am afraid I shall be writing Po characters all my life.” (Lin Yutang, 2019: 54-55)<br /> <br /> The so-called Po characters are words written wrong. This kind of words indeed exists in Chinese writing system, but they are used in a wrong way by people for they are of similar pronunciations and forms while in different meanings. In translation of this sentence, Mr. Lin renders “白字”, which means misspelt words, as “Po characters” word for word. “Po” is close to the pronunciation of Chinese character “白”, while “character” literally means “字” in Chinese. Mr. Lin translates the culture-loaded phrase like this to demonstrate a new term to foreign readers, instead of “misspelt word” which is easy to grasp but lack of Chinese charm. In this way, foreign readers can be more conscious of the original cultural genes lie behind those English words.<br /> <br /> =====4.2.3 Literal Translation of Culture-loaded Words=====<br /> The last two examples will show the tactful use of literal translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 12a. 但李诗宛如姑射仙子，有一种落花流水之趣，令人可爱。（沈复，2018：12）<br /> <br /> 12b. but Li Po’s poems have the wayward charm of nymph. His lines come naturally like dropping petals and flowing waters, and are so much lovelier for their spontaneity. (Lin Yutang, 2019: 53)<br /> <br /> In Chinese, “落花流水” is an idiom, which usually refers to the beauty of the scenes is waning in the late spring or one is defeated utterly. But this phrase is used here to compliment Li Po’s poems’ fluency and naturalness. Even though this expression is full of Chinese features, it is not too hard for foreign readers to get its implication from the images of “dropping petals” and “flowing waters”. For we have a common sense about these two natural scenery that they are both in the state of harmony and fluency. So Mr. Lin’s adoption of the method of literal translation is quite appropriate here and leaves some space for readers to imagine and taste by themselves.<br /> <br /> 13a. 芸曰：“世传月下老人专司人间婚姻事……” （沈复，2018：27）<br /> <br /> 13b. “It is said that the Old Man under the Moon is in charge of matrimony,” said Yün. (Lin Yutang, 2019: 92)<br /> <br /> “月下老人” is the god of marriage who is in charge of human love relationships in Chinese mythology. This image is peculiar to China, so it stands to reason that there is no equivalent expression in other countries. When rendering this culture-loaded phrase, Mr. Lin chooses the method of literal translation with words of capitalized initial letters, which enables readers to feel that it is obviously a new culture symbol for them and the Old Man may be a Chinese god. Then it is up to the readers themselves if they want to search for some more information about this “Old Man under the Moon” or not. In this way, the translation becomes briefer and it rests with the readers concerning how much information they will get beyond the lines.<br /> <br /> ===Chapter Five Conclusion===<br /> <br /> Concerning the current fact that different cultural systems around the world are becoming increasingly connected, translation activities have been literally taking place at every moment. However, the cultural differences in different counties have made it an arduous task. In view of the tremendous differences between China and English-speaking countries, the translation works are no easy tasks as well. As symbols which carry lots of cultural information, culture-loaded words are obstacles in translation, for they have no equivalents in other languages. So when translating these words, translators need to be alert and adopt the most proper translation strategies and methods so as to achieve the translation purposes to the deepest extent. (Eugene, A. Nida. 2001)<br /> <br /> In this thesis, guided by domestication and foreignization, the author has discussed several culture-loaded words in Six Chapters of a Floating Life, which translated by Lin Yutang. Different from other theses focusing on this issue, the author probes it in five detailed translation methods under the two translation strategies we have mentioned before.Through the analysis of former examples, we can come to the point that domestication and foreignization are the unity of opposites. There is no standard answer that which translation strategy should be used in which circumstances. It is the purposes of translation that determine our choice. In the translation of Six Chapters of a Floating Life, Lin Yutang has proved this to us by using different translation methods in accordance with his purposes, which contributes to his translation success both at home and abroad and the cultural exchanges between China and other countries. (Xiong Bing 2014,82-88)<br /> <br /> In total, this thesis has basically fulfilled its tasks to prove the instructiveness of the translation strategies of domestication and foreignization, and find out the reasons why Lin Yutang’s translation version turns out to be a huge success and receives warm responses. At the same time, it points out that this translation has played an active role when Chinese culture steps out to the global stage, and provides reference for the translation of culture-loaded words. (Li Yi 2013, 43-44)<br /> <br /> ===Bibliography===<br /> <br /> Lawrence, Venuti. (2004). The Translator’s Invisibility [M]. 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(2004). 艾克拉西的文化专有项翻译策略评介[J] [Review on the Translation Strategies of Cultural Items by Akerasie]. ''中国翻译'' Chinese Translation.<br /> <br /> Zhu Yitian 朱怡天. (2013). 《浮生六记》林语堂英译本中文化负载词的翻译[MA] [Translation of Culture-loaded Words in ''Six Chapters of a Floating Life'' by Lin Yutang]. ''上海外国语大学硕士学位论文'' Master's Thesis of Shanghai International Studies University.<br /> <br /> ==How to Keep &quot;Chineseness&quot; in Idiom Translation from Chinese to English 瞿淼 202070080604 Qu Miao MTI英语笔译==<br /> <br /> ===How to Keep &quot;Chineseness&quot; in Idiom Translation from Chinese to English===<br /> <br /> ===Abstract===<br /> <br /> Idiom is a form of expression naturally to a language, person, or group of people. With rich cultural information, Chinese idioms carry the characteristics of Chinese language and culture. In the process od translating idoms from Chinese to English, &quot;Chineseness&quot; in idioms is often lost, since Chinese and English belong to different language systems,there exist great cultural differences between them. (Wang Tao, 2018, 32) <br /> <br /> This article, from the perspective of domestication and foreignization, compares the different effects of the text translated repectively by domestication and foreignization method and discusses the way to keep &quot;Chineseness&quot; in idiom translation form Chinese to English. And the article ends with the conclusion that in idiom translation from Chinese to English,translators should, according to the needs of a specific context, find a balance between foreignization and domestication, so that &quot;Chineseness&quot; in the original text can be kept in translated text as much as possible.<br /> <br /> ===Key Words===<br /> <br /> idiom translation; cultural deficiency; cultural differences; foreignization; domestication<br /> <br /> ===汉语习语英译如何保持&quot;中国性&quot;===<br /> <br /> ===摘要===<br /> 俗语是流传在人民群众口头上的，结构相对稳定的通俗语句，一般包括谚语、歇后语、惯用语和俗成语。汉语俗语承载着中国语言文化特色，蕴含着丰富的文化信息。在汉英俗语翻译中，因为汉语和英语属于不同的语言系统，并且文化差异较大，所以常常出现译文丢失了中国特色的情况。（王涛，2018，32）<br /> <br /> 本文从归化和异化的角度，对比了分别使用归化和异化翻译方法的译文的效果，讨论汉英俗语翻译保持中国特色的方法，得出结论，在中文习语的翻译过程中，译者应该根据特定语境的需要，在异化和归化之间找到一个平衡点，以此来最大限度地保持俗语的中国特色。<br /> <br /> ===关键词===<br /> 习语翻译；文化缺失；文化差异；异化；归化<br /> <br /> === Introduction===<br /> <br /> An idiom is a set phrase of two or more words that means something different from the literal meaning of the individual words．Generally speaking, idioms include colloquialisms, allegorical sayings, proverbs, slang, jargons and so on. The composition and semantics of idioms are very conventional, which is inseparable from the social and cultural background of idioms. Language is the carrier of culture, and idioms are an essential part of language. Idioms are deeply rooted in the social and cultural background where they were produced, and fully reflect the geographical environment, customs, religious beliefs and social, political, economic, and cultural systems in this background. Therefore, idioms are national and cultural. (Wang Tao, 2018, 32)<br /> <br /> As an effective means to promote cross-cultural communication, translation is a bridge connecting different languages and thus enhance the communication between different cultures. As the essence of national culture, the translation of idioms plays an increasingly important role in promoting cultural exchanges, and the biggest difficulty in translation is how to deal with the cultural conventions of source idioms. For translators, idiom translation must not only be fluent and express meaning precisly, but also realize the transfer of cultural connotations implied in idioms. (Jiang Lei, 2003, 54)<br /> <br /> Idioms in Chinese are the carriers that convey the rich connotations of the Chinese language. They have some characteristics such as, concise language, brilliant meaning, typical connotation, and wide range of uses. Since idioms are the most quintessential and typical part of Chinese culture and the shining pearl in Chinese culture, idiom translation is of great significance for the communication between the China and the West. Due to the differences between Chinese and Western cultures, there exist cultural deficiencies in the translation of Chinese idioms, which makes it difficult for people in different cultural backgrounds to establish coherent and unobstructed semantics when communicating. (Liu Ning, 2016, 81)<br /> <br /> The first chapter of this article is an overview of Chinese idiom translation, analyzing the problems of Chinese idioms translation and the importance of keeping &quot;Chineseness&quot; in idiom translation. In the second chapter, this article mainly discusses the reasons for cultural deficiency in Chinese idiom translation from four aspects: different emotional orientation, historical and cultural background, religious beliefs and ways of thinking. The third chapter is a comparative analysis of foreignization and domestication translation in idiom translation. This chapter begins with a brief introduction of foreignization and domestication translation methods, and then compares the application of the two methods in idiom translation. At last, this article ends with the conclusion that translators should, according to the needs of a specific context, find a balance between foreignization and domestication.<br /> <br /> ===Chapter One An Overview of the Idiom Translation form Chinese to English===<br /> <br /> Chinese idioms are mainly created by the folk and widely circulated. From the expression of Chinese idioms, it has a large connotation, rich and profound content, hence it is surely informative with a good expression effect. As for language structure, it is usually characterized by popularity and colloquialism. In view of the current situation of the translation of Chinese idioms, the cultural connotation is obviously missing due to the influence of cultural forms. Idiom is a window for foreigners to understand Chinese culture. Therefore, it is of significance to keep Chinese characteristics in the translation of Chinese idioms as much as possible to spread Chinese culture. (Jia Yunpeng, 2015, 65)<br /> <br /> ====1.1 The Problems of Idiom Translation form Chinese to English ====<br /> <br /> Chinese idioms involve many contents and cover a wide range of knowledge. There is no doubt that this colloquial language has the characteristics of popularity, reflecting commonly used factors in daily life, so that the meaning of Chinese idioms can be fully expressed.Chinese idiom is a kind of inheritance of folk culture. In the process of translation, it is affected by its own cultural form and historical factors, and there is a certain cultural deficiency, or &quot;loss of Chineseness&quot;, in the translation of Chinese colloquial language. (Liu Ning, 2016, 81)<br /> <br /> The cultural deficiency in the translation of Chinese idioms is mainly due to the errors in the translation of the inherent meanings conveyed by the Chinese idioms, and the discrepancy in the intrinsic values between the translator and the original Chinese idioms after translation. As a result, the inheritance and development of culture are hindered, and there is a lack of comprehensive understanding in the process of foreign translation. (Guo Jianzhong, 2000, 65)<br /> <br /> The emergence of this phenomenon is the manifestation of cultural deficiency and the contradiction of cultural mechanism orientation between readers and translators, which lead to the emergence of cultural deficiency.On the basis of the semantic meaning of the original text, the translation of Chinese colloquial language is in accordance with the linguistic environment and the operational environment of grammar. The translation process emphasizes the cultural inheritance and the expression of intrinsic value.It is precisely the collision between different cultures that causes the phenomenon of culture loss. (Liu Ning, 2016, 82)<br /> <br /> ====1.2 The Importance of Keeping &quot;Chineseness&quot; in Chinese Idiom Translation to English====<br /> <br /> Idioms are the quintessence of human language. As the treasure of national culture, they carry the cultural information such as geography, history, religion and living habits of a country or a nation. Translation is a kind of cross-cultural communication activity, which conveys cultural characteristics. If separated from the culture of a nation, translation would miss its due role. (Wang Tao, 2018, 33)<br /> <br /> Since the 1980s and 1990s, translation studies have ushered in a new stage, namely the shift of translation. Susan Bassnett is the representative of the school of &quot;cultural translation&quot;. Her view of cultural translation emphasizes the special status of culture in translation -- as language and culture are closely related, culture, rather than text, should be regarded as the basic unit of translation. In short, translation is by no means an act of pure language. It is deeply rooted in the culture in which the language is located. Translation is the communication within and between cultures, and translation equivalence is the cultural function equivalence between the source language and the target language. In a word, it is significant to keep Chinese characteristics in Chinese idiom translation to English as much as possible to spread Chinese culture. (Jiang Lei, 2003, 53)<br /> <br /> === Chapter Two The Reasons for the Loss of &quot;Chineseness&quot; in Idiom Translation from Chinese to English===<br /> <br /> Chinese and English have completely different cultural backgrounds so that they have large cultural differences, which make the Chinese and Western people have huge understanding barriers in language exchanges, especially idioms in traditional Chinese culture. Since idioms contains rich and profound cultural background knowledge, translators will inevitably encounter the problem of cultural deficiency in the process of idiom translation, transplanting one culture to the other one. The problem of cultural deficiency in idiom translation occurs frequently. The reasons for the loss of &quot;Chineseness&quot; in idiom translation from Chinese to English are mainly reflected in the following four aspects. (Qiu Nengsheng, 2019, 51)<br /> <br /> ====2.1 Different Emotional Orientation====<br /> <br /> Although there are many words that refer to the same thing in Chinese and English, the word may mean differently in different language contexts, for the same word may bear different associative meanings. (Jia Yunpeng, 2015, 65)<br /> <br /> For example, Chinese people and Westerns often have different understanding words about colors. The semantic associations of the word &quot;yellow&quot; are different in English and Chinese cultures. In Chinese culture, yellow is the symbol of imperial power and status, so it plays an important role in Chinese culture. For example, &quot;黄袍加身&quot;（the yellow robe adds the body） refers to being an emperor.However, in modern Chinese, the word &quot;黄&quot; often has a derogatory meaning, which means lewdness and depravity. It forms many new words with other words and is widely used.For example: &quot;黄色影片&quot;, &quot;黄色书籍&quot; and so on, most of them are related to the concept of sex. Nevertheless, yellow represents justice, wisdom and glory in Western culture.In Western art St. Peter is dressed in yellow.Of course, yellow also has a bad symbolic meaning. It reminds people of the color of the clothes Judas dressed, who betrayed Jesus. Therefore, yellow can be used to express &quot;timid, unreliable, jealous, sensationalist, low-level sensationalism&quot; and other derodic meanings. But in English the word &quot;yellow&quot; doesn't have an obscene meaning. (Jia Yunpeng, 2015, 66)<br /> <br /> Chinese people has regarded the &quot;dragon&quot; as the symbol of the nation since ancient times, and they call themselves as the &quot;descendant of the dragon&quot;. However, in western culture, &quot;dragon&quot; is a lizard with scales, wings and tails, which can breathe fire. It is a symbol of evil and cruelty. Therefore, if the Chinese idiom &quot;望子成龙&quot; was translated into &quot;hope one’s children to become a dragon&quot;, it would lead to great misunderstanding. But we translate it into &quot;hope one’s children will have a bright future&quot;, foreigners may not get the metaphoric meaning of the word &quot;龙&quot;. This is what we said the loss of &quot;Chineseness&quot;, namely, cultural deficiency. (Qiu Nengsheng, 2019, 52)<br /> <br /> ====2.2 Different Historical and Cultural Background====<br /> <br /> Chinese culture has a long history and bears a profound and sophisticated cultural nature. As the essence of Chinese culture, Chinese idioms often contain many historical allusions. And idioms originated from literary quotation or historical events should not be conceived literally because they have deeper meanings. Without cultural background knowledge, it is not easy to understand this kind of idioms, not to mention to translate them. (Wang Tao, 2018, 114)<br /> <br /> For instance, the Chinese idiom &quot;三顾茅庐&quot;, which means repeatedly requesting somebody to take up a responsible post, derives from a historical story of Zhuge Liang. At the end of the Eastern Han Dynasty, Zhuge Liang lived in a thatched cottage in Longzhong. Xu Shu, a counsellor, recommended zhuge Liang to Liu Bei and said that zhuge Liang was a genius. In order to ask Zhuge Liang to help him win the war, Liu Bei went with Guan Yu and Zhang Fei to ask him to leave the mountain. However, Zhuge Liang was not at home, so Liu Bei had to leave his name and went back unhappily. A few days later, Liu Bei learned that Zhuge Liang had returned and went with Guan Yu and Zhang Fei against the wind and snow.But Zhuge Liang went out again, and Liu Bei and his men left again. Liu Bei went to Longzhong for the third time and finally met Zhuge Liang.In the conversation, Zhuge Liang made a very incisive analysis of the situation, which impressed Liu Bei. Liu Bei visited the thatched cottage three times, which greatly moved Zhuge Liang and he promised to go out to help him. Zhuge Liang helped Liu Bei win many victories and laid the foundation of the state of the Han dynasty for him. (Qiu Jixin, 2002, 43)<br /> <br /> This idiom comes form this story.If we just translate &quot;三顾茅庐&quot; into &quot;repeatedly to request somebody to take up a responsible post” or &quot;have visited the cottage thrice in succession to call on somebody repeatedly&quot;, foreigners would not get the allusion of it, hence the Chinese characteristics is lost somehow. (Qiu Jixin, 2002, 43)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:58, 18 December 2020 (UTC)<br /> <br /> Likewise, the idioms like &quot;班门弄斧&quot; and &quot;卧薪尝胆&quot; are all relevant to some historical figures, who are known by all Chinese people but unfamiliar to foreigners. Only when they have learned something about Zhuge Liang, Lu Ban, and Gou Jian can they get the meaning of these idioms. And it is the profound historical and cultural backgrounds that make the Chinese idioms hard to translate. (Qiu Jixin, 2002, 43)<br /> <br /> ====2.3 Different religious beliefs====<br /> <br /> As a special form of human culture, religion is produced and developed almost synchronously with human culture, and all ethnic groups have their own religious beliefs and cultures. Religion not only exerts a certain influence on people's values and ways of thinking, but also on language expression. (Jia Yunpeng, 2015, 65)<br /> <br /> In the late Western Han Dynasty, Buddhism was introduced into China, and it has a history of more than one thousand years in China. Accompanied with the introduction of Buddhism came some idioms of Buddhism or related to Buddhism, such as &quot;放下屠刀，立地成佛&quot;, &quot;苦海无边，回头是岸&quot;, and &quot;醍醐灌顶&quot;. Most Chinese people believe in Buddhism and Taoism, while most Westerners believe in Christianity and Catholicism. In the context of two different religious cultures, translators often meet translation difficulties. (Jia Yunpeng, 2015, 65)<br /> <br /> Take &quot;放下屠刀，立地成佛&quot; as an example. The idiom &quot;放下屠刀&quot; (lay down the butcher's knife) does not refer to the butcher's knife(lethal weapon). The &quot;butcher's knife&quot; here refers to malice, evil deeds ,all delusions, confusion, differentiation and persistence. The sentence &quot;放下屠刀，立地成佛&quot; (Put down the butcher's knife and become a Buddha on the spot) means: the one who puts down delusion, distinction, persistence, is the Buddha! The essence of &quot;butcher knife&quot; is &quot;man's confusion to himself&quot;. Many translation versions of this idiom are given, like &quot;A killer becomes a Buddha at the moment he drops the knife to kill.&quot; and &quot;A wrongdoer may become a man of virtue once he does good.&quot;; however, these versions both neglect the Buddhist factors of original idiom. If the cultural connotation is not expressed in translation, westerners would feel confused while reading. (Jia Yunpeng, 2015, 65)<br /> <br /> ====2.4 Different Ways of Thinking====<br /> <br /> As for the characteristics of the deep structure of Chinese culture, from Hager to Derrida, the western academic circle has formed a prejudice that China has no rationality and no philosophy. Previous Chinese scholars have found some similarities and differences between Chinese and Western cultures in material, institutional and ideological aspects, but they have neglected the rationality in the Chinese and Western cultures. (Jiang Lei, 2003, 54)<br /> <br /> Reason has different contents and categories. Different categories of reason make up different rational structures. Although the outbreak of rationality is the common characteristic of Chinese and Western civilizations in the axial age, their rational structure is not the same.The rational structure of the ancient West includes logical reason, natural reason, practical reason, and aesthetic reason, but it lacks historical reason. Its rational structure is dominated by pure reason, while logical reason occupies a dominant position. (Jiang Lei, 2003, 54)<br /> <br /> The rational structure of China includes historical reason, natural reason and moral reason. It has logical thought which has not developed into logical reason. Among which historical reason occupies a dominant position. Logical reason dominates western thinking, while historical reason leads Chinese thinking. This difference in rational structure is the fundamental reason for the difference in Chinese and Western thinking. (Guo Jianzhong, 2000, 66)<br /> <br /> The difference between Chinese civilization and Western civilization lies in the difference of rational structure. The difference between the western civilization and the Chinese civilization lies in the difference of dichotomy.Some of the differences between Chinese and Western dichotomies can be traced back to the differences between Chinese and Western languages. Different language features are the source of the differences between Chinese and Western cultures. (Jia Yunpeng, 2015, 66)<br /> <br /> ===Chapter Three Comparative Analysis of foreignization and domestication Translation in Idiom Translation===<br /> <br /> As a literary form, Chinese idioms have many inherent and connotative meanings. In the process of translation, the phenomenon of loss of Chinese characteristics is quite severe. In order to reduce the loss of Chinese characteristics in translation to minimum, we should choose the appropriate translation method. (Guo Jianzhong, 2000, 65)<br /> <br /> Domestication and foreignization translation have always been the focus of debate in the field of translation. The essence of the contradiction lies in the proposition that the expression form of the original language introduced into the target language or the idiomatic expression in the target language. This article, from the perspective of domestication and foreignization, compares the different effects of the text translated by domestication and foreignization methods repectively and discusses the way to keep &quot;Chineseness&quot; in idiom translation form Chinese to English. (Guo Jianzhong, 2000, 65)<br /> <br /> ====3.1 A Brief Introduction of foreignization and domestication Translation====<br /> <br /> Foreignization and domestication translation are systematically put forward by Lawrence Venuti in his book Translator's Invisibility: A History of Translation (1995).<br /> <br /> Domestication is to transform the foreign element in one culture into something familiar in another culture.It puts aside the sentence and image of the original text, but grasps its pragmatic meaning. From the target language and the original text of the pragmatic meaning of the same way of expression.Strictly speaking, domestication is a revision of the culture of the target language. However, it is easier for the readers to accept the translation text at the expense of the large culture contained information as well as the appreciation and understanding of the meaning of heterogeneous culture to some extent. (Jiang Lei, 2003, 53)<br /> <br /> On the contrary, foreignization is to transform the information from one culture and language to another culture and language in a way that remains almost as it is. It endows the target language with new linguistic elements and also novel and unique forms of expression, which is conducive to the mutual communication and penetration of two heterogeneous cultures and languages, so as to promote their mutual integration. (Jiang Lei, 2003, 53)<br /> <br /> In his book, Venuti made a critical study of western translation from the early 17th century to the present, and revealed that the strategy of &quot;smooth translation&quot; has always been dominant in the history of Western translation. The fundamental reason is to form a norm of foreign literature in English based on the western ideology. Venuti put it bluntly that his purpose of writing this book was to go against tradition, namely, to advocate the visibility of translators. Venuti opposed domestication and advocated foreignization in tradition. This translation strategy, he says, can be called &quot;resistance&quot;. (Venuti, 1995,105)<br /> <br /> Such translation not only avoids smooth translation, but also challenges the culture of the target language, because smooth translation tampers with the foreign text with the ethnocentrism of the culture of the target language.<br /> &quot;Resistance&quot; means resistance to the ethnocentrism of the target language culture, so that the translator is no longer invisible in translation. (Jiang Lei, 2003, 53)<br /> <br /> Nida is the representative of the domestication translation. He put forward the concept of functional equivalence, &quot;The relationship between the target receptor and the target text should be equivalent to that between the source language receptor and the source text&quot;, in order to eliminate the differences in language and culture in the translation. (Nida, 1993)<br /> <br /> ====3.2 The Application of domestication Translation in Idiom Translation====<br /> <br /> The ideal of Nida's domestication translation is the closest natural equivalent. Domestication maximizes the dominant position of the target language and brings the target language closer to readers. It tries to overcome cultural differences to realize the equivalent translation. Due to the cultural differences between different languages, translators are required to have a keen sense of culture and ability to fully and accurately tranlate the national psychology and cognitive mode of the source culture, so that they can reproduce the profound cultural connotations of the source language. (Qiu Jixin, 2002, 42)<br /> <br /> Generally speaking, idioms are words with rich cultural connotations. Undoubtedly, the choice of foreignization and domestication methods will produce different results: whether the culture of the source language can be preserved, and to what extent can be preserved. If we choose domestication method, we should realize that there are two premises to distinguish it: one is the domestication under the principle of fidelity, which is prescriptive and centered on the source language; the other is domestication under the premise of non-faithfulness, which is descriptive and oriented by the translation into Chinese. (Qiu Jixin, 2002, 42)<br /> <br /> That is to say, domestication method can be divided two way. One is a faithful principle under domestication, we can refer it as equivalent translation. While using this method to translate idioms, translators try to look for expressions from target language which has the same semantic effect as that of the source language, thus to make the translation natural, direct and vivid, improving the readability and acceptability of the translation. For example, the Chinese idiom &quot;时间就是金钱&quot; is translated as &quot;Time is money&quot;, and &quot;事实胜于雄辩&quot; as &quot;Facts speak louder than words&quot;. (Qiu Jixin, 2002, 42)<br /> <br /> The other is a loyal premise of domestication, which is similar to free translation. When the cultural characteristics of source language idioms expressed cannot be transformed through literal translation, translators should adopt free translation, not only to convey the deep meaning of the source language, but also to reflect characteristics of the target language, realizing the harmonious development of the two different languages. For instance, &quot;胆小如鼠&quot; is translated into &quot;as timid as a hare&quot; instead of &quot;as timid as a mouse&quot;. (Jiang Lei, 2003, 54)<br /> <br /> Another example of the application of domestication is the translation version of the famous Chinese novel 《红楼梦》 by David Hawkes. There are a large number of idioms in the novel, and Hawkes generally translated them by using the method of domestication. For the sentence &quot;癞蛤蟆想天鹅吃。&quot;(曹雪芹,1791, 165) , Hawkes translated it into &quot; The toad on the ground wanting to eat the goose in the sky&quot; (Hawkes, 2012, 242). Here, Hawkes replaced &quot;swan&quot;(天鹅) with &quot;goose&quot;(鹅), since the associative meanings of &quot;swan&quot; and &quot;goose&quot; are completely different in western culture. (He Fang, 2019, 171)<br /> <br /> ====3.3 The Application of Foreignization Translation in Idiom Translation====<br /> <br /> Foreignization translation means that, under the pressure of cultural value deviationism, the reader is brought into the context of the translation and accepts the language and cultural differences of the foreign language text. It takes the source language culture as the destination, adopting the source language expression methods that correspond to the original author, approaching the source language text author, and conveying the original content most truthfully. (Qiu Jixin, 2002, 43)<br /> <br /> For example, if &quot;一箭双雕&quot; is translated into &quot;kill two hawks with one arrow&quot; instead of &quot;kill two birds with one stone&quot;, the cultural information of the source language would be preserved to the greatest extent, so that the different cultural connotations can be truly presented to readers. The differences in the culture of the source language are reflected, allowing readers to experience foreign cultures through their own cultural cultivation. The foreignization translation method reflects a trend of cultural integration, allowing the strong culture and the weak culture to develop in the collision, and finally achieves equal dialogue in the continuous exchange. It not only promotes cultural exchanges, but also contributes to the enrichment and development of the target language culture. (Jiang Lei, 2003, 54)<br /> <br /> Moreover, another example of the application of foreignization is the translation version of the famous Chinese novel 《红楼梦》 by Yang Xianyi(杨宪益). Contrary to Hawkes’s translation, Yang adopted the method of foreignization while confronting with cultural factors in translating. As for &quot;癞蛤蟆想天鹅吃&quot;[曹雪芹, 1791, 165], Yang translated it into &quot;A toad hankering for a tatste of swan&quot;(Yang Xianyi, 1978). Here, Yang keeps the &quot;Chineseness&quot; in source language through literal translation. (He Fang, 2019, 172)<br /> <br /> Choosing domestication or foreignization is not a question of black and white, but a question of grasping &quot;degree&quot;, or finding a balance. Translation involves the pragmatic rules of two different languages and is a cross-linguistic and cross-cultural communicative activity. Foreignization and domestication shouldn’t be treated separately. In many cases, the two methods must be combined. It is impossible for a translator to choose only one method to translate a work and use it to the end. The key to the translation of idioms is to grasp a balance point between domestication and foreignization. If we simply emphasize the readability of the translated version, we may ignore the cultural characteristics of the source language, leading to excessive domestication and loss of the culture of the source language. (Qiu Nengsheng, 2019, 56)<br /> <br /> However, if we only focus on the transmission of the cultural information of the source language, it may damage the readability of the translated text and lead to excessive foreignization. The loss of readability of the translated text will eventually lead to the failure of the translator's efforts. The selection of foreignization and domestication should be a dynamic mechanism, flexible and changing with the change of corresponding influencing factors. Due to the need of specific context, the same idiom may be translated in different ways. In the process of idiom translation, whether to adopt domestication or foreignization, communicative purpose and pragmatic environment all affect the choice of methods. (Qiu Nengsheng, 2019, 56)<br /> <br /> For example, the primary purpose of Yang’s translation of ''Dream in Red Chamber'' is to spread Chinese culture; therefore, he mainly adopted the method of foreignization in idiom translation, so that the &quot;Chineseness&quot; in idioms could be kept as much as possible. And Hawkes mainly used domestication in his translation, because he wanted to reduce the difficulties of reading, making it easier for western readers to accept the novel. So we can see, different communicative purposes lead to different choices of translation methods. (He Fang, 2019, 172)<br />  <br /> ===Conclusion===<br /> <br /> Fomestication and foreignization have always been the focus of controversy in translation circles. The essence of the contradiction is to advocate the introduction of the original expression in the target language or the authentic expression of the target language. The article believes that the contradiction between the two is not irreconcilable under normal circumstances. In fact, mere foreignization or domestication cannot appear alone in translation. The balance between the two should be sought as much as possible on the premise of loyalty to translation duties. (Guo Jianzhong, 2000, 65)<br /> <br /> One of the purposes of translation is to spread the source language culture, promoting cultural exchange and integration as well as the diversified development of the world. The foreignizing translation method can reserve enough space for readers to appreciate and analyze foreign cultures. <br /> <br /> The translator should have enough confidence in readers when adopting foreignization strategies, and believe that readers can give full play to their imagination to understand foreign countries on the basis of comparing their own and foreign culture. The ultimate goal of translation is to promote cross-cultural communication. It is necessary to consciously retain relevant cultural factors in the translation process. Simply using domestication translation will inevitably hide or even distort the cultural connotation of the source language. In order to preserve and spread the source language culture, the use of foreignizing translation methods should be emphasized when translating idioms rich in cultural meaning. (Guo Jianzhong, 2000, 12)<br /> <br /> However, the foreignization strategy has its limitations. Regardless of interpretation or translation, it does not mean that all idioms containing cultural factors should be preserved. Information transmission and cultural transmission are equally important in the translation process. One cannot lose sight of the other. <br /> <br /> In the process of idiom translation, the expression of cultural factors cannot be ignored. The retention of unique cultural images can attract readers of the target language. The actual acceptance ability of the target language readers cannot be ignored, otherwise it may cause poor communication. In the translation process, the translator must adhere to the principle of the inter-growth of different languages and cultures, and pay attention to the fact that the translation must be helpful to communication, coordination and dock with the world, and at the same time, it must not be inappropriately eliminated in order to comply with the needs of the target country. The source language and the target language are inherent in language and culture. (Qiu Jixin, 2002, 45)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:23, 21 December 2020 (UTC)<br /> <br /> ===Bibliography===<br /> <br /> *Guo Jianzhong 郭建中. (2000). 韦努蒂及其解构主义的翻译策略 [Venuti and his deconstructionist translation strategy]. 中国翻译 [Chinese translation]. 【文献中杂志缺页数】<br /> <br /> *He Fang 贺 芳. (2019). 异化翻译与文化传播——以杨宪益《红楼梦》歇后语翻译为个案 [Alienation Translation and Cultural Communication-- A Case Study of Yang Xianyi's Idiom Translation in A Dream of Red Mansions]<br /> <br /> *Jia Yunpeng 贾云鹏. (2015). 汉语四字成语翻译中的文化补偿与缺失 [Cultural Compensation and Deficiency in the Translation of Chinese Four-character Idioms]. 语文建设 [China Academic Journal].<br /> <br /> *Jiang Lei 蒋 磊. (2003). 英汉文化差异与习语翻译的归化和异化 [E -C Cultural Differences and Foreignization &amp;Domestication in Idioms Translation]. 武汉: 武汉大学出版社 [Wuhan: Wuhan University Press].<br /> <br /> *Qiu Jixin 裘姬新. (2002). 论习语翻译中的异化与归化 [On Alienation and Adaptation in Idiom Translation]. 语言与翻译 [Language and Translation].<br /> <br /> *Wang Tao 王 涛. (2018). 英汉习语翻译中的文化缺失与补偿 [Cultural Deficiency and Compensation in Translation of English and Chinese Idioms]. 三峡大学 [China Three Gorges University].<br /> <br /> *Qiu Nengsheng 邱能生. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization and Domestication in Translation of English and Chinese Idioms under the Background of Cultural Differences]. 上海翻译 [Shanghai Journal of Translators].<br /> <br /> *Yang Xianyi 杨宪益. (1978). 红楼梦 [A Dream of Red Mansions]. 外文出版社 [Foreign Language Press].<br /> <br /> *David Hawkes. (2012). The Story of The Stone. Shanghai Foreign Language Education Press.<br /> <br /> *Venuti,L.The Translator′s Invisibility [M].London &amp; New York:Routledge,1995:20<br /> <br /> *Nida, Eugene. A.(1993). Language, Culture and Translating. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nida, Eugene A. &amp; Charles R. Taber. (1969). The Theory and Practice of Translation. Leiden: E. J. Brill.<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:23, 21 December 2020 (UTC)<br /> <br /> ==Translation of English Proverbs from the Perspective of Culture 韩海洋 202020080602 Han Haiyang 英美文学==<br /> <br /> ===Abstract===<br /> As close communication between eastern and western countries,nowadays cultural influence is increasingly becoming more and more importance than before in language exchanging. As for translation of English proverbs, proper translation strategies should be considered in order to better understand their meanings and characters. By looking up thesis and documents, some translation strategies need to be concluded. In terms of cultural influence and social communication, foreignization and domestication are chosen in which the former is used more frequently than the latter. It arrives the conclusion that foreignization applied for translation of English proverbs is on the increase.<br /> <br /> ===Key Words===<br /> proverbs; culture; translation strategies<br /> <br /> ===从文化视角来看英语谚语的翻译===<br /> <br /> ===摘要===<br /> 由于文化因素在不同语言之间的交流具有一定的影响，特别在中西方交往日益密切的背景下。为了更好的翻译英语谚语，使其达到应有预期效果，适当的翻译策略可以在翻译过程中更好地了解谚语的含义与特色。通过查阅资料和文献，总结出合适的翻译方法。根据现在的社会背景和文化影响，对于归化和异化两种方法，异化的选择得到了更多的倾向。在翻译的过程中，将文化因素考虑进去对于语言翻译上面，异化的趋势将会逐渐增大。<br /> <br /> ===关键词===<br /> 谚语; 文化; 翻译方法 <br /> <br /> ===1. Introduction===<br /> With the advent of 21th century, society has been changed in a wide scope, and shed light on the unparalleled interaction of culture and economy as most exemplified phenomenon happening everywhere. Translation is thereby a way to transfer from one culture to another, in which the effect of cultural background is behind language the essence of best fruit of translation. The history of translation has been lasted for a long time, for example when it comes to English proverbs, which can be traced to centuries ago, like Bible and works of Shakespeare. It is not rare to see that each country has its own unique culture, and under the cover abundant resources mirroring a country can be exploited. English proverbs as a product of culture the bridge for cultural exchange is been studied since centuries ago. The strategies of proverbs translation also have been experimentally discussed from time to time as the rapid development of culture and economy. Translation plays a key role in promoting a country’s own culture, because that is the way of importing and exporting knowledge of culture to another country. Proverbs is the product of culture that cannot be understood directly without any effort to digest it. So translation is needed, which could impose exotic flavors to new conception or understanding, but the premise is that translation is properly chosen in regard to nowadays strongly cultural promotion awareness.<br /> <br /> Usually proverbs are concise, concrete and pithy words which are rhythmed and organized for the sake of being simple to remember and spread to people. Proverbs are summarized by certain people from all walks of life in a specialized area, including eating habits, farming, belief, customs and so many. Proverbs composed of words the exact symbol of language, are named as the crystal of culture in a easily understandable way. Culture awareness is highly appreciated whatever it is developed country or developing country. For the fulfillment of translation of English proverbs, therefore this thesis aims to translate English proverbs with appropriate translation strategies-mainly foreignization and domestication from the perspective culture.<br /> <br /> With the advent of 21th century, society has been changed in a wide scope, and shed light on the unparalleled interaction of culture and economy as most exemplified phenomenon happening everywhere. Translation is thereby a way to transfer from one culture to another, in which the effect of cultural background is behind language the essence of best fruit of translation. The history of translation has been lasted for a long time, for example when it comes to English proverbs, which can be traced to centuries ago, like Bible and works of Shakespeare. It is normal to see that each country has its own unique culture, and under the cover abundant resources mirroring a country can be exploited. English proverbs as a product of culture the bridge for cultural exchange has been studied since centuries ago. The strategies of proverbs translation also have been experimentally discussed from time to time as the rapid development of culture and economy. Translation plays a key role in promoting a country’s own culture, because that is the way of importing and exporting knowledge of culture to another country. Proverbs is the product of culture that cannot be understood directly without any effort to digest it. So translation is needed, which could impose exotic flavors to new conception or understanding, but the premise is that translation is properly chosen in regard to nowadays strongly cultural promotion awareness.<br /> <br /> Usually proverbs are concise, concrete and pithy words which are rhythmed and organized for the sake of being simple to remember and spread to people. Proverbs are summarized by certain people from all walks of life in a specialized area, including eating habits, farming, belief, customs and so many. Proverbs composed of words the exact symbol of language, are named as the crystal of culture in a easily understandable way. Culture awareness is highly appreciated whatever it is developed country or developing country. For the fulfillment of translation of English proverbs, therefore this thesis aims to translate English proverbs with appropriate translation strategies-mainly foreignization<br /> <br /> ===2. Chapter 1 General Introduction to English proverbs===<br /> <br /> ====1.1 Definition of Proverbs====<br /> As far as history is concerned, proverbs can be dated back to the times that language is produced. According to Dictionary of Proverbs, proverbs are “a succinct and memorable statement that contains advice, a warning or a prediction, or an analytical observation”. Maybe the first definition is given by Socrates that a proverb is noted as brevity, philosophical tone, and common usage. In the 15th century, Michael Apostolius of Byzantium wrote, “A proverb is a statement which clarifies the unclear, or which through concrete images indicates intellectual concepts, or which makes clear the truth in furtive fashion”.(Honeck 1997,12)<br /> <br /> Champion (1966:xi) has claimed his idea “a proverb in my opinion is a racial aphorism which has been, or still is, in common use, conveying advice or counsel, invariably camouflaged figuratively, disguised in metaphor or allegory.” According to Mieder (1993), “A proverb is a short generally known sentence of the folk which contains wisdom, truth, morals, and traditional views in a metaphorical, fixed and memorable form and which is handed down from generation to generation”. Although definition is definitely different from one to another, one thing is for sure is that proverbs have been proved to exist for a long time. From all the above have been talked, proverbs can be boiled down to a simple, culture-loaded, and wide-circled saying enjoying great popularity throughout the whole country. Considering it that a majority of elements are included in proverbs, especially when it comes to perspective of culture, some feasible measures should be properly taken to handle it.(Champion 1966,15)<br /> <br /> 1.1.1 Origin of Proverbs from Abroad<br /> Proverbs are not come out from nowhere, and the amounts and meanings of them do not stay the same eternally. As a rule, comparison between at home and abroad is always been found. From abroad, English proverbs could be seen in Bible, and works from Shakespeare and other fables. Part of old proverbs are stemmed from Bible, which largely related to God and so many fairy tales, or in other word like “God” or any related implication are sometimes recorded in proverbs. Like the famous one said: “man proposes, God disposes”, it shows that in western country people faithfully believe in God who is enshrined in most<br /> <br /> Except from Bible, in the times of Renaissance Shakespeare’s works can be found in which some proverbs are known from that time. For example, in Romeo and Juliet there is one sentence “a rose by any other means would smell as sweet”. It means that irrespective of how things’ names are changed, the essence embedded in them would still intact. Shakespeare is as one of the most brilliant play writers just on the behalf of renaissance period. There are still amounts of proverbs created by other scholars like Francis Bacon, John Milton and so on.(Li Keshi 2009,35-38)<br /> <br /> 1.1.2 Origin of Proverbs at home<br /> <br /> In china, proverbs can be traced to Spring and Autumn periods. At that time, people mostly work at farm, so there are a lot of proverbs related to farming or country life. with Zuo’s Commentary( 左 传 ) deserves the first.In it, the Chinese proverb “山有木，工则度之；宾有礼，主则择之”has its track, and most of the proverbs mentioned in Zuo’s Commentary are from Zhou Dynasty as “Zhou proverbs”(周谚). Besides, terms like “Xia proverbs(夏谚)” can also be found in Mencius(孟子). Like the proverb “吾王不游，吾何以休？吾王不豫，吾何以助？一游一豫，为诸侯度”from Mencius, though have not been handed down, it is regarded as the earliest proverb that have been recorded (ibid,2003). <br /> <br /> Xia is an extremely ancient dynasty in Chinese history, as far as over 4,000years from today. So maybe proverbs are not as popular as today, they are definitely has records and can shed light on Chinese history.It is said that proverbs in China dated back to as early as before the words came into being. People at that time did not pass down their knowledge and experience by writing, while they made it by speaking and saying in a simple and memorable way. With time moving forward, proverbs are gradually been regarded as important as written words which play a great role in future generation in dealing with culture and heritage. No matter what kind of proverbs are produced, from the historical evidence it can be observed that proverbs can across ocean and land, moving to another country, another culture domain.(ibid 2003,31)<br /> <br /> ====1.2 Characteristics of Proverbs====<br /> Proverbs are memorable, vivid words which are succinct and simple in form summarized by people from all walks of life. Both Chinese and English are bountiful in considering the thousands of proverbs have been recorded and there are still more proverbs to be created as time goes on. For the record, proverbs are not spoken at random and created at one’s free will. Some rules can be depended on, such as the lifestyle, living environment, education, social value, and so on. Taking environment for example, the British lived near to ocean or sea, and therefore it is common to see proverbs related to sea spoken by English people “In a clam sea, every man is a pilot.”<br /> <br /> 1.2.1 Cultural Characteristics of Proverbs<br /> <br /> Broadly speaking, culture contains all the aspects of the society and gives its people ability to view the world. Meanwhile, culture also can be regarded as a deciding element on distinguishing the difference from each country. It is no exaggeration to say that a country’s most standing heritage is its culture, which keeps changeable in line with the history. Although nowadays similarities of culture are seen more easily than ever before, the reason is under the influence of globalization-culture import and export take place here and there. The logic is culture formed from all walks of life, which means language is included, and proverbs are product of language. <br /> <br /> Therefore, proverbs carry characteristics of culture whatever the country is and how singular its culture is. Social customs is one of the big parts in a cultural society, there are some symbols or people are widely used in proverbs. Jack and Jill usually refer to man and woman in general such as: “every Jack has his Jill”. The counterpart in china is also easy to find. To name a few, there are more could be found in each cultural community. The next indispensable one is religion. It is well acknowledged that western countries like America and the UK, are religious countries, in which the words like: “God, devil, and church” are seen here and there. Like it has been said before, language is the product of culture, which contains every aspect of people’s life from individuality to the whole society. <br /> <br /> What is more, value concept is also included since it reflects how a country embodies its culture to the outside world. Giving respect for the aged in china is a necessary and ethic social value passed on and on for thousands of years. In Chinese, there is proverb saying that: “不听老人言，吃亏在眼前”. It means youth should listen to what the old men told you, or you will pay the price of what you have done. Instead, traditional values favor in masculinity, people think that men are superior to women and they have direct control over them. Ego and individuality in America is felt deeply, because they think that they are going to be successful by themselves from any given chance. They seldom make big achievement by working in group rather than enjoying doing it by their own hands. Proverbs like “near is my shirt, but near is my skin” is emphasizing that someone himself is more important than others.(Li Keshi 2009,35-38)<br /> <br /> 1.2.2 Rhetorical Characteristics of Proverbs<br /> <br /> As proverbs express concrete meaning by only a few words, sometimes it has to apply some kind of rhetorical devices for perfectly presenting the delicacy of proverbs. Some meaningful proverbs are not understood directly by adding each word all together, however, it only can be realized by using proper rhetorical methods to give their deep meaning, in another word, connotative meaning. <br /> <br /> Simile is often seen in proverbs, and it usually compares one thing to another thing, in order to show its vivid or obscure picture to receptor who may not understand directly from plain words. In sentences with simile, “like” and “as” are widely used for example, “March come in like a lion and goes out like a lamb”, and “time tries friend, as fire tries gold”. The former means that the changes of March is different from how it is coming and ending, and the latter means that friend like gold needs to be tested then you would find who is your real friend. Both of them impressively express the core meaning from unfamiliar thing or abstract thing to specific and easily understandable thing. <br /> <br /> Metaphor is seemingly like simile, but it is more implicitly explaining meaning than simile. Like “brevity is the soul of wit” and “an empty bag cannot stand upright”. The former means brevity is so important to wit like the soul of a person, the latter one translated in Chinese is “人是铁，饭是钢，一顿不吃饿的慌。” Hyperbole is a rhetoric that uses overstatement or obvious exaggeration to emphasize something, such as “Our life is but a span” and “An unfortunate man would drown in teacup”. The former means life lasts in a few times as short as span, which is obviously overstated. The latter means if a person is feeling unlucky at that day, whatever you do will bring bad lucky. Personification is the ability to endow common lifeless things with features of human-being. For instance, “Money is a good servant but a bad master”, and “fortunate knocks once at least at every man’s gate”. The former means money should be rationally handled or it may be a burden for you. The latter means everyone has a chance to be fortunate at least once.(Guo Min 2008,123-127)<br /> <br /> From all above have been discussed, they are just the most common figurative devices formed into proverbs. In terms of the function of rhetorical, proverbs can come into being in a simple, memorable form. It can be inferred that proverbs in a much degree use rhetorical to express refined and concrete meaning. Meanwhile it reflects the problem that when doing translation of proverbs, focus are more than just words themselves needed to be considered, as well as culture, form and connotative meaning.<br /> <br /> ====1.3 Differences Between Proverbs and Maxims, Sayings, Idioms====<br /> <br /> It seems that proverbs are looked the same as maxims, sayings, and idioms one way or another, but in fact there still exists some differences between them. For one thing, the existence of proverbs is across the whole world, therefore, no one can precisely calculate how many of them are recorded, and how many of them are still unknown to us. In terms of the number of proverbs is uncertain, so making a convincing definition is unrealistic, at least not perfect. If referring to it could be found that the definition in the dictionary is also easy to distinguish from each other. Some researchers disagree with each other on the definitions of these similar terms. <br /> <br /> Fergusson (1983) states some proverbs are simple folk sayings. Burton Stevenson (1987)’s idea about proverb is that― “A maxim is the sententious expression of some general truth or rule and it becomes a proverb when it gets its wings by winning popular acceptance.” Some scholars believe that sayings are one stream in the vast ocean of proverbs while others argue that proverbs should be included in the realm of sayings. In one source defining idioms and proverbs, NTC’s American Idioms Dictionary (1987) mentioned that ― “the idiom ‘a bird in the hand is worth two in the bush’ is a proverb meaning that something you already have is better than something you might get.” (Burton Stevenson 1987,20)<br /> <br /> As for classifying maxims and proverbs, Cordry (1997) suggests that “one defines a maxim as a rule of conduct and a proverb as a comment or observation with regard to the universal experience of life, the distinction is not always clear.” And as given in Concise Oxford English-Chinese Dictionary (2003), saying is defined as “a maxim, proverb, adage, etc.” Even so, there must be some obvious features we could rely on to categorize them in general. It could be concluded that maxim and saying are mostly the expression of principle or behavior of man or the rules that summarized by famous writers or philosophers.(Cordry 1997,26-28)<br /> <br /> Thus maxim and saying are seldom heard or seen except reading in the books and hearing from author himself. As a number of them are in a serious or form expression, there they are not as popular as proverbs which are created from daily experience by common people. In regard to idiom, its meaning is not the meaning which each word put together, but by understanding it form local people who made them and made it spread in his surrounding places. Idioms sometimes are not complete sentences but simple phrases. While, proverbs enjoy great popularity and are universally spread because of their concrete, succinct and vivid description.(Fergusson 1983,28-31) <br /> <br /> In conclusion, proverbs are prevalent in the world enjoying widespread social value and abundant sentence structures, but for sayings and maxims they are carrying the color of literature. Idioms have local color that is only understood within the same or similar speech community. With such understanding, it lays the foundation for researcher to better study and distinguish the distinctions form others.<br /> <br /> ===2. Chapter 2 Relation Between Culture and Proverbs Translation===<br /> <br /> ====2.1 Definition of Culture====<br /> <br /> As many scholars have been studied the definition culture, there have been existed sorts of definitions, in which they do not have big difference in one way or another. Culture is a general word that could take language, customs, religion, and others into account. One of the oldest and most quoted definitions of culture, which is frequently mentioned regardless of so many entries of definitions, was formulated by the 19th-century English anthropologist Edward Burnett Tylor in the first paragraph of his Primitive Culture (1871) as “Culture… is that complex whole which includes knowledge, belief, morals, custom, and any other capabilities and habits acquired by man as a member of society. …” . <br /> <br /> While Nida, a famous linguistic and translation theorist, gave his definition of culture as “the totality of beliefs and practices of a society” in the book Language and Culture (2001:139) and as “the way of life and its manifestations that are peculiar to a community that uses a particular language as its means of expression” by New mark given in his book of A Textbook of Translation (2001:94).From the mentioned above, culture includes every aspect of human life such as housing, transporting, communicating with people, recording of history and so on. Therefore, it is no exaggeration to say that proverb, or even language is a part of culture. Some scholar even put that language is the medium of culture, without language there may be no existence of culture. So the importance of culture cannot be ignored in order to better understand the deep meaning when studying proverb, a culture-loaded word, and more attention should be given to perspective of culture.(Katan 2004,16)<br /> <br /> ====2.2 Language and Proverb====<br /> <br /> It is no exaggeration to say that language is the product of culture since culture is culturally transmitted from the view of linguistics. Therefore, proverbs are composed of a set of words, which are selected from a particular language community. Taking English and Chinese for example, they both represent their special culture and unique characteristics respectively. More importantly, proverbs are the crystal of language, which can be used as a convenient tool to understand different cultures for language is the bridge leading to culture.<br /> <br /> ====2.3 Value and proverbs====<br /> <br /> Value is associated with sorts of people’s lives and is defined by these people living in a specific area. Value of appreciation on people is an obvious example that eastern and western countries have extreme angles on how to appraise a person. Tanned skin and jeans clothes are symbols as to select people whom they like more, but for eastern, white skin and Qipao maybe are thresholds for people to judge a person whether he or she is more stylish. Value of eating is still a big mark to differentiate race or natality. Cooked meal in china and salad in the west make the difference that eating habit is so little sameness on each other. There are still more, living environment and national policy if is related to country. All of them shape all kinds of values which are on behave of its countries or people. Like east or west, home is the best means “金窝，银窝，不如自己的狗窝.” Proverbs are not just created form nowhere but they are existed for ages and still available only if they are still reflecting meaningful viewpoints.(Chen Jinshi 2006,72-77) <br /> <br /> Language is a part of culture and also at the same time a reflection of culture. Taking Chinese and English for example, they belong to different language families, therefore there exist some distinctions between them. Chinese people usually don’t say daring or family name directly, which is so different from western people who call their parents’ name and say sweet words without any concerning of awkwardness or shyness. It works to proverbs, and that is the social custom defining a society what is their core valve. <br /> As far as we know, social value between western country and eastern country are of great differences. In western country, self-awareness and individuality are mostly emphasized, but for eastern, more attention is given to collective wisdom and working in groups. Like Chinese proverbs “ 三个臭皮匠，顶个诸葛亮。”and in English proverbs such as “ God helps those who help themselves.” From above being said that it has a lot benefits to study proverbs to better understand culture and language.(Chen Jinshi 2006,72-77)<br /> <br /> ====2.4 Cultural Similarity on Chinese and English Proverbs====<br /> <br /> Without any effort it can tell that Chinese and English are defined by different language families. Even so, Chinese and English proverbs share some similarities in various ways, which are performed in different form and speech of proverbs. Because there exist universal truths and life styles, they are more or less understood by people from society to society. Like the truth of the universe in the definition of right and wrong and subjects including philosophy, math, chemistry, they are all developed separately in different areas but shared and summarized by all members form all the world. In this point, proverbs play the role in spreading some common knowledge and experience to the outside world, though forms are created by different society, they are carrying the same meaning or implying one way or another. Examples like “a snow year, a rich year(瑞雪兆丰年), strike while the iron is hot, and a neighbor is better than a distant cousin.” All of them are proved to share universal life experience and truth in the everyday life. Because people live under the same sky, sun, star, they go on making their living by hard working.(Han Jiaoyang 2009,111-117)<br /> <br /> It is no exaggeration to say that cultural exchanges are rapidly happening all over the world, and foreign culture may be assimilated by domestic culture or rejected by its opposite expression of culture. In this sense, we have same expressions in different ways of forms, like “情人眼里出西施” (Beauty is in the eyes of the beholder). They are describing the same thing but with different cultural background, therefore they sometimes have similarities in one way or another.(Han Jiaoyang 2009,111-117)<br /> <br /> They describe the same thing but with different cultural background, therefore they sometimes have similarities in one way or another.(Han Jiaoyang 2009,111-117)<br /> <br /> <br /> ====2.5 Cultural Differences in Chinese and English Proverbs====<br /> <br /> Without a doubt that cultural similarities surely make translation easier in understanding foreign proverbs, but they are not silver bullets to taking all the proverbs into consideration. When it comes to separate boundaries which cut the Earth into several parts, under this context, local culture will be formed and promoted in its own birth place. One of the most common features of culture is religion in western and eastern country, because western people have belief in God, Chinese people believe in Buddhism, which are of two great differences. That is the reason why in the process of translation, factor of culture has to be reckoned, especially in the new eras. As Nord have ever put forward in Translating as a Purposeful Activity that ―A culture-specific phenomenon is one that is found to exist in a particular form or function in only one of the two cultures being compared‘‘ (Nord,2001:34), therefore culture will be compared at a time when people have different perceptions on things, in which language would be the first. The grammatically sentence structure and the pronunciation for example, have little in common regarding they belong to different language family.(Fu Yanli 2016,91-92)<br /> <br /> Living environment is an element on deciding the formation of proverbs. Traditional Chinese people were busy doing farming, agriculture, so there are proverbs associated with them. Like “ 瓜熟蒂落” means things will be done when they are mature, and “人靠血样，苗考水活”means blood is a necessity for existence of human being as well as water to seedlings.” Moreover, a fruitful harvest is dependent on the weather, producing proverbs such as “三月三，著蓑衣，三月十五冷凄凄”, which means lunar early month has heavy and the middle is heavily cold. But for English proverbs, which are to a large extent related to fishery or marine affairs such as “to sink or swim”, “to keep one’s feet above water” and so many. Therefore both of the proverbs are created under the influence surrounding environment. Except for living environment, living customs are also reflected on formation of proverbs. <br /> <br /> In different communities, people have different perception of things like animals. In Chinese proverbs, “杀鸡取卵” which equals to “kill the goose that lays golden eggs”, in which different animals are choose represent local customs. English proverbs would say that “look for a needle in a haystack”, which has a Chinese counterpart as “大海捞针”. It means that doing something is as difficult as finding out a small piece in an immerse container. Dog is also a featured sign that stand for different views in Chinese and English proverbs. In China, although dog is loyal to his master, it always leaves unrespectable impression on people, on the contrary, English love dogs and cherishes them so much sometimes even more than their family.(Fu Yanli 2016,91-92) <br /> <br /> Different cultural heritages and religious beliefs also play a key role in the formation of proverbs. It is not hard to refer that understanding proverbs on the bases of translation is convenient for study foreign culture. With all the differences and sameness, the range of translation, culture is a must during translation.<br /> <br /> ===3. Chapter 3 Translation Strategies for English Proverbs===<br /> <br /> Translation strategies have long been studied for a long time, during that time, domestication and foreignization have been considered as dominating strategies that were applied by a lot of scholars. Cross-culture exchange has gained great trend, especially in those years global communication between countries develops rapidly. It is true that here exists another method like “functional equivalent” created by famous scholar Eugene Nida who claims that in the process of translation source text and target text are both considered as author and reader are separated by the language or culture. <br /> <br /> The best function of translation is aiming to make source text as readable as reader-oriented text, which is popular in centuries ago in the era of underdeveloped cultural exchanges. In Chinese culture, the history of translation can also be traced to hundreds of years ago, some brilliant point of view like “信，达，雅”by Yan Fu, then it was changed into “信，达，切”by Liu Chongde. It means that translated text in which the flavor of text should be close to its original color of its culture. Taking what translation strategies into consideration should comply with the trend of culture exchange and its development.(Chen Daoen 2015,257-258)<br /> <br /> ====3.1 Domestication and Foreignization====<br /> <br /> Domestication is a target language oriented translation device, which is to change the flavor into reader’s interest. It is compatible with the taste of people who think their country is strong enough to set international standard and in which all other countries will prepare for the transmission of culture. It is the assimilation that causes translator to change resource text into native flavor. But for this phenomenon, the reason is that people’s recognition is limited and their hold self-importance to the most, therefore, everything from outside will be transmitted into domestic flavor. <br /> <br /> As communication of culture and technology grows rapidly and each country would like to strengthen its comprehensive power by take into foreign culture. As for translation strategies, which are still be reckoned which one should be adapted. Foreignization is a source language oriented translation device, which is to change the flavor into author’s meet. The roots of the terms “domestication” and “foreignization” can be traced back to the German philosopher Schleiermacher‘s argument in 1813 in a lecture on the different methods of translation, he found only two methods of affecting the domestic reader‘s understanding of the foreign author, “Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Venuti 2004,19-20).<br /> <br /> In China, some scholars also have put forward their own opinions about the definitions of domestication and foreign. Among them, Lu Xun's opinion is famous. He claimed that domestication was as “rewriting, changing the foreign story into Chinese story and changing the foreigners into Chinese” , while foreign was “translation is like going abroad for traveling, it must reflect the scene and flavor of the foreign country concerned.”(ibid 1984,301) Expect the definition of domestication and foreignization, when doing the work of translation, translator should consider the perspective of culture and the intention of the writer as well as readers whether they want to the culture of source text to be originally intact or changed into readers’ culture.(罗新璋 1984,301)<br /> <br /> ====3.2 Foreignization over Domestication for Translation====<br /> <br /> As far as social development is concerned, cultural exchange is more frequent than now or ever. In previous centuries, domestication is always been advocated by Chinese and western translators. as the exchange of economy and culture, it is not as common as today. Countries blindly think themselves as the leading one, so naturally take translated text as a respect from other countries. In translated works, any trace of alien culture is eliminated, in favor of own country’s culture to be admired and promoted. The awareness of culture is not developed because people only unconsciously find that in their mind anything enters into their country is no foreign at all, because every product from aboard will be transferred into familiarly native fruit with sense of closeness. <br /> <br /> As far as social development is concerned, cultural exchange is more frequent than ever before<br /> <br /> In another way, people at that time are barely having the chance to access to education, in particular for poor family that most of them are illiterate.It is without saying that no room is left for people in their countries to study culture abroad while native culture still did not gain completely popularity. From the above being mentioned, at an early age, domestication has upper hand indeed.So in choosing translation strategies, it is no doubt that it should be domestication centered.(Ding Min 2014,72-76)<br /> <br /> For another thing, as technology and economy develop from nowhere, cultural exchange between countries has witnessed great changes in the past decades. In highly developed areas, people in their countries universally receive full education in which their counties’ historical culture has been deeply absorbed. So, in the process of translation, foreign culture as novel things fulling with exotic flavor has attracted people a lot to see the differences and experience a foreign journey. The untouchable place of domestication did not enjoy its popularity an anymore for its limitation of spreading of foreign culture. <br /> <br /> Therefore, foreignization became more and more important as translation tool in the view of people’s eye. It not only translated the original foreign text into native character, but also carried the foreign special into domestic text. Take china for example, although as a developing country in the Asian, china has so much say in the stage of the world in the aspect of culture and world peace. Language as the bridge of communication, have to be understood by others in the way of translation. In one way or another, domestication and foreignization can both play the role in the translation, but from the perspective of culture, foreignization seems to weigh more in nowadays choosing translation strategies.(Ding Min 2014,72-76)<br />  <br /> <br /> ===4. Conclusion===<br /> <br /> Proverbs are culture-loaded words that have been transmitted and renewed from generation to generation as well as the changes of different eras. As a part of language and the product of culture, it is no exception that proverbs can be a medium, which offers the opportunity to learn language and culture. With the advent of new technology and wide economic communication, translation is playing an indispensable role in this process. <br /> <br /> Proper translation strategies are essential that whether foreign culture should be taken into consideration since it stands as the soft strength of a country. By considering this, foreignization has more superiority when compared with domestication. Foreignization as a trend translation, has been keeping the original culture intact to target readers, meanwhile can enrich a native country’s culture and expand vocabulary. There is no doubt that domestication is not totally worthless, regarding proverbs has multiple varieties, which cannot be translated simply by foreignization, therefore domestication is worked as supplementary tool to assist foreignization in translation. <br /> <br /> Foreignization leaves the culture of source text untouched, wishing to give target reader exotic environment where readers experience different aspects of culture, like religion, belief, custom and others.<br /> <br /> In the end, as cultural development and social progress is moving forward, foreignization has more advantages than domestication.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 15:45, 20 December 2020 (UTC)<br /> <br /> ===5. References===<br /> *Bian Xiaofei, 边晓霏(2013). 从文化视角探究谚语翻译[Exploring proverb translation from a cultural perspective]. ''保定:河北大学''[Baoding:Hebei University] .<br /> *Chen Jinshi,陈金诗(2006). 英汉谚语的特征与翻译[Characteristics and translation of English-Chinese proverbs]. ''武汉:中南民族大学''[uhan: Zhongnan University for Nationalities].<br /> *Dong Jing,董晶,Liu Yalou,刘亚楼(2015).英语谚语的文化内涵与翻译方法[The cultural connotation and translation of English proverbs]. ''河北联合大学学报(社科版)'',(1): p: 100-103.<br /> *Fu Yanli,付艳丽(2016). 跨文化语境下英语谚语翻译的意蕴与特征表达[The Meaning and Characteristics of English Proverbs Translation in Cross-cultural Context]. ''济南职业学院学报''[Journal of Jinan Vocational College],(4): p: 90-91.<br /> *Ding Min,丁敏(2014). 从文化视角看英语谚语的翻译[Translation of English proverbs from a cultural perspectiv]. 西安:西安外国语大学[Xi'an:Xi'an University of Foreign Languages].<br /> *Guo Min,郭敏(2008). 英汉谚语中的文化差异及其翻译[Cultural differences in English and Chinese proverbs and their translation]. 重庆:西南大学[Chongqing: Southwest University].<br /> *Han Jiaoyang,韩娇阳(2009). 从谚语英汉互译中看文化缺省及其补偿策略[Cultural default and its compensation strategy in English-Chinese translation of proverbs]. 长春:吉林大学[Changchun: Jilin University],.<br /> *Lu Daoyen,陆道恩(2015).文化视角下英语谚语的翻译技巧[Translation skills of English proverbs from a cultural perspectiv]. ''高教学刊''[Journal of Higher Education],(24): P:257-258.<br /> *Li Keshi,李克时(2009). 论英语谚语汉译的异化趋势[On the trend of alienation in Chinese translation of English proverbs]. 南京:南京农业大学[Nanjing: Nanjing Agricultural University].<br /> *Liu Weiping,刘卫平(2008). 文化视角下的美国谚语翻译[Translation of American Proverbs in Cultural Perspective]. 桂林:广西师范大学[Guilin: Guangxi Normal University].<br /> *Li, H.(2012) A Study of Film Subtitle Translation from the Perspective of Domestication and Foreignization[MA]. Shenyang: Liaoning University.<br /> *Mo, L, H.(2014) A Study on Chinese and English Proverbs about Marriage from the Perspective of Contrastive Linguistics[MA]. Nanning: Guangxi University.<br /> *Mao, Q.(2017) A Study on the Proverbs in Shakespeare’s Play in Their Chinese Translations in the Perspective of Conceptual Metaphor[MA]. Guilin: Guangxi Normal Univeristy .<br /> *You, X, J.(2009) A Contrastive Study On Hypotaxis and Parataxis in English and Chinese and Its Influence on the Chinese-English Translation of Ancient Fables[D]. Suzhou: Suzhou University.<br /> *Zhao, C, H.(2012) A Study on Proverb Translation from Cross-Cultural Perspective[D].Changchun:Jilin University.<br /> <br /> ==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory 刘金惺琦 liu jinxingqi==<br /> <br /> ==Translation of Chinese Neologisms from the Perspective of Cross-cultural Translation Theory-解帆 Xie Fan 202070080637 MTI 英语口译==<br /> &lt;center&gt;解帆 Xie Fan 202070080637 MTI 英语口译&lt;/center&gt;<br /> <br /> ===Abstract===<br /> <br /> With the continuous enhancement of China's overall national strength and international influence, Chinese is playing an increasingly important role in communications and exchanges among countries all over the world. An increasing number of Chinese neologisms are used to express and describe the status quo. These neologisms invigorate Chinese culture, however, meanwhile, they make it harder for the world to understand Chinese. <br /> <br /> On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.<br /> <br /> ===Key Words===<br /> <br /> Chinese neologisms; cross-cultural theory; English translation; strategies<br /> <br /> ===题目===<br /> <br /> 跨文化翻译理论指导下汉语新词英译的研究<br /> <br /> ===摘要===<br /> <br /> 随着我国综合国力和国际影响力不断增强，汉语在世界各国沟通与交流中起到越来越重要的作用，用来表达和描述社会状态的汉语新词也日益增多。这些新词给中国文化带来生命力的同时，也给世界人民理解汉语带来了困难。<br /> <br /> 一方面，语言本身存在着不可译性，每种语言在其组词造句、表达方式上都具有其独特性，现实中并不存在两种完全对等的符号系统。另一方面，不同的民族有着不同的历史传统、宗教信仰、思维方式，这尤其增加了语言理解的难度。因此，跨文化翻译成为中华文化传播过程中的重要一环。通过翻阅相关资料，不难发现由于汉语新词的英译起步较晚，国内外相关翻译研究尚未成熟，因此在英译汉语新词的过程中出现了一些问题。前人已有相关文章指出过这些问题，但没有提出如何才能避免这种问题、提高译文质量。基于前人的相关理论和观点，并结合实例，本文将首先介绍汉语新词分类及其特点，然后说明跨文化翻译理论对于英译汉语新词的意义，最后介绍在跨文化翻译理论下英译汉语新词时的几种方法，希望为后续规范汉语新词英译行为提供必要参考。<br /> <br /> ===关键词===<br /> <br /> 汉语新词；跨文化翻译；英译；策略<br /> <br /> ===Introduction===<br /> <br /> With the growing power of China and the further improvement of the globalization, China's contact with other countries in the world has become closer. And how to maintain Chinese culture’s uniqueness when it is introduced to the world has been the top priority for translators. The development of China has given birth to a large number of Chinese neologisms with its uniqueness. The society changes with each passing day, covering from international affairs to domestic matters. Against this background, neologisms are likely to be derived. These words attract widespread attention and gradually enter people's daily life. Since the implementation of the reform and opening up to the outside world, a great number of Chinese neologisms have appeared. <br /> <br /> Not only do these neologisms with Chinese characteristics vividly show Chinese people’s understanding of their unique phenomena, but also they largely enrich the expression of Chinese. However, at the same time, these words pose serious problems for translators as well. On the one hand, the differences between Chinese culture and western countries’ culture are numerous, which makes it hard to find equivalent of Chinese neologisms in English. On the other hand, with the times going forward, the number of Chinese neologisms is steadily increasing, which results in difficulties in translating Chinese neologisms into English. Therefore, Cross-cultural translation of Chinese neologisms into English becomes prevailing. Cross-cultural translation theory was proposed by Mary Snell Hornby in her well-known representative book Translation Studies: an Integrated Approach. She believes that translation is not a process of decoding or the transformation of language symbols, but also the transformation of cultural patterns. Due to the rapid development of Chinese society in the past decade, more and more translators have turned to Chinese neologisms, making the study of English translation of Chinese neologisms a new focus. Chinese Translators Journal, Lexicographical Studies and other authoritative academic journals have set up columns for translation of Chinese neologism. There are also vocabulary books compiled according to the specific types of Chinese neologisms, such as Chinese-English Expressions of Current Events by Yang Quanhong and English Translation of Buzzwords and Sayings by Chen Dezhang. In addition, the most representative ones include Yang Quanhong's Approaches to Translation of Chinese Words and Expressions into English and Zhang Jian's On Translation of Chinese Press Neologisms into English. In the age of information, it is not hard to find English translation of Chinese neologisms on English learning websites such as https://www.chinadaily.com.cn/, https://www.en84.com/ and so on. These websites have launched platforms for English translation of Chinese neologisms and updated them timely. So far, scholars have studied Chinese neologism from different perspectives. This paper is based on 138 related articles including these key words such as “cross-cultural theory” “Chinese neologisms” and “English translation” on http://kns.cnki.net. Fu Rong narrated the difficulties and methods in The English Translation of Chinese Neologism from a Cross-cultural Perspective. Zhou Hongjie elaborated on the basic principles, methods and key points in The English Translation of Chinese neologisms from a Cross-cultural Perspective. In addition, a majority of articles analyzed the status quo in the English translation of Chinese neologisms from the perspective of cross-cultural translation theory, but few dwell on strategies of solving the problems during the course of translation. This paper introduces Chinese neologisms and its classifications and characteristic in the second section, the significance of cross-translation to Chinese neologisms in the third section and ways of translating in the fourth section. It is based on the previous viewpoints and puts forward practical strategies to be followed in the translation of Chinese neologisms from the perspective of cross-translation theory combining with examples.<br /> <br /> ===Chapter 1 Overview of Chinese Neologisms===<br /> <br /> Neologisms are words new in connotation or form. In other words, they can either be new words created to express new concepts and phenomena in line with times or existing words given new meanings. These words help the further development of language, embody Chinese people's latest understanding of the world with the times going forward, and enrich the expression and promote the transmission of Chinese language. (Fu Rong, 2015,79)<br /> <br /> To better translate Chinese neologisms into English, we need to have a deeper understanding of Chinese neologisms, including its classifications and characteristics. Generally speaking, Chinese neologisms can be classified into four categories, namely, old words endowed with new meanings, Chinese abbreviations, newly generated words and loan words. (Fu Rong, 2015,80)<br /> <br /> ====1.1 Classifications of Chinese Neologisms====<br /> <br /> Old words endowed with new meanings, as the name suggests, are existent words that have been endowed with new meanings for reuse even though have been forgotten for a long time. Take “备胎(spare tire)”as an example, which refers to an extra tire carried in a motor vehicle for emergencies. It now refers to a back-up, second line, just-in-case, or a B-plan or contingency, in other words, someone who is benched now. Besides, “粉(powder)”originally refers to fine powder used for makeup or paint, while it means having a crush on or adoring a famous celebrity now. (Li Chunjiang, 2015,59)<br /> <br /> With the changing society of China, the essential characteristics of the things or phenomena referred to by the old words have changed as well. Because of the uniqueness pf Chinese words, it may be defective to use substitute words and fail to reflect the pun. Not only does endowing the existing words with new meanings produce connection between old words and new meanings, but also reduces the trouble of creating new words. (Li Chunjiang, 2015,62)<br /> <br /> Chinese abbreviations are the result of refining existing words. The process of extracting mainly depends on the importance of each part of the words. Those significant parts are selected to replace the lengthy words. The most common Chinese abbreviations can be divided into three forms. (Liao Yingying 2008,66)<br /> <br /> First, extracted initials. Such as “哥哥(brother)--GG”, “笑死我了(It’s so funny that I have a shortness of breathe)” and “漂亮小姐姐(good-looking sister)--PLXJJ”. Second, syllable imitation. Such as “呜呜呜 (onomatopoetic words of cry)--555”, “我爱你一生一世(I love you forever)--5201314” and “不要这样子(don’t do like this)--表酱紫”. Third: reduced words. Such as “很累，感觉不会再爱了(feel so tired that will not fall in love again)--累感不爱” and “躺着也中枪(a lying person can be shot as well)--躺枪”. (Liao Yingying 2008,67)<br /> <br /> Nowadays, people are always pursing a simple and peaceful life, which gives rise to the frequent use of abbreviations. Nevertheless, the abbreviations of words should neither be arbitrarily imitated, nor be simply carried out by way of analogy. Instead, the abbreviations with the widest social acceptance should be selected through investigation and evidence collection from multiple aspects. (Liao Yingying 2008,68)<br /> <br /> Newly generated words can be roughly divided into two types. The first is generated through metaphors, similes and metonymy. For instance, “虎妈(tiger mom) is defined as strict disciplinarian mothers who demand high achievement from their children and maintain control of their activities”, and“猫爸(cat dad)”refers to fathers who take a more softly approach to parenting, preferring to be emotionally sensitive, gentle and relaxed about rules and discipline, and they are in the belief that this kind of parenting will make their offspring self-sufficient and independent. (Ou Yangyin 2000,23)<br /> <br /> With new things springing up, people need words to describe them but there are no ready expressions at hand. The metaphorical use of some expressions will do the job as it will reflect the same essence of the objects through metaphor. The second type is created with the arrival of new phenomenon. For instance, “APEC蓝” is employed to describe the quality air and the exceptionally blue sky in Beijing during the APEC meeting in 2014. And “蒜你狠”is used to illustrate the price of garlic which soared more than 100 times in 2010, even outstripping meat and eggs. (Ou Yangyin 2000,24)<br /> <br /> A great number of new phenomena and new concepts spring up, however, it’s hard to describe them with the existing words. Under this circumstance, the vocabulary system needs to produce more new words to meet the requirements of social communication.(Liu Miqing 2005,45)<br /> <br /> The advancement of globalization, communication and cooperation in some fields among countries are deepening day by day, which inevitably bring changes in language, and that is so-called “Chinese localization”. Loan words are “transformed” into Chinese words in accordance with the rules of pronunciation, semantics, structure and grammatical system of Chinese. (Li Chunjiang, 2015,63)<br /> <br /> In the mid-1970s, Taiwanese used “show--秀” as morphemes to match with &quot;做&quot; and &quot;作&quot;. To the surprise of the editor, these newly created words were so well-received in the entertainment industry that a large number of words such as “歌舞秀、双人秀、真人秀、脱口秀”were produced. Nowadays, the neologism “秀儿” referring to those who like to show off their resources is widely accepted. Similarly, “博客、思客、播客、朋客、创客”appeared one by one. “客” was derived from “黑客(hacker)”, in other words, the word group of “X客” were generated. (Li Chunjiang, 2015,63)<br /> <br /> ====1.2 Characteristics of Chinese Neologisms====<br /> <br /> In order to have better quality of translation of Chinese neologisms, translators need to have a deep insight into its characteristics. Chinese neologisms are characterized by cultural uniqueness, simplicity, vividness and uncertainty. (Kang Shiyong 2003,152)<br /> <br /> Chinese neologisms come from a wide range of sources, but they all have roots in China. Some are based on Chinese culture. For instance, “山寨(mountain fastness)”originated from Water Margin, which used to refer to the place where the poor live. But when used online, the original meaning is transformed to plagiarism, imitation, parody and other popular cultural phenomena. Others are on the basis of customs. Take “红色炸弹(red bomb)” as an example. Since Chinese traditional wedding ornament is red, the word &quot;红色炸弹(red bomb)&quot; is used to describe the overwhelming wedding invitations. (Wang Weidong 2011,347)<br /> <br /> We are living in a fast-paced era. The speed of generation and transmission of information are accelerating. Under this situation, we crave for cost-effective communication. This status quo requires concise language. Chinese abbreviations exactly exemplify the simplicity. Abbreviations are condensed with rich information content, and effectively reinforce the expressiveness of Chinese vocabulary. Therefore, the number of abbreviations in vocabulary increases rapidly.(Wang Weidong 2011,349)<br /> <br /> The appearance of Chinese neologisms meets people's needs to describe an object or a phenomenon more vividly. Such as “人艰不拆” means that since life has been so hard, some things should not be exposed. And “酸菜鱼”is used for persons who are jealous, ugly, and redundant to make fun of themselves. “剁手党”refers to the addicted shopping crowd. They buy countless things, but often regret after calming down, even vow to chop off their hands if they don't act rationally next time. The vividness of Chinese neologisms adds humorous effects to the expression.(Wang Weidong 2011,350)<br /> <br /> With the crazy tempo of life, Chinese neologisms emerge in an endless stream. For one thing, with the increasing influence of network to people's life, online language is a shock to traditional language since many words are not compatible with Chinese language system. For another, neologisms fade away with the end of an event and are quickly replaced by neologisms with the times.(Wang Weidong 2011,351)<br /> <br /> ===Chapter 2 Cross-cultural Translation Theory and Its Significance===<br /> <br /> As Chinese neologisms are rooted in Chinese culture, translators are supposed to turn to cross-cultural translation theory when translating Chinese neologisms into English. Hence, having a deep insight into it and its significance helps improve the quality of translation.(Fu Rong 2015,80）<br /> <br /> ====2.1 Hornby’s Cross-cultural Translation Theory====<br /> <br /> Cross-cultural translation theory refers to translation across cultural divide and be less influenced by factors such as politics, religions, regions and ideologies. Cross-cultural translation theory was put forward by German translation theorist Mary Snell-Hornby. From her perspective, translation is a kind of cross-cultural communication. In this way, translators should not only have a bilingual ability, but also the cultural backgrounds of the source language and the target language. (Snell Hornby 1995,21)<br /> <br /> In reality, there are no two completely equivalent language systems. Each language has its own uniqueness in terms of word formation, sentence construction and expression, which is even more distinctive in translating into the target language with totally different economic, political, social and cultural backgrounds. Therefore, cross-cultural translation becomes a rigid demand. In the process of cross-cultural translation, translators are supposed to strike a balance between Chinese style and maximize the recipients’ understanding and acceptances’ of Chinese culture. (Snell Hornby 1995,24)<br /> <br /> Mary Snell-Hornby proposed that translators should skillfully switch the two languages in the process of translation as well as deeply dig into the culture backgrounds behind the two languages. In other words, translation is more bicultural transformation than bilingual transformation. (Snell Hornby 1995,30)<br /> <br /> In the process of translation, the cultural deposits have a direct bearing on the expression of words, its connotations and emotions. Hence, translators must take these factors into consideration in translation. Cross-cultural translation theory has the following requirements for translation, which can be divided into three aspects: first, to express the meaning of the source language. Second, to dig out the cultural connotation of the source language. Third, to convey the emotion of the source language. Only when translator meets the three requirements above can the quality of the translation be guaranteed.(Jing Huang 2019,433)<br /> <br /> ====2.2 Significance of Cross-cultural Translation Theory====<br /> <br /> The significance of Cross-cultural Theory to English Translation of Chinese Neologisms can be divided into the following three aspects. The British historian Dr. Toynbee once said, it is not surprising to say that the 21st century belongs to East Asia led by China for China’s control over East Asia is not merely political, but also cultural. Though East Asian countries such as Korea and Japan maintain their political independence, they are strongly influenced by Chinese culture.” Therefore, promoting English translation of Chinese neologisms is very important for enriching the world language system, improving China’s soft power and introducing Chinese culture into the world.(Snell Hornby 1995,47)<br /> <br /> =====2.2.1 Learning the Chinese Idiomatic Expression=====<br /> <br /> Translators can learn the rules of Chinese word-formation and characteristics of Chinese expression in the process of translating from the perspective of cross-cultural translation theory. There are great differences between Chinese and English word-formations. Take the three main forms of Chinese neologisms as example. Subject-predicate forms, such as “私聊” and“群聊”; Verb-object forms, such as: “煞风景”“抬杠”; Complementary forms, such as: “吓尿”and so on. (Kang Shiyong 2003,178)<br /> <br /> In English vocabulary system, most compound words are in the form of nouns, while Chinese has a variety of parts, such as verbs, nouns and adjectives. Translators can grasp the characteristics of Chinese word-formation through the translation and readers can understand the Chinese idiomatic expression. (Kang Shiyong 2003,179)<br /> <br /> =====2.2.2 Spreading Chinese Culture Contained in Chinese Neologisms=====<br /> <br /> Chinese neologisms are produced in China’s distinctive environment, containing culture with Chinese characteristics. They are epitomes of China's development in a certain period, carrying much social information. The world can learn about the development of China through Chinese neologisms. (Kang Shiyong 2003,181)<br /> <br /> It is an effective way to spread Chinese culture contained in Chinese neologisms through cross-cultural translation. For example, “打虎” and “拍蝇” have become buzzwords in China these years. In fact, both above two neologisms are political terms. The “tigers” refer to corrupt officials at higher level and “flies” at grassroots level. Accordingly, determination of Chinese government to take out “tigers” and swat “flies” can be seen through these coinage of new terms such as “打虎” and “拍蝇”. Therefore, cross-cultural translation helps spread Chinese culture contained in Chinese neologisms. (Kang Shiyong 2003,182)<br /> <br /> =====2.2.3 Conveying Emotion Expressed by Chinese Neologisms=====<br /> <br /> Emotional expressions are essential to translation of Chinese neologisms. Translation of Chinese neologisms from the perspective of cross-cultural translation theory helps to convey emotion expressed. (Kang Shiyong 2003,183)<br /> <br /> For example, it is not proper to translate“和事佬”into“peacemaker”. In Chinese, “和事佬”refers to persons who are unprincipled and blindly promote reconciliations, with derogatory meaning. While in English, “peacemaker” refers to those who create and safeguard peace, with commendatory emotions. Therefore, if the cross-cultural principles are violated in translation, there will be differences in the expression of emotions, which will hinder the expression of real emotions and lead to misunderstanding. (Kang Shiyong 2003,183)<br /> <br /> ===Chapter 3 Methods of Chinese Neologisms Translation===<br /> <br /> To improve the quality of Chinese neologisms translation, translators need to have a full knowledge of problems existing in the process of the translation of Chinese neologisms, and then avoid them by choosing appropriate ways of translating and following principles of cross-cultural translation theory. The late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. (Liu Miqing 2005,77)<br /> <br /> Nowadays, it is common to see rigid translation, which leads to failure to convey its true meaning. For example, if “我好方”is translated into “I’m so square”, it will confuse readers. In fact, this neologism refers to people in panic. As its word “方”pronounces similarly to the word “慌”，it is employed to make fun of those who can't distinguish between “f”sound and “h” sound. Similarly, “蓝瘦，香菇” can’t be translated into “blue monsters and shiitake mushrooms” for it refers to “I’m so sad that I’m going to cry”. Hence, rigid translation will result in misunderstanding. Not only should we make translations interesting, but also we need to ensure they are correct.(Li Chunjiang 2015,63)<br /> <br /> Many Chinese neologisms, after being translated into English, can express their meanings accurately, though fairly lengthy. For instance, if“无语”is translated into “have nothing to say”, it seems a little bit lengthy. We can translate it into“speechless”, instead. When translating Chinese neologisms, translators are supposed to use as few words as possible to accurately convey as much information as possible, making readers spend as little time as possible to understand them.(Li Chunjiang 2015,63)<br /> <br /> Till now, many neologisms lack Chinese uniqueness after being translated into English. For example, “杠精”will lose the uniqueness the word“精”carries if it is translated into“argumentative person”. In China, “精”commonly describe demons and ghosts, with derogatory meaning, such as those used in“白骨精”“蜘蛛精”and“蜈蚣精”. In this case, it is not proper to translate“精”into “person”. Therefore, we need to ensure Chinese culture be spread in the process of translation.(Li Chunjiang 2015,64)<br /> <br /> ====3.1 Transliteration====<br /> <br /> Transliteration is the translation of Chinese neologisms into English which sounds similarly to Chinese. Transliteration of Chinese neologisms into English can fully retain the pronunciation of Chinese and traditional Chinese culture. What’s more, it is more efficient. Zeng Lisa once proposed that translators should accurately convey more information with as few words as possible, so that the audience can obtain the clearest and smoothest information with as little time as possible. Transliteration gives priority to efficiency and can meet the requirements of the fast pace of modern society, improve the communicative efficiency of readers, and save space for readers' cognitive ability to play. (Fu Rong 2015,81)<br /> <br /> For example, &quot;大妈&quot; is transliterated into &quot;dama&quot; and entered the Oxford dictionary. In addition to this, there are a sea of transliterations of Chinese neologisms in modern English vocabulary, for example: &quot;风水&quot; (fengshui), &quot;八卦&quot; (bagua), &quot;太极&quot; (taichi), &quot;气功&quot; (qigong), and &quot;武术 &quot;(wushu), &quot;功夫&quot; (kungfu), &quot;胡同&quot; (hutong), &quot;麻将&quot; (mahjong), &quot;叩头&quot; (while), and so on. Transliteration makes Chinese neologisms widely spread and its culture behind. However, if translators stick to the literal interpretation or explanatory translation of some words, it may lead to cumbersome words and poor quality. (Fu Rong 2015,82)<br /> <br /> ====3.2 Literal Translation====<br /> <br /> Literal translation is one of the efficient way of translation. Literal translation enables us to directly find equivalent expressions in English in terms of form, style and connotation, which is the perfect embodiment of &quot;commonness&quot; between English and Chinese. Above all, literal translation helps promote Chinese culture. Language carries and transmits culture, as it is the heart of the cultural system. Culture influences and even shapes language, which is the foundation of language and the source of innovation. In the current context of cross-cultural communication, translation is not only a process of language conversion, but also a process of cultural transplantation. (Fu Rong 2015,82)<br /> <br /> The transmission between eastern and western cultures is practical in theology, but it is limited in reality. Chinese neologisms are the most active part of Chinese vocabulary, which reflect way of thinking, values, customs and lifestyles formed by the Chinese people in the new natural and social environment. Therefore, literal translation works for spreading Chinese culture. (Fu Rong 2015,83)<br /> <br /> In modern English, examples of literal translation of Chinese neologisms can be found everywhere, such as “一国两制--one country, two systems”, “二孩政策--two-child policy”, “希望工程--Hope Project” and “好久不见long time no see” and so on. Literal translation is straightforward, concise and efficient. Not only can it effectively reduce the boredom caused by the transformation from Chinese to English, enrich the expressiveness of English, but also maximize the retention of Chinese cultural. Therefore, it is necessary to interpret or add annotations in the context, otherwise it is difficult to convey its Chinese characteristics and cultural connotation. (Fu Rong 2015,83)<br /> <br /> ====3.3 Free Translation====<br /> <br /> Free translation is another way of translating, which emphasizes the relative independence of both Chinese and English. On the one hand, differences exist in different language systems including grammatical constructions and expressions. On the other hand, there are quite a few distinctions between different cultures including historical traditions, religious beliefs and even ways of thinking, ways of thinking. Therefore, sometimes free translation is required to avoid misunderstanding and disputes. Free translation refers to reproduce the matter without the manner, or, the content without form. Put another way, it explains the general idea of Chinese neologisms. (Fu Rong 2015,84)<br /> <br /> For example, “豆腐渣工程” refers to the construction project that collapsed or did not comply with relevant regulations due to cutting corners in the construction process. It is translated into English as “jerry-built project”. “白色污染”, the pollution of the environment by plastic waste that is difficult to degrade, is translated as “plastic pollution”. In a word, although the paraphrased neologisms need not strictly stick to Chinese, it can better reflect the meaning of Chinese. (Fu Rong 2015,84)<br /> <br /> ===Conclusion===<br /> <br /> The emergence of Chinese neologisms demonstrates a new face of China. Neologisms are new in content, form, and content, which are produced to express new concepts and phenomena. However, due to the obvious cultural differences between China and western countries, there are many obstacles in the course of translating Chinese neologisms into English. Neologisms are perhaps the number one problem for non-literary translators and professional translators. Under this circumstance, cross-cultural translation of Chinese neologisms becomes a prevailing trend. Cross-cultural translation refers to translating crossing cultural divide and being less influenced by factors such as politics, religions, regions and ideologies. (Ou Yangyin 2008,88)<br /> <br /> In a way, translating Chinese neologisms into English from the perspective of cross-cultural translation theory can help to promote understanding of Chinese. In another, it can effectively convey the emotions expressed by neologisms. Moreover, it can help to promote the spread of Chinese culture. (Ou Yangyin 2008,91)<br /> <br /> In spite of the continuous standardization and improvement of translation, there are still some problems in the process of translating Chinese neologisms into English, such as rigid translation, wordy translation and translation with cultural loss. English translation of Chinese neologisms may be a daunting problem, so we need translators with joint efforts, both stick to effective translation methods, flexible and innovative, and latest changes, in order to improve the overall quality of translation of Chinese neologisms, thus speak up aloud in the international community. In this paper, three main strategies are suggested, and they are transliteration, literal translation, and free translation. (Ou Yangyin 2008,143)<br /> <br /> To better translate Chinese neologisms from the perspective of cross-cultural translation theory, translators need to adopt compatible ways of translating with different types of Chinese neologisms and target readers. On the one hand, it is necessary to fully grasp Chinese neologisms, which requires translators to have more knowledge of Chinese cultural background and Chinese idiomatic expression. On the other hand, we should find the way of translating which is most accepted by readers. (Ou Yangyin 2008,155)<br /> <br /> Moreover, Chinese neologisms are constantly updated with the development of the society. If we do not keep pace with the times and know the latest meaning of Chinese neologisms, it may lead to misunderstanding. Therefore, translators should constantly supplement, update or revise the English translation of those Chinese neologisms without definite translation, which is an important guarantee to keep the English translation of Chinese neologisms accurate. Advancing with the times often requires translators to pay close attention to the post-translation effect. (Liu Miqing 2005,387)<br /> <br /> Plus, translators should also constantly draw on new English words. Chinese neologisms have strong timeliness, especially with the increase of Internet users, hence, at any one time emerge Chinese neologisms which are closely associated with the society. In short, in the process of translation, translators must pay attention to riding on the trend of the times so as to update the expression of the target language and readily accepted by readers. Update expressions means keeping up with the development of the times and use idiomatic English to illustrate new things, new words and new expressions. (Liu Miqing 2005,389)<br /> <br /> In other words, on the basis of grasping the exact meaning of Chinese neologisms, we should make it understood in English. Translators should not only improve their ability to understand Chinese, enhance their ability to translate Chinese into English, but also be keeping with the times so as to introduce more Chinese neologisms into English and continuously inject more Chinese elements into English. In this way, Chinese culture can be spread and the expression of English can be innovated.(Liu Miqing 2005,391)<br /> <br /> ===References===<br /> <br /> *Baker Mona. In Other Words: A Coursebook on Translation [M]. London/New York: Routledge, 1992.<br /> <br /> *Jing Huang. Study on the Influence of Cultural Construction and Cultural Deficiency on English Translation[A].He Nan: Proceedings of 2019 International Conference on Humanities,Cultures,Arts and Design, 2019.<br /> <br /> *Kata. An introduction for translators, interpreters and mediators. 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Amsterdam: John Benjamins, 1995.<br /> <br /> *Fu Rong付蓉.(2015).从跨文化的角度探讨汉语新词新语的英译[A Study of English Translation of Chinese Neologisms from a Cross-cultural Perspective].语文建设Language Planning<br /> <br /> *Kang Shiyong亢世勇.(2003).《新词语大辞典》的编撰[The Compiling of Dictionary of Chinese Neologisms].辞书研究Lexicographical Studies<br /> <br /> *Li Chunjiang李春江.(2015).汉语网络新词的英译探究[A Study of Chinese Online Neologisms].宁波工程学院学报Journal of Ningbo University of Technology<br /> <br /> *Liao Yingying廖颖颖．(2008).论中国主流英语新闻报刊对中国特色词语的英译策略[Strategies of English Translation of Words with Chinese Characteristics Used by Chinese Mainstream English Newspapers].湖南师范大学学报Journal of Hunan Normal University<br /> <br /> *Liu Miqing刘宓庆.(2005).''新编当代翻译理论''[''A New Edition of Contemporary Translation Theory''].北京：中国对外翻译出版公司 Beijing:National Translation and Publishing Company of China<br /> <br /> *Ou Yangyin欧阳因.(2000).''朗文中国流行新词语''[''Langwen Chinese Neologisms''].北京：北京大学出版社 Beijing:Peking University Press<br /> <br /> *Wang Weidong王维东.(2011).网络热词汉译英探究[A Study of the English Translation of Chinese Online Neologisms]. 北京:''中国翻译'' Beijing: ''Chinese Translators Journal''<br /> <br /> *Zhang Jian &amp; Tang Jianduan张健,唐见端.(1996).略谈汉语新词新义的英译[A brief Discussion on the English Translation of Chinese Neologisms].北京:''中国翻译''''Chinese Translators Journal''<br /> <br /> --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:53, 20 December 2020 (UTC)<br /> <br /> ='''Translation of Dish Names'''=<br /> <br /> <br /> ==On the C-E Translation of Chinese Dish Names: From a Functional Equivalence Perspective——刘洋诺Liu Yangnuo 英美文学==<br /> &lt;center&gt;刘洋诺Liu Yangnuo, 202020080621.&lt;/center&gt;<br /> <br /> === Abstract ===<br /> <br /> With increasing global influence, the task of cultural communication is a formidable project. Translation as a medium plays an important role in cultural communication. ''A Bite of China'', a TV program to introduce Chinese dishes, has gained popularity at home and abroad, thus broadcasting Chinese dishes. But difficulties in translating Chinese dishes are evitable considering abundant culture-loaded expressions and complex cooking skills. The chapter discusses the theoretical and practical significance of researching Chinese dish names. We summarize some points of view from other scholars. Also, we analyze the difficulties in translating Chinese cuisines from a functional equivalence perspective. We will discuss three strategies for translating Chinese dish names combined with translation examples.(Zhangtingli 2015,1-2)<br /> <br /> === Keywords ===<br /> <br /> Chinese-English Translation; Chinese Dish Names; Functional Equivalence<br /> <br /> === 题目 ===<br /> 从功能对等理论浅析中式菜名的英译<br /> <br /> === 摘要 ===<br /> <br /> 中国国际影响力不断提高，文化交流的使命更加艰巨。翻译作为文化交流媒介，其重要性也不容忽视。中国饮食文化节目《舌尖上的中国》在海内外热播也进一步推动了中国特色饮食文化的传播，但是其丰富的文化内涵和多样的烹饪技巧也给译者带来不少困难。本文探讨研究中国菜名翻译的理论和实践意义，总结中国菜名翻译目前的研究成果。从功能对等理论出发，分析中国菜名翻译的困难，同时也结合翻译实例，提出三个中国菜名翻译的策略。<br /> <br /> === 关键词 ===<br /> <br /> 中译英；中国菜名；功能对等<br /> <br /> === Introduction ===<br /> <br /> As the old Chinese saying goes, food is the God of the people. In other words, we regard food as the primary need. Chinese cuisine has a firm connection between our daily life and Chinese culture. But when it comes to Chinese cuisine, there are many aspects left for us to consider, such as the etiquette of a dining table, dietary structure or habits, the art of dietary decorations, and cultural connotation. In the chapter, we will mainly focus on Chinese dish names. From a semantic linguistic point of view, there are two structures in a language. The surface structure is Chinese dish names themselves, but the deep structure is the meaning behind these dish names. (Chu Yiyi 2017, 3-7)<br /> <br /> It’s not surprising that we will discuss the relationship between some Chinese dish names and their cultural connotation in the latter part of this chapter. Chinese dish names are endowed with Chinese culture through culture-loaded expressions or idioms. When we dive into our research, it’s easy to find out that behind some dish names from historical stories and anecdotes are layer upon layer of meanings. Although the majority of us understand the importance of translating Chinese dish names, good translations remain in the dark. The reasons abound, ranging from a great variety of Chinese dishes and difficulty in fully understanding of cultural connotation behind Chinese dishes. (Chu Yiyi 2017, 3-7)<br /> <br /> The chapter takes functional equivalence coined by Eugene Nida as a theoretical basis. In the first part, we look back on previous studies on the C-E translation of Chinese dish names. In the second part, we try to discuss difficulties in translating Chinese dish names in terms of basic information and cultural backgrounds. In the third part, we review the functional equivalence theory. In the last part, we turn to discuss the possibility of applying the theory into translation practice on Chinese dish names to improve C-E translation of Chinese cuisine. We consolidate commonly used strategies into three combined with translation examples in reality. (Chu Yiyi 2017, 6)<br /> <br /> And then we summarize what we have discussed before and point out the limitations of this chapter. The purpose of our research is to have a better understanding of our own culture and transmitting Chinese culture to foreigners. Apart from the cultural aspect, cultural communication interconnects with economic and political aspects, which is one of the reasons why China attaching much importance to cross-cultural communication and transmission. (Chu Yiyi 2017, 6)<br /> <br /> === Previous Studies on the C-E Translation of Chinese Dish Names ===<br /> <br /> Some scholars have paved the way for further researches. Among these researches, almost all scholars share the same Chinese cultural background. Some of them describe strategies for C-E translation of Chinese dish names based on several translation theories. Others analyze the C-E translation of Chinese dish names at restaurants abroad. Zhang Tingli (Zhang Tingli 2015, 1-2) summarized six characteristics of Chinese dish names based on ''A Bite of China'', a popular TV program in China. Below are six characteristics: place names plus ingredients, personal names plus ingredients, main ingredients plus supplementary ingredients, cooking procedures, various flavors, and cultural elements.(Zhang Tingli 2015, 1-2) <br /> <br /> Li Weiwei (Li Weiwei 2017, 1-2) wrote a report on Chinese-English cuisine interpretation under the guidance of Skopos Theory, including the Skopos rule, the coherence rule, the fidelity rule, and the loyalty rule. Che Yimo (Che Yimo 2019, 1-2) summarizes three principles to analyze the menu translation quality of a Chinese restaurant based on cross-cultural communication theories. The three principles include semantic proximity, cultural communication, and aesthetics. Xue Jingnan (Xue Jingnan 2015, 1-2) involves an analysis of the translation of Chineseness by Chinese-Canadians in food discourse from a cultural perspective, which provides a glimpse into Chinese culinary identity. (Che Yimo 2019, 1-2)<br /> <br /> Similarly, Lee Yi Yan (Lee Yi Yan 2016, 1-2) mainly focus on cultural and sociological phenomenon behind Chinese food. His research is based on two types of popular Chinese food narratives: Ang Lee's Eat Drink Man Woman was published in 1994 with a televisual documentary series ''A Bite of China'' released in 2012. As the chapter published in International Communication of Chinese Culture (Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp; Radina Mohamad Deli 2018,1-2), four scholars collected from Malaysian Chinese weddings and the lunar new year celebration to investigate the concrete and abstract naming of Chinese dishes and to discuss the common cultural considerations underlying them. (Lee Yi Yan 2016, 1-2)<br /> <br /> They found that concrete naming deals with the tangible aspects of a dish by incorporating the method of preparation, taste/aroma, the appearance of the dish, as well as container used. Under the guidance of their chapters, we can explore more in this infinite sphere. We pay tribute to the great efforts they have paid. While researches on the C-E translation of Chinese dish names have spread into most sectors, researches from a functional equivalence theory are few because previous scholars mainly apply Skopos theory and cross-cultural theory into their researches. In the chapter, we will discuss the C-E translation of Chinese dish names coupled with functional equivalence theory. In the next part, we will turn to existing problems in the C-E translation of Chinese dish names. (Zhang Tingli 2015, 1-2)<br /> <br /> === Existing Difficulties on the C-E Translation of Chinese Dish Names ===<br /> <br /> (1) Difficulty in Transmitting Basic Information of Chinese Dish Names<br /> <br /> Different translation versions of a Chinese dish always make foreigners confused. For example, there are at least three versions of 炮弹鱼, including Shell fish, bullet mackerel and trigger fish. We often blur the lines between scientific name and general name in our translation. Also, sometimes we seem to ignore distinct difference between two things by using the same name to define them. For example, some translators use bamboo fungus and edible tree fungus to stand for竹笋 and 木耳 respectively, but in reality 竹笋is completely different from 木耳. There are some subtle differences among Chinese dishes. (Mo Chuanxia &amp; Yue Lin 2020,5)<br /> <br /> As Mo Chuanxia and Yue Lin (Mo Chuanxia &amp; Yue Lin 2020,5) mentioned in their chapter, 水米籺is cooked rice pounded into a paste with stuffing inside for worship or diet. 籺is a defining food for South China, especially in Guangdong provinces. It is different from cake or pastry in Western culture. The best way to translate it is to use explanatory words. Below are some C-E translations related to Chinese dishes: 黄馍馍(yellow steamed bun), 肉夹馍(the marinated meat in a baked bun), 榴莲酥(crispy durian cake) and蒿子粑粑(crown daisy rice cake). Everyone who has ever eaten these four kinds of food will have an inkling of knowledge about the different flavor and shape between 黄馍馍and肉夹馍. (Mo Chuanxia &amp; Yue Lin 2020,5)<br /> <br /> Likewise, the word “sausage” is insufficient to translate 血肠, 腊肠, and 香肠. For some well-known Chinese food such as tofu, it’s unnecessary to translate it into bean curd as in 油豆腐(fried bean curd puff). It seems to be a nonessential part of translating Chinese dish names because we often are encouraged to create our translation. But for long-term effects, chaos will lead to a negative impact on the economic benefits of those Chinese dishes and cross-cultural communication. (Mo Chuanxia &amp; Yue Lin 2020,5) <br /> <br /> Judging from a great variety of cooking techniques in many Chinese dish names, they bring a lot difficulties in the rendering of Chinese cuisine. In Chinese, there are a lot of verbs to describe how to cook. I list some common verbs below: 炒, 煮, 炖, 炸, 煎, 煲, 蒸, 烧, 焖 and 拌. But when it comes to C-E translation, we translators seem to ignore these verbs and use the same &quot;with&quot; structure to translate all of them as in 莴笋炒火腿(Stir-fried ham with asparagus lettuce), 莲藕炖排骨(Stewed ribs with lotus root) and 虾子焖茭白(Shrimp roe stewed with cane shoots). On top of these commonly used verbs, some verbs are really difficult to understand for native speakers who are unfamiliar with cooking, let alone for foreigners.(Chu Yiyi 2017,13) <br /> <br /> The four words list below is a case in point: 煸, 焙, 焗, and 烩. The reason behind this phenomenon lies in lacking language about cooking techniques. The word list in this paragraph is more about the duration and degree of heating while cooking Chinese cuisine. As a translator, we should not only know general translation skills that can be applied to a large number of texts but also should have the inkling of other fields. Without background knowledge on cooking procedures, they will be stumbling blocks for translators striving for concise and accurate renderings. (Chu Yiyi 2017,13)<br /> <br /> After discussing cooking techniques in Chinese dish names, we will turn to the different flavors of Chinese cuisine. When burying myself into oceans of Chinese dishes, I divide all sorts of flavors into two categories. In the first category, the word list includes 酸辣, 三鲜, 川味, 麻辣, 卤味, 家常, 酱香, 五香, 香辣, and 酥. In the second category, 孜然, 铁板, 鼓汁, 姜汁, 泡椒, 糖醋 and 蒜泥 will put in a group because these nouns mainly derived from ingredients and cooking utensils rather than the flavor itself. The main function of these words is not referential but beautifying. The flavor of delicious Chinese cuisine was represented by these beautifying words, thus triggering a mouth-watering effect. (Che Yimo 2019, 6)<br /> <br /> But it's hard for the target reader to get the same effect as the source reader through translation due to lacking equivalent words and expressions. Likewise, some Chinese words that refer to all sorts of food don't have equivalent ones in English such as 什锦, 八宝, and 拼盘. If we translate them into &quot;all sorts of food&quot;, the aesthetic effect weaken. Whereas translation loss and gain are inevitable, the underlying aesthetic effect plays an important role in the translation process. On top of this, cuisines with Chinese characteristics lead to translation problems. Below are some Chinese dish names: 红豆沙, 撞奶, 龟苓膏, 木瓜雪耳羹, and 蛋白果糖水. Lexical vacancy leads to losing the adding touch that brings a work of art to life. (Che Yimo 2019, 6) <br /> <br /> Many translators tend to use word-for-word rendering to translate these Chinese dish names such as 红豆沙(orange-flavored red bean paste). Since Chinese dish names not only contains basic information of main ingredients and cooking skills but also mirrors culinary identity and wisdom, translators are supposed to pay considerable attention to convey layers of meaning in Chinese dish names. (Che Yimo 2019，6）<br /> <br /> (2) Difficulty in Considering Different Cultural Backgrounds<br /> <br /> The difference between Western culture and Chinese culture leads to problems in culture-loaded Chinese dish names. Chinese dish names are endowed with good omen. 鸳鸯锅(double-flavor hot pot) is a case in point. In Chinese culture, 鸳鸯 is a symbol of beautiful love and perfect marriage. But the beautiful underlying meaning is lost in Western culture. Appropriate ways to deal with culture-loaded words or expressions become an issue in the C-E translation of Chinese dish names. Though double-flavor hot pot conveys the basic information of this dish, the signified meaning remains in the darkness. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> Likewise, attention-grabbing Chinese dish names combined with Chinese culture background lead to translation problems such as 刀板香(sliced salted pork) and 片儿川(noodles with preserved vegetable). 刀板香 is a traditional pickled food in Anhui province. Through its dish names, it's difficult to know the main ingredients of this dish. A story lies behind the dish: When a person called Hu Zongxian came by one of his teachers, the wife of his teacher treated him to a delicious dish made of pork slices. Hu Zongxian felt satisfied with the dish and named it &quot;刀板香&quot;. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> 片儿川 is the most well-known dish in 奎元馆(a famous restaurant in Hangzhou). In the Qing Dynasty, many examinees were rushing to join an ancient test for selecting officials in Hangzhou, Zhejiang. Examinees from all over the country gathered in Hangzhou. To attract them, the shopkeeper supplied noodles made of pour-sweet vegetables, bamboo shoots, and pork slices. Three eggs were added to breakfast noodles, which contained a good omen for examinees. Therefore, a large number of examinees often came to eat noodles because Kuiyuan’s noodles were so cheap. Later, one of the examinees was got number one in a round of tests. When he went to the store to thank the owner, he found that the restaurant didn't have a name. So he named it &quot;Kuiyuan Hall&quot;. Since then, 片儿川 in Kuiyuan Hall has become famous and tables in Kuiyuan Hall are in full bloom. All those who come to Hangzhou to take the exam will come here to eat noodles for good luck. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> 片儿川 has special meaning for the person who is going to test. Similarly, foreign foods invade our daily life with increasing cultural communication. The origin of 罗宋汤(Borscht) is in Ukraine. 罗宋 is the transliteration of Russian and is originated from the early Shanghai Pidgin English. Russian Borscht (Borshch) is another commonly used name. During the October Revolution, a large number of Russians moved to Shanghai. They brought vodka and Russian-style western cuisine. The first western-style cuisine restaurant in Shanghai was opened by the Russians. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> This soup evolved from the Russian-style red cabbage soup. The Russian-style red cabbage soup is spicy and sour but Shanghai people are not used to it. Later, influenced by local taste, it gradually formed unique Shanghai-style borscht. In Shanghai-style borscht, we take beets as the main ingredient with supplements such as potatoes and carrots, spinach and beef, cubes, and butter. From what we discussed before, we can conclude that Chinese dish names often pay considerable attention to good connotations. Abstract meaning is mainly derived from legends, idioms, historical events, and auspicious words. When we start to translate Chinese cuisine, cultural considerations are an indispensable part to consider. It should be noted that translators take the responsibility to fill the gap between Chinese culture and Western culture. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> Except for source cultural background, target cultural background is also of great importance. When it comes to cultural taboos, 龙(dragon) is the first symbol coming to our minds. Whereas 龙 are often embedded with good connotations in Chinese cultures such as good fortune and bright future, 龙 often stands for brutal animal or person as in the well-known epic Beowulf. Below are some Chinese dish names with 龙: 龙抄手 (Easter Bunny Wonton), 龙须面(fine noodles), and 乌龙吐珠 (Sea Cucumber with Quail Eggs). Some translators replace dragon with bunny due to different preferences between Chinese culture and Western culture. Others omit word-for-word translation, rather emphasizing the main ingredients of the dish.(Wu Tingting 2017, 4)<br /> <br /> Also, some Chinese dish names with internal organs such as intestines or blood may keep target readers at bay. For example, in 肠粉(Steamed vermicelli roll) and 脑花(brain or brain flower), the former highlights main ingredients rather than being confined to word-for-word translation, but the latter fails to arouse the target reader's appetite. Further explanation and translation skills are involved in these dish names. Other examples include 夫妻肺片(Sliced Beef and Ox Tongue in Chili Sauce) and 撒尿牛丸(juicy beef ball). Word-for-word translation can be confusing or even disgusting for people who are unfamiliar with Chinese dishes. (Wu Tingting 2017, 4)<br /> <br /> 夫妻肺片 is a well-known dish mainly made of ox tongue, tripe, and beef. Guo Chaohua (husband) and Zhang Tianzheng (wife) created the dish. Nowadays, it becomes part of Chuan cuisine. Contrary to the dish name, the lungs of different animals are not the main component of the dish because 肺片 is originated from 废片. 废片 is a humorous name for all sorts of sliced internal organs. Likewise, though juicy beef ball conveys the basic information of the dish, it loses its attraction and refreshing impression. Therefore, target readers will have a totally different feeling from source readers. The equivalence between SL and TL can be broken. In the next part, we will have a brief review of functional equivalence theory to discuss the application of the theory into the C-E translation of Chinese dish names. (Wu Tingting 2017, 4)<br /> <br /> === Functional Equivalence Theory ===<br /> <br /> Functional Equivalence put forward by Eugene. A. Nida, a renowned American linguist, and translation theorist. Functional equivalence theory focuses on the verbal comparison between the SL and TL. Nida attempts to offer a new way to produce an equivalent, taking the relationship of the receptor to the text into account. Functional equivalence theory developed from dynamic equivalence. He defined dynamic equivalence as &quot;the quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors.(Nida 1993, 127)<br /> <br /> Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida 1969, 200). In the later works, he thought that the adequacy of a translation depended on “the reliability of the text itself, the discourse type, the intended audience, how the translated text is to be used, and the purpose for which the translation has been made” (Nida 1993, 127). Under the influence of Eugene. A. Nida, other subsequent scholars also put forward their understanding of functional equivalence.(Nida 1993, 127)<br /> <br /> The translator recreates the text in the target language by keeping some source-text information or linguistic elements invariant and adapting the rest to the receivers’ background knowledge, expectations, and communicative needs or such factors as medium-restrictions and deixis requirements(Yue Siwei 2013, 61-68). The term the closest natural equivalent implies that the rendering must be readable (related to the language form) and understandable (related to the content) to the target receptors, since different languages have different features of grammar and lexicon.(Nida 1993, 127)<br /> <br /> Functional-equivalence requires the highest degree of proximity (Zhang Qing &amp; Wang Jiaqi 2010, 880-888). The translation is a reproduction process of the source text in the target language, observing the target culture. The target language features in terms of contents, sentence structure, and lexis should be considered as criteria to adapt the source text before translating. The source text elements that do not fit in target culture should be revised or even neglected in translating to transfer the flavor of the source text while not violating target culture. (Nida 1993, 127)<br /> <br /> In Nida's view, the success of the translation depends above all on achieving an equivalent response. It is one of the four basic requirements of a translation, which are 1. making sense; 2. conveying the spirit and manner of the original; 3. having a natural and easy form of expression; 4. producing a similar response. He pays great attention to equivalence and the reader's response. Nida's functional equivalence theory has gone through three stages of development ranging from formal equivalence and dynamic equivalence to functional equivalence. The core of Nida's theoretical framework is mainly functional equivalence.(Jeremy Munday 2016, 126）<br /> <br /> Functional equivalence is mainly to enable the translation and original text to be equivalent in language function, rather than language form correspondence. The reader of the target language should fully understand the customs, social consciousness, and habitual expression mentioned in the original context. This receptor-oriented approach considers adaptations of grammar, lexicon, and cultural references to be essential to achieve naturalness. The target language should not show interference from the source language and the foreignness of the source text setting is minimized.(Jeremy Munday 2016, 126)<br /> <br /> Except for equivalence, the reader's response plays an important role in functional equivalence theory. In contrast with traditional translation views towards the source text and the target text, functional equivalence translation pays considerable attention to the receptor‟s response and the naturalness of the target language rather than language forms as formal equivalence. Though later translation theorists criticize Nida's functional equivalence given the impossibility of achieving functional equivalence in the translation process, his functional equivalence has still paved the road away from traditional translation views by instilling fresh views into translation studies.(Jeremy Munday 2016, 126) <br /> <br /> Functional equivalence theory provides a glimpse into dealing with the relationship between target text and related cultural expectations. For real and practical translation, functional equivalence sets the standard for what good translation is. So in the next part, we will discuss the application of this theory in the C-E translation of Chinese dish names. (Jeremy Munday 2016, 126)<br /> <br /> === Application of Functional Equivalence Theory in the C-E translation of Chinese Cuisine ===<br /> <br /> 4.1Princples of C-E translation of Chinese Cuisine<br /> <br /> Principles on C-E translation abound given different original texts. When it comes to the C-E translation of Chinese Cuisine, two principles should be mentioned. What comes first is faithfulness. The translator is supposed to translate the basic information of Chinese cuisine. Sometimes, ingredients and cooking procedures should be included in the translation process. The main purpose of our translation is to inform target readers, especially foreigners who know nothing about Chinese. In Chinese, we often use the number three to represent three kinds of ingredients. (Qing Zhang &amp; Jiaqi Wang 2010, 880)<br /> <br /> Therefore, we translators should list three ingredients clearly in the translation process. For example, in 扣三丝, some translators render it into Chicken, mushroom, ham threads in consommé. Though this rendering is in great detail, target readers can catch the point quickly. But for other larger numbers such as five and eight, listing all ingredients will lead to clumsiness. 八宝菠菜(Spinach with Eight Delicacies) is a case in point. This is the living proof for precise and clear translation. Faithfulness is not equal to a word-for-word translation. Various translation skills should be involved in the translation process to arrive at the principle of faithfulness. But the principle of faithfulness is not enough for a good translation. (Qing Zhang &amp; Jiaqi Wang 2010, 880)<br /> <br /> It’s noted that a distinct cultural difference plays an important role in cultural communication. If a translator fails to deliver cultural connotation in Chinese cuisine, these cultural-loaded dish names lost their attraction towards foreigners. Even though native speakers can understand what Chinese cuisine refers to, the functional equivalence is out of balance. The purpose of our study is not only to provide a glimpse into informing foreigners when they barge into a Chinese restaurant but also to spread Chinese culture behind Chinese cuisine. For example, in 烩南北(Stewed Mushrooms with Winter Bamboo Shoots), target readers fail to get the meaning from original words.(Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> Literal translation doesn’t fit in this Chinese cuisine because ingredients and cooking procedures are difficult to understand unless we dig more information on the Internet. The origin of the dish name lies in two different ingredients. Bamboo shoots are most in the south of China and mushrooms are most in the north of China. The combination of bamboo and mushroom represents the combination of culture in two parts of China. The precious value of Stewed mushrooms with winter bamboo shoots also lies in the combination of two precious ingredients.(Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> The same goes for榆钱饭(Elm Seeds Meal). 榆钱 is originally an ingredient in Shangxi province. But the dish name also bodes well for a well-off or prosperous future. Chinese people attribute their wish of getting more money to the word 钱(money). It sounds vulgar but the true wish is to live a better life. When translating Chinese cuisine, translators should consider the different cultural backgrounds to spare no efforts to broadcast Chinese culture. On top of this, some dish names are complicated to render them. For example, 龙, an image with red and gold color, refers to good wishes for a prosperous future in China but it’s disgusting in Western culture. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> Therefore, when we translate龙抄手, the word 龙 should be replaced by other words. Some translators try to translate it into Easter Bunny Wonton. Also, the same goes for words referring to an internal organ. 肠粉is a case in point. A dish name with intestines will lead to vomiting before eating. What’s more, the main ingredient in肠粉has nothing about intestines. Steamed vermicelli roll is a better translation version. The scariest and well-known Chinese dish name I have heard is 夫妻肺片. But the power of ingenious translation can help foreigners understand this dish and avoid awkwardness ahead of them. While broadcasting Chinese culture, cultural taboos in the culture of target readers also need to be taken into our consideration. After we have put forward two principles for C-E translation of Chinese cuisine, the next part will discuss some strategies available for translators in the translation process. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> 4.2Strategies for C-E translation of Chinese Cuisine<br /> <br /> First and foremost, a large number of Chinese cuisines can apply literal translation in some way. The main cooking procedures, ingredients, and skills should be very clear in dish names. Lexical equivalence is the main purpose of a literal translation. Also, we can divide the application of literal translation into four parts. The first part is the combination of the main ingredient and other supplementary ingredients. For example, in 羊肚包肉, roasted mutton wrapped in lamb tripe can avoid ambiguity. The most special ingredient in the dish is roasted mutton, which delivers some flavors to target readers. We can also render “番茄牛腩” into tomato and beef brisket.(Chu Yiyi 2017, 9)<br /> <br /> The spicy beef briskets and sour tomatoes arouse different feelings in the heart of target readers. Sometimes, the flavor of a dish makes itself clear in the name of a dish. When we use the literal translation, the flavor of a dish such as剁椒 and 家常 cannot be ignored. For example, in剁椒鸭肠(Duck Intestines with Chili) and家常烧蹄筋(Home-Style Braised Beef Tendon), Chili and home-style not only inform foreigners of basic information of this dish but also arouse a sense of taste in their mouths. The third part of the application of literal translation is the combination of utensils and ingredients such as 砂锅面(Casserole Noodles). In Chinese, 砂锅 is a utensil for cooking. (Chu Yiyi 2017, 9)<br /> <br /> But with the increasing popularity of noodles cooking by casseroles, casserole noodles have become a Chinese dish. The last part of the application of literal translation lies in the combination of cooking methods, eating methods, and ingredients. 手抓饼(Shredded Cake) is a case in point. As opposed to forks in Western culture, the Chinese tend to use chopsticks. Therefore, Shredded Cake is a dish without using chopsticks or any other dinner sets. But the literal translation is not a silver bullet for all C-E translation of Chinese cuisine. Sometimes, a dish includes too many ingredients or cooking procedures. If we apply to literal translation in this case, we will sacrifice simplicity to maintain faithfulness.(Chu Yiyi 2017, 9)<br /> <br /> Also, some translators applied literal translation with annotation to render dish names. For instance, let’s take “长寿面”, a cuisine name from A Bite of China as an example. The translation provided in “longevity noodles”, followed by the annotation “the noodles are long and slim, and long is homophonic to ‘chang’ and slim to ‘shou’, ‘changshou’ means longevity”. In this case, not only can the foreigners know the basic meaning of the dish, but they can also understand its cultural meanings (Chu Yiyi 2017, 9). Another example is螺蛳粉. Some translate it into Snail Rice-flour Noodles, a local snack in Liuzhou. Snail Rice-flour Noodles is very faithful to the Chinese dish name. But the translator added some explanations to emphasize local characteristics. The origin of Snail Rice-flour Noodles is in Liuzhou, Yunnan province. In this case, the translator tried to spread local culture in a dish name. (Chu Yiyi 2017, 9)<br /> <br /> Secondly, dishes with local names can apply to transliteration such as兰州拉面 Lanzhou Beef Noodles), 金华火腿(Jinhua Ham) and重庆小面(Chongqing Small Noodles). Some local names have become a brand for selling. They emphasize the authentic flavor of these dishes to attract people from other places or countries. As for some culture-loaded dish names, we fail to find the equivalent words in English. That’s the reason why we resort to transliteration. It’s a translation method mainly dependent on Chinese pinyin such as Lanzhou, Jinhua, and Chongqing as we mentioned above.(Chu Yiyi 2017, 12)<br /> <br /> One of the perks of transliteration is to emphasize local characteristics and spread local cultures. But transliteration is not confined to this area. Some translators combine transliteration into literal translation. For instance, if we simply translate “东坡肉” literally into“Dongpo’s Pork” without any further explanations, the target readers will get confused if they first see the translation. Thus, the explanation “Dongpo, a famous poet in the Song Dynasty” needs to be added (Chu Yiyi, 2017). Some dish names are from foreign countries such as 生鱼片(Sashimi). Sashimi is the Japanese way of speaking. Transliteration with sounds of foreign languages can apply to these Chinese dish names. Some translators also translate腌制泡菜 into kimchi rather than pickles cabbages, thus emphasizing Korean flavor rather than Chinese flavor. But few dish names originated from foreign languages. (Chu Yiyi 2017, 12)<br /> <br /> Lastly, some Chinese cultural-loaded dish names fail to fit the framework of literal translation and transliteration. Translators should apply free translation into their translation process. There are four categories of free translation applied to C-E translation of Chinese cuisines: named according to the characteristics of ingredients metaphorically, named after historical allusions, named according to the production process metaphor, and named after the meaning of good. As for the first category, 蚂蚁上树is a good example. The word-for-word translation of蚂蚁上树 is ants on a tree but it does not deliver the essence of the dish.(Siwei Yue 2013, 65-68)<br /> <br /> The main ingredients of the dish are minced pork and fine vermicelli. The final dish is similar to ants on the tree, so the Chinese give it a metaphorical dish name. Sauteed Vermicelli with Minced Pork is a better version than the original translation. Some dish names are full of historical allusions such as霸王别姬. The deep-level meaning of the expression霸王别姬 is to reveal the tragic ending of a hero in history. But there is a coincidence for the combination of turtle and chicken in the dish 霸王别姬. Different from mandarin, Chinese people give the nickname “王八” for the turtle. 姬in 霸王别姬 sounds are similar to 鸡(chicken).(Siwei Yue 2013, 65-68)<br /> <br /> The word-for-word translation of 霸王别姬 is farewell my Concubine, but turtle stewed chicken is easier to understand for target readers. As for the third category——named according to the production process metaphor, 驴打滚 is a case in point. 驴打滚 is one of the traditional snacks in northeast China, especially in Beijing and Tianjin. It is a three-color snack with yellow, white, and red. The final process of making is to sprinkle on the soybean noodles, which look like wild donkeys rolling up of the loess in suburb, so we named it 驴打滚(Donkey Roll). But compared to the donkey doll, fried chop rice cake shows the main ingredients of the dish, thus lowering the hurdles for understanding.(Siwei Yue 2013, 65-68) <br /> <br /> As for the last category, 佛跳墙 is a case in point. The literal meaning of 佛跳墙 is that a Buddha jumps over the wall. But actually, 佛跳墙 is a dish cooking all things in one pot. It comes from a story: when we open the jar, the smell of a dish becomes popular in other places as well. That attracts many Buddhas who jump over the wall to have a see. Also, the dish bodes well for longevity and reunion. That’s why we also call it 福寿全, a word full of good omens. From the strategies discussed above, we can find that there is no fixed pattern for C-E translation of Chinese cuisines. We, translators, should bear these principles and strategies in mind and put them into practice in our translation process. The ultimate goal for our translation is to produce a simple but accurate translation to inform target readers, especially foreigners. (Siwei Yue 2013, 65-68)<br /> <br /> === Conclusion ===<br /> <br /> With the popularity of Chinese culture, there has been a resurgence of interest in C-E translation of Chinese cuisine. In this chapter, I discussed the previous studies on this topic with functional equivalence theory to emphasize the importance of our research and try to find a research gap among these chapters. After discussing the existing problems on C-E translation of Chinese cuisine, I summarized some principles and strategies that can apply to C- E translation of Chinese cuisine. But what I discussed in the chapter is only a panoramic view of Chinese dish names.(Yi-Yan Lee, 2016, 10)<br /> <br /> There are eight classifications of Chinese famous cuisines ranging from Lu Cuisine and Chuan Cuisine, Yue Cuisine and Min Cuisine, Su Cuisine and Zhe Cuisine, Xiang Cuisine and Hui Cuisine. Under these eight Chinese cuisines, there are distinct differences in dish names considering the region and ethnic group. As we know, one size can’t fit all. Aside from researches on Chinese dish names, the cultural elements behind idioms related to Chinese dishes deserve more attention. (Yi-Yan Lee, 2016, 10)<br /> <br /> === References ===<br /> <br /> *Caiqiao Huo, Xiaomei Du &amp; Weichen Gu.(2020). The Metaphor and Translation of the Dish Names in Chinese Food Culture. Open Journal of Modern Linguistics (5) 423-428.<br /> <br /> *Jiangnan Xue. (2015). A Chinese Bite of Translation: A Translational Approach to Chineseness and Culinary Identity. Ottawa: University of Ottawa.<br /> <br /> *Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp; Radina Mohamad Deli. (2018). Between concrete and abstract: the Malaysian Chinese way of naming dishes. International Communication of Chinese Culture (3) 247–259.<br /> <br /> *Munday J. (2016). ''Introducing Translation Studies: Theories and Applications''. New York: Routledge.<br /> <br /> *Nida, Eugene A. &amp; Charles R. Taber.(1969). ''The Theory and Practice of Translation''. Leiden: E. J. Brill.<br /> <br /> *Nida, Eugene. A.(1993). ''Language, Culture and Translating''. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nord, C. (2001). ''Translating as a Purposeful Activity: Functionalists Approaches Explained''. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Qing Zhang &amp; Jiaqi Wang. (2010). Application of Functional Equivalence Theory in English Translation of Chinese Idioms. Journal of Language Teaching and Research (6) 880-888.<br /> <br /> *Siwei Yue. (2016). Functionalism Theory Applied in C-E Translation of Chinese Food Culture Text. Theory and Practice in Language Studies (1) 61-68.<br /> <br /> *Yi-Yan Lee. (2016). Imaging Identity with Food: A Study of Cultural Translation in Ang Lee's Eat Drink Man Woman and Documentary ''A Bite of China''. Hong Kong: The University of Hong Kong.<br /> <br /> *车宜默[Che Yimer].(2019). 跨文化交际视角下的中餐菜单英译案例研究[A case study of English translation of Chinese menus from a cross-cultural communication perspective].北京：北京外国语大学[Beijing: Beijing Foreign Studies University].<br /> <br /> *李玮玮[Li Weiwei]. (2017). 目的论视角下的中国菜名汉英口译实践报告[A practical report on Chinese-English interpretation of Chinese cuisine names from the perspective of purpose theory].山东：山东大学[Shangdong: Shandong University].<br /> <br /> *莫传霞,岳玲[Mo Chuanxia, Yue Ling].(2020).“再创作”翻译思想下的北海民俗饮食文化英译[The English translation of Beihai folk food culture under the idea of &quot;re-creation&quot; translation]. 广西教育学院学报[Journal of Guangxi Education College] (05) 78-81.<br /> <br /> *屠易义[Tu Yiyi].(2017). 从文化角度谈中式菜名的英译方法[The English Translation of Chinese Cuisine Names from a Cultural Perspective].上海：上海外国语大学[Shanghai:Shanghai International Studies University].<br /> <br /> *邬婷婷[Wu Tingting].(2017). 目的论视角下中式菜肴简介英译的翻译报告[A Translation Report on the English Translation of Chinese Cuisine Introduction from the Perspective of Purpose Theory].宁波：宁波大学[Ningbo: Ningbo University].<br /> <br /> *吴慧琦[Wu Huiqi]. (2020). 中西方饮食文化差异与菜名翻译——评《中西方饮食文化差异及翻译研究》[Chinese and Western food culture differences and the translation of dish names--Review of &quot;Chinese and Western food culture differences and translation research&quot;]. 食品工业[Food Industry] (09) 364-365.<br /> <br /> *张婷丽[Zhang Tingli].(2015). 目的论指导下的《舌尖上的中国》菜名英译策略[The strategy of English translation of the dish names of &quot;China on the Tip of the Tongue&quot; guided by purpose theory].湖南：湖南师范大学[Hunan: Hunan Normal University].<br /> <br /> --[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 13:40, 20 December 2020 (UTC)<br /> <br /> ==The Untranslatability and Loss of Meaning in Chinese Dish Names Translation--Taking Hunan cuisine names an Example - 袁雨晨 Yuan Yuchen==<br /> &lt;center&gt; 袁雨晨 Yuan Yuchen 202020080665 法语语言文学 &lt;/center&gt;<br /> ===Abstract===<br /> Chinese food culture has attracted much attention both at home and abroad, and chinese cuisine is gradually going to global markets. Cultural differences make the translation of chinese dish names a challenge for translators. Taking Hunan cuisine an example, we try to explore the translation methods of chinese dish names from the untranslatability theory of Catford and loss of meaning theory of Newmark, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.<br /> <br /> Chinese food culture has attracted much attention both at home and abroad, and Chinese cuisine is gradually going to global markets. Cultural differences make the translation of Chinese dish names a challenge for translators. Taking Hunan cuisine an example, we try to explore the translation methods of Chinese dish names from the untranslatability theory of Cat ford and loss of meaning theory of Newmark, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.<br /> --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:11, 19 December 2020 (UTC)<br /> <br /> ===Key words===<br /> Untranslatability，loss of meaning，Hunan cuisine names<br /> <br /> ===题目===<br /> 中国菜名的不可译性和意义的缺失——以湘菜菜名为例<br /> <br /> ===摘要===<br /> 中国的饮食文化在国内外备受关注，中国菜也逐渐走向世界，文化差异使得中国菜名的译法给译者带来了挑战。试以湘菜为例，从卡特福德的不可译理论和纽马克的意义缺失理论来探究湘菜菜名的翻译方法，从而在翻译过程中规避问题，达成中国菜名的相对可译性。<br /> <br /> ===关键词===<br /> 不可译性；意义缺失；湘菜菜名<br /> <br /> ===Introduction===<br /> Translation, as an indispensable means of the communication among different cultures, contributes a lot to the development of human civilization. But to translate the source language into target language accurately and perfectly is hardly impossible for every translator. Debates about untranslatability are one of the most heated issues about translation. On the one hand, we should insist that translation is possible due to the similarity of human experience, linguistic and cultural universality; on the other hand, we have to admit the fact that there are some insurmountable obstacles and difficulties in translation practices owing to linguistic and cultural disparities.Among cultural differences, the cuisine culture plays a very important role.(Wang Lijun 2008, 10)<br /> <br /> Translation, as an indispensable means of the communication among different cultures, contributes a lot to the development of human civilization. But to translate the source language into target language accurately and perfectly is hardly impossible for every translator. Debates about untranslatability are one of the most heated issues about translation. On the one hand, we should insist that translation is possible due to the similarity of human experience, linguistic and cultural universality; on the other hand, we have to admit the fact that there are some insurmountable obstacles and difficulties in translation practices owing to linguistic and cultural disparities. Among cultural differences, the cuisine culture plays a very important role.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:24, 19 December 2020 (UTC)<br /> <br /> <br /> The most outstanding example is Chinese cuisine culture which is different from most western countries. It is not only famous for daintiness but also the attractive dish names.The major concern of this paper is &quot;The Untranslatability and Loss of Meaning in Chinese Dish Names&quot;. Chinese cuisine is regarded as a great wonder of collection of cooking skills in foreign people's eyes. Westerners are often attracted to the looks of Chinese dishes besides their delicious flavor and taste. While the sight of Chinese dishes brings pleasure, the names of dishes also catch much attention of westerners. (Wang Lijun 2008, 10)<br /> <br /> The most outstanding example is Chinese cuisine culture which is different from most western countries. It is not only famous for daintiness but also the attractive dish names. The major concern of this paper is &quot;The Untranslatability and Loss of Meaning in Chinese Dish Names&quot;. Chinese cuisine is regarded as a great wonder of collection of cooking skills in foreign people's eyes. Westerners are often attracted to the looks of Chinese dishes besides their delicious flavor and taste. While the sight of Chinese dishes brings pleasure, the names of dishes also catch much attention of westerners.(Wang Lijun 2008, 10)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:57, 19 December 2020 (UTC)<br /> <br /> When people from different countries enjoy Chinese dishes, they are often curious and eager to know the exact meaning of the dish name and its origin. Since the dish name is the first impression given to a diner when he or she decides to order a dish. So it is important to convey accurate information to the patron. Since Chinese cuisine culture has continued to be exported overseas, translation of dish names plays an important role and is faced with a high demand determined by the complex nature of Chinese cuisine culture.(Wang Lijun 2008, 10)<br /> <br /> Based on the Catford's theory of untranslatability and Newmark's theory of loss of meaning, taking Hunan cuisine an example, this paper explore the translation methods of chinese dish names, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.At first it illustrates the linguistic and cultural untranslatability. And it then emphasizes particularly on constitutions and fonctions of Hunan cuisine names. Finally, according to the classification of dish names, translation techniques are suggested and some of them are just the compensative measures to those untranslatable dish names. (Wang Lijun 2008, 10)<br /> <br /> Based on the Catford's theory of untranslatability and Newmark's theory of loss of meaning, taking Hunan cuisine an example, this paper explore the translation methods of Chinese dish names, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names. At first it illustrates the linguistic and cultural untranslatability. And it then emphasizes particularly on constitutions and functions of Hunan cuisine names. Finally, according to the classification of dish names, translation techniques are suggested and some of them are just the compensatory measures to those untranslatable dish names. (Wang Lijun 2008, 10)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:57, 19 December 2020 (UTC)<br /> <br /> ===Chapter 1 An Overview of Untranslatability, Loss of Meaning and Hunan Cuisine Names===<br /> <br /> ====1.1 Linguistic Untranslatability and Cultural Untranslatability Put Forward by J. C. Catford====<br /> Catford was the first translation theoretician who explored equivalence at different levels of language. He distinguished two kinds of untranslatability in A Linguistic Theory of Translation, that is, linguistic untranslatability and cultural untranslatability.(Catford 1965, 93)<br /> <br /> Catford thought that linguistic untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. (Catford 1965, 93)<br /> <br /> Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences, for instance, the names of some institutions, clothes, foods and dishes, abstract concepts, and the like.(Catford 1965, 93)<br /> <br /> According to Catford's view of untranslatability, the dichotomy mentioned above would not exist if it could be demonstrated that all instances of cultural untranslatability respond to &quot;the impossibility of finding an equivalent collocation in the target language&quot;. This impossibility is, in his opinion, a case of linguistic untranslatability.(Catford 1965, 93)<br /> <br /> According to Catford, &quot;Translation fails---or untranslatability occurs---when it is impossible to build functionally features of the situation into the contextual meaning of the TL text.&quot; (Catford 1965, 93)<br /> <br /> ====1.2 Loss of Meaning Put Forward by Peter Newmark====<br /> Peter Newmark analyzed the loss of meaning as follows:<br /> <br /> First, if the text describes a situation which has elements peculiar to the environment, institutions and culture of its language area, there is an inevitable loss of meaning, since the translator's language can only be approximate to the source language. Unless there is already a recognized translation equivalent, the translator has to choose from transcribing the foreign word, translating it, substituting a similar word in his own culture, naturalizing the word with a loan translation, sometimes adding or substituting a suffix from his own language, defining it or paraphrasing, which is sometimes added in parenthesis or as a footnote to a transliteration. (Tan Zaixi 2004, 215)<br /> <br /> Second, an inevitable source of loss is the fact that the two languages, both in their basic character and their social varieties, have many different lexical, grammatical and sound systems, and segment many physical objects and all intellectual concepts differently. (Tan Zaixi 2004, 215)<br /> <br /> Third, the individual uses of language of the writer and the translator do not coincide. Everybody has lexical if not grammatical idiosyncrasies, and attaches &quot;private&quot; meanings to a few words. The translator normally writes in a style that comes naturally to him, desirably with a certain elegance and sensitivity unless the text precludes it. Moreover, a good writer's use of language is often remote from some of the conventional canons of good writing, and it is the writer not the canons that the translator must respect. (Tan Zaixi 2004, 215)<br /> <br /> Last, the translator and the text-writer have different theories of meaning and different values. The translator's theory colors his interpretation of the text. He may get greater value than the text-writer on connotation and correspondingly less on denotation. He may look for symbolism where realism was intended; for several meanings where only one was intended; for different emphasis, based on his own philosophy or even his reading of the syntax. The resulting loss of meaning is inevitable and is unrelated to the obscurity or the deficiencies of the text and the incompetence of the translator, which are additional possible sources of this loss of meaning. Therefore, absolute equivalence can never be reached. A translator can't convey all the meanings of the original in his translation.(Tan Zaixi 2004, 215)<br /> <br /> ====1.3 Constitution and Functions of Hunan Cuisine Names====<br /> Hunan cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi areas. It is characterized by thick and pungent flavors. As a mirror of Chinese cuisine culture, dish names play an important role in transmitting Chinese cuisine culture to the whole world. Today, there are countless and various Chinese dish names, so it's so hard to translate them without a clear analysis of their constitutions and functions.<br /> <br /> Many of the Hunan cuisine are named after the ingredients, seasonings, cooking methods, flavour or colour, shape. Hunan cuisine can be cooked in a variety of ways,which can be divided into cooking methods for hot dishes,such as stir-fried, fried, roasted, grilled, boiled, stewed, steamed and son on; and cooking methods for cold dished, such as frozed, mixed, marinated, smoked and so on. The flavour is the sensation caused by a substance that stimulate the taste buds, flavour can be divided into two categories: one is the natural single flavour, also called the basic flavour; another is the compound flavour made of two or more single flavour.(Zhang Qiang 2017, 19) <br /> <br /> Many of the Hunan cuisine are named after the ingredients, seasonings, cooking methods, flavour or colour, shape and so on. Hunan cuisine can be cooked in a variety of ways， which can be divided into cooking methods for hot dishes,such as stir-fried, fried, roasted, grilled, boiled, stewed, steamed and so on; and cooking methods for cold dishes, such as frozed, mixed, marinated, smoked and so on. The flavour is the sensation caused by a substance that stimulate the taste buds, flavour can be divided into two categories: one is the natural single flavour, also called the basic flavour; another is the compound flavour made of two or more single flavour.(Zhang Qiang 2017, 19) --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)<br /> <br /> The single flavour of Hunan cuisine is mainly salty, sweet, sour, spicy, bitter, fresh and so on; the compound flavour is mainly hot and sour, sweet and sour, salty and spicy, spicy and hot and so on.Most dish names are made of a combination of flavours and the name of the main ingredient, such as “酸辣鸡杂”、 “麻辣肚丝”. Spicy is a highly used word in Hunan cuisine names.Not many dishes are named directly with words that indicate colour (red, yellow, white, green, etc.) and shape (round, flat, pointed, square, etc.),but more often the colour and shape express the substance.For example, “金钱蛋”is named after a substance that has a colour and shape. “金钱” is borrowed from the coins in Chinese history which are round, square-hole. “菊花鱿鱼”“菊花” isn’t real chrysanthemum, but the shape of the finished dishes.(Zhang Qiang 2017, 19)<br /> <br /> The single flavour of Hunan cuisine is mainly salty, sweet, sour, spicy, bitter, fresh and so on; the compound flavour is mainly hot and sour, sweet and sour, salty and spicy, spicy and hot and so on. Most dish names are made of a combination of flavour and the name of the main ingredient, such as “酸辣鸡杂”、 “麻辣肚丝”. Spicy is a highly used word in Hunan cuisine names. Not many dishes are named directly with words that indicate colour (red, yellow, white, green, etc.) and shape (round, flat, pointed, square, etc.), but more often the colour and shape express the substance. For example, “金钱蛋”is named after a substance that has a colour and shape. “金钱” is borrowed from the coins in Chinese history which are round, square-hole. “菊花鱿鱼”“菊花” isn’t real chrysanthemum, but the shape of the finished dishes.(Zhang Qiang 2017, 19)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)<br /> <br /> The utensils such as casseroles, stones pots, hanging pots, dry pots, flat pots, iron pots are used to serve the Hunan cuisine. So the names of kitchen utensils sometimes appear in Hunan cuisine names, the names of untensils and the main ingredients are combined to form the name of a dish, in order to show the characteristics of the dishes, such as “石锅玉兔”，“干锅鸡”，“砂锅熊掌”.(Zhang Qiang 2017, 19)<br /> <br /> And there are many dishes which are named by means of metaphor are connected with allusion，a person's name or a place name. The names of dishes containing the name &quot;组庵&quot; and the name of the main ingredient in dishes are related to Tan Yanyan. Tan Yanyan (1880-1930), a native of Chaling in Hunan, was the governor of Hunan province after the Revolution of 1911. Tan Yanyan was a famous gourmet and played a major role in the innovation and development of Hunan cuisine at the time. (Zhang Qiang 2017, 19)<br /> <br /> And there are many dishes which are named by means of metaphor are connected with allusion, a person's name or a place name. The names of dishes containing the name &quot;组庵&quot; and the name of the main ingredient in dishes are related to Tan Yanyan. Tan Yanyan (1880-1930), a native of Chaling in Hunan, was the governor of Hunan province after the Revolution of 1911. Tan Yanyan was a famous gourmet and played a major role in the innovation and development of Hunan cuisine at that time. (Zhang Qiang 2017, 19)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)<br /> <br /> Above all, the constitution of Hunan cuisine names are various and mainly have the above mentioned features. Almost all Hunan cuisine names are characterized by elegance and try to convey a kind of aesthetic sense to diners.<br /> <br /> A dish name usually keeps people informed of the main ingredients of the dish, and sometimes uses beautiful words to add aesthetic value and finally it will stimulate the diners' appetite. Particularly, Chinese dish names have a special function that is cultural function owing to transmitting cultures.<br /> <br /> Informative Function<br /> <br /> The informative function means that the communicative aim of language is to provide people with information. As the fundamental function of Chinese dish names, it supplies the basic information of a dish, such as the ingredients, seasonings, cooking methods and so on. Chinese cooking methods are famous for its variety and the ingredients. People can get these information through most of Chinese dish names. So when Chinese dish names are translated into English, this function should be kept completely. (Wang Lixia 2017, 19)<br /> <br /> <br /> Aesthetic Function<br /> <br /> If a dish were a work of art, the dish name would be a part of the art.Besides the informative function, there is an aesthetic value. Although not all Chinese dish names possess the aesthetic value, such as those self-descriptive ones, a lot of names formed by metaphors or other special means to bring the sense of beauty and satisfy the aesthetic need of people. The beautiful names such as“碧绿双脆”， “金银烩双丸”， “天麻炖双飞”， “蝴蝶飘海”, it’s difficult to identify the original ingredient, and the basic information of the dishes are deduce by metaphor,but which attract the diners to image, to get an enjoyment. The subtle integration of aesthetics and culinary science greatly enhance the aesthetic function of these dish names.(熊力游 2004, 84)<br /> <br /> If a dish were a work of art, the dish name would be a part of the art. Besides the informative function, there is an aesthetic value. Although not all Chinese dish names possess the aesthetic value, such as those self-descriptive ones, a lot of names formed by metaphors or other special means to bring the sense of beauty and satisfy the aesthetic need of people. The beautiful names such as“碧绿双脆”， “金银烩双丸”， “天麻炖双飞”， “蝴蝶飘海”, it’s difficult to identify the original ingredient, and the basic information of the dishes are deduce by metaphor, but which attract the diners to image, to get an enjoyment. The subtle integration of aesthetics and culinary science greatly enhance the aesthetic function of these dish names.(熊力游 2004, 84)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)<br /> <br /> Cultural Function<br /> <br /> Chinese dish names also function as a culture carrier. Numerous cultural words play a significant role to demonstrate the national specialties.“百鸟朝凤”, “全家福”, “龙女触珠” “桃园三结义”and many other culturally loaded terms are frequently used in dish names, which are unique to the Chinese culture. This is a best way to arouse foreigners' interests on Chinese culture.(熊力游 2004, 84)<br /> <br /> ===Chapter 2 Reasons for the Untranslatability and Loss of Meaning in Chinese Dish Names===<br /> <br /> ====2.1 Differences of Thinking====<br /> There is a fundamental difference between the traditional Chinese concept of &quot;unity of human and nature&quot; and the traditional Western concept of &quot;humanism&quot;, and the way of thinking and philosophies of each nationality differ. The food cultures of China and the West are therefore influenced by the obvious differences between them, and the same food cultures influence the naming of dishes in a certain way. Traditional Chinese philosophical thinking places emphasis on Qi and existence and non-existence, and in terms of cultural spirit and mode of thinking, this has led to the formation of a unity between human and nature, an emphasis on integral functions and a focus on ambiguity, which has led to the development of unique concepts in the science of food, namely the ecological concept of the correspondence between human and nature, the nutritional concept of food treatment and nourishment, and the concept of the harmonisation of the five tastes. (Cao Binbin 2016, 23)<br /> <br /> There is a fundamental difference between the traditional Chinese concept of &quot;unity of human and nature&quot; and the traditional Western concept of &quot;humanism&quot;, and the way of thinking and philosophies of each nationality differ. The food cultures of China and the West are therefore influenced by the obvious differences between them, and the same food cultures influence the naming of dishes in a certain way. Traditional Chinese philosophical thinking places emphasis on “Qi” and existence and non-existence, and in terms of cultural spirit and mode of thinking, this has led to the formation of a unity between human and nature, an emphasis on integral functions and a focus on ambiguity, which has led to the development of unique concepts in the science of food, namely the ecological concept of the correspondence between human and nature, the nutritional concept of food treatment and nourishment, and the concept of the harmonization of the five tastes. (Cao Binbin 2016, 23)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:33, 19 December 2020 (UTC)<br /> <br /> Westerners hold a rational and scientific concept of diet. They emphasise the nutritional value of the diet, the amount of protein, fat, calories and vitamins contained in the food, and pay particular attention to whether the nutrient content of the food is well matched, whether the calorie supply is optimal, and whether these nutrients can be fully absorbed by the eater. For example, Westerners generally do not eat animal offal or anything that they consider to be of no nutritional value, such as liver, chicken feet, duck heads, dog meat, etc., which are absolutely delicious in China and which Westerners may never have eaten in their lives. Some of the ingredients used in Chinese dishes are not offensive to diners in China, for example animals such as snakes and frogs. For good luck, Chinese names are often borrowed from inedible objects or animals that are taboo for Westerners, such as “红烧狮子头”. Such dishes are unacceptable to Westerners and can sometimes be offensive to them. (Cao Binbin 2016, 24)<br /> <br /> Westerners hold a rational and scientific concept of diet. They emphasize the nutritional value of the diet, the amount of protein, fat, calories and vitamins contained in the food, and pay particular attention to whether the nutrient content of the food is well matched, whether the calorie supply is optimal, and whether these nutrients can be fully absorbed by the eater. For example, Westerners generally do not eat animal offal or anything that they consider to be of no nutritional value, such as liver, chicken feet, duck heads, dog meat, etc., which are absolutely delicious in China and which Westerners may never have eaten in their lives. Some of the ingredients used in Chinese dishes are not offensive to diners in China, for example animals such as snakes and frogs. For good luck, Chinese names are often borrowed from inedible objects or animals that are taboo for Westerners, such as “红烧狮子头”. Such dishes are unacceptable to Westerners and can sometimes be offensive to them. (Cao Binbin 2016, 24)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:33, 19 December 2020 (UTC)<br /> <br /> ====2.2 Different Beliefs and Values====<br /> Belief and value constitute an important part in culture. Chinese and westerners are living in different social background, having their own history and religion. So, disparity in value and belief is inevitable, such as Buddhism in China. It has history of thousands years. Some vocabularies in Chinese are related with Buddhism, such as “立地成佛”，“谋事在人，成事在天”.These expressions all reflect the great influence of Buddhism on language. In western countries, people have been more influenced by Christianity. Phrases like &quot;man proposes God disposes&quot;; &quot;God help those who help themselves&quot; are typical examples. But if“谋事在人，成事在天”is translated to &quot;man proposes, God disposes&quot;, it disobeys Chinese belief which is the Buddhism rather than the Christianity.(Liu Chuang 2012, 120)<br /> <br /> Belief and value constitute an important part in culture. Chinese and westerners are living in different social background, having their own history and religion. So, disparity in value and belief is inevitable, such as Buddhism in China. It has history of thousands years. Some vocabularies in Chinese are related with Buddhism, such as “立地成佛”， “谋事在人，成事在天”. These expressions all reflect the great influence of Buddhism on language. In western countries, people have been more influenced by Christianity. Phrases like &quot;man proposes God disposes&quot;; &quot;God help those who help themselves&quot; are typical examples. But if“谋事在人，成事在天” is translated to &quot;man proposes, God disposes&quot;, it disobeys Chinese belief which is the Buddhism rather than the Christianity.(Liu Chuang 2012, 120)<br /> --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> The value of a certain culture is a set of behavioral standards for people to make choices and solve conflicts and it is usually displayed in people's philosophic and moral concept. The concept that is thought highly by one nation may be neglected by another nation. And this phenomenon becomes a great obstacle in the cross-cultural communication and translation. <br /> <br /> As far as animal vocabularies are concerned, the value of Chinese and westerners are quite different. Take &quot;dog&quot; for example, Chinese often use them to guard door. In their concepts, dogs have nothing to praise. So vocabularies with dogs often have derogatory connotations, such as“狗腿子”，“狐朋狗友”，“狼心狗肺”，“狗眼看人低”，“狗改不了吃屎”.Whereas, in western countries, owing to dogs' loyalty, courage and intelligence, people regard dogs as their favorite and loyal friends and give great honor to them, such as &quot;love me, love my dog&quot;, &quot;lucky dog&quot; and &quot;every dog has his day&quot;. So long as westerners know that dog meat is cooked into dishes in China, they will feel shocked and horrible. Hence although the dish name“狗肉汤”is translatable, we had better avoid translating it or we should not treat westerners to eat dog meat. If it is unavoidable, we should explain those dogs are raised for dinners.(Liu Chuang 2012, 120)<br /> <br /> As far as animal vocabularies are concerned, the value of Chinese and westerners are quite different. Take &quot;dog&quot; for example, Chinese often use them to guard door. In their conceptions, dogs have nothing to praise. So vocabularies with dogs often have derogatory connotations, such as“狗腿子”，“狐朋狗友”，“狼心狗肺”，“狗眼看人低”，“狗改不了吃屎”. Whereas, in western countries, owing to dogs' loyalty, courage and intelligence, people regard dogs as their favorite and loyal friends and give great honor to them, such as &quot;love me, love my dog&quot;, &quot;lucky dog&quot; and &quot;every dog has his day&quot;. So long as westerners know that dog meat is cooked into dishes in China, they will feel shocked and horrible. Hence although the dish name“狗肉汤”is translatable, we had better avoid translating it or we should not treat westerners to eat dog meat. If it is unavoidable, we should explain those dogs are raised for dinners.(Liu Chuang 2012, 120)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> When translating, it is important to take into account the cultural differences, accepting psychology and eating habits of foreigners, otherwise it will be difficult to achieve the intended function and purpose of the translation. After all, although the translator &quot;deals with individual words, he is dealing with two major cultures&quot;.(Liu Chuang 2012, 120)<br /> <br /> ====2.3 Different Customs and Living Environment====<br /> Custom refers to the way of living formed in the long-term development of human's history. It is embodied in various aspects of people's daily lives such as garment, etiquette, marriage, funeral, traditional dishes and so on, due to the different living habits and the customs of different people, which constitute a great obstacle in the cross-cultural communication and translation.(Wang Lijun 2017, 23)<br /> <br /> ====2.4 Lexical Non-equivalence Concerned with Cultural Difference====<br /> The lexical non-equivalence generally refers to the non-equivalence of lexical meanings. As we all know, the meaning of a word, which is involved in many aspects, such as the denotative meaning, the associative meaning and so on, is not a simple concept. Therefore, there are several kinds of untranslatable phenomena concerned with the lexical non-equivalence.(Wang Lijun 2017, 24)<br /> <br /> ====2.5 Absence of Terms====<br /> Absence of terms is a frequent phenomenon leading to untranslatability. It refers to the case that in translation we fail to find counterpart in target language. In Chinese, there are many terms as “风水”, “阴阳”, “属相”and so on. These words are derived from unique Chinese culture, which are almost impossible to translate to English, since there are no such things in western countries.(Wang Lijun 2017, 24)<br /> <br /> ====2.6 Discrepancy of Semantic Association====<br /> Terms and expressions, as embodiment of culture, have rich meanings and profound connotations. Therefore discrepancies of terms lead to translation barriers inevitably. For example, dragon in English and “龙“ in Chinese represents different connotation though it is the same imaginary image. Owing to this difference, terms concerning dragon in these two languages differ greatly. To Chinese, “龙“ is something sacred and has been referred to as the ancestor of the Chinese nation-that's why Chinese people call themselves“龙的传人 (descendants of the dragon)“. “龙” is used frequently in Chinese daily life in order to convey a propitious meaning, such as in dish names“龙凤呈祥”，“二龙戏珠”and “青龙过海”.To westerners, however, the dragon is a symbol of evil. Many heroes in stories struggled against dragons which were slain in most cases.(Wang Lijun 2017, 25)<br /> <br /> Terms and expressions, as embodiment of culture, have a wide variety of meanings and profound connotations. Therefore discrepancies of terms lead to translation barriers inevitably. For example, dragon in English and “龙” in Chinese represents different connotation though it is the same imaginary image. Owing to this difference, terms concerning dragon in these two languages differ greatly. To Chinese, “龙” is something sacred and has been referred to as the ancestor of the Chinese nation—that's why Chinese people call themselves “龙的传人 (descendants of the dragon)”. “龙” is used frequently in Chinese daily life in order to convey a propitious meaning, such as in dish names“龙凤呈祥”， “二龙戏珠”and “青龙过海”. To westerners, however, the dragon is a symbol of evil. Many heroes in stories struggled against dragons which were slain in most cases.(Wang Lijun 2017, 25)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> Take “喜鹊(pied magpie)” for another instance. In Chinese culture, this bird is always regarded as a messenger of good news, for the first character of its Chinese name(喜)means &quot;happiness&quot;. So the chattering of a pied magpie had the connotative meaning of &quot;good news is coming&quot;. But in English culture, people pay more attention to the appearance of this black-and-white bird and the noises it makes. Then the connotative meaning of it in English is &quot;a chatterbox&quot;. (Wang Lijun 2017, 28)<br /> <br /> Take “喜鹊 (pied magpie)” for another instance. In Chinese culture, this bird is always regarded as a messenger of good news, for the first character of its Chinese name “喜” means &quot;happiness&quot;. So the chattering of a pied magpie had the connotative meaning of &quot;good news is coming&quot;. But in English culture, people pay more attention to the appearance of this black-and-white bird and the noises it makes. Then the connotative meaning of it in English is &quot;a chatterbox&quot;.(Wang Lijun 2017, 28)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ===Chapter 3 Strategies of Untranslatability and Loss of Meaning of Hunan Cuisine Names===<br /> The purpose of translation is to communicate, therefore transfering the information is very important in translation. Regardless of the method of translation, it is important to convey as much information as possible about the main ingredients, cooking methods, etc., so that foreigners can understand them and communicate with each other. Clearly conveying information about the dishes means that the English translation of Hunan cuisine names can help people from other countries understand the basic information about the dishes, the unique cooking techniques and regional characteristics of Hunan cuisine, and appreciate the colourful culinary culture of Hunan. (Wang Caiying 2009, 108)<br /> <br /> The purpose of translation is to communicate, therefore transferring the information is very important in translation. Regardless of the method of translation, it is important to convey as much information as possible about the main ingredients, cooking methods, etc. So that foreigners can understand them and communicate with each other. Clearly conveying information about the dishes means that the English translation of Hunan cuisine names can help people from other countries understand the basic information about the dishes, the unique cooking techniques and regional characteristics of Hunan cuisine, and appreciate the colourful culinary culture of Hunan.(Wang Caiying 2009, 108)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> Some contain profound historical allusions or folk legends, while others have changed their names based on raw materials, shapes and cooking methods. This makes English translation difficult and makes it difficult to fully reflect the linguistic and cultural features of the Chinese language. In this case, the English translation of Hunan cuisine names should be purpose-oriented, so that foreign friends can understand as much as possible about the basic information of Hunan cuisine. The name of the dish should first of all ensure that the customer knows the ingredients，the supplementary ingredients, the cooking method and the flavour of the dish, so the most important thing when translating the name of a dish, whether it is realistic or associative, is that it should firstly convey its denotative meaning. (Wang Caiying 2009, 108)<br /> <br /> In some cases, it is also possible to make major changes to the presentation of the translation, avoiding or diluting words in the dish that have strong symbolic meaning but are incompatible with Western culture, and keeping the basic content of the dish as far as possible in order to achieve the basic purpose and function of conveying the message of the dish.The names of some dishes are quoted from poems and idioms, and the English translation method of &quot;literal+interpretative translation&quot; can be used to express the specific meaning of the ingredients while retaining their distinctive national characteristics. Some of the common cooking methods used in Hunan cuisine, such as &quot;stir-frying, roasting, boiling, stewing, deep-frying, steaming&quot;, etc., make the translation more effective.(Wang Caiying 2009, 108)<br /> <br /> In some cases, it is also possible to make major changes to the presentation of the translation, avoiding or diluting words in the dish that have strong symbolic meaning but are incompatible with Western culture, and keeping the basic content of the dish as far as possible in order to achieve the basic purpose and function of conveying the message of the dish. The names of some dishes are quoted from poems and idioms, and the English translation method of &quot;literal+interpretative translation&quot; can be used to express the specific meaning of the ingredients while retaining their distinctive national characteristics. Some of the common cooking methods used in Hunan cuisine, such as &quot;stir-frying, roasting, boiling, stewing, deep-frying, steaming&quot;, make the translation more effective.(Wang Caiying 2009, 108)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.1 English Translations of Hunan Cuisine Names Based on Cooking Methods and Main Ingredient====<br /> The name of such a dish includes both the cooking method and the main ingredient, with the cooking method preceding and the main ingredient following. The English translation uses “cooking method (past participle of the verb)+main ingredient”, such as“炒生菜&quot;, where &quot;炒&quot; is the practice. &quot;生菜&quot; is the main ingredient, which translates as Sauteed Lettuce &quot; and “花生炖猪蹄&quot;，where“炖&quot; is the cooking method, peanuts and pig's feet are the main ingredients, the name of the dish can be translated as“cooking method+main ingredient+and+main ingredient”,that‘s “Stewed Pig's Trotters and Peanuts&quot;.(Zhang Qiang 2017, 23)<br /> <br /> The name of such a dish includes both the cooking method and the main ingredient, with the cooking method preceding and the main ingredient following. The English translation uses “cooking method (past participle of the verb)+main ingredient”, such as“炒生菜&quot;, where &quot;炒&quot; is the practice. &quot;生菜&quot; is the main ingredient, which translates as Sauteed Lettuce &quot; and “花生炖猪蹄&quot;，where“炖&quot; is the cooking method, peanuts and pig's feet are the main ingredients, the name of the dish can be translated as “cooking method+main ingredient+and+main ingredient”, which calls “ Stewed Pig's Trotters and Peanuts&quot;.(Zhang Qiang 2017, 23)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.2 English Translation of Hunan Cuisine Names Based on &quot;Ingredient and Main Ingredient&quot; or &quot;Main ingredient and Soup&quot;====<br /> The names of such Hunan dishes mainly consist of main ingredients and ingredients, which form Hunan cuisine names as &quot;ingredient+main ingredient&quot;, which can be translated in English as &quot;main ingredient+with/in+ingredients&quot;. Connected by with or in. e.g.&quot;冬笋腊肉&quot; and &quot;蟹黄海参&quot; can be translated respectively as “Preserved Pork (Smoked Pork) with Winter Bamhoo Shoot” and “Sea Cucumber with Crab Roe”. If the ingredient is soup, use the expression &quot;soup+main ingredient&quot;, which is translated as &quot;main ingredient+in/with+ Soup/Sauce&quot;. Yhe choice of in or with is determined by the actual &quot;sauce&quot;. Use &quot;in&quot; if the main ingredient is immersed in the sauce, and if the sauce is separate from the main ingredient, or if it is poured over the main dish, we should use “with” e.g. &quot;蜜汁白莲&quot; is translated as &quot;Lotus-seed in Honey Sauce&quot;and &quot;茄汁鱼片&quot; is translated as &quot;Sliced Fish with Tomato Sauce &quot;.(Zhang Qiang 2017, 24)<br /> <br /> The names of such Hunan dishes mainly consist of main ingredients and ingredients, which form Hunan cuisine names as &quot;ingredient+main ingredient&quot;, which can be translated in English as &quot;main ingredient+with/in+ingredients&quot;. Connected by “with or in”, for example, &quot;冬笋腊肉&quot; and &quot;蟹黄海参&quot; can be translated respectively as “Preserved Pork (Smoked Pork) with Winter Bamhoo Shoot” and “Sea Cucumber with Crab Roe”. If the ingredient is soup, use the expression &quot;soup+main ingredient&quot;, which is translated as &quot;main ingredient+in/with+ Soup/Sauce&quot;. The choice of in or with is determined by the actual &quot;sauce&quot;. Use &quot;in&quot; if the main ingredient is immersed in the sauce, and if the sauce is separate from the main ingredient, or if it is poured over the main dish, we should use “with”, for example, &quot;蜜汁白莲&quot; is translated as &quot;Lotus-seed in Honey Sauce&quot;and &quot;茄汁鱼片&quot; is translated as &quot;Sliced Fish with Tomato Sauce &quot;.(Zhang Qiang 2017, 24)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.3 English Translation of Hunan Cuisine Names According to the Flavour and the Main Ingredients====<br /> When the name of a dish is &quot;flavour+main ingredient&quot;, the English translation puts the flavour in the front and the main ingredient at the back, highlighting the taste of the dish, e.g. in &quot;麻辣牛肉&quot;, &quot;麻辣&quot; is the taste. &quot;牛肉&quot; is the main ingredient, which translates as &quot;Spicy and Hot Beef&quot;and &quot;酸辣&quot; in &quot;酸辣鸡杂&quot; is the flavour, &quot;鸡杂&quot; is the main ingredient and it can be translated as &quot;Hot and Sour Chicken Giblets&quot;.(Zhang Qiang 2017, 26)<br /> <br /> When the name of a dish is &quot;flavour+main ingredient&quot;, the English translation puts the flavour in the front and the main ingredient at the back, highlighting the taste of the dish, for example, in &quot;麻辣牛肉&quot;, &quot;麻辣&quot; is the taste. &quot;牛肉&quot; is the main ingredient, which translates as &quot;Spicy and Hot Beef&quot;and &quot;酸辣&quot; in &quot;酸辣鸡杂&quot; is the flavour, &quot;鸡杂&quot; is the main ingredient and it can be translated as &quot;Hot and Sour Chicken Giblets&quot;.(Zhang Qiang 2017, 26)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.4 English Translation of Hunan Cuisine Names Based on Seasonings and Main Ingredients====<br /> The English translation of Hunan cuisine name in the form of &quot;seasoning+main ingredient&quot; can use the structure of &quot;main ingredient+with+seasoning&quot;, such as &quot;芥末鸡条&quot; can be translated as “Chicken Strips with Mustard”, a literal translation can also be used in the original structure, such as “孜然牛肉” can be translated as &quot;Cumin Beef&quot;.(Wang Lijun 2017, 23)<br /> <br /> ====3.5 English Translation of Hunan Cuisine Names Based on Seasonings, Cooking Methods and Main Ingredients====<br /> Chinese Hunan cuisine names has the structure of &quot;seasoning+cooking method+main ingredient&quot;, which can be translated in English as &quot;cooking method (past participle of the verb)+main ingredient+ with+seasoning&quot;, e.g. &quot;豆瓣酱烧肥鱼&quot; can be translated as &quot;Braised Fish with Thick Broad-bean Sauce&quot; and &quot;豆豉蒸排骨&quot; as &quot;Steamed Pork Chops with Lobster Sauce&quot;.(Zhang Qiang 2017, 26)<br /> <br /> Chinese Hunan cuisine names has the structure of &quot;seasoning+cooking method+main ingredient&quot;, which can be translated in English as &quot;cooking method (past participle of the verb)+main ingredient+ with+seasoning&quot;, for example, &quot;豆瓣酱烧肥鱼&quot; can be translated as &quot;Braised Fish with Thick Broad-bean Sauce&quot; and &quot;豆豉蒸排骨&quot; as &quot;Steamed Pork Chops with Lobster Sauce&quot;.(Zhang Qiang 2017, 26)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.6 English Translation of Hunan Cuisine Names According to the Colour and Shape of the Finished Dish====<br /> The names of such dishes are generally translated using the literal and free translation method. For example, &quot;芙蓉鸡片&quot; can be translated as &quot;Fried Sliced Chicken with Egg White&quot; and &quot;菊花鱿鱼&quot;as &quot;Fried Chrysanthemum-shaped Squid&quot;.(Wang Lijun 2017, 23)<br /> <br /> ====3.7 English Translation of Hunan Cuisine Names According to the Flavour and the Shape of the Raw Material after it has been cut====<br /> The English translation of Hunan cuisine names can be in the form of &quot;flavour+shape+main ingredient&quot;, e.g. &quot;麻辣&quot; in &quot;麻辣羊肚丝&quot; denotes the flavour. &quot;羊肚&quot; is the main ingredient, and the goat tripe is shredded, which can be translated as &quot;Spicy and Hot shredded Goat Tripe&quot;. (Zhang Qiang 2017, 29)<br /> <br /> The English translation of Hunan cuisine names can be in the form of &quot;flavour+shape+main ingredient&quot;, for example, &quot;麻辣&quot; in &quot;麻辣羊肚丝&quot; denotes the flavour. &quot;羊肚&quot; is the main ingredient, and the goat tripe is shredded, which can be translated as &quot;Spicy and Hot shredded Goat Tripe&quot;. (Zhang Qiang 2017, 29)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.8 English Translation of Hunan Cuisine Name According to the Cooking Method and the Main Ingredient and its modified Shape====<br /> Chinese Hunan cuisine names &quot;--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)cooking method+main ingredient+shape&quot; can be translated as &quot;cooking method (past participle of the verb)+shape+main ingredient&quot;, such as &quot;干煸牛肉丝&quot;. &quot;干煸&quot; is the cooking method, &quot;牛肉&quot; is the main ingredient and &quot;丝&quot; is the shape of the modified ingredient, it can be translated as &quot;Dry-fried Shredded Beef&quot;.(Zhang Qiang 2017, 29)<br /> <br /> ====3.9 English Translations of Hunan Cuisine Names from &quot;Name of Person or Place + Main Ingredient&quot; to &quot;Name of Person or Place+Cooking Method + Main Ingredient&quot;====<br /> In addition to the above principles, the names of such dishes should also be transliterated from the names of people and places, which is good for promoting the Chinese language and culture. The translation of Hunan cuisine names as &quot;person's name+main ingredient&quot; can be made directly. For example, in &quot;组庵豆腐&quot;, &quot;组庵&quot; is the name of a person and &quot;豆腐&quot; is the main ingredient, which is transliterated as &quot;Zu'an Tofuo&quot;.(Zhang Qiang 2017, 26)<br /> <br /> The name of the dish &quot;place name+main ingredient&quot; can be translated as &quot;main ingredient+，+place name+Style&quot; with the main ingredient separated from the place name by a comma. For example, &quot;湖南&quot; in &quot;湖南腊肉&quot; is the name of the place, and &quot;腊肉&quot; is the main ingredient, which is translated as &quot; Preserved Pork (Smoked Pork), Hunan Style&quot;, the name of a Hunan dish in the form of &quot;place name+main ingredient&quot; can also be translated into the form of &quot;place name+main ingredient&quot;, e.g. &quot;东安鸡&quot; can be translated as &quot;Dong' an Chicken&quot;.(Zhang Qiang 2017, 26)<br /> <br /> The name of the dish &quot;place name+main ingredient&quot; can be translated as &quot;main ingredient+place name+Style&quot; with the main ingredient separated from the place name by a comma. For example, &quot;湖南&quot; in &quot;湖南腊肉&quot; is the name of the place, and &quot;腊肉&quot; is the main ingredient, which is translated as &quot; Preserved Pork (Smoked Pork), Hunan Style&quot;, the name of a Hunan dish in the form of &quot;place name+main ingredient&quot; can also be translated into the form of &quot;place name+main ingredient&quot;, for example, &quot;东安鸡&quot; can be translated as &quot;Dong' an Chicken&quot;.(Zhang Qiang 2017, 26)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> The name of a dish can be translated in the form of &quot;cooking method+main ingredient+，+person (place name)+style&quot;, e.g. &quot;毛氏红烧肉&quot;, which can be translated as &quot;Braised Pork, Mao's Family Style. &quot;(Zhang Qiang 2017, 30)<br /> <br /> ====3.10 An English Translation of Hunan Cuisine Names as &quot;Utensil + Main Ingredient&quot;====<br /> Containers such as iron plates, dry pans, casseroles, etc. are also used in combination with the main ingredient to name the chinese Hunan cuisine names, which can be translated as “utensils+main ingredient”，e.g. “干锅茶树菇” is translated as Dry Pot (Griddle Cooked) Tea Tree Mushrooms, it can also be translated as“main ingredient+in/on+main ingredient”, e.g. “铁板牛肉”can be translated as Beef Steak Served on Sizzling Iron Plate.(Zhang Qiang 2017, 30) <br /> <br /> Containers such as iron plates, dry pans, casseroles, etc. are also used in combination with the main ingredient to name the Chinese Hunan cuisine names, which can be translated as “utensils+main ingredient”，e.g. “干锅茶树菇” is translated as Dry Pot (Griddle Cooked) Tea Tree Mushrooms, it can also be translated as“main ingredient+in/on+main ingredient”, for example, “铁板牛肉”can be translated as “Beef Steak Served on Sizzling Iron Plate”.(Zhang Qiang 2017, 30)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.11 The English Translation of Hunan Cuisine Names that Do Not Reflect Information on Cooking Methods, Main Ingredients, Tastes, etc.====<br /> Some Hunan cuisine names do not reflect basic information such as cooking method, main ingredients, taste, etc. These names usually combine the colour, aroma, cooking method and stylistic features of the dish to give it a pleasant name. For example, “全家福” could be translated as Quan Jia Fu (A tonic recipe of chicken breast fried with sea cucumber peeled shrimp and squid, carrying the implied meaning of a happy family reunion) (Zhang Qiang 2017, 31)<br /> <br /> Some Hunan cuisine names do not reflect basic information such as cooking method, main ingredients, taste, etc. These names usually combine the colour, aroma, cooking method and stylistic features of the dish to give it a pleasant name. For example, “全家福” could be translated as “Quan Jia Fu” (A tonic recipe of chicken breast fried with sea cucumber peeled shrimp and squid, carrying the implied meaning of a happy family reunion.)(Zhang Qiang 2017, 31)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ===Conclusion===<br /> Chinese dish names are rich in connotation, vividly reflecting China's cuisine culture. Their English translations are an effective means to inform foreigners of Chinese culture. Therefore, it is of great importance to make a study on translations of these dish names. The current studies in this field have given an analysis to Chinese dish names' features, functions as well as the principles for their translation. (Wang Lijun 2017, 23)<br /> <br /> This paper has made a tentative study of Chinese dish names from the angle of untranslatability and loss of meaning. The study covers the analysis of the untranslatability and loss of meaning caused by the differences between Chinese and English, from linguistic and cultural perspectives, taking Hunan cuisine names an example, the introduction of the constitution and function of dish names. Then since Chinese dish names play an important role in Chinese culture, according to untranslatabiltiy caused by culture differences between Chinese and English, the paper analyzes the untranslatable phenomena existing in the English translation of Chinese dish names from the aspects of thinking, beliefs and values, customs, and lexical non-equivalence.(Zhang Qiang 2017, 26) <br /> <br /> Although there are many translated versions of various Chinese dishes nowadays, and some of them have been accepted by the public, it is undeniable that there are cultural obstacles which cannot be translated. If translators don't know untranslatabiltiy of dish names, they cannot translate them properly, since they couldn't avoid the obstacles and adopt some compensatory measures. strangeness in front of cultural differences.<br /> <br /> A translation should on the one hand keep as much as possible the original flavor and on the other hand try to make it accessible to the target language readers.<br /> <br /> ===References===<br /> [1]Cao Binbin. 曹彬彬.(2016). 从翻译的不可译性看中式菜名英. [English Translation of Chinese Cuisine Names from the Perspective of Translation Untranslatability]. 英语广场. [English Square].24-25.<br /> <br /> [1]Cao Binbin. 曹彬彬.(2016). 从翻译的不可译性看中式菜名英. [English Translation of Chinese Cuisine Names from the Perspective of Translation Untranslatability]. 英语广场. [English Square]24-25.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [2]J. C. Catford. (1965). A Linguistic Theory of Translation . London: Oxford University.93-95<br /> <br /> [3]Liu Chuang. 刘闯.(2012). 浅析中餐菜名英译的不可译性及解决. [An analysis of the untranslatability of the English translation of Chinese cuisine names and its solution]. 校园英语. [Campus English].120-121.<br /> <br /> [3]Liu Chuang. 刘闯.(2012). 浅析中餐菜名英译的不可译性及解决. [An analysis of the untranslatability of the English translation of Chinese cuisine names and its solution]. 校园英语. [Campus English]120-121.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [4]Tan Zaixi. 谭载喜. (2004). 西方翻译简史(增订版). [ A Brief History of Western Translation (Updated Edition)]. 商务印书馆. [The Commercial Press] 200-220<br /> <br /> [4]Tan Zaixi. 谭载喜. (2004). 西方翻译简史(增订版). [ A Brief History of Western Translation (Updated Edition)]. 商务印书馆. [The Commercial Press]200-220.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [5]Wang Caiying.王才英.(2009). 试论中国菜名的相对不可译及对策. [Experimental discussion on the relative untranslatability of Chinese dish names and Strategies].长沙大学学报. [Journal of Changsha University]. 108-109.<br /> <br /> [5]Wang Caiying.王才英.(2009). 试论中国菜名的相对不可译及对策. [Experimental discussion on the relative untranslatability of Chinese dish names and Strategies].长沙大学学报. [Journal of Changsha University]108-109.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [6]Wang Lijun. 王丽君.(2008). 中文菜名的不可译性研究. [On Untranslatability of Chinese Dish Names]. 吉林大学学报. [Journal of Jilin University]. 10-13<br /> <br /> [6]Wang Lijun. 王丽君.(2008). 中文菜名的不可译性研究. [On Untranslatability of Chinese Dish Names]. 吉林大学学报. [Journal of Jilin University]10-13.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [7]Wang Lixia. 王丽霞.(2017).《湘菜六味—湘菜缘分》汉译英实践报告.[A Report on the C-E Translation of the 3rd Chapter of Xiangcailiuwei].湖南师范大学.[Hunan Normal University]<br /> <br /> [8]Xiong Liyou. 熊力游. (2004). 中华菜名功能与翻译处理. [Functions and Translation processing of Chinese Cuisine names]. 长沙大学学报. [Journal of Changsha University]. 84-86.<br /> <br /> [8]Xiong Liyou. 熊力游. (2004). 中华菜名功能与翻译处理. [Functions and Translation processing of Chinese Cuisine names]. 长沙大学学报. [Journal of Changsha University]84-86.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [9]Zhang Qiang. 张强. (2017). 湘菜菜名词语与对外汉语教学.[Name of Hunan Cuisine in Teaching Chinese as a Second Language].湖南师范大学.[Hunan Normal University]. 18-33<br /> <br /> [9]Zhang Qiang. 张强. (2017). 湘菜菜名词语与对外汉语教学.[Name of Hunan Cuisine in Teaching Chinese as a Second Language].湖南师范大学.[Hunan Normal University]18-33.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ==A Study of English Translation of Chinese Dish Names from the Perspective of Domestication and Foreignization -- Taking Hunan Cuisine an Example - 邬香 Wu Xiang==<br /> &lt;center&gt; 邬香 Wu Xiang 202020080651 俄语语言文学.&lt;/center&gt;<br /> ===Abstract===<br /> As a bright pearl in the storehouse of traditional Chinese culture, catering culture plays a more and more important role in the increasingly frequent cross-cultural communication. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the neglect of cultural connotations of dishes and the lack of unified translation standards. Foreignization and domestication can effectively solve the above problems. From the perspective of foreignization and domestication, this chapter takes the English translation of Hunan cuisine as an example and uses the above two different translation strategies for realistic and freehand dishes from the linguistic and cultural levels. Although domestication and foreignization can't remove all the obstacles in English translation of Chinese dish names, they can help to accurately express the meanings of dish names, reflect their cultural connotations and promote cultural exchanges and dissemination.<br /> <br /> ===Key words===<br /> Chinese dish names; English translation; domestication and foreignization; cross-cultural communication<br /> <br /> ===题目===<br /> 异化和归化视角下中国菜名英译研究——以湘菜为例<br /> <br /> ===摘要===<br /> 饮食文化作为中国传统文化宝库中一颗璀璨的明珠，在如今日益频繁的跨文化交流中的作用愈发重要。但是目前中国菜名英译出现不少问题，主要包括使用直接生硬的表达方式、忽略菜肴文化内涵、缺乏统一的翻译标准。运用异化和归化翻译策略能有效解决上述问题。本章拟从异化和归化的视角出发，以湘菜英译为例，针对写实型和写意型菜肴从语言和文化层面使用上述不同的翻译策略。尽管归化和异化不能扫除菜名英译中所有的障碍，但其有助于准确表达菜名含义，体现其蕴藏的文化内涵，促进文化交流与传播。<br /> <br /> ===关键词===<br /> 中国菜名；英译；归化和异化；跨文化交流<br /> <br /> ===1. Introduction===<br /> After thousands of years of precipitation and inheritance, Chinese food culture emerged on the international stage and gradually has gained the favor and recognition of foreigners. In modern society cultural exchanges between countries and nations are increasingly frequent. As a cross-cultural communication activity, translation refers not only to the process of language conversion, but also to the process of cultural transformation and dissemination. Because Chinese food contains a large number of cultural and artistic features, which reflect the Chinese cultural landscape. However, at present we have different translation versions in the process of translating Chinese dishes. This is not conducive to the cross-cultural communication.(Xiong Bing 2014,84)<br /> <br /> 中国饮食文化历经数千年的沉淀和传承后，在国际舞台上崭露头角，逐渐得到外国人的青睐和认可。当今社会世界各国、各民族文化交流日益频繁，翻译作为一种跨文化交际活动，不仅指语言转换的过程，而且是文化转换和传播的过程。中国菜名含有丰富的文化与艺术特征，其体现了中国文化图景。然而，目前中国菜名译本众多，这不利于跨文化交流。<br /> <br /> It's known that translation strategies of domestication and foreignization can retain the cultural elements in the original text to the greatest extent. As one of the eight major cuisines in China, Hunan cuisine has its unique characteristics and rich cultural heritages, so it is suitable to adopt domestication and foreignization in English translation. Many Chinese scholars focus on specific translation methods and skills in the researches on translation of Chinese dish names.They rarely consider the translation strategies of foreignization and domestication.(Xiong Bing 2014,84)<br /> <br /> 归化和异化策略能最大程度保留原文中的文化元素，解决目前中国菜名翻译过程中存在的一些问题。湘菜作为中国八大菜系之一，具有独特的特点和丰富的文化底蕴，适合采用归化和异化英译。中国许多学者对中国菜名翻译的研究多着眼于具体的翻译方法和技巧，很少从异化和归化的翻译策略高度来考虑。<br /> <br /> However, it is necessary to clarify what kind of translation strategy to adopt before choosing appropriate translation methods and skills, because the implementation of the former is reflected in the application of specific translation skills, while the application of the latter requires certain translation strategies. Therefore, in this chapter I will discuss the application of translation strategies of domestication and foreignization in the English translation of traditional Chinese dish names based on the corpus of Hunan cuisine. (Xiong Bing 2014,84)<br /> <br /> 然而，首先明确采用怎样的翻译策略，继而才能选用合适的翻译方法和技巧，因为前者的实施体现在特定翻译技巧的运用，同时后者的运用需依据一定的翻译策略。因此，本文将以湘菜菜品名为语料，探讨翻译策略在传统中国菜名英译中的运用。(熊兵，2014,84）<br /> <br /> ===2. Exiting Problems in English Translation of Chinese Dish Names===<br /> Chinese food culture is extensive and profound with a long history. The importance of English translation of Chinese dish names in cross-cultural communications between China and foreign countries is self-evident. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the lack of unified translation standards and the ignorance of cultural connotations of Chinese dishes. These problems make foreigners and some Chinese English learners confused. Next I will analyze them in detail with examples.(Xia Ying 2016, 259)<br /> <br /> 中国饮食文化博大精深，源远流长。中餐翻译在中外文化交流中的重要性不言而喻。然而，目前中国菜名英译存在不少问题，诸如使用直接生硬表达法、缺乏统一翻译标准、忽视菜肴文化内涵等。这些问题不仅引起外国人的困惑，中国英语学习者亦云里雾里。下面我将结合实例具体分析。(夏瑛 2016, 259)<br /> <br /> ====2.1 The Use of Direct and Rigid Expressions====<br /> China has a vast territory and abundant resources. The eating habits and cooking methods in different regions of the country are different. Some dishes are named after myths, legends and allusions, while others are complex in cooking methods and various in ingredients. Direct and stiff expressions can't express the rich connotations of these dishes and even make people funny.(Zhang Yang 2016, 48)<br /> <br /> 中国地大物博，全国各地区的饮食习惯与烹饪方法各不相同，其中一些菜肴以神话、传说及典故命名，还有一些佳肴烹饪方法复杂，食材多种多样。直接生硬的表达法不能很好表达这些菜肴的丰富内涵，甚至会让人啼笑皆非。<br /> <br /> For example, if &quot;Jiaohua chicken, a whole chicken roasted in caked mud&quot;(叫花鸡) is translated into &quot;beggar's chicken&quot;(叫花子的鸡), it doesn't reflect the origin and the cooking method of this dish. It is said that in the late Ming Dynasty and early Qing Dynasty a beggar in Changshu（常熟，a city of Jiangsu province） got a chicken by chance. He had no cooking utensils and seasonings. So he had to put the chicken into the mud to simmer and roast it. When the chicken was cooked, he knocked off the mud shell. The aroma overflowed, and it became a delicious dish. (Zhang Yang 2016, 48)<br /> <br /> 比如，”叫花鸡”(Jiaohua Chicken，a whole chicken roasted in caked mud)若译成”Beggar’s Chicken”则完全没有体现这道菜的由来及做法。相传明末清初时，常熟一个乞丐偶然间得到一只鸡，苦于没有炊具和调料，只能将鸡处理后放入泥土中煨烤，鸡熟后敲掉泥壳，香气四溢，成为一道美味佳肴。<br /> <br /> Another example is that &quot;木须肉&quot; is translated as &quot;wood mustache meat&quot;（木头胡子肉）. This translation is confusing and doesn't reflect the main ingredients of this dish. I think that it is appropriate and reasonable to translate it into &quot;stir fried pork with eggs and black fungus&quot;. (Zhang Yang 2016, 48)<br /> <br /> 又如，“木须肉”被译为”Wood mustache meat”（木头胡子肉），这种译法让人不知所云，更没有体现这道菜的主要原料。笔者认为将其译为”Stir-fried pork with eggs and black fungus”比较恰当合理。(张扬 2016, 48)<br /> <br /> ====2.2 The Lack of Unified Translation Standards====<br /> At present there is no uniform international standard for the translation of Chinese dish names, which leads to the emergence of multiple translation versions in the book market and restaurants. It brings inconvenience and trouble to foreigners and affects the spread of Chinese catering culture. For example, there are several different translation versions of &quot;麻婆豆腐&quot; in China: bean curd with minced pork in hot sauce; Mapo Tofu; tofu made by woman with freckles. The last translation version is not very appropriate and easy to cause disgust. Foreigners are familiar with the translation of &quot;Mapo Tofu&quot; and have already accepted it, so it is acceptable not to explain it. The first translation version is more vivid and can make people salivate. It reflects the method and raw materials of this dish.(Lin Hong 1991, 41)<br /> <br /> 目前，国际上没有关于中国菜名翻译的统一的标准，这导致在图书市场和餐厅内出现多个翻译版本，给外国人带来不便与麻烦，影响中国饮食文化的传播。例如，国内“麻婆豆腐”有以下几种不同的翻译：Bean curd with minced pork in hot sauce; Mapo tofu; Tofu made by woman with freckles.笔者认为，最后一种译法不是很贴切，容易引起反感。外国人已熟知并接受”Mapo tofu”的译法，故不解释亦可。第一种译法较为形象，体现了菜肴的做法和原料，让人垂涎欲滴。<br /> <br /> There are also many ways to translate &quot;宫保鸡丁&quot;, including &quot;Kung Pao chicken&quot;, &quot;fried diced chicken in Sichuan style&quot; or &quot;sauteed chicken cubes with chili and peanuts&quot;. So many translation versions will not only make readers confused, but also fail to reflect the characteristics and cultural connotations of Chinese dish names. Therefore, the translation of the unified dish names is one of the problems to be solved in correctly understanding Chinese cooking culture. (Lin Hong 1991, 41)<br /> <br /> “宫保鸡丁”五花八门的译法包括”Kung Pao Chicken”, “Fried diced chicken in Sichuan style” 或”Sautéed chicken cubes with chili and peanuts”. 如此多的译名不仅会引起读者思维上的混乱，而且没有很好地体现中国菜名的特点与文化内涵。由此可见，统一菜名的翻译是正确领略中国饮食文化亟待解决的问题之一。 (林红 1991, 41)<br /> <br /> ====2.3 The Neglect of Cultural Connotations of Dishes====<br /> The differences between Chinese and western cultures lead to the differences between Chinese and Western catering cultures, which stems from the different attitudes towards rationality and sensibility. Chinese people have strong perceptual thinking, so they pursue beauty and artistry. Chinese dishes are full of color, fragrance and other cultural connotations. Westerners pay more attention to rationality, truth and science. The names of Western dishes are easy to understand, and the raw materials and nutrients are relatively clear. (Wang Junjian 2017，107)<br /> <br /> 中西文化的差异导致中西饮食文化的不同，而这种差异归根结底源于双方对待理性和感性的不同态度。中国人感性思维较强，故而追求美和艺术性，中餐讲究色香味俱全，通常含有祝福、美好等文化内涵。西方人则更注重理性、真理和科学，西餐菜名通俗易懂，原料和营养成分较为清楚。<br /> <br /> For example, &quot;onion soup in French style&quot;(法式洋葱汤) is used in Western food, while &quot;stewed snake and chicken&quot;(龙凤呈祥) in Chinese food is the soup stewed with snake and chicken. Snake is regarded as a small dragon (Jiao 蛟) in China, and there is a folk saying that pheasant flies on the branch and becomes a phoenix(野鸡飞上枝头变凤凰). Therefore, a snake is compared to a dragon, and a chicken - a phoenix, which is used to bless and praise things and others. (Wang Junjian 2017，107)<br /> <br /> 比如，西餐中的Onion soup in French style(法式洋葱汤),而中餐中的”龙凤呈祥”（Stewed snake and chicken）是用蛇和鸡炖的汤。蛇在中国视为小龙（蛟），且民间有“野鸡飞上枝头变凤凰”的俗语。故把蛇比作龙，鸡比作凤凰，用作对事物和他人的祝福和赞美。<br /> <br /> The main ingredient of &quot;more than every year&quot;(年年有余) is fish. &quot;Yu&quot;(余) in Chinese refers to surplus, which is homophonic with &quot;fish”(鱼), which expresses people's good wishes for a prosperous family and surplus every year. If foreigners don't understand the Chinese culture implied in these dishes, they will find these translations very strange. Therefore, cultural factors must be taken into account in translating Chinese dishes to avoid misunderstanding. (Wang Junjian 2017，107)<br /> <br /> “年年有余”（More than every year）的主要食材是鱼，“余”在汉语中指剩余，与“鱼”谐音，表达人们对家业发达、年年有余的美好愿望。如果外国人不了解这些菜隐含的中国文化，则会觉得这种翻译很奇怪。因此，在翻译中国菜名时必须考虑文化因素，避免造成误解。(王君健 2017,107)<br /> <br /> To a large extent, the above problems are caused by the fact that people pay attention to the intuitive feelings in the process of translation, ignoring the cultural connotations of dish names and using inappropriate translation methods. In this chapter I will try to solve these problems by adopting translation strategies of domestication and foreignization from the linguistic and cultural levels, then introduce the above two translation strategies and analyzes how to use them to improve the quality of translation in the process of translating Hunan cuisine into English. (Xia Ying 2016, 259+273)<br /> <br /> 以上问题很大程度上是因为人们在翻译过程中注重直观的感受，忽略菜名蕴含的文化底蕴，使用不恰当的翻译方法造成的。笔者试图从语言和文化层面采用归化和异化翻译策略来解决这些问题。接下来将介绍着这两种翻译策略并分析在湘菜英译过程中如何运用它们来提高翻译质量。(夏瑛 2016, 259+273)<br /> <br /> ===3. Translation Strategies of Domestication and Foreignization ===<br /> <br /> ====3.1 Definitions of Domestication and Foreignization====<br /> Domestication and foreignization are two different translation strategies in the process of translation. These two terms were first put forward by Lawrence Venuti in his book &quot;Translator's Invisibility&quot; according to the theory of German philosopher Schleiermacher. (Wang Shaofei 2006,30)<br /> <br /> “归化”和“异化”是翻译过程中两种不同的翻译策略。这两个术语最初是由劳伦斯韦努蒂( Lawrence Venuti) 根据德国哲学家施莱尔马赫( Schleiermarcher) 的理论在他的著作《译者的隐身》中提出的。(王少飞，2006, 30)<br /> <br /> Domestication refers to a translation strategy that localizes the source language, takes the target language or target language readers as the destination and adopts the expressions that the readers are used to convey the content of the original text. It can help readers better understand the translation and enhance its readability and appreciation.（Su Songlonghua 2011） <br /> <br /> 归化指把源语本土化，以目标语或译文读者为归宿，采取目标语读者所习惯的表达方式来传达原文的内容的一种翻译策略。归化翻译要求译者向目的语的读者靠拢。归化翻译有助于读者更好地理解译文，增强译文的可读性和欣赏性。<br /> <br /> Foreignization in the process of translation considers the linguistic characteristics of foreign cultures and absorbs foreign language expressions. It requires translators to approach the author and adopt the corresponding source language expressions to convey the content of the original text, which means that we should take the source culture as the destination. The purpose of using foreignization is to consider the differences of national cultures, to preserve and reflect characteristics of foreign cultures and their language styles, to retain the exotic sentiment for the target readers.（Su Songlonghua 2011）<br /> <br /> 异化在翻译上迁就外来文化的语言特点，吸纳外语表达方式，要求译者向作者靠拢，采取相应于作者所使用的源语表达方式，来传达原文的内容，即以源语文化为归宿。使用异化策略的目的在于考虑民族文化的差异性、保存和反映异域民族特征和语言风格特色，为译文读者保留异国情调。（百度百科,宿松龙华，2011）<br /> <br /> ====3.2 Two Levels of Domestication and Foreignization====<br /> Foreignization and domestication should be investigated from the level of language form and cultural content. On the one hand, on the linguistic level adopting the translation strategy of foreignization is beneficial to enrich the expression of the target language, but only in a few cases the purpose of translation is to show the language form of the source language. Because of reader-oriented characteristics domestication can ensure that the translation is easy to understand, and it is favored by readers. Therefore, at the language level domestication is the mainstay and foreignization is the supplement.(Zhang Zhizhong 2005,46) <br /> <br /> 谈论异化和归化，应从语言形式和文化内容层面考察。（张智中，2005,46）一方面，在语言层面上，采取异化翻译策略有利于丰富目的语的表达方式，但是只有在少数情况下翻译的目的是展现源语的语言形式。而归化由于读者导向性的特点能保证译文通俗易懂，受到广大读者的青睐。故而在语言层面提倡主要采用归化策略，异化策略辅助的原则。<br /> <br /> On the other hand, on the cultural level foreignization can retain the cultural elements and connotations contained in the source language as much as possible, which helps to spread foreign cultures, and in this aspect its advantages are greater than domestication. However, it is impossible to completely adopt the foreignization, because there are too many cultural differences in cross-cultural communications, so it is necessary to use domestication to remove communication barriers.(Shen Sangshuang，Wang Shuqiong 2017, 87)<br /> <br /> 另一方面，在文化层面上，异化能尽可能保留源语中蕴藏的文化元素和内涵，有助于传播异国文化，其优势大于归化。但是，完全采用异化策略是不可能的，因为在跨文化交际中存在文化差异过大的情况，需要采用归化来扫除交流障碍。<br /> <br /> Therefore, on the cultural level the principle of foreignization as the mainstay and domestication as the supplement is adopted. In addition, using domestication on the language level can clearly express the meaning of the original text, which helps to better reflect the cultural elements expressed by the use of foreignization on the cultural level. In short, when the source language has distinctive national characteristics, the use of a combination of translation strategies of domestication and foreignization can maximize strengths,avoid weaknesses and promote cultural transmission.(Shen Sangshuang，Wang Shuqiong 2017, 87)<br /> <br /> 因此，在文化层面上采用异化为主，归化为辅的原则。此外，在语言层面上采取归化策略能清楚的表达原文意思，有助于更好地体现在文化层面采用异化策略所表达的文化元素。总之，当源语具有鲜明的民族特色时，采用归化和异化结合的翻译策略能够扬长避短，促进文化传播。(沈桑爽，王淑琼，2017，87）<br /> <br /> Theoretically speaking, foreignization and domestication are two opposite translation strategies. However, they are closely related and interact with each other in specific translation practices and applications. When domestication and foreignization are applied in the translation of Chinese dish names, the translator should deal with the relationship between the readers and the author. On the one hand, we should use habitual expressions of readers and consider their way of thinking and understanding ability to make sure they can understand the translation. On the other hand, we should pay attention to retaining the essence of Chinese traditional culture contained in Chinese dish names, so as not to blindly please readers without knowing to change. (Su Songlonghua 2011)<br /> <br /> 从理论上看异化和归化这两种翻译策略是对立的，然而在具体的翻译实践和应用中二者有紧密的联系，且相互作用。在中国菜名翻译中应用归化和异化翻译策略时，译者应处理好读者与作者之间的关系。一方面，应从读者的角度出发尽可能用其惯用的表达方式，考虑他们的思维方式和理解能力，以达到他们能明白翻译内容的目的。另一方面，应注意保留中国菜名中所蕴含的中国传统文化精髓，做到既不一味取悦读者，也不不知变通（一成不变）。( 百度百科 宿松龙华 2011)<br /> <br /> ===4. Application of Domestication and Foreignization in English Translation of Hunan Cuisine===<br /> <br /> ====4.1 Composition and Nomenclature of Hunan Cuisine====<br /> As one of the eight major cuisines in China, Hunan cuisine has the unique characteristics of color, flavor and taste of Chinese dishes, and its naming also shows different styles. Hunan cuisine can be generally divided into realistic dishes and freehand dishes. The first type of dishes directly reflects the cooking elements. The second one usually uses rhetorical skills to endow dishes with certain cultural connotations according to their own composition. If foreigners don't understand Chinese culture, from literal translation they don't know the specific methods and raw materials of this kind of dishes, and it is difficult to understand their meanings. (Chen Wei 2007，108)<br /> <br /> 湘菜作为中国八大菜系之一，具有中国菜肴独有的色香味俱全的特点，其命名亦显示不同的风格。湘菜一般可分为写实型菜肴和写意型菜肴，写实型菜肴直接体现烹饪要素。写意型佳肴则通常使用修辞手法，根据其本身的组成赋予菜肴一定的文化内涵。如果外国人不了解中国的文化，单从字面翻译他们不知道这类菜肴具体做法和原料，难以理解其具体含义。(陈蔚 2007，108)<br /> <br /> =====4.1.1 Realistic Dishes=====<br /> Realistic dishes are often named according to the combination of cooking elements. The cooking elements of Hunan cuisine mainly include raw materials(原料), seasonings(调料), knife techniques(刀法), taste(口味) and cooking methods(烹饪方法). Common main ingredients embody fish, meat and chicken; seasonings involve star anise(八角), cinnamon(桂皮), green onion(葱), ginger(姜), garlic(蒜); knife techniques are various, such as slicing(切片), shredding(切丝), cutting into wicker shapes(切柳) ; the taste is famous for its sour and spicy(酸辣), fresh and tender(鲜嫩), crisp and fragrant(酥脆) taste; the cooking methods are mainly sauted(爆), simmered(煨), stewed(炖), fried(炒), braised(烩) and steamed(蒸).(Chen Wei 2007, 108)<br /> <br /> 写实型菜一般根据其菜肴烹饪要素的组合命名，湘菜的烹饪要素主要包括原料、调料、刀法、口味和烹饪方法。常见的主料包括鱼、肉、鸡等；调料有八角、桂皮、葱、姜、蒜；种类繁多的刀法如，切片、切丝、切柳等；口味以酸辣、鲜嫩、酥脆、香熏著称；烹饪方法以爆、煨、炖、炒、烩、蒸为主。<br /> <br /> The common combination methods include following three types: cooking materials + methods + knife method, such as sauted shredded pork with green pepper(青椒炒肉丝); seasoning + raw materials, such as bullfrog with ginger sauce and pepper(姜辣牛蛙), hot and sour radish strips(酸辣萝卜条); taste + cooking method + raw materials, such as smoked fish in five flavors(五香熏鱼). (Chen Wei 2007, 108)<br /> <br /> 常见的组合方式包括以下三种：烹饪原料+方法+刀法，如青椒炒肉丝（Sauteed Shredded Pork with Green Pepper）；调料+原料，如姜辣牛蛙（Bullfrog with ginger sauce and pepper ）、酸辣萝卜条（Hot and sour radish strips）；口味+烹饪方法+原料，如五香熏鱼（Smoked fish in five flavors)。(陈蔚 2007，108)<br /> <br /> =====4.1.2 Freehand Dishes=====<br /> There are two types of freehand dishes. The first one is named according to the raw materials, colors, shapes or origin places of dishes. This type of dishes contains rich historical and cultural backgrounds and local flavors, expresses good wishes for auspiciousness and has Chinese characteristics. They are often named after allusions, legends or use metaphors, such as steamed glutinous rice ball (with meat / sugar in it)(姊妹团子), hotpot of snakeheaded fish slices as butterflies out of the soup(蝴蝶飘海). The second one refers to the names of people and place names related to dishes. They have distinctive local characteristics, such as Mao's braised pork(毛氏红烧肉), braised chestnut with green cabbage(板栗烧菜心), Changde rice noodles(常德米粉) and Lixian County stewed pork gut(澧县肠子). (Chen Wei 2007，108)<br /> <br /> 写意型菜包括两种类型。第一种根据菜肴的原料、色形或产地取名，使其不仅蕴含丰富的历史文化背景和地方风味，也表达了吉祥美好的祝愿，更具有中国特色。这些菜常以典故、传说命名或使用隐喻等修辞手法，如姊妹团子（Steamed Glutinous Rice Ball (with meat/sugar in it)）、蝴蝶飘海(Hotpot of snakeheaded fish<br /> slices as butterflies out of the soup)。第二种引用与菜肴相关的人名、地名命名，具有鲜明的地方特色，如毛氏红烧肉（Mao's braised pork）、板栗烧菜心（Braised chestnut with green cabbage）、常德米粉(Changde rice noodles)，澧县肠子(Lixian county stewed pork gut)。(陈蔚 2007，108)<br /> <br /> According to the composition and nomenclature of Hunan cuisine, as well as the high acceptability and comprehensibility of domestication and foreignization, the use of domestication-based and foreignization-assisted translation strategies of realistic Chinese dish names reproduces the original style well. Translation strategies of adopting foreignization as the main and domestication as the supplement for English translation of freehand dish names can better convey the interesting characteristics of Chinese cuisine and the broad and profound cultural heritages. In the following I will use exemplification to analyze it from different perspectives. (Jiang Jun 2017, 203)<br /> <br /> 根据湘菜构成及命名方法和归化和异化的可接受度高和可理解性强的特点，翻译写实型中国菜名时采用归化为主、异化为辅的翻译策略很好地再现原作的风格，而针对写意型菜名英译采用异化为主、归化为辅的策略能较好地传达中餐妙趣横生的特征及博大精深的文化底蕴。下面我将从不同的角度使用例证法具体分析。 (姜君 2017, 203)<br /> <br /> ====4.2 On the Language Level Domestication is the Mainstay and Domestication is the Supplement====<br /> Domestication on the language level means that the English translation of Hunan dishes should use common and appropriate expressions in English to convey the meaning of Chinese dish names on different levels of linguistics such as vocabulary, semantics, and grammar, so as to ensure the acceptability of English translation of Chinese dish names for foreigners. (Shen Sangshuang，Wang Shuqiong 2017, 88)<br /> <br /> 语言层面的归化指湘菜的英译要在词汇、语义、语法等语言学的不同层面上，使用英语中常见、贴切的表达方式传达中国菜名的含义，以确保英译菜名在外国人中的接受度。(沈桑爽，王淑琼 2017, 88)<br /> <br /> =====4.2.1 Domestication on Lexical Level=====<br /> “童子鸡”can be translated as &quot;Tender chicken&quot;(嫩滑的鸡肉), but it can't be translated as &quot;chicken without sexual life&quot;(没有性生活的鸡). According to this literal translation, “童子鸡” refers to chickens that have not mate. However, this dish originally emphasizes that the chicken is tender and tastes very good. Therefore, when translating “童子鸡”, the translation strategy of domestication is used at the lexical level. The word &quot;Tender&quot; is used to express the concept of “童子”, which means that the chicken is not mature enough. It expresses the essence of this dish vividly and avoids misunderstanding.(Lin Hong 1991, 41)<br /> <br /> “童子鸡”可译为Tender chicken(嫩滑的鸡肉)，但不能译成“chicken without sexual life”。按照这种字面翻译，“童子鸡”指的是没有交配的小鸡。然而，这道菜原本强调的是鸡肉很嫩，口感十分好。因此翻译“童子鸡”时在词汇层面使用归化策略，用tender表示“童子”这个概念，指鸡尚未发育成熟，可传神地表达这道菜的本质，避免误解。(Lin Hong 1991, 41)<br /> <br /> This method is also applicable to the English translation of “鱼香肉丝”. &quot;Shredded pork with garlic sauce or fish-flavored shredded pork in hot sauce&quot;(蒜蓉猪肉丝或鱼香肉丝) refers to shredded pork mixed with minced garlic. The &quot;fish fragrance&quot;(鱼香) of this dish doesn't refer to the fragrance of fish meat, but a complex flavor composed of various seasonings such as pickled peppers, sugar and vinegar. The above-mentioned translation not only retains the original meaning of Chinese, but also arouses foreigners' associations with the smell of fish. (Lin Hong 1991, 41)<br /> <br /> 这种方法同样适用于“鱼香肉丝”的英译。“鱼香肉丝”（Shredded pork with garlic sauce or Fish-flavored shredded pork in hot sauce）指混合着蒜末的肉丝。这道菜的“鱼香”并非指鱼肉的香味，而是一种用泡椒、糖、醋等多种调料组成的复合味道。上述译法即保留了中文的原意，又能引起外国人对鱼香味的联想。(林红 1991, 41)<br /> <br /> In addition, pinyin (拼音) can be used in English translation of dishes with Chinese characteristics which have been included in major foreign English dictionaries, such as wonton(馄饨), tofu(豆腐), jiaozi(饺子) and shaomai(烧卖). These dishes are traditional Chinese food which has been widely accepted by foreigners. Moreover, the use of pinyin can promote Chinese and Chinese cooking culture. (Shen Sangshuang, Wang Shuqiong 2017, 88)<br /> <br /> 此外，具有中国特色且被国外主要英文字典收录的，使用汉语方言拼音或音译拼写的菜名，英译时可使用拼音，如“馄饨”（Wonton）、“豆腐”（Tofu）、“饺子”（Jiaozi）、“烧卖”(Shaomai)等。这些菜肴都是已被外国人普遍接受的中国传统食品，使用拼音能推广汉语和中国饮食文化。(沈桑爽，王淑琼 2017, 88)<br /> <br /> =====4.2.2 Domestication on Semantic Level=====<br /> Domestication on semantic level is conducive to convey the meanings of dish names simply and clearly. For example, “一卵孵双凤” can be translated as &quot;two phoenix were hatched from an egg (two chickens, winter bamboo shoots and mushrooms steamed in watermelon)&quot;. From the above translation you can clearly understand the main ingredients and cooking methods of this dish, so as not to be confused by its name. (Zhang Yang 2016, 48)<br /> <br /> 语义上的归化有利于简单明了地传达菜名的含义。例如，“一卵孵双凤”可译为Two phoenix were hatched from an egg(two chickens, winter bamboo shoots and mushrooms steamed in watermelon).从上述翻译可以十分清楚地了解这道菜的主要食材和制作方法，从而不会再被菜名弄得一头雾水。 （张扬 2016，48）<br /> <br /> In another example, “金鱼戏莲” is made with squid as the main ingredient. The squid rolls resemble goldfishes, playing among the lotus clusters composed of eggs, shrimps and green beans. The name of this dish comes from it. If this dish is directly translated as &quot;goldfish plays with lotus&quot; with the use of foreignization, it is difficult for people to figure out what it means. Therefore, &quot;oil-fried squid files and steamed shrimp meat, albumen and lima bean to mean&quot;(金鱼戏莲) vividly expresses the essence of this dish, and a vivid and interesting picture can be constructed in the reader's mind through the representation of the image of &quot;floating lotus&quot;(浮莲).(Zhang Yanping, Zhang Weiping 2016, 120)<br /> <br /> 又如，“金鱼戏莲”以鱿鱼为主料制作而成，鱿鱼卷似金鱼，嬉戏于由鸡蛋、虾仁和青豆组成的群莲中，菜名由此而来。如果采用异化策略直接译为Goldfish plays with lotus,外国人很难弄明白这指的是什么。故用Oil-fried squid files and steamed shrimp meat, albumen and lima bean表示“金鱼戏莲”,既十分形象地表达了这道菜的本质，又通过“浮莲”意象的再现，能在读者脑海里构建一幅生动有趣的画面。<br /> <br /> Similar examples include &quot;stewed assorted meats/hotchpotch&quot; (全家福), &quot;hotpot of snakeheaded fish slices as butterflies out of the soup&quot; (蝴蝶飘海) and &quot;steamed whole hen with litchi, longan, jujube, lotus and medlar&quot;(五元神仙鸡). (Zhang Yanping, Zhang Weiping 2016, 120)<br /> <br /> 类似的例子还包括“全家福”（Stewed assorted meats/hotchpotch）、“五元神仙鸡”（Steamed whole hen with litchi, longan, jujube, lotus and medlar）、“蝴蝶飘海”（Hotpot of snakeheaded fish slices as butterflies out of the soup）。 (张艳萍, 张伟平 2016, 120)<br /> <br /> =====4.2.3 Domestication on Grammatical Level=====<br /> The domestication of Hunan cuisine on the grammatical level is mainly reflected in the use of prepositions and verb past participles in English translation of Chinese dish names. There are various cooking methods for Hunan cuisine, including simmer, stew, steam, fry, smoke, and the past participle is usually used in their English translations. Such as &quot;Dongting spicy salted duck&quot;(洞庭酱板鸭), &quot;Dongting barbecued mandarin fish&quot;(网油叉烧洞庭桂鱼), and &quot;fried winter bamboo shoots&quot;(油辣冬笋尖).(Shen Sangshuang, Wang Shuqiong 2017, 88)<br /> <br /> 湘菜在语法层面的归化主要体现在英译菜名时介词和动词过去分词的使用方面。湘菜多种多样的烹调方法，包括煨simmer、炖stew、蒸steam、炒fry、熏smoke，在译文中通常用过去分词。如“洞庭酱板鸭”（Dongting spicy salted duck ）、“网油叉烧洞庭桂鱼”（Dongting barbecued mandarin fish）、“油辣冬笋尖”（Fried winter bamboo shoots）。<br /> <br /> Dishes with main ingredients and supplemented by ingredients, seasonings and soups are generally translated by prepositions, such as &quot;preserved eggs with hot pepper&quot;(尖椒皮蛋),&quot;fragments of garlic bolt without using knife&quot;(手撕蒜苗), &quot;Yongzhou fried duck pieces together with its blood and balsam pear&quot; (永州血鸭) and &quot;braised pig knuckle in brown sauce&quot; (走油猪腿). (Shen Sangshuang, Wang Shuqiong 2017, 88)<br /> <br /> 而以主料为主，配料、调料、汤汁为辅的菜肴一般会使用介词翻译，如“尖椒皮蛋”（Preserved Egg with Hot Pepper）、“手撕蒜苗”（Fragments of garlic bolt without using knife）、“永州血鸭”（Yongzhou fried duck pieces together with its blood and balsam pear）、“走油猪蹄”（Braised pig knuckle in brown sauce）。 (沈桑爽，王淑琼 2017, 88)<br /> <br /> ====4.3 On the Cultural Level Foreignization is the Mainstay and Domestication is the Supplement====<br /> As we all know, the exchanges of food culture in cross-cultural communication are closely connected with daily life. Chinese dishes are both delicacies and arts. They have profound cultural heritages and aesthetic values. There are many dishes named after allusions, legends and dishes with names of people and places in Hunan cuisine. When people understand their cultural backgrounds, they can better understand the meanings of those dishes. On the cultural level the translation strategies of foreignization as the mainstay and domestication as the supplement help to inform customers of the taste, cooking methods and ingredients of the dishes to the greatest extent, and accurately convey the cultural elements of the dishes.(Zhou Yonghong 2008, 101)<br /> <br /> 众所周知，跨文化交际中饮食文化的交流与日常生活紧密相连。中国菜品既是佳肴又是艺术品，其具有深厚的文化底蕴和审美价值。湘菜中有许多以典故、传说命名的菜肴以及带人名和地名的菜肴，人们了解其文化背景后能更好地理解菜名的含义。文化层面采取异化为主，归化为辅的翻译策略有助于最大程度告知顾客菜肴的口味、烹饪法和食材，精准传递菜品的文化元素。<br /> <br /> In my opinion, the use of foreignization to translate Chinese food should first understand the characteristics of the naming of western food. According to the famous French chef Auguste Escoffier, western dishes are usually named after people, places, gods, historical events and main ingredients. Comparing the naming and composition characteristics of Hunan cuisine and western dishes, it can be seen that when translating freehand Chinese dish names, the taste, ingredients, cooking methods and necessary backgrounds of these dishes must be reflected. So understanding the characteristics of western dishes names is beneficial to the translation of Chinese freehand dish names. (Zhou Yonghong 2008, 101)<br /> <br /> 我认为，使用异化的翻译策略翻译中餐首先要了解西餐的命名的特点。法国名厨Auguste Escoffier 的认为，西餐菜肴通常用人名、地名、神灵、历史事件以及主要原料等命名。对比湘菜和西餐命名和构成特点，可知翻译写意型中餐菜名时需要体现菜名的口味、食材、烹饪方法以及必要的知识背景。由此可见，了解西餐菜名的特点有利于翻译中国写意型菜名的翻译。(周永红 2008, 101)<br /> <br /> =====4.3.1 Dishes Named after Allusions and Legends=====<br /> 以典故、传说命名的菜肴<br /> There are many dishes named after allusions and legends in Chinese and western dishes. These dishes have historical and cultural origins and are not suitable for literal translation. For example, the famous French dish Veronique（薇洛妮克）is named after the mythical goddess. The white juice symbolizes her beautiful appearance, and the white grapes next to it symbolize her tears.(operations12, 2008)<br /> <br /> 中餐和西餐中有不少以典故、传说命名的菜肴。这些菜有历史文化渊源，不适合采用直译的方法。例如，法国名菜Veronique（薇洛妮克）以神话女神命名，白汁与象征着她的美丽容貌，配在旁边的白色提子象征着她的眼泪。<br /> <br /> “姊妹团子” is a local snack in Hunan province. It is made by grinding the finest glutinous rice into a fine powder, and the inset is a meat filling made of raw materials such as fresh meat, mushrooms, monosodium glutamate and sesame oil. The shape is a long cone with a pointed top and a flat bottom. After being steamed, it looks like a small white pagoda. The origin of this dish is as follows: in the early 1920s the young and beautiful Jiang sisters set up a stall selling glutinous rice dumplings in the polder of the Fire Palace in Changsha. The dumplings they made were delicious and beautiful, and people were full of praise for it. The translation &quot;Steamed glutinous rice ball (with meat/sugar in it)&quot; points out that the main raw material of this dish is rice ball, the auxiliary materials are meat and sugar, and the cooking method is steam, which makes it clear at a glance.(operations12, 2008)<br /> <br /> “姊妹团子”是湖南省地方特色小吃。其制作时用上等糯米磨成细粉，内陷是由鲜肉、香菇、味精、芝麻油等原料构成的肉馅。外形是尖顶平底长型锥体，蒸熟后像一座白色的小宝塔。这道菜肴的由来如下：本世纪20年代初在长沙火宫殿的圩场上年轻漂亮的姜氏姐妹摆了一个卖团子的摊子，她们制作的团子既好吃又好看，人们对此赞不绝口。译文“Steamed glutinous rice ball (with meat/sugar in it)”指出此菜主要原料是rice ball、辅料为meat和sugar,烹饪方法为steam,让人一目了然。(百度百科operations12, 2008)<br /> <br /> “湘西土匪鸭”is a dish named after an allusion. It's said that a woman surnamed Zhang(张氏) opened a restaurant in Xiangxi (湘西，the west of Hunan province), but her business was not very good due to the large area and sparse population. To make matters worse, her ducks raised in the house are fierce and domineering, ruining the crops every day, not laying eggs properly and causing Zhang to hold the bamboo poles, rush and scold them every day: &quot;You damn ducks, you are like bandits!&quot; She was so angry with these ducks to kill all of them. Because these wild ducks are delicious and Zhang's cooking skills are good, the ducks she burns are soft and tender, and they are delicious, attracting people to smell the fragrance and attracting a large number of guests. Someone asked what this dish was called. Because of the ducks Zhang was extremely angry at that time, and she casually replied: &quot;What kind of dish? Wild ducks!&quot; Since then this dish has become famous. If we use the translation strategy of domestication to translate this dish as &quot;Brigand in Xiangxi ducks&quot;, it is incredible. Translating “湘西土匪鸭” into &quot;Xiangxi wild ducks&quot; not only allows guests to understand the special ingredients of this dish, but it embodies the legendary story of Xiangxi. (Zhang Yanping, Zhang Weiping 2016, 121-122)<br /> <br /> “湘西土匪鸭”是以典故命名的菜肴。传说湘西以前一个姓张的妇人开了一家餐馆，由于地广人稀，生意不太好。更糟糕的是，家中饲养的鸭子凶悍霸道，天天糟蹋庄稼，不好好下蛋，害得张氏天天拿着竹竿又赶又骂:“你们这些该死的鸭子，简直像土匪!。她一气之下把这些鸭子全杀了。由于这些爱撒野的鸭子肉质鲜美，且张氏厨艺很好，她烧的鸭子酥软嫩滑，鲜香绝伦，引得食客闻香而至,吸引大量的客人。有人问这叫什么菜，张氏气极，随口答：“什么菜/土匪鸭!”从此这道菜名声大震。(百度百科)若使用归化的翻译策略将这道菜译为“Brigand in Xiangxi ducks”让人匪夷所思。把“湘西土匪鸭”译成“Xiangxi wild duck”不仅能让客人了解菜的特殊食材，而且体现了湘西这个传奇的故事。 (张艳萍, 张伟平 2016, 121-122)<br /> <br /> =====4.3.2 Dish Names with Place Names and People's Names=====<br /> There are usually two translation methods for the dish names with a person's name and a place name in western dishes: dish name + place + style; place /person’s name + dish name. For example, Macedonia de fruta(马其顿水果) uses the second translation method, indicating the origin and ingredients of the dish name. This is a classic dessert in Spanish restaurants. All kinds of fruits are cut into small pieces and then mixed with sugar water or juice. The name of this dish is related to the Great Alexander of the Macedonian Empire in the fourth century BC. At the age of 30 Alexander established the largest empire in the history of the time and promoted the integration of races, cultures and languages throughout the empire. In the 18th century the French called things that combined various elements &quot;Macedonia&quot;. Therefore, this candied fruit chowder is named &quot;Fruit Macedonia&quot;.(zzpingic1130, 2010)<br /> <br /> 西式菜名中带人名和地名的菜名通常有两种翻译方法：菜名+地名+style ; 地名/人名+菜名。例如，Macedonia de fruta(马其顿水果)的译文使用了第二种翻译方法，指明菜名的产地和原料. 这是西班牙餐馆中一道经典的饭后甜点。各种水果切成小丁后，伴上糖水或果汁。这道菜名和公元前四世纪的马其顿帝国的亚历山大大帝有关。亚历山大大帝在30岁时就建立了当时史上最大的帝国，并促进帝国内各地的种族、文化、语言等的大融合。到了18世纪，法国人就把融合了各种各样元素的事物称之为“马其顿”。因此，这道糖渍水果大杂烩就取名为“水果马其顿”了。<br /> <br /> “攸县香干”is a famous characteristic traditional soy product in Hunan Province, which originated in Youxian county, Hunan province(湖南省攸县). This dish tastes smooth and tender. Tofu is easy to taste and has an aftertaste after eating. It is a home-cooked dish which is suitable for all ages. The translation &quot;dried tofu, Youxian style&quot; uses the foreignization to point out from the cultural level that the raw material of this dish is dried tofu, and it reflects the local characteristics of Youxian county. (zzpingic1130, 2010)<br /> <br /> “攸县香干”是湖南省著名的特色传统豆制品，起源于湖南省攸县境内。这道菜口感滑嫩、韧性足、口味纯、细而不腻，有点劲道。豆腐很容易入味，吃完后有回味，是一道老少适宜的家常菜。译文“Dried tofu ，Youxian style”采用异化的翻译策略从文化层面指出了菜的原料是烘干的豆腐，而且体现攸县的地方特色。 (百度百科 zzpingic1130, 2010)<br /> <br /> “玉麟香腰”was created by the chef of Peng Yulin(彭玉麟), a famous official in Hengyang(衡阳,a city of Hunan province) in the Qing Dynasty, and the name of the dish came from this. The main ingredient is pork loin. The dishes are divided into seven layers, stacked one after another and shaped like a pagoda(宝塔). It's also known as &quot;pagoda fragrant waist&quot;(宝塔香腰). If this dish is translated as &quot;sweet pig kidney&quot;, it is difficult to explain its cultural heritage, and it doesn't show the beauty of this dish visually &quot;step by step&quot;(步步高升) like a pagoda. “玉麟香腰”can be translated into English as &quot;Yulin's best homely dish&quot;. According to the legend, when Peng Yulin returned home to banquet his fellow villagers, he used “玉麟香腰” as the first dish. &quot;Peng Yulin's best family banquet dish&quot;(彭玉麟最好的家宴菜) can ingeniously explain the origin of this dish and undoubtedly explain why this dish is also called &quot;touwan&quot;(头碗,the first dish). The English translation of this dish implies &quot;top&quot;(顶级，最好). It seems to mean &quot;to reach the highest level&quot;(登塔至级). Translation of &quot;Yulin's best homely dish&quot; not only conforms to the psychological world of diners, but also fully considers the audience’s cognitive needs and aesthetic expectations. （Zhang Yanping，Zhang Weiping，2016,121-122）<br /> <br /> “玉麟香腰”是清代衡阳名官彭玉麟家厨创作而成，菜名由此而来。其主要食材是猪腰，菜分七层，层层堆砌，形状象宝塔，又名“宝塔香腰”。若将此菜译为“Sweet pig kidney”则很难解释它的文化底蕴，亦没有呈现这道菜视觉上“步步高升”如宝塔的美感。，“玉麟香腰”可以英译成 Yulin’s Best Homely Dish，因相传彭玉麟回乡宴请父老乡亲时，为表示丰盛，第一道菜就用的是“玉麟香腰”。“彭玉麟最好的家宴菜”能巧妙地解释了此菜的起源，无疑说明了此菜又称为“头碗”的缘由，且菜名英译中“最好”有蕴含“顶级”，似“登塔至级”之意：菜英译名 Yulin’s Best Homely Dish 不仅顺应了食客的心理世界，也充分考虑到受众的认知需要与审美期待。（张艳萍，张伟平，2016,121-122）<br /> <br /> ====4.4 Limitations of Domestication and Foreignization in English Translation of Hunan Cuisine====<br /> Translation strategies that adopt the combination of domestication and foreignization can ensure the clarity of English translation of Hunan cuisine and retain their cultural connotations, but there are still shortcomings, which are mainly reflected in the following three aspects.(Fan Jiwen 2016, 13-14)<br /> <br /> 采用归化和异化结合的翻译策略能最大限度地保证湘菜译文清晰明了，保留其蕴含的文化内涵，但仍有不足，主要体现在以下三个方面。<br /> <br /> Firstly, foreignization requires translators to move closer to readers and try their best to use their familiar and accustomed expressions, but sometimes it is difficult to find corresponding words in the target language, especially when we translate the culturally loaded words. For example, the dishes which represent happiness and lucky in Chinese include “四喜丸子”, “百鸟朝凤” and “全家福”. When we translate these dishes from Chinese into English, we don't know which words should be used to convey auspicious and beautiful meanings on the basis of accurately expressing the meanings of them.(Fan Jiwen 2016, 13-14)<br /> <br /> 第一，异化要求译者向读者靠拢，尽可能用他们熟悉和习惯的表达方式，但有时候很难在目的语中找到对应的词语，尤其是文化负载词的翻译。比如汉语中表示吉祥的菜包括“四喜丸子”、“百鸟朝凤”、“全家福”，翻译时在准确表达菜名含义的基础上不知道该用什么词来传达吉祥美好的意思。<br /> <br /> Secondly, due to the limitation of menu capacity, the meaning of Chinese dishes named after allusions, legends, and myths can’t be fully expressed. If it is literally translated or transliterated, the guests may be very confused. The choice of transliteration and annotation is too much content, which violates the principle of concise menus. For example, if we translate“佛跳墙” into &quot;Fotiaoqiang&quot; or &quot;Buddha jumping the wall&quot;, it doesn't reflect the essence of this dish. &quot;Fotiaoqiang-steamed abalone with shark's fin and fish maw in broth&quot; is more appropriate, but not concise enough.(Fan Jiwen 2016, 13-14)<br /> <br /> 第二，由于菜单容量的限制，以典故、传说、神话等命名的中国菜肴的含义不能完全表达。如果直译或者音译，客人可能会十分困惑。选择音译加注解的方式则内容太多，违背菜单简洁的原则。例如，“佛跳墙”如果译成“Fotiaoqiang”or “Buddha jumping the wall”未体现这道菜的本质。“Fotiaoqiang-steamed abalone with shark’s fin and fish maw in broth”比较贴切，但不够精简。<br /> <br /> Thirdly, due to the variety of cooking methods and seasonings in China, when translating Hunan cuisine into English the use of domestication is beneficial to people who understand Chinese food culture, but for most foreigners who do not know or are not familiar with these cooking methods and seasonings this type of translation will increase the difficulty of understanding. For example,“干锅烧明虾” and “红烧肉” both have the word &quot;burn&quot;(烧), but the translations are completely different. They should be translated as follows: &quot;fried prawns with pepper sauce&quot; and &quot;braised pork with brown sauce&quot;. The cooking method of the first dish is &quot;fried&quot;(煎), and the second dish - &quot;stewed&quot;（炖）.（Zhang Yang 2016,48）<br /> <br /> 第三，由于中国的烹饪方法和调料多种多样，英译时使用归化的翻译策略对于了解中国饮食文化的人来说是有利的，但是对于大部分不知道或者不熟悉这些烹饪方法和调料的外国人来说，这类的译文会增加他们的理解难度。(范继文 2016, 13-14) 比如， “干锅烧明虾”与“红烧肉”都有“烧”字，但是译法却是完全相同的，应该分别翻译如下：“Fried Prawns with Pepper Sauce”与“Braised Pork with Brown Sauce”。第一道菜的烹饪方法是“煎”，第二道菜则是“炖”。（张扬，2016,48）<br /> <br /> ===5. Conclusion===<br /> Although foreignization and domestication are opposite in theory, they are complementary and indispensable in the process of English translation of Chinese dish names. Taking translation strategies of domestication and foreignization from the linguistic and cultural levels can not only be faithful to the original, but also embody the rich cultural connotations and Chinese elements contained in the dish names. Therefore, the English translation of Chinese dish names is an indispensable part of cross-cultural communication and an important link in spreading Chinese traditional culture. I hope this chapter can provide some valuable references for future researches on the English translation of Chinese dish names. (Wang Yingying, Zhang Yu 2009, 58)<br /> <br /> 尽管异化与归化在理论上是对立的，但在中国菜名英译过程中二者的作用是相辅相成，缺一不可的。针对写实型和写意型的菜肴从语言和文化层面采取异化和归化的翻译策略不仅能够尽可能地忠于原文，还可以体现菜名中蕴含的丰富文化内涵和中国元素。由此可见，中国菜名的英译是跨文化交际中不可或缺的一部分，是传播中国传统文化的重要环节。希望本文能为未来中国菜名英译研究提供一些有价值的参考。 (王瑛瑛， 张瑜 2009, 58)<br /> <br /> ===References===<br /> *Chen Wei. 陈蔚. 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Beijing: 对外经济贸易大学 [Foreign Economic and Trade University].<br /> *Wang Yingying, Zhang Yu. 王瑛瑛，张瑜. “异化与归化策略在中国菜名翻译中的应用” [The Application of Foreignization and Domestication Strategies in the Translation of Chinese Dishes]. “商洛学院学报” [Journal of Shangluo University] (3):54-58.<br /> *Xiong Bing. 熊兵. (2014). “翻译研究中的概念混淆——以‘翻译策略’、‘翻译方法’和‘翻译技巧’为例” [Conceptual Confusion in Translation Studies: a Case Study of &quot;Translation Strategies&quot;, &quot;Translation Methods&quot; and &quot;Translation Skills&quot;]. “中国翻译” [China Translators Journal] (3):82-88.<br /> *Xia Ying. 夏瑛. (2016). “浅谈中国菜名英译中存在的一些问题及对策研究” [A Study on the Problems and Measures in the English Translation of Chinese Dish Names]. “科技视界” [The Vision of Science and Technology] (26):259+273.<br /> *Zhang Yang. 张扬. (2016). “中餐菜名的英译研究——以湘菜菜名为个案” [A Study on the English Translation of Chinese Dishes: Taking Hunan Cuisine as an Example]. “英语广场” [English Square] (6):47-48.<br /> *Zhou Yonghong. 周永红. (2008). “接受美学视阈下的湘菜翻译探讨” [A Study on the Translation of Hunan Cuisine from the Perspective of Reception Aesthetics]. “贵州工业大学学报” [Journal of Guizhou University of Technology] (1):101-102+105.<br /> *Zhang Yanping, Zhang Weiping. 张艳萍，张伟平. (2016). “基于语料库的湘菜菜名英译研究” [A Corpus-based Study on the English Translation of Hunan Dishes]. “南华大学学报” [Journal of Nanhua University] (1):119-122.<br /> *Zzpingic1130 (2010.8.7). 攸县香干. [Dried Tofu, Youxian Style]. “Baidu Encyclopedia”. https://baike.baidu.com/item/攸县香干.<br /> *Zhang Zhizhong. 张志中. (2005). “兼容并蓄 双层操作——异化归化之我见” [Inclusive and Double Operation -- My View on Foreignization and Domestication]. “语言与翻译” [Language and translation] (2):44-48.<br /> --[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:09, 21 December 2020 (UTC)</div>

Qu Miao https://bou.de/u/index.php?title=History_of_Translation_Studies_14&diff=118841 2020-12-21T15:23:21Z

<p>Qu Miao: /* How to Keep &quot;Chineseness&quot; in Idiom Translation from Chinese to English 瞿淼 202070080604 Qu Miao 【专业 is missing】 */</p> <hr /> <div>='''Translation of Cultural Words'''=<br /> <br /> <br /> ==Translation of Culture-Loaded Words in Li Qingzhao's Ci-Poetry Based on Scopos Theory 周思庆 Zhou Siqing 英美文学==<br /> &lt;center&gt;周思庆 Zhou Siqing, 202020080673 &lt;/center&gt;<br /> ===Abstract===<br /> This paper attempts to illustrate the influence of Skopos theory on translation strategies and the influence of translation strategies on translation effect by analyzing the different translations of culture-loaded words in Li Qingzhao’s Ci-Poetry based on Scopos Theory according to Nida’s classification of culture-loaded words. This research is of great significance to refresh blood into the study of Li Qingzhao’s Ci Poems and promote excellent Chinese traditional culture to go abroad.<br /> <br /> ===Key word===<br /> culture-loaded word, Li Qingzhao, Scopos Theory<br /> <br /> ===题目===<br /> 从目的论看李清照词中的文化负载词英译<br /> <br /> ===摘要===<br /> 本文主要以目的论为指导，以奈达对文化负载词的分类为依据，从对不同英译版本的李清照词中文化负载词的翻译进行分析，说明目的论对翻译策略的影响以及翻译策略对译文效果的影响，旨在为李清照词的英译研究注入新鲜血液，推动中国优秀传统文化走向世界。<br /> <br /> ===关键词===<br /> 文化负载词， 李清照， 目的论<br /> <br /> ===Introduction===<br /> Li Qingzhao, is the representative of the graceful and restrained school well-known for her elegant, fresh and refined language as well as rich and vivid images. Her poetry is an unparalleled cultural treasure in the history of Chinese literature. Culture-loaded words are those words rich in cultural connotations.(Fu Guiying, 2013：3) Nida divided culture-loaded words into five categories, namely ecological, material, social, religious and linguistic culture-loaded words.(Nida, Eugene A, 1993:25) As the representative of the “German school”, Hans J. Vermeer proposed the Scopos Theory and continued the functionalist tradition. Analyzing the culture-loaded words in different translations of Li Qingzhao's Ci Poems according to Scopos theory is conducive for the readers to grasp the elegant style of Li Qingzhao, to figure out the proper translation strategies, and to encourage more creation of excellent translation works.(Reiss and Vermeer, 1984:196)<br /> <br /> ===Chapter 1 Introduction of Li Qingzhao and her Ci-Poetry===<br /> ====1.1 Brief introduction of Li Qingzhao====<br /> Li Qingzhao, a well-known poetess in Song Dynasty, is the only woman who is generally compared with the most outstanding poets. As a female writer, she suffered a lot in that unstable age full of oppression and discrimination, but still kept a resolute and resistant attitude toward life no matter how much turns and twists in the process of struggle. Li Qingzhao was born in a rich and cultured family in 1083. Thanks to her father Li Gefei, the Minister of Rites, and her well-educated mother, she had a peaceful and favorable childhood and received a good education, which paved the way for her literary career. Unlike most ignorant women in that age, she had great talents in many aspects, such as painting and music, especially writing. She was a versatile writer whose Ci Poems and prose are both excellent. Her contribution in literature earned great fame for her.(Fu Guiying, 2013：3)<br /> <br /> She married to Zhao Mingcheng, the son of a vice-president of the Board of Rides when she was eighteen years old. The marriage life was happy and idyllic in the early years. They collected and appreciated rare books, paintings and antiques together. However, their peaceful and harmonious life was ruined by the invasion of the Jurchens in 1127. They were forced to fled to the southern areas and separated with each other. The bulk of precious collections, including the ancient paintings, vessels, and books, lost during the fugitive way. Her husband was dispatched to a new official post in Zhe Jiang province and died on the way. Since then, Li Qingzhao lived lonely and homelessly with endless sorrow. The miserable and painful life experiences didn't destroy her poetry proposition but deepened the theme of her literary works. The concern for the fate of the masses and country showed her great integrity and patriotic passion.(Fu Guiying, 2013：3)<br /> <br /> ====1.2 Development and characteristics of Li Qingzhao's Ci-Poetry====<br /> As a literary form, Song Ci, also called Ci Poems or long-short lines, emerged in Tang Dynasty and popularized in Song Dynasty. Ci Poems revolved from a kind of folk music used for expressing emotions through its original melody. Li Qingzhao is regarded as the representative of the graceful and restrained party. (Fu Guiying, 2013：4)<br /> <br /> Generally, Li Qingzhao's Ci Poems can be divided into two periods according to the critical historical events in Song Dynasty and her personal life experience. The former period works mostly depicted her delightful life as a young girl. The theme includes the praise of nature and beauty, her pure love to her husband, and the memories of the innocent childhood, such as Rumengling( 如 梦 令 ), Dian Jiangchun( 点 绛 唇 ), Jianzimulanhua( 减 字 木 兰 花 ) ， Cai Sangzi( 采 桑 子 ), Zuihuayin(醉花阴), Yijianmei(一剪梅). As for the latter period, her works changed dramatically because of the downfall of the Northern Song Dynasty as well as the death of her husband. The theme of her poems turned to homesickness, the grief for the instability of the nation and the melancholy meditation of the miserable life. She transmitted her feelings in the images implicitly rather than cry out her sorrow directly. The poems written in this period include Spring in Wulin(武陵春), Shengshengman(声声慢), Yongyule(永遇乐) and so on.(Fu Guiying, 2013：4)<br /> <br /> To conclude, her elegant and pure language and sensitive emotion were demonstrated in both of her literary period. Her Ci Poems are full of accurate and vivid images, leaving readers a wide imagery space. No other poetess in Song Dynasty can replace her position in the Chinese history of literature.(Fu Guiying, 2013：4)<br /> <br /> ===Chapter 2 Introduction of Scopos theory===<br /> ====2.1 Historical development of Scopos theory====<br /> <br /> Functional approaches emerged in 1970s and developed through three stages: (1)Katharina Reiss introduced the functional category of translation criticism; (2) Hans J. Vermeer proposed Scopos theory; (3) Justa Holz-Manttari put forward the theory of translation action.(Zhang Chenxiang, 2007:32)<br /> <br /> In the first stage, Katharina Reiss proposed the text function and translation strategy, which paves the way for the Scopos theory. The theory foundation of Reiss’s theory is the functional equivalence theory, which aims to establish a model of translation criticicm based on the functional relationship between source text and target text (Zhang Chenxiang, 2007:32). Katharina Reiss divided text into three categories: expressive text, informative text and vocative text. The proposal of functional translation theory signifies that translation study gradually gets rid of static linguistic typologies.(Zhang Chenxiang, 2007:32)<br /> <br /> In the second stage, Hans J. Vermeer established the initial theory of functional group, Scopos theory, further developing the functional translation theory. He pointed out that translation is a human activity and a kind of transformation. Every human activity has its purpose and will create certain consequence, a new situation or event or a new thing.(Zhang Chenxiang, 2007:34) This is the origin of Scopos theory. Reiss mentioned, “the source text can be assigned to a text type and a genre, and in making this assignment, the transoator can decide on the hierarchy of postulates which has to be observed during target-text production”. Vermeer thinks that translators needn’t be restrained to certain translation method, instead, the translators should consider the purpose of translation and the psychology of the target audience and use the translation strategies flexibly. In the process of translation, the translator can adapt literal translation or free translation according to the situation to make sure the expected effect can be realized. (Reiss and Vermeer, 1984:196)<br /> <br /> In the third stage, Justa Holz-Manttari developed Vermeer’s theory and proposed the theory of translation action 1n 1984. She avoided using the term“translation” and focused on the process of translation which concludes traditional translation and other text building activity. In Holz-Manttari’s model, translation was defined in a broader sense as “a complex action designed to achieve a particular purpose”, or an intercultural communication whose product is the target text which achieves appropriate function in a particular cultural context. According to the functional approach, all participants have certain functions or roles in the interaction. The TT addressees are crucial in specification of the purposes of translation(Nord, 2001:20).<br /> <br /> ====2.2 Basic rules of Scopos theory====<br /> In the Scopos theory, there are three basic rules, namely skopos rule, coherence rule and fidelity rule. Among the three rules, scopos rule is the most significant one. “Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precissely in the way they want it to function.” This rule can help solve the contradiction between literal translation and free translation. It means that the choosing of translation strategies depends on translation purpose. When the scopos focuses on the original language, as long as the features of the original culture is well expressed, literal translation or even word for word translation can be adopted.(Reiss and Vermeer, 1984: 98)<br /> <br /> The coherence rule is also named intra-textual coherence by functionalists. It requires that the translated text should make sense on the communicative situation in which it is received. It specifies that a translation should be acceptable in a sense that it is coherent with the receivers’ situation (Reiss and Vermeer, 1984: 100) Being coherent means being “part of the receiver’s situation”, so the cultural aspects should be taken into consideration. Besides, the target readers’ culture-specific world-knowledge, expectations and communicative needs are also important factors which may affect the way of handing a text, translators ought to analyze these factors carefully. (Li Zhao, 2011:24)<br /> <br /> Since the source text is the offer of information , it should also be taken into account. Fidelity rule is also named “intertextual coherence”. This coherence balances the source text and the target text and the form and degree of such intertextual coherence are determined by the translator’s interpretation of the source text and the translation skopos. However, intertextual coherence is subordinate to intra-textual, and both of the two are subordinate to the skopos rule.(Li Zhao, 2011:28)<br /> <br /> ===Chapter 3 Introduction of culture-loaded words===<br /> ====3.1 Definition of culture-loaded words==== <br /> Since Bassnett and Lefervere put forward the concept of “cultural turn” in 1990, the interaction between translation and culture has been drawn more attention. During the five thousand years’ civilization, China has accumulated its unique culture due to the unique geographical locations, living environments, historical background, etc. Many scholars have made different definitions to cultural loaded words. J. F Aixel gave these words another name “cultural-specific items” and defined them as: “some items appearing in the source text do not have equivalent items in the target reader’s cultural systems” (J. F Aixel, 1996:58). <br /> <br /> Later, Mona Baker defined culture-loaded words as: “The source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as ‘cultural-specific’.” This paper studies the translation of culture-loaded words according to Nida’s classification of cultural elements. Nida divided culture into five categories: ecological culture, material culture, social culture, religious culture and linguistic culture. This paper will analyze the culture-loaded words according to the five categories. (Baker, 2004:21)<br /> <br /> ====3.2 Classification of culture-loaded words====<br /> =====3.2.1 Ecological culture-loaded words=====<br /> Culture develops in certain ecological environment, so different region has different culture. Ecological culture-loaded words refer to those words that reflect the distinctive geographical conditions, the natural surroundings, feature of the climate, plants and animals, etc. in a language. Even the connotations of the same thing in western and eastern culture are different or even opposite. (Liao Huihua, 2010:9)<br /> <br /> For example, the “west wind” in China is totally different from that in western countries. Because China lies in the Eastern Hemisphere, with mountains to the west and oceans to the east. This location makes it dry and cold in autumn and winter when the west wind blows. Therefore, the west wind in Chinese culture often refers to the cold wind in autumn an winter, which is often used to describe the desolate, cold, and sometimes also compared to the decadent force of the fall of the sun with a derogatory meaning. (Liao Huihua, 2010:9)<br /> <br /> Such as “古道西风瘦马” in Ma Zhiyyuan’s 《天净沙·秋思》. On the contrary, Britain is located in the western hemisphere, the west Atlantic island, and the east is the continent of Europe. When the west wind blows from the Atlantic Ocean, Britain is in the season of revival. Therefore, in English culture, the west wind is the symbol of hope and strength. For example, Ode to the West Wind, a famous British poem, reflects this meaning. Obviously, through the above analysis, we know that “西风” and the west wind have the same conceptual meaning but have very different associative meaning due to different ecological environment. (Liao Huihua, 2010:9)<br /> <br /> =====3.2.2 Material culture-loaded words=====<br /> <br /> Material culture-loaded words include the words related to the economic life, daily supplies, commodities, food, transportation, etc. Different nations have different living habits, so the material products are quite different. For example: “旗袍”(qi pao), “麻将”(ma jiang),”馄饨”(Wonton), etc. (Liao Huihua, 2010:10)<br /> <br /> =====3.2.3 Social culture-loaded words=====<br /> <br /> The tradition, custom, living habit, social activity, etc. All belong to the category of social culture. Due to different historical background, political feature, tradition and custom, the social culture-loaded words formed and developed. For instance, “重阳节”(chong yang jie) is a traditional Chinese festival to give the blessings to the old people, which is familiar to Chinese but unfamiliar to foreigners.(Han Zhouwen, 2014:18)<br /> <br /> =====3.2.4 Religious culture-loaded words=====<br /> Religious culture is composed by the religious faith and and ideology under the different nation’s cultural background, which demonstrates the difference in psychology and language behavior. Chinese people advocate Confucianism, Buddhism and Taoism whereas western people mainly believe in God. Therefore, the cross-cultural communication barriers and language translation barriers emerged. Religious culture-loaded words reflect the characteristics of religious beliefs, so it is quite difficult for the foreigners to understand the Chinese religious culture-loaded words. For example, western people believe in God while Chinese people believe in “天”(tian), “菩萨”(pu sa), “佛”(fo). (Han Zhouwen, 2014:23)<br /> <br /> =====3.2.5 Linguistic culture-loaded words=====<br /> Language as one part of culture also produces translation problems. Since the two languages belong to two different language systems, their different language features will be involved in translation. These particularities may be reflected in phonetics, morphemes, vocabulary and syntax. For example, reduplicative words and four-character words and expressions are frequently seen in Chinese but are rarely seen in English.(Han Zhouwen, 2014:24)<br /> <br /> ===Chapter 4 The application of Scopos theory in the translation of culture-loaded words===<br /> <br /> Chinese culture and western culture are so different due to different geographical location and historical background. And these differences also reflect in the two language systems, which is also known as cultural gap. In the process of translating Li Qingzhao’s Ci-Poetry, the translator may face all kinds of problems due to the cultural gap. In this chapter, the focus is on analyzing the suitable translation strategies from the perspective of Scopos theory.(Fu Guiying, 2013:56)<br /> <br /> ====4.1 Translation of ecological culture-loaded words====<br /> <br /> (1)梨花欲谢恐难禁。(《浣溪沙》）<br /> <br /> I am afraid pear blossoms cannot bear at all<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:25)<br /> <br /> O bright pods/ Of the pepper plant, you do not/ Need to bow and beg pardon./ I know you cannot hold back/ The passing day.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:66)<br /> <br /> Some plants and flowers have certain connotation in Chinese, which leaves the gap of further imagination. Snow is often compared to pear-blossom, which is a common metaphor in Chinese poetry, for example: “忽如一夜春风来，千树万树梨花开” is used to describe the beautiful snow-covered landscape. Here, Xu Yuanchong translated “梨花”into “pear blossoms”directly is to reproduce this often-used metaphor. Both the basic meaning and the cultural content have been well transmitted. Xu Yuanchong adopted literal translation to realize foreignization. In contrast, Kenneth Rexroth adopted demestication and free translation and translate “梨花” as “the pepper plant” to achieve the skopos of translation. Here, “the pepper plant” is used to serve as a substitution because it is a New Year decoration which shows the passion of spring. This passionate image can contrast the depressed mood of Li Qingzhao for the fleeting time.(Liao Huihua, 2010:40)<br /> <br /> (2)试问卷帘人，却道海棠依旧？（《如梦令》）<br /> <br /> I ask the maid rolling up the screen./ “The same crab-apple tree,”she says, “is seen”<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:34)<br /> <br /> I asked my maid as she rolled up the curtains,/ “Are the begonias still the same?”<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:44)<br /> <br /> In Chinese culture, “海棠” usually symbolizes bitter love. When people encounter twists and turns in love, they often use it to express the sad feeling of parting. Xu Yuanchong adopted literal translation and translated “海棠” into “crab-apple tree”, which maintains the traditional Chinese culture by employing foreignization. However, Kenneth Rexroth translated it into”begonias” by demestication, which makes this image more familiar to the target readers. The aim of Xu Yuanchong is to introduce Chinese culture to foreigners whereas the purpose of Kenneth Rexroth is to make the text be accepted by the taget readers, therefore, the former uses foreignization while the latter uses demestication.(Liao Huihua, 2010:41)<br /> <br /> ====4.2 Translation of material culture-loaded words====<br /> <br /> (3)常记溪亭日暮 (《如梦令》)<br /> <br /> I oft remember what a happy day/ We passed in creekside arbour when it glooming.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:38)<br /> <br /> I remember in Hsi T’ing/ All the many times/ We got lost in the sunset.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:21)<br /> <br /> The meaning of “溪亭” can be interpreted as the name of a place in Ji’nan, Shandong Province or a pavilion by the river side. Therefore, different versions of this word appears according to the different understanding of this word. Xu Yuanchong translated it as “creekside arbour” by employing literal translation whereas Kenneth Rexroth translated it into “Hsi T’ing” according to its sound by using transliteration. The version “creekside arbour” is more acceptable by Chinese readers because it shows the basic meaning of this word. But the version “Hsi T’ing” is more understandable for foreigners because it’s just a name of a place.(Liao Huihua, 2010:48)<br /> <br /> (4)轻解罗裳，独上兰舟。(《一剪梅》)<br /> <br /> My silk robe doffed, I float/ Alone in orchid boat<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:49)<br /> <br /> I open/ My silk dress and float alone/ On the orchid boat.<br /> <br /> —translated by Kenneth Rexroth &amp; Chung Ling (Kenneth Rexroth,&amp; Chung Ling,1979:56)<br /> <br /> Generally speaking, “兰舟” refers to a small boat which is made of the trunk of a magnolia tree. <br /> However, both Xu Yuanchong and Kenneth Rexroth translated “兰舟” into “orchid boat” in order to reproduce the poetic language of the original text. If they translate it according to the literal meaning, the beautiful poetic language cannot be reproduced in the target language. So, they associated the boat with orchid, a kind of beautiful flower to achieve “literariness”, making poetry as poetic as possible.(Zheng Yanhong. 2001:129)<br /> <br /> ====4.3 Translation of social culture-loaded words====<br /> <br /> (5)海燕未来人斗草。(《浣溪沙》)<br /> <br /> The swallows not yet come, a game of grass we play.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:55)<br /> <br /> People are gathering wild flowers and herbs in the meadow.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:93)<br /> <br /> Viewed literally, “斗草” is mostly interpreted as “to fight with grass”. But actually, it refers to a particular custom on the Dragon Boat Festival according to the notes in various anthologies of Li Qingzhao. On the Dragon Boat Festival (the fifth day of May), people usually participate a kind of game in which every one needs to gather flowers and plants to be the winner. Xu Yuanchong knows that “斗草” is a traditional game, so he adopted literal translation as “a game of grass we play”, which is direct and correct. While Kenneth Rexroth adopted amplification and translated it as”gathering wild flowers and herbs in the meadow” in order to create concrete scene for the target reader. Generally speaking, both the two versions realized the skopos of translating the cultural connotation of “斗草” by adopting different translation strategies.(Liao Huihua, 2010:49)<br /> <br /> (6)佳节又重阳(《醉花阴》)<br /> <br /> The Double Ninth comes now again.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:54)<br /> <br /> Again it is the Ninth of the Ninth Month.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:47)<br /> <br /> “重阳” is a traditional Chinese festival on the ninth day of the ninth lunar month. People would always miss their families and relatives on this day every year. Here, when this festival was coming around, the poetess felt sad and lonely because of the separation from her husband, Zhao Mingcheng. In Xu Yuanchong’s version, he translated it literally as The Double Ninth and made a annotation to explain the cultural meaning of this festival to make target readers know the background information about this term. The unique feature of the ST is fully conveyed in the TT through foreignization. The skopos of Xu Yuanchong is to maintain the original feature of Chinese culture as much as possible, so he adopted foreignization to achieve this goal. In contrast, Kenneth Rexroth translated it into “the Ninth of the Ninth Month”. Although the time of the event was translated, but the connotation of this festival was lost. Sometimes literal translation for words with rich connotation can cause cultural loss. Here, Rexroth omitted the cultural meaning because he thought it was not necessary to add the burden of understanding the text. In this way, the target reader can easily understand the TT within their own knowledge.(Liao Huihua, 2010:49)<br /> <br /> ====4.4 Translation of religious culture-loaded words====<br /> <br /> (7)仿佛梦魂归帝所 (《渔家傲》)<br /> <br /> In leaf-like boat my soul to God’s abode would fly.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:62)<br /> <br /> I am rapt away to the place of the Supreme/ And hear the words of Heaven.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:33)<br /> <br /> As we all known, Chinese culture is much influenced by Taoism whereas western culture is much affected by Christianity. Here, “帝所” refers to the place of the Jade Emperor. Because western people are not familiar with the myths of Taoist culture, here “God” is the substitution of “帝” in Xu Yuanchong’s version by literal translation. In contrast, Kenneth Rexroth translated it as “the place of the Supreme”, which means the Sovereign. We can see the religious devotion of the ST is neglected. To conclude, Xu Yuanchong’s version is more faithful to the original text because he aims to introduce Chinese culture to foreigners. Kenneth Rexroth translated it without Taoist culture because he aims to remove cultural barriers and make target readers easier to understand the meaning of the text.(Li Qing, 2005:148)<br /> <br /> (8)造化可能偏有意，故叫明月玲珑地。(《渔家傲》)<br /> <br /> You find a special favor in Creator’s eye,<br /> <br /> The moon caresses you with pure beams from on high.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:76)<br /> <br /> Making the bright moon shine splendid on your curving flesh.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:45)<br /> <br /> In Xu Yuanchong’s version, “造化” was translated directly into “Creator” but in Kenneth Rexroth’s version, this image was deleted. In China, “上天”（heaven）is the governor of the universe under the influence of Taoism and Buddhism. “造化” is a unique concept in Taoist culture. Xu Yuanchong aimed to maintain the Taoist culture and introduce it to foreigners. However, in western countries, Christianity is the mainstream of religious belief. Therefore, Kenneth Rexroth neglected this image to make the TT more acceptable to western people who believes in Christianity. In summary, Xu Yuanchong focused more on the culture of the ST whereas Kenneth Rexroth payed more attention on the acceptability of the target readers.(Liao Huihua, 2010:45)<br /> <br /> ====4.5 Translation of linguistic culture-loaded words====<br /> <br /> (9) 寻寻觅觅，冷冷清清， 凄凄惨惨戚戚。(《声声慢》)<br /> <br /> I look for what I miss;<br /> <br /> I know not what it is.<br /> <br /> I feel so sad, so drear,<br /> <br /> So lonely, without cheer.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:81)<br /> <br /> Search. Search. Seek. Seek.<br /> <br /> Cold. Cold. Clear. Clear.<br /> <br /> Sorrow. Sorrow. Pain. Pain.<br /> <br /> —translated by Kenneth Rexroth &amp; Chung Ling (Kenneth Rexroth,1979:78)<br /> <br /> Tune: Slow, Slow, Song is recognized as the representative of reduplication. The use of seven sequential reduplicative words add the powerfulness of the miserable tone. We can find some similarities between these reduplicative words such as “清清”, “凄凄” and “戚戚”. They sound quite similar or even the same, which really strengthen the melodious effect of the language. Xu Yuanchong adopted free translation in order to reproduce the beautiful artistic conception in the ST. The form of reduplication is neglected but the sad atmosphere that the reduplicarive words create is reproduced. Rexroth used literal translation to imitate the original reduplicative words. The repetition of the same word reproduces the sound of reduplication in ST, and words with one syllable are also very similar to Chinese character. But the sense is not well conveyed. The target readers fail to experience the painful atmosphere and the great sadness of the poetess in the TT.(Li Qing, 2005:149) <br /> <br /> <br /> (10) 小风疏雨萧萧地 (《孤雁儿》)<br /> <br /> A grizzling wind and drizzling rain<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:90)<br /> <br /> Small wind, fine rain, hsiao, Hsiao<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:56)<br /> <br /> In the ST, “萧萧” is a reduplicative word in order to foil the depressed and sad atmosphere. It is difficult to reproduce this unique structure in the TT. We can see in Xu Yuanchong’s version, he omitted the original form and tried to reproduce the beautiful sound and sense. The rhymes of “grizzling” and “drizzling” are the same. This internal rhyme can make compensation for the loss of reduplication. And the strong sad mood is fully conveyed. Here, foreignization is employed. Kenneth Rexroth focused on the reproduction of the form, so he adopted transliteration to maintain the form of reduplicative word. Although the sound and form are beautiful, in this way, the sad cultural conception may lose at the same time.(Li Qing, 2005:75)<br /> <br /> ===Conclusion===<br /> In this paper, the present author studies the translation of cultural-loaded words in Li Qingzhao’s Ci-Poetry from the perspective of Scopos theory. By contrast analysis, we can find that Xu Yuanchong and Kenneth Rexroth adopted different translation strategies: the former adopted foreignization whereas the latter adopted domestication because of their different translation skopos. Xu Yuanchong devoted himself to introduce excellent Chinese culture to foreigners and Kenneth Rexroth aimed to make target reader better understand the TT. This study still has some shortcomings. ((Liao Huihua, 2010:64)<br /> <br /> Although this paper can shed some light on the study of culture-loaded word, it still has some limitations. If more samples of culture-loaded words are taken for the analysis, the study could be more comprehensive and systematic. Thus, the English translation of the culture-loaded words of her Ci poetry based on Skopos theory deserves further study. The author believes that wider cases will be involved in this study.((Liao Huihua, 2010:64)<br /> <br /> ===References===<br /> *Nida, Eugene A. (1993). ''Language, Culture and Translating''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nord, Christiane. (2001). ''Translating as a Purposeful Activity: Functionalist Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Reiss, Katharina. (1971). ''Translation Criticism: The Potentials and Limitations: Categories and Criteria for Translation Quality Assessment''[M]. Manchester: St. Jerome Publishing.<br /> <br /> *Reiss, Katharina and Vermeer, Hans J. (1984). ''Groundwork for a General Theory of Translation''[M]. Tubingen: Niemeyer.<br /> <br /> *Rexroth, K. &amp; Chung L. (1979). ''Ching-chao: Complete Poems''[M]. New York: New Directions.<br /> <br /> *Vermeer, Hans J. A. (1996). ''Scopos Theory of Translation''[M]. Heidelberg: TEXT con TEXT-Ver-lag.<br /> <br /> *Fu Guiying 付桂英. (2013). “三美”理论指导下李清照词英译的美感再现[Translation of Li Qingzhao's Ci Poems from the Perspective of Three-Beauty Principle][D].上海:上海外国语大学.<br /> <br /> * Han Zhouwen 韩周文. (2014). 《生死疲劳》中文化负载词的英译研究[A Study on the Translation of the Culture-loaded Terms of Life and Death Are Wearing Me Out:A perspective of Skopos Theory]——以目的论为视角[D].福州:福建师范大学.<br /> <br /> *Li Qing 郦青. (2005). 李清照词英译对比研究[Contrast Study on LI Qingzhao's Ci-Poetry]. [D].上海:华东师范大学.<br /> <br /> *Li Zhao 李照. (2001). 目的论视角下的文化负载词翻译——试评林语堂的《吾国与吾民》[Translation of Culture-loaded Words Based on Scopos Theory -Comments on Lin Yutang's &quot;Our Country and Our People&quot;]. [D].北京:首都师范大学.<br /> <br /> * Liao Huihua 廖慧华. (2010). 从目的论角度对比分析《李清照词》中文化负载词的翻译[A Comparative Study on the Translatioon of Culture-loaded Words in Li Qingzhao's Ci-Poetry from the Perspective of the Skopos Theory][D].衡阳:南华大学.<br /> <br /> *Wang Zhongwen 王仲闻. (2019). 李清照集校注 [Annotation on the Collection of Li Qingzhao's Ci-Poetry]. [M].北京:人民文学出版社.<br /> <br /> *Xu Yuanchong 许渊冲. (2006). 翻译与艺术[Translation and Art]. [M].北京:五洲传播出版社.<br /> <br /> *Xu Yuanchong 许渊冲. (2003). 宋词三百首[Three Hundred Ci Poems of the Song Dynasty]. [M].北京:中国对外翻译出版社.<br /> <br /> *Xu Yuanchong 许渊冲. (2003). 文学与翻译[Literature and Translation]. [M].北京:北京大学出版社.<br /> <br /> *Yang Jian 杨健. (2000). 李清照词英译研究[English Translation Studies on Li Qingzhao's Ci-Poetry]. [D].南宁:广西大学.<br /> <br /> *Zhang Chenxiang 张沉香. (2007). 功能目的理论与应用翻译研究[Scopos Theory and Applied Translation Studies]. [M].长沙:湖南师范大学出版社.<br /> <br /> *Zheng Yanhong 郑燕虹. (2001). 风筝之线——评王公红、钟玲翻译的李清照诗词[The String of the Kite -Comments on Kenneth Rexroth and Chung Ling's Translation of Li Qingzhao's Ci-Poetry]. [J].外语学刊,160(3):125-129.<br /> <br /> --[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 07:19, 21 December 2020 (UTC)<br /> <br /> ==A Study on Culture-loaded Words in ''Six Chapters of a Floating Life'' Translated by Lin Yutang from the Perspective of Domestication and Foreignization 蒋淇玮 Jiang Qiwei 202070080592 MTI 英语笔译==<br /> &lt;center&gt;蒋淇玮, 202070080592.&lt;/center&gt;<br /> <br /> ===Abstract===<br /> <br /> ''Six Chapters of a Floating Life'' is an autobiographical prose written by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines.<br /> <br /> Among the current English versions of this book, Lin Yutang's ''Six Chapters of a Floating Life'' is written first and the closest with the original version in style, which enables lots of foreign readers to catch a glimpse of the life of an obscure Chinese scholar.<br /> <br /> Six Chapters of a Floating Life is written in classical Chinese and has a long history, which both make the translation more difficult, especially the translation of its culture-loaded words.<br /> <br /> Culture-loaded words refer to words, phrases and idioms that demonstrate specific things in a culture. As we all know, China has a centuries-old history and rich civilization, possessing plenty of unique cultural phenomena, not to mention numerous culture-loaded words. In Six Chapters of a Floating Life, there are many culture-loaded words that are worthy of study.<br /> <br /> By consulting relevant materials, I find that there are only a few works analyzing cultural-loaded words in Six Chapters of a Floating Life from the perspective of domestication and foreignization.<br /> <br /> This pair of translation terms was put forward by Lawrence Venuti, a famous American translation theorist, in The Translator's Invisibility in 1995. As a matter of fact, domestication and foreignization are a unity of opposites and complement each other. Neither absolute domestication nor foreignization exists. There are different degrees of domestication and foreignization in all translation activities and works. Therefore, it is reasonable, scientific and feasible to analyze Mr. Lin’s translation from this perspective, which can fill certain research vacancy and benefit future studies in this field.<br /> <br /> Thus, in this thesis, the author will subdivide domestication and foreignization into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words.<br /> <br /> ===Key Words===<br /> <br /> domestication; foreignization; ''Six Chapters of a Floating Life''; Lin Yutang; culture-loaded words<br /> <br /> ===摘要===<br /> <br /> 《浮生六记》是清代文人沈复于1808年所著的自传体散文，以真言诉真情，为历代读者所推崇。目前流传较广的《浮生六记》英译本中，林语堂先生的Six Chapters of a Floating Life成文最早且与沈复原文风格最为接近，让不少外国读者得以一窥中国一无名文人的若梦浮生。<br /> <br /> 沈复此书以文言文著就，加上距今年代较为久远，译者的翻译之路可谓困难重重，这其中文化负载词的处理更是值得反复推敲。文化负载词是标志某种文化中特有事物的词、词组和习语。众所周知，中华民族的历史文明源远流长，独有的文化现象数不胜数，应运而生的文化负载词自然不在少数。《浮生六记》一书中就有相当数目的文化负载词具有研究价值。<br /> <br /> 通过查阅相关资料，本人发现从归化和异化角度来解读林译中文化负载词的研究还少之又少。归化和异化这对翻译术语是由美国著名翻译理论学家劳伦斯·韦努蒂（Lawrence Venuti）于1995年在《译者的隐身》中提出的。作为两种翻译策略，归化和异化是对立统一、相辅相成的，绝对的归化和绝对的异化都是不存在的。所有的翻译活动及作品都存在不同程度的归化和异化现象，故而，从这一角度来分析林译具有合理性、科学性和可行性，且能填补一定的研究空缺，为之后的相关研究提供可参考的思路与借鉴。<br /> <br /> 因此，本文作者将聚焦这一文学经典，将归化与异化这两种翻译策略细分为不同的翻译方法，对林译中有代表性的文化负载词进行分析解读，以小见大，从词见章，进而证明归化与异化的翻译策略的指导性，找出林译在国内外成功的原因，指出其在中国文化“走出去”中所起的积极作用，并为文化负载词的翻译难题提供解题思路及开口，引起大众对于文化翻译的重视与思考。<br /> <br /> ===关键词===<br /> <br /> 归化，异化，《浮生六记》，林语堂，文化负载词<br /> <br /> ===Chapter One Introduction===<br /> <br /> With globalization surging ahead, cultural communication and exchange have become rising tides that no one can fight against. Chinese and English, as the language with the largest number of users and the language most widely used around the globe, are both crucial languages, which work as vital bridges in cultural world. (Shen Fu 2019)<br /> <br /> However, as is known to all, China is a nation of age-old history and rich civilization. On her vast earth, there grows plenty of unique cultural phenomena. As a result, quite a number of culture-loaded words have been emerging. For culture-loaded words have their specific cultural connotations, it is hard to render them so that foreign readers could understand, which is a real and tough task for translators. (Shen Fu 2019)<br /> <br /> ''Six Chapters of a Floating Life'' is an autobiographical prose written in classical Chinese by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines. In this book, there are many culture-loaded words, which are worth studying. (Shen Fu 2019)<br /> <br /> Among the current English versions of it, Lin Yutang's ''Six Chapters of a Floating Life'' is written first and the closest to the original version in style, which enables lots of foreign readers to take a look at the life of an obscure Chinese scholar. (Shen Fu 2019)<br /> <br /> Thus, in this thesis, under the guidance of translation strategies, domestication and foreignization, the author will subdivide them into several detailed translation methods so as to analyze representative culture-loaded words in ''Six Chapters of a Floating Life''. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words. (Shen Fu 2019)<br /> <br /> ===Chapter Two Literature Review===<br /> <br /> ====2.1 A Study on ''Six Chapters of a Floating Life''====<br /> For the sake of carrying on this study, we must have a basic understanding of both our original and translated text sources: ''Six Chapters of a Floating Life''. Hence we will have a brief review of its original version and English version translated by Mr. Lin in the following paragraphs. (Shen Fu 2019)<br /> <br /> =====2.1.1 A Brief Review of Its Original Version=====<br /> ''Six Chapters of a Floating Life'' is an autobiographical prose written by Shen Fu, who was an unknown scholar in Qing dynasty, in the 13th year during the Jiaqing period (AD 1808). It includes six chapters, of which only four remain, recording Shen Fu’s wedded bliss, pleasures of life, ups and downs, travel experiences, experiences in Formosa and the way of life. The phrase in this book’s title &quot;floating life&quot; derives from a passage in Li Po's poem, “ Our floating life is like a dream; how often can one enjoy oneself ?” (Shen Fu 2019)<br /> <br /> Shen Fu, whose courtesy name is Sanbai, and alternative name Meiyi, was born in Suzhou, Jiangsu province in China in the 28th year during the Jiaqing period (AD 1763). He was a man of letters, who was once an assistant to ranking officials and a merchant. (Shen Fu 2019)<br /> <br /> The remaining four chapters of ''Six Chapters of a Floating Life'' was accidentally found on a stall in Suzhou by a man called Yang Yinchuan. Yang passed it on to Wang Tao, his brother-in-law, who then published it with a movable type in 1877. Subsequently, this book gradually established itself on the literary field. (Shen Fu 2019)<br /> <br /> This book is a pure and fair record of Shen Fu's ordinary but difficult life, which is still full of unforgettable and beautiful moments. It is incredibly touching, for Mr. Shen wrote down his real experiences and sincere feelings in plain words naturally, without traces of sham. (Shen Fu 2019)<br /> <br /> Nowadays, Six Chapters of a Floating Life has become a classic and owned a mass of readers. Many people even called it “little A Dream in Red Mansions” for its description of the conflicts in the feudal family and society, which highly affirms its literary value and achievements. (Shen Fu 2019)<br /> <br /> =====2.1.2 A Brief Review of Its English Version Translated by Lin Yutang=====<br /> In the spring and summer time of 1935, Lin Yutang successively translated ''Six Chapters of a Floating Life'' into English and serialized them in the English magazines T'ien Hsia Monthly and Hsi Feng published in Shanghai. For the sake of better work, Mr. Lin has modified his translation no less than ten times. Now, his translation version has been acknowledged as the most popular one for it is the closest to the original text in terms of writing style. (Shen Fu 2019)<br /> <br /> Lin Yutang once highly praised Shen Fu’s wife Yün, “Yün, I think, is one of the loveliest women in Chinese literature.” Mr. Lin said he translated the work for two reasons, one is to let the world know Yün by her name, and the other is that he has found lots of things in the simple life of this couple, the pursuit of beauty, the experience of ups and downs, and the unswerving love for carefreeness. (Shen Fu 2019)<br /> <br /> In February of 1999, Foreign Language Teaching and Research Press reprinted ''Six Chapters of a Floating Life'' with Mr. Lin’s translation in the form of picture book. Its introductory notes claim that the reprinting is first due to Mr. Lin’s translation work, which has contributed a lot in the promotion of Chinese culture, secondly Mr. Lin’s superb artistic attainments and extraordinary cultural accomplishments, and lastly his beautiful and skilled use of English language. It demonstrates that Mr. Lin's translation has a far-reaching influence. (Shen Fu 2019)<br /> <br /> ====2.2 An Introduction of Culture-loaded Words====<br /> Here we will focus on another important item in this study: culture-loaded words. This introduction covers three aspects, including definition, categorization and previous studies on them in ''Six Chapters of a Floating Life'', which enable us to distinguish, select and analyse culture-loaded words in future steps. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.1 Definition of Culture-loaded Words=====<br /> There are many definitions for culture-loaded words, and I have presented three different versions below. First, Mona Baker claims that &quot;the source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as `culture-specific' &quot;. (Mona Baker 2000,21)<br /> <br /> This definition mentions three fields, namely religion, custom and food, which are now recognized to be among the main sources of culture-loaded words. Second, it means that the cultural information words carrying in the source language finds no equivalent in the target language. (Bao Huinan 2001,10)<br /> <br /> In this version, the focus is “no equivalent”, which reveals why it is significant to study the translation of culture-loaded words. For in numerous cases, there is no equivalent in the target language. Third, J.F. Aixelá, a Spanish translator and translation theorist, defines them as &quot;culture-specific items&quot; and states in his book Culture-specific Item in Translation that &quot;Some items appeared in the source text do not have equivalent items in the target readers' cultural system or these items have different textual status with those in the target readers' cultural system, thus leading to translation difficulty while transferring the function and meaning of the source text to the target text&quot;. (Zhang Nanfeng 2004,19)<br /> <br /> From this definition, we are able to get a new perspective. Besides “no equivalent”, it makes a point that culture-loaded words can exist in the target cultural system but with different function and meaning.<br /> <br /> To sum up, as barriers to translation, culture-loaded words have no equivalent in other cultural systems and are marks and mirrors of a nation’s distinct environment, which are often seen in fields like religion, custom, food etc. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.2 Categorization of Culture-loaded Words===== <br /> Eugene Nida considers that &quot;if translators want to do a good job in cross-cultural translation, there are five types of cultural factors: 1) ecological culture; 2) material culture; 3) social culture; 4) religious culture; and 5) linguistic culture&quot;. (Hu Zhuanglin, Jiang Wangqi，2002)<br /> <br /> In line with Nida's categorization of cultural factors, culture-loaded words can also be classified into five types accordingly, namely ecological culture-loaded words, religious culture-loaded words, material culture-loaded words, social culture-loaded words and linguistic culture-loaded words. This thesis will analyze Lin Yutang’s translation of culture-loaded words in Six Chapters of a Floating Life on the basis of Nida's categorization. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.3 Previous Studies on Translation of Culture-loaded Words in Six Chapters of a Floating Life=====<br /> Among those studies of the English versions of Shen Fu’s ''Six Chapters of a Floating Life'', the studies of Mr. Lin’s account for a large proportion of it. In Quan Shulian’s article “Translator’s Cultural Orientation: Comparative Study of Translation of Culture-loaded Words in Six Chapters of a Floating Life”, she compares the translation of culture-loaded words done by Mr. Lin and Shirley Black and then claims that Shirley Black tends to use domestication while Mr. Lin applies foreignization more frequently. With a different focus, Li Yi, who has studied the culture-loaded words in ''Six Chapters of a Floating Life'' translated by Lin Yutang, analyzes the translation of culture-loaded words in three aspects: wording, Chinese idioms and the looks of women, and concludes that it is the purpose of translation determines which translation strategies to use and domestication and foreignization are a unity of opposites which should not be discussed apart. (Li Yi 2013,43-44)<br /> <br /> ===Chapter Three An Analysis of Translation Strategies Based on ''Six Chapters of a Floating Life''===<br /> <br /> ====3.1 Translation Strategy of Domestication====<br /> Domestication, as opposed to foreignization, refers to a translation strategy, which aims to translate the source text into target language in a transparent, fluent and natural style so as to minimize the strangeness for target readers. (Xiong Bing 2014,82-88)<br /> <br /> As free translation is the most widely used translation method pertaining to domestication, we will discuss it and its two branches paraphrase and idiomatic translation. (Xiong Bing 2014,82-88)<br /> <br /> =====3.1.1 Free Translation===== <br /> Free translation refers to a translation method that reproduces the transferred meaning of the source text, which can be further divided into paraphrase and idiomatic translation. (Xiong Bing 2014,82-88)<br /> <br /> =====3.1.1.1 Paraphrase===== <br /> When applying paraphrase, the translator translates the source text explanatorily, without application of collocations and idioms in the target language as replacement of those parts in the source text. (Xiong Bing 2014,82-88)<br /> <br /> 1a. 合卺后，并肩夜膳，……（沈复，2018：7）<br /> <br /> 1b. After the drinking of the customary twin cups between bride and groom, we sat down together at dinner… (Lin Yutang, 2019: 35)<br /> <br /> The Chinese phrase “合卺” refers to a characteristic part of ancient Chinese wedding ceremonies that the newlyweds drink cross-cupped wine in their wedding room. Foreign readers would have difficulty comprehending this phrase as there is no such a rite in their countries. Thus, Lin Yutang applies the translation method of paraphrase, explaining exactly what the custom is, which enables foreign readers to understand this special activity.<br /> <br /> ====3.1.1.2 Idiomatic Translation====<br /> Idiomatic translation is an explanatory method of translation as well, with application of collocations and idioms in the target language as replacement of the parts in the source text. (Xiong Bing 2014,82-88)<br /> <br /> 2a. 井井然未尝稍失。（沈复，2018：9）<br /> <br /> 2b. Whatever she did was done well, and it was difficult to find fault with her. (Lin Yutang, 2019: 40-41)<br /> <br /> “未尝稍失”means that someone handles things incredibly well, without anything wrong. And we can translate this Chinese phrase just in such an explanatory way, for it is clear and correct in meaning. But it is comparatively lengthy. That’s why here Mr. Lin adopts the English phrase “find fault with”, which is quite familiar to English users. For it conveys the meaning of the source text precisely and concisely, and improves the smoothness of foreign readers’ reading activity.<br /> <br /> ====3.2 Translation Strategy of Foreignization====<br /> Compared to domestication, foreignization refers to a translation strategy that retains the original expressions and differences between source and target languages to a larger extent. This translation strategy can offer foreign readers more exotic information if they are willing to explore, but the reading process is less natural and efficient. (Xiong Bing 2014,82-88)<br /> <br /> And foreignization consists of three translation methods, namely transliteration, word-for-word translation and literal translation, which will be presented below. (Xiong Bing 2014,82-88)<br /> <br /> =====3.2.1 Transliteration===== <br /> Transliteration refers to the rendering of alphabets, words or phrases in one language with symbols of similar or even the same pronunciations in another language. (Xiong Bing 2014,82-88)<br /> <br /> 3a. 服余衣，长一寸又半；于腰间折而缝之，外加马褂。（沈复，2018：31）<br /> <br /> 3b. As my gown was found to be an inch and a half too long, she tucked it round the waist and put on a makua on top. (Lin Yutang, 2019: 108)<br /> <br /> The Chinese phrase “马褂” refers to the mandarin jacket worn over a gown, which is a kind of special costume of Chinese characteristics. It is popular in Qing dynasty and the Republic of China. Originally, it’s worn by the Chinese Manchu people on horseback. “马” means “horse” in English. “褂” means a short gown. And that is the reason why this costume is called “马褂”in Chinese. Though foreign readers barely know this kind of clothes and its origin, Mr. Lin translates it as “makua” tersely according to its Chinese pronunciation, which offers foreign readers an opportunity to get a clue of the new item “makua” and shows his confidence of Chinese history and culture.<br /> <br /> =====3.2.2 Word-for-word Translation=====<br /> Word-for-word translation is the rendering of text in which a word is used to replace another in the source text without considering the differences between the two languages in morphology, syntax and semantics, so as to translate a word in accordance with the paraphrasing method. (Xiong Bing 2014,82-88)<br /> <br /> 4a. 一场，主考得香钱百文。（沈复，2018：57）<br /> <br /> 4b. The official examiner would get one hundred cash “incense money”. (Lin Yutang, 2019: 253)<br /> <br /> “Incense” translated into Chinese is “香”, while the English equivalent of “钱” is “money”. From this we can find that “incense money” is a word-for-word correspondence with “香钱”. There are much fewer people in English-speaking countries who are Buddhists, compared with China. So the concept of “incense money” may be strange to them. Here, Mr. Lin translates this phrase literally without transforming or considering morphological differences in two languages, which shows a brand-new concept to plentiful foreign readers. And it might arouse their interest to figure out what this phrase implies and what’s the culture connotation behind it.<br /> <br /> =====3.2.3 Literal Translation=====<br /> Literal translation, or directed translation, is the rendering of text in which a word is used to replace another word in the original text correspondingly, with consideration of the differences between the two languages in morphology, syntax and semantics, so as to enable the translation to conform to the lexical and syntactic norms of the target language. (Xiong Bing 2014,82-88)<br /> <br /> 5a. 急人之难，成人之事，嫁人之女，抚人之儿，指不胜屈，挥金如土，多为他人。（沈复，2018：63）<br /> <br /> 5b. He used to help people in trouble, bring up other people's sons and marry off other people's daughters in innumerable instances, spending money like dirt, all for the sake of other people. (Lin Yutang, 2019: 299)<br /> <br /> “挥金如土” in Chinese means to throw one’s money about. There is a set expression in English both in meaning and construction, which is “spending money like water”. But instead of the image “water”, which is more common and well-accepted among English people, Mr. Lin keeps the original image “dirt” in his translation. That’s because the image “dirt” is more acknowledged by Chinese people, who have been rooted in agriculture civilization and dealt with dirt all the time. Hence, the literal translation of “dirt” into English is able to let readers of different culture background grasp more of the source text and aware of the culture differences.<br /> <br /> ====3.3 A Brief Conclusion on the Translation Strategies==== <br /> In this Chapter, we have mainly discussed five translation methods based on ''Six Chapters of a Floating Life''. Among them, two belong to the translation strategy of domestication while three the translation strategy of foreignization. (Xiong Bing 2014,82-88)<br /> <br /> The former instances from the book have proved that the application of the translation methods under domestication enables foreign readers to comprehend and accept literary works in a closer and more natural way, while the translation methods under foreignization provides them with a choice to feel the cultural differences and find out more valuable information. There is no absolute domestication or foreignization and no perfect choice of translation strategies. It is the purposes of translation that determine which translation strategy or methods to use. As to Mr. Lin, he has combined the usage of both the two superior strategies and their translation methods in his translation of ''Six Chapters of a Floating Life''. (Xiong Bing 2014,82-88)<br /> <br /> ===Chapter Four An Analysis of the Translation of Culture-loaded Words in ''Six Chapters of a Floating Life''===<br /> <br /> ====4.1 Domestication Applied in Culture-loaded Words====<br /> In this part, we will center upon some culture-loaded words in ''Six Chapters of a Floating Life'' that are translated by Mr. Lin with the adoption of domestication. (Xiong Bing 2014,82-88)<br /> <br /> =====4.1.1 Free Translation of Culture-loaded Words=====<br /> As we have mentioned before, free translation is the most commonly used translation method pertaining to domestication and it includes paraphrase and idiomatic translation. Therefore, we will discuss them with examples of culture-loaded words in the book. (Xiong Bing 2014,82-88)<br /> <br /> ======4.1.1.1 Paraphrase of Culture-loaded Words======<br /> The following two examples are able to demonstrate the brilliant use of paraphrase by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 6a. 自此耳鬓相磨，亲同形影。（沈复，2018：9）<br /> <br /> 6b. And so every day we rubbed shoulders together and clung to each other like an object and its shadow… (Lin Yutang, 2019: 42)<br /> <br /> The Chinese phrase “耳鬓相磨” is culture-loaded, which just derives from this book of Shen Fu. It literally means the rubbing of people’s ears and sideburns, whose extended meaning refers to the close relationship among people. Here Mr. Lin applies the new image of shoulders instead of the original images of ears and sideburns, for it would be hard for foreign audience to grasp the connection between ears and sideburns and the intimacy within them. Meanwhile, rubbing shoulders can accurately express the meaning of closeness in English. So he uses the phrase “rubbed shoulders” to convey the original meaning in an explanatory way.<br /> <br /> 7a. 粉颈 （沈复，2018：8）<br /> <br /> 7b. Beautiful white neck (Lin Yutang, 2019: 38)<br /> <br /> In China, scholars conventionally adopt the word “粉”, which is “pink” in English, to modify one’s face, neck, etc. to show that one’s skin is white touched with red. However, if translating the Chinese term “粉颈” literally, we will get the phrase “pink neck”. There is no doubt that it will be odd for foreign audience. Therefore, Mr. Lin uses “beautiful white” rather than “pink” to modify “neck”, which expresses the meaning of “粉” briefly and precisely without causing troubles to readers and makes their reading activities more natural and pleasant.<br /> <br /> ======4.1.1.2 Idiomatic Translation of Culture-loaded Words======<br /> The following example is able to demonstrate the fine use of idiomatic translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 8a. 大醉而卧（沈复，2018：7）<br /> <br /> 8b. I fell asleep drunk like a fish. (Lin Yutang, 2019: 37)<br /> <br /> This four-character Chinese phrase means one is lying in a state of terrible drunkenness. In the processing of this phrase, Mr. Lin uses a set English phrase “drunk like a fish”, which describes that one is terribly drunk. The adoption of this ready-made phrase in translation does convey the meaning of the source text correctly and vividly, which makes it easy for foreign readers to catch on and picture the scene. From this we can see that wise use of idiomatic translation may yield twice the result with half the effort.<br /> <br /> ====4.2 Foreignization Applied in Culture-loaded Words====<br /> In this part, we will center on some culture-loaded words in ''Six Chapters of a Floating Life'' that are translated by Mr. Lin with the adoption of foreignization. (Xiong Bing 2014,82-88)<br /> <br /> =====4.2.1 Transliteration of Culture-loaded Words=====<br /> The following two examples are able to show the use of transliteration by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 9a. 故上下呼芸为“三娘”。后忽呼为“三太太”……（沈复，2018：63）<br /> <br /> 9b. hence they used to call Yün “san niang” at home, but this was later suddenly changed into “san t'ai t'ai”. (Lin Yutang, 2019: 301)<br /> <br /> “San” refers to “number three” in Chinese. “Niang” generally means a young married woman in a big household, while “t’ai t’ai” suggests the mistress of an independent home. “Niang” and “t’ai t’ai” are two of those unique terms of addressing people in ancient Chinese society, so there are no equivalents in English. That’s why Mr. Lin chooses to introduce their Chinese sounds to foreign audience, which leaves them a hint to learn two interesting addresses with era characteristics and know the distinct Chinese system of addressing.<br /> <br /> 10a. 余则从之学画，写草篆，镌图章…… （沈复，2018：56）<br /> <br /> 10b. They would then either write “grass-script”, or “chüan-script” or carve seals… (Lin Yutang, 2019: 247)<br /> <br /> “篆书” refers to a style in Chinese calligraphy, often used on seals. If we translate the Chinese character “篆” literally into English it would be “seal”. However, Mr. Lin abandons the easy translation of “seal- script” and renders this calligraphy style as “chüan-script” according to its Chinese pronunciation, which exhibits an individual kind of Chinese writing style to foreign readers. There will be problems that most people who know little about China will feel difficult to understand this ancient “script”. And if they desire to figure it out, they need to do extra work beyond reading this book. Nevertheless, in this way, they have chances to know much more about China, which is an efficient way of spreading Chinese culture and driving cross-cultural communication.<br /> <br /> =====4.2.2 Word-for-word Translation of Culture-loaded Words=====<br /> The following example is able to show the masterly use of word-for-word translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 11a. 芸笑曰：“白字有缘，将来恐白字连篇耳。”（沈复，2018：13）<br /> <br /> 11b. “It is all right,” Yün smiled and replied. “to have one's life bound up with the Po's, only I am afraid I shall be writing Po characters all my life.” (Lin Yutang, 2019: 54-55)<br /> <br /> The so-called Po characters are words written wrong. This kind of words indeed exists in Chinese writing system, but they are used in a wrong way by people for they are of similar pronunciations and forms while in different meanings. In translation of this sentence, Mr. Lin renders “白字”, which means misspelt words, as “Po characters” word for word. “Po” is close to the pronunciation of Chinese character “白”, while “character” literally means “字” in Chinese. Mr. Lin translates the culture-loaded phrase like this to demonstrate a new term to foreign readers, instead of “misspelt word” which is easy to grasp but lack of Chinese charm. In this way, foreign readers can be more conscious of the original cultural genes lie behind those English words.<br /> <br /> =====4.2.3 Literal Translation of Culture-loaded Words=====<br /> The last two examples will show the tactful use of literal translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 12a. 但李诗宛如姑射仙子，有一种落花流水之趣，令人可爱。（沈复，2018：12）<br /> <br /> 12b. but Li Po’s poems have the wayward charm of nymph. His lines come naturally like dropping petals and flowing waters, and are so much lovelier for their spontaneity. (Lin Yutang, 2019: 53)<br /> <br /> In Chinese, “落花流水” is an idiom, which usually refers to the beauty of the scenes is waning in the late spring or one is defeated utterly. But this phrase is used here to compliment Li Po’s poems’ fluency and naturalness. Even though this expression is full of Chinese features, it is not too hard for foreign readers to get its implication from the images of “dropping petals” and “flowing waters”. For we have a common sense about these two natural scenery that they are both in the state of harmony and fluency. So Mr. Lin’s adoption of the method of literal translation is quite appropriate here and leaves some space for readers to imagine and taste by themselves.<br /> <br /> 13a. 芸曰：“世传月下老人专司人间婚姻事……” （沈复，2018：27）<br /> <br /> 13b. “It is said that the Old Man under the Moon is in charge of matrimony,” said Yün. (Lin Yutang, 2019: 92)<br /> <br /> “月下老人” is the god of marriage who is in charge of human love relationships in Chinese mythology. This image is peculiar to China, so it stands to reason that there is no equivalent expression in other countries. When rendering this culture-loaded phrase, Mr. Lin chooses the method of literal translation with words of capitalized initial letters, which enables readers to feel that it is obviously a new culture symbol for them and the Old Man may be a Chinese god. Then it is up to the readers themselves if they want to search for some more information about this “Old Man under the Moon” or not. In this way, the translation becomes briefer and it rests with the readers concerning how much information they will get beyond the lines.<br /> <br /> ===Chapter Five Conclusion===<br /> <br /> Concerning the current fact that different cultural systems around the world are becoming increasingly connected, translation activities have been literally taking place at every moment. However, the cultural differences in different counties have made it an arduous task. In view of the tremendous differences between China and English-speaking countries, the translation works are no easy tasks as well. As symbols which carry lots of cultural information, culture-loaded words are obstacles in translation, for they have no equivalents in other languages. So when translating these words, translators need to be alert and adopt the most proper translation strategies and methods so as to achieve the translation purposes to the deepest extent. (Eugene, A. Nida. 2001)<br /> <br /> In this thesis, guided by domestication and foreignization, the author has discussed several culture-loaded words in Six Chapters of a Floating Life, which translated by Lin Yutang. Different from other theses focusing on this issue, the author probes it in five detailed translation methods under the two translation strategies we have mentioned before.Through the analysis of former examples, we can come to the point that domestication and foreignization are the unity of opposites. There is no standard answer that which translation strategy should be used in which circumstances. It is the purposes of translation that determine our choice. In the translation of Six Chapters of a Floating Life, Lin Yutang has proved this to us by using different translation methods in accordance with his purposes, which contributes to his translation success both at home and abroad and the cultural exchanges between China and other countries. (Xiong Bing 2014,82-88)<br /> <br /> In total, this thesis has basically fulfilled its tasks to prove the instructiveness of the translation strategies of domestication and foreignization, and find out the reasons why Lin Yutang’s translation version turns out to be a huge success and receives warm responses. At the same time, it points out that this translation has played an active role when Chinese culture steps out to the global stage, and provides reference for the translation of culture-loaded words. (Li Yi 2013, 43-44)<br /> <br /> ===Bibliography===<br /> <br /> Lawrence, Venuti. (2004). The Translator’s Invisibility [M]. 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(2004). 艾克拉西的文化专有项翻译策略评介[J] [Review on the Translation Strategies of Cultural Items by Akerasie]. ''中国翻译'' Chinese Translation.<br /> <br /> Zhu Yitian 朱怡天. (2013). 《浮生六记》林语堂英译本中文化负载词的翻译[MA] [Translation of Culture-loaded Words in ''Six Chapters of a Floating Life'' by Lin Yutang]. ''上海外国语大学硕士学位论文'' Master's Thesis of Shanghai International Studies University.<br /> <br /> ==How to Keep &quot;Chineseness&quot; in Idiom Translation from Chinese to English 瞿淼 202070080604 Qu Miao MTI英语笔译==<br /> <br /> ===How to Keep &quot;Chineseness&quot; in Idiom Translation from Chinese to English===<br /> <br /> ===Abstract===<br /> <br /> Idiom is a form of expression naturally to a language, person, or group of people. With rich cultural information, Chinese idioms carry the characteristics of Chinese language and culture. In the process od translating idoms from Chinese to English, &quot;Chineseness&quot; in idioms is often lost, since Chinese and English belong to different language systems,there exist great cultural differences between them. (Wang Tao, 2018, 32) <br /> <br /> This article, from the perspective of domestication and foreignization, compares the different effects of the text translated repectively by domestication and foreignization method and discusses the way to keep &quot;Chineseness&quot; in idiom translation form Chinese to English. And the article ends with the conclusion that in idiom translation from Chinese to English,translators should, according to the needs of a specific context, find a balance between foreignization and domestication, so that &quot;Chineseness&quot; in the original text can be kept in translated text as much as possible.<br /> <br /> ===Key Words===<br /> <br /> idiom translation; cultural deficiency; cultural differences; foreignization; domestication<br /> <br /> ===汉语习语英译如何保持&quot;中国性&quot;===<br /> <br /> ===摘要===<br /> 俗语是流传在人民群众口头上的，结构相对稳定的通俗语句，一般包括谚语、歇后语、惯用语和俗成语。汉语俗语承载着中国语言文化特色，蕴含着丰富的文化信息。在汉英俗语翻译中，因为汉语和英语属于不同的语言系统，并且文化差异较大，所以常常出现译文丢失了中国特色的情况。（王涛，2018，32）<br /> <br /> 本文从归化和异化的角度，对比了分别使用归化和异化翻译方法的译文的效果，讨论汉英俗语翻译保持中国特色的方法，得出结论，在中文习语的翻译过程中，译者应该根据特定语境的需要，在异化和归化之间找到一个平衡点，以此来最大限度地保持俗语的中国特色。<br /> <br /> ===关键词===<br /> 习语翻译；文化缺失；文化差异；异化；归化<br /> <br /> === Introduction===<br /> <br /> An idiom is a set phrase of two or more words that means something different from the literal meaning of the individual words．Generally speaking, idioms include colloquialisms, allegorical sayings, proverbs, slang, jargons and so on. The composition and semantics of idioms are very conventional, which is inseparable from the social and cultural background of idioms. Language is the carrier of culture, and idioms are an essential part of language. Idioms are deeply rooted in the social and cultural background where they were produced, and fully reflect the geographical environment, customs, religious beliefs and social, political, economic, and cultural systems in this background. Therefore, idioms are national and cultural. (Wang Tao, 2018, 32)<br /> <br /> As an effective means to promote cross-cultural communication, translation is a bridge connecting different languages and thus enhance the communication between different cultures. As the essence of national culture, the translation of idioms plays an increasingly important role in promoting cultural exchanges, and the biggest difficulty in translation is how to deal with the cultural conventions of source idioms. For translators, idiom translation must not only be fluent and express meaning precisly, but also realize the transfer of cultural connotations implied in idioms. (Jiang Lei, 2003, 54)<br /> <br /> Idioms in Chinese are the carriers that convey the rich connotations of the Chinese language. They have some characteristics such as, concise language, brilliant meaning, typical connotation, and wide range of uses. Since idioms are the most quintessential and typical part of Chinese culture and the shining pearl in Chinese culture, idiom translation is of great significance for the communication between the China and the West. Due to the differences between Chinese and Western cultures, there exist cultural deficiencies in the translation of Chinese idioms, which makes it difficult for people in different cultural backgrounds to establish coherent and unobstructed semantics when communicating. (Liu Ning, 2016, 81)<br /> <br /> The first chapter of this article is an overview of Chinese idiom translation, analyzing the problems of Chinese idioms translation and the importance of keeping &quot;Chineseness&quot; in idiom translation. In the second chapter, this article mainly discusses the reasons for cultural deficiency in Chinese idiom translation from four aspects: different emotional orientation, historical and cultural background, religious beliefs and ways of thinking. The third chapter is a comparative analysis of foreignization and domestication translation in idiom translation. This chapter begins with a brief introduction of foreignization and domestication translation methods, and then compares the application of the two methods in idiom translation. At last, this article ends with the conclusion that translators should, according to the needs of a specific context, find a balance between foreignization and domestication.<br /> <br /> ===Chapter One An Overview of the Idiom Translation form Chinese to English===<br /> <br /> Chinese idioms are mainly created by the folk and widely circulated. From the expression of Chinese idioms, it has a large connotation, rich and profound content, hence it is surely informative with a good expression effect. As for language structure, it is usually characterized by popularity and colloquialism. In view of the current situation of the translation of Chinese idioms, the cultural connotation is obviously missing due to the influence of cultural forms. Idiom is a window for foreigners to understand Chinese culture. Therefore, it is of significance to keep Chinese characteristics in the translation of Chinese idioms as much as possible to spread Chinese culture. (Jia Yunpeng, 2015, 65)<br /> <br /> ====1.1 The Problems of Idiom Translation form Chinese to English ====<br /> <br /> Chinese idioms involve many contents and cover a wide range of knowledge. There is no doubt that this colloquial language has the characteristics of popularity, reflecting commonly used factors in daily life, so that the meaning of Chinese idioms can be fully expressed.Chinese idiom is a kind of inheritance of folk culture. In the process of translation, it is affected by its own cultural form and historical factors, and there is a certain cultural deficiency, or &quot;loss of Chineseness&quot;, in the translation of Chinese colloquial language. (Liu Ning, 2016, 81)<br /> <br /> The cultural deficiency in the translation of Chinese idioms is mainly due to the errors in the translation of the inherent meanings conveyed by the Chinese idioms, and the discrepancy in the intrinsic values between the translator and the original Chinese idioms after translation. As a result, the inheritance and development of culture are hindered, and there is a lack of comprehensive understanding in the process of foreign translation. (Guo Jianzhong, 2000, 65)<br /> <br /> The emergence of this phenomenon is the manifestation of cultural deficiency and the contradiction of cultural mechanism orientation between readers and translators, which lead to the emergence of cultural deficiency.On the basis of the semantic meaning of the original text, the translation of Chinese colloquial language is in accordance with the linguistic environment and the operational environment of grammar. The translation process emphasizes the cultural inheritance and the expression of intrinsic value.It is precisely the collision between different cultures that causes the phenomenon of culture loss. (Liu Ning, 2016, 82)<br /> <br /> ====1.2 The Importance of Keeping &quot;Chineseness&quot; in Chinese Idiom Translation to English====<br /> <br /> Idioms are the quintessence of human language. As the treasure of national culture, they carry the cultural information such as geography, history, religion and living habits of a country or a nation. Translation is a kind of cross-cultural communication activity, which conveys cultural characteristics. If separated from the culture of a nation, translation would miss its due role. (Wang Tao, 2018, 33)<br /> <br /> Since the 1980s and 1990s, translation studies have ushered in a new stage, namely the shift of translation. Susan Bassnett is the representative of the school of &quot;cultural translation&quot;. Her view of cultural translation emphasizes the special status of culture in translation -- as language and culture are closely related, culture, rather than text, should be regarded as the basic unit of translation. In short, translation is by no means an act of pure language. It is deeply rooted in the culture in which the language is located. Translation is the communication within and between cultures, and translation equivalence is the cultural function equivalence between the source language and the target language. In a word, it is significant to keep Chinese characteristics in Chinese idiom translation to English as much as possible to spread Chinese culture. (Jiang Lei, 2003, 53)<br /> <br /> === Chapter Two The Reasons for the Loss of &quot;Chineseness&quot; in Idiom Translation from Chinese to English===<br /> <br /> Chinese and English have completely different cultural backgrounds so that they have large cultural differences, which make the Chinese and Western people have huge understanding barriers in language exchanges, especially idioms in traditional Chinese culture. Since idioms contains rich and profound cultural background knowledge, translators will inevitably encounter the problem of cultural deficiency in the process of idiom translation, transplanting one culture to the other one. The problem of cultural deficiency in idiom translation occurs frequently. The reasons for the loss of &quot;Chineseness&quot; in idiom translation from Chinese to English are mainly reflected in the following four aspects. (Qiu Nengsheng, 2019, 51)<br /> <br /> ====2.1 Different Emotional Orientation====<br /> <br /> Although there are many words that refer to the same thing in Chinese and English, the word may mean differently in different language contexts, for the same word may bear different associative meanings. (Jia Yunpeng, 2015, 65)<br /> <br /> For example, Chinese people and Westerns often have different understanding words about colors. The semantic associations of the word &quot;yellow&quot; are different in English and Chinese cultures. In Chinese culture, yellow is the symbol of imperial power and status, so it plays an important role in Chinese culture. For example, &quot;黄袍加身&quot;（the yellow robe adds the body） refers to being an emperor.However, in modern Chinese, the word &quot;黄&quot; often has a derogatory meaning, which means lewdness and depravity. It forms many new words with other words and is widely used.For example: &quot;黄色影片&quot;, &quot;黄色书籍&quot; and so on, most of them are related to the concept of sex. Nevertheless, yellow represents justice, wisdom and glory in Western culture.In Western art St. Peter is dressed in yellow.Of course, yellow also has a bad symbolic meaning. It reminds people of the color of the clothes Judas dressed, who betrayed Jesus. Therefore, yellow can be used to express &quot;timid, unreliable, jealous, sensationalist, low-level sensationalism&quot; and other derodic meanings. But in English the word &quot;yellow&quot; doesn't have an obscene meaning. (Jia Yunpeng, 2015, 66)<br /> <br /> Chinese people has regarded the &quot;dragon&quot; as the symbol of the nation since ancient times, and they call themselves as the &quot;descendant of the dragon&quot;. However, in western culture, &quot;dragon&quot; is a lizard with scales, wings and tails, which can breathe fire. It is a symbol of evil and cruelty. Therefore, if the Chinese idiom &quot;望子成龙&quot; was translated into &quot;hope one’s children to become a dragon&quot;, it would lead to great misunderstanding. But we translate it into &quot;hope one’s children will have a bright future&quot;, foreigners may not get the metaphoric meaning of the word &quot;龙&quot;. This is what we said the loss of &quot;Chineseness&quot;, namely, cultural deficiency. (Qiu Nengsheng, 2019, 52)<br /> <br /> ====2.2 Different Historical and Cultural Background====<br /> <br /> Chinese culture has a long history and bears a profound and sophisticated cultural nature. As the essence of Chinese culture, Chinese idioms often contain many historical allusions. And idioms originated from literary quotation or historical events should not be conceived literally because they have deeper meanings. Without cultural background knowledge, it is not easy to understand this kind of idioms, not to mention to translate them. (Wang Tao, 2018, 114)<br /> <br /> For instance, the Chinese idiom &quot;三顾茅庐&quot;, which means repeatedly requesting somebody to take up a responsible post, derives from a historical story of Zhuge Liang. At the end of the Eastern Han Dynasty, Zhuge Liang lived in a thatched cottage in Longzhong. Xu Shu, a counsellor, recommended zhuge Liang to Liu Bei and said that zhuge Liang was a genius. In order to ask Zhuge Liang to help him win the war, Liu Bei went with Guan Yu and Zhang Fei to ask him to leave the mountain. However, Zhuge Liang was not at home, so Liu Bei had to leave his name and went back unhappily. A few days later, Liu Bei learned that Zhuge Liang had returned and went with Guan Yu and Zhang Fei against the wind and snow.But Zhuge Liang went out again, and Liu Bei and his men left again. Liu Bei went to Longzhong for the third time and finally met Zhuge Liang.In the conversation, Zhuge Liang made a very incisive analysis of the situation, which impressed Liu Bei. Liu Bei visited the thatched cottage three times, which greatly moved Zhuge Liang and he promised to go out to help him. Zhuge Liang helped Liu Bei win many victories and laid the foundation of the state of the Han dynasty for him. (Qiu Jixin, 2002, 43)<br /> <br /> This idiom comes form this story.If we just translate &quot;三顾茅庐&quot; into &quot;repeatedly to request somebody to take up a responsible post” or &quot;have visited the cottage thrice in succession to call on somebody repeatedly&quot;, foreigners would not get the allusion of it, hence the Chinese characteristics is lost somehow. (Qiu Jixin, 2002, 43)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:58, 18 December 2020 (UTC)<br /> <br /> Likewise, the idioms like &quot;班门弄斧&quot; and &quot;卧薪尝胆&quot; are all relevant to some historical figures, who are known by all Chinese people but unfamiliar to foreigners. Only when they have learned something about Zhuge Liang, Lu Ban, and Gou Jian can they get the meaning of these idioms. And it is the profound historical and cultural backgrounds that make the Chinese idioms hard to translate. (Qiu Jixin, 2002, 43)<br /> <br /> ====2.3 Different religious beliefs====<br /> <br /> As a special form of human culture, religion is produced and developed almost synchronously with human culture, and all ethnic groups have their own religious beliefs and cultures. Religion not only exerts a certain influence on people's values and ways of thinking, but also on language expression. (Jia Yunpeng, 2015, 65)<br /> <br /> In the late Western Han Dynasty, Buddhism was introduced into China, and it has a history of more than one thousand years in China. Accompanied with the introduction of Buddhism came some idioms of Buddhism or related to Buddhism, such as &quot;放下屠刀，立地成佛&quot;, &quot;苦海无边，回头是岸&quot;, and &quot;醍醐灌顶&quot;. Most Chinese people believe in Buddhism and Taoism, while most Westerners believe in Christianity and Catholicism. In the context of two different religious cultures, translators often meet translation difficulties. (Jia Yunpeng, 2015, 65)<br /> <br /> Take &quot;放下屠刀，立地成佛&quot; as an example. The idiom &quot;放下屠刀&quot; (lay down the butcher's knife) does not refer to the butcher's knife(lethal weapon). The &quot;butcher's knife&quot; here refers to malice, evil deeds ,all delusions, confusion, differentiation and persistence. The sentence &quot;放下屠刀，立地成佛&quot; (Put down the butcher's knife and become a Buddha on the spot) means: the one who puts down delusion, distinction, persistence, is the Buddha! The essence of &quot;butcher knife&quot; is &quot;man's confusion to himself&quot;. Many translation versions of this idiom are given, like &quot;A killer becomes a Buddha at the moment he drops the knife to kill.&quot; and &quot;A wrongdoer may become a man of virtue once he does good.&quot;; however, these versions both neglect the Buddhist factors of original idiom. If the cultural connotation is not expressed in translation, westerners would feel confused while reading. (Jia Yunpeng, 2015, 65)<br /> <br /> ====2.4 Different Ways of Thinking====<br /> <br /> As for the characteristics of the deep structure of Chinese culture, from Hager to Derrida, the western academic circle has formed a prejudice that China has no rationality and no philosophy. Previous Chinese scholars have found some similarities and differences between Chinese and Western cultures in material, institutional and ideological aspects, but they have neglected the rationality in the Chinese and Western cultures. (Jiang Lei, 2003, 54)<br /> <br /> Reason has different contents and categories. Different categories of reason make up different rational structures. Although the outbreak of rationality is the common characteristic of Chinese and Western civilizations in the axial age, their rational structure is not the same.The rational structure of the ancient West includes logical reason, natural reason, practical reason, and aesthetic reason, but it lacks historical reason. Its rational structure is dominated by pure reason, while logical reason occupies a dominant position. (Jiang Lei, 2003, 54)<br /> <br /> The rational structure of China includes historical reason, natural reason and moral reason. It has logical thought which has not developed into logical reason. Among which historical reason occupies a dominant position. Logical reason dominates western thinking, while historical reason leads Chinese thinking. This difference in rational structure is the fundamental reason for the difference in Chinese and Western thinking. (Guo Jianzhong, 2000, 66)<br /> <br /> The difference between Chinese civilization and Western civilization lies in the difference of rational structure. The difference between the western civilization and the Chinese civilization lies in the difference of dichotomy.Some of the differences between Chinese and Western dichotomies can be traced back to the differences between Chinese and Western languages. Different language features are the source of the differences between Chinese and Western cultures. (Jia Yunpeng, 2015, 66)<br /> <br /> ===Chapter Three Comparative Analysis of foreignization and domestication Translation in Idiom Translation===<br /> <br /> As a literary form, Chinese idioms have many inherent and connotative meanings. In the process of translation, the phenomenon of loss of Chinese characteristics is quite severe. In order to reduce the loss of Chinese characteristics in translation to minimum, we should choose the appropriate translation method. (Guo Jianzhong, 2000, 65)<br /> <br /> Domestication and foreignization translation have always been the focus of debate in the field of translation. The essence of the contradiction lies in the proposition that the expression form of the original language introduced into the target language or the idiomatic expression in the target language. This article, from the perspective of domestication and foreignization, compares the different effects of the text translated by domestication and foreignization methods repectively and discusses the way to keep &quot;Chineseness&quot; in idiom translation form Chinese to English. (Guo Jianzhong, 2000, 65)<br /> <br /> ====3.1 A Brief Introduction of foreignization and domestication Translation====<br /> <br /> Foreignization and domestication translation are systematically put forward by Lawrence Venuti in his book Translator's Invisibility: A History of Translation (1995).<br /> <br /> Domestication is to transform the foreign element in one culture into something familiar in another culture.It puts aside the sentence and image of the original text, but grasps its pragmatic meaning. From the target language and the original text of the pragmatic meaning of the same way of expression.Strictly speaking, domestication is a revision of the culture of the target language. However, it is easier for the readers to accept the translation text at the expense of the large culture contained information as well as the appreciation and understanding of the meaning of heterogeneous culture to some extent. (Jiang Lei, 2003, 53)<br /> <br /> On the contrary, foreignization is to transform the information from one culture and language to another culture and language in a way that remains almost as it is. It endows the target language with new linguistic elements and also novel and unique forms of expression, which is conducive to the mutual communication and penetration of two heterogeneous cultures and languages, so as to promote their mutual integration. (Jiang Lei, 2003, 53)<br /> <br /> In his book, Venuti made a critical study of western translation from the early 17th century to the present, and revealed that the strategy of &quot;smooth translation&quot; has always been dominant in the history of Western translation. The fundamental reason is to form a norm of foreign literature in English based on the western ideology. Venuti put it bluntly that his purpose of writing this book was to go against tradition, namely, to advocate the visibility of translators. Venuti opposed domestication and advocated foreignization in tradition. This translation strategy, he says, can be called &quot;resistance&quot;. (Venuti, 1995,105)<br /> <br /> Such translation not only avoids smooth translation, but also challenges the culture of the target language, because smooth translation tampers with the foreign text with the ethnocentrism of the culture of the target language.<br /> &quot;Resistance&quot; means resistance to the ethnocentrism of the target language culture, so that the translator is no longer invisible in translation. (Jiang Lei, 2003, 53)<br /> <br /> Nida is the representative of the domestication translation. He put forward the concept of functional equivalence, &quot;The relationship between the target receptor and the target text should be equivalent to that between the source language receptor and the source text&quot;, in order to eliminate the differences in language and culture in the translation. (Nida, 1993)<br /> <br /> ====3.2 The Application of domestication Translation in Idiom Translation====<br /> <br /> The ideal of Nida's domestication translation is the closest natural equivalent. Domestication maximizes the dominant position of the target language and brings the target language closer to readers. It tries to overcome cultural differences to realize the equivalent translation. Due to the cultural differences between different languages, translators are required to have a keen sense of culture and ability to fully and accurately tranlate the national psychology and cognitive mode of the source culture, so that they can reproduce the profound cultural connotations of the source language. (Qiu Jixin, 2002, 42)<br /> <br /> Generally speaking, idioms are words with rich cultural connotations. Undoubtedly, the choice of foreignization and domestication methods will produce different results: whether the culture of the source language can be preserved, and to what extent can be preserved. If we choose domestication method, we should realize that there are two premises to distinguish it: one is the domestication under the principle of fidelity, which is prescriptive and centered on the source language; the other is domestication under the premise of non-faithfulness, which is descriptive and oriented by the translation into Chinese. (Qiu Jixin, 2002, 42)<br /> <br /> That is to say, domestication method can be divided two way. One is a faithful principle under domestication, we can refer it as equivalent translation. While using this method to translate idioms, translators try to look for expressions from target language which has the same semantic effect as that of the source language, thus to make the translation natural, direct and vivid, improving the readability and acceptability of the translation. For example, the Chinese idiom &quot;时间就是金钱&quot; is translated as &quot;Time is money&quot;, and &quot;事实胜于雄辩&quot; as &quot;Facts speak louder than words&quot;. (Qiu Jixin, 2002, 42)<br /> <br /> The other is a loyal premise of domestication, which is similar to free translation. When the cultural characteristics of source language idioms expressed cannot be transformed through literal translation, translators should adopt free translation, not only to convey the deep meaning of the source language, but also to reflect characteristics of the target language, realizing the harmonious development of the two different languages. For instance, &quot;胆小如鼠&quot; is translated into &quot;as timid as a hare&quot; instead of &quot;as timid as a mouse&quot;. (Jiang Lei, 2003, 54)<br /> <br /> Another example of the application of domestication is the translation version of the famous Chinese novel 《红楼梦》 by David Hawkes. There are a large number of idioms in the novel, and Hawkes generally translated them by using the method of domestication. For the sentence &quot;癞蛤蟆想天鹅吃。&quot;(曹雪芹 165) , Hawkes translated it into &quot; The toad on the ground wanting to eat the goose in the sky&quot; [Hawkes, 2012, 242]. Here, Hawkes replaced &quot;swan&quot;(天鹅) with &quot;goose&quot;(鹅), since the associative meanings of &quot;swan&quot; and &quot;goose&quot; are completely different in western culture. (He Fang, 2019, 171) <br /> <br /> ====3.3 The Application of Foreignization Translation in Idiom Translation====<br /> <br /> Foreignization translation means that, under the pressure of cultural value deviationism, the reader is brought into the context of the translation and accepts the language and cultural differences of the foreign language text. It takes the source language culture as the destination, adopting the source language expression methods that correspond to the original author, approaching the source language text author, and conveying the original content most truthfully. (Qiu Jixin, 2002, 43)<br /> <br /> For example, if &quot;一箭双雕&quot; is translated into &quot;kill two hawks with one arrow&quot; instead of &quot;kill two birds with one stone&quot;, the cultural information of the source language would be preserved to the greatest extent, so that the different cultural connotations can be truly presented to readers. The differences in the culture of the source language are reflected, allowing readers to experience foreign cultures through their own cultural cultivation. The foreignization translation method reflects a trend of cultural integration, allowing the strong culture and the weak culture to develop in the collision, and finally achieves equal dialogue in the continuous exchange. It not only promotes cultural exchanges, but also contributes to the enrichment and development of the target language culture. (Jiang Lei, 2003, 54)<br /> <br /> Moreover, another example of the application of foreignization is the translation version of the famous Chinese novel 《红楼梦》 by Yang Xianyi(杨宪益). Contrary to Hawkes’s translation, Yang adopted the method of foreignization while confronting with cultural factors in translating. As for &quot;癞蛤蟆想天鹅吃&quot;[曹雪芹, 1791, 165], Yang translated it into &quot;A toad hankering for a tatste of swan&quot;(Yang Xianyi, 1978). Here, Yang keeps the &quot;Chineseness&quot; in source language through literal translation. (He Fang, 2019, 172)<br /> <br /> Choosing domestication or foreignization is not a question of black and white, but a question of grasping &quot;degree&quot;, or finding a balance. Translation involves the pragmatic rules of two different languages and is a cross-linguistic and cross-cultural communicative activity. Foreignization and domestication shouldn’t be treated separately. In many cases, the two methods must be combined. It is impossible for a translator to choose only one method to translate a work and use it to the end. The key to the translation of idioms is to grasp a balance point between domestication and foreignization. If we simply emphasize the readability of the translated version, we may ignore the cultural characteristics of the source language, leading to excessive domestication and loss of the culture of the source language. (Qiu Nengsheng, 2019, 56)<br /> <br /> However, if we only focus on the transmission of the cultural information of the source language, it may damage the readability of the translated text and lead to excessive foreignization. The loss of readability of the translated text will eventually lead to the failure of the translator's efforts. The selection of foreignization and domestication should be a dynamic mechanism, flexible and changing with the change of corresponding influencing factors. Due to the need of specific context, the same idiom may be translated in different ways. In the process of idiom translation, whether to adopt domestication or foreignization, communicative purpose and pragmatic environment all affect the choice of methods. (Qiu Nengsheng, 2019, 56)<br /> <br /> For example, the primary purpose of Yang’s translation of ''Dream in Red Chamber'' is to spread Chinese culture; therefore, he mainly adopted the method of foreignization in idiom translation, so that the &quot;Chineseness&quot; in idioms could be kept as much as possible. And Hawkes mainly used domestication in his translation, because he wanted to reduce the difficulties of reading, making it easier for western readers to accept the novel. So we can see, different communicative purposes lead to different choices of translation methods. (He Fang, 2019, 172)<br />  <br /> ===Conclusion===<br /> <br /> Fomestication and foreignization have always been the focus of controversy in translation circles. The essence of the contradiction is to advocate the introduction of the original expression in the target language or the authentic expression of the target language. The article believes that the contradiction between the two is not irreconcilable under normal circumstances. In fact, mere foreignization or domestication cannot appear alone in translation. The balance between the two should be sought as much as possible on the premise of loyalty to translation duties. (Guo Jianzhong, 2000, 65)<br /> <br /> One of the purposes of translation is to spread the source language culture, promoting cultural exchange and integration as well as the diversified development of the world. The foreignizing translation method can reserve enough space for readers to appreciate and analyze foreign cultures. <br /> <br /> The translator should have enough confidence in readers when adopting foreignization strategies, and believe that readers can give full play to their imagination to understand foreign countries on the basis of comparing their own and foreign culture. The ultimate goal of translation is to promote cross-cultural communication. It is necessary to consciously retain relevant cultural factors in the translation process. Simply using domestication translation will inevitably hide or even distort the cultural connotation of the source language. In order to preserve and spread the source language culture, the use of foreignizing translation methods should be emphasized when translating idioms rich in cultural meaning. (Guo Jianzhong, 2000, 12)<br /> <br /> However, the foreignization strategy has its limitations. Regardless of interpretation or translation, it does not mean that all idioms containing cultural factors should be preserved. Information transmission and cultural transmission are equally important in the translation process. One cannot lose sight of the other. <br /> <br /> In the process of idiom translation, the expression of cultural factors cannot be ignored. The retention of unique cultural images can attract readers of the target language. The actual acceptance ability of the target language readers cannot be ignored, otherwise it may cause poor communication. In the translation process, the translator must adhere to the principle of the inter-growth of different languages and cultures, and pay attention to the fact that the translation must be helpful to communication, coordination and dock with the world, and at the same time, it must not be inappropriately eliminated in order to comply with the needs of the target country. The source language and the target language are inherent in language and culture. (Qiu Jixin, 2002, 45)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:23, 21 December 2020 (UTC)<br /> <br /> ===Bibliography===<br /> <br /> *Guo Jianzhong 郭建中. (2000). 韦努蒂及其解构主义的翻译策略 [Venuti and his deconstructionist translation strategy]. 中国翻译 [Chinese translation]. 【文献中杂志缺页数】<br /> <br /> *He Fang 贺 芳. (2019). 异化翻译与文化传播——以杨宪益《红楼梦》歇后语翻译为个案 [Alienation Translation and Cultural Communication-- A Case Study of Yang Xianyi's Idiom Translation in A Dream of Red Mansions]<br /> <br /> *Jia Yunpeng 贾云鹏. (2015). 汉语四字成语翻译中的文化补偿与缺失 [Cultural Compensation and Deficiency in the Translation of Chinese Four-character Idioms]. 语文建设 [China Academic Journal].<br /> <br /> *Jiang Lei 蒋 磊. (2003). 英汉文化差异与习语翻译的归化和异化 [E -C Cultural Differences and Foreignization &amp;Domestication in Idioms Translation]. 武汉: 武汉大学出版社 [Wuhan: Wuhan University Press].<br /> <br /> *Qiu Jixin 裘姬新. (2002). 论习语翻译中的异化与归化 [On Alienation and Adaptation in Idiom Translation]. 语言与翻译 [Language and Translation].<br /> <br /> *Wang Tao 王 涛. (2018). 英汉习语翻译中的文化缺失与补偿 [Cultural Deficiency and Compensation in Translation of English and Chinese Idioms]. 三峡大学 [China Three Gorges University].<br /> <br /> *Qiu Nengsheng 邱能生. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization and Domestication in Translation of English and Chinese Idioms under the Background of Cultural Differences]. 上海翻译 [Shanghai Journal of Translators].<br /> <br /> *Yang Xianyi 杨宪益. (1978). 红楼梦 [A Dream of Red Mansions]. 外文出版社 [Foreign Language Press].<br /> <br /> *David Hawkes. (2012). The Story of The Stone. Shanghai Foreign Language Education Press.<br /> <br /> *Venuti,L.The Translator′s Invisibility [M].London &amp; New York:Routledge,1995:20<br /> <br /> *Nida, Eugene. A.(1993). Language, Culture and Translating. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nida, Eugene A. &amp; Charles R. Taber. (1969). The Theory and Practice of Translation. Leiden: E. J. Brill.<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:23, 21 December 2020 (UTC)<br /> <br /> ==Translation of English Proverbs from the Perspective of Culture 韩海洋 202020080602 Han Haiyang 英美文学==<br /> <br /> ===Abstract===<br /> As close communication between eastern and western countries,nowadays cultural influence is increasingly becoming more and more importance than before in language exchanging. As for translation of English proverbs, proper translation strategies should be considered in order to better understand their meanings and characters. By looking up thesis and documents, some translation strategies need to be concluded. In terms of cultural influence and social communication, foreignization and domestication are chosen in which the former is used more frequently than the latter. It arrives the conclusion that foreignization applied for translation of English proverbs is on the increase.<br /> <br /> ===Key Words===<br /> proverbs; culture; translation strategies<br /> <br /> ===从文化视角来看英语谚语的翻译===<br /> <br /> ===摘要===<br /> 由于文化因素在不同语言之间的交流具有一定的影响，特别在中西方交往日益密切的背景下。为了更好的翻译英语谚语，使其达到应有预期效果，适当的翻译策略可以在翻译过程中更好地了解谚语的含义与特色。通过查阅资料和文献，总结出合适的翻译方法。根据现在的社会背景和文化影响，对于归化和异化两种方法，异化的选择得到了更多的倾向。在翻译的过程中，将文化因素考虑进去对于语言翻译上面，异化的趋势将会逐渐增大。<br /> <br /> ===关键词===<br /> 谚语; 文化; 翻译方法 <br /> <br /> ===1. Introduction===<br /> With the advent of 21th century, society has been changed in a wide scope, and shed light on the unparalleled interaction of culture and economy as most exemplified phenomenon happening everywhere. Translation is thereby a way to transfer from one culture to another, in which the effect of cultural background is behind language the essence of best fruit of translation. The history of translation has been lasted for a long time, for example when it comes to English proverbs, which can be traced to centuries ago, like Bible and works of Shakespeare. It is not rare to see that each country has its own unique culture, and under the cover abundant resources mirroring a country can be exploited. English proverbs as a product of culture the bridge for cultural exchange is been studied since centuries ago. The strategies of proverbs translation also have been experimentally discussed from time to time as the rapid development of culture and economy. Translation plays a key role in promoting a country’s own culture, because that is the way of importing and exporting knowledge of culture to another country. Proverbs is the product of culture that cannot be understood directly without any effort to digest it. So translation is needed, which could impose exotic flavors to new conception or understanding, but the premise is that translation is properly chosen in regard to nowadays strongly cultural promotion awareness.<br /> <br /> Usually proverbs are concise, concrete and pithy words which are rhythmed and organized for the sake of being simple to remember and spread to people. Proverbs are summarized by certain people from all walks of life in a specialized area, including eating habits, farming, belief, customs and so many. Proverbs composed of words the exact symbol of language, are named as the crystal of culture in a easily understandable way. Culture awareness is highly appreciated whatever it is developed country or developing country. For the fulfillment of translation of English proverbs, therefore this thesis aims to translate English proverbs with appropriate translation strategies-mainly foreignization and domestication from the perspective culture.<br /> <br /> With the advent of 21th century, society has been changed in a wide scope, and shed light on the unparalleled interaction of culture and economy as most exemplified phenomenon happening everywhere. Translation is thereby a way to transfer from one culture to another, in which the effect of cultural background is behind language the essence of best fruit of translation. The history of translation has been lasted for a long time, for example when it comes to English proverbs, which can be traced to centuries ago, like Bible and works of Shakespeare. It is normal to see that each country has its own unique culture, and under the cover abundant resources mirroring a country can be exploited. English proverbs as a product of culture the bridge for cultural exchange has been studied since centuries ago. The strategies of proverbs translation also have been experimentally discussed from time to time as the rapid development of culture and economy. Translation plays a key role in promoting a country’s own culture, because that is the way of importing and exporting knowledge of culture to another country. Proverbs is the product of culture that cannot be understood directly without any effort to digest it. So translation is needed, which could impose exotic flavors to new conception or understanding, but the premise is that translation is properly chosen in regard to nowadays strongly cultural promotion awareness.<br /> <br /> Usually proverbs are concise, concrete and pithy words which are rhythmed and organized for the sake of being simple to remember and spread to people. Proverbs are summarized by certain people from all walks of life in a specialized area, including eating habits, farming, belief, customs and so many. Proverbs composed of words the exact symbol of language, are named as the crystal of culture in a easily understandable way. Culture awareness is highly appreciated whatever it is developed country or developing country. For the fulfillment of translation of English proverbs, therefore this thesis aims to translate English proverbs with appropriate translation strategies-mainly foreignization<br /> <br /> ===2. Chapter 1 General Introduction to English proverbs===<br /> <br /> ====1.1 Definition of Proverbs====<br /> As far as history is concerned, proverbs can be dated back to the times that language is produced. According to Dictionary of Proverbs, proverbs are “a succinct and memorable statement that contains advice, a warning or a prediction, or an analytical observation”. Maybe the first definition is given by Socrates that a proverb is noted as brevity, philosophical tone, and common usage. In the 15th century, Michael Apostolius of Byzantium wrote, “A proverb is a statement which clarifies the unclear, or which through concrete images indicates intellectual concepts, or which makes clear the truth in furtive fashion”.(Honeck 1997,12)<br /> <br /> Champion (1966:xi) has claimed his idea “a proverb in my opinion is a racial aphorism which has been, or still is, in common use, conveying advice or counsel, invariably camouflaged figuratively, disguised in metaphor or allegory.” According to Mieder (1993), “A proverb is a short generally known sentence of the folk which contains wisdom, truth, morals, and traditional views in a metaphorical, fixed and memorable form and which is handed down from generation to generation”. Although definition is definitely different from one to another, one thing is for sure is that proverbs have been proved to exist for a long time. From all the above have been talked, proverbs can be boiled down to a simple, culture-loaded, and wide-circled saying enjoying great popularity throughout the whole country. Considering it that a majority of elements are included in proverbs, especially when it comes to perspective of culture, some feasible measures should be properly taken to handle it.(Champion 1966,15)<br /> <br /> 1.1.1 Origin of Proverbs from Abroad<br /> Proverbs are not come out from nowhere, and the amounts and meanings of them do not stay the same eternally. As a rule, comparison between at home and abroad is always been found. From abroad, English proverbs could be seen in Bible, and works from Shakespeare and other fables. Part of old proverbs are stemmed from Bible, which largely related to God and so many fairy tales, or in other word like “God” or any related implication are sometimes recorded in proverbs. Like the famous one said: “man proposes, God disposes”, it shows that in western country people faithfully believe in God who is enshrined in most<br /> <br /> Except from Bible, in the times of Renaissance Shakespeare’s works can be found in which some proverbs are known from that time. For example, in Romeo and Juliet there is one sentence “a rose by any other means would smell as sweet”. It means that irrespective of how things’ names are changed, the essence embedded in them would still intact. Shakespeare is as one of the most brilliant play writers just on the behalf of renaissance period. There are still amounts of proverbs created by other scholars like Francis Bacon, John Milton and so on.(Li Keshi 2009,35-38)<br /> <br /> 1.1.2 Origin of Proverbs at home<br /> <br /> In china, proverbs can be traced to Spring and Autumn periods. At that time, people mostly work at farm, so there are a lot of proverbs related to farming or country life. with Zuo’s Commentary( 左 传 ) deserves the first.In it, the Chinese proverb “山有木，工则度之；宾有礼，主则择之”has its track, and most of the proverbs mentioned in Zuo’s Commentary are from Zhou Dynasty as “Zhou proverbs”(周谚). Besides, terms like “Xia proverbs(夏谚)” can also be found in Mencius(孟子). Like the proverb “吾王不游，吾何以休？吾王不豫，吾何以助？一游一豫，为诸侯度”from Mencius, though have not been handed down, it is regarded as the earliest proverb that have been recorded (ibid,2003). <br /> <br /> Xia is an extremely ancient dynasty in Chinese history, as far as over 4,000years from today. So maybe proverbs are not as popular as today, they are definitely has records and can shed light on Chinese history.It is said that proverbs in China dated back to as early as before the words came into being. People at that time did not pass down their knowledge and experience by writing, while they made it by speaking and saying in a simple and memorable way. With time moving forward, proverbs are gradually been regarded as important as written words which play a great role in future generation in dealing with culture and heritage. No matter what kind of proverbs are produced, from the historical evidence it can be observed that proverbs can across ocean and land, moving to another country, another culture domain.(ibid 2003,31)<br /> <br /> ====1.2 Characteristics of Proverbs====<br /> Proverbs are memorable, vivid words which are succinct and simple in form summarized by people from all walks of life. Both Chinese and English are bountiful in considering the thousands of proverbs have been recorded and there are still more proverbs to be created as time goes on. For the record, proverbs are not spoken at random and created at one’s free will. Some rules can be depended on, such as the lifestyle, living environment, education, social value, and so on. Taking environment for example, the British lived near to ocean or sea, and therefore it is common to see proverbs related to sea spoken by English people “In a clam sea, every man is a pilot.”<br /> <br /> 1.2.1 Cultural Characteristics of Proverbs<br /> <br /> Broadly speaking, culture contains all the aspects of the society and gives its people ability to view the world. Meanwhile, culture also can be regarded as a deciding element on distinguishing the difference from each country. It is no exaggeration to say that a country’s most standing heritage is its culture, which keeps changeable in line with the history. Although nowadays similarities of culture are seen more easily than ever before, the reason is under the influence of globalization-culture import and export take place here and there. The logic is culture formed from all walks of life, which means language is included, and proverbs are product of language. <br /> <br /> Therefore, proverbs carry characteristics of culture whatever the country is and how singular its culture is. Social customs is one of the big parts in a cultural society, there are some symbols or people are widely used in proverbs. Jack and Jill usually refer to man and woman in general such as: “every Jack has his Jill”. The counterpart in china is also easy to find. To name a few, there are more could be found in each cultural community. The next indispensable one is religion. It is well acknowledged that western countries like America and the UK, are religious countries, in which the words like: “God, devil, and church” are seen here and there. Like it has been said before, language is the product of culture, which contains every aspect of people’s life from individuality to the whole society. <br /> <br /> What is more, value concept is also included since it reflects how a country embodies its culture to the outside world. Giving respect for the aged in china is a necessary and ethic social value passed on and on for thousands of years. In Chinese, there is proverb saying that: “不听老人言，吃亏在眼前”. It means youth should listen to what the old men told you, or you will pay the price of what you have done. Instead, traditional values favor in masculinity, people think that men are superior to women and they have direct control over them. Ego and individuality in America is felt deeply, because they think that they are going to be successful by themselves from any given chance. They seldom make big achievement by working in group rather than enjoying doing it by their own hands. Proverbs like “near is my shirt, but near is my skin” is emphasizing that someone himself is more important than others.(Li Keshi 2009,35-38)<br /> <br /> 1.2.2 Rhetorical Characteristics of Proverbs<br /> <br /> As proverbs express concrete meaning by only a few words, sometimes it has to apply some kind of rhetorical devices for perfectly presenting the delicacy of proverbs. Some meaningful proverbs are not understood directly by adding each word all together, however, it only can be realized by using proper rhetorical methods to give their deep meaning, in another word, connotative meaning. <br /> <br /> Simile is often seen in proverbs, and it usually compares one thing to another thing, in order to show its vivid or obscure picture to receptor who may not understand directly from plain words. In sentences with simile, “like” and “as” are widely used for example, “March come in like a lion and goes out like a lamb”, and “time tries friend, as fire tries gold”. The former means that the changes of March is different from how it is coming and ending, and the latter means that friend like gold needs to be tested then you would find who is your real friend. Both of them impressively express the core meaning from unfamiliar thing or abstract thing to specific and easily understandable thing. <br /> <br /> Metaphor is seemingly like simile, but it is more implicitly explaining meaning than simile. Like “brevity is the soul of wit” and “an empty bag cannot stand upright”. The former means brevity is so important to wit like the soul of a person, the latter one translated in Chinese is “人是铁，饭是钢，一顿不吃饿的慌。” Hyperbole is a rhetoric that uses overstatement or obvious exaggeration to emphasize something, such as “Our life is but a span” and “An unfortunate man would drown in teacup”. The former means life lasts in a few times as short as span, which is obviously overstated. The latter means if a person is feeling unlucky at that day, whatever you do will bring bad lucky. Personification is the ability to endow common lifeless things with features of human-being. For instance, “Money is a good servant but a bad master”, and “fortunate knocks once at least at every man’s gate”. The former means money should be rationally handled or it may be a burden for you. The latter means everyone has a chance to be fortunate at least once.(Guo Min 2008,123-127)<br /> <br /> From all above have been discussed, they are just the most common figurative devices formed into proverbs. In terms of the function of rhetorical, proverbs can come into being in a simple, memorable form. It can be inferred that proverbs in a much degree use rhetorical to express refined and concrete meaning. Meanwhile it reflects the problem that when doing translation of proverbs, focus are more than just words themselves needed to be considered, as well as culture, form and connotative meaning.<br /> <br /> ====1.3 Differences Between Proverbs and Maxims, Sayings, Idioms====<br /> <br /> It seems that proverbs are looked the same as maxims, sayings, and idioms one way or another, but in fact there still exists some differences between them. For one thing, the existence of proverbs is across the whole world, therefore, no one can precisely calculate how many of them are recorded, and how many of them are still unknown to us. In terms of the number of proverbs is uncertain, so making a convincing definition is unrealistic, at least not perfect. If referring to it could be found that the definition in the dictionary is also easy to distinguish from each other. Some researchers disagree with each other on the definitions of these similar terms. <br /> <br /> Fergusson (1983) states some proverbs are simple folk sayings. Burton Stevenson (1987)’s idea about proverb is that― “A maxim is the sententious expression of some general truth or rule and it becomes a proverb when it gets its wings by winning popular acceptance.” Some scholars believe that sayings are one stream in the vast ocean of proverbs while others argue that proverbs should be included in the realm of sayings. In one source defining idioms and proverbs, NTC’s American Idioms Dictionary (1987) mentioned that ― “the idiom ‘a bird in the hand is worth two in the bush’ is a proverb meaning that something you already have is better than something you might get.” (Burton Stevenson 1987,20)<br /> <br /> As for classifying maxims and proverbs, Cordry (1997) suggests that “one defines a maxim as a rule of conduct and a proverb as a comment or observation with regard to the universal experience of life, the distinction is not always clear.” And as given in Concise Oxford English-Chinese Dictionary (2003), saying is defined as “a maxim, proverb, adage, etc.” Even so, there must be some obvious features we could rely on to categorize them in general. It could be concluded that maxim and saying are mostly the expression of principle or behavior of man or the rules that summarized by famous writers or philosophers.(Cordry 1997,26-28)<br /> <br /> Thus maxim and saying are seldom heard or seen except reading in the books and hearing from author himself. As a number of them are in a serious or form expression, there they are not as popular as proverbs which are created from daily experience by common people. In regard to idiom, its meaning is not the meaning which each word put together, but by understanding it form local people who made them and made it spread in his surrounding places. Idioms sometimes are not complete sentences but simple phrases. While, proverbs enjoy great popularity and are universally spread because of their concrete, succinct and vivid description.(Fergusson 1983,28-31) <br /> <br /> In conclusion, proverbs are prevalent in the world enjoying widespread social value and abundant sentence structures, but for sayings and maxims they are carrying the color of literature. Idioms have local color that is only understood within the same or similar speech community. With such understanding, it lays the foundation for researcher to better study and distinguish the distinctions form others.<br /> <br /> ===2. Chapter 2 Relation Between Culture and Proverbs Translation===<br /> <br /> ====2.1 Definition of Culture====<br /> <br /> As many scholars have been studied the definition culture, there have been existed sorts of definitions, in which they do not have big difference in one way or another. Culture is a general word that could take language, customs, religion, and others into account. One of the oldest and most quoted definitions of culture, which is frequently mentioned regardless of so many entries of definitions, was formulated by the 19th-century English anthropologist Edward Burnett Tylor in the first paragraph of his Primitive Culture (1871) as “Culture… is that complex whole which includes knowledge, belief, morals, custom, and any other capabilities and habits acquired by man as a member of society. …” . <br /> <br /> While Nida, a famous linguistic and translation theorist, gave his definition of culture as “the totality of beliefs and practices of a society” in the book Language and Culture (2001:139) and as “the way of life and its manifestations that are peculiar to a community that uses a particular language as its means of expression” by New mark given in his book of A Textbook of Translation (2001:94).From the mentioned above, culture includes every aspect of human life such as housing, transporting, communicating with people, recording of history and so on. Therefore, it is no exaggeration to say that proverb, or even language is a part of culture. Some scholar even put that language is the medium of culture, without language there may be no existence of culture. So the importance of culture cannot be ignored in order to better understand the deep meaning when studying proverb, a culture-loaded word, and more attention should be given to perspective of culture.(Katan 2004,16)<br /> <br /> ====2.2 Language and Proverb====<br /> <br /> It is no exaggeration to say that language is the product of culture since culture is culturally transmitted from the view of linguistics. Therefore, proverbs are composed of a set of words, which are selected from a particular language community. Taking English and Chinese for example, they both represent their special culture and unique characteristics respectively. More importantly, proverbs are the crystal of language, which can be used as a convenient tool to understand different cultures for language is the bridge leading to culture.<br /> <br /> ====2.3 Value and proverbs====<br /> <br /> Value is associated with sorts of people’s lives and is defined by these people living in a specific area. Value of appreciation on people is an obvious example that eastern and western countries have extreme angles on how to appraise a person. Tanned skin and jeans clothes are symbols as to select people whom they like more, but for eastern, white skin and Qipao maybe are thresholds for people to judge a person whether he or she is more stylish. Value of eating is still a big mark to differentiate race or natality. Cooked meal in china and salad in the west make the difference that eating habit is so little sameness on each other. There are still more, living environment and national policy if is related to country. All of them shape all kinds of values which are on behave of its countries or people. Like east or west, home is the best means “金窝，银窝，不如自己的狗窝.” Proverbs are not just created form nowhere but they are existed for ages and still available only if they are still reflecting meaningful viewpoints.(Chen Jinshi 2006,72-77) <br /> <br /> Language is a part of culture and also at the same time a reflection of culture. Taking Chinese and English for example, they belong to different language families, therefore there exist some distinctions between them. Chinese people usually don’t say daring or family name directly, which is so different from western people who call their parents’ name and say sweet words without any concerning of awkwardness or shyness. It works to proverbs, and that is the social custom defining a society what is their core valve. <br /> As far as we know, social value between western country and eastern country are of great differences. In western country, self-awareness and individuality are mostly emphasized, but for eastern, more attention is given to collective wisdom and working in groups. Like Chinese proverbs “ 三个臭皮匠，顶个诸葛亮。”and in English proverbs such as “ God helps those who help themselves.” From above being said that it has a lot benefits to study proverbs to better understand culture and language.(Chen Jinshi 2006,72-77)<br /> <br /> ====2.4 Cultural Similarity on Chinese and English Proverbs====<br /> <br /> Without any effort it can tell that Chinese and English are defined by different language families. Even so, Chinese and English proverbs share some similarities in various ways, which are performed in different form and speech of proverbs. Because there exist universal truths and life styles, they are more or less understood by people from society to society. Like the truth of the universe in the definition of right and wrong and subjects including philosophy, math, chemistry, they are all developed separately in different areas but shared and summarized by all members form all the world. In this point, proverbs play the role in spreading some common knowledge and experience to the outside world, though forms are created by different society, they are carrying the same meaning or implying one way or another. Examples like “a snow year, a rich year(瑞雪兆丰年), strike while the iron is hot, and a neighbor is better than a distant cousin.” All of them are proved to share universal life experience and truth in the everyday life. Because people live under the same sky, sun, star, they go on making their living by hard working.(Han Jiaoyang 2009,111-117)<br /> <br /> It is no exaggeration to say that cultural exchanges are rapidly happening all over the world, and foreign culture may be assimilated by domestic culture or rejected by its opposite expression of culture. In this sense, we have same expressions in different ways of forms, like “情人眼里出西施” (Beauty is in the eyes of the beholder). They are describing the same thing but with different cultural background, therefore they sometimes have similarities in one way or another.(Han Jiaoyang 2009,111-117)<br /> <br /> They describe the same thing but with different cultural background, therefore they sometimes have similarities in one way or another.(Han Jiaoyang 2009,111-117)<br /> <br /> <br /> ====2.5 Cultural Differences in Chinese and English Proverbs====<br /> <br /> Without a doubt that cultural similarities surely make translation easier in understanding foreign proverbs, but they are not silver bullets to taking all the proverbs into consideration. When it comes to separate boundaries which cut the Earth into several parts, under this context, local culture will be formed and promoted in its own birth place. One of the most common features of culture is religion in western and eastern country, because western people have belief in God, Chinese people believe in Buddhism, which are of two great differences. That is the reason why in the process of translation, factor of culture has to be reckoned, especially in the new eras. As Nord have ever put forward in Translating as a Purposeful Activity that ―A culture-specific phenomenon is one that is found to exist in a particular form or function in only one of the two cultures being compared‘‘ (Nord,2001:34), therefore culture will be compared at a time when people have different perceptions on things, in which language would be the first. The grammatically sentence structure and the pronunciation for example, have little in common regarding they belong to different language family.(Fu Yanli 2016,91-92)<br /> <br /> Living environment is an element on deciding the formation of proverbs. Traditional Chinese people were busy doing farming, agriculture, so there are proverbs associated with them. Like “ 瓜熟蒂落” means things will be done when they are mature, and “人靠血样，苗考水活”means blood is a necessity for existence of human being as well as water to seedlings.” Moreover, a fruitful harvest is dependent on the weather, producing proverbs such as “三月三，著蓑衣，三月十五冷凄凄”, which means lunar early month has heavy and the middle is heavily cold. But for English proverbs, which are to a large extent related to fishery or marine affairs such as “to sink or swim”, “to keep one’s feet above water” and so many. Therefore both of the proverbs are created under the influence surrounding environment. Except for living environment, living customs are also reflected on formation of proverbs. <br /> <br /> In different communities, people have different perception of things like animals. In Chinese proverbs, “杀鸡取卵” which equals to “kill the goose that lays golden eggs”, in which different animals are choose represent local customs. English proverbs would say that “look for a needle in a haystack”, which has a Chinese counterpart as “大海捞针”. It means that doing something is as difficult as finding out a small piece in an immerse container. Dog is also a featured sign that stand for different views in Chinese and English proverbs. In China, although dog is loyal to his master, it always leaves unrespectable impression on people, on the contrary, English love dogs and cherishes them so much sometimes even more than their family.(Fu Yanli 2016,91-92) <br /> <br /> Different cultural heritages and religious beliefs also play a key role in the formation of proverbs. It is not hard to refer that understanding proverbs on the bases of translation is convenient for study foreign culture. With all the differences and sameness, the range of translation, culture is a must during translation.<br /> <br /> ===3. Chapter 3 Translation Strategies for English Proverbs===<br /> <br /> Translation strategies have long been studied for a long time, during that time, domestication and foreignization have been considered as dominating strategies that were applied by a lot of scholars. Cross-culture exchange has gained great trend, especially in those years global communication between countries develops rapidly. It is true that here exists another method like “functional equivalent” created by famous scholar Eugene Nida who claims that in the process of translation source text and target text are both considered as author and reader are separated by the language or culture. <br /> <br /> The best function of translation is aiming to make source text as readable as reader-oriented text, which is popular in centuries ago in the era of underdeveloped cultural exchanges. In Chinese culture, the history of translation can also be traced to hundreds of years ago, some brilliant point of view like “信，达，雅”by Yan Fu, then it was changed into “信，达，切”by Liu Chongde. It means that translated text in which the flavor of text should be close to its original color of its culture. Taking what translation strategies into consideration should comply with the trend of culture exchange and its development.(Chen Daoen 2015,257-258)<br /> <br /> ====3.1 Domestication and Foreignization====<br /> <br /> Domestication is a target language oriented translation device, which is to change the flavor into reader’s interest. It is compatible with the taste of people who think their country is strong enough to set international standard and in which all other countries will prepare for the transmission of culture. It is the assimilation that causes translator to change resource text into native flavor. But for this phenomenon, the reason is that people’s recognition is limited and their hold self-importance to the most, therefore, everything from outside will be transmitted into domestic flavor. <br /> <br /> As communication of culture and technology grows rapidly and each country would like to strengthen its comprehensive power by take into foreign culture. As for translation strategies, which are still be reckoned which one should be adapted. Foreignization is a source language oriented translation device, which is to change the flavor into author’s meet. The roots of the terms “domestication” and “foreignization” can be traced back to the German philosopher Schleiermacher‘s argument in 1813 in a lecture on the different methods of translation, he found only two methods of affecting the domestic reader‘s understanding of the foreign author, “Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Venuti 2004,19-20).<br /> <br /> In China, some scholars also have put forward their own opinions about the definitions of domestication and foreign. Among them, Lu Xun's opinion is famous. He claimed that domestication was as “rewriting, changing the foreign story into Chinese story and changing the foreigners into Chinese” , while foreign was “translation is like going abroad for traveling, it must reflect the scene and flavor of the foreign country concerned.”(ibid 1984,301) Expect the definition of domestication and foreignization, when doing the work of translation, translator should consider the perspective of culture and the intention of the writer as well as readers whether they want to the culture of source text to be originally intact or changed into readers’ culture.(罗新璋 1984,301)<br /> <br /> ====3.2 Foreignization over Domestication for Translation====<br /> <br /> As far as social development is concerned, cultural exchange is more frequent than now or ever. In previous centuries, domestication is always been advocated by Chinese and western translators. as the exchange of economy and culture, it is not as common as today. Countries blindly think themselves as the leading one, so naturally take translated text as a respect from other countries. In translated works, any trace of alien culture is eliminated, in favor of own country’s culture to be admired and promoted. The awareness of culture is not developed because people only unconsciously find that in their mind anything enters into their country is no foreign at all, because every product from aboard will be transferred into familiarly native fruit with sense of closeness. <br /> <br /> As far as social development is concerned, cultural exchange is more frequent than ever before<br /> <br /> In another way, people at that time are barely having the chance to access to education, in particular for poor family that most of them are illiterate.It is without saying that no room is left for people in their countries to study culture abroad while native culture still did not gain completely popularity. From the above being mentioned, at an early age, domestication has upper hand indeed.So in choosing translation strategies, it is no doubt that it should be domestication centered.(Ding Min 2014,72-76)<br /> <br /> For another thing, as technology and economy develop from nowhere, cultural exchange between countries has witnessed great changes in the past decades. In highly developed areas, people in their countries universally receive full education in which their counties’ historical culture has been deeply absorbed. So, in the process of translation, foreign culture as novel things fulling with exotic flavor has attracted people a lot to see the differences and experience a foreign journey. The untouchable place of domestication did not enjoy its popularity an anymore for its limitation of spreading of foreign culture. <br /> <br /> Therefore, foreignization became more and more important as translation tool in the view of people’s eye. It not only translated the original foreign text into native character, but also carried the foreign special into domestic text. Take china for example, although as a developing country in the Asian, china has so much say in the stage of the world in the aspect of culture and world peace. Language as the bridge of communication, have to be understood by others in the way of translation. In one way or another, domestication and foreignization can both play the role in the translation, but from the perspective of culture, foreignization seems to weigh more in nowadays choosing translation strategies.(Ding Min 2014,72-76)<br />  <br /> <br /> ===4. Conclusion===<br /> <br /> Proverbs are culture-loaded words that have been transmitted and renewed from generation to generation as well as the changes of different eras. As a part of language and the product of culture, it is no exception that proverbs can be a medium, which offers the opportunity to learn language and culture. With the advent of new technology and wide economic communication, translation is playing an indispensable role in this process. <br /> <br /> Proper translation strategies are essential that whether foreign culture should be taken into consideration since it stands as the soft strength of a country. By considering this, foreignization has more superiority when compared with domestication. Foreignization as a trend translation, has been keeping the original culture intact to target readers, meanwhile can enrich a native country’s culture and expand vocabulary. There is no doubt that domestication is not totally worthless, regarding proverbs has multiple varieties, which cannot be translated simply by foreignization, therefore domestication is worked as supplementary tool to assist foreignization in translation. <br /> <br /> Foreignization leaves the culture of source text untouched, wishing to give target reader exotic environment where readers experience different aspects of culture, like religion, belief, custom and others.<br /> <br /> In the end, as cultural development and social progress is moving forward, foreignization has more advantages than domestication.--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 15:45, 20 December 2020 (UTC)<br /> <br /> ===5. References===<br /> *Bian Xiaofei, 边晓霏(2013). 从文化视角探究谚语翻译[Exploring proverb translation from a cultural perspective]. ''保定:河北大学''[Baoding:Hebei University] .<br /> *Chen Jinshi,陈金诗(2006). 英汉谚语的特征与翻译[Characteristics and translation of English-Chinese proverbs]. ''武汉:中南民族大学''[uhan: Zhongnan University for Nationalities].<br /> *Dong Jing,董晶,Liu Yalou,刘亚楼(2015).英语谚语的文化内涵与翻译方法[The cultural connotation and translation of English proverbs]. ''河北联合大学学报(社科版)'',(1): p: 100-103.<br /> *Fu Yanli,付艳丽(2016). 跨文化语境下英语谚语翻译的意蕴与特征表达[The Meaning and Characteristics of English Proverbs Translation in Cross-cultural Context]. ''济南职业学院学报''[Journal of Jinan Vocational College],(4): p: 90-91.<br /> *Ding Min,丁敏(2014). 从文化视角看英语谚语的翻译[Translation of English proverbs from a cultural perspectiv]. 西安:西安外国语大学[Xi'an:Xi'an University of Foreign Languages].<br /> *Guo Min,郭敏(2008). 英汉谚语中的文化差异及其翻译[Cultural differences in English and Chinese proverbs and their translation]. 重庆:西南大学[Chongqing: Southwest University].<br /> *Han Jiaoyang,韩娇阳(2009). 从谚语英汉互译中看文化缺省及其补偿策略[Cultural default and its compensation strategy in English-Chinese translation of proverbs]. 长春:吉林大学[Changchun: Jilin University],.<br /> *Lu Daoyen,陆道恩(2015).文化视角下英语谚语的翻译技巧[Translation skills of English proverbs from a cultural perspectiv]. ''高教学刊''[Journal of Higher Education],(24): P:257-258.<br /> *Li Keshi,李克时(2009). 论英语谚语汉译的异化趋势[On the trend of alienation in Chinese translation of English proverbs]. 南京:南京农业大学[Nanjing: Nanjing Agricultural University].<br /> *Liu Weiping,刘卫平(2008). 文化视角下的美国谚语翻译[Translation of American Proverbs in Cultural Perspective]. 桂林:广西师范大学[Guilin: Guangxi Normal University].<br /> *Li, H.(2012) A Study of Film Subtitle Translation from the Perspective of Domestication and Foreignization[MA]. Shenyang: Liaoning University.<br /> *Mo, L, H.(2014) A Study on Chinese and English Proverbs about Marriage from the Perspective of Contrastive Linguistics[MA]. Nanning: Guangxi University.<br /> *Mao, Q.(2017) A Study on the Proverbs in Shakespeare’s Play in Their Chinese Translations in the Perspective of Conceptual Metaphor[MA]. Guilin: Guangxi Normal Univeristy .<br /> *You, X, J.(2009) A Contrastive Study On Hypotaxis and Parataxis in English and Chinese and Its Influence on the Chinese-English Translation of Ancient Fables[D]. Suzhou: Suzhou University.<br /> *Zhao, C, H.(2012) A Study on Proverb Translation from Cross-Cultural Perspective[D].Changchun:Jilin University.<br /> <br /> ==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory 刘金惺琦 liu jinxingqi==<br /> <br /> ==Translation of Chinese Neologisms from the Perspective of Cross-cultural Translation Theory-解帆 Xie Fan 202070080637 MTI 英语口译==<br /> &lt;center&gt;解帆 Xie Fan 202070080637 MTI 英语口译&lt;/center&gt;<br /> <br /> ===Abstract===<br /> <br /> With the continuous enhancement of China's overall national strength and international influence, Chinese is playing an increasingly important role in communications and exchanges among countries all over the world. An increasing number of Chinese neologisms are used to express and describe the status quo. These neologisms invigorate Chinese culture, however, meanwhile, they make it harder for the world to understand Chinese. <br /> <br /> On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.<br /> <br /> ===Key Words===<br /> <br /> Chinese neologisms; cross-cultural theory; English translation; strategies<br /> <br /> ===题目===<br /> <br /> 跨文化翻译理论指导下汉语新词英译的研究<br /> <br /> ===摘要===<br /> <br /> 随着我国综合国力和国际影响力不断增强，汉语在世界各国沟通与交流中起到越来越重要的作用，用来表达和描述社会状态的汉语新词也日益增多。这些新词给中国文化带来生命力的同时，也给世界人民理解汉语带来了困难。<br /> <br /> 一方面，语言本身存在着不可译性，每种语言在其组词造句、表达方式上都具有其独特性，现实中并不存在两种完全对等的符号系统。另一方面，不同的民族有着不同的历史传统、宗教信仰、思维方式，这尤其增加了语言理解的难度。因此，跨文化翻译成为中华文化传播过程中的重要一环。通过翻阅相关资料，不难发现由于汉语新词的英译起步较晚，国内外相关翻译研究尚未成熟，因此在英译汉语新词的过程中出现了一些问题。前人已有相关文章指出过这些问题，但没有提出如何才能避免这种问题、提高译文质量。基于前人的相关理论和观点，并结合实例，本文将首先介绍汉语新词分类及其特点，然后说明跨文化翻译理论对于英译汉语新词的意义，最后介绍在跨文化翻译理论下英译汉语新词时的几种方法，希望为后续规范汉语新词英译行为提供必要参考。<br /> <br /> ===关键词===<br /> <br /> 汉语新词；跨文化翻译；英译；策略<br /> <br /> ===Introduction===<br /> <br /> With the growing power of China and the further improvement of the globalization, China's contact with other countries in the world has become closer. And how to maintain Chinese culture’s uniqueness when it is introduced to the world has been the top priority for translators. The development of China has given birth to a large number of Chinese neologisms with its uniqueness. The society changes with each passing day, covering from international affairs to domestic matters. Against this background, neologisms are likely to be derived. These words attract widespread attention and gradually enter people's daily life. Since the implementation of the reform and opening up to the outside world, a great number of Chinese neologisms have appeared. <br /> <br /> Not only do these neologisms with Chinese characteristics vividly show Chinese people’s understanding of their unique phenomena, but also they largely enrich the expression of Chinese. However, at the same time, these words pose serious problems for translators as well. On the one hand, the differences between Chinese culture and western countries’ culture are numerous, which makes it hard to find equivalent of Chinese neologisms in English. On the other hand, with the times going forward, the number of Chinese neologisms is steadily increasing, which results in difficulties in translating Chinese neologisms into English. Therefore, Cross-cultural translation of Chinese neologisms into English becomes prevailing. Cross-cultural translation theory was proposed by Mary Snell Hornby in her well-known representative book Translation Studies: an Integrated Approach. She believes that translation is not a process of decoding or the transformation of language symbols, but also the transformation of cultural patterns. Due to the rapid development of Chinese society in the past decade, more and more translators have turned to Chinese neologisms, making the study of English translation of Chinese neologisms a new focus. Chinese Translators Journal, Lexicographical Studies and other authoritative academic journals have set up columns for translation of Chinese neologism. There are also vocabulary books compiled according to the specific types of Chinese neologisms, such as Chinese-English Expressions of Current Events by Yang Quanhong and English Translation of Buzzwords and Sayings by Chen Dezhang. In addition, the most representative ones include Yang Quanhong's Approaches to Translation of Chinese Words and Expressions into English and Zhang Jian's On Translation of Chinese Press Neologisms into English. In the age of information, it is not hard to find English translation of Chinese neologisms on English learning websites such as https://www.chinadaily.com.cn/, https://www.en84.com/ and so on. These websites have launched platforms for English translation of Chinese neologisms and updated them timely. So far, scholars have studied Chinese neologism from different perspectives. This paper is based on 138 related articles including these key words such as “cross-cultural theory” “Chinese neologisms” and “English translation” on http://kns.cnki.net. Fu Rong narrated the difficulties and methods in The English Translation of Chinese Neologism from a Cross-cultural Perspective. Zhou Hongjie elaborated on the basic principles, methods and key points in The English Translation of Chinese neologisms from a Cross-cultural Perspective. In addition, a majority of articles analyzed the status quo in the English translation of Chinese neologisms from the perspective of cross-cultural translation theory, but few dwell on strategies of solving the problems during the course of translation. This paper introduces Chinese neologisms and its classifications and characteristic in the second section, the significance of cross-translation to Chinese neologisms in the third section and ways of translating in the fourth section. It is based on the previous viewpoints and puts forward practical strategies to be followed in the translation of Chinese neologisms from the perspective of cross-translation theory combining with examples.<br /> <br /> ===Chapter 1 Overview of Chinese Neologisms===<br /> <br /> Neologisms are words new in connotation or form. In other words, they can either be new words created to express new concepts and phenomena in line with times or existing words given new meanings. These words help the further development of language, embody Chinese people's latest understanding of the world with the times going forward, and enrich the expression and promote the transmission of Chinese language. (Fu Rong, 2015,79)<br /> <br /> To better translate Chinese neologisms into English, we need to have a deeper understanding of Chinese neologisms, including its classifications and characteristics. Generally speaking, Chinese neologisms can be classified into four categories, namely, old words endowed with new meanings, Chinese abbreviations, newly generated words and loan words. (Fu Rong, 2015,80)<br /> <br /> ====1.1 Classifications of Chinese Neologisms====<br /> <br /> Old words endowed with new meanings, as the name suggests, are existent words that have been endowed with new meanings for reuse even though have been forgotten for a long time. Take “备胎(spare tire)”as an example, which refers to an extra tire carried in a motor vehicle for emergencies. It now refers to a back-up, second line, just-in-case, or a B-plan or contingency, in other words, someone who is benched now. Besides, “粉(powder)”originally refers to fine powder used for makeup or paint, while it means having a crush on or adoring a famous celebrity now. (Li Chunjiang, 2015,59)<br /> <br /> With the changing society of China, the essential characteristics of the things or phenomena referred to by the old words have changed as well. Because of the uniqueness pf Chinese words, it may be defective to use substitute words and fail to reflect the pun. Not only does endowing the existing words with new meanings produce connection between old words and new meanings, but also reduces the trouble of creating new words. (Li Chunjiang, 2015,62)<br /> <br /> Chinese abbreviations are the result of refining existing words. The process of extracting mainly depends on the importance of each part of the words. Those significant parts are selected to replace the lengthy words. The most common Chinese abbreviations can be divided into three forms. (Liao Yingying 2008,66)<br /> <br /> First, extracted initials. Such as “哥哥(brother)--GG”, “笑死我了(It’s so funny that I have a shortness of breathe)” and “漂亮小姐姐(good-looking sister)--PLXJJ”. Second, syllable imitation. Such as “呜呜呜 (onomatopoetic words of cry)--555”, “我爱你一生一世(I love you forever)--5201314” and “不要这样子(don’t do like this)--表酱紫”. Third: reduced words. Such as “很累，感觉不会再爱了(feel so tired that will not fall in love again)--累感不爱” and “躺着也中枪(a lying person can be shot as well)--躺枪”. (Liao Yingying 2008,67)<br /> <br /> Nowadays, people are always pursing a simple and peaceful life, which gives rise to the frequent use of abbreviations. Nevertheless, the abbreviations of words should neither be arbitrarily imitated, nor be simply carried out by way of analogy. Instead, the abbreviations with the widest social acceptance should be selected through investigation and evidence collection from multiple aspects. (Liao Yingying 2008,68)<br /> <br /> Newly generated words can be roughly divided into two types. The first is generated through metaphors, similes and metonymy. For instance, “虎妈(tiger mom) is defined as strict disciplinarian mothers who demand high achievement from their children and maintain control of their activities”, and“猫爸(cat dad)”refers to fathers who take a more softly approach to parenting, preferring to be emotionally sensitive, gentle and relaxed about rules and discipline, and they are in the belief that this kind of parenting will make their offspring self-sufficient and independent. (Ou Yangyin 2000,23)<br /> <br /> With new things springing up, people need words to describe them but there are no ready expressions at hand. The metaphorical use of some expressions will do the job as it will reflect the same essence of the objects through metaphor. The second type is created with the arrival of new phenomenon. For instance, “APEC蓝” is employed to describe the quality air and the exceptionally blue sky in Beijing during the APEC meeting in 2014. And “蒜你狠”is used to illustrate the price of garlic which soared more than 100 times in 2010, even outstripping meat and eggs. (Ou Yangyin 2000,24)<br /> <br /> A great number of new phenomena and new concepts spring up, however, it’s hard to describe them with the existing words. Under this circumstance, the vocabulary system needs to produce more new words to meet the requirements of social communication.(Liu Miqing 2005,45)<br /> <br /> The advancement of globalization, communication and cooperation in some fields among countries are deepening day by day, which inevitably bring changes in language, and that is so-called “Chinese localization”. Loan words are “transformed” into Chinese words in accordance with the rules of pronunciation, semantics, structure and grammatical system of Chinese. (Li Chunjiang, 2015,63)<br /> <br /> In the mid-1970s, Taiwanese used “show--秀” as morphemes to match with &quot;做&quot; and &quot;作&quot;. To the surprise of the editor, these newly created words were so well-received in the entertainment industry that a large number of words such as “歌舞秀、双人秀、真人秀、脱口秀”were produced. Nowadays, the neologism “秀儿” referring to those who like to show off their resources is widely accepted. Similarly, “博客、思客、播客、朋客、创客”appeared one by one. “客” was derived from “黑客(hacker)”, in other words, the word group of “X客” were generated. (Li Chunjiang, 2015,63)<br /> <br /> ====1.2 Characteristics of Chinese Neologisms====<br /> <br /> In order to have better quality of translation of Chinese neologisms, translators need to have a deep insight into its characteristics. Chinese neologisms are characterized by cultural uniqueness, simplicity, vividness and uncertainty. (Kang Shiyong 2003,152)<br /> <br /> Chinese neologisms come from a wide range of sources, but they all have roots in China. Some are based on Chinese culture. For instance, “山寨(mountain fastness)”originated from Water Margin, which used to refer to the place where the poor live. But when used online, the original meaning is transformed to plagiarism, imitation, parody and other popular cultural phenomena. Others are on the basis of customs. Take “红色炸弹(red bomb)” as an example. Since Chinese traditional wedding ornament is red, the word &quot;红色炸弹(red bomb)&quot; is used to describe the overwhelming wedding invitations. (Wang Weidong 2011,347)<br /> <br /> We are living in a fast-paced era. The speed of generation and transmission of information are accelerating. Under this situation, we crave for cost-effective communication. This status quo requires concise language. Chinese abbreviations exactly exemplify the simplicity. Abbreviations are condensed with rich information content, and effectively reinforce the expressiveness of Chinese vocabulary. Therefore, the number of abbreviations in vocabulary increases rapidly.(Wang Weidong 2011,349)<br /> <br /> The appearance of Chinese neologisms meets people's needs to describe an object or a phenomenon more vividly. Such as “人艰不拆” means that since life has been so hard, some things should not be exposed. And “酸菜鱼”is used for persons who are jealous, ugly, and redundant to make fun of themselves. “剁手党”refers to the addicted shopping crowd. They buy countless things, but often regret after calming down, even vow to chop off their hands if they don't act rationally next time. The vividness of Chinese neologisms adds humorous effects to the expression.(Wang Weidong 2011,350)<br /> <br /> With the crazy tempo of life, Chinese neologisms emerge in an endless stream. For one thing, with the increasing influence of network to people's life, online language is a shock to traditional language since many words are not compatible with Chinese language system. For another, neologisms fade away with the end of an event and are quickly replaced by neologisms with the times.(Wang Weidong 2011,351)<br /> <br /> ===Chapter 2 Cross-cultural Translation Theory and Its Significance===<br /> <br /> As Chinese neologisms are rooted in Chinese culture, translators are supposed to turn to cross-cultural translation theory when translating Chinese neologisms into English. Hence, having a deep insight into it and its significance helps improve the quality of translation.(Fu Rong 2015,80）<br /> <br /> ====2.1 Hornby’s Cross-cultural Translation Theory====<br /> <br /> Cross-cultural translation theory refers to translation across cultural divide and be less influenced by factors such as politics, religions, regions and ideologies. Cross-cultural translation theory was put forward by German translation theorist Mary Snell-Hornby. From her perspective, translation is a kind of cross-cultural communication. In this way, translators should not only have a bilingual ability, but also the cultural backgrounds of the source language and the target language. (Snell Hornby 1995,21)<br /> <br /> In reality, there are no two completely equivalent language systems. Each language has its own uniqueness in terms of word formation, sentence construction and expression, which is even more distinctive in translating into the target language with totally different economic, political, social and cultural backgrounds. Therefore, cross-cultural translation becomes a rigid demand. In the process of cross-cultural translation, translators are supposed to strike a balance between Chinese style and maximize the recipients’ understanding and acceptances’ of Chinese culture. (Snell Hornby 1995,24)<br /> <br /> Mary Snell-Hornby proposed that translators should skillfully switch the two languages in the process of translation as well as deeply dig into the culture backgrounds behind the two languages. In other words, translation is more bicultural transformation than bilingual transformation. (Snell Hornby 1995,30)<br /> <br /> In the process of translation, the cultural deposits have a direct bearing on the expression of words, its connotations and emotions. Hence, translators must take these factors into consideration in translation. Cross-cultural translation theory has the following requirements for translation, which can be divided into three aspects: first, to express the meaning of the source language. Second, to dig out the cultural connotation of the source language. Third, to convey the emotion of the source language. Only when translator meets the three requirements above can the quality of the translation be guaranteed.(Jing Huang 2019,433)<br /> <br /> ====2.2 Significance of Cross-cultural Translation Theory====<br /> <br /> The significance of Cross-cultural Theory to English Translation of Chinese Neologisms can be divided into the following three aspects. The British historian Dr. Toynbee once said, it is not surprising to say that the 21st century belongs to East Asia led by China for China’s control over East Asia is not merely political, but also cultural. Though East Asian countries such as Korea and Japan maintain their political independence, they are strongly influenced by Chinese culture.” Therefore, promoting English translation of Chinese neologisms is very important for enriching the world language system, improving China’s soft power and introducing Chinese culture into the world.(Snell Hornby 1995,47)<br /> <br /> =====2.2.1 Learning the Chinese Idiomatic Expression=====<br /> <br /> Translators can learn the rules of Chinese word-formation and characteristics of Chinese expression in the process of translating from the perspective of cross-cultural translation theory. There are great differences between Chinese and English word-formations. Take the three main forms of Chinese neologisms as example. Subject-predicate forms, such as “私聊” and“群聊”; Verb-object forms, such as: “煞风景”“抬杠”; Complementary forms, such as: “吓尿”and so on. (Kang Shiyong 2003,178)<br /> <br /> In English vocabulary system, most compound words are in the form of nouns, while Chinese has a variety of parts, such as verbs, nouns and adjectives. Translators can grasp the characteristics of Chinese word-formation through the translation and readers can understand the Chinese idiomatic expression. (Kang Shiyong 2003,179)<br /> <br /> =====2.2.2 Spreading Chinese Culture Contained in Chinese Neologisms=====<br /> <br /> Chinese neologisms are produced in China’s distinctive environment, containing culture with Chinese characteristics. They are epitomes of China's development in a certain period, carrying much social information. The world can learn about the development of China through Chinese neologisms. (Kang Shiyong 2003,181)<br /> <br /> It is an effective way to spread Chinese culture contained in Chinese neologisms through cross-cultural translation. For example, “打虎” and “拍蝇” have become buzzwords in China these years. In fact, both above two neologisms are political terms. The “tigers” refer to corrupt officials at higher level and “flies” at grassroots level. Accordingly, determination of Chinese government to take out “tigers” and swat “flies” can be seen through these coinage of new terms such as “打虎” and “拍蝇”. Therefore, cross-cultural translation helps spread Chinese culture contained in Chinese neologisms. (Kang Shiyong 2003,182)<br /> <br /> =====2.2.3 Conveying Emotion Expressed by Chinese Neologisms=====<br /> <br /> Emotional expressions are essential to translation of Chinese neologisms. Translation of Chinese neologisms from the perspective of cross-cultural translation theory helps to convey emotion expressed. (Kang Shiyong 2003,183)<br /> <br /> For example, it is not proper to translate“和事佬”into“peacemaker”. In Chinese, “和事佬”refers to persons who are unprincipled and blindly promote reconciliations, with derogatory meaning. While in English, “peacemaker” refers to those who create and safeguard peace, with commendatory emotions. Therefore, if the cross-cultural principles are violated in translation, there will be differences in the expression of emotions, which will hinder the expression of real emotions and lead to misunderstanding. (Kang Shiyong 2003,183)<br /> <br /> ===Chapter 3 Methods of Chinese Neologisms Translation===<br /> <br /> To improve the quality of Chinese neologisms translation, translators need to have a full knowledge of problems existing in the process of the translation of Chinese neologisms, and then avoid them by choosing appropriate ways of translating and following principles of cross-cultural translation theory. The late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. (Liu Miqing 2005,77)<br /> <br /> Nowadays, it is common to see rigid translation, which leads to failure to convey its true meaning. For example, if “我好方”is translated into “I’m so square”, it will confuse readers. In fact, this neologism refers to people in panic. As its word “方”pronounces similarly to the word “慌”，it is employed to make fun of those who can't distinguish between “f”sound and “h” sound. Similarly, “蓝瘦，香菇” can’t be translated into “blue monsters and shiitake mushrooms” for it refers to “I’m so sad that I’m going to cry”. Hence, rigid translation will result in misunderstanding. Not only should we make translations interesting, but also we need to ensure they are correct.(Li Chunjiang 2015,63)<br /> <br /> Many Chinese neologisms, after being translated into English, can express their meanings accurately, though fairly lengthy. For instance, if“无语”is translated into “have nothing to say”, it seems a little bit lengthy. We can translate it into“speechless”, instead. When translating Chinese neologisms, translators are supposed to use as few words as possible to accurately convey as much information as possible, making readers spend as little time as possible to understand them.(Li Chunjiang 2015,63)<br /> <br /> Till now, many neologisms lack Chinese uniqueness after being translated into English. For example, “杠精”will lose the uniqueness the word“精”carries if it is translated into“argumentative person”. In China, “精”commonly describe demons and ghosts, with derogatory meaning, such as those used in“白骨精”“蜘蛛精”and“蜈蚣精”. In this case, it is not proper to translate“精”into “person”. Therefore, we need to ensure Chinese culture be spread in the process of translation.(Li Chunjiang 2015,64)<br /> <br /> ====3.1 Transliteration====<br /> <br /> Transliteration is the translation of Chinese neologisms into English which sounds similarly to Chinese. Transliteration of Chinese neologisms into English can fully retain the pronunciation of Chinese and traditional Chinese culture. What’s more, it is more efficient. Zeng Lisa once proposed that translators should accurately convey more information with as few words as possible, so that the audience can obtain the clearest and smoothest information with as little time as possible. Transliteration gives priority to efficiency and can meet the requirements of the fast pace of modern society, improve the communicative efficiency of readers, and save space for readers' cognitive ability to play. (Fu Rong 2015,81)<br /> <br /> For example, &quot;大妈&quot; is transliterated into &quot;dama&quot; and entered the Oxford dictionary. In addition to this, there are a sea of transliterations of Chinese neologisms in modern English vocabulary, for example: &quot;风水&quot; (fengshui), &quot;八卦&quot; (bagua), &quot;太极&quot; (taichi), &quot;气功&quot; (qigong), and &quot;武术 &quot;(wushu), &quot;功夫&quot; (kungfu), &quot;胡同&quot; (hutong), &quot;麻将&quot; (mahjong), &quot;叩头&quot; (while), and so on. Transliteration makes Chinese neologisms widely spread and its culture behind. However, if translators stick to the literal interpretation or explanatory translation of some words, it may lead to cumbersome words and poor quality. (Fu Rong 2015,82)<br /> <br /> ====3.2 Literal Translation====<br /> <br /> Literal translation is one of the efficient way of translation. Literal translation enables us to directly find equivalent expressions in English in terms of form, style and connotation, which is the perfect embodiment of &quot;commonness&quot; between English and Chinese. Above all, literal translation helps promote Chinese culture. Language carries and transmits culture, as it is the heart of the cultural system. Culture influences and even shapes language, which is the foundation of language and the source of innovation. In the current context of cross-cultural communication, translation is not only a process of language conversion, but also a process of cultural transplantation. (Fu Rong 2015,82)<br /> <br /> The transmission between eastern and western cultures is practical in theology, but it is limited in reality. Chinese neologisms are the most active part of Chinese vocabulary, which reflect way of thinking, values, customs and lifestyles formed by the Chinese people in the new natural and social environment. Therefore, literal translation works for spreading Chinese culture. (Fu Rong 2015,83)<br /> <br /> In modern English, examples of literal translation of Chinese neologisms can be found everywhere, such as “一国两制--one country, two systems”, “二孩政策--two-child policy”, “希望工程--Hope Project” and “好久不见long time no see” and so on. Literal translation is straightforward, concise and efficient. Not only can it effectively reduce the boredom caused by the transformation from Chinese to English, enrich the expressiveness of English, but also maximize the retention of Chinese cultural. Therefore, it is necessary to interpret or add annotations in the context, otherwise it is difficult to convey its Chinese characteristics and cultural connotation. (Fu Rong 2015,83)<br /> <br /> ====3.3 Free Translation====<br /> <br /> Free translation is another way of translating, which emphasizes the relative independence of both Chinese and English. On the one hand, differences exist in different language systems including grammatical constructions and expressions. On the other hand, there are quite a few distinctions between different cultures including historical traditions, religious beliefs and even ways of thinking, ways of thinking. Therefore, sometimes free translation is required to avoid misunderstanding and disputes. Free translation refers to reproduce the matter without the manner, or, the content without form. Put another way, it explains the general idea of Chinese neologisms. (Fu Rong 2015,84)<br /> <br /> For example, “豆腐渣工程” refers to the construction project that collapsed or did not comply with relevant regulations due to cutting corners in the construction process. It is translated into English as “jerry-built project”. “白色污染”, the pollution of the environment by plastic waste that is difficult to degrade, is translated as “plastic pollution”. In a word, although the paraphrased neologisms need not strictly stick to Chinese, it can better reflect the meaning of Chinese. (Fu Rong 2015,84)<br /> <br /> ===Conclusion===<br /> <br /> The emergence of Chinese neologisms demonstrates a new face of China. Neologisms are new in content, form, and content, which are produced to express new concepts and phenomena. However, due to the obvious cultural differences between China and western countries, there are many obstacles in the course of translating Chinese neologisms into English. Neologisms are perhaps the number one problem for non-literary translators and professional translators. Under this circumstance, cross-cultural translation of Chinese neologisms becomes a prevailing trend. Cross-cultural translation refers to translating crossing cultural divide and being less influenced by factors such as politics, religions, regions and ideologies. (Ou Yangyin 2008,88)<br /> <br /> In a way, translating Chinese neologisms into English from the perspective of cross-cultural translation theory can help to promote understanding of Chinese. In another, it can effectively convey the emotions expressed by neologisms. Moreover, it can help to promote the spread of Chinese culture. (Ou Yangyin 2008,91)<br /> <br /> In spite of the continuous standardization and improvement of translation, there are still some problems in the process of translating Chinese neologisms into English, such as rigid translation, wordy translation and translation with cultural loss. English translation of Chinese neologisms may be a daunting problem, so we need translators with joint efforts, both stick to effective translation methods, flexible and innovative, and latest changes, in order to improve the overall quality of translation of Chinese neologisms, thus speak up aloud in the international community. In this paper, three main strategies are suggested, and they are transliteration, literal translation, and free translation. (Ou Yangyin 2008,143)<br /> <br /> To better translate Chinese neologisms from the perspective of cross-cultural translation theory, translators need to adopt compatible ways of translating with different types of Chinese neologisms and target readers. On the one hand, it is necessary to fully grasp Chinese neologisms, which requires translators to have more knowledge of Chinese cultural background and Chinese idiomatic expression. On the other hand, we should find the way of translating which is most accepted by readers. (Ou Yangyin 2008,155)<br /> <br /> Moreover, Chinese neologisms are constantly updated with the development of the society. If we do not keep pace with the times and know the latest meaning of Chinese neologisms, it may lead to misunderstanding. Therefore, translators should constantly supplement, update or revise the English translation of those Chinese neologisms without definite translation, which is an important guarantee to keep the English translation of Chinese neologisms accurate. Advancing with the times often requires translators to pay close attention to the post-translation effect. (Liu Miqing 2005,387)<br /> <br /> Plus, translators should also constantly draw on new English words. Chinese neologisms have strong timeliness, especially with the increase of Internet users, hence, at any one time emerge Chinese neologisms which are closely associated with the society. In short, in the process of translation, translators must pay attention to riding on the trend of the times so as to update the expression of the target language and readily accepted by readers. Update expressions means keeping up with the development of the times and use idiomatic English to illustrate new things, new words and new expressions. (Liu Miqing 2005,389)<br /> <br /> In other words, on the basis of grasping the exact meaning of Chinese neologisms, we should make it understood in English. Translators should not only improve their ability to understand Chinese, enhance their ability to translate Chinese into English, but also be keeping with the times so as to introduce more Chinese neologisms into English and continuously inject more Chinese elements into English. In this way, Chinese culture can be spread and the expression of English can be innovated.(Liu Miqing 2005,391)<br /> <br /> ===References===<br /> <br /> *Baker Mona. In Other Words: A Coursebook on Translation [M]. London/New York: Routledge, 1992.<br /> <br /> *Jing Huang. Study on the Influence of Cultural Construction and Cultural Deficiency on English Translation[A].He Nan: Proceedings of 2019 International Conference on Humanities,Cultures,Arts and Design, 2019.<br /> <br /> *Kata. An introduction for translators, interpreters and mediators. [D].Manchester: St Jerome, 2004.<br /> <br /> *Min Deng. Cultural Differences between Chinese and English Color Words and Their Translation[A].Hong Kong: Proceedings of 2019 International Linguistics, Education and Literature Conference, 2019.<br /> <br /> *Newmark Peter. A Textbook of Translation [M].Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> <br /> *Pym. Translation and text transfer. An essay on the principles of intercultural communication [A].Frankfurt: Peter Lang, 1992.<br /> <br /> *Snell Hornby, Mary. Translation studies: An Integrated Approach. Amsterdam: John Benjamins, 1995.<br /> <br /> *Fu Rong付蓉.(2015).从跨文化的角度探讨汉语新词新语的英译[A Study of English Translation of Chinese Neologisms from a Cross-cultural Perspective].语文建设Language Planning<br /> <br /> *Kang Shiyong亢世勇.(2003).《新词语大辞典》的编撰[The Compiling of Dictionary of Chinese Neologisms].辞书研究Lexicographical Studies<br /> <br /> *Li Chunjiang李春江.(2015).汉语网络新词的英译探究[A Study of Chinese Online Neologisms].宁波工程学院学报Journal of Ningbo University of Technology<br /> <br /> *Liao Yingying廖颖颖．(2008).论中国主流英语新闻报刊对中国特色词语的英译策略[Strategies of English Translation of Words with Chinese Characteristics Used by Chinese Mainstream English Newspapers].湖南师范大学学报Journal of Hunan Normal University<br /> <br /> *Liu Miqing刘宓庆.(2005).''新编当代翻译理论''[''A New Edition of Contemporary Translation Theory''].北京：中国对外翻译出版公司 Beijing:National Translation and Publishing Company of China<br /> <br /> *Ou Yangyin欧阳因.(2000).''朗文中国流行新词语''[''Langwen Chinese Neologisms''].北京：北京大学出版社 Beijing:Peking University Press<br /> <br /> *Wang Weidong王维东.(2011).网络热词汉译英探究[A Study of the English Translation of Chinese Online Neologisms]. 北京:''中国翻译'' Beijing: ''Chinese Translators Journal''<br /> <br /> *Zhang Jian &amp; Tang Jianduan张健,唐见端.(1996).略谈汉语新词新义的英译[A brief Discussion on the English Translation of Chinese Neologisms].北京:''中国翻译''''Chinese Translators Journal''<br /> <br /> --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:53, 20 December 2020 (UTC)<br /> <br /> ='''Translation of Dish Names'''=<br /> <br /> <br /> ==On the C-E Translation of Chinese Dish Names: From a Functional Equivalence Perspective——刘洋诺Liu Yangnuo 英美文学==<br /> &lt;center&gt;刘洋诺Liu Yangnuo, 202020080621.&lt;/center&gt;<br /> <br /> === Abstract ===<br /> <br /> With increasing global influence, the task of cultural communication is a formidable project. Translation as a medium plays an important role in cultural communication. ''A Bite of China'', a TV program to introduce Chinese dishes, has gained popularity at home and abroad, thus broadcasting Chinese dishes. But difficulties in translating Chinese dishes are evitable considering abundant culture-loaded expressions and complex cooking skills. The chapter discusses the theoretical and practical significance of researching Chinese dish names. We summarize some points of view from other scholars. Also, we analyze the difficulties in translating Chinese cuisines from a functional equivalence perspective. We will discuss three strategies for translating Chinese dish names combined with translation examples.(Zhangtingli 2015,1-2)<br /> <br /> === Keywords ===<br /> <br /> Chinese-English Translation; Chinese Dish Names; Functional Equivalence<br /> <br /> === 题目 ===<br /> 从功能对等理论浅析中式菜名的英译<br /> <br /> === 摘要 ===<br /> <br /> 中国国际影响力不断提高，文化交流的使命更加艰巨。翻译作为文化交流媒介，其重要性也不容忽视。中国饮食文化节目《舌尖上的中国》在海内外热播也进一步推动了中国特色饮食文化的传播，但是其丰富的文化内涵和多样的烹饪技巧也给译者带来不少困难。本文探讨研究中国菜名翻译的理论和实践意义，总结中国菜名翻译目前的研究成果。从功能对等理论出发，分析中国菜名翻译的困难，同时也结合翻译实例，提出三个中国菜名翻译的策略。<br /> <br /> === 关键词 ===<br /> <br /> 中译英；中国菜名；功能对等<br /> <br /> === Introduction ===<br /> <br /> As the old Chinese saying goes, food is the God of the people. In other words, we regard food as the primary need. Chinese cuisine has a firm connection between our daily life and Chinese culture. But when it comes to Chinese cuisine, there are many aspects left for us to consider, such as the etiquette of a dining table, dietary structure or habits, the art of dietary decorations, and cultural connotation. In the chapter, we will mainly focus on Chinese dish names. From a semantic linguistic point of view, there are two structures in a language. The surface structure is Chinese dish names themselves, but the deep structure is the meaning behind these dish names. (Chu Yiyi 2017, 3-7)<br /> <br /> It’s not surprising that we will discuss the relationship between some Chinese dish names and their cultural connotation in the latter part of this chapter. Chinese dish names are endowed with Chinese culture through culture-loaded expressions or idioms. When we dive into our research, it’s easy to find out that behind some dish names from historical stories and anecdotes are layer upon layer of meanings. Although the majority of us understand the importance of translating Chinese dish names, good translations remain in the dark. The reasons abound, ranging from a great variety of Chinese dishes and difficulty in fully understanding of cultural connotation behind Chinese dishes. (Chu Yiyi 2017, 3-7)<br /> <br /> The chapter takes functional equivalence coined by Eugene Nida as a theoretical basis. In the first part, we look back on previous studies on the C-E translation of Chinese dish names. In the second part, we try to discuss difficulties in translating Chinese dish names in terms of basic information and cultural backgrounds. In the third part, we review the functional equivalence theory. In the last part, we turn to discuss the possibility of applying the theory into translation practice on Chinese dish names to improve C-E translation of Chinese cuisine. We consolidate commonly used strategies into three combined with translation examples in reality. (Chu Yiyi 2017, 6)<br /> <br /> And then we summarize what we have discussed before and point out the limitations of this chapter. The purpose of our research is to have a better understanding of our own culture and transmitting Chinese culture to foreigners. Apart from the cultural aspect, cultural communication interconnects with economic and political aspects, which is one of the reasons why China attaching much importance to cross-cultural communication and transmission. (Chu Yiyi 2017, 6)<br /> <br /> === Previous Studies on the C-E Translation of Chinese Dish Names ===<br /> <br /> Some scholars have paved the way for further researches. Among these researches, almost all scholars share the same Chinese cultural background. Some of them describe strategies for C-E translation of Chinese dish names based on several translation theories. Others analyze the C-E translation of Chinese dish names at restaurants abroad. Zhang Tingli (Zhang Tingli 2015, 1-2) summarized six characteristics of Chinese dish names based on ''A Bite of China'', a popular TV program in China. Below are six characteristics: place names plus ingredients, personal names plus ingredients, main ingredients plus supplementary ingredients, cooking procedures, various flavors, and cultural elements.(Zhang Tingli 2015, 1-2) <br /> <br /> Li Weiwei (Li Weiwei 2017, 1-2) wrote a report on Chinese-English cuisine interpretation under the guidance of Skopos Theory, including the Skopos rule, the coherence rule, the fidelity rule, and the loyalty rule. Che Yimo (Che Yimo 2019, 1-2) summarizes three principles to analyze the menu translation quality of a Chinese restaurant based on cross-cultural communication theories. The three principles include semantic proximity, cultural communication, and aesthetics. Xue Jingnan (Xue Jingnan 2015, 1-2) involves an analysis of the translation of Chineseness by Chinese-Canadians in food discourse from a cultural perspective, which provides a glimpse into Chinese culinary identity. (Che Yimo 2019, 1-2)<br /> <br /> Similarly, Lee Yi Yan (Lee Yi Yan 2016, 1-2) mainly focus on cultural and sociological phenomenon behind Chinese food. His research is based on two types of popular Chinese food narratives: Ang Lee's Eat Drink Man Woman was published in 1994 with a televisual documentary series ''A Bite of China'' released in 2012. As the chapter published in International Communication of Chinese Culture (Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp; Radina Mohamad Deli 2018,1-2), four scholars collected from Malaysian Chinese weddings and the lunar new year celebration to investigate the concrete and abstract naming of Chinese dishes and to discuss the common cultural considerations underlying them. (Lee Yi Yan 2016, 1-2)<br /> <br /> They found that concrete naming deals with the tangible aspects of a dish by incorporating the method of preparation, taste/aroma, the appearance of the dish, as well as container used. Under the guidance of their chapters, we can explore more in this infinite sphere. We pay tribute to the great efforts they have paid. While researches on the C-E translation of Chinese dish names have spread into most sectors, researches from a functional equivalence theory are few because previous scholars mainly apply Skopos theory and cross-cultural theory into their researches. In the chapter, we will discuss the C-E translation of Chinese dish names coupled with functional equivalence theory. In the next part, we will turn to existing problems in the C-E translation of Chinese dish names. (Zhang Tingli 2015, 1-2)<br /> <br /> === Existing Difficulties on the C-E Translation of Chinese Dish Names ===<br /> <br /> (1) Difficulty in Transmitting Basic Information of Chinese Dish Names<br /> <br /> Different translation versions of a Chinese dish always make foreigners confused. For example, there are at least three versions of 炮弹鱼, including Shell fish, bullet mackerel and trigger fish. We often blur the lines between scientific name and general name in our translation. Also, sometimes we seem to ignore distinct difference between two things by using the same name to define them. For example, some translators use bamboo fungus and edible tree fungus to stand for竹笋 and 木耳 respectively, but in reality 竹笋is completely different from 木耳. There are some subtle differences among Chinese dishes. (Mo Chuanxia &amp; Yue Lin 2020,5)<br /> <br /> As Mo Chuanxia and Yue Lin (Mo Chuanxia &amp; Yue Lin 2020,5) mentioned in their chapter, 水米籺is cooked rice pounded into a paste with stuffing inside for worship or diet. 籺is a defining food for South China, especially in Guangdong provinces. It is different from cake or pastry in Western culture. The best way to translate it is to use explanatory words. Below are some C-E translations related to Chinese dishes: 黄馍馍(yellow steamed bun), 肉夹馍(the marinated meat in a baked bun), 榴莲酥(crispy durian cake) and蒿子粑粑(crown daisy rice cake). Everyone who has ever eaten these four kinds of food will have an inkling of knowledge about the different flavor and shape between 黄馍馍and肉夹馍. (Mo Chuanxia &amp; Yue Lin 2020,5)<br /> <br /> Likewise, the word “sausage” is insufficient to translate 血肠, 腊肠, and 香肠. For some well-known Chinese food such as tofu, it’s unnecessary to translate it into bean curd as in 油豆腐(fried bean curd puff). It seems to be a nonessential part of translating Chinese dish names because we often are encouraged to create our translation. But for long-term effects, chaos will lead to a negative impact on the economic benefits of those Chinese dishes and cross-cultural communication. (Mo Chuanxia &amp; Yue Lin 2020,5) <br /> <br /> Judging from a great variety of cooking techniques in many Chinese dish names, they bring a lot difficulties in the rendering of Chinese cuisine. In Chinese, there are a lot of verbs to describe how to cook. I list some common verbs below: 炒, 煮, 炖, 炸, 煎, 煲, 蒸, 烧, 焖 and 拌. But when it comes to C-E translation, we translators seem to ignore these verbs and use the same &quot;with&quot; structure to translate all of them as in 莴笋炒火腿(Stir-fried ham with asparagus lettuce), 莲藕炖排骨(Stewed ribs with lotus root) and 虾子焖茭白(Shrimp roe stewed with cane shoots). On top of these commonly used verbs, some verbs are really difficult to understand for native speakers who are unfamiliar with cooking, let alone for foreigners.(Chu Yiyi 2017,13) <br /> <br /> The four words list below is a case in point: 煸, 焙, 焗, and 烩. The reason behind this phenomenon lies in lacking language about cooking techniques. The word list in this paragraph is more about the duration and degree of heating while cooking Chinese cuisine. As a translator, we should not only know general translation skills that can be applied to a large number of texts but also should have the inkling of other fields. Without background knowledge on cooking procedures, they will be stumbling blocks for translators striving for concise and accurate renderings. (Chu Yiyi 2017,13)<br /> <br /> After discussing cooking techniques in Chinese dish names, we will turn to the different flavors of Chinese cuisine. When burying myself into oceans of Chinese dishes, I divide all sorts of flavors into two categories. In the first category, the word list includes 酸辣, 三鲜, 川味, 麻辣, 卤味, 家常, 酱香, 五香, 香辣, and 酥. In the second category, 孜然, 铁板, 鼓汁, 姜汁, 泡椒, 糖醋 and 蒜泥 will put in a group because these nouns mainly derived from ingredients and cooking utensils rather than the flavor itself. The main function of these words is not referential but beautifying. The flavor of delicious Chinese cuisine was represented by these beautifying words, thus triggering a mouth-watering effect. (Che Yimo 2019, 6)<br /> <br /> But it's hard for the target reader to get the same effect as the source reader through translation due to lacking equivalent words and expressions. Likewise, some Chinese words that refer to all sorts of food don't have equivalent ones in English such as 什锦, 八宝, and 拼盘. If we translate them into &quot;all sorts of food&quot;, the aesthetic effect weaken. Whereas translation loss and gain are inevitable, the underlying aesthetic effect plays an important role in the translation process. On top of this, cuisines with Chinese characteristics lead to translation problems. Below are some Chinese dish names: 红豆沙, 撞奶, 龟苓膏, 木瓜雪耳羹, and 蛋白果糖水. Lexical vacancy leads to losing the adding touch that brings a work of art to life. (Che Yimo 2019, 6) <br /> <br /> Many translators tend to use word-for-word rendering to translate these Chinese dish names such as 红豆沙(orange-flavored red bean paste). Since Chinese dish names not only contains basic information of main ingredients and cooking skills but also mirrors culinary identity and wisdom, translators are supposed to pay considerable attention to convey layers of meaning in Chinese dish names. (Che Yimo 2019，6）<br /> <br /> (2) Difficulty in Considering Different Cultural Backgrounds<br /> <br /> The difference between Western culture and Chinese culture leads to problems in culture-loaded Chinese dish names. Chinese dish names are endowed with good omen. 鸳鸯锅(double-flavor hot pot) is a case in point. In Chinese culture, 鸳鸯 is a symbol of beautiful love and perfect marriage. But the beautiful underlying meaning is lost in Western culture. Appropriate ways to deal with culture-loaded words or expressions become an issue in the C-E translation of Chinese dish names. Though double-flavor hot pot conveys the basic information of this dish, the signified meaning remains in the darkness. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> Likewise, attention-grabbing Chinese dish names combined with Chinese culture background lead to translation problems such as 刀板香(sliced salted pork) and 片儿川(noodles with preserved vegetable). 刀板香 is a traditional pickled food in Anhui province. Through its dish names, it's difficult to know the main ingredients of this dish. A story lies behind the dish: When a person called Hu Zongxian came by one of his teachers, the wife of his teacher treated him to a delicious dish made of pork slices. Hu Zongxian felt satisfied with the dish and named it &quot;刀板香&quot;. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> 片儿川 is the most well-known dish in 奎元馆(a famous restaurant in Hangzhou). In the Qing Dynasty, many examinees were rushing to join an ancient test for selecting officials in Hangzhou, Zhejiang. Examinees from all over the country gathered in Hangzhou. To attract them, the shopkeeper supplied noodles made of pour-sweet vegetables, bamboo shoots, and pork slices. Three eggs were added to breakfast noodles, which contained a good omen for examinees. Therefore, a large number of examinees often came to eat noodles because Kuiyuan’s noodles were so cheap. Later, one of the examinees was got number one in a round of tests. When he went to the store to thank the owner, he found that the restaurant didn't have a name. So he named it &quot;Kuiyuan Hall&quot;. Since then, 片儿川 in Kuiyuan Hall has become famous and tables in Kuiyuan Hall are in full bloom. All those who come to Hangzhou to take the exam will come here to eat noodles for good luck. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> 片儿川 has special meaning for the person who is going to test. Similarly, foreign foods invade our daily life with increasing cultural communication. The origin of 罗宋汤(Borscht) is in Ukraine. 罗宋 is the transliteration of Russian and is originated from the early Shanghai Pidgin English. Russian Borscht (Borshch) is another commonly used name. During the October Revolution, a large number of Russians moved to Shanghai. They brought vodka and Russian-style western cuisine. The first western-style cuisine restaurant in Shanghai was opened by the Russians. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> This soup evolved from the Russian-style red cabbage soup. The Russian-style red cabbage soup is spicy and sour but Shanghai people are not used to it. Later, influenced by local taste, it gradually formed unique Shanghai-style borscht. In Shanghai-style borscht, we take beets as the main ingredient with supplements such as potatoes and carrots, spinach and beef, cubes, and butter. From what we discussed before, we can conclude that Chinese dish names often pay considerable attention to good connotations. Abstract meaning is mainly derived from legends, idioms, historical events, and auspicious words. When we start to translate Chinese cuisine, cultural considerations are an indispensable part to consider. It should be noted that translators take the responsibility to fill the gap between Chinese culture and Western culture. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> Except for source cultural background, target cultural background is also of great importance. When it comes to cultural taboos, 龙(dragon) is the first symbol coming to our minds. Whereas 龙 are often embedded with good connotations in Chinese cultures such as good fortune and bright future, 龙 often stands for brutal animal or person as in the well-known epic Beowulf. Below are some Chinese dish names with 龙: 龙抄手 (Easter Bunny Wonton), 龙须面(fine noodles), and 乌龙吐珠 (Sea Cucumber with Quail Eggs). Some translators replace dragon with bunny due to different preferences between Chinese culture and Western culture. Others omit word-for-word translation, rather emphasizing the main ingredients of the dish.(Wu Tingting 2017, 4)<br /> <br /> Also, some Chinese dish names with internal organs such as intestines or blood may keep target readers at bay. For example, in 肠粉(Steamed vermicelli roll) and 脑花(brain or brain flower), the former highlights main ingredients rather than being confined to word-for-word translation, but the latter fails to arouse the target reader's appetite. Further explanation and translation skills are involved in these dish names. Other examples include 夫妻肺片(Sliced Beef and Ox Tongue in Chili Sauce) and 撒尿牛丸(juicy beef ball). Word-for-word translation can be confusing or even disgusting for people who are unfamiliar with Chinese dishes. (Wu Tingting 2017, 4)<br /> <br /> 夫妻肺片 is a well-known dish mainly made of ox tongue, tripe, and beef. Guo Chaohua (husband) and Zhang Tianzheng (wife) created the dish. Nowadays, it becomes part of Chuan cuisine. Contrary to the dish name, the lungs of different animals are not the main component of the dish because 肺片 is originated from 废片. 废片 is a humorous name for all sorts of sliced internal organs. Likewise, though juicy beef ball conveys the basic information of the dish, it loses its attraction and refreshing impression. Therefore, target readers will have a totally different feeling from source readers. The equivalence between SL and TL can be broken. In the next part, we will have a brief review of functional equivalence theory to discuss the application of the theory into the C-E translation of Chinese dish names. (Wu Tingting 2017, 4)<br /> <br /> === Functional Equivalence Theory ===<br /> <br /> Functional Equivalence put forward by Eugene. A. Nida, a renowned American linguist, and translation theorist. Functional equivalence theory focuses on the verbal comparison between the SL and TL. Nida attempts to offer a new way to produce an equivalent, taking the relationship of the receptor to the text into account. Functional equivalence theory developed from dynamic equivalence. He defined dynamic equivalence as &quot;the quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors.(Nida 1993, 127)<br /> <br /> Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida 1969, 200). In the later works, he thought that the adequacy of a translation depended on “the reliability of the text itself, the discourse type, the intended audience, how the translated text is to be used, and the purpose for which the translation has been made” (Nida 1993, 127). Under the influence of Eugene. A. Nida, other subsequent scholars also put forward their understanding of functional equivalence.(Nida 1993, 127)<br /> <br /> The translator recreates the text in the target language by keeping some source-text information or linguistic elements invariant and adapting the rest to the receivers’ background knowledge, expectations, and communicative needs or such factors as medium-restrictions and deixis requirements(Yue Siwei 2013, 61-68). The term the closest natural equivalent implies that the rendering must be readable (related to the language form) and understandable (related to the content) to the target receptors, since different languages have different features of grammar and lexicon.(Nida 1993, 127)<br /> <br /> Functional-equivalence requires the highest degree of proximity (Zhang Qing &amp; Wang Jiaqi 2010, 880-888). The translation is a reproduction process of the source text in the target language, observing the target culture. The target language features in terms of contents, sentence structure, and lexis should be considered as criteria to adapt the source text before translating. The source text elements that do not fit in target culture should be revised or even neglected in translating to transfer the flavor of the source text while not violating target culture. (Nida 1993, 127)<br /> <br /> In Nida's view, the success of the translation depends above all on achieving an equivalent response. It is one of the four basic requirements of a translation, which are 1. making sense; 2. conveying the spirit and manner of the original; 3. having a natural and easy form of expression; 4. producing a similar response. He pays great attention to equivalence and the reader's response. Nida's functional equivalence theory has gone through three stages of development ranging from formal equivalence and dynamic equivalence to functional equivalence. The core of Nida's theoretical framework is mainly functional equivalence.(Jeremy Munday 2016, 126）<br /> <br /> Functional equivalence is mainly to enable the translation and original text to be equivalent in language function, rather than language form correspondence. The reader of the target language should fully understand the customs, social consciousness, and habitual expression mentioned in the original context. This receptor-oriented approach considers adaptations of grammar, lexicon, and cultural references to be essential to achieve naturalness. The target language should not show interference from the source language and the foreignness of the source text setting is minimized.(Jeremy Munday 2016, 126)<br /> <br /> Except for equivalence, the reader's response plays an important role in functional equivalence theory. In contrast with traditional translation views towards the source text and the target text, functional equivalence translation pays considerable attention to the receptor‟s response and the naturalness of the target language rather than language forms as formal equivalence. Though later translation theorists criticize Nida's functional equivalence given the impossibility of achieving functional equivalence in the translation process, his functional equivalence has still paved the road away from traditional translation views by instilling fresh views into translation studies.(Jeremy Munday 2016, 126) <br /> <br /> Functional equivalence theory provides a glimpse into dealing with the relationship between target text and related cultural expectations. For real and practical translation, functional equivalence sets the standard for what good translation is. So in the next part, we will discuss the application of this theory in the C-E translation of Chinese dish names. (Jeremy Munday 2016, 126)<br /> <br /> === Application of Functional Equivalence Theory in the C-E translation of Chinese Cuisine ===<br /> <br /> 4.1Princples of C-E translation of Chinese Cuisine<br /> <br /> Principles on C-E translation abound given different original texts. When it comes to the C-E translation of Chinese Cuisine, two principles should be mentioned. What comes first is faithfulness. The translator is supposed to translate the basic information of Chinese cuisine. Sometimes, ingredients and cooking procedures should be included in the translation process. The main purpose of our translation is to inform target readers, especially foreigners who know nothing about Chinese. In Chinese, we often use the number three to represent three kinds of ingredients. (Qing Zhang &amp; Jiaqi Wang 2010, 880)<br /> <br /> Therefore, we translators should list three ingredients clearly in the translation process. For example, in 扣三丝, some translators render it into Chicken, mushroom, ham threads in consommé. Though this rendering is in great detail, target readers can catch the point quickly. But for other larger numbers such as five and eight, listing all ingredients will lead to clumsiness. 八宝菠菜(Spinach with Eight Delicacies) is a case in point. This is the living proof for precise and clear translation. Faithfulness is not equal to a word-for-word translation. Various translation skills should be involved in the translation process to arrive at the principle of faithfulness. But the principle of faithfulness is not enough for a good translation. (Qing Zhang &amp; Jiaqi Wang 2010, 880)<br /> <br /> It’s noted that a distinct cultural difference plays an important role in cultural communication. If a translator fails to deliver cultural connotation in Chinese cuisine, these cultural-loaded dish names lost their attraction towards foreigners. Even though native speakers can understand what Chinese cuisine refers to, the functional equivalence is out of balance. The purpose of our study is not only to provide a glimpse into informing foreigners when they barge into a Chinese restaurant but also to spread Chinese culture behind Chinese cuisine. For example, in 烩南北(Stewed Mushrooms with Winter Bamboo Shoots), target readers fail to get the meaning from original words.(Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> Literal translation doesn’t fit in this Chinese cuisine because ingredients and cooking procedures are difficult to understand unless we dig more information on the Internet. The origin of the dish name lies in two different ingredients. Bamboo shoots are most in the south of China and mushrooms are most in the north of China. The combination of bamboo and mushroom represents the combination of culture in two parts of China. The precious value of Stewed mushrooms with winter bamboo shoots also lies in the combination of two precious ingredients.(Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> The same goes for榆钱饭(Elm Seeds Meal). 榆钱 is originally an ingredient in Shangxi province. But the dish name also bodes well for a well-off or prosperous future. Chinese people attribute their wish of getting more money to the word 钱(money). It sounds vulgar but the true wish is to live a better life. When translating Chinese cuisine, translators should consider the different cultural backgrounds to spare no efforts to broadcast Chinese culture. On top of this, some dish names are complicated to render them. For example, 龙, an image with red and gold color, refers to good wishes for a prosperous future in China but it’s disgusting in Western culture. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> Therefore, when we translate龙抄手, the word 龙 should be replaced by other words. Some translators try to translate it into Easter Bunny Wonton. Also, the same goes for words referring to an internal organ. 肠粉is a case in point. A dish name with intestines will lead to vomiting before eating. What’s more, the main ingredient in肠粉has nothing about intestines. Steamed vermicelli roll is a better translation version. The scariest and well-known Chinese dish name I have heard is 夫妻肺片. But the power of ingenious translation can help foreigners understand this dish and avoid awkwardness ahead of them. While broadcasting Chinese culture, cultural taboos in the culture of target readers also need to be taken into our consideration. After we have put forward two principles for C-E translation of Chinese cuisine, the next part will discuss some strategies available for translators in the translation process. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> 4.2Strategies for C-E translation of Chinese Cuisine<br /> <br /> First and foremost, a large number of Chinese cuisines can apply literal translation in some way. The main cooking procedures, ingredients, and skills should be very clear in dish names. Lexical equivalence is the main purpose of a literal translation. Also, we can divide the application of literal translation into four parts. The first part is the combination of the main ingredient and other supplementary ingredients. For example, in 羊肚包肉, roasted mutton wrapped in lamb tripe can avoid ambiguity. The most special ingredient in the dish is roasted mutton, which delivers some flavors to target readers. We can also render “番茄牛腩” into tomato and beef brisket.(Chu Yiyi 2017, 9)<br /> <br /> The spicy beef briskets and sour tomatoes arouse different feelings in the heart of target readers. Sometimes, the flavor of a dish makes itself clear in the name of a dish. When we use the literal translation, the flavor of a dish such as剁椒 and 家常 cannot be ignored. For example, in剁椒鸭肠(Duck Intestines with Chili) and家常烧蹄筋(Home-Style Braised Beef Tendon), Chili and home-style not only inform foreigners of basic information of this dish but also arouse a sense of taste in their mouths. The third part of the application of literal translation is the combination of utensils and ingredients such as 砂锅面(Casserole Noodles). In Chinese, 砂锅 is a utensil for cooking. (Chu Yiyi 2017, 9)<br /> <br /> But with the increasing popularity of noodles cooking by casseroles, casserole noodles have become a Chinese dish. The last part of the application of literal translation lies in the combination of cooking methods, eating methods, and ingredients. 手抓饼(Shredded Cake) is a case in point. As opposed to forks in Western culture, the Chinese tend to use chopsticks. Therefore, Shredded Cake is a dish without using chopsticks or any other dinner sets. But the literal translation is not a silver bullet for all C-E translation of Chinese cuisine. Sometimes, a dish includes too many ingredients or cooking procedures. If we apply to literal translation in this case, we will sacrifice simplicity to maintain faithfulness.(Chu Yiyi 2017, 9)<br /> <br /> Also, some translators applied literal translation with annotation to render dish names. For instance, let’s take “长寿面”, a cuisine name from A Bite of China as an example. The translation provided in “longevity noodles”, followed by the annotation “the noodles are long and slim, and long is homophonic to ‘chang’ and slim to ‘shou’, ‘changshou’ means longevity”. In this case, not only can the foreigners know the basic meaning of the dish, but they can also understand its cultural meanings (Chu Yiyi 2017, 9). Another example is螺蛳粉. Some translate it into Snail Rice-flour Noodles, a local snack in Liuzhou. Snail Rice-flour Noodles is very faithful to the Chinese dish name. But the translator added some explanations to emphasize local characteristics. The origin of Snail Rice-flour Noodles is in Liuzhou, Yunnan province. In this case, the translator tried to spread local culture in a dish name. (Chu Yiyi 2017, 9)<br /> <br /> Secondly, dishes with local names can apply to transliteration such as兰州拉面 Lanzhou Beef Noodles), 金华火腿(Jinhua Ham) and重庆小面(Chongqing Small Noodles). Some local names have become a brand for selling. They emphasize the authentic flavor of these dishes to attract people from other places or countries. As for some culture-loaded dish names, we fail to find the equivalent words in English. That’s the reason why we resort to transliteration. It’s a translation method mainly dependent on Chinese pinyin such as Lanzhou, Jinhua, and Chongqing as we mentioned above.(Chu Yiyi 2017, 12)<br /> <br /> One of the perks of transliteration is to emphasize local characteristics and spread local cultures. But transliteration is not confined to this area. Some translators combine transliteration into literal translation. For instance, if we simply translate “东坡肉” literally into“Dongpo’s Pork” without any further explanations, the target readers will get confused if they first see the translation. Thus, the explanation “Dongpo, a famous poet in the Song Dynasty” needs to be added (Chu Yiyi, 2017). Some dish names are from foreign countries such as 生鱼片(Sashimi). Sashimi is the Japanese way of speaking. Transliteration with sounds of foreign languages can apply to these Chinese dish names. Some translators also translate腌制泡菜 into kimchi rather than pickles cabbages, thus emphasizing Korean flavor rather than Chinese flavor. But few dish names originated from foreign languages. (Chu Yiyi 2017, 12)<br /> <br /> Lastly, some Chinese cultural-loaded dish names fail to fit the framework of literal translation and transliteration. Translators should apply free translation into their translation process. There are four categories of free translation applied to C-E translation of Chinese cuisines: named according to the characteristics of ingredients metaphorically, named after historical allusions, named according to the production process metaphor, and named after the meaning of good. As for the first category, 蚂蚁上树is a good example. The word-for-word translation of蚂蚁上树 is ants on a tree but it does not deliver the essence of the dish.(Siwei Yue 2013, 65-68)<br /> <br /> The main ingredients of the dish are minced pork and fine vermicelli. The final dish is similar to ants on the tree, so the Chinese give it a metaphorical dish name. Sauteed Vermicelli with Minced Pork is a better version than the original translation. Some dish names are full of historical allusions such as霸王别姬. The deep-level meaning of the expression霸王别姬 is to reveal the tragic ending of a hero in history. But there is a coincidence for the combination of turtle and chicken in the dish 霸王别姬. Different from mandarin, Chinese people give the nickname “王八” for the turtle. 姬in 霸王别姬 sounds are similar to 鸡(chicken).(Siwei Yue 2013, 65-68)<br /> <br /> The word-for-word translation of 霸王别姬 is farewell my Concubine, but turtle stewed chicken is easier to understand for target readers. As for the third category——named according to the production process metaphor, 驴打滚 is a case in point. 驴打滚 is one of the traditional snacks in northeast China, especially in Beijing and Tianjin. It is a three-color snack with yellow, white, and red. The final process of making is to sprinkle on the soybean noodles, which look like wild donkeys rolling up of the loess in suburb, so we named it 驴打滚(Donkey Roll). But compared to the donkey doll, fried chop rice cake shows the main ingredients of the dish, thus lowering the hurdles for understanding.(Siwei Yue 2013, 65-68) <br /> <br /> As for the last category, 佛跳墙 is a case in point. The literal meaning of 佛跳墙 is that a Buddha jumps over the wall. But actually, 佛跳墙 is a dish cooking all things in one pot. It comes from a story: when we open the jar, the smell of a dish becomes popular in other places as well. That attracts many Buddhas who jump over the wall to have a see. Also, the dish bodes well for longevity and reunion. That’s why we also call it 福寿全, a word full of good omens. From the strategies discussed above, we can find that there is no fixed pattern for C-E translation of Chinese cuisines. We, translators, should bear these principles and strategies in mind and put them into practice in our translation process. The ultimate goal for our translation is to produce a simple but accurate translation to inform target readers, especially foreigners. (Siwei Yue 2013, 65-68)<br /> <br /> === Conclusion ===<br /> <br /> With the popularity of Chinese culture, there has been a resurgence of interest in C-E translation of Chinese cuisine. In this chapter, I discussed the previous studies on this topic with functional equivalence theory to emphasize the importance of our research and try to find a research gap among these chapters. After discussing the existing problems on C-E translation of Chinese cuisine, I summarized some principles and strategies that can apply to C- E translation of Chinese cuisine. But what I discussed in the chapter is only a panoramic view of Chinese dish names.(Yi-Yan Lee, 2016, 10)<br /> <br /> There are eight classifications of Chinese famous cuisines ranging from Lu Cuisine and Chuan Cuisine, Yue Cuisine and Min Cuisine, Su Cuisine and Zhe Cuisine, Xiang Cuisine and Hui Cuisine. Under these eight Chinese cuisines, there are distinct differences in dish names considering the region and ethnic group. As we know, one size can’t fit all. Aside from researches on Chinese dish names, the cultural elements behind idioms related to Chinese dishes deserve more attention. (Yi-Yan Lee, 2016, 10)<br /> <br /> === References ===<br /> <br /> *Caiqiao Huo, Xiaomei Du &amp; Weichen Gu.(2020). The Metaphor and Translation of the Dish Names in Chinese Food Culture. Open Journal of Modern Linguistics (5) 423-428.<br /> <br /> *Jiangnan Xue. (2015). A Chinese Bite of Translation: A Translational Approach to Chineseness and Culinary Identity. Ottawa: University of Ottawa.<br /> <br /> *Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp; Radina Mohamad Deli. (2018). Between concrete and abstract: the Malaysian Chinese way of naming dishes. International Communication of Chinese Culture (3) 247–259.<br /> <br /> *Munday J. (2016). ''Introducing Translation Studies: Theories and Applications''. New York: Routledge.<br /> <br /> *Nida, Eugene A. &amp; Charles R. Taber.(1969). ''The Theory and Practice of Translation''. Leiden: E. J. Brill.<br /> <br /> *Nida, Eugene. A.(1993). ''Language, Culture and Translating''. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nord, C. (2001). ''Translating as a Purposeful Activity: Functionalists Approaches Explained''. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Qing Zhang &amp; Jiaqi Wang. (2010). Application of Functional Equivalence Theory in English Translation of Chinese Idioms. Journal of Language Teaching and Research (6) 880-888.<br /> <br /> *Siwei Yue. (2016). Functionalism Theory Applied in C-E Translation of Chinese Food Culture Text. Theory and Practice in Language Studies (1) 61-68.<br /> <br /> *Yi-Yan Lee. (2016). Imaging Identity with Food: A Study of Cultural Translation in Ang Lee's Eat Drink Man Woman and Documentary ''A Bite of China''. Hong Kong: The University of Hong Kong.<br /> <br /> *车宜默[Che Yimer].(2019). 跨文化交际视角下的中餐菜单英译案例研究[A case study of English translation of Chinese menus from a cross-cultural communication perspective].北京：北京外国语大学[Beijing: Beijing Foreign Studies University].<br /> <br /> *李玮玮[Li Weiwei]. (2017). 目的论视角下的中国菜名汉英口译实践报告[A practical report on Chinese-English interpretation of Chinese cuisine names from the perspective of purpose theory].山东：山东大学[Shangdong: Shandong University].<br /> <br /> *莫传霞,岳玲[Mo Chuanxia, Yue Ling].(2020).“再创作”翻译思想下的北海民俗饮食文化英译[The English translation of Beihai folk food culture under the idea of &quot;re-creation&quot; translation]. 广西教育学院学报[Journal of Guangxi Education College] (05) 78-81.<br /> <br /> *屠易义[Tu Yiyi].(2017). 从文化角度谈中式菜名的英译方法[The English Translation of Chinese Cuisine Names from a Cultural Perspective].上海：上海外国语大学[Shanghai:Shanghai International Studies University].<br /> <br /> *邬婷婷[Wu Tingting].(2017). 目的论视角下中式菜肴简介英译的翻译报告[A Translation Report on the English Translation of Chinese Cuisine Introduction from the Perspective of Purpose Theory].宁波：宁波大学[Ningbo: Ningbo University].<br /> <br /> *吴慧琦[Wu Huiqi]. (2020). 中西方饮食文化差异与菜名翻译——评《中西方饮食文化差异及翻译研究》[Chinese and Western food culture differences and the translation of dish names--Review of &quot;Chinese and Western food culture differences and translation research&quot;]. 食品工业[Food Industry] (09) 364-365.<br /> <br /> *张婷丽[Zhang Tingli].(2015). 目的论指导下的《舌尖上的中国》菜名英译策略[The strategy of English translation of the dish names of &quot;China on the Tip of the Tongue&quot; guided by purpose theory].湖南：湖南师范大学[Hunan: Hunan Normal University].<br /> <br /> --[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 13:40, 20 December 2020 (UTC)<br /> <br /> ==The Untranslatability and Loss of Meaning in Chinese Dish Names Translation--Taking Hunan cuisine names an Example - 袁雨晨 Yuan Yuchen==<br /> &lt;center&gt; 袁雨晨 Yuan Yuchen 202020080665 法语语言文学 &lt;/center&gt;<br /> ===Abstract===<br /> Chinese food culture has attracted much attention both at home and abroad, and chinese cuisine is gradually going to global markets. Cultural differences make the translation of chinese dish names a challenge for translators. Taking Hunan cuisine an example, we try to explore the translation methods of chinese dish names from the untranslatability theory of Catford and loss of meaning theory of Newmark, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.<br /> <br /> Chinese food culture has attracted much attention both at home and abroad, and Chinese cuisine is gradually going to global markets. Cultural differences make the translation of Chinese dish names a challenge for translators. Taking Hunan cuisine an example, we try to explore the translation methods of Chinese dish names from the untranslatability theory of Cat ford and loss of meaning theory of Newmark, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.<br /> --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:11, 19 December 2020 (UTC)<br /> <br /> ===Key words===<br /> Untranslatability，loss of meaning，Hunan cuisine names<br /> <br /> ===题目===<br /> 中国菜名的不可译性和意义的缺失——以湘菜菜名为例<br /> <br /> ===摘要===<br /> 中国的饮食文化在国内外备受关注，中国菜也逐渐走向世界，文化差异使得中国菜名的译法给译者带来了挑战。试以湘菜为例，从卡特福德的不可译理论和纽马克的意义缺失理论来探究湘菜菜名的翻译方法，从而在翻译过程中规避问题，达成中国菜名的相对可译性。<br /> <br /> ===关键词===<br /> 不可译性；意义缺失；湘菜菜名<br /> <br /> ===Introduction===<br /> Translation, as an indispensable means of the communication among different cultures, contributes a lot to the development of human civilization. But to translate the source language into target language accurately and perfectly is hardly impossible for every translator. Debates about untranslatability are one of the most heated issues about translation. On the one hand, we should insist that translation is possible due to the similarity of human experience, linguistic and cultural universality; on the other hand, we have to admit the fact that there are some insurmountable obstacles and difficulties in translation practices owing to linguistic and cultural disparities.Among cultural differences, the cuisine culture plays a very important role.(Wang Lijun 2008, 10)<br /> <br /> Translation, as an indispensable means of the communication among different cultures, contributes a lot to the development of human civilization. But to translate the source language into target language accurately and perfectly is hardly impossible for every translator. Debates about untranslatability are one of the most heated issues about translation. On the one hand, we should insist that translation is possible due to the similarity of human experience, linguistic and cultural universality; on the other hand, we have to admit the fact that there are some insurmountable obstacles and difficulties in translation practices owing to linguistic and cultural disparities. Among cultural differences, the cuisine culture plays a very important role.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:24, 19 December 2020 (UTC)<br /> <br /> <br /> The most outstanding example is Chinese cuisine culture which is different from most western countries. It is not only famous for daintiness but also the attractive dish names.The major concern of this paper is &quot;The Untranslatability and Loss of Meaning in Chinese Dish Names&quot;. Chinese cuisine is regarded as a great wonder of collection of cooking skills in foreign people's eyes. Westerners are often attracted to the looks of Chinese dishes besides their delicious flavor and taste. While the sight of Chinese dishes brings pleasure, the names of dishes also catch much attention of westerners. (Wang Lijun 2008, 10)<br /> <br /> The most outstanding example is Chinese cuisine culture which is different from most western countries. It is not only famous for daintiness but also the attractive dish names. The major concern of this paper is &quot;The Untranslatability and Loss of Meaning in Chinese Dish Names&quot;. Chinese cuisine is regarded as a great wonder of collection of cooking skills in foreign people's eyes. Westerners are often attracted to the looks of Chinese dishes besides their delicious flavor and taste. While the sight of Chinese dishes brings pleasure, the names of dishes also catch much attention of westerners.(Wang Lijun 2008, 10)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:57, 19 December 2020 (UTC)<br /> <br /> When people from different countries enjoy Chinese dishes, they are often curious and eager to know the exact meaning of the dish name and its origin. Since the dish name is the first impression given to a diner when he or she decides to order a dish. So it is important to convey accurate information to the patron. Since Chinese cuisine culture has continued to be exported overseas, translation of dish names plays an important role and is faced with a high demand determined by the complex nature of Chinese cuisine culture.(Wang Lijun 2008, 10)<br /> <br /> Based on the Catford's theory of untranslatability and Newmark's theory of loss of meaning, taking Hunan cuisine an example, this paper explore the translation methods of chinese dish names, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.At first it illustrates the linguistic and cultural untranslatability. And it then emphasizes particularly on constitutions and fonctions of Hunan cuisine names. Finally, according to the classification of dish names, translation techniques are suggested and some of them are just the compensative measures to those untranslatable dish names. (Wang Lijun 2008, 10)<br /> <br /> Based on the Catford's theory of untranslatability and Newmark's theory of loss of meaning, taking Hunan cuisine an example, this paper explore the translation methods of Chinese dish names, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names. At first it illustrates the linguistic and cultural untranslatability. And it then emphasizes particularly on constitutions and functions of Hunan cuisine names. Finally, according to the classification of dish names, translation techniques are suggested and some of them are just the compensatory measures to those untranslatable dish names. (Wang Lijun 2008, 10)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:57, 19 December 2020 (UTC)<br /> <br /> ===Chapter 1 An Overview of Untranslatability, Loss of Meaning and Hunan Cuisine Names===<br /> <br /> ====1.1 Linguistic Untranslatability and Cultural Untranslatability Put Forward by J. C. Catford====<br /> Catford was the first translation theoretician who explored equivalence at different levels of language. He distinguished two kinds of untranslatability in A Linguistic Theory of Translation, that is, linguistic untranslatability and cultural untranslatability.(Catford 1965, 93)<br /> <br /> Catford thought that linguistic untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. (Catford 1965, 93)<br /> <br /> Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences, for instance, the names of some institutions, clothes, foods and dishes, abstract concepts, and the like.(Catford 1965, 93)<br /> <br /> According to Catford's view of untranslatability, the dichotomy mentioned above would not exist if it could be demonstrated that all instances of cultural untranslatability respond to &quot;the impossibility of finding an equivalent collocation in the target language&quot;. This impossibility is, in his opinion, a case of linguistic untranslatability.(Catford 1965, 93)<br /> <br /> According to Catford, &quot;Translation fails---or untranslatability occurs---when it is impossible to build functionally features of the situation into the contextual meaning of the TL text.&quot; (Catford 1965, 93)<br /> <br /> ====1.2 Loss of Meaning Put Forward by Peter Newmark====<br /> Peter Newmark analyzed the loss of meaning as follows:<br /> <br /> First, if the text describes a situation which has elements peculiar to the environment, institutions and culture of its language area, there is an inevitable loss of meaning, since the translator's language can only be approximate to the source language. Unless there is already a recognized translation equivalent, the translator has to choose from transcribing the foreign word, translating it, substituting a similar word in his own culture, naturalizing the word with a loan translation, sometimes adding or substituting a suffix from his own language, defining it or paraphrasing, which is sometimes added in parenthesis or as a footnote to a transliteration. (Tan Zaixi 2004, 215)<br /> <br /> Second, an inevitable source of loss is the fact that the two languages, both in their basic character and their social varieties, have many different lexical, grammatical and sound systems, and segment many physical objects and all intellectual concepts differently. (Tan Zaixi 2004, 215)<br /> <br /> Third, the individual uses of language of the writer and the translator do not coincide. Everybody has lexical if not grammatical idiosyncrasies, and attaches &quot;private&quot; meanings to a few words. The translator normally writes in a style that comes naturally to him, desirably with a certain elegance and sensitivity unless the text precludes it. Moreover, a good writer's use of language is often remote from some of the conventional canons of good writing, and it is the writer not the canons that the translator must respect. (Tan Zaixi 2004, 215)<br /> <br /> Last, the translator and the text-writer have different theories of meaning and different values. The translator's theory colors his interpretation of the text. He may get greater value than the text-writer on connotation and correspondingly less on denotation. He may look for symbolism where realism was intended; for several meanings where only one was intended; for different emphasis, based on his own philosophy or even his reading of the syntax. The resulting loss of meaning is inevitable and is unrelated to the obscurity or the deficiencies of the text and the incompetence of the translator, which are additional possible sources of this loss of meaning. Therefore, absolute equivalence can never be reached. A translator can't convey all the meanings of the original in his translation.(Tan Zaixi 2004, 215)<br /> <br /> ====1.3 Constitution and Functions of Hunan Cuisine Names====<br /> Hunan cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi areas. It is characterized by thick and pungent flavors. As a mirror of Chinese cuisine culture, dish names play an important role in transmitting Chinese cuisine culture to the whole world. Today, there are countless and various Chinese dish names, so it's so hard to translate them without a clear analysis of their constitutions and functions.<br /> <br /> Many of the Hunan cuisine are named after the ingredients, seasonings, cooking methods, flavour or colour, shape. Hunan cuisine can be cooked in a variety of ways,which can be divided into cooking methods for hot dishes,such as stir-fried, fried, roasted, grilled, boiled, stewed, steamed and son on; and cooking methods for cold dished, such as frozed, mixed, marinated, smoked and so on. The flavour is the sensation caused by a substance that stimulate the taste buds, flavour can be divided into two categories: one is the natural single flavour, also called the basic flavour; another is the compound flavour made of two or more single flavour.(Zhang Qiang 2017, 19) <br /> <br /> Many of the Hunan cuisine are named after the ingredients, seasonings, cooking methods, flavour or colour, shape and so on. Hunan cuisine can be cooked in a variety of ways， which can be divided into cooking methods for hot dishes,such as stir-fried, fried, roasted, grilled, boiled, stewed, steamed and so on; and cooking methods for cold dishes, such as frozed, mixed, marinated, smoked and so on. The flavour is the sensation caused by a substance that stimulate the taste buds, flavour can be divided into two categories: one is the natural single flavour, also called the basic flavour; another is the compound flavour made of two or more single flavour.(Zhang Qiang 2017, 19) --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)<br /> <br /> The single flavour of Hunan cuisine is mainly salty, sweet, sour, spicy, bitter, fresh and so on; the compound flavour is mainly hot and sour, sweet and sour, salty and spicy, spicy and hot and so on.Most dish names are made of a combination of flavours and the name of the main ingredient, such as “酸辣鸡杂”、 “麻辣肚丝”. Spicy is a highly used word in Hunan cuisine names.Not many dishes are named directly with words that indicate colour (red, yellow, white, green, etc.) and shape (round, flat, pointed, square, etc.),but more often the colour and shape express the substance.For example, “金钱蛋”is named after a substance that has a colour and shape. “金钱” is borrowed from the coins in Chinese history which are round, square-hole. “菊花鱿鱼”“菊花” isn’t real chrysanthemum, but the shape of the finished dishes.(Zhang Qiang 2017, 19)<br /> <br /> The single flavour of Hunan cuisine is mainly salty, sweet, sour, spicy, bitter, fresh and so on; the compound flavour is mainly hot and sour, sweet and sour, salty and spicy, spicy and hot and so on. Most dish names are made of a combination of flavour and the name of the main ingredient, such as “酸辣鸡杂”、 “麻辣肚丝”. Spicy is a highly used word in Hunan cuisine names. Not many dishes are named directly with words that indicate colour (red, yellow, white, green, etc.) and shape (round, flat, pointed, square, etc.), but more often the colour and shape express the substance. For example, “金钱蛋”is named after a substance that has a colour and shape. “金钱” is borrowed from the coins in Chinese history which are round, square-hole. “菊花鱿鱼”“菊花” isn’t real chrysanthemum, but the shape of the finished dishes.(Zhang Qiang 2017, 19)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)<br /> <br /> The utensils such as casseroles, stones pots, hanging pots, dry pots, flat pots, iron pots are used to serve the Hunan cuisine. So the names of kitchen utensils sometimes appear in Hunan cuisine names, the names of untensils and the main ingredients are combined to form the name of a dish, in order to show the characteristics of the dishes, such as “石锅玉兔”，“干锅鸡”，“砂锅熊掌”.(Zhang Qiang 2017, 19)<br /> <br /> And there are many dishes which are named by means of metaphor are connected with allusion，a person's name or a place name. The names of dishes containing the name &quot;组庵&quot; and the name of the main ingredient in dishes are related to Tan Yanyan. Tan Yanyan (1880-1930), a native of Chaling in Hunan, was the governor of Hunan province after the Revolution of 1911. Tan Yanyan was a famous gourmet and played a major role in the innovation and development of Hunan cuisine at the time. (Zhang Qiang 2017, 19)<br /> <br /> And there are many dishes which are named by means of metaphor are connected with allusion, a person's name or a place name. The names of dishes containing the name &quot;组庵&quot; and the name of the main ingredient in dishes are related to Tan Yanyan. Tan Yanyan (1880-1930), a native of Chaling in Hunan, was the governor of Hunan province after the Revolution of 1911. Tan Yanyan was a famous gourmet and played a major role in the innovation and development of Hunan cuisine at that time. (Zhang Qiang 2017, 19)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)<br /> <br /> Above all, the constitution of Hunan cuisine names are various and mainly have the above mentioned features. Almost all Hunan cuisine names are characterized by elegance and try to convey a kind of aesthetic sense to diners.<br /> <br /> A dish name usually keeps people informed of the main ingredients of the dish, and sometimes uses beautiful words to add aesthetic value and finally it will stimulate the diners' appetite. Particularly, Chinese dish names have a special function that is cultural function owing to transmitting cultures.<br /> <br /> Informative Function<br /> <br /> The informative function means that the communicative aim of language is to provide people with information. As the fundamental function of Chinese dish names, it supplies the basic information of a dish, such as the ingredients, seasonings, cooking methods and so on. Chinese cooking methods are famous for its variety and the ingredients. People can get these information through most of Chinese dish names. So when Chinese dish names are translated into English, this function should be kept completely. (Wang Lixia 2017, 19)<br /> <br /> <br /> Aesthetic Function<br /> <br /> If a dish were a work of art, the dish name would be a part of the art.Besides the informative function, there is an aesthetic value. Although not all Chinese dish names possess the aesthetic value, such as those self-descriptive ones, a lot of names formed by metaphors or other special means to bring the sense of beauty and satisfy the aesthetic need of people. The beautiful names such as“碧绿双脆”， “金银烩双丸”， “天麻炖双飞”， “蝴蝶飘海”, it’s difficult to identify the original ingredient, and the basic information of the dishes are deduce by metaphor,but which attract the diners to image, to get an enjoyment. The subtle integration of aesthetics and culinary science greatly enhance the aesthetic function of these dish names.(熊力游 2004, 84)<br /> <br /> If a dish were a work of art, the dish name would be a part of the art. Besides the informative function, there is an aesthetic value. Although not all Chinese dish names possess the aesthetic value, such as those self-descriptive ones, a lot of names formed by metaphors or other special means to bring the sense of beauty and satisfy the aesthetic need of people. The beautiful names such as“碧绿双脆”， “金银烩双丸”， “天麻炖双飞”， “蝴蝶飘海”, it’s difficult to identify the original ingredient, and the basic information of the dishes are deduce by metaphor, but which attract the diners to image, to get an enjoyment. The subtle integration of aesthetics and culinary science greatly enhance the aesthetic function of these dish names.(熊力游 2004, 84)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 19 December 2020 (UTC)<br /> <br /> Cultural Function<br /> <br /> Chinese dish names also function as a culture carrier. Numerous cultural words play a significant role to demonstrate the national specialties.“百鸟朝凤”, “全家福”, “龙女触珠” “桃园三结义”and many other culturally loaded terms are frequently used in dish names, which are unique to the Chinese culture. This is a best way to arouse foreigners' interests on Chinese culture.(熊力游 2004, 84)<br /> <br /> ===Chapter 2 Reasons for the Untranslatability and Loss of Meaning in Chinese Dish Names===<br /> <br /> ====2.1 Differences of Thinking====<br /> There is a fundamental difference between the traditional Chinese concept of &quot;unity of human and nature&quot; and the traditional Western concept of &quot;humanism&quot;, and the way of thinking and philosophies of each nationality differ. The food cultures of China and the West are therefore influenced by the obvious differences between them, and the same food cultures influence the naming of dishes in a certain way. Traditional Chinese philosophical thinking places emphasis on Qi and existence and non-existence, and in terms of cultural spirit and mode of thinking, this has led to the formation of a unity between human and nature, an emphasis on integral functions and a focus on ambiguity, which has led to the development of unique concepts in the science of food, namely the ecological concept of the correspondence between human and nature, the nutritional concept of food treatment and nourishment, and the concept of the harmonisation of the five tastes. (Cao Binbin 2016, 23)<br /> <br /> There is a fundamental difference between the traditional Chinese concept of &quot;unity of human and nature&quot; and the traditional Western concept of &quot;humanism&quot;, and the way of thinking and philosophies of each nationality differ. The food cultures of China and the West are therefore influenced by the obvious differences between them, and the same food cultures influence the naming of dishes in a certain way. Traditional Chinese philosophical thinking places emphasis on “Qi” and existence and non-existence, and in terms of cultural spirit and mode of thinking, this has led to the formation of a unity between human and nature, an emphasis on integral functions and a focus on ambiguity, which has led to the development of unique concepts in the science of food, namely the ecological concept of the correspondence between human and nature, the nutritional concept of food treatment and nourishment, and the concept of the harmonization of the five tastes. (Cao Binbin 2016, 23)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:33, 19 December 2020 (UTC)<br /> <br /> Westerners hold a rational and scientific concept of diet. They emphasise the nutritional value of the diet, the amount of protein, fat, calories and vitamins contained in the food, and pay particular attention to whether the nutrient content of the food is well matched, whether the calorie supply is optimal, and whether these nutrients can be fully absorbed by the eater. For example, Westerners generally do not eat animal offal or anything that they consider to be of no nutritional value, such as liver, chicken feet, duck heads, dog meat, etc., which are absolutely delicious in China and which Westerners may never have eaten in their lives. Some of the ingredients used in Chinese dishes are not offensive to diners in China, for example animals such as snakes and frogs. For good luck, Chinese names are often borrowed from inedible objects or animals that are taboo for Westerners, such as “红烧狮子头”. Such dishes are unacceptable to Westerners and can sometimes be offensive to them. (Cao Binbin 2016, 24)<br /> <br /> Westerners hold a rational and scientific concept of diet. They emphasize the nutritional value of the diet, the amount of protein, fat, calories and vitamins contained in the food, and pay particular attention to whether the nutrient content of the food is well matched, whether the calorie supply is optimal, and whether these nutrients can be fully absorbed by the eater. For example, Westerners generally do not eat animal offal or anything that they consider to be of no nutritional value, such as liver, chicken feet, duck heads, dog meat, etc., which are absolutely delicious in China and which Westerners may never have eaten in their lives. Some of the ingredients used in Chinese dishes are not offensive to diners in China, for example animals such as snakes and frogs. For good luck, Chinese names are often borrowed from inedible objects or animals that are taboo for Westerners, such as “红烧狮子头”. Such dishes are unacceptable to Westerners and can sometimes be offensive to them. (Cao Binbin 2016, 24)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:33, 19 December 2020 (UTC)<br /> <br /> ====2.2 Different Beliefs and Values====<br /> Belief and value constitute an important part in culture. Chinese and westerners are living in different social background, having their own history and religion. So, disparity in value and belief is inevitable, such as Buddhism in China. It has history of thousands years. Some vocabularies in Chinese are related with Buddhism, such as “立地成佛”，“谋事在人，成事在天”.These expressions all reflect the great influence of Buddhism on language. In western countries, people have been more influenced by Christianity. Phrases like &quot;man proposes God disposes&quot;; &quot;God help those who help themselves&quot; are typical examples. But if“谋事在人，成事在天”is translated to &quot;man proposes, God disposes&quot;, it disobeys Chinese belief which is the Buddhism rather than the Christianity.(Liu Chuang 2012, 120)<br /> <br /> Belief and value constitute an important part in culture. Chinese and westerners are living in different social background, having their own history and religion. So, disparity in value and belief is inevitable, such as Buddhism in China. It has history of thousands years. Some vocabularies in Chinese are related with Buddhism, such as “立地成佛”， “谋事在人，成事在天”. These expressions all reflect the great influence of Buddhism on language. In western countries, people have been more influenced by Christianity. Phrases like &quot;man proposes God disposes&quot;; &quot;God help those who help themselves&quot; are typical examples. But if“谋事在人，成事在天” is translated to &quot;man proposes, God disposes&quot;, it disobeys Chinese belief which is the Buddhism rather than the Christianity.(Liu Chuang 2012, 120)<br /> --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> The value of a certain culture is a set of behavioral standards for people to make choices and solve conflicts and it is usually displayed in people's philosophic and moral concept. The concept that is thought highly by one nation may be neglected by another nation. And this phenomenon becomes a great obstacle in the cross-cultural communication and translation. <br /> <br /> As far as animal vocabularies are concerned, the value of Chinese and westerners are quite different. Take &quot;dog&quot; for example, Chinese often use them to guard door. In their concepts, dogs have nothing to praise. So vocabularies with dogs often have derogatory connotations, such as“狗腿子”，“狐朋狗友”，“狼心狗肺”，“狗眼看人低”，“狗改不了吃屎”.Whereas, in western countries, owing to dogs' loyalty, courage and intelligence, people regard dogs as their favorite and loyal friends and give great honor to them, such as &quot;love me, love my dog&quot;, &quot;lucky dog&quot; and &quot;every dog has his day&quot;. So long as westerners know that dog meat is cooked into dishes in China, they will feel shocked and horrible. Hence although the dish name“狗肉汤”is translatable, we had better avoid translating it or we should not treat westerners to eat dog meat. If it is unavoidable, we should explain those dogs are raised for dinners.(Liu Chuang 2012, 120)<br /> <br /> As far as animal vocabularies are concerned, the value of Chinese and westerners are quite different. Take &quot;dog&quot; for example, Chinese often use them to guard door. In their conceptions, dogs have nothing to praise. So vocabularies with dogs often have derogatory connotations, such as“狗腿子”，“狐朋狗友”，“狼心狗肺”，“狗眼看人低”，“狗改不了吃屎”. Whereas, in western countries, owing to dogs' loyalty, courage and intelligence, people regard dogs as their favorite and loyal friends and give great honor to them, such as &quot;love me, love my dog&quot;, &quot;lucky dog&quot; and &quot;every dog has his day&quot;. So long as westerners know that dog meat is cooked into dishes in China, they will feel shocked and horrible. Hence although the dish name“狗肉汤”is translatable, we had better avoid translating it or we should not treat westerners to eat dog meat. If it is unavoidable, we should explain those dogs are raised for dinners.(Liu Chuang 2012, 120)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> When translating, it is important to take into account the cultural differences, accepting psychology and eating habits of foreigners, otherwise it will be difficult to achieve the intended function and purpose of the translation. After all, although the translator &quot;deals with individual words, he is dealing with two major cultures&quot;.(Liu Chuang 2012, 120)<br /> <br /> ====2.3 Different Customs and Living Environment====<br /> Custom refers to the way of living formed in the long-term development of human's history. It is embodied in various aspects of people's daily lives such as garment, etiquette, marriage, funeral, traditional dishes and so on, due to the different living habits and the customs of different people, which constitute a great obstacle in the cross-cultural communication and translation.(Wang Lijun 2017, 23)<br /> <br /> ====2.4 Lexical Non-equivalence Concerned with Cultural Difference====<br /> The lexical non-equivalence generally refers to the non-equivalence of lexical meanings. As we all know, the meaning of a word, which is involved in many aspects, such as the denotative meaning, the associative meaning and so on, is not a simple concept. Therefore, there are several kinds of untranslatable phenomena concerned with the lexical non-equivalence.(Wang Lijun 2017, 24)<br /> <br /> ====2.5 Absence of Terms====<br /> Absence of terms is a frequent phenomenon leading to untranslatability. It refers to the case that in translation we fail to find counterpart in target language. In Chinese, there are many terms as “风水”, “阴阳”, “属相”and so on. These words are derived from unique Chinese culture, which are almost impossible to translate to English, since there are no such things in western countries.(Wang Lijun 2017, 24)<br /> <br /> ====2.6 Discrepancy of Semantic Association====<br /> Terms and expressions, as embodiment of culture, have rich meanings and profound connotations. Therefore discrepancies of terms lead to translation barriers inevitably. For example, dragon in English and “龙“ in Chinese represents different connotation though it is the same imaginary image. Owing to this difference, terms concerning dragon in these two languages differ greatly. To Chinese, “龙“ is something sacred and has been referred to as the ancestor of the Chinese nation-that's why Chinese people call themselves“龙的传人 (descendants of the dragon)“. “龙” is used frequently in Chinese daily life in order to convey a propitious meaning, such as in dish names“龙凤呈祥”，“二龙戏珠”and “青龙过海”.To westerners, however, the dragon is a symbol of evil. Many heroes in stories struggled against dragons which were slain in most cases.(Wang Lijun 2017, 25)<br /> <br /> Terms and expressions, as embodiment of culture, have a wide variety of meanings and profound connotations. Therefore discrepancies of terms lead to translation barriers inevitably. For example, dragon in English and “龙” in Chinese represents different connotation though it is the same imaginary image. Owing to this difference, terms concerning dragon in these two languages differ greatly. To Chinese, “龙” is something sacred and has been referred to as the ancestor of the Chinese nation—that's why Chinese people call themselves “龙的传人 (descendants of the dragon)”. “龙” is used frequently in Chinese daily life in order to convey a propitious meaning, such as in dish names“龙凤呈祥”， “二龙戏珠”and “青龙过海”. To westerners, however, the dragon is a symbol of evil. Many heroes in stories struggled against dragons which were slain in most cases.(Wang Lijun 2017, 25)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> Take “喜鹊(pied magpie)” for another instance. In Chinese culture, this bird is always regarded as a messenger of good news, for the first character of its Chinese name(喜)means &quot;happiness&quot;. So the chattering of a pied magpie had the connotative meaning of &quot;good news is coming&quot;. But in English culture, people pay more attention to the appearance of this black-and-white bird and the noises it makes. Then the connotative meaning of it in English is &quot;a chatterbox&quot;. (Wang Lijun 2017, 28)<br /> <br /> Take “喜鹊 (pied magpie)” for another instance. In Chinese culture, this bird is always regarded as a messenger of good news, for the first character of its Chinese name “喜” means &quot;happiness&quot;. So the chattering of a pied magpie had the connotative meaning of &quot;good news is coming&quot;. But in English culture, people pay more attention to the appearance of this black-and-white bird and the noises it makes. Then the connotative meaning of it in English is &quot;a chatterbox&quot;.(Wang Lijun 2017, 28)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ===Chapter 3 Strategies of Untranslatability and Loss of Meaning of Hunan Cuisine Names===<br /> The purpose of translation is to communicate, therefore transfering the information is very important in translation. Regardless of the method of translation, it is important to convey as much information as possible about the main ingredients, cooking methods, etc., so that foreigners can understand them and communicate with each other. Clearly conveying information about the dishes means that the English translation of Hunan cuisine names can help people from other countries understand the basic information about the dishes, the unique cooking techniques and regional characteristics of Hunan cuisine, and appreciate the colourful culinary culture of Hunan. (Wang Caiying 2009, 108)<br /> <br /> The purpose of translation is to communicate, therefore transferring the information is very important in translation. Regardless of the method of translation, it is important to convey as much information as possible about the main ingredients, cooking methods, etc. So that foreigners can understand them and communicate with each other. Clearly conveying information about the dishes means that the English translation of Hunan cuisine names can help people from other countries understand the basic information about the dishes, the unique cooking techniques and regional characteristics of Hunan cuisine, and appreciate the colourful culinary culture of Hunan.(Wang Caiying 2009, 108)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> Some contain profound historical allusions or folk legends, while others have changed their names based on raw materials, shapes and cooking methods. This makes English translation difficult and makes it difficult to fully reflect the linguistic and cultural features of the Chinese language. In this case, the English translation of Hunan cuisine names should be purpose-oriented, so that foreign friends can understand as much as possible about the basic information of Hunan cuisine. The name of the dish should first of all ensure that the customer knows the ingredients，the supplementary ingredients, the cooking method and the flavour of the dish, so the most important thing when translating the name of a dish, whether it is realistic or associative, is that it should firstly convey its denotative meaning. (Wang Caiying 2009, 108)<br /> <br /> In some cases, it is also possible to make major changes to the presentation of the translation, avoiding or diluting words in the dish that have strong symbolic meaning but are incompatible with Western culture, and keeping the basic content of the dish as far as possible in order to achieve the basic purpose and function of conveying the message of the dish.The names of some dishes are quoted from poems and idioms, and the English translation method of &quot;literal+interpretative translation&quot; can be used to express the specific meaning of the ingredients while retaining their distinctive national characteristics. Some of the common cooking methods used in Hunan cuisine, such as &quot;stir-frying, roasting, boiling, stewing, deep-frying, steaming&quot;, etc., make the translation more effective.(Wang Caiying 2009, 108)<br /> <br /> In some cases, it is also possible to make major changes to the presentation of the translation, avoiding or diluting words in the dish that have strong symbolic meaning but are incompatible with Western culture, and keeping the basic content of the dish as far as possible in order to achieve the basic purpose and function of conveying the message of the dish. The names of some dishes are quoted from poems and idioms, and the English translation method of &quot;literal+interpretative translation&quot; can be used to express the specific meaning of the ingredients while retaining their distinctive national characteristics. Some of the common cooking methods used in Hunan cuisine, such as &quot;stir-frying, roasting, boiling, stewing, deep-frying, steaming&quot;, make the translation more effective.(Wang Caiying 2009, 108)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.1 English Translations of Hunan Cuisine Names Based on Cooking Methods and Main Ingredient====<br /> The name of such a dish includes both the cooking method and the main ingredient, with the cooking method preceding and the main ingredient following. The English translation uses “cooking method (past participle of the verb)+main ingredient”, such as“炒生菜&quot;, where &quot;炒&quot; is the practice. &quot;生菜&quot; is the main ingredient, which translates as Sauteed Lettuce &quot; and “花生炖猪蹄&quot;，where“炖&quot; is the cooking method, peanuts and pig's feet are the main ingredients, the name of the dish can be translated as“cooking method+main ingredient+and+main ingredient”,that‘s “Stewed Pig's Trotters and Peanuts&quot;.(Zhang Qiang 2017, 23)<br /> <br /> The name of such a dish includes both the cooking method and the main ingredient, with the cooking method preceding and the main ingredient following. The English translation uses “cooking method (past participle of the verb)+main ingredient”, such as“炒生菜&quot;, where &quot;炒&quot; is the practice. &quot;生菜&quot; is the main ingredient, which translates as Sauteed Lettuce &quot; and “花生炖猪蹄&quot;，where“炖&quot; is the cooking method, peanuts and pig's feet are the main ingredients, the name of the dish can be translated as “cooking method+main ingredient+and+main ingredient”, which calls “ Stewed Pig's Trotters and Peanuts&quot;.(Zhang Qiang 2017, 23)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.2 English Translation of Hunan Cuisine Names Based on &quot;Ingredient and Main Ingredient&quot; or &quot;Main ingredient and Soup&quot;====<br /> The names of such Hunan dishes mainly consist of main ingredients and ingredients, which form Hunan cuisine names as &quot;ingredient+main ingredient&quot;, which can be translated in English as &quot;main ingredient+with/in+ingredients&quot;. Connected by with or in. e.g.&quot;冬笋腊肉&quot; and &quot;蟹黄海参&quot; can be translated respectively as “Preserved Pork (Smoked Pork) with Winter Bamhoo Shoot” and “Sea Cucumber with Crab Roe”. If the ingredient is soup, use the expression &quot;soup+main ingredient&quot;, which is translated as &quot;main ingredient+in/with+ Soup/Sauce&quot;. Yhe choice of in or with is determined by the actual &quot;sauce&quot;. Use &quot;in&quot; if the main ingredient is immersed in the sauce, and if the sauce is separate from the main ingredient, or if it is poured over the main dish, we should use “with” e.g. &quot;蜜汁白莲&quot; is translated as &quot;Lotus-seed in Honey Sauce&quot;and &quot;茄汁鱼片&quot; is translated as &quot;Sliced Fish with Tomato Sauce &quot;.(Zhang Qiang 2017, 24)<br /> <br /> The names of such Hunan dishes mainly consist of main ingredients and ingredients, which form Hunan cuisine names as &quot;ingredient+main ingredient&quot;, which can be translated in English as &quot;main ingredient+with/in+ingredients&quot;. Connected by “with or in”, for example, &quot;冬笋腊肉&quot; and &quot;蟹黄海参&quot; can be translated respectively as “Preserved Pork (Smoked Pork) with Winter Bamhoo Shoot” and “Sea Cucumber with Crab Roe”. If the ingredient is soup, use the expression &quot;soup+main ingredient&quot;, which is translated as &quot;main ingredient+in/with+ Soup/Sauce&quot;. The choice of in or with is determined by the actual &quot;sauce&quot;. Use &quot;in&quot; if the main ingredient is immersed in the sauce, and if the sauce is separate from the main ingredient, or if it is poured over the main dish, we should use “with”, for example, &quot;蜜汁白莲&quot; is translated as &quot;Lotus-seed in Honey Sauce&quot;and &quot;茄汁鱼片&quot; is translated as &quot;Sliced Fish with Tomato Sauce &quot;.(Zhang Qiang 2017, 24)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.3 English Translation of Hunan Cuisine Names According to the Flavour and the Main Ingredients====<br /> When the name of a dish is &quot;flavour+main ingredient&quot;, the English translation puts the flavour in the front and the main ingredient at the back, highlighting the taste of the dish, e.g. in &quot;麻辣牛肉&quot;, &quot;麻辣&quot; is the taste. &quot;牛肉&quot; is the main ingredient, which translates as &quot;Spicy and Hot Beef&quot;and &quot;酸辣&quot; in &quot;酸辣鸡杂&quot; is the flavour, &quot;鸡杂&quot; is the main ingredient and it can be translated as &quot;Hot and Sour Chicken Giblets&quot;.(Zhang Qiang 2017, 26)<br /> <br /> When the name of a dish is &quot;flavour+main ingredient&quot;, the English translation puts the flavour in the front and the main ingredient at the back, highlighting the taste of the dish, for example, in &quot;麻辣牛肉&quot;, &quot;麻辣&quot; is the taste. &quot;牛肉&quot; is the main ingredient, which translates as &quot;Spicy and Hot Beef&quot;and &quot;酸辣&quot; in &quot;酸辣鸡杂&quot; is the flavour, &quot;鸡杂&quot; is the main ingredient and it can be translated as &quot;Hot and Sour Chicken Giblets&quot;.(Zhang Qiang 2017, 26)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.4 English Translation of Hunan Cuisine Names Based on Seasonings and Main Ingredients====<br /> The English translation of Hunan cuisine name in the form of &quot;seasoning+main ingredient&quot; can use the structure of &quot;main ingredient+with+seasoning&quot;, such as &quot;芥末鸡条&quot; can be translated as “Chicken Strips with Mustard”, a literal translation can also be used in the original structure, such as “孜然牛肉” can be translated as &quot;Cumin Beef&quot;.(Wang Lijun 2017, 23)<br /> <br /> ====3.5 English Translation of Hunan Cuisine Names Based on Seasonings, Cooking Methods and Main Ingredients====<br /> Chinese Hunan cuisine names has the structure of &quot;seasoning+cooking method+main ingredient&quot;, which can be translated in English as &quot;cooking method (past participle of the verb)+main ingredient+ with+seasoning&quot;, e.g. &quot;豆瓣酱烧肥鱼&quot; can be translated as &quot;Braised Fish with Thick Broad-bean Sauce&quot; and &quot;豆豉蒸排骨&quot; as &quot;Steamed Pork Chops with Lobster Sauce&quot;.(Zhang Qiang 2017, 26)<br /> <br /> Chinese Hunan cuisine names has the structure of &quot;seasoning+cooking method+main ingredient&quot;, which can be translated in English as &quot;cooking method (past participle of the verb)+main ingredient+ with+seasoning&quot;, for example, &quot;豆瓣酱烧肥鱼&quot; can be translated as &quot;Braised Fish with Thick Broad-bean Sauce&quot; and &quot;豆豉蒸排骨&quot; as &quot;Steamed Pork Chops with Lobster Sauce&quot;.(Zhang Qiang 2017, 26)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.6 English Translation of Hunan Cuisine Names According to the Colour and Shape of the Finished Dish====<br /> The names of such dishes are generally translated using the literal and free translation method. For example, &quot;芙蓉鸡片&quot; can be translated as &quot;Fried Sliced Chicken with Egg White&quot; and &quot;菊花鱿鱼&quot;as &quot;Fried Chrysanthemum-shaped Squid&quot;.(Wang Lijun 2017, 23)<br /> <br /> ====3.7 English Translation of Hunan Cuisine Names According to the Flavour and the Shape of the Raw Material after it has been cut====<br /> The English translation of Hunan cuisine names can be in the form of &quot;flavour+shape+main ingredient&quot;, e.g. &quot;麻辣&quot; in &quot;麻辣羊肚丝&quot; denotes the flavour. &quot;羊肚&quot; is the main ingredient, and the goat tripe is shredded, which can be translated as &quot;Spicy and Hot shredded Goat Tripe&quot;. (Zhang Qiang 2017, 29)<br /> <br /> The English translation of Hunan cuisine names can be in the form of &quot;flavour+shape+main ingredient&quot;, for example, &quot;麻辣&quot; in &quot;麻辣羊肚丝&quot; denotes the flavour. &quot;羊肚&quot; is the main ingredient, and the goat tripe is shredded, which can be translated as &quot;Spicy and Hot shredded Goat Tripe&quot;. (Zhang Qiang 2017, 29)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.8 English Translation of Hunan Cuisine Name According to the Cooking Method and the Main Ingredient and its modified Shape====<br /> Chinese Hunan cuisine names &quot;--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)cooking method+main ingredient+shape&quot; can be translated as &quot;cooking method (past participle of the verb)+shape+main ingredient&quot;, such as &quot;干煸牛肉丝&quot;. &quot;干煸&quot; is the cooking method, &quot;牛肉&quot; is the main ingredient and &quot;丝&quot; is the shape of the modified ingredient, it can be translated as &quot;Dry-fried Shredded Beef&quot;.(Zhang Qiang 2017, 29)<br /> <br /> ====3.9 English Translations of Hunan Cuisine Names from &quot;Name of Person or Place + Main Ingredient&quot; to &quot;Name of Person or Place+Cooking Method + Main Ingredient&quot;====<br /> In addition to the above principles, the names of such dishes should also be transliterated from the names of people and places, which is good for promoting the Chinese language and culture. The translation of Hunan cuisine names as &quot;person's name+main ingredient&quot; can be made directly. For example, in &quot;组庵豆腐&quot;, &quot;组庵&quot; is the name of a person and &quot;豆腐&quot; is the main ingredient, which is transliterated as &quot;Zu'an Tofuo&quot;.(Zhang Qiang 2017, 26)<br /> <br /> The name of the dish &quot;place name+main ingredient&quot; can be translated as &quot;main ingredient+，+place name+Style&quot; with the main ingredient separated from the place name by a comma. For example, &quot;湖南&quot; in &quot;湖南腊肉&quot; is the name of the place, and &quot;腊肉&quot; is the main ingredient, which is translated as &quot; Preserved Pork (Smoked Pork), Hunan Style&quot;, the name of a Hunan dish in the form of &quot;place name+main ingredient&quot; can also be translated into the form of &quot;place name+main ingredient&quot;, e.g. &quot;东安鸡&quot; can be translated as &quot;Dong' an Chicken&quot;.(Zhang Qiang 2017, 26)<br /> <br /> The name of the dish &quot;place name+main ingredient&quot; can be translated as &quot;main ingredient+place name+Style&quot; with the main ingredient separated from the place name by a comma. For example, &quot;湖南&quot; in &quot;湖南腊肉&quot; is the name of the place, and &quot;腊肉&quot; is the main ingredient, which is translated as &quot; Preserved Pork (Smoked Pork), Hunan Style&quot;, the name of a Hunan dish in the form of &quot;place name+main ingredient&quot; can also be translated into the form of &quot;place name+main ingredient&quot;, for example, &quot;东安鸡&quot; can be translated as &quot;Dong' an Chicken&quot;.(Zhang Qiang 2017, 26)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> The name of a dish can be translated in the form of &quot;cooking method+main ingredient+，+person (place name)+style&quot;, e.g. &quot;毛氏红烧肉&quot;, which can be translated as &quot;Braised Pork, Mao's Family Style. &quot;(Zhang Qiang 2017, 30)<br /> <br /> ====3.10 An English Translation of Hunan Cuisine Names as &quot;Utensil + Main Ingredient&quot;====<br /> Containers such as iron plates, dry pans, casseroles, etc. are also used in combination with the main ingredient to name the chinese Hunan cuisine names, which can be translated as “utensils+main ingredient”，e.g. “干锅茶树菇” is translated as Dry Pot (Griddle Cooked) Tea Tree Mushrooms, it can also be translated as“main ingredient+in/on+main ingredient”, e.g. “铁板牛肉”can be translated as Beef Steak Served on Sizzling Iron Plate.(Zhang Qiang 2017, 30) <br /> <br /> Containers such as iron plates, dry pans, casseroles, etc. are also used in combination with the main ingredient to name the Chinese Hunan cuisine names, which can be translated as “utensils+main ingredient”，e.g. “干锅茶树菇” is translated as Dry Pot (Griddle Cooked) Tea Tree Mushrooms, it can also be translated as“main ingredient+in/on+main ingredient”, for example, “铁板牛肉”can be translated as “Beef Steak Served on Sizzling Iron Plate”.(Zhang Qiang 2017, 30)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ====3.11 The English Translation of Hunan Cuisine Names that Do Not Reflect Information on Cooking Methods, Main Ingredients, Tastes, etc.====<br /> Some Hunan cuisine names do not reflect basic information such as cooking method, main ingredients, taste, etc. These names usually combine the colour, aroma, cooking method and stylistic features of the dish to give it a pleasant name. For example, “全家福” could be translated as Quan Jia Fu (A tonic recipe of chicken breast fried with sea cucumber peeled shrimp and squid, carrying the implied meaning of a happy family reunion) (Zhang Qiang 2017, 31)<br /> <br /> Some Hunan cuisine names do not reflect basic information such as cooking method, main ingredients, taste, etc. These names usually combine the colour, aroma, cooking method and stylistic features of the dish to give it a pleasant name. For example, “全家福” could be translated as “Quan Jia Fu” (A tonic recipe of chicken breast fried with sea cucumber peeled shrimp and squid, carrying the implied meaning of a happy family reunion.)(Zhang Qiang 2017, 31)--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ===Conclusion===<br /> Chinese dish names are rich in connotation, vividly reflecting China's cuisine culture. Their English translations are an effective means to inform foreigners of Chinese culture. Therefore, it is of great importance to make a study on translations of these dish names. The current studies in this field have given an analysis to Chinese dish names' features, functions as well as the principles for their translation. (Wang Lijun 2017, 23)<br /> <br /> This paper has made a tentative study of Chinese dish names from the angle of untranslatability and loss of meaning. The study covers the analysis of the untranslatability and loss of meaning caused by the differences between Chinese and English, from linguistic and cultural perspectives, taking Hunan cuisine names an example, the introduction of the constitution and function of dish names. Then since Chinese dish names play an important role in Chinese culture, according to untranslatabiltiy caused by culture differences between Chinese and English, the paper analyzes the untranslatable phenomena existing in the English translation of Chinese dish names from the aspects of thinking, beliefs and values, customs, and lexical non-equivalence.(Zhang Qiang 2017, 26) <br /> <br /> Although there are many translated versions of various Chinese dishes nowadays, and some of them have been accepted by the public, it is undeniable that there are cultural obstacles which cannot be translated. If translators don't know untranslatabiltiy of dish names, they cannot translate them properly, since they couldn't avoid the obstacles and adopt some compensatory measures. strangeness in front of cultural differences.<br /> <br /> A translation should on the one hand keep as much as possible the original flavor and on the other hand try to make it accessible to the target language readers.<br /> <br /> ===References===<br /> [1]Cao Binbin. 曹彬彬.(2016). 从翻译的不可译性看中式菜名英. [English Translation of Chinese Cuisine Names from the Perspective of Translation Untranslatability]. 英语广场. [English Square].24-25.<br /> <br /> [1]Cao Binbin. 曹彬彬.(2016). 从翻译的不可译性看中式菜名英. [English Translation of Chinese Cuisine Names from the Perspective of Translation Untranslatability]. 英语广场. [English Square]24-25.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [2]J. C. Catford. (1965). A Linguistic Theory of Translation . London: Oxford University.93-95<br /> <br /> [3]Liu Chuang. 刘闯.(2012). 浅析中餐菜名英译的不可译性及解决. [An analysis of the untranslatability of the English translation of Chinese cuisine names and its solution]. 校园英语. [Campus English].120-121.<br /> <br /> [3]Liu Chuang. 刘闯.(2012). 浅析中餐菜名英译的不可译性及解决. [An analysis of the untranslatability of the English translation of Chinese cuisine names and its solution]. 校园英语. [Campus English]120-121.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [4]Tan Zaixi. 谭载喜. (2004). 西方翻译简史(增订版). [ A Brief History of Western Translation (Updated Edition)]. 商务印书馆. [The Commercial Press] 200-220<br /> <br /> [4]Tan Zaixi. 谭载喜. (2004). 西方翻译简史(增订版). [ A Brief History of Western Translation (Updated Edition)]. 商务印书馆. [The Commercial Press]200-220.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [5]Wang Caiying.王才英.(2009). 试论中国菜名的相对不可译及对策. [Experimental discussion on the relative untranslatability of Chinese dish names and Strategies].长沙大学学报. [Journal of Changsha University]. 108-109.<br /> <br /> [5]Wang Caiying.王才英.(2009). 试论中国菜名的相对不可译及对策. [Experimental discussion on the relative untranslatability of Chinese dish names and Strategies].长沙大学学报. [Journal of Changsha University]108-109.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [6]Wang Lijun. 王丽君.(2008). 中文菜名的不可译性研究. [On Untranslatability of Chinese Dish Names]. 吉林大学学报. [Journal of Jilin University]. 10-13<br /> <br /> [6]Wang Lijun. 王丽君.(2008). 中文菜名的不可译性研究. [On Untranslatability of Chinese Dish Names]. 吉林大学学报. [Journal of Jilin University]10-13.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [7]Wang Lixia. 王丽霞.(2017).《湘菜六味—湘菜缘分》汉译英实践报告.[A Report on the C-E Translation of the 3rd Chapter of Xiangcailiuwei].湖南师范大学.[Hunan Normal University]<br /> <br /> [8]Xiong Liyou. 熊力游. (2004). 中华菜名功能与翻译处理. [Functions and Translation processing of Chinese Cuisine names]. 长沙大学学报. [Journal of Changsha University]. 84-86.<br /> <br /> [8]Xiong Liyou. 熊力游. (2004). 中华菜名功能与翻译处理. [Functions and Translation processing of Chinese Cuisine names]. 长沙大学学报. [Journal of Changsha University]84-86.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> [9]Zhang Qiang. 张强. (2017). 湘菜菜名词语与对外汉语教学.[Name of Hunan Cuisine in Teaching Chinese as a Second Language].湖南师范大学.[Hunan Normal University]. 18-33<br /> <br /> [9]Zhang Qiang. 张强. (2017). 湘菜菜名词语与对外汉语教学.[Name of Hunan Cuisine in Teaching Chinese as a Second Language].湖南师范大学.[Hunan Normal University]18-33.--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 03:16, 19 December 2020 (UTC)<br /> <br /> ==A Study of English Translation of Chinese Dish Names from the Perspective of Domestication and Foreignization -- Taking Hunan Cuisine an Example - 邬香 Wu Xiang==<br /> &lt;center&gt; 邬香 Wu Xiang 202020080651 俄语语言文学.&lt;/center&gt;<br /> ===Abstract===<br /> As a bright pearl in the storehouse of traditional Chinese culture, catering culture plays a more and more important role in the increasingly frequent cross-cultural communication. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the neglect of cultural connotations of dishes and the lack of unified translation standards. Foreignization and domestication can effectively solve the above problems. From the perspective of foreignization and domestication, this chapter takes the English translation of Hunan cuisine as an example and uses the above two different translation strategies for realistic and freehand dishes from the linguistic and cultural levels. Although domestication and foreignization can't remove all the obstacles in English translation of Chinese dish names, they can help to accurately express the meanings of dish names, reflect their cultural connotations and promote cultural exchanges and dissemination.<br /> <br /> ===Key words===<br /> Chinese dish names; English translation; domestication and foreignization; cross-cultural communication<br /> <br /> ===题目===<br /> 异化和归化视角下中国菜名英译研究——以湘菜为例<br /> <br /> ===摘要===<br /> 饮食文化作为中国传统文化宝库中一颗璀璨的明珠，在如今日益频繁的跨文化交流中的作用愈发重要。但是目前中国菜名英译出现不少问题，主要包括使用直接生硬的表达方式、忽略菜肴文化内涵、缺乏统一的翻译标准。运用异化和归化翻译策略能有效解决上述问题。本章拟从异化和归化的视角出发，以湘菜英译为例，针对写实型和写意型菜肴从语言和文化层面使用上述不同的翻译策略。尽管归化和异化不能扫除菜名英译中所有的障碍，但其有助于准确表达菜名含义，体现其蕴藏的文化内涵，促进文化交流与传播。<br /> <br /> ===关键词===<br /> 中国菜名；英译；归化和异化；跨文化交流<br /> <br /> ===1. Introduction===<br /> After thousands of years of precipitation and inheritance, Chinese food culture emerged on the international stage and gradually has gained the favor and recognition of foreigners. In modern society cultural exchanges between countries and nations are increasingly frequent. As a cross-cultural communication activity, translation refers not only to the process of language conversion, but also to the process of cultural transformation and dissemination. Because Chinese food contains a large number of cultural and artistic features, which reflect the Chinese cultural landscape. However, at present we have different translation versions in the process of translating Chinese dishes. This is not conducive to the cross-cultural communication.(Xiong Bing 2014,84)<br /> <br /> 中国饮食文化历经数千年的沉淀和传承后，在国际舞台上崭露头角，逐渐得到外国人的青睐和认可。当今社会世界各国、各民族文化交流日益频繁，翻译作为一种跨文化交际活动，不仅指语言转换的过程，而且是文化转换和传播的过程。中国菜名含有丰富的文化与艺术特征，其体现了中国文化图景。然而，目前中国菜名译本众多，这不利于跨文化交流。<br /> <br /> It's known that translation strategies of domestication and foreignization can retain the cultural elements in the original text to the greatest extent. As one of the eight major cuisines in China, Hunan cuisine has its unique characteristics and rich cultural heritages, so it is suitable to adopt domestication and foreignization in English translation. Many Chinese scholars focus on specific translation methods and skills in the researches on translation of Chinese dish names.They rarely consider the translation strategies of foreignization and domestication.(Xiong Bing 2014,84)<br /> <br /> 归化和异化策略能最大程度保留原文中的文化元素，解决目前中国菜名翻译过程中存在的一些问题。湘菜作为中国八大菜系之一，具有独特的特点和丰富的文化底蕴，适合采用归化和异化英译。中国许多学者对中国菜名翻译的研究多着眼于具体的翻译方法和技巧，很少从异化和归化的翻译策略高度来考虑。<br /> <br /> However, it is necessary to clarify what kind of translation strategy to adopt before choosing appropriate translation methods and skills, because the implementation of the former is reflected in the application of specific translation skills, while the application of the latter requires certain translation strategies. Therefore, in this chapter I will discuss the application of translation strategies of domestication and foreignization in the English translation of traditional Chinese dish names based on the corpus of Hunan cuisine. (Xiong Bing 2014,84)<br /> <br /> 然而，首先明确采用怎样的翻译策略，继而才能选用合适的翻译方法和技巧，因为前者的实施体现在特定翻译技巧的运用，同时后者的运用需依据一定的翻译策略。因此，本文将以湘菜菜品名为语料，探讨翻译策略在传统中国菜名英译中的运用。(熊兵，2014,84）<br /> <br /> ===2. Exiting Problems in English Translation of Chinese Dish Names===<br /> Chinese food culture is extensive and profound with a long history. The importance of English translation of Chinese dish names in cross-cultural communications between China and foreign countries is self-evident. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the lack of unified translation standards and the ignorance of cultural connotations of Chinese dishes. These problems make foreigners and some Chinese English learners confused. Next I will analyze them in detail with examples.(Xia Ying 2016, 259)<br /> <br /> 中国饮食文化博大精深，源远流长。中餐翻译在中外文化交流中的重要性不言而喻。然而，目前中国菜名英译存在不少问题，诸如使用直接生硬表达法、缺乏统一翻译标准、忽视菜肴文化内涵等。这些问题不仅引起外国人的困惑，中国英语学习者亦云里雾里。下面我将结合实例具体分析。(夏瑛 2016, 259)<br /> <br /> ====2.1 The Use of Direct and Rigid Expressions====<br /> China has a vast territory and abundant resources. The eating habits and cooking methods in different regions of the country are different. Some dishes are named after myths, legends and allusions, while others are complex in cooking methods and various in ingredients. Direct and stiff expressions can't express the rich connotations of these dishes and even make people funny.(Zhang Yang 2016, 48)<br /> <br /> 中国地大物博，全国各地区的饮食习惯与烹饪方法各不相同，其中一些菜肴以神话、传说及典故命名，还有一些佳肴烹饪方法复杂，食材多种多样。直接生硬的表达法不能很好表达这些菜肴的丰富内涵，甚至会让人啼笑皆非。<br /> <br /> For example, if &quot;Jiaohua chicken, a whole chicken roasted in caked mud&quot;(叫花鸡) is translated into &quot;beggar's chicken&quot;(叫花子的鸡), it doesn't reflect the origin and the cooking method of this dish. It is said that in the late Ming Dynasty and early Qing Dynasty a beggar in Changshu（常熟，a city of Jiangsu province） got a chicken by chance. He had no cooking utensils and seasonings. So he had to put the chicken into the mud to simmer and roast it. When the chicken was cooked, he knocked off the mud shell. The aroma overflowed, and it became a delicious dish. (Zhang Yang 2016, 48)<br /> <br /> 比如，”叫花鸡”(Jiaohua Chicken，a whole chicken roasted in caked mud)若译成”Beggar’s Chicken”则完全没有体现这道菜的由来及做法。相传明末清初时，常熟一个乞丐偶然间得到一只鸡，苦于没有炊具和调料，只能将鸡处理后放入泥土中煨烤，鸡熟后敲掉泥壳，香气四溢，成为一道美味佳肴。<br /> <br /> Another example is that &quot;木须肉&quot; is translated as &quot;wood mustache meat&quot;（木头胡子肉）. This translation is confusing and doesn't reflect the main ingredients of this dish. I think that it is appropriate and reasonable to translate it into &quot;stir fried pork with eggs and black fungus&quot;. (Zhang Yang 2016, 48)<br /> <br /> 又如，“木须肉”被译为”Wood mustache meat”（木头胡子肉），这种译法让人不知所云，更没有体现这道菜的主要原料。笔者认为将其译为”Stir-fried pork with eggs and black fungus”比较恰当合理。(张扬 2016, 48)<br /> <br /> ====2.2 The Lack of Unified Translation Standards====<br /> At present there is no uniform international standard for the translation of Chinese dish names, which leads to the emergence of multiple translation versions in the book market and restaurants. It brings inconvenience and trouble to foreigners and affects the spread of Chinese catering culture. For example, there are several different translation versions of &quot;麻婆豆腐&quot; in China: bean curd with minced pork in hot sauce; Mapo Tofu; tofu made by woman with freckles. The last translation version is not very appropriate and easy to cause disgust. Foreigners are familiar with the translation of &quot;Mapo Tofu&quot; and have already accepted it, so it is acceptable not to explain it. The first translation version is more vivid and can make people salivate. It reflects the method and raw materials of this dish.(Lin Hong 1991, 41)<br /> <br /> 目前，国际上没有关于中国菜名翻译的统一的标准，这导致在图书市场和餐厅内出现多个翻译版本，给外国人带来不便与麻烦，影响中国饮食文化的传播。例如，国内“麻婆豆腐”有以下几种不同的翻译：Bean curd with minced pork in hot sauce; Mapo tofu; Tofu made by woman with freckles.笔者认为，最后一种译法不是很贴切，容易引起反感。外国人已熟知并接受”Mapo tofu”的译法，故不解释亦可。第一种译法较为形象，体现了菜肴的做法和原料，让人垂涎欲滴。<br /> <br /> There are also many ways to translate &quot;宫保鸡丁&quot;, including &quot;Kung Pao chicken&quot;, &quot;fried diced chicken in Sichuan style&quot; or &quot;sauteed chicken cubes with chili and peanuts&quot;. So many translation versions will not only make readers confused, but also fail to reflect the characteristics and cultural connotations of Chinese dish names. Therefore, the translation of the unified dish names is one of the problems to be solved in correctly understanding Chinese cooking culture. (Lin Hong 1991, 41)<br /> <br /> “宫保鸡丁”五花八门的译法包括”Kung Pao Chicken”, “Fried diced chicken in Sichuan style” 或”Sautéed chicken cubes with chili and peanuts”. 如此多的译名不仅会引起读者思维上的混乱，而且没有很好地体现中国菜名的特点与文化内涵。由此可见，统一菜名的翻译是正确领略中国饮食文化亟待解决的问题之一。 (林红 1991, 41)<br /> <br /> ====2.3 The Neglect of Cultural Connotations of Dishes====<br /> The differences between Chinese and western cultures lead to the differences between Chinese and Western catering cultures, which stems from the different attitudes towards rationality and sensibility. Chinese people have strong perceptual thinking, so they pursue beauty and artistry. Chinese dishes are full of color, fragrance and other cultural connotations. Westerners pay more attention to rationality, truth and science. The names of Western dishes are easy to understand, and the raw materials and nutrients are relatively clear. (Wang Junjian 2017，107)<br /> <br /> 中西文化的差异导致中西饮食文化的不同，而这种差异归根结底源于双方对待理性和感性的不同态度。中国人感性思维较强，故而追求美和艺术性，中餐讲究色香味俱全，通常含有祝福、美好等文化内涵。西方人则更注重理性、真理和科学，西餐菜名通俗易懂，原料和营养成分较为清楚。<br /> <br /> For example, &quot;onion soup in French style&quot;(法式洋葱汤) is used in Western food, while &quot;stewed snake and chicken&quot;(龙凤呈祥) in Chinese food is the soup stewed with snake and chicken. Snake is regarded as a small dragon (Jiao 蛟) in China, and there is a folk saying that pheasant flies on the branch and becomes a phoenix(野鸡飞上枝头变凤凰). Therefore, a snake is compared to a dragon, and a chicken - a phoenix, which is used to bless and praise things and others. (Wang Junjian 2017，107)<br /> <br /> 比如，西餐中的Onion soup in French style(法式洋葱汤),而中餐中的”龙凤呈祥”（Stewed snake and chicken）是用蛇和鸡炖的汤。蛇在中国视为小龙（蛟），且民间有“野鸡飞上枝头变凤凰”的俗语。故把蛇比作龙，鸡比作凤凰，用作对事物和他人的祝福和赞美。<br /> <br /> The main ingredient of &quot;more than every year&quot;(年年有余) is fish. &quot;Yu&quot;(余) in Chinese refers to surplus, which is homophonic with &quot;fish”(鱼), which expresses people's good wishes for a prosperous family and surplus every year. If foreigners don't understand the Chinese culture implied in these dishes, they will find these translations very strange. Therefore, cultural factors must be taken into account in translating Chinese dishes to avoid misunderstanding. (Wang Junjian 2017，107)<br /> <br /> “年年有余”（More than every year）的主要食材是鱼，“余”在汉语中指剩余，与“鱼”谐音，表达人们对家业发达、年年有余的美好愿望。如果外国人不了解这些菜隐含的中国文化，则会觉得这种翻译很奇怪。因此，在翻译中国菜名时必须考虑文化因素，避免造成误解。(王君健 2017,107)<br /> <br /> To a large extent, the above problems are caused by the fact that people pay attention to the intuitive feelings in the process of translation, ignoring the cultural connotations of dish names and using inappropriate translation methods. In this chapter I will try to solve these problems by adopting translation strategies of domestication and foreignization from the linguistic and cultural levels, then introduce the above two translation strategies and analyzes how to use them to improve the quality of translation in the process of translating Hunan cuisine into English. (Xia Ying 2016, 259+273)<br /> <br /> 以上问题很大程度上是因为人们在翻译过程中注重直观的感受，忽略菜名蕴含的文化底蕴，使用不恰当的翻译方法造成的。笔者试图从语言和文化层面采用归化和异化翻译策略来解决这些问题。接下来将介绍着这两种翻译策略并分析在湘菜英译过程中如何运用它们来提高翻译质量。(夏瑛 2016, 259+273)<br /> <br /> ===3. Translation Strategies of Domestication and Foreignization ===<br /> <br /> ====3.1 Definitions of Domestication and Foreignization====<br /> Domestication and foreignization are two different translation strategies in the process of translation. These two terms were first put forward by Lawrence Venuti in his book &quot;Translator's Invisibility&quot; according to the theory of German philosopher Schleiermacher. (Wang Shaofei 2006,30)<br /> <br /> “归化”和“异化”是翻译过程中两种不同的翻译策略。这两个术语最初是由劳伦斯韦努蒂( Lawrence Venuti) 根据德国哲学家施莱尔马赫( Schleiermarcher) 的理论在他的著作《译者的隐身》中提出的。(王少飞，2006, 30)<br /> <br /> Domestication refers to a translation strategy that localizes the source language, takes the target language or target language readers as the destination and adopts the expressions that the readers are used to convey the content of the original text. It can help readers better understand the translation and enhance its readability and appreciation.（Su Songlonghua 2011） <br /> <br /> 归化指把源语本土化，以目标语或译文读者为归宿，采取目标语读者所习惯的表达方式来传达原文的内容的一种翻译策略。归化翻译要求译者向目的语的读者靠拢。归化翻译有助于读者更好地理解译文，增强译文的可读性和欣赏性。<br /> <br /> Foreignization in the process of translation considers the linguistic characteristics of foreign cultures and absorbs foreign language expressions. It requires translators to approach the author and adopt the corresponding source language expressions to convey the content of the original text, which means that we should take the source culture as the destination. The purpose of using foreignization is to consider the differences of national cultures, to preserve and reflect characteristics of foreign cultures and their language styles, to retain the exotic sentiment for the target readers.（Su Songlonghua 2011）<br /> <br /> 异化在翻译上迁就外来文化的语言特点，吸纳外语表达方式，要求译者向作者靠拢，采取相应于作者所使用的源语表达方式，来传达原文的内容，即以源语文化为归宿。使用异化策略的目的在于考虑民族文化的差异性、保存和反映异域民族特征和语言风格特色，为译文读者保留异国情调。（百度百科,宿松龙华，2011）<br /> <br /> ====3.2 Two Levels of Domestication and Foreignization====<br /> Foreignization and domestication should be investigated from the level of language form and cultural content. On the one hand, on the linguistic level adopting the translation strategy of foreignization is beneficial to enrich the expression of the target language, but only in a few cases the purpose of translation is to show the language form of the source language. Because of reader-oriented characteristics domestication can ensure that the translation is easy to understand, and it is favored by readers. Therefore, at the language level domestication is the mainstay and foreignization is the supplement.(Zhang Zhizhong 2005,46) <br /> <br /> 谈论异化和归化，应从语言形式和文化内容层面考察。（张智中，2005,46）一方面，在语言层面上，采取异化翻译策略有利于丰富目的语的表达方式，但是只有在少数情况下翻译的目的是展现源语的语言形式。而归化由于读者导向性的特点能保证译文通俗易懂，受到广大读者的青睐。故而在语言层面提倡主要采用归化策略，异化策略辅助的原则。<br /> <br /> On the other hand, on the cultural level foreignization can retain the cultural elements and connotations contained in the source language as much as possible, which helps to spread foreign cultures, and in this aspect its advantages are greater than domestication. However, it is impossible to completely adopt the foreignization, because there are too many cultural differences in cross-cultural communications, so it is necessary to use domestication to remove communication barriers.(Shen Sangshuang，Wang Shuqiong 2017, 87)<br /> <br /> 另一方面，在文化层面上，异化能尽可能保留源语中蕴藏的文化元素和内涵，有助于传播异国文化，其优势大于归化。但是，完全采用异化策略是不可能的，因为在跨文化交际中存在文化差异过大的情况，需要采用归化来扫除交流障碍。<br /> <br /> Therefore, on the cultural level the principle of foreignization as the mainstay and domestication as the supplement is adopted. In addition, using domestication on the language level can clearly express the meaning of the original text, which helps to better reflect the cultural elements expressed by the use of foreignization on the cultural level. In short, when the source language has distinctive national characteristics, the use of a combination of translation strategies of domestication and foreignization can maximize strengths,avoid weaknesses and promote cultural transmission.(Shen Sangshuang，Wang Shuqiong 2017, 87)<br /> <br /> 因此，在文化层面上采用异化为主，归化为辅的原则。此外，在语言层面上采取归化策略能清楚的表达原文意思，有助于更好地体现在文化层面采用异化策略所表达的文化元素。总之，当源语具有鲜明的民族特色时，采用归化和异化结合的翻译策略能够扬长避短，促进文化传播。(沈桑爽，王淑琼，2017，87）<br /> <br /> Theoretically speaking, foreignization and domestication are two opposite translation strategies. However, they are closely related and interact with each other in specific translation practices and applications. When domestication and foreignization are applied in the translation of Chinese dish names, the translator should deal with the relationship between the readers and the author. On the one hand, we should use habitual expressions of readers and consider their way of thinking and understanding ability to make sure they can understand the translation. On the other hand, we should pay attention to retaining the essence of Chinese traditional culture contained in Chinese dish names, so as not to blindly please readers without knowing to change. (Su Songlonghua 2011)<br /> <br /> 从理论上看异化和归化这两种翻译策略是对立的，然而在具体的翻译实践和应用中二者有紧密的联系，且相互作用。在中国菜名翻译中应用归化和异化翻译策略时，译者应处理好读者与作者之间的关系。一方面，应从读者的角度出发尽可能用其惯用的表达方式，考虑他们的思维方式和理解能力，以达到他们能明白翻译内容的目的。另一方面，应注意保留中国菜名中所蕴含的中国传统文化精髓，做到既不一味取悦读者，也不不知变通（一成不变）。( 百度百科 宿松龙华 2011)<br /> <br /> ===4. Application of Domestication and Foreignization in English Translation of Hunan Cuisine===<br /> <br /> ====4.1 Composition and Nomenclature of Hunan Cuisine====<br /> As one of the eight major cuisines in China, Hunan cuisine has the unique characteristics of color, flavor and taste of Chinese dishes, and its naming also shows different styles. Hunan cuisine can be generally divided into realistic dishes and freehand dishes. The first type of dishes directly reflects the cooking elements. The second one usually uses rhetorical skills to endow dishes with certain cultural connotations according to their own composition. If foreigners don't understand Chinese culture, from literal translation they don't know the specific methods and raw materials of this kind of dishes, and it is difficult to understand their meanings. (Chen Wei 2007，108)<br /> <br /> 湘菜作为中国八大菜系之一，具有中国菜肴独有的色香味俱全的特点，其命名亦显示不同的风格。湘菜一般可分为写实型菜肴和写意型菜肴，写实型菜肴直接体现烹饪要素。写意型佳肴则通常使用修辞手法，根据其本身的组成赋予菜肴一定的文化内涵。如果外国人不了解中国的文化，单从字面翻译他们不知道这类菜肴具体做法和原料，难以理解其具体含义。(陈蔚 2007，108)<br /> <br /> =====4.1.1 Realistic Dishes=====<br /> Realistic dishes are often named according to the combination of cooking elements. The cooking elements of Hunan cuisine mainly include raw materials(原料), seasonings(调料), knife techniques(刀法), taste(口味) and cooking methods(烹饪方法). Common main ingredients embody fish, meat and chicken; seasonings involve star anise(八角), cinnamon(桂皮), green onion(葱), ginger(姜), garlic(蒜); knife techniques are various, such as slicing(切片), shredding(切丝), cutting into wicker shapes(切柳) ; the taste is famous for its sour and spicy(酸辣), fresh and tender(鲜嫩), crisp and fragrant(酥脆) taste; the cooking methods are mainly sauted(爆), simmered(煨), stewed(炖), fried(炒), braised(烩) and steamed(蒸).(Chen Wei 2007, 108)<br /> <br /> 写实型菜一般根据其菜肴烹饪要素的组合命名，湘菜的烹饪要素主要包括原料、调料、刀法、口味和烹饪方法。常见的主料包括鱼、肉、鸡等；调料有八角、桂皮、葱、姜、蒜；种类繁多的刀法如，切片、切丝、切柳等；口味以酸辣、鲜嫩、酥脆、香熏著称；烹饪方法以爆、煨、炖、炒、烩、蒸为主。<br /> <br /> The common combination methods include following three types: cooking materials + methods + knife method, such as sauted shredded pork with green pepper(青椒炒肉丝); seasoning + raw materials, such as bullfrog with ginger sauce and pepper(姜辣牛蛙), hot and sour radish strips(酸辣萝卜条); taste + cooking method + raw materials, such as smoked fish in five flavors(五香熏鱼). (Chen Wei 2007, 108)<br /> <br /> 常见的组合方式包括以下三种：烹饪原料+方法+刀法，如青椒炒肉丝（Sauteed Shredded Pork with Green Pepper）；调料+原料，如姜辣牛蛙（Bullfrog with ginger sauce and pepper ）、酸辣萝卜条（Hot and sour radish strips）；口味+烹饪方法+原料，如五香熏鱼（Smoked fish in five flavors)。(陈蔚 2007，108)<br /> <br /> =====4.1.2 Freehand Dishes=====<br /> There are two types of freehand dishes. The first one is named according to the raw materials, colors, shapes or origin places of dishes. This type of dishes contains rich historical and cultural backgrounds and local flavors, expresses good wishes for auspiciousness and has Chinese characteristics. They are often named after allusions, legends or use metaphors, such as steamed glutinous rice ball (with meat / sugar in it)(姊妹团子), hotpot of snakeheaded fish slices as butterflies out of the soup(蝴蝶飘海). The second one refers to the names of people and place names related to dishes. They have distinctive local characteristics, such as Mao's braised pork(毛氏红烧肉), braised chestnut with green cabbage(板栗烧菜心), Changde rice noodles(常德米粉) and Lixian County stewed pork gut(澧县肠子). (Chen Wei 2007，108)<br /> <br /> 写意型菜包括两种类型。第一种根据菜肴的原料、色形或产地取名，使其不仅蕴含丰富的历史文化背景和地方风味，也表达了吉祥美好的祝愿，更具有中国特色。这些菜常以典故、传说命名或使用隐喻等修辞手法，如姊妹团子（Steamed Glutinous Rice Ball (with meat/sugar in it)）、蝴蝶飘海(Hotpot of snakeheaded fish<br /> slices as butterflies out of the soup)。第二种引用与菜肴相关的人名、地名命名，具有鲜明的地方特色，如毛氏红烧肉（Mao's braised pork）、板栗烧菜心（Braised chestnut with green cabbage）、常德米粉(Changde rice noodles)，澧县肠子(Lixian county stewed pork gut)。(陈蔚 2007，108)<br /> <br /> According to the composition and nomenclature of Hunan cuisine, as well as the high acceptability and comprehensibility of domestication and foreignization, the use of domestication-based and foreignization-assisted translation strategies of realistic Chinese dish names reproduces the original style well. Translation strategies of adopting foreignization as the main and domestication as the supplement for English translation of freehand dish names can better convey the interesting characteristics of Chinese cuisine and the broad and profound cultural heritages. In the following I will use exemplification to analyze it from different perspectives. (Jiang Jun 2017, 203)<br /> <br /> 根据湘菜构成及命名方法和归化和异化的可接受度高和可理解性强的特点，翻译写实型中国菜名时采用归化为主、异化为辅的翻译策略很好地再现原作的风格，而针对写意型菜名英译采用异化为主、归化为辅的策略能较好地传达中餐妙趣横生的特征及博大精深的文化底蕴。下面我将从不同的角度使用例证法具体分析。 (姜君 2017, 203)<br /> <br /> ====4.2 On the Language Level Domestication is the Mainstay and Domestication is the Supplement====<br /> Domestication on the language level means that the English translation of Hunan dishes should use common and appropriate expressions in English to convey the meaning of Chinese dish names on different levels of linguistics such as vocabulary, semantics, and grammar, so as to ensure the acceptability of English translation of Chinese dish names for foreigners. (Shen Sangshuang，Wang Shuqiong 2017, 88)<br /> <br /> 语言层面的归化指湘菜的英译要在词汇、语义、语法等语言学的不同层面上，使用英语中常见、贴切的表达方式传达中国菜名的含义，以确保英译菜名在外国人中的接受度。(沈桑爽，王淑琼 2017, 88)<br /> <br /> =====4.2.1 Domestication on Lexical Level=====<br /> “童子鸡”can be translated as &quot;Tender chicken&quot;(嫩滑的鸡肉), but it can't be translated as &quot;chicken without sexual life&quot;(没有性生活的鸡). According to this literal translation, “童子鸡” refers to chickens that have not mate. However, this dish originally emphasizes that the chicken is tender and tastes very good. Therefore, when translating “童子鸡”, the translation strategy of domestication is used at the lexical level. The word &quot;Tender&quot; is used to express the concept of “童子”, which means that the chicken is not mature enough. It expresses the essence of this dish vividly and avoids misunderstanding.(Lin Hong 1991, 41)<br /> <br /> “童子鸡”可译为Tender chicken(嫩滑的鸡肉)，但不能译成“chicken without sexual life”。按照这种字面翻译，“童子鸡”指的是没有交配的小鸡。然而，这道菜原本强调的是鸡肉很嫩，口感十分好。因此翻译“童子鸡”时在词汇层面使用归化策略，用tender表示“童子”这个概念，指鸡尚未发育成熟，可传神地表达这道菜的本质，避免误解。(Lin Hong 1991, 41)<br /> <br /> This method is also applicable to the English translation of “鱼香肉丝”. &quot;Shredded pork with garlic sauce or fish-flavored shredded pork in hot sauce&quot;(蒜蓉猪肉丝或鱼香肉丝) refers to shredded pork mixed with minced garlic. The &quot;fish fragrance&quot;(鱼香) of this dish doesn't refer to the fragrance of fish meat, but a complex flavor composed of various seasonings such as pickled peppers, sugar and vinegar. The above-mentioned translation not only retains the original meaning of Chinese, but also arouses foreigners' associations with the smell of fish. (Lin Hong 1991, 41)<br /> <br /> 这种方法同样适用于“鱼香肉丝”的英译。“鱼香肉丝”（Shredded pork with garlic sauce or Fish-flavored shredded pork in hot sauce）指混合着蒜末的肉丝。这道菜的“鱼香”并非指鱼肉的香味，而是一种用泡椒、糖、醋等多种调料组成的复合味道。上述译法即保留了中文的原意，又能引起外国人对鱼香味的联想。(林红 1991, 41)<br /> <br /> In addition, pinyin (拼音) can be used in English translation of dishes with Chinese characteristics which have been included in major foreign English dictionaries, such as wonton(馄饨), tofu(豆腐), jiaozi(饺子) and shaomai(烧卖). These dishes are traditional Chinese food which has been widely accepted by foreigners. Moreover, the use of pinyin can promote Chinese and Chinese cooking culture. (Shen Sangshuang, Wang Shuqiong 2017, 88)<br /> <br /> 此外，具有中国特色且被国外主要英文字典收录的，使用汉语方言拼音或音译拼写的菜名，英译时可使用拼音，如“馄饨”（Wonton）、“豆腐”（Tofu）、“饺子”（Jiaozi）、“烧卖”(Shaomai)等。这些菜肴都是已被外国人普遍接受的中国传统食品，使用拼音能推广汉语和中国饮食文化。(沈桑爽，王淑琼 2017, 88)<br /> <br /> =====4.2.2 Domestication on Semantic Level=====<br /> Domestication on semantic level is conducive to convey the meanings of dish names simply and clearly. For example, “一卵孵双凤” can be translated as &quot;two phoenix were hatched from an egg (two chickens, winter bamboo shoots and mushrooms steamed in watermelon)&quot;. From the above translation you can clearly understand the main ingredients and cooking methods of this dish, so as not to be confused by its name. (Zhang Yang 2016, 48)<br /> <br /> 语义上的归化有利于简单明了地传达菜名的含义。例如，“一卵孵双凤”可译为Two phoenix were hatched from an egg(two chickens, winter bamboo shoots and mushrooms steamed in watermelon).从上述翻译可以十分清楚地了解这道菜的主要食材和制作方法，从而不会再被菜名弄得一头雾水。 （张扬 2016，48）<br /> <br /> In another example, “金鱼戏莲” is made with squid as the main ingredient. The squid rolls resemble goldfishes, playing among the lotus clusters composed of eggs, shrimps and green beans. The name of this dish comes from it. If this dish is directly translated as &quot;goldfish plays with lotus&quot; with the use of foreignization, it is difficult for people to figure out what it means. Therefore, &quot;oil-fried squid files and steamed shrimp meat, albumen and lima bean to mean&quot;(金鱼戏莲) vividly expresses the essence of this dish, and a vivid and interesting picture can be constructed in the reader's mind through the representation of the image of &quot;floating lotus&quot;(浮莲).(Zhang Yanping, Zhang Weiping 2016, 120)<br /> <br /> 又如，“金鱼戏莲”以鱿鱼为主料制作而成，鱿鱼卷似金鱼，嬉戏于由鸡蛋、虾仁和青豆组成的群莲中，菜名由此而来。如果采用异化策略直接译为Goldfish plays with lotus,外国人很难弄明白这指的是什么。故用Oil-fried squid files and steamed shrimp meat, albumen and lima bean表示“金鱼戏莲”,既十分形象地表达了这道菜的本质，又通过“浮莲”意象的再现，能在读者脑海里构建一幅生动有趣的画面。<br /> <br /> Similar examples include &quot;stewed assorted meats/hotchpotch&quot; (全家福), &quot;hotpot of snakeheaded fish slices as butterflies out of the soup&quot; (蝴蝶飘海) and &quot;steamed whole hen with litchi, longan, jujube, lotus and medlar&quot;(五元神仙鸡). (Zhang Yanping, Zhang Weiping 2016, 120)<br /> <br /> 类似的例子还包括“全家福”（Stewed assorted meats/hotchpotch）、“五元神仙鸡”（Steamed whole hen with litchi, longan, jujube, lotus and medlar）、“蝴蝶飘海”（Hotpot of snakeheaded fish slices as butterflies out of the soup）。 (张艳萍, 张伟平 2016, 120)<br /> <br /> =====4.2.3 Domestication on Grammatical Level=====<br /> The domestication of Hunan cuisine on the grammatical level is mainly reflected in the use of prepositions and verb past participles in English translation of Chinese dish names. There are various cooking methods for Hunan cuisine, including simmer, stew, steam, fry, smoke, and the past participle is usually used in their English translations. Such as &quot;Dongting spicy salted duck&quot;(洞庭酱板鸭), &quot;Dongting barbecued mandarin fish&quot;(网油叉烧洞庭桂鱼), and &quot;fried winter bamboo shoots&quot;(油辣冬笋尖).(Shen Sangshuang, Wang Shuqiong 2017, 88)<br /> <br /> 湘菜在语法层面的归化主要体现在英译菜名时介词和动词过去分词的使用方面。湘菜多种多样的烹调方法，包括煨simmer、炖stew、蒸steam、炒fry、熏smoke，在译文中通常用过去分词。如“洞庭酱板鸭”（Dongting spicy salted duck ）、“网油叉烧洞庭桂鱼”（Dongting barbecued mandarin fish）、“油辣冬笋尖”（Fried winter bamboo shoots）。<br /> <br /> Dishes with main ingredients and supplemented by ingredients, seasonings and soups are generally translated by prepositions, such as &quot;preserved eggs with hot pepper&quot;(尖椒皮蛋),&quot;fragments of garlic bolt without using knife&quot;(手撕蒜苗), &quot;Yongzhou fried duck pieces together with its blood and balsam pear&quot; (永州血鸭) and &quot;braised pig knuckle in brown sauce&quot; (走油猪腿). (Shen Sangshuang, Wang Shuqiong 2017, 88)<br /> <br /> 而以主料为主，配料、调料、汤汁为辅的菜肴一般会使用介词翻译，如“尖椒皮蛋”（Preserved Egg with Hot Pepper）、“手撕蒜苗”（Fragments of garlic bolt without using knife）、“永州血鸭”（Yongzhou fried duck pieces together with its blood and balsam pear）、“走油猪蹄”（Braised pig knuckle in brown sauce）。 (沈桑爽，王淑琼 2017, 88)<br /> <br /> ====4.3 On the Cultural Level Foreignization is the Mainstay and Domestication is the Supplement====<br /> As we all know, the exchanges of food culture in cross-cultural communication are closely connected with daily life. Chinese dishes are both delicacies and arts. They have profound cultural heritages and aesthetic values. There are many dishes named after allusions, legends and dishes with names of people and places in Hunan cuisine. When people understand their cultural backgrounds, they can better understand the meanings of those dishes. On the cultural level the translation strategies of foreignization as the mainstay and domestication as the supplement help to inform customers of the taste, cooking methods and ingredients of the dishes to the greatest extent, and accurately convey the cultural elements of the dishes.(Zhou Yonghong 2008, 101)<br /> <br /> 众所周知，跨文化交际中饮食文化的交流与日常生活紧密相连。中国菜品既是佳肴又是艺术品，其具有深厚的文化底蕴和审美价值。湘菜中有许多以典故、传说命名的菜肴以及带人名和地名的菜肴，人们了解其文化背景后能更好地理解菜名的含义。文化层面采取异化为主，归化为辅的翻译策略有助于最大程度告知顾客菜肴的口味、烹饪法和食材，精准传递菜品的文化元素。<br /> <br /> In my opinion, the use of foreignization to translate Chinese food should first understand the characteristics of the naming of western food. According to the famous French chef Auguste Escoffier, western dishes are usually named after people, places, gods, historical events and main ingredients. Comparing the naming and composition characteristics of Hunan cuisine and western dishes, it can be seen that when translating freehand Chinese dish names, the taste, ingredients, cooking methods and necessary backgrounds of these dishes must be reflected. So understanding the characteristics of western dishes names is beneficial to the translation of Chinese freehand dish names. (Zhou Yonghong 2008, 101)<br /> <br /> 我认为，使用异化的翻译策略翻译中餐首先要了解西餐的命名的特点。法国名厨Auguste Escoffier 的认为，西餐菜肴通常用人名、地名、神灵、历史事件以及主要原料等命名。对比湘菜和西餐命名和构成特点，可知翻译写意型中餐菜名时需要体现菜名的口味、食材、烹饪方法以及必要的知识背景。由此可见，了解西餐菜名的特点有利于翻译中国写意型菜名的翻译。(周永红 2008, 101)<br /> <br /> =====4.3.1 Dishes Named after Allusions and Legends=====<br /> 以典故、传说命名的菜肴<br /> There are many dishes named after allusions and legends in Chinese and western dishes. These dishes have historical and cultural origins and are not suitable for literal translation. For example, the famous French dish Veronique（薇洛妮克）is named after the mythical goddess. The white juice symbolizes her beautiful appearance, and the white grapes next to it symbolize her tears.(operations12, 2008)<br /> <br /> 中餐和西餐中有不少以典故、传说命名的菜肴。这些菜有历史文化渊源，不适合采用直译的方法。例如，法国名菜Veronique（薇洛妮克）以神话女神命名，白汁与象征着她的美丽容貌，配在旁边的白色提子象征着她的眼泪。<br /> <br /> “姊妹团子” is a local snack in Hunan province. It is made by grinding the finest glutinous rice into a fine powder, and the inset is a meat filling made of raw materials such as fresh meat, mushrooms, monosodium glutamate and sesame oil. The shape is a long cone with a pointed top and a flat bottom. After being steamed, it looks like a small white pagoda. The origin of this dish is as follows: in the early 1920s the young and beautiful Jiang sisters set up a stall selling glutinous rice dumplings in the polder of the Fire Palace in Changsha. The dumplings they made were delicious and beautiful, and people were full of praise for it. The translation &quot;Steamed glutinous rice ball (with meat/sugar in it)&quot; points out that the main raw material of this dish is rice ball, the auxiliary materials are meat and sugar, and the cooking method is steam, which makes it clear at a glance.(operations12, 2008)<br /> <br /> “姊妹团子”是湖南省地方特色小吃。其制作时用上等糯米磨成细粉，内陷是由鲜肉、香菇、味精、芝麻油等原料构成的肉馅。外形是尖顶平底长型锥体，蒸熟后像一座白色的小宝塔。这道菜肴的由来如下：本世纪20年代初在长沙火宫殿的圩场上年轻漂亮的姜氏姐妹摆了一个卖团子的摊子，她们制作的团子既好吃又好看，人们对此赞不绝口。译文“Steamed glutinous rice ball (with meat/sugar in it)”指出此菜主要原料是rice ball、辅料为meat和sugar,烹饪方法为steam,让人一目了然。(百度百科operations12, 2008)<br /> <br /> “湘西土匪鸭”is a dish named after an allusion. It's said that a woman surnamed Zhang(张氏) opened a restaurant in Xiangxi (湘西，the west of Hunan province), but her business was not very good due to the large area and sparse population. To make matters worse, her ducks raised in the house are fierce and domineering, ruining the crops every day, not laying eggs properly and causing Zhang to hold the bamboo poles, rush and scold them every day: &quot;You damn ducks, you are like bandits!&quot; She was so angry with these ducks to kill all of them. Because these wild ducks are delicious and Zhang's cooking skills are good, the ducks she burns are soft and tender, and they are delicious, attracting people to smell the fragrance and attracting a large number of guests. Someone asked what this dish was called. Because of the ducks Zhang was extremely angry at that time, and she casually replied: &quot;What kind of dish? Wild ducks!&quot; Since then this dish has become famous. If we use the translation strategy of domestication to translate this dish as &quot;Brigand in Xiangxi ducks&quot;, it is incredible. Translating “湘西土匪鸭” into &quot;Xiangxi wild ducks&quot; not only allows guests to understand the special ingredients of this dish, but it embodies the legendary story of Xiangxi. (Zhang Yanping, Zhang Weiping 2016, 121-122)<br /> <br /> “湘西土匪鸭”是以典故命名的菜肴。传说湘西以前一个姓张的妇人开了一家餐馆，由于地广人稀，生意不太好。更糟糕的是，家中饲养的鸭子凶悍霸道，天天糟蹋庄稼，不好好下蛋，害得张氏天天拿着竹竿又赶又骂:“你们这些该死的鸭子，简直像土匪!。她一气之下把这些鸭子全杀了。由于这些爱撒野的鸭子肉质鲜美，且张氏厨艺很好，她烧的鸭子酥软嫩滑，鲜香绝伦，引得食客闻香而至,吸引大量的客人。有人问这叫什么菜，张氏气极，随口答：“什么菜/土匪鸭!”从此这道菜名声大震。(百度百科)若使用归化的翻译策略将这道菜译为“Brigand in Xiangxi ducks”让人匪夷所思。把“湘西土匪鸭”译成“Xiangxi wild duck”不仅能让客人了解菜的特殊食材，而且体现了湘西这个传奇的故事。 (张艳萍, 张伟平 2016, 121-122)<br /> <br /> =====4.3.2 Dish Names with Place Names and People's Names=====<br /> There are usually two translation methods for the dish names with a person's name and a place name in western dishes: dish name + place + style; place /person’s name + dish name. For example, Macedonia de fruta(马其顿水果) uses the second translation method, indicating the origin and ingredients of the dish name. This is a classic dessert in Spanish restaurants. All kinds of fruits are cut into small pieces and then mixed with sugar water or juice. The name of this dish is related to the Great Alexander of the Macedonian Empire in the fourth century BC. At the age of 30 Alexander established the largest empire in the history of the time and promoted the integration of races, cultures and languages throughout the empire. In the 18th century the French called things that combined various elements &quot;Macedonia&quot;. Therefore, this candied fruit chowder is named &quot;Fruit Macedonia&quot;.(zzpingic1130, 2010)<br /> <br /> 西式菜名中带人名和地名的菜名通常有两种翻译方法：菜名+地名+style ; 地名/人名+菜名。例如，Macedonia de fruta(马其顿水果)的译文使用了第二种翻译方法，指明菜名的产地和原料. 这是西班牙餐馆中一道经典的饭后甜点。各种水果切成小丁后，伴上糖水或果汁。这道菜名和公元前四世纪的马其顿帝国的亚历山大大帝有关。亚历山大大帝在30岁时就建立了当时史上最大的帝国，并促进帝国内各地的种族、文化、语言等的大融合。到了18世纪，法国人就把融合了各种各样元素的事物称之为“马其顿”。因此，这道糖渍水果大杂烩就取名为“水果马其顿”了。<br /> <br /> “攸县香干”is a famous characteristic traditional soy product in Hunan Province, which originated in Youxian county, Hunan province(湖南省攸县). This dish tastes smooth and tender. Tofu is easy to taste and has an aftertaste after eating. It is a home-cooked dish which is suitable for all ages. The translation &quot;dried tofu, Youxian style&quot; uses the foreignization to point out from the cultural level that the raw material of this dish is dried tofu, and it reflects the local characteristics of Youxian county. (zzpingic1130, 2010)<br /> <br /> “攸县香干”是湖南省著名的特色传统豆制品，起源于湖南省攸县境内。这道菜口感滑嫩、韧性足、口味纯、细而不腻，有点劲道。豆腐很容易入味，吃完后有回味，是一道老少适宜的家常菜。译文“Dried tofu ，Youxian style”采用异化的翻译策略从文化层面指出了菜的原料是烘干的豆腐，而且体现攸县的地方特色。 (百度百科 zzpingic1130, 2010)<br /> <br /> “玉麟香腰”was created by the chef of Peng Yulin(彭玉麟), a famous official in Hengyang(衡阳,a city of Hunan province) in the Qing Dynasty, and the name of the dish came from this. The main ingredient is pork loin. The dishes are divided into seven layers, stacked one after another and shaped like a pagoda(宝塔). It's also known as &quot;pagoda fragrant waist&quot;(宝塔香腰). If this dish is translated as &quot;sweet pig kidney&quot;, it is difficult to explain its cultural heritage, and it doesn't show the beauty of this dish visually &quot;step by step&quot;(步步高升) like a pagoda. “玉麟香腰”can be translated into English as &quot;Yulin's best homely dish&quot;. According to the legend, when Peng Yulin returned home to banquet his fellow villagers, he used “玉麟香腰” as the first dish. &quot;Peng Yulin's best family banquet dish&quot;(彭玉麟最好的家宴菜) can ingeniously explain the origin of this dish and undoubtedly explain why this dish is also called &quot;touwan&quot;(头碗,the first dish). The English translation of this dish implies &quot;top&quot;(顶级，最好). It seems to mean &quot;to reach the highest level&quot;(登塔至级). Translation of &quot;Yulin's best homely dish&quot; not only conforms to the psychological world of diners, but also fully considers the audience’s cognitive needs and aesthetic expectations. （Zhang Yanping，Zhang Weiping，2016,121-122）<br /> <br /> “玉麟香腰”是清代衡阳名官彭玉麟家厨创作而成，菜名由此而来。其主要食材是猪腰，菜分七层，层层堆砌，形状象宝塔，又名“宝塔香腰”。若将此菜译为“Sweet pig kidney”则很难解释它的文化底蕴，亦没有呈现这道菜视觉上“步步高升”如宝塔的美感。，“玉麟香腰”可以英译成 Yulin’s Best Homely Dish，因相传彭玉麟回乡宴请父老乡亲时，为表示丰盛，第一道菜就用的是“玉麟香腰”。“彭玉麟最好的家宴菜”能巧妙地解释了此菜的起源，无疑说明了此菜又称为“头碗”的缘由，且菜名英译中“最好”有蕴含“顶级”，似“登塔至级”之意：菜英译名 Yulin’s Best Homely Dish 不仅顺应了食客的心理世界，也充分考虑到受众的认知需要与审美期待。（张艳萍，张伟平，2016,121-122）<br /> <br /> ====4.4 Limitations of Domestication and Foreignization in English Translation of Hunan Cuisine====<br /> Translation strategies that adopt the combination of domestication and foreignization can ensure the clarity of English translation of Hunan cuisine and retain their cultural connotations, but there are still shortcomings, which are mainly reflected in the following three aspects.(Fan Jiwen 2016, 13-14)<br /> <br /> 采用归化和异化结合的翻译策略能最大限度地保证湘菜译文清晰明了，保留其蕴含的文化内涵，但仍有不足，主要体现在以下三个方面。<br /> <br /> Firstly, foreignization requires translators to move closer to readers and try their best to use their familiar and accustomed expressions, but sometimes it is difficult to find corresponding words in the target language, especially when we translate the culturally loaded words. For example, the dishes which represent happiness and lucky in Chinese include “四喜丸子”, “百鸟朝凤” and “全家福”. When we translate these dishes from Chinese into English, we don't know which words should be used to convey auspicious and beautiful meanings on the basis of accurately expressing the meanings of them.(Fan Jiwen 2016, 13-14)<br /> <br /> 第一，异化要求译者向读者靠拢，尽可能用他们熟悉和习惯的表达方式，但有时候很难在目的语中找到对应的词语，尤其是文化负载词的翻译。比如汉语中表示吉祥的菜包括“四喜丸子”、“百鸟朝凤”、“全家福”，翻译时在准确表达菜名含义的基础上不知道该用什么词来传达吉祥美好的意思。<br /> <br /> Secondly, due to the limitation of menu capacity, the meaning of Chinese dishes named after allusions, legends, and myths can’t be fully expressed. If it is literally translated or transliterated, the guests may be very confused. The choice of transliteration and annotation is too much content, which violates the principle of concise menus. For example, if we translate“佛跳墙” into &quot;Fotiaoqiang&quot; or &quot;Buddha jumping the wall&quot;, it doesn't reflect the essence of this dish. &quot;Fotiaoqiang-steamed abalone with shark's fin and fish maw in broth&quot; is more appropriate, but not concise enough.(Fan Jiwen 2016, 13-14)<br /> <br /> 第二，由于菜单容量的限制，以典故、传说、神话等命名的中国菜肴的含义不能完全表达。如果直译或者音译，客人可能会十分困惑。选择音译加注解的方式则内容太多，违背菜单简洁的原则。例如，“佛跳墙”如果译成“Fotiaoqiang”or “Buddha jumping the wall”未体现这道菜的本质。“Fotiaoqiang-steamed abalone with shark’s fin and fish maw in broth”比较贴切，但不够精简。<br /> <br /> Thirdly, due to the variety of cooking methods and seasonings in China, when translating Hunan cuisine into English the use of domestication is beneficial to people who understand Chinese food culture, but for most foreigners who do not know or are not familiar with these cooking methods and seasonings this type of translation will increase the difficulty of understanding. For example,“干锅烧明虾” and “红烧肉” both have the word &quot;burn&quot;(烧), but the translations are completely different. They should be translated as follows: &quot;fried prawns with pepper sauce&quot; and &quot;braised pork with brown sauce&quot;. The cooking method of the first dish is &quot;fried&quot;(煎), and the second dish - &quot;stewed&quot;（炖）.（Zhang Yang 2016,48）<br /> <br /> 第三，由于中国的烹饪方法和调料多种多样，英译时使用归化的翻译策略对于了解中国饮食文化的人来说是有利的，但是对于大部分不知道或者不熟悉这些烹饪方法和调料的外国人来说，这类的译文会增加他们的理解难度。(范继文 2016, 13-14) 比如， “干锅烧明虾”与“红烧肉”都有“烧”字，但是译法却是完全相同的，应该分别翻译如下：“Fried Prawns with Pepper Sauce”与“Braised Pork with Brown Sauce”。第一道菜的烹饪方法是“煎”，第二道菜则是“炖”。（张扬，2016,48）<br /> <br /> ===5. Conclusion===<br /> Although foreignization and domestication are opposite in theory, they are complementary and indispensable in the process of English translation of Chinese dish names. Taking translation strategies of domestication and foreignization from the linguistic and cultural levels can not only be faithful to the original, but also embody the rich cultural connotations and Chinese elements contained in the dish names. Therefore, the English translation of Chinese dish names is an indispensable part of cross-cultural communication and an important link in spreading Chinese traditional culture. I hope this chapter can provide some valuable references for future researches on the English translation of Chinese dish names. (Wang Yingying, Zhang Yu 2009, 58)<br /> <br /> 尽管异化与归化在理论上是对立的，但在中国菜名英译过程中二者的作用是相辅相成，缺一不可的。针对写实型和写意型的菜肴从语言和文化层面采取异化和归化的翻译策略不仅能够尽可能地忠于原文，还可以体现菜名中蕴含的丰富文化内涵和中国元素。由此可见，中国菜名的英译是跨文化交际中不可或缺的一部分，是传播中国传统文化的重要环节。希望本文能为未来中国菜名英译研究提供一些有价值的参考。 (王瑛瑛， 张瑜 2009, 58)<br /> <br /> ===References===<br /> *Chen Wei. 陈蔚. (2007). “从中式菜名的英译看异化与归化策略的运用” [ Application of Foreignization and Domestication in the Translation of Chinese Dish Names]. “黄石理工学院学报” [Journal of Huangshi Institute of Technology] (1):107-108.<br /> *Fan Jiwen. 范继文. (2016). “归化异化理论视角下的中式菜名英译研究——以川菜菜名翻译为例” [A study on the English translation of Chinese Dish Names from the Perspective of Domestication and Foreignization-Taking Chuan Cuisine as an Example]. Tianjin: 天津财经大学 [Tianjin University of Finance and Economics].<br /> *Lin Hong. 林红. (1991). “浅析中国菜名的英译问题” [A Study on the Problems of English Translation of Chinese Dish Names]. “四川烹饪高等专科学校学报” [Journal of Sichuan Culinary College] (2):41-42.<br /> *Jiang Jun. 姜君. (2017). “浅析异化与归化视角下的中餐菜名英译” [A Study on the English Translation of Chinese Dish Names from the Perspective of Foreignization and Domestication]. “语言文化” [Language and culture](3):203.<br /> *Operations (2008.3.10). 姊妹团子. [Steamed Glutinous Rice Ball]. &quot;Baidu Encyclopedia&quot;. https://baike.baidu.com/item/姊妹团子.<br /> *Su Songlonghua. 宿松龙华. (2011.1.13). 归化异化. [Domestication and Foreignization]. “Baidu Encyclopedia”. https://baike.baidu.com/item/归化异化.<br /> *Shen Sangshuang, Wang Shuqiong. 沈桑爽，王淑琼. (2017). “传统杭帮菜名称英译的归化与异化翻译策略研究” [A Study on the Translation Strategies of Domestication and Foreignization in the English Translation of the Names of Traditional Hangbang Dishes]. “安徽文学” [Anhui Literature] (8):87-88+104.<br /> *Wang Junjian. 王君健. (2017). “中国菜名翻译现状与思考” [Translation Status and Thoughts of Chinese Dish Names]. “海外英语” [Overseas English] (11):107-108.<br /> *Wang Shaofei. 王少飞. (2006). “文学翻译的异化与优化” [Foreignization and Optimization of Literary Translation]. Beijing: 对外经济贸易大学 [Foreign Economic and Trade University].<br /> *Wang Yingying, Zhang Yu. 王瑛瑛，张瑜. “异化与归化策略在中国菜名翻译中的应用” [The Application of Foreignization and Domestication Strategies in the Translation of Chinese Dishes]. “商洛学院学报” [Journal of Shangluo University] (3):54-58.<br /> *Xiong Bing. 熊兵. (2014). “翻译研究中的概念混淆——以‘翻译策略’、‘翻译方法’和‘翻译技巧’为例” [Conceptual Confusion in Translation Studies: a Case Study of &quot;Translation Strategies&quot;, &quot;Translation Methods&quot; and &quot;Translation Skills&quot;]. “中国翻译” [China Translators Journal] (3):82-88.<br /> *Xia Ying. 夏瑛. (2016). “浅谈中国菜名英译中存在的一些问题及对策研究” [A Study on the Problems and Measures in the English Translation of Chinese Dish Names]. “科技视界” [The Vision of Science and Technology] (26):259+273.<br /> *Zhang Yang. 张扬. (2016). “中餐菜名的英译研究——以湘菜菜名为个案” [A Study on the English Translation of Chinese Dishes: Taking Hunan Cuisine as an Example]. “英语广场” [English Square] (6):47-48.<br /> *Zhou Yonghong. 周永红. (2008). “接受美学视阈下的湘菜翻译探讨” [A Study on the Translation of Hunan Cuisine from the Perspective of Reception Aesthetics]. “贵州工业大学学报” [Journal of Guizhou University of Technology] (1):101-102+105.<br /> *Zhang Yanping, Zhang Weiping. 张艳萍，张伟平. (2016). “基于语料库的湘菜菜名英译研究” [A Corpus-based Study on the English Translation of Hunan Dishes]. “南华大学学报” [Journal of Nanhua University] (1):119-122.<br /> *Zzpingic1130 (2010.8.7). 攸县香干. [Dried Tofu, Youxian Style]. “Baidu Encyclopedia”. https://baike.baidu.com/item/攸县香干.<br /> *Zhang Zhizhong. 张志中. (2005). “兼容并蓄 双层操作——异化归化之我见” [Inclusive and Double Operation -- My View on Foreignization and Domestication]. “语言与翻译” [Language and translation] (2):44-48.<br /> --[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 09:09, 21 December 2020 (UTC)</div>

Qu Miao https://bou.de/u/index.php?title=20201215_cultexam_2&diff=118743 2020-12-21T14:41:10Z

<p>Qu Miao: /* The Liquor Culture of Ancient China 瞿淼 Student No.202070080604 MTI英语笔译 */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 英语口译==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important culture, it has both tangible cultural resources and intangible ones. Red culture in China refers to the advanced culture with Chinese characteristics created by the Communism Party of China and Chinese people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has a brilliant history and splendid civilization in ancient times. However, after the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism to China. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historical mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is tightly related to material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their courage, and summon their spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of the Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of the socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising,communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nanchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI 英语笔译==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:46, 20 December 2020 (UTC)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> <br /> 1. Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi - Tibet tea horse road (wade ancient road) began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other.During the Ming and Qing dynasties, the government controlled tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. (Kang Yuming, Li Jinfeng2020,281) <br /> <br /> 3. The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.<br /> 4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers. (Kang Yuming, Li Jinfeng2020,282)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:06, 20 December 2020 (UTC)<br /> <br /> ===Historical Values===<br /> 1. The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. (Ji Jing2016,354)<br /> <br /> 3. Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.<br /> <br /> 4. The Path of National Spirituality<br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit. (Ji Jing2016,355)<br /> <br /> 5. The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.<br /> <br /> 6. The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.<br /> <br /> 7. The road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:10, 20 December 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:11, 20 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> <br /> Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].<br /> ''北京规划建设'' BeiJing Planning Review (04)131-140.<br /> <br /> Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技''Rural Economy and Science (11)281-283.<br /> <br /> Li Gang, Li Wei李刚,李薇. (2011). 论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History]. ''西北大学学报''Journal of Northwestern University (04):113-117.<br /> <br /> Ji Ji纪静. (2016). 茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ]. ''福建茶叶'' Tea In Fujian (07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:20, 21 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪 学号202070080639 MTI 英语口译==<br /> <br /> ===Four satirical novels in ancient China===<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin)<br /> <br /> ====Introduction====<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(wenku)<br /> <br /> ==== Nie Hai Hua====<br /> <br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> <br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> <br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.(wenku)<br /> <br /> ==== the Travels of an Old Man====<br /> <br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.(wenku)<br /> <br /> ==== The Records of Officialdom Exposure====<br /> <br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> <br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together, involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> <br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.(wenku)<br /> <br /> ==== 20 years witness strange present situation====<br /> <br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> <br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> <br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.(wenku)<br /> <br /> ==== Conclution====<br /> <br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> <br /> *[1]https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin<br /> *[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012<br /> *[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012<br /> *[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012<br /> *[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012<br /> *[6]四大谴责小说政治批判手法研究[J].李辉东,2017<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Play - Li Lili 李丽丽 No.202070080594 MTI 英语笔译 ==<br /> <br /> ====The Origin of Shadow Play====<br /> <br /> [[File:shadow play-6.jpg|300px|thumb|left|Chinese Shadow Play[https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=%E7%9A%AE%E5%BD%B1%E6%88%8F&amp;step_word=&amp;hs=0&amp;pn=185&amp;spn=0&amp;di=111650&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3403588094%2C288618070&amp;os=1077736412%2C4270314261&amp;simid=13900219%2C799340577&amp;adpicid=0&amp;lpn=0&amp;ln=1690&amp;fr=&amp;fmq=1608542495445_R&amp;fm=index&amp;ic=0&amp;s=undefined&amp;hd=undefined&amp;latest=undefined&amp;copyright=undefined&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=https%3A%2F%2Ftimgsa.baidu.com%2Ftimg%3Fimage%26quality%3D80%26size%3Db9999_10000%26sec%3D1608552866017%26di%3Ddd9012147fa3668822b515c8caa7e45d%26imgtype%3D0%26src%3Dhttp%3A%2F%2F5b0988e595225.cdn.sohucs.com%2Fimages%2F20180910%2Fa3e26f960530400282934cce56a15e15.jpeg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Fooo_z%26e3Bf5i7_z%26e3Bv54AzdH3FwAzdH3Fdcnacb80n_890d9l&amp;gsm=ba&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]]]<br /> <br /> Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he was glued to it. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13) <br /> <br /> There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were a variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play was recorded in Song Dynasty. Its rise and development were closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)<br /> <br /> ====Introduction====<br /> <br /> In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)<br /> <br /> Typically, a shadow puppet has three rods and some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)<br /> <br /> So how to make a puppet? First, draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; fourth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)<br /> <br /> <br /> [[File:shadow play-3.jpg|300px|thumb|left|shadow play of puppet [https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=%E7%9A%AE%E5%BD%B1%E6%88%8F&amp;step_word=&amp;hs=0&amp;pn=52&amp;spn=0&amp;di=159940&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3259573009%2C2741597473&amp;os=1545447922%2C43065069&amp;simid=3408503629%2C426405487&amp;adpicid=0&amp;lpn=0&amp;ln=1690&amp;fr=&amp;fmq=1608548398687_R&amp;fm=result&amp;ic=0&amp;s=undefined&amp;hd=&amp;latest=&amp;copyright=&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=https%3A%2F%2Ftimgsa.baidu.com%2Ftimg%3Fimage%26quality%3D80%26size%3Db9999_10000%26sec%3D1608558486081%26di%3Db48786725188bc991e17f2b578acece7%26imgtype%3D0%26src%3Dhttp%3A%2F%2Fimg2.jiemian.com%2Fjiemian%2Foriginal%2F20170817%2F150295685830448400_a580xH.jpg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Fooo_z%26e3B3tj4twg_z%26e3Bv54AzdH3Fw6ptvsjAzdH3F8cc088c_z%26e3Bip4s&amp;gsm=35&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]]]<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people have short beard, but the elderly men have long beard. (Wang Yexia 2012,10-11)<br /> <br /> The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. The red is a symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）<br /> <br /> After the end of the &quot;Cultural Revolution&quot;, shadow puppet art rapidly revived, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> <br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.（Zhu Hengfu 2020,36）<br /> <br /> ===References===<br /> *Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House] <br /> *Wei Liqun 魏力群.(2018). 《小书大传承-皮影》[&quot;Small Book, Big Heritage - Shadow Play&quot;] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]<br /> *Zhu Hengfu 朱恒夫.(2020). 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]<br /> <br /> ===Words and Expressions===<br /> *shadow puppet皮影戏 <br /> *paper cutting 剪纸<br /> *ventriloquism 口技<br /> *manipulating rod 操纵杆<br /> *five facial features 五官<br /> *sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> *Cultural Revolution 文化大革命<br /> *intangible cultural heritage 非物质文化遗产<br /> <br /> ===Questions===<br /> *1. When is the earliest shadow puppet’s record? <br /> *2. What art of forms do shadow play use?<br /> *3. What does a red head stand for in a play?<br /> *4. When is shadow play put in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.<br /> <br /> ===Answers===<br /> *1. Song dynasty.<br /> *2. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> *3. The red is a symbol of a heroic and upstanding character.<br /> *4. On November 27, 2011.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:32, 20 December 2020 (UTC)<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI 英语笔译==<br /> <br /> ===Introduction ===<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) <br /> <br /> After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> === Analysis of Confucian Culture ===<br /> <br /> ==== Intelligence Development ====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) <br /> <br /> For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.<br /> <br /> ====Spiritual Guidance ====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> ====Order Construction ====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)<br /> <br /> In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)<br /> <br /> Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ===The Contemporary Value of Confucian Culture ===<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> ====Ideological and Political Education ====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ==== Modern Economic Construction====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) <br /> <br /> Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) <br /> <br /> Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.&quot; It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)<br /> <br /> The concept not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)<br /> <br /> ==== Legal Construction ====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) <br /> <br /> Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)<br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) <br /> <br /> In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) <br /> <br /> In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)<br /> <br /> ===The Confucius Institute ===<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)<br /> <br /> At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) <br /> <br /> Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ===Terms and Expressions ===<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ===Questions ===<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> *Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly (03) 60-62.<br /> <br /> *Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College (02) 65-70.<br /> <br /> *Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position (10) 55-56. <br /> <br /> *Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University (05) 31-33.<br /> <br /> *Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World (10) 67-68. <br /> <br /> *Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (02) 77-83. <br /> <br /> *Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University (05) 28-33. <br /> <br /> *Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (06) 39-43. <br /> <br /> *Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:04, 20 December 2020 (UTC)<br /> <br /> ==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)<br /> <br /> Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947) <br /> <br /> In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati.(Qian Zhongshu 1947)<br /> <br /> Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947). <br /> <br /> Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. <br /> <br /> To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020) <br /> <br /> Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].<br /> <br /> Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:25, 21 December 2020 (UTC)<br /> <br /> == ''' Crosstalk'''- Liu Ou 刘欧，202070080597，MTI==<br /> <br /> &lt;center&gt;刘欧 Liu Ou &lt;/center&gt;<br /> <br /> === Crosstalk===<br /> <br /> '''The Development of Crosstalk'''<br /> <br /> Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to crosstalk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China (360 Encyclopedia).<br /> <br /> Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty(1636-1912). It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China(360 Encyclopedia). <br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata(Hou Baolin,1982,01). <br /> <br /> Crosstalk is an original folk art with a long history in China, which is deeply loved by the majority of the people. The crosstalk art was almost disappeared but has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer only palys in several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, and from the city to the countryside(Hou Baolin 1982,01).<br /> <br /> '''Four Basic Skills in Crosstalk'''<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (Hou Baolin 1982,194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs(Hou Baolin 1982,11). <br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping Lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (Hou Baolin,1982,194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their &quot;four compulsory lessons&quot;. For example, the artists grasp the rhythm in language and correct their pronunciations by “saying tongue twisters&quot; or &quot;reciting classical repertoires&quot;. And gain the ability of imitation by learning different kinds of sounds.Moreover, they practice the singing skills by singing “Taiping lyrics”,opera lyrics and songs(Hou Baolin 1982,11).<br /> <br /> '''Characteristics of Crosstalk'''<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, so it is different from drama that “performing with words as well as body movements”. This kind of performance has a close relationship between the actors and the audience that shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors(Hou Baolin 1982,02). <br /> <br /> Secondly, crosstalk is the art of &quot;laughter&quot;. Crosstalk performers use laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, and its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist(Hou Baolin 1982,03). <br /> <br /> “Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary(Hou Baolin 1982,04). <br /> <br /> Crosstalk is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes the laughter relies on the plot, but sometimes the plot is not needed. The performers win the applaud of audience by the charm of their language. And“Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors (Hou Baolin 1982,04).<br /> <br /> '''Famous Artists of CrossTalk'''<br /> <br /> In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower”. Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao 2018 )<br /> <br /> ===Terms and Expressions===<br /> <br /> speaking, imitating, teasing and singing 说学逗唱<br /> <br /> Taiping lyrics 太平歌词<br /> <br /> Baofu 包袱<br /> <br /> Drama Talks 《戏剧杂谈》<br /> <br /> Drunkenness 《醉酒》<br /> <br /> Selling Tickets 《卖挂票》<br /> <br /> ===Questions===<br /> <br /> 1.When did crosstalk form its format?<br /> <br /> 2.What is Taiping lyrics?<br /> <br /> 3.Who was regarded as the “ancestor”of crosstalk art ?<br /> <br /> 4.What are the four basic skills of crosstalk?<br /> <br /> ===Answers===<br /> <br /> 1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.<br /> <br /> 2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.<br /> <br /> 3.Zhu Shaowen.<br /> <br /> 4.They are speaking, imitating, teasing and singing.<br /> <br /> ===References===<br /> <br /> 1.Hou Baolin, Xue Baokun,侯宝林,薛宝坤.(1982).《相声溯源》[The Origin of Crosstalk]1-13+194. 人民教育出版社 People's Literature Publishing House.<br /> <br /> 2.Sohu 中国相声介绍 [The Introduction of China's Crosstalk] https://cul.sohu.com/20090619/n264630449.shtml<br /> <br /> 3.360 Encyclopedia. 相声[Crosstalk] https://baike.so.com/doc/1925383-2037001.html<br /> <br /> 4.Baidu 最著名的十位相声名家排行[The Rank of Ten Famous Crosstalk Artists] https://baijiahao.baidu.com/s?id=1590742532351773378<br /> <br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO - Liu Yi 刘艺 202070080640 MTI===<br /> <br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)<br /> <br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position. Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> <br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)<br /> <br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 07:36, 21 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==<br /> <br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> <br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. <br /> <br /> At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. <br /> <br /> Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. <br /> <br /> He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. <br /> <br /> Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. <br /> <br /> Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.<br /> <br /> His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.<br /> <br /> 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”<br /> <br /> History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. <br /> <br /> It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> <br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> <br /> 英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)<br /> <br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> 参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 MTI 英语笔译==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> [[File:Iconic Building of Mogao Grottoes.jpg|150px|thumb|left|Iconic Building of Mogao Grottoes]] <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170) <br /> <br /> Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)<br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178) <br /> [[File:Taoist Wang Yuanlu.jpg|100px|thumb|right|Taoist Wang Yuanlu]]<br /> By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) <br /> <br /> During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ===Art===<br /> [[File:A Chaitya with a Central Pillar.jpg|150px|thumb|right|A Chaitya with a Central Pillar]]<br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ===[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|150px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]===<br /> [[File:Cave 251 in Northern Wei.jpg|150px|thumb|right|Cave 251 in Northern Wei]]<br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) <br /> <br /> The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)<br /> [[File:Cave 68 in Tang Dynasty.jpg|150px|thumb|right|Cave 68 in Tang Dynasty]]<br /> In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) <br /> <br /> In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)<br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)<br /> <br /> The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:44, 21 December 2020 (UTC)<br /> <br /> ===[[File:Cave 3 in Yuan Dynasty.jpg|100px|thumb|left|Cave 3 in Yuan Dynasty]]===<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong ofTang Dynasty 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.<br /> <br /> MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> Duan Wenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-Level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==<br /> <br /> ===Four State-Level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today. <br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.(Xu Ling,2019)<br /> <br /> ====Simuwu Ding====<br /> <br /> [[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]] <br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).<br /> <br /> Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015). <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (1700 BC-256 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015). <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> [[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]] <br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020). <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016). <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> [[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]] <br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> [[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]] <br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu &amp; Zhao Jing, 2019).<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu &amp; Zhao Jing, 2019). <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).<br /> <br /> ===Terms and Expressions===<br /> <br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> Anna 安娜.(2015).中国人的鼎文化[The Ding Culture of the Chinese]. 科学大观园(15),72-73.<br /> <br /> Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟[The Chime Bells of Marquis Yi ]. 中华文化论坛(11),2.<br /> <br /> Li Xiaohu &amp; Zhao Jing 李小虎 &amp; 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读[The Artistic Effect of the Bronze Galloping Horse]. 艺术教育(09),170-171.<br /> <br /> Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣[On the Jade Suit with Gold Thread in Han Tombs in Mancheng] .文物鉴定与鉴赏 (03):38-39.<br /> <br /> Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[Modern Chinese Dictionary (the 7th edition)]. 北京:商务印书馆.<br /> <br /> Wang Jing 王静.(2008).汉代玉衣研究[A Study of Jade Clothes in Han Dynasty].(硕士学位论文,河北师范大学).<br /> <br /> Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi ].文史知识 (11):1-2.<br /> <br /> Xu Ling 徐玲.(2019).博物馆与近现代中国文物保护[Museums and the Protection of Cultural Relics in Modern China]. 中国博物馆(01),57-61. <br /> <br /> Zhou Yi 周仪.(2016).“八音合鸣 乐舞齐容”——大型乐舞作品《编钟乐舞》述评[The Comment on Bianzhong Yuewu]. 戏剧之家(19),66-67+79.<br /> <br /> == Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 MTI英语笔译 ==<br /> [[File:A Panorama view of the Forbidden City.jpg|200px|thumb|left|A Panorama view of the Forbidden City]]<br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> <br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> <br /> ====II.The Name of the Forbidden City====<br /> <br /> The common English name &quot;Forbidden City&quot; is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. (Li Xieping1997, (04)29-31)<br /> <br /> “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. (Li Xieping1997, (04)29-31)<br /> <br /> Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)<br /> <br /> In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) <br /> <br /> In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. (Yu Zhuoyun1984,30)<br /> <br /> [[File:The layout of the Forbidden City.jpg|150px|thumb|left|The layout of the Forbidden City]]<br /> <br /> In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin &amp; Qu Wanlin 2006, 11.7)<br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> <br /> Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)<br /> <br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes<br /> Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(Xie Li 2005,(03)100-102)<br /> <br /> <br /> ====VI The Collections of the Forbidden City==== <br /> <br /> [[File:Han Banquet map.jpg|150px|thumb|left|Han Banquet map]]<br /> <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22)<br /> <br /> The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. (Website:The Collection of the Palace Museum )<br /> <br /> Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> [[File:Painted Pottery Figurine of a Female Dance.jpg|150px|thumb|left|Painted Pottery Figurine of a Female Dance]]<br /> [[File:Mirror with the Twelve Astrological Emblems.jpg|150px|thumb|left|Mirror with the Twelve Astrological Emblems]]<br /> [[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|150px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 09:48, 21 December 2020 (UTC)<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602 MTI 英语笔译==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.(Zhou Dandi,Yue Shufa 2012,12) <br /> <br /> ====Six Procedures====<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.(Gao Xiaoqian 2017,235)<br /> <br /> Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts.(Gao Xiaoqian 2017,235) <br /> <br /> Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment.(Gao Xiaoqian 2017,235) <br /> <br /> Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage.(Gao Xiaoqian 2017,235) <br /> <br /> What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes.(Gao Xiaoqian 2017,235) <br /> <br /> Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family.(Gao Xiaoqian 2017,235) <br /> <br /> Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ====Customs====<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017,235)<br /> <br /> After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017,235)<br /> <br /> The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ====Development====<br /> <br /> As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi,Yue Shufa 2012,15)<br /> <br /> Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics.(Zhou Dandi,Yue Shufa 2012,15)--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:54, 20 December 2020 (UTC)Mo Ling<br /> <br /> ====References====<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage Customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the Evolution of Chinese Marriage Customs Since Modern Times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ====Terms and Expressions====<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ====Questions====<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ====Answers====<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603 MTI英语笔译==<br /> &lt;center&gt; Ouyang Ling 欧阳玲 &lt;/center&gt;<br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac has been engraved in every Chinese people. <br /> <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented without sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most time-honored one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). <br /> <br /> Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). <br /> <br /> There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some researches on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign can not only reveal one’s age, but also represent his or her personality, career prospects and way of life according to Chinese superstition(The Editorial Board, 2010: 40). <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodiac sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creature, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804)<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight against each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). <br /> <br /> And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac(The Editorial Board, 2010: 34-35).<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme has developed a profound connotation and implications through generations. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> --[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:13, 20 December 2020 (UTC)<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641 MTI 英语口译==<br /> &lt;center&gt; Peng Ruihong 彭锐宏 &lt;/center&gt;<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the &quot;Going up to the mountain of swords and going down to the sea of ​​fire&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies. <br /> <br /> Introduction<br /> <br /> Chinese Clothing has a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages.(Mei Hua-2010-page-1)<br /> <br /> 1-Chinese traditional clothing<br /> <br /> Traditional clothing can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> 1:1.Traditional Han Chinese Clothing (Han Fu)<br /> <br /> It refers to the attire worn by the Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> 1:2.Chinese Suit(Tang Zhuang)<br /> <br /> It is a combination of the Manchu male jacket of the Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> 1:3.Cheongsam(Qi Pao)<br /> <br /> Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> 1:4.Chinese Tunic Suit(Zhongshan Zhuang)<br /> <br /> Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> 2.Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> 2:1.The Aesthetic Performance of Design<br /> <br /> Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that&quot;the upper part should be short, the below part should be long&quot;; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the &quot;long upper part,short below part&quot;ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)<br /> <br /> 2:2.The Aesthetic Performance of colors<br /> <br /> Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusk, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color.(Jiangsu, 2016,page-6)<br /> <br /> In Chinese traditional clothing colors red has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)<br /> In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi<br /> <br /> ==Conclusion==<br /> Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-How is means Han Fu?<br /> <br /> 4-What's the popular Chinese attire?<br /> <br /> 5-How called was Chinese Tunic Suit?<br /> <br /> 6-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Han Fu is fu means clothes in Chinese. <br /> <br /> 4-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 5-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 6-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.<br /> <br /> <br /> 2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> Culture=Topic Chinese Traditional Dance=Pingki Tanchangya, Student No:201921080004<br /> ,Major: Comparative Literature and cross culture studies.<br /> <br /> 1. Introduction<br /> <br /> There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. &quot; Lianxiang &quot; is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)<br /> <br /> <br /> 2. Characteristics of the Dance<br /> <br /> Characteristics of the movements <br /> <br /> There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)<br /> <br /> 3. The Dragon Dance<br /> <br /> The Dragon dance is a form of traditional dance and performance in Chinese culture. Like the lion dance it is most often seen in festive celebrations. Many Chinese people often use the term &quot;Descendants of the Dragon&quot; as a sign of ethnic identity, as part of a trend started in the 1970s. Chinese people who taught them agriculture, law and medicine, the foundations of civilization.<br /> Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom. The appearance of a dragon is both frightening and bold.The Dragon Dance originated during the Han Dynasty and was started by the Chinese who had shown great belief and respect towards the dragon. It is believed to have begun as part of the farming and harvest culture, also with origins as a method of healing and preventing sickness. It was also a popular event during the Song Dynasty and become a folk activity and like the lion dance, was most often seen in festive celebrations.<br /> As the dragon gives people a feeling of great respect, it is often called the Sacred Dragon. The emperors of ancient China considered themselves as the dragon. The Dragon is also the emblem of Imperial Authority. It symbolizes supernatural power, goodness, fertility, vigilance and dignity.<br /> <br /> 4. The lion Dance<br /> <br /> The lion dance is a traditional Chinese dance performed on big occasions, such as the Spring Festival (Chinese New Year) for good luck, as it is believed that the lion is an auspicious animal.<br /> In Chinese culture, the lion symbolizes power, wisdom, and superiority. People perform lion dances at Chinese festivals or big occasions to bring good fortune and chase away evil spirits.The lion dance is one of the most important traditions during Chinese New Year. It is performed to bring prosperity and good luck for the upcoming year. The lion dance is also a way to create a festive atmosphere and bring happiness. Performed in a lion costume, accompanied by the music of beating drums, clashing cymbals, and resounding gongs, lion dances imitate a lion's various movements or demonstrate martial arts, depending on the style. Though lion dances all use similar costumes, during its long development, the lion dance has divided into two styles: southern and northern.<br /> <br /> 4.1 The Southern Lion Dance<br /> <br /> The southern lion dance originated in Guangdong, and it is the style popular in Hong Kong, Macau, and the hometowns of overseas Chinese. The southern lion dance is a performance based on the study of a lion's behavior, with an emphasis on actions like scratching and shaking of the body. Performances are vivid and entertaining, even comical. There are also skillful performances, such as playing with a ball, which includes swallowing it.<br /> <br /> 4.2 The Northern Lion Dance<br /> <br /> The northern lion dance has close relations to kungfu Chinese martial arts. A young lion is performed by a single person and an adult lion is performed by a duo. Costumes are more robust, and less decorative, to allow for more movement. In the adult lion dance, the performer in front holding the lion's head is often lifted by the other to make the lion stand up. Northern lion dances are more gymnastic, involving rolling, wrestling, leaping, jumping, climbing, or kowtowing. The best places to see northern Chinese lion dances are China's martial arts theaters, like the Red Theater in Beijing, or even at the Shaolin Temple.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 14:19, 20 December 2020 (UTC)<br /> <br />  5. Conclusion<br /> <br /> &quot;Lianxiang” is a remark traditional dance that popularized in lots of regions and nations. It’s a folk dance that combines entertainment and body-building. Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom.The lion dance is an excellent example of Chinese folk culture, which has spread across the world with Chinese immigration. Overseas Chinese in Europe, America, etc. have established many lion dance clubs, performing on Chinese festivals or big occasions, particularly Chinese New Year.<br /> <br /> <br /> ===Terms and Expressions===<br /> 1.Han Dynasty 汉朝。<br /> <br /> 2.Traditional dance history 传统舞蹈史。<br /> <br /> 3.The lion Dance 舞狮。<br /> <br /> 4.The Dragon Dance 龙舞。<br /> <br /> 5.Lianxing 联兴。<br /> <br /> 6.Chinese Dance 中国舞。<br /> <br /> 7.Festivals 节庆。<br /> <br /> <br /> <br /> 6. Questions:<br /> <br /> 1. What is lianxing?<br /> 2. What is the Dragon Dance? Have you seen it before? And Where?<br /> 3. The dragon Dance originated from where?<br /> 4. what Lion Dances Symbolized?<br /> 5. How many Chinese Traditional Dance names you know?<br /> <br /> Answers:<br /> <br /> 1.&quot;Lianxiang&quot; is generally a traditional dance that is quite popular in lots of regions.<br /> 2. The Dragon dance is a form of traditional dance and performance in Chinese culture. Yes, I have seen it before in China.<br /> 3. The Dragon Dance originated from the Han Dynasty. It was started by the Chinese people those had shown great belief and respect towards the dragon.<br /> 4 The lion dance performed at Chinese festivals and<br />  “Lion” symbolizes power, wisdom, and superiority.<br /> 5.<br /> 1.The folk dance.<br /> 2 The Duhuang Dance.<br /> 3.The Lion Dance.<br /> 4.The Dragon Dance.<br /> <br /> Reference: <br /> <br /> https://en.wikipedia.org/wiki/History_of_Chinese_dance.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-JFYS201701031.htm.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-TIRE200403012.htm.<br /> <br /> https://www.atlantis-press.com/proceedings/etmhs-16/25849367.<br /> <br /> Origin of lianxiang.http://www.google.cn.<br /> <br /> Classification of Lian Xiang. http://www.google.cn.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 15:27, 20 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of Ancient China 瞿淼 Student No.202070080604 MTI英语笔译 ==<br /> <br /> ====The Liquor Culture of Ancient China====<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.(Yang Li, 2005,17)<br /> <br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 21) <br /> <br /> ====2.The Types of liquor in Ancient China====<br /> <br /> With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please? (Huang yixi, 2008, 25) <br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.(Wang Jianguo, Xu Liang, 2005, 32) <br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.(Yang Li, 2005, 11)<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> <br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific.(Du Jinpeng, 1995, 58)<br /> <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of the Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. (Du Jinpeng, 1995, 58)[[File:zun.left.jpg|300px|thumb|left]]<br /> <br /> <br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in the Song Dynasty like to warm rice wine before drinking it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. (Huang yixi, 2008, 23)[[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> <br /> ====4.Drinking Games in Ancient China====<br /> <br /> As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor games. The drinking games are of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture. (Li Fangzhou,1998, 39)<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 14:32, 21 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康<br /> <br /> 2.Chinese Dionysus 中国酒神<br /> <br /> 3.husked sorghum rice 秫米饭<br /> <br /> 4.Baishui 白水县（陕西渭南市辖县）<br /> <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县）<br /> <br /> 6.fermented wine 发酵酒<br /> <br /> 7.Distilled liquor 蒸馏酒<br /> <br /> 8.Yellow rice wine 黄酒<br /> <br /> 9.Shaoxing Wine 绍兴酒 <br /> <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> <br /> 11.Mellow Wine 醇香酒 <br /> <br /> 12.Dongwu Rice Wine 东吴老酒<br /> <br /> 13.Liquor and Spirits 白酒 <br /> <br /> 14.Kweichow Moutai 贵州茅台<br /> <br /> 15.sauce-flavor type 酱香型 <br /> <br /> 16.light flavor type 清香型 <br /> <br /> 17.strong flavor type 浓香型 <br /> <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> <br /> 19.the Peiligang culture period裴李岗文化时期 <br /> <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> <br /> 21.Zun 樽 <br /> <br /> 22.injection vessel and bowl 注子和注碗<br /> <br /> 23.drinking games 行酒令<br /> <br /> ====Questions==== <br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent characteristic of Shaoxing Wine?<br /> <br /> 3.Why does Shaoxing wine look yellow and clear?<br /> <br /> 4.Why did people in the Song dynasty invent injection vessel and bowl?<br /> <br /> 5.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 6.How do literati play drinking games in ancient Chian?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Because sugar is added in its raw material.<br /> <br /> 4.Because they liked to warm the liquor before driking it.<br /> <br /> 5.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 6.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 14:32, 21 December 2020 (UTC)<br /> <br /> == China Railway High-Speed ​​(CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> Introduction <br /> <br /> High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot;[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]<br /> <br /> Definition and terminology <br /> <br /> High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高 铁; Gāotiě; &quot;High-speed rail&quot;) are commonly used trains E In class D trains (动 车; Dòngchē; &quot;Electrical multiple unit&quot;) are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Influence on airlines<br /> <br /> The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a<br /> Technologies <br /> Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐 号; Traditional Chinese: 和 諧 號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]<br /> <br /> 4 + 4 HSR network <br /> <br /> The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]<br /> <br /> Advantages <br /> <br /> HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Wenzhou accident <br /> <br /> On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]<br /> <br /> Terms and expressions<br /> <br /> 高 铁 - High-speed rail<br /> 动 车 - Electrical multiple unit<br /> 和 諧 號 – Harmony<br /> 復興號 - Rejuvenation<br /> <br /> Questions <br /> <br /> 1. What does the World Bank research say?<br /> 2. What forced China's domestic airlines to cut airfares and cancel regional flights?<br /> 3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?<br /> 4. What caused the accident?<br /> 5. What are the benefits of HSR?<br /> <br /> Answers<br /> <br /> 1. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot; <br /> 2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.<br /> 3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. <br /> 4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.<br /> 5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.<br /> <br /> References <br /> <br /> http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf<br /> https://ru.qaz.wiki/wiki/China_Railway_High-speed<br /> https://en.m.wikipedia.org/wiki/Wayback_Machine <br /> http://www.railjournal.com/A/xfeature2.html<br /> https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects and there are great differences between the dialects because of the speech impediment. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, called Putonghua and also known as Mandarin in Western countries. Government also has implemented a strategy to promote Putonghua and to facilitate it learning with Pinyin . Cheng Aimin (2019,124)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusion.== <br /> Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> <br /> Lingo: 林戈<br /> <br /> Lingo: 行话，语言<br /> <br /> Putonghua: 普通话<br /> <br /> Await student:等待学生<br /> <br /> Pinyin: 等待学生<br /> <br /> Pinyin: 拼音<br /> <br /> Lofty: 崇高<br /> <br /> Vernacular: 白话<br /> <br /> Swine: 猪<br /> <br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

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<p>Qu Miao: /* The Liquor Culture of China 瞿淼 Student No.202070080604 MTI英语笔译 */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 英语口译==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important culture, it has both tangible cultural resources and intangible ones. Red culture in China refers to the advanced culture with Chinese characteristics created by the Communism Party of China and Chinese people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has a brilliant history and splendid civilization in ancient times. However, after the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism to China. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historical mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is tightly related to material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their courage, and summon their spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of the Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of the socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising,communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nanchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI 英语笔译==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:46, 20 December 2020 (UTC)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> <br /> 1. Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi - Tibet tea horse road (wade ancient road) began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other.During the Ming and Qing dynasties, the government controlled tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. (Kang Yuming, Li Jinfeng2020,281) <br /> <br /> 3. The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.<br /> 4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers. (Kang Yuming, Li Jinfeng2020,282)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:06, 20 December 2020 (UTC)<br /> <br /> ===Historical Values===<br /> 1. The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. (Ji Jing2016,354)<br /> <br /> 3. Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.<br /> <br /> 4. The Path of National Spirituality<br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit. (Ji Jing2016,355)<br /> <br /> 5. The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.<br /> <br /> 6. The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.<br /> <br /> 7. The road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:10, 20 December 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:11, 20 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> <br /> Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].<br /> ''北京规划建设'' BeiJing Planning Review (04)131-140.<br /> <br /> Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技''Rural Economy and Science (11)281-283.<br /> <br /> Li Gang, Li Wei李刚,李薇. (2011). 论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History]. ''西北大学学报''Journal of Northwestern University (04):113-117.<br /> <br /> Ji Ji纪静. (2016). 茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ]. ''福建茶叶'' Tea In Fujian (07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:20, 21 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪 学号202070080639 MTI 英语口译==<br /> <br /> ===Four satirical novels in ancient China===<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin)<br /> <br /> ====Introduction====<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(wenku)<br /> <br /> ==== Nie Hai Hua====<br /> <br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> <br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> <br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.(wenku)<br /> <br /> ==== the Travels of an Old Man====<br /> <br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.(wenku)<br /> <br /> ==== The Records of Officialdom Exposure====<br /> <br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> <br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together, involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> <br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.(wenku)<br /> <br /> ==== 20 years witness strange present situation====<br /> <br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> <br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> <br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.(wenku)<br /> <br /> ==== Conclution====<br /> <br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> <br /> *[1]https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin<br /> *[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012<br /> *[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012<br /> *[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012<br /> *[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012<br /> *[6]四大谴责小说政治批判手法研究[J].李辉东,2017<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Play - Li Lili 李丽丽 No.202070080594 MTI 英语笔译 ==<br /> <br /> ====The Origin of Shadow Play====<br /> <br /> [[File:shadow play-6.jpg|300px|thumb|left|Chinese Shadow Play[https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=%E7%9A%AE%E5%BD%B1%E6%88%8F&amp;step_word=&amp;hs=0&amp;pn=185&amp;spn=0&amp;di=111650&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3403588094%2C288618070&amp;os=1077736412%2C4270314261&amp;simid=13900219%2C799340577&amp;adpicid=0&amp;lpn=0&amp;ln=1690&amp;fr=&amp;fmq=1608542495445_R&amp;fm=index&amp;ic=0&amp;s=undefined&amp;hd=undefined&amp;latest=undefined&amp;copyright=undefined&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=https%3A%2F%2Ftimgsa.baidu.com%2Ftimg%3Fimage%26quality%3D80%26size%3Db9999_10000%26sec%3D1608552866017%26di%3Ddd9012147fa3668822b515c8caa7e45d%26imgtype%3D0%26src%3Dhttp%3A%2F%2F5b0988e595225.cdn.sohucs.com%2Fimages%2F20180910%2Fa3e26f960530400282934cce56a15e15.jpeg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Fooo_z%26e3Bf5i7_z%26e3Bv54AzdH3FwAzdH3Fdcnacb80n_890d9l&amp;gsm=ba&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]]]<br /> <br /> Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he was glued to it. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13) <br /> <br /> There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were a variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play was recorded in Song Dynasty. Its rise and development were closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)<br /> <br /> ====Introduction====<br /> <br /> In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)<br /> <br /> Typically, a shadow puppet has three rods and some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)<br /> <br /> So how to make a puppet? First, draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; fourth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)<br /> <br /> <br /> [[File:shadow play-3.jpg|300px|thumb|left|shadow play of puppet [https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=%E7%9A%AE%E5%BD%B1%E6%88%8F&amp;step_word=&amp;hs=0&amp;pn=52&amp;spn=0&amp;di=159940&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3259573009%2C2741597473&amp;os=1545447922%2C43065069&amp;simid=3408503629%2C426405487&amp;adpicid=0&amp;lpn=0&amp;ln=1690&amp;fr=&amp;fmq=1608548398687_R&amp;fm=result&amp;ic=0&amp;s=undefined&amp;hd=&amp;latest=&amp;copyright=&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=https%3A%2F%2Ftimgsa.baidu.com%2Ftimg%3Fimage%26quality%3D80%26size%3Db9999_10000%26sec%3D1608558486081%26di%3Db48786725188bc991e17f2b578acece7%26imgtype%3D0%26src%3Dhttp%3A%2F%2Fimg2.jiemian.com%2Fjiemian%2Foriginal%2F20170817%2F150295685830448400_a580xH.jpg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Fooo_z%26e3B3tj4twg_z%26e3Bv54AzdH3Fw6ptvsjAzdH3F8cc088c_z%26e3Bip4s&amp;gsm=35&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]]]<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people have short beard, but the elderly men have long beard. (Wang Yexia 2012,10-11)<br /> <br /> The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. The red is a symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）<br /> <br /> After the end of the &quot;Cultural Revolution&quot;, shadow puppet art rapidly revived, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> <br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.（Zhu Hengfu 2020,36）<br /> <br /> ===References===<br /> *Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House] <br /> *Wei Liqun 魏力群.(2018). 《小书大传承-皮影》[&quot;Small Book, Big Heritage - Shadow Play&quot;] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]<br /> *Zhu Hengfu 朱恒夫.(2020). 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]<br /> <br /> ===Words and Expressions===<br /> *shadow puppet皮影戏 <br /> *paper cutting 剪纸<br /> *ventriloquism 口技<br /> *manipulating rod 操纵杆<br /> *five facial features 五官<br /> *sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> *Cultural Revolution 文化大革命<br /> *intangible cultural heritage 非物质文化遗产<br /> <br /> ===Questions===<br /> *1. When is the earliest shadow puppet’s record? <br /> *2. What art of forms do shadow play use?<br /> *3. What does a red head stand for in a play?<br /> *4. When is shadow play put in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.<br /> <br /> ===Answers===<br /> *1. Song dynasty.<br /> *2. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> *3. The red is a symbol of a heroic and upstanding character.<br /> *4. On November 27, 2011.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:32, 20 December 2020 (UTC)<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI 英语笔译==<br /> <br /> ===Introduction ===<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) <br /> <br /> After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> === Analysis of Confucian Culture ===<br /> <br /> ==== Intelligence Development ====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) <br /> <br /> For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.<br /> <br /> ====Spiritual Guidance ====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> ====Order Construction ====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)<br /> <br /> In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)<br /> <br /> Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ===The Contemporary Value of Confucian Culture ===<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> ====Ideological and Political Education ====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ==== Modern Economic Construction====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) <br /> <br /> Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) <br /> <br /> Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.&quot; It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)<br /> <br /> The concept not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)<br /> <br /> ==== Legal Construction ====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) <br /> <br /> Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)<br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) <br /> <br /> In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) <br /> <br /> In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)<br /> <br /> ===The Confucius Institute ===<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)<br /> <br /> At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) <br /> <br /> Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ===Terms and Expressions ===<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ===Questions ===<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> *Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly (03) 60-62.<br /> <br /> *Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College (02) 65-70.<br /> <br /> *Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position (10) 55-56. <br /> <br /> *Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University (05) 31-33.<br /> <br /> *Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World (10) 67-68. <br /> <br /> *Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (02) 77-83. <br /> <br /> *Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University (05) 28-33. <br /> <br /> *Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (06) 39-43. <br /> <br /> *Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:04, 20 December 2020 (UTC)<br /> <br /> ==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)<br /> <br /> Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947) <br /> <br /> In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati.(Qian Zhongshu 1947)<br /> <br /> Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947). <br /> <br /> Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. <br /> <br /> To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020) <br /> <br /> Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].<br /> <br /> Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:25, 21 December 2020 (UTC)<br /> <br /> == ''' Crosstalk'''- Liu Ou 刘欧，202070080597，MTI==<br /> <br /> &lt;center&gt;刘欧 Liu Ou &lt;/center&gt;<br /> <br /> === Crosstalk===<br /> <br /> '''The Development of Crosstalk'''<br /> <br /> Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to crosstalk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China (360 Encyclopedia).<br /> <br /> Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty(1636-1912). It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China(360 Encyclopedia). <br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata(Hou Baolin,1982,01). <br /> <br /> Crosstalk is an original folk art with a long history in China, which is deeply loved by the majority of the people. The crosstalk art was almost disappeared but has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer only palys in several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, and from the city to the countryside(Hou Baolin 1982,01).<br /> <br /> '''Four Basic Skills in Crosstalk'''<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (Hou Baolin 1982,194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs(Hou Baolin 1982,11). <br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping Lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (Hou Baolin,1982,194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their &quot;four compulsory lessons&quot;. For example, the artists grasp the rhythm in language and correct their pronunciations by “saying tongue twisters&quot; or &quot;reciting classical repertoires&quot;. And gain the ability of imitation by learning different kinds of sounds.Moreover, they practice the singing skills by singing “Taiping lyrics”,opera lyrics and songs(Hou Baolin 1982,11).<br /> <br /> '''Characteristics of Crosstalk'''<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, so it is different from drama that “performing with words as well as body movements”. This kind of performance has a close relationship between the actors and the audience that shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors(Hou Baolin 1982,02). <br /> <br /> Secondly, crosstalk is the art of &quot;laughter&quot;. Crosstalk performers use laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, and its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist(Hou Baolin 1982,03). <br /> <br /> “Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary(Hou Baolin 1982,04). <br /> <br /> Crosstalk is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes the laughter relies on the plot, but sometimes the plot is not needed. The performers win the applaud of audience by the charm of their language. And“Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors (Hou Baolin 1982,04).<br /> <br /> '''Famous Artists of CrossTalk'''<br /> <br /> In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower”. Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao 2018 )<br /> <br /> ===Terms and Expressions===<br /> <br /> speaking, imitating, teasing and singing 说学逗唱<br /> <br /> Taiping lyrics 太平歌词<br /> <br /> Baofu 包袱<br /> <br /> Drama Talks 《戏剧杂谈》<br /> <br /> Drunkenness 《醉酒》<br /> <br /> Selling Tickets 《卖挂票》<br /> <br /> ===Questions===<br /> <br /> 1.When did crosstalk form its format?<br /> <br /> 2.What is Taiping lyrics?<br /> <br /> 3.Who was regarded as the “ancestor”of crosstalk art ?<br /> <br /> 4.What are the four basic skills of crosstalk?<br /> <br /> ===Answers===<br /> <br /> 1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.<br /> <br /> 2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.<br /> <br /> 3.Zhu Shaowen.<br /> <br /> 4.They are speaking, imitating, teasing and singing.<br /> <br /> ===References===<br /> <br /> 1.Hou Baolin, Xue Baokun,侯宝林,薛宝坤.(1982).《相声溯源》[The Origin of Crosstalk]1-13+194. 人民教育出版社 People's Literature Publishing House.<br /> <br /> 2.Sohu 中国相声介绍 [The Introduction of China's Crosstalk] https://cul.sohu.com/20090619/n264630449.shtml<br /> <br /> 3.360 Encyclopedia. 相声[Crosstalk] https://baike.so.com/doc/1925383-2037001.html<br /> <br /> 4.Baidu 最著名的十位相声名家排行[The Rank of Ten Famous Crosstalk Artists] https://baijiahao.baidu.com/s?id=1590742532351773378<br /> <br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO - Liu Yi 刘艺 202070080640 MTI===<br /> <br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)<br /> <br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position. Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> <br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)<br /> <br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 07:36, 21 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==<br /> <br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> <br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. <br /> <br /> At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. <br /> <br /> Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. <br /> <br /> He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. <br /> <br /> Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. <br /> <br /> Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.<br /> <br /> His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.<br /> <br /> 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”<br /> <br /> History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. <br /> <br /> It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> <br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> <br /> 英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)<br /> <br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> 参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 MTI 英语笔译==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> [[File:Iconic Building of Mogao Grottoes.jpg|150px|thumb|left|Iconic Building of Mogao Grottoes]] <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170) <br /> <br /> Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)<br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178) <br /> [[File:Taoist Wang Yuanlu.jpg|100px|thumb|right|Taoist Wang Yuanlu]]<br /> By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) <br /> <br /> During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ===Art===<br /> [[File:A Chaitya with a Central Pillar.jpg|150px|thumb|right|A Chaitya with a Central Pillar]]<br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ===[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|150px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]===<br /> [[File:Cave 251 in Northern Wei.jpg|150px|thumb|right|Cave 251 in Northern Wei]]<br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) <br /> <br /> The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)<br /> [[File:Cave 68 in Tang Dynasty.jpg|150px|thumb|right|Cave 68 in Tang Dynasty]]<br /> In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) <br /> <br /> In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)<br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)<br /> <br /> The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:44, 21 December 2020 (UTC)<br /> <br /> ===[[File:Cave 3 in Yuan Dynasty.jpg|100px|thumb|left|Cave 3 in Yuan Dynasty]]===<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong ofTang Dynasty 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.<br /> <br /> MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> Duan Wenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-Level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==<br /> <br /> ===Four State-Level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today. <br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.(Xu Ling,2019)<br /> <br /> ====Simuwu Ding====<br /> <br /> [[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]] <br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).<br /> <br /> Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015). <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (1700 BC-256 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015). <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> [[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]] <br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020). <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016). <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> [[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]] <br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> [[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]] <br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu &amp; Zhao Jing, 2019).<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu &amp; Zhao Jing, 2019). <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).<br /> <br /> ===Terms and Expressions===<br /> <br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> Anna 安娜.(2015).中国人的鼎文化[The Ding Culture of the Chinese]. 科学大观园(15),72-73.<br /> <br /> Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟[The Chime Bells of Marquis Yi ]. 中华文化论坛(11),2.<br /> <br /> Li Xiaohu &amp; Zhao Jing 李小虎 &amp; 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读[The Artistic Effect of the Bronze Galloping Horse]. 艺术教育(09),170-171.<br /> <br /> Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣[On the Jade Suit with Gold Thread in Han Tombs in Mancheng] .文物鉴定与鉴赏 (03):38-39.<br /> <br /> Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[Modern Chinese Dictionary (the 7th edition)]. 北京:商务印书馆.<br /> <br /> Wang Jing 王静.(2008).汉代玉衣研究[A Study of Jade Clothes in Han Dynasty].(硕士学位论文,河北师范大学).<br /> <br /> Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi ].文史知识 (11):1-2.<br /> <br /> Xu Ling 徐玲.(2019).博物馆与近现代中国文物保护[Museums and the Protection of Cultural Relics in Modern China]. 中国博物馆(01),57-61. <br /> <br /> Zhou Yi 周仪.(2016).“八音合鸣 乐舞齐容”——大型乐舞作品《编钟乐舞》述评[The Comment on Bianzhong Yuewu]. 戏剧之家(19),66-67+79.<br /> <br /> == Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 MTI英语笔译 ==<br /> [[File:A Panorama view of the Forbidden City.jpg|200px|thumb|left|A Panorama view of the Forbidden City]]<br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> <br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> <br /> ====II.The Name of the Forbidden City====<br /> <br /> The common English name &quot;Forbidden City&quot; is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. (Li Xieping1997, (04)29-31)<br /> <br /> “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. (Li Xieping1997, (04)29-31)<br /> <br /> Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)<br /> <br /> In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) <br /> <br /> In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. (Yu Zhuoyun1984,30)<br /> <br /> [[File:The layout of the Forbidden City.jpg|150px|thumb|left|The layout of the Forbidden City]]<br /> <br /> In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin &amp; Qu Wanlin 2006, 11.7)<br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> <br /> Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)<br /> <br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes<br /> Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(Xie Li 2005,(03)100-102)<br /> <br /> <br /> ====VI The Collections of the Forbidden City==== <br /> <br /> [[File:Han Banquet map.jpg|150px|thumb|left|Han Banquet map]]<br /> <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22)<br /> <br /> The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. (Website:The Collection of the Palace Museum )<br /> <br /> Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> [[File:Painted Pottery Figurine of a Female Dance.jpg|150px|thumb|left|Painted Pottery Figurine of a Female Dance]]<br /> [[File:Mirror with the Twelve Astrological Emblems.jpg|150px|thumb|left|Mirror with the Twelve Astrological Emblems]]<br /> [[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|150px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 09:48, 21 December 2020 (UTC)<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602 MTI 英语笔译==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.(Zhou Dandi,Yue Shufa 2012,12) <br /> <br /> ====Six Procedures====<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.(Gao Xiaoqian 2017,235)<br /> <br /> Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts.(Gao Xiaoqian 2017,235) <br /> <br /> Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment.(Gao Xiaoqian 2017,235) <br /> <br /> Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage.(Gao Xiaoqian 2017,235) <br /> <br /> What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes.(Gao Xiaoqian 2017,235) <br /> <br /> Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family.(Gao Xiaoqian 2017,235) <br /> <br /> Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ====Customs====<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017,235)<br /> <br /> After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017,235)<br /> <br /> The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ====Development====<br /> <br /> As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi,Yue Shufa 2012,15)<br /> <br /> Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics.(Zhou Dandi,Yue Shufa 2012,15)--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:54, 20 December 2020 (UTC)Mo Ling<br /> <br /> ====References====<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage Customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the Evolution of Chinese Marriage Customs Since Modern Times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ====Terms and Expressions====<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ====Questions====<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ====Answers====<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603 MTI英语笔译==<br /> &lt;center&gt; Ouyang Ling 欧阳玲 &lt;/center&gt;<br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac has been engraved in every Chinese people. <br /> <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented without sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most time-honored one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). <br /> <br /> Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). <br /> <br /> There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some researches on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign can not only reveal one’s age, but also represent his or her personality, career prospects and way of life according to Chinese superstition(The Editorial Board, 2010: 40). <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodiac sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creature, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804)<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight against each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). <br /> <br /> And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac(The Editorial Board, 2010: 34-35).<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme has developed a profound connotation and implications through generations. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> --[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:13, 20 December 2020 (UTC)<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641 MTI 英语口译==<br /> &lt;center&gt; Peng Ruihong 彭锐宏 &lt;/center&gt;<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the &quot;Going up to the mountain of swords and going down to the sea of ​​fire&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies. <br /> <br /> Introduction<br /> <br /> Chinese Clothing has a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages.(Mei Hua-2010-page-1)<br /> <br /> 1-Chinese traditional clothing<br /> <br /> Traditional clothing can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> 1:1.Traditional Han Chinese Clothing (Han Fu)<br /> <br /> It refers to the attire worn by the Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> 1:2.Chinese Suit(Tang Zhuang)<br /> <br /> It is a combination of the Manchu male jacket of the Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> 1:3.Cheongsam(Qi Pao)<br /> <br /> Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> 1:4.Chinese Tunic Suit(Zhongshan Zhuang)<br /> <br /> Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> 2.Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> 2:1.The Aesthetic Performance of Design<br /> <br /> Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that&quot;the upper part should be short, the below part should be long&quot;; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the &quot;long upper part,short below part&quot;ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)<br /> <br /> 2:2.The Aesthetic Performance of colors<br /> <br /> Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusk, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color.(Jiangsu, 2016,page-6)<br /> <br /> In Chinese traditional clothing colors red has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)<br /> In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi<br /> <br /> ==Conclusion==<br /> Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-How is means Han Fu?<br /> <br /> 4-What's the popular Chinese attire?<br /> <br /> 5-How called was Chinese Tunic Suit?<br /> <br /> 6-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Han Fu is fu means clothes in Chinese. <br /> <br /> 4-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 5-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 6-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.<br /> <br /> <br /> 2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> Culture=Topic Chinese Traditional Dance=Pingki Tanchangya, Student No:201921080004<br /> ,Major: Comparative Literature and cross culture studies.<br /> <br /> 1. Introduction<br /> <br /> There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. &quot; Lianxiang &quot; is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)<br /> <br /> <br /> 2. Characteristics of the Dance<br /> <br /> Characteristics of the movements <br /> <br /> There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)<br /> <br /> 3. The Dragon Dance<br /> <br /> The Dragon dance is a form of traditional dance and performance in Chinese culture. Like the lion dance it is most often seen in festive celebrations. Many Chinese people often use the term &quot;Descendants of the Dragon&quot; as a sign of ethnic identity, as part of a trend started in the 1970s. Chinese people who taught them agriculture, law and medicine, the foundations of civilization.<br /> Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom. The appearance of a dragon is both frightening and bold.The Dragon Dance originated during the Han Dynasty and was started by the Chinese who had shown great belief and respect towards the dragon. It is believed to have begun as part of the farming and harvest culture, also with origins as a method of healing and preventing sickness. It was also a popular event during the Song Dynasty and become a folk activity and like the lion dance, was most often seen in festive celebrations.<br /> As the dragon gives people a feeling of great respect, it is often called the Sacred Dragon. The emperors of ancient China considered themselves as the dragon. The Dragon is also the emblem of Imperial Authority. It symbolizes supernatural power, goodness, fertility, vigilance and dignity.<br /> <br /> 4. The lion Dance<br /> <br /> The lion dance is a traditional Chinese dance performed on big occasions, such as the Spring Festival (Chinese New Year) for good luck, as it is believed that the lion is an auspicious animal.<br /> In Chinese culture, the lion symbolizes power, wisdom, and superiority. People perform lion dances at Chinese festivals or big occasions to bring good fortune and chase away evil spirits.The lion dance is one of the most important traditions during Chinese New Year. It is performed to bring prosperity and good luck for the upcoming year. The lion dance is also a way to create a festive atmosphere and bring happiness. Performed in a lion costume, accompanied by the music of beating drums, clashing cymbals, and resounding gongs, lion dances imitate a lion's various movements or demonstrate martial arts, depending on the style. Though lion dances all use similar costumes, during its long development, the lion dance has divided into two styles: southern and northern.<br /> <br /> 4.1 The Southern Lion Dance<br /> <br /> The southern lion dance originated in Guangdong, and it is the style popular in Hong Kong, Macau, and the hometowns of overseas Chinese. The southern lion dance is a performance based on the study of a lion's behavior, with an emphasis on actions like scratching and shaking of the body. Performances are vivid and entertaining, even comical. There are also skillful performances, such as playing with a ball, which includes swallowing it.<br /> <br /> 4.2 The Northern Lion Dance<br /> <br /> The northern lion dance has close relations to kungfu Chinese martial arts. A young lion is performed by a single person and an adult lion is performed by a duo. Costumes are more robust, and less decorative, to allow for more movement. In the adult lion dance, the performer in front holding the lion's head is often lifted by the other to make the lion stand up. Northern lion dances are more gymnastic, involving rolling, wrestling, leaping, jumping, climbing, or kowtowing. The best places to see northern Chinese lion dances are China's martial arts theaters, like the Red Theater in Beijing, or even at the Shaolin Temple.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 14:19, 20 December 2020 (UTC)<br /> <br />  5. Conclusion<br /> <br /> &quot;Lianxiang” is a remark traditional dance that popularized in lots of regions and nations. It’s a folk dance that combines entertainment and body-building. Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom.The lion dance is an excellent example of Chinese folk culture, which has spread across the world with Chinese immigration. Overseas Chinese in Europe, America, etc. have established many lion dance clubs, performing on Chinese festivals or big occasions, particularly Chinese New Year.<br /> <br /> <br /> ===Terms and Expressions===<br /> 1.Han Dynasty 汉朝。<br /> <br /> 2.Traditional dance history 传统舞蹈史。<br /> <br /> 3.The lion Dance 舞狮。<br /> <br /> 4.The Dragon Dance 龙舞。<br /> <br /> 5.Lianxing 联兴。<br /> <br /> 6.Chinese Dance 中国舞。<br /> <br /> 7.Festivals 节庆。<br /> <br /> <br /> <br /> 6. Questions:<br /> <br /> 1. What is lianxing?<br /> 2. What is the Dragon Dance? Have you seen it before? And Where?<br /> 3. The dragon Dance originated from where?<br /> 4. what Lion Dances Symbolized?<br /> 5. How many Chinese Traditional Dance names you know?<br /> <br /> Answers:<br /> <br /> 1.&quot;Lianxiang&quot; is generally a traditional dance that is quite popular in lots of regions.<br /> 2. The Dragon dance is a form of traditional dance and performance in Chinese culture. Yes, I have seen it before in China.<br /> 3. The Dragon Dance originated from the Han Dynasty. It was started by the Chinese people those had shown great belief and respect towards the dragon.<br /> 4 The lion dance performed at Chinese festivals and<br />  “Lion” symbolizes power, wisdom, and superiority.<br /> 5.<br /> 1.The folk dance.<br /> 2 The Duhuang Dance.<br /> 3.The Lion Dance.<br /> 4.The Dragon Dance.<br /> <br /> Reference: <br /> <br /> https://en.wikipedia.org/wiki/History_of_Chinese_dance.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-JFYS201701031.htm.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-TIRE200403012.htm.<br /> <br /> https://www.atlantis-press.com/proceedings/etmhs-16/25849367.<br /> <br /> Origin of lianxiang.http://www.google.cn.<br /> <br /> Classification of Lian Xiang. http://www.google.cn.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 15:27, 20 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of Ancient China 瞿淼 Student No.202070080604 MTI英语笔译 ==<br /> <br /> ====The Liquor Culture of Ancient China====<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.(Yang Li, 2005,17)<br /> <br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 21) <br /> <br /> ====2.The Types of liquor in Ancient China====<br /> <br /> With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please? (Huang yixi, 2008, 25) <br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.(Wang Jianguo, Xu Liang, 2005, 32) <br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.(Yang Li, 2005, 11)<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> <br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific.(Du Jinpeng, 1995, 58)<br /> <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of the Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. (Du Jinpeng, 1995, 58)<br /> [[File:zun.left.jpg|300px|thumb|left]]<br /> <br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in the Song Dynasty like to warm rice wine before drinking it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. (Huang yixi, 2008, 23)<br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> ====4.Drinking Games in Ancient China====<br /> <br /> As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor games. The drinking games are of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture. (Li Fangzhou,1998, 39)<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 14:32, 21 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康<br /> <br /> 2.Chinese Dionysus 中国酒神<br /> <br /> 3.husked sorghum rice 秫米饭<br /> <br /> 4.Baishui 白水县（陕西渭南市辖县）<br /> <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县）<br /> <br /> 6.fermented wine 发酵酒<br /> <br /> 7.Distilled liquor 蒸馏酒<br /> <br /> 8.Yellow rice wine 黄酒<br /> <br /> 9.Shaoxing Wine 绍兴酒 <br /> <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> <br /> 11.Mellow Wine 醇香酒 <br /> <br /> 12.Dongwu Rice Wine 东吴老酒<br /> <br /> 13.Liquor and Spirits 白酒 <br /> <br /> 14.Kweichow Moutai 贵州茅台<br /> <br /> 15.sauce-flavor type 酱香型 <br /> <br /> 16.light flavor type 清香型 <br /> <br /> 17.strong flavor type 浓香型 <br /> <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> <br /> 19.the Peiligang culture period裴李岗文化时期 <br /> <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> <br /> 21.Zun 樽 <br /> <br /> 22.injection vessel and bowl 注子和注碗<br /> <br /> 23.drinking games 行酒令<br /> <br /> ====Questions==== <br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent characteristic of Shaoxing Wine?<br /> <br /> 3.Why does Shaoxing wine look yellow and clear?<br /> <br /> 4.Why did people in the Song dynasty invent injection vessel and bowl?<br /> <br /> 5.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 6.How do literati play drinking games in ancient Chian?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Because sugar is added in its raw material.<br /> <br /> 4.Because they liked to warm the liquor before driking it.<br /> <br /> 5.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 6.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 14:32, 21 December 2020 (UTC)<br /> <br /> == China Railway High-Speed ​​(CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> Introduction <br /> <br /> High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot;[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]<br /> <br /> Definition and terminology <br /> <br /> High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高 铁; Gāotiě; &quot;High-speed rail&quot;) are commonly used trains E In class D trains (动 车; Dòngchē; &quot;Electrical multiple unit&quot;) are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Influence on airlines<br /> <br /> The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a<br /> Technologies <br /> Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐 号; Traditional Chinese: 和 諧 號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]<br /> <br /> 4 + 4 HSR network <br /> <br /> The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]<br /> <br /> Advantages <br /> <br /> HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Wenzhou accident <br /> <br /> On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]<br /> <br /> Terms and expressions<br /> <br /> 高 铁 - High-speed rail<br /> 动 车 - Electrical multiple unit<br /> 和 諧 號 – Harmony<br /> 復興號 - Rejuvenation<br /> <br /> Questions <br /> <br /> 1. What does the World Bank research say?<br /> 2. What forced China's domestic airlines to cut airfares and cancel regional flights?<br /> 3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?<br /> 4. What caused the accident?<br /> 5. What are the benefits of HSR?<br /> <br /> Answers<br /> <br /> 1. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot; <br /> 2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.<br /> 3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. <br /> 4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.<br /> 5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.<br /> <br /> References <br /> <br /> http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf<br /> https://ru.qaz.wiki/wiki/China_Railway_High-speed<br /> https://en.m.wikipedia.org/wiki/Wayback_Machine <br /> http://www.railjournal.com/A/xfeature2.html<br /> https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects and there are great differences between the dialects because of the speech impediment. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, called Putonghua and also known as Mandarin in Western countries. Government also has implemented a strategy to promote Putonghua and to facilitate it learning with Pinyin . Cheng Aimin (2019,124)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusion.== <br /> Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> <br /> Lingo: 林戈<br /> <br /> Lingo: 行话，语言<br /> <br /> Putonghua: 普通话<br /> <br /> Await student:等待学生<br /> <br /> Pinyin: 等待学生<br /> <br /> Pinyin: 拼音<br /> <br /> Lofty: 崇高<br /> <br /> Vernacular: 白话<br /> <br /> Swine: 猪<br /> <br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

Qu Miao https://bou.de/u/index.php?title=20201215_cultexam_2&diff=118717 2020-12-21T14:32:23Z

<p>Qu Miao: /* The Liquor Culture of China 瞿淼 Student No.202070080604 */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 英语口译==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important culture, it has both tangible cultural resources and intangible ones. Red culture in China refers to the advanced culture with Chinese characteristics created by the Communism Party of China and Chinese people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has a brilliant history and splendid civilization in ancient times. However, after the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism to China. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historical mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is tightly related to material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their courage, and summon their spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of the Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of the socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising,communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nanchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI 英语笔译==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:46, 20 December 2020 (UTC)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> <br /> 1. Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi - Tibet tea horse road (wade ancient road) began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other.During the Ming and Qing dynasties, the government controlled tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. (Kang Yuming, Li Jinfeng2020,281) <br /> <br /> 3. The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.<br /> 4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers. (Kang Yuming, Li Jinfeng2020,282)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:06, 20 December 2020 (UTC)<br /> <br /> ===Historical Values===<br /> 1. The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. (Ji Jing2016,354)<br /> <br /> 3. Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.<br /> <br /> 4. The Path of National Spirituality<br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit. (Ji Jing2016,355)<br /> <br /> 5. The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.<br /> <br /> 6. The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.<br /> <br /> 7. The road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:10, 20 December 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:11, 20 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> <br /> Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].<br /> ''北京规划建设'' BeiJing Planning Review (04)131-140.<br /> <br /> Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技''Rural Economy and Science (11)281-283.<br /> <br /> Li Gang, Li Wei李刚,李薇. (2011). 论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History]. ''西北大学学报''Journal of Northwestern University (04):113-117.<br /> <br /> Ji Ji纪静. (2016). 茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ]. ''福建茶叶'' Tea In Fujian (07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:20, 21 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪 学号202070080639 MTI 英语口译==<br /> <br /> ===Four satirical novels in ancient China===<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin)<br /> <br /> ====Introduction====<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(wenku)<br /> <br /> ==== Nie Hai Hua====<br /> <br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> <br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> <br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.(wenku)<br /> <br /> ==== the Travels of an Old Man====<br /> <br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.(wenku)<br /> <br /> ==== The Records of Officialdom Exposure====<br /> <br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> <br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together, involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> <br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.(wenku)<br /> <br /> ==== 20 years witness strange present situation====<br /> <br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> <br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> <br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.(wenku)<br /> <br /> ==== Conclution====<br /> <br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> <br /> *[1]https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&amp;fromid=10570148&amp;fr=aladdin<br /> *[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012<br /> *[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012<br /> *[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012<br /> *[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012<br /> *[6]四大谴责小说政治批判手法研究[J].李辉东,2017<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Play - Li Lili 李丽丽 No.202070080594 MTI 英语笔译 ==<br /> <br /> ====The Origin of Shadow Play====<br /> <br /> [[File:shadow play-6.jpg|300px|thumb|left|Chinese Shadow Play[https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=%E7%9A%AE%E5%BD%B1%E6%88%8F&amp;step_word=&amp;hs=0&amp;pn=185&amp;spn=0&amp;di=111650&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3403588094%2C288618070&amp;os=1077736412%2C4270314261&amp;simid=13900219%2C799340577&amp;adpicid=0&amp;lpn=0&amp;ln=1690&amp;fr=&amp;fmq=1608542495445_R&amp;fm=index&amp;ic=0&amp;s=undefined&amp;hd=undefined&amp;latest=undefined&amp;copyright=undefined&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=https%3A%2F%2Ftimgsa.baidu.com%2Ftimg%3Fimage%26quality%3D80%26size%3Db9999_10000%26sec%3D1608552866017%26di%3Ddd9012147fa3668822b515c8caa7e45d%26imgtype%3D0%26src%3Dhttp%3A%2F%2F5b0988e595225.cdn.sohucs.com%2Fimages%2F20180910%2Fa3e26f960530400282934cce56a15e15.jpeg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Fooo_z%26e3Bf5i7_z%26e3Bv54AzdH3FwAzdH3Fdcnacb80n_890d9l&amp;gsm=ba&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]]]<br /> <br /> Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he was glued to it. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13) <br /> <br /> There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were a variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play was recorded in Song Dynasty. Its rise and development were closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)<br /> <br /> ====Introduction====<br /> <br /> In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)<br /> <br /> Typically, a shadow puppet has three rods and some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)<br /> <br /> So how to make a puppet? First, draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; fourth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)<br /> <br /> <br /> [[File:shadow play-3.jpg|300px|thumb|left|shadow play of puppet [https://image.baidu.com/search/detail?ct=503316480&amp;z=0&amp;ipn=d&amp;word=%E7%9A%AE%E5%BD%B1%E6%88%8F&amp;step_word=&amp;hs=0&amp;pn=52&amp;spn=0&amp;di=159940&amp;pi=0&amp;rn=1&amp;tn=baiduimagedetail&amp;is=0%2C0&amp;istype=2&amp;ie=utf-8&amp;oe=utf-8&amp;in=&amp;cl=2&amp;lm=-1&amp;st=-1&amp;cs=3259573009%2C2741597473&amp;os=1545447922%2C43065069&amp;simid=3408503629%2C426405487&amp;adpicid=0&amp;lpn=0&amp;ln=1690&amp;fr=&amp;fmq=1608548398687_R&amp;fm=result&amp;ic=0&amp;s=undefined&amp;hd=&amp;latest=&amp;copyright=&amp;se=&amp;sme=&amp;tab=0&amp;width=&amp;height=&amp;face=undefined&amp;ist=&amp;jit=&amp;cg=&amp;bdtype=0&amp;oriquery=&amp;objurl=https%3A%2F%2Ftimgsa.baidu.com%2Ftimg%3Fimage%26quality%3D80%26size%3Db9999_10000%26sec%3D1608558486081%26di%3Db48786725188bc991e17f2b578acece7%26imgtype%3D0%26src%3Dhttp%3A%2F%2Fimg2.jiemian.com%2Fjiemian%2Foriginal%2F20170817%2F150295685830448400_a580xH.jpg&amp;fromurl=ippr_z2C%24qAzdH3FAzdH3Fooo_z%26e3B3tj4twg_z%26e3Bv54AzdH3Fw6ptvsjAzdH3F8cc088c_z%26e3Bip4s&amp;gsm=35&amp;rpstart=0&amp;rpnum=0&amp;islist=&amp;querylist=&amp;force=undefined]]]<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people have short beard, but the elderly men have long beard. (Wang Yexia 2012,10-11)<br /> <br /> The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. The red is a symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）<br /> <br /> After the end of the &quot;Cultural Revolution&quot;, shadow puppet art rapidly revived, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> <br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.（Zhu Hengfu 2020,36）<br /> <br /> ===References===<br /> *Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House] <br /> *Wei Liqun 魏力群.(2018). 《小书大传承-皮影》[&quot;Small Book, Big Heritage - Shadow Play&quot;] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]<br /> *Zhu Hengfu 朱恒夫.(2020). 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]<br /> <br /> ===Words and Expressions===<br /> *shadow puppet皮影戏 <br /> *paper cutting 剪纸<br /> *ventriloquism 口技<br /> *manipulating rod 操纵杆<br /> *five facial features 五官<br /> *sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> *Cultural Revolution 文化大革命<br /> *intangible cultural heritage 非物质文化遗产<br /> <br /> ===Questions===<br /> *1. When is the earliest shadow puppet’s record? <br /> *2. What art of forms do shadow play use?<br /> *3. What does a red head stand for in a play?<br /> *4. When is shadow play put in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.<br /> <br /> ===Answers===<br /> *1. Song dynasty.<br /> *2. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> *3. The red is a symbol of a heroic and upstanding character.<br /> *4. On November 27, 2011.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:32, 20 December 2020 (UTC)<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI 英语笔译==<br /> <br /> ===Introduction ===<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) <br /> <br /> After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> === Analysis of Confucian Culture ===<br /> <br /> ==== Intelligence Development ====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) <br /> <br /> For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.<br /> <br /> ====Spiritual Guidance ====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> ====Order Construction ====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)<br /> <br /> In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)<br /> <br /> Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ===The Contemporary Value of Confucian Culture ===<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> ====Ideological and Political Education ====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ==== Modern Economic Construction====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) <br /> <br /> Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) <br /> <br /> Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.&quot; It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)<br /> <br /> The concept not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)<br /> <br /> ==== Legal Construction ====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) <br /> <br /> Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)<br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) <br /> <br /> In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) <br /> <br /> In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)<br /> <br /> ===The Confucius Institute ===<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)<br /> <br /> At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) <br /> <br /> Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ===Terms and Expressions ===<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ===Questions ===<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> *Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly (03) 60-62.<br /> <br /> *Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College (02) 65-70.<br /> <br /> *Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position (10) 55-56. <br /> <br /> *Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University (05) 31-33.<br /> <br /> *Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World (10) 67-68. <br /> <br /> *Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (02) 77-83. <br /> <br /> *Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University (05) 28-33. <br /> <br /> *Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (06) 39-43. <br /> <br /> *Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:04, 20 December 2020 (UTC)<br /> <br /> ==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)<br /> <br /> Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947) <br /> <br /> In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati.(Qian Zhongshu 1947)<br /> <br /> Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947). <br /> <br /> Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. <br /> <br /> To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020) <br /> <br /> Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].<br /> <br /> Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:25, 21 December 2020 (UTC)<br /> <br /> == ''' Crosstalk'''- Liu Ou 刘欧，202070080597，MTI==<br /> <br /> &lt;center&gt;刘欧 Liu Ou &lt;/center&gt;<br /> <br /> === Crosstalk===<br /> <br /> '''The Development of Crosstalk'''<br /> <br /> Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to crosstalk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China (360 Encyclopedia).<br /> <br /> Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty(1636-1912). It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China(360 Encyclopedia). <br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata(Hou Baolin,1982,01). <br /> <br /> Crosstalk is an original folk art with a long history in China, which is deeply loved by the majority of the people. The crosstalk art was almost disappeared but has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer only palys in several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, and from the city to the countryside(Hou Baolin 1982,01).<br /> <br /> '''Four Basic Skills in Crosstalk'''<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (Hou Baolin 1982,194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs(Hou Baolin 1982,11). <br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping Lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (Hou Baolin,1982,194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their &quot;four compulsory lessons&quot;. For example, the artists grasp the rhythm in language and correct their pronunciations by “saying tongue twisters&quot; or &quot;reciting classical repertoires&quot;. And gain the ability of imitation by learning different kinds of sounds.Moreover, they practice the singing skills by singing “Taiping lyrics”,opera lyrics and songs(Hou Baolin 1982,11).<br /> <br /> '''Characteristics of Crosstalk'''<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, so it is different from drama that “performing with words as well as body movements”. This kind of performance has a close relationship between the actors and the audience that shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors(Hou Baolin 1982,02). <br /> <br /> Secondly, crosstalk is the art of &quot;laughter&quot;. Crosstalk performers use laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, and its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist(Hou Baolin 1982,03). <br /> <br /> “Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary(Hou Baolin 1982,04). <br /> <br /> Crosstalk is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes the laughter relies on the plot, but sometimes the plot is not needed. The performers win the applaud of audience by the charm of their language. And“Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors (Hou Baolin 1982,04).<br /> <br /> '''Famous Artists of CrossTalk'''<br /> <br /> In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower”. Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao 2018 )<br /> <br /> ===Terms and Expressions===<br /> <br /> speaking, imitating, teasing and singing 说学逗唱<br /> <br /> Taiping lyrics 太平歌词<br /> <br /> Baofu 包袱<br /> <br /> Drama Talks 《戏剧杂谈》<br /> <br /> Drunkenness 《醉酒》<br /> <br /> Selling Tickets 《卖挂票》<br /> <br /> ===Questions===<br /> <br /> 1.When did crosstalk form its format?<br /> <br /> 2.What is Taiping lyrics?<br /> <br /> 3.Who was regarded as the “ancestor”of crosstalk art ?<br /> <br /> 4.What are the four basic skills of crosstalk?<br /> <br /> ===Answers===<br /> <br /> 1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.<br /> <br /> 2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.<br /> <br /> 3.Zhu Shaowen.<br /> <br /> 4.They are speaking, imitating, teasing and singing.<br /> <br /> ===References===<br /> <br /> 1.Hou Baolin, Xue Baokun,侯宝林,薛宝坤.(1982).《相声溯源》[The Origin of Crosstalk]1-13+194. 人民教育出版社 People's Literature Publishing House.<br /> <br /> 2.Sohu 中国相声介绍 [The Introduction of China's Crosstalk] https://cul.sohu.com/20090619/n264630449.shtml<br /> <br /> 3.360 Encyclopedia. 相声[Crosstalk] https://baike.so.com/doc/1925383-2037001.html<br /> <br /> 4.Baidu 最著名的十位相声名家排行[The Rank of Ten Famous Crosstalk Artists] https://baijiahao.baidu.com/s?id=1590742532351773378<br /> <br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO - Liu Yi 刘艺 202070080640 MTI===<br /> <br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)<br /> <br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position. Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> <br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)<br /> <br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 07:36, 21 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==<br /> <br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> <br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. <br /> <br /> At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. <br /> <br /> Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. <br /> <br /> He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. <br /> <br /> Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. <br /> <br /> Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.<br /> <br /> His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.<br /> <br /> 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”<br /> <br /> History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. <br /> <br /> It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> <br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> <br /> 英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)<br /> <br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> 参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 MTI 英语笔译==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> [[File:Iconic Building of Mogao Grottoes.jpg|150px|thumb|left|Iconic Building of Mogao Grottoes]] <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170) <br /> <br /> Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)<br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178) <br /> [[File:Taoist Wang Yuanlu.jpg|100px|thumb|right|Taoist Wang Yuanlu]]<br /> By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) <br /> <br /> During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ===Art===<br /> [[File:A Chaitya with a Central Pillar.jpg|150px|thumb|right|A Chaitya with a Central Pillar]]<br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ===[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|150px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]===<br /> [[File:Cave 251 in Northern Wei.jpg|150px|thumb|right|Cave 251 in Northern Wei]]<br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) <br /> <br /> The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)<br /> [[File:Cave 68 in Tang Dynasty.jpg|150px|thumb|right|Cave 68 in Tang Dynasty]]<br /> In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) <br /> <br /> In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)<br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)<br /> <br /> The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:44, 21 December 2020 (UTC)<br /> <br /> ===[[File:Cave 3 in Yuan Dynasty.jpg|100px|thumb|left|Cave 3 in Yuan Dynasty]]===<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong ofTang Dynasty 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.<br /> <br /> MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> Duan Wenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-Level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==<br /> <br /> ===Four State-Level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today. <br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.(Xu Ling,2019)<br /> <br /> ====Simuwu Ding====<br /> <br /> [[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]] <br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).<br /> <br /> Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015). <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (1700 BC-256 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015). <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> [[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]] <br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020). <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016). <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> [[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]] <br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> [[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]] <br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu &amp; Zhao Jing, 2019).<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu &amp; Zhao Jing, 2019). <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).<br /> <br /> ===Terms and Expressions===<br /> <br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> Anna 安娜.(2015).中国人的鼎文化[The Ding Culture of the Chinese]. 科学大观园(15),72-73.<br /> <br /> Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟[The Chime Bells of Marquis Yi ]. 中华文化论坛(11),2.<br /> <br /> Li Xiaohu &amp; Zhao Jing 李小虎 &amp; 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读[The Artistic Effect of the Bronze Galloping Horse]. 艺术教育(09),170-171.<br /> <br /> Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下)[A Brief Introduction to the Research Process of Simuwu Ding].中国文物报,006.<br /> <br /> Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣[On the Jade Suit with Gold Thread in Han Tombs in Mancheng] .文物鉴定与鉴赏 (03):38-39.<br /> <br /> Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[Modern Chinese Dictionary (the 7th edition)]. 北京:商务印书馆.<br /> <br /> Wang Jing 王静.(2008).汉代玉衣研究[A Study of Jade Clothes in Han Dynasty].(硕士学位论文,河北师范大学).<br /> <br /> Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi ].文史知识 (11):1-2.<br /> <br /> Xu Ling 徐玲.(2019).博物馆与近现代中国文物保护[Museums and the Protection of Cultural Relics in Modern China]. 中国博物馆(01),57-61. <br /> <br /> Zhou Yi 周仪.(2016).“八音合鸣 乐舞齐容”——大型乐舞作品《编钟乐舞》述评[The Comment on Bianzhong Yuewu]. 戏剧之家(19),66-67+79.<br /> <br /> == Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 MTI英语笔译 ==<br /> [[File:A Panorama view of the Forbidden City.jpg|200px|thumb|left|A Panorama view of the Forbidden City]]<br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> <br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> <br /> ====II.The Name of the Forbidden City====<br /> <br /> The common English name &quot;Forbidden City&quot; is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. (Li Xieping1997, (04)29-31)<br /> <br /> “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. (Li Xieping1997, (04)29-31)<br /> <br /> Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)<br /> <br /> In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) <br /> <br /> In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. (Yu Zhuoyun1984,30)<br /> <br /> [[File:The layout of the Forbidden City.jpg|150px|thumb|left|The layout of the Forbidden City]]<br /> <br /> In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin &amp; Qu Wanlin 2006, 11.7)<br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> <br /> Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)<br /> <br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes<br /> Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(Xie Li 2005,(03)100-102)<br /> <br /> <br /> ====VI The Collections of the Forbidden City==== <br /> <br /> [[File:Han Banquet map.jpg|150px|thumb|left|Han Banquet map]]<br /> <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22)<br /> <br /> The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. (Website:The Collection of the Palace Museum )<br /> <br /> Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> [[File:Painted Pottery Figurine of a Female Dance.jpg|150px|thumb|left|Painted Pottery Figurine of a Female Dance]]<br /> [[File:Mirror with the Twelve Astrological Emblems.jpg|150px|thumb|left|Mirror with the Twelve Astrological Emblems]]<br /> [[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|150px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 09:48, 21 December 2020 (UTC)<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602 MTI 英语笔译==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.(Zhou Dandi,Yue Shufa 2012,12) <br /> <br /> ====Six Procedures====<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.(Gao Xiaoqian 2017,235)<br /> <br /> Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts.(Gao Xiaoqian 2017,235) <br /> <br /> Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment.(Gao Xiaoqian 2017,235) <br /> <br /> Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage.(Gao Xiaoqian 2017,235) <br /> <br /> What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes.(Gao Xiaoqian 2017,235) <br /> <br /> Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family.(Gao Xiaoqian 2017,235) <br /> <br /> Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ====Customs====<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017,235)<br /> <br /> After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017,235)<br /> <br /> The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ====Development====<br /> <br /> As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi,Yue Shufa 2012,15)<br /> <br /> Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics.(Zhou Dandi,Yue Shufa 2012,15)--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:54, 20 December 2020 (UTC)Mo Ling<br /> <br /> ====References====<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage Customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the Evolution of Chinese Marriage Customs Since Modern Times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ====Terms and Expressions====<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ====Questions====<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ====Answers====<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603 MTI英语笔译==<br /> &lt;center&gt; Ouyang Ling 欧阳玲 &lt;/center&gt;<br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac has been engraved in every Chinese people. <br /> <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented without sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most time-honored one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). <br /> <br /> Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). <br /> <br /> There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some researches on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign can not only reveal one’s age, but also represent his or her personality, career prospects and way of life according to Chinese superstition(The Editorial Board, 2010: 40). <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodiac sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creature, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804)<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight against each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). <br /> <br /> And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac(The Editorial Board, 2010: 34-35).<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme has developed a profound connotation and implications through generations. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> --[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:13, 20 December 2020 (UTC)<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641 MTI 英语口译==<br /> &lt;center&gt; Peng Ruihong 彭锐宏 &lt;/center&gt;<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the &quot;Going up to the mountain of swords and going down to the sea of ​​fire&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies. <br /> <br /> Introduction<br /> <br /> Chinese Clothing has a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages.(Mei Hua-2010-page-1)<br /> <br /> 1-Chinese traditional clothing<br /> <br /> Traditional clothing can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> 1:1.Traditional Han Chinese Clothing (Han Fu)<br /> <br /> It refers to the attire worn by the Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> 1:2.Chinese Suit(Tang Zhuang)<br /> <br /> It is a combination of the Manchu male jacket of the Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> 1:3.Cheongsam(Qi Pao)<br /> <br /> Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> 1:4.Chinese Tunic Suit(Zhongshan Zhuang)<br /> <br /> Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> 2.Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> 2:1.The Aesthetic Performance of Design<br /> <br /> Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that&quot;the upper part should be short, the below part should be long&quot;; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the &quot;long upper part,short below part&quot;ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)<br /> <br /> 2:2.The Aesthetic Performance of colors<br /> <br /> Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusk, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color.(Jiangsu, 2016,page-6)<br /> <br /> In Chinese traditional clothing colors red has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)<br /> In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic to the civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi<br /> <br /> ==Conclusion==<br /> Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-How is means Han Fu?<br /> <br /> 4-What's the popular Chinese attire?<br /> <br /> 5-How called was Chinese Tunic Suit?<br /> <br /> 6-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Han Fu is fu means clothes in Chinese. <br /> <br /> 4-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 5-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 6-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.<br /> <br /> <br /> 2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> Culture=Topic Chinese Traditional Dance=Pingki Tanchangya, Student No:201921080004<br /> ,Major: Comparative Literature and cross culture studies.<br /> <br /> 1. Introduction<br /> <br /> There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. &quot; Lianxiang &quot; is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)<br /> <br /> <br /> 2. Characteristics of the Dance<br /> <br /> Characteristics of the movements <br /> <br /> There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)<br /> <br /> 3. The Dragon Dance<br /> <br /> The Dragon dance is a form of traditional dance and performance in Chinese culture. Like the lion dance it is most often seen in festive celebrations. Many Chinese people often use the term &quot;Descendants of the Dragon&quot; as a sign of ethnic identity, as part of a trend started in the 1970s. Chinese people who taught them agriculture, law and medicine, the foundations of civilization.<br /> Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom. The appearance of a dragon is both frightening and bold.The Dragon Dance originated during the Han Dynasty and was started by the Chinese who had shown great belief and respect towards the dragon. It is believed to have begun as part of the farming and harvest culture, also with origins as a method of healing and preventing sickness. It was also a popular event during the Song Dynasty and become a folk activity and like the lion dance, was most often seen in festive celebrations.<br /> As the dragon gives people a feeling of great respect, it is often called the Sacred Dragon. The emperors of ancient China considered themselves as the dragon. The Dragon is also the emblem of Imperial Authority. It symbolizes supernatural power, goodness, fertility, vigilance and dignity.<br /> <br /> 4. The lion Dance<br /> <br /> The lion dance is a traditional Chinese dance performed on big occasions, such as the Spring Festival (Chinese New Year) for good luck, as it is believed that the lion is an auspicious animal.<br /> In Chinese culture, the lion symbolizes power, wisdom, and superiority. People perform lion dances at Chinese festivals or big occasions to bring good fortune and chase away evil spirits.The lion dance is one of the most important traditions during Chinese New Year. It is performed to bring prosperity and good luck for the upcoming year. The lion dance is also a way to create a festive atmosphere and bring happiness. Performed in a lion costume, accompanied by the music of beating drums, clashing cymbals, and resounding gongs, lion dances imitate a lion's various movements or demonstrate martial arts, depending on the style. Though lion dances all use similar costumes, during its long development, the lion dance has divided into two styles: southern and northern.<br /> <br /> 4.1 The Southern Lion Dance<br /> <br /> The southern lion dance originated in Guangdong, and it is the style popular in Hong Kong, Macau, and the hometowns of overseas Chinese. The southern lion dance is a performance based on the study of a lion's behavior, with an emphasis on actions like scratching and shaking of the body. Performances are vivid and entertaining, even comical. There are also skillful performances, such as playing with a ball, which includes swallowing it.<br /> <br /> 4.2 The Northern Lion Dance<br /> <br /> The northern lion dance has close relations to kungfu Chinese martial arts. A young lion is performed by a single person and an adult lion is performed by a duo. Costumes are more robust, and less decorative, to allow for more movement. In the adult lion dance, the performer in front holding the lion's head is often lifted by the other to make the lion stand up. Northern lion dances are more gymnastic, involving rolling, wrestling, leaping, jumping, climbing, or kowtowing. The best places to see northern Chinese lion dances are China's martial arts theaters, like the Red Theater in Beijing, or even at the Shaolin Temple.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 14:19, 20 December 2020 (UTC)<br /> <br />  5. Conclusion<br /> <br /> &quot;Lianxiang” is a remark traditional dance that popularized in lots of regions and nations. It’s a folk dance that combines entertainment and body-building. Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom.The lion dance is an excellent example of Chinese folk culture, which has spread across the world with Chinese immigration. Overseas Chinese in Europe, America, etc. have established many lion dance clubs, performing on Chinese festivals or big occasions, particularly Chinese New Year.<br /> <br /> <br /> ===Terms and Expressions===<br /> 1.Han Dynasty 汉朝。<br /> <br /> 2.Traditional dance history 传统舞蹈史。<br /> <br /> 3.The lion Dance 舞狮。<br /> <br /> 4.The Dragon Dance 龙舞。<br /> <br /> 5.Lianxing 联兴。<br /> <br /> 6.Chinese Dance 中国舞。<br /> <br /> 7.Festivals 节庆。<br /> <br /> <br /> <br /> 6. Questions:<br /> <br /> 1. What is lianxing?<br /> 2. What is the Dragon Dance? Have you seen it before? And Where?<br /> 3. The dragon Dance originated from where?<br /> 4. what Lion Dances Symbolized?<br /> 5. How many Chinese Traditional Dance names you know?<br /> <br /> Answers:<br /> <br /> 1.&quot;Lianxiang&quot; is generally a traditional dance that is quite popular in lots of regions.<br /> 2. The Dragon dance is a form of traditional dance and performance in Chinese culture. Yes, I have seen it before in China.<br /> 3. The Dragon Dance originated from the Han Dynasty. It was started by the Chinese people those had shown great belief and respect towards the dragon.<br /> 4 The lion dance performed at Chinese festivals and<br />  “Lion” symbolizes power, wisdom, and superiority.<br /> 5.<br /> 1.The folk dance.<br /> 2 The Duhuang Dance.<br /> 3.The Lion Dance.<br /> 4.The Dragon Dance.<br /> <br /> Reference: <br /> <br /> https://en.wikipedia.org/wiki/History_of_Chinese_dance.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-JFYS201701031.htm.<br /> <br /> http://en.cnki.com.cn/Article_en/CJFDTotal-TIRE200403012.htm.<br /> <br /> https://www.atlantis-press.com/proceedings/etmhs-16/25849367.<br /> <br /> Origin of lianxiang.http://www.google.cn.<br /> <br /> Classification of Lian Xiang. http://www.google.cn.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 15:27, 20 December 2020 (UTC)<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604 MTI英语笔译 ==<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.(Yang Li, 2005,17)<br /> <br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 21) <br /> <br /> ====2.The Types of liquor in Ancient China====<br /> <br /> With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please? (Huang yixi, 2008, 25) <br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.(Wang Jianguo, Xu Liang, 2005, 32) <br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.(Yang Li, 2005, 11)<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> <br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific.(Du Jinpeng, 1995, 58)<br /> <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of the Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. (Du Jinpeng, 1995, 58)<br /> [[File:zun.left.jpg|300px|thumb|left]]<br /> <br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in the Song Dynasty like to warm rice wine before drinking it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. (Huang yixi, 2008, 23)<br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> ====4.Drinking Games====<br /> <br /> As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor games. The drinking games are of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture. (Li Fangzhou,1998, 39)<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 14:32, 21 December 2020 (UTC)<br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康<br /> <br /> 2.Chinese Dionysus 中国酒神<br /> <br /> 3.husked sorghum rice 秫米饭<br /> <br /> 4.Baishui 白水县（陕西渭南市辖县）<br /> <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县）<br /> <br /> 6.fermented wine 发酵酒<br /> <br /> 7.Distilled liquor 蒸馏酒<br /> <br /> 8.Yellow rice wine 黄酒<br /> <br /> 9.Shaoxing Wine 绍兴酒 <br /> <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> <br /> 11.Mellow Wine 醇香酒 <br /> <br /> 12.Dongwu Rice Wine 东吴老酒<br /> <br /> 13.Liquor and Spirits 白酒 <br /> <br /> 14.Kweichow Moutai 贵州茅台<br /> <br /> 15.sauce-flavor type 酱香型 <br /> <br /> 16.light flavor type 清香型 <br /> <br /> 17.strong flavor type 浓香型 <br /> <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> <br /> 19.the Peiligang culture period裴李岗文化时期 <br /> <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> <br /> 21.Zun 樽 <br /> <br /> 22.injection vessel and bowl 注子和注碗<br /> <br /> 23.drinking games 行酒令<br /> <br /> ====Questions==== <br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent characteristic of Shaoxing Wine?<br /> <br /> 3.Why does Shaoxing wine look yellow and clear?<br /> <br /> 4.Why did people in the Song dynasty invent injection vessel and bowl?<br /> <br /> 5.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 6.How do literati play drinking games in ancient Chian?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Because sugar is added in its raw material.<br /> <br /> 4.Because they liked to warm the liquor before driking it.<br /> <br /> 5.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 6.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 14:32, 21 December 2020 (UTC)<br /> <br /> == China Railway High-Speed ​​(CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> Introduction <br /> <br /> High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot;[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]<br /> <br /> Definition and terminology <br /> <br /> High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高 铁; Gāotiě; &quot;High-speed rail&quot;) are commonly used trains E In class D trains (动 车; Dòngchē; &quot;Electrical multiple unit&quot;) are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Influence on airlines<br /> <br /> The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a<br /> Technologies <br /> Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐 号; Traditional Chinese: 和 諧 號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]<br /> <br /> 4 + 4 HSR network <br /> <br /> The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]<br /> <br /> Advantages <br /> <br /> HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]<br /> <br /> Wenzhou accident <br /> <br /> On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]<br /> <br /> Terms and expressions<br /> <br /> 高 铁 - High-speed rail<br /> 动 车 - Electrical multiple unit<br /> 和 諧 號 – Harmony<br /> 復興號 - Rejuvenation<br /> <br /> Questions <br /> <br /> 1. What does the World Bank research say?<br /> 2. What forced China's domestic airlines to cut airfares and cancel regional flights?<br /> 3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?<br /> 4. What caused the accident?<br /> 5. What are the benefits of HSR?<br /> <br /> Answers<br /> <br /> 1. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot; <br /> 2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.<br /> 3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. <br /> 4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.<br /> 5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.<br /> <br /> References <br /> <br /> http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf<br /> https://ru.qaz.wiki/wiki/China_Railway_High-speed<br /> https://en.m.wikipedia.org/wiki/Wayback_Machine <br /> http://www.railjournal.com/A/xfeature2.html<br /> https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects and there are great differences between the dialects because of the speech impediment. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, called Putonghua and also known as Mandarin in Western countries. Government also has implemented a strategy to promote Putonghua and to facilitate it learning with Pinyin . Cheng Aimin (2019,124)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusion.== <br /> Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> <br /> Lingo: 林戈<br /> <br /> Lingo: 行话，语言<br /> <br /> Putonghua: 普通话<br /> <br /> Await student:等待学生<br /> <br /> Pinyin: 等待学生<br /> <br /> Pinyin: 拼音<br /> <br /> Lofty: 崇高<br /> <br /> Vernacular: 白话<br /> <br /> Swine: 猪<br /> <br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

Qu Miao https://bou.de/u/index.php?title=20201221_trans&diff=117585 2020-12-21T07:36:06Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> The idea that tones discerned in verbal art will reflect the mood of the relationship between the people and the state makes frequent appearances through Chinese literary philosophy, and it frequently enters the world of modern politics, as work on the modern Chinese folklore movement will attest (Hung). <br /> <br /> Another more recent sample is the expression “setting the tone” [定調子] describes the degree of condemnation in a Cultural Revolution era Big Character poster. This modern example displays a relatively cynical view of the function of tone; the power to set tone is in the hands of the accuser, but its strength reflects the crime of the victim.In the world of literature and arts policy, “New Tone” 新基調 became the standard Chinese socialist line against precisely such works as our “provincial leader” above castigated as “pei pei pei-ing”.<br /> <br /> <br /> 在言语艺术中辨别出的音调会反映出人民与国家关系的情绪，这一观点通过中国文艺哲学频繁出现，并且频繁进入现代政治的世界，关于中国现代民俗运动的工作将证明这一点。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 12:20, 20 December 2020 (UTC)<br /> <br /> ==Chang Huiyue 常慧月==<br /> The term “tone” (particularly as diao) has acquired negative connotations over the past two of decades, at least in part because of its role in politicoliterary battles. Even editors sympathetic to “new tone” values distance themselves from the term (Yang, Zhu). In a parallel strategy, contemporary zawen are written in covert form, more like “East Station,” than like “Pei pei pei!”?, which so revealingly displays the mechanics of the declamatory modal trope. In contrast to the late 1980's, contemporary zawen have in recent years receded to hide in other types of writing. This strategy is a familiar one in the context of zawen history; the necessity to hide only increases the effect the “involuntarily” discordant tone, which is held to be, biting and kicking, reflecting the truth.<br /> <br /> 在过去的二十年中，“语调”这个词（特别是调）具有负面含义，至少部分是因为其在政治文学斗争中的作用。即使编辑赞同“新调”的重要性，也将两者拉开距离。（杨，朱）。在类似的策略中，当代杂文以一种隐蔽的形式创作的，比起“呸呸呸”类的文章，更像“东站”类的文章吗？ 这明显地揭示了演说式的情感修辞。与20世纪80年代后期相比，近些年的杂文隐退在其他类型文章中。这种在杂文历史的背景中是非常熟悉的一种策略；隐藏的必要性只会增加“无意识地”不和谐的语调，它会被控制，又咬又踢，反映事实。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 13:45, 20 December 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> When zawen were first fashioned as a modern genre, it was the involuntary expression of responsive emotions that were explicitly invoked as zawen's purpose. When Hu Shih published the first major newspaper column devoted to the serial publication of zawen in 1918, the “Record of Spontaneous Feeling,” the introductory essay was entitled “什麼話,” literally “What speech.” This title also provides a demonstration of a modal trope on the level of syntax. In this original title there was no punctuation, as “shenme” already indicates the question “what” in the standard form, before European punctuation was imported as a regular feature of written vernacular Chinese.<br /> <br /> 杂文首次作为一种现代文体出现时，明确是为了不自主地表达随即反应的情感、感想。1918年，胡适发表了首个专门连载杂文的主要报刊专栏《随感录》，他将导论的标题命名为“什么话”，字面意思是“什么讲话”。这个标题也在句法层面上提供了一个模态修辞的范例。在原题中，并没有标点符号，因为在引入欧洲标点符号作为白话文的一般特征之前，&quot;什么&quot;已经在标准形式中表达了&quot;what&quot;的意思。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:30, 19 December 2020 (UTC)<br /> <br /> 当杂文最开始作为一种现代文体流行起来时，其明确的目的是为了无意识地表达随即反应的情感。1918年，胡适发行了首个专门连载杂文的主要报刊专栏《随感录》，他将导论的标题命名为“什么话”，字面意思是“什么讲话”。这个标题也在句法层面上提供了一个模态修辞的范例。在原题中，并没有标点符号，因为在引入欧洲标点符号作为白话文的一般特征之前，&quot;什么&quot;已经在标准形式中表达了&quot;what&quot;的意思。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 10:54, 20 December 2020 (UTC)Mo Ling<br /> <br /> ==Chen Hui 陈惠==<br /> Beyond the interrogative function, however, “hua,” [“speech” or “talk”] has the declamatory effect of objectifying speech, and holding it up for dramatic examination. For an idiomatic English translation I would offer “What!?” including both exclamation and question mark. The contents of essay describe the purpose of zawen as a venue for explosive emotional responses, linked to the other, “regular” items printed in newspapers everyday. This ordinary newspaper fare “gives people goose flesh [disgusts them] makes them sigh, or elicits a cold smile or an outright laugh” (Hu Shih, Shen Bao 1918). Zawen were thus launched in the early modern Chinese newspaper as the nearly physical expression of these feelings or moods in the form of literary essays. <br /> ==Chen Jiangning 陈江宁==<br /> Hu Shih's formulation emphasizes zawen's role as a response to “life itself.” Like most poetry, but unlike most fiction and drama, zawen is itself a first person voice, not a representation of voices. Yet unlike poetry, which may need to be at least imagined to be read out loud, repeated and savored for full effect, zawen's ideal is to appear for a fleeting moment on the back page of a newspaper, to be received with the accompaniment of an enigmatic laugh, sigh or snort from the reader, and then thrown away quickly, before anyone can “find their seat and sit in it,” or take offence.<br /> 胡适在其阐述中强调说杂文这一角色是对生活本身的一种回应。像大多数的诗歌，而不是小说或戏剧那样，杂文本身就是先发者的声音，而非是各种声音的再现。但它不像诗歌那样，可能会需要想象一下大声读出来的场景，不断重复并推敲，才能充分发挥作用。杂文能够达到的理想效果只显现在报纸背面的那一瞬间，在任何人可以“在杂文里找到座位然后坐下来”或因为杂文而冒犯他人之前，伴随着读者神秘莫测的笑声、叹气声或是不屑地发出哼声，人们早就将其抛诸脑后了。<br /> <br /> 胡适的表述强调了杂文对“生活本身”的回应。 像大多数诗歌一样，但与大多数小说和戏剧不同的是，杂文本身就是第一人称的声音，而不是声音的代表。 然而，与诗歌不同的是，诗歌是在大声朗读，重复和品尝中才能充分发挥作用，而杂文则是在报纸的背面短暂地出现，并伴随着诗歌的出现。 在任何人都可以“找到自己的座位并坐在座位上”或冒犯他人之前，令人迷惑不解的笑声，叹息声或打喷嚏然后迅速被扔掉。--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 05:57, 20 December 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> Generic categories are not the only aspect that zawen tend to mix; they characteristically contain sudden shifts in tone, style and voice, moving from a snippet of stray “overheard” conversation to an elegant, classical allusion. Echoing Hu Shih's 1918 idea of zawen as a “response” to the articles on other pages of the newspaper, the zawen, still characteristically the back page of most newspapers, nearly always contains a “foil” in the form of a direct quote from the author has read or heard. In addition to creating a microcosmic social dialogue, this split between two voices, the writer's and that of the “foil” also allows for dizzying clashes of style and voice that enclose unlikely combinations of syntax and grammar, as well as ideas, a single text.<br /> 通用类别不是杂文倾向于混合的唯一方面；它们的特征通常是音调，风格和声音的突然变化，从一连串的窃窃私语转变为优雅，古典的谈话。与胡适（1918）的杂文思想是对报纸其他页面文章的“回应”一样，杂文仍然是大多数报纸的特色，几乎总是以直接引用作者读过或听过的东西的形式包含“箔”。除了创建微观的社会对话外，在作者和“箔纸”两种声音之间进行的这种划分还使样式和声音产生了令人头晕目眩的冲突，使句法，语法以及思想不可能包含在一个文本中。--[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 05:40, 21 December 2020 (UTC)<br /> <br /> ==Chen Jingjing 陈静静==<br /> Tone in an essay is an ironic figure of speech; how can you channel that which is carried in sound through the ink of print? In this paper I have tried to illustrate the trope of tone through the “sonorous” work, particularly that of ShaoYanxiang, an official poet who in retirement is better known for the essays in which he collapses poetry into polemic, his zawen. The distinct and beleaguered social and cultural space for zawen in contemporary China reveals the mechanics, ideology and significance of tone in Chinese writing. Even more than other literary genres, zawen depends upon something within the earthy noise of moody, mulish voices to carry its messages.<br /> <br /> 文章中的语调是一种讽刺性的表达手法；你如何通过印刷油墨来传达声音中所承载的一切?在本文中，我试图通过“铿锵的”作品来说明语调的隐喻，特别是邵燕祥的作品，他是一位诗人，退休后他将诗歌化为论战的杂文即他的杂文并因此闻名。在当代中国，杂文所处的独特而饱受困扰的社会和文化空间揭示了中文写作语调的体系，意识形态和意义。比其他文学体裁相比，杂文更依赖于用喜怒无常，固执己见的声音中蕴含的某种东西来传达其信息。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 10:23, 20 December 2020 (UTC)Chen Jingjing<br /> <br /> 文章中的语调是讽刺的手法；你如何传达纸上的笔墨所承载的声音。本文中我尝试通过“浑厚的”作品解释语调的修辞，尤其是邵燕祥的作品，他是一位公认的诗人，退休后，他将诗歌分解成辩论文章，即他的杂文而闻名。在当代中国，这种区分和杂文处于受到社会和文化围困的空间揭示了中国文章语调的技巧、思想和意义。比起其他文学类型，杂文更依赖于喜怒无常的朴实的声音和固执的声音来传达信息。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 14:04, 20 December 2020 (UTC)<br /> <br /> ==Chen Sha 陈莎==<br /> While readers love to hate their morally and politically provocative zawen-of-the-moment, writers string zawen across stretches of time and publishing organs to construct heavily intertextualized conversations. Eventually they even preserve zawen, long after the dizzying minutia of allusions, jokes and digs are forgotten, often compiling a career's worth of them into small print runs of volumes that they give away to friends and admirers as discursive portraits of themselves. Lu Xun's genre of the “dagger and spear” is thus not only a sly political weapon, but also a complex sculpture of the culturally shaped self, chiseled by the cantankerous tones of contentious social dialogue.<br /> <br /> 虽然读者讨厌当下具有道德挑衅性和政治挑衅性的杂文，但作家们却将这些跨越时间和出版机构的杂文串联起来以构建大量互文性的对话。最终，他们甚至保存了这些杂文，并在这些令人眼花缭乱的典故、笑话和挖苦被人遗忘很久之后，将这些具有职业价值的杂文汇编成小册，送给朋友和仰慕者，作为他们自己的散漫画像。因此，鲁迅像“匕首和矛”一样的文风不仅是一种狡猾的政治武器，也是一种复杂的文化自我雕塑，而这一雕塑是通过有争议且刺耳的社会对话凿刻出来。--[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 01:28, 21 December 2020 (UTC)<br /> <br /> 虽然读者讨厌具有道德挑衅性和政治挑衅性的时代杂文，但作家们却将这些跨越时间和出版机构的杂文串联起来以构建大量互文性的对话。他们甚至会保存这些杂文，并在这些令人眼花缭乱的典故、笑话和挖苦被人遗忘很久之后，将这些具有职业价值的杂文汇编成小册，送给朋友和仰慕者，作为他们自己的散漫画像。因此，鲁迅像“匕首和矛”一样的文风不仅是一种狡猾的政治武器，也是一种复杂的文化自我雕塑，而这一雕塑通过有争议且刺耳的社会对话凿刻出来。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 06:46, 21 December 2020 (UTC)<br /> <br /> ==Chen Sunfu 谌孙福==<br /> '''Appendix: Translations of two primary texts: “'Pei Pei Pei!'? ” and “East Station”'''<br /> <br /> '''“Pei Pei Pei! ”?'''<br /> <br /> A friend from outside literary circles asked me to find him some “pei pei pei!” essays to read, and I had to stare at him blankly with nothing to say. He then explained that he had read in a newspaper that a certain provincial leader had announced at a banquet that there must not be “pei pei pei – ing” all over the place, and so clearly there must be pei pei pei-ing all over the place.<br /> Have I gotten so insensitive? Out of self-abrogation, and also out of curiosity, I rushed to seek it out.And so it was, what had been said was “there must not be pei pei pei -ing all over the place, it must not always be the language of mockery, sarcasm and scornful dismissal that is used to write about the party, the nation and the people, dispersing a gray mood that makes people pessimistic and disappointed.” It is like this all over the place, and not in just in one particular place, things are always this way, and not just at a certain time, you can see how widespread and serious the problem is.<br /> <br /> 附录：两大文本的翻译：《呸呸呸！？》和《东站》<br /> <br /> 《呸呸呸！？》<br /> <br /> 文坛外的一个朋友让我帮他找些关于“呸呸呸”的文章看。我呆呆地望着他，一言不发。接着，他解释说他在报纸上看到某地领导人举行了一场宴会，宴会上绝不能出现“呸呸呸”这样的话。可显而易见，当时的宴会上到处都是“呸呸呸”的声音。<br /> <br /> 是我太迟钝了吗？我有点怀疑，又有点好奇，于是就想弄清楚这件事。结果确实是人们在哪都不能说“呸呸呸”。这绝不能成为一种过去常用来描述党派、国家和人们，并散布消极情绪的嘲弄、讥讽和鄙视性话语。就好像到处都能看到问题有多普遍，有多严重，并不限于某个特定的时间和某个特定的地方。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 13:35, 20 December 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> A long time ago in the liberated areas, it was advocated that the entire party should publish newspapers. After the establishment of the nation, when everything was “operated on a large scale with the entire people” I did not pay attention to whether or not it was advocated that all the people should publish the newspapers. But getting all people to read the newspapers is the goal of all those who follow the newspaper profession. In that way, newspapers are not merely published for leading institutions and leaders to read, but rather at the same time (actually this should be primary) for the masses to read. They are published for all the people -- among the people there are illiterates and partially literate, but through listening to the newspapers being read, the broadcasters and televisions have accepted the responsibility of getting the newspaper read, and this segment of the masses also figures as indirect readers of the newspapers.<br /> <br /> 很久以前，在解放区，有人主张全党应该出版报纸。 建国后，当一切都“与全体人民一起大规模地运转起来”时，我没留意是不是所有人都主张出版报纸。 但是，让所有人阅读报纸是所有从事报纸行业的人的目标。 这样，出版报纸不只是供给领导机构和领导人阅读，还能同时供群众阅读（实际上这应该是主要的）。 报纸是为所有人出版的—包括文盲和半文盲，通过听来阅读报纸。广播公司和电视承担了阅读报纸的责任，这部分群众也是报纸的间接读者。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:30, 19 December 2020 (UTC)<br /> <br /> 很久以前，在解放区，有人主张全党应该出版报纸。 建国后，当一切都“与全体人民一起大规模地运转起来”时，我没留意是不是所有人都主张出版报纸。 但是，让所有人阅读报纸是所有从事报纸行业的人的目标。 这样，出版报纸不只是供给领导机构和领导人阅读，还能同时供群众阅读（实际上这应该是主要的）。 报纸是为所有人出版的—包括文盲和半文盲，通过听来阅读报纸。广播公司和电视承担了朗读报纸的责任，这部分群众也是报纸的间接读者。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 13:40, 19 December 2020 (UTC)<br /> <br /> ==Cheng Yusi 成于思==<br /> The readers have the greatest right of criticizing the newspapers, and I wonder how many readers have discovered this phenomenon of there being “pei pei pei -ing” all over the place. <br /> <br /> I am one of these readers, subscribing on my own to several “large” newspapers (newspaper publications have not been classified as large or small, but I follow convention here) there are in addition a few newspapers that people send to me; as to “small” newspapers, I have not the leisure nor the money to buy the papers in the Beijing area, not to mention nearby Tianjin and Hebei. Even so, just taking the 10 to 20 different newspapers I often look over, including the cultural newspapers, I have not discovered these “always using the language of mockery, sarcasm and scornful dismissal to write about the party, the nation and the people” sorts of “pei pei pei” pieces.<br /> <br /> 读者拥有最大的权力对报纸进行批评，我想有多少读者发现了某个地区遍地都是“呸呸呸”的现象。<br /> <br /> 作为一名读者，我订阅了许多大型报纸（报社并没有大小之分，我只是遵循的一般传统作出的判断），此外，还有一些其他人寄的报纸。至于小型报纸，即使是北京区的报纸，我也无闲心和闲钱去购买，，更不用说天津和河北附近。即使如此，看看我常翻阅的十到二十种不同的报纸，包括文化报，我也未曾发现这些“总是使用嘲笑，讥讽，轻蔑驳斥的语言描写党，国家和人民”的“呸呸呸”的文章。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 14:52, 19 December 2020 (UTC)<br /> <br /> 作为一名读者，我订阅了许多大型报纸（报社并没有大小之分，我只是按照约定俗成的惯例），此外，还有一些其他人寄的报纸。至于小型报纸，即使是北京区的报纸，我也无闲心和闲钱去购买，更不用说天津和河北一带。即使如此，看看我常翻阅的十到二十种不同的报纸，包括文化报，我也未曾发现这些“总是使用嘲笑，讥讽，轻蔑驳斥的语言描写党，国家和人民”的“呸呸呸”的文章。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:44, 20 December 2020 (UTC)<br /> <br /> 读者手握对报纸的最大批判权。我很好奇到底有多少读者发现某地区遍地都是“呸呸呸”文章。<br /> <br /> 作为一名读者，我订阅了几种大型报纸（那时报纸规模不分大小，可我却依然保留着这一习惯）此外，别人也寄些报纸给我看。我既没有闲情也没有闲钱在北京买小报看，更别说在天津河北哪些地方了。即便如此，看看我常翻阅的十到二十种不同的报纸，包括文化报，我也未曾发现这些“总是使用嘲笑，讥讽，轻蔑驳斥的语言描写党，国家和人民”的“呸呸呸”的文章。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 13:50, 20 December 2020 (UTC)<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> I could only hand back to my friend a blank report. But naturally my not having seen them does not mean they do not exist. What one person can see is limited. I hope that the extra sensitive speaker on this matter can openly point them out, or even offer examples of eight or ten articles, or even hold up just three to five articles as models of this kind of work, so as to allow us to be enlightened and improve our discriminating ability in seeing which essays are those called “pei pei pei,” perhaps at the same time clearing up a related matter by analogy, that of understanding what kind of essays constitute “ba ba ba” as well.<br /> <br /> 我只能把空白的报告交给我的朋友。 但是当然，我没有看到它们并不意味着它们不存在。 一个人只能看到有限的内容。 我希望对此事特别敏感的发言人可以公开指出，甚至提供八到十篇文章的示例，或者只举三到五篇文章作为此类工作的典范，以启发我们并提高我们的辨别能力，以了解哪些论文被称为“呸呸呸”，或者同时通过类推来清理相关问题，即理解哪种论文也构成“ 叭叭叭”。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 13:32, 16 December 2020 (UTC)<br /> <br /> 我只能把空白的报告交给我的朋友。 但是当然，我没看到它们不等于它们不存在。 一个人能看到内容有限。 我希望对此事特别敏感的发言人可以公开指出，甚至提供八到十篇文章的示例，或者只举三到五篇文章作为此类工作的典范，以启发我们并提高我们的辨别能力，以了解哪些论文被称为“呸呸呸”，或者同时通过类推来清理相关问题，即理解哪种论文也构成“ 叭叭叭”。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 13:40, 16 December 2020 (UTC)<br /> <br /> 我只能向朋友交回一份空白报告。当然，我没有见过他们并不代表他们不存在。一个人所能看到的是有限的。我希望在这个问题上特别敏感的发言者能公开指出它们，甚至举出八篇、十篇的文章示例，或者只举出三五篇作为这类作品的范本，让我们提高我们的辨别能力，为我们区分哪些文章是那些所谓的 &quot;呸呸呸&quot;的文章是提供启发，或许同时也能通过类比澄清相关的问题，就是让人明白构成 &quot;叭叭叭&quot;的文章是什么样的。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 13:44, 16 December 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> This suggestion is sincere, not just the usual politeness. In order for literary arts, newspaper publications and literary publications to develop better social effects and to help unite the ways of our times with the people's hearts, newspaper editors, newspaper readers, and those in charge of this occupation should all be able to directly express their own views, and upon making mistakes should help each correct and make up for them, nobody needs to be polite about this.<br /> <br /> 这个建议很真诚，不仅仅是平时的礼貌。为了使文学艺术、报纸出版物和文学出版物发挥更好的社会效果，同时将我们这个时代的生活方式与人民的心灵结合起来，报纸编辑、报纸读者和负责这一领域的人都应该能够直接表达自己的观点，在犯错误时，他们应该相互帮助纠正和弥补错误，没有人需要对此保持礼貌。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:07, 17 December 2020 (UTC)<br /> <br /> 这个建议是真诚的，而不是出于寻常的客套。为了使文学艺术、报纸出版物和文学出版物发挥更好的社会效应，同时将我们这个时代的生活方式与人民的心灵结合起来，报纸编辑、报纸读者和负责这一领域的人都应该要能直接表达观点，在犯错误时，他们应相互帮助纠正和弥补错误，不必维持客套。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:11, 17 December 2020 (UTC)<br /> <br /> 这一建议是真诚的，而不是出于礼貌的客套话。为了使文艺、报刊、文学作品发挥更好的社会价值，将时代特性与人民内心相连，报社编辑和读者，以及该领域的负责人应该直截了当地表达自己的观点。在犯错误时，各方应互相帮助，纠正和弥补错误，在这一过程中无需礼貌的客套话。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:49, 17 December 2020 (UTC)<br /> <br /> 这个建议很真诚，不仅仅是出于礼貌客套。为了让文学艺术，报纸刊物和文学作品发挥更好的社会效果，也为了将时代特性与群众心灵结合起来，报纸编辑，读者，以及那些该领域的负责人应该直接表达自身观点，犯错误时，彼此应该互相纠正并弥补，这时谁也没必要客套了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 06:17, 20 December 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> After reading this speaker's comments, there is another matter that mystifies me. According to what was said, “from the next (meaning this and next) two years of discipline and rectification, there will be more new challenges and problems, and literary publications should be of assistance in stabilizing the people's minds, increasing faith, and not demoralizing the people's will.” In reading all these newspapers, this is the first time I have seen this “stabilize the peoples mind” proposition. If there is a need to stabilize the people's hearts, it must proceed from the assumption that the peoples hearts are not stable. As for the reason why people's minds are not stable, it comes back to the “discipline and rectification and the new challenges and problems” of these two years.<br /> <br /> 看了这位发言者的评论，还有一件事让我感到疑惑。 按照这个说法，&quot;从接下来的两年（指今明两年）的纪律和整改来看，会有更多的新挑战、新问题，文艺刊物应该对稳定人心、增强信心有所帮助，而不是消磨人民的意志&quot;。 看了这么多报纸，我还是第一次看到这个 &quot;稳定民心 &quot;的命题。 如果说要稳定民心，那就必须从民心不稳的假设出发。 至于民心不稳的原因，又回到了这两年的 &quot;纪律整顿和新挑战、新问题 &quot;上。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 04:07, 21 December 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> I am confused again. These “challenges and problems” that so vex people, do they result from the “discipline and rectification” or is it because of these “challenges and problems” that the need arises to “discipline and rectify”? If the more you “discipline and rectify” the more you provoke “many new challenges and problems” in people's minds, then why do all this “discipline and rectifying”? Moreover, I do not understand what “discipline and rectification” refers to nor what the “new challenges and problems” are, and I cannot figure out what “stabilize people minds” means very precisely, nor can I see what concrete request is being made. This is my request for instruction.<br /> <br /> 我又困惑了。这些令人恼火的“挑战和问题”是由于“纪律和纠正”产生的，还是正因为“挑战和问题”的需要才产生了“纪律和纠正”。如果你“纪律和纠正”越多，脑子里的“诸多新挑战和新问题”也越多，那为什么所有人还要去“纪律和纠正呢”？而且，我不明白“纪律和纠正”到底是什么，也不知道“新挑战和新问题”又是什么，我还特别搞不懂“稳定人们思想”到底具体指什么，我也看不到提了什么具体要求。这就是我的要求，需要得到指导。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 06:39, 20 December 2020 (UTC)<br /> <br /> 我又困惑了。这些令人恼火的“挑战和问题”是由于“纪律和纠正”产生的，还是正因为“挑战和问题”的需要才产生了“纪律和纠正”。人们总是认为如果“纪律和纠正”越多，“新挑战和新问题”也就越多，那为什么所有人还要去做“纪律和纠正呢”？而且，我不明白“纪律和纠正”到底是什么，也不知道“新挑战和新问题”又是什么，我搞不懂“稳定人们的思想”具体指什么，我也看不到任何具体要求。所以，我需要指导。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 11:47, 20 December 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> The Literature Journal column “Literature and the People's Lives” has been asking for a manuscript from me many times, but I have never been able to take up the assignment. As I write to this point, I suddenly thought that this piece should be called “Literature and the Peoples' Minds”? But that is a big topic, something that a thousand characters can not manage to capture. 1989.2.21.<br /> Shao Yanxiang 1993 in 自己的酒 [My Own Wine] pages 181-183, 群眾出版社<br /> <br /> 文学期刊《文学与人民生活》向我讨要了很多次我的手稿，但我一直没有答应。写到这里，我突然想到这一部分是不是应该叫做“文学与人民思想”？但这是一个很大的话题，一千个字都没办法讲完。（1989.2.21，邵燕祥1993年发表在群众出版社的文章“自己的酒”，181-183页）--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 01:51, 20 December 2020 (UTC)<br /> <br /> 文学报《文学与人民生活》向我讨要了很多次我的手稿，但我一直没有答应他们的请求。写到这里，我突然觉得，这一部分是不是应该叫做“文学与人民思想”？但这是一个很大的话题，一千个字是无法叙述完的。（1989.2.21，邵燕祥1993年发表在群众出版社的文章“自己的酒”，181-183页）--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 04:19, 21 December 2020 (UTC)<br /> <br /> '''East Station'''<br /> <br /> Thirty years ago in Beijing, if you mentioned “East Station,” everybody would know that referred to the Beijing East Station that lies to the outer east side Front City Gate. Today this unremarkable construction, built in a half-westernized architectural style and sandwiched between the tall buildings of this noisy and busy city, supports a little sign that reads “Railway Workers Club.” It is already an “ancient artifact,” long gone are the prosperous and glorious days of old.<br /> <br /> '''东站'''<br /> <br /> 在30年前的北京，如果你提到“东站”，大家都会知道你指的是建在北京前城门东边外缘的北京东站。今天，这个不起眼的带有半西式风格的，矗立在喧闹的高楼大厦之间的建筑，挂着一个小牌子，上面写道：“铁路工人俱乐部”。它俨然已是一件“过时的老物件”了，而它过去那些繁荣与光辉也不在了。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 01:51, 20 December 2020 (UTC)<br /> <br /> <br /> 在30年前的北京，如果你提到“东站”，大家都会知道，指的是建在北京前城门东边外缘的北京东站。今天，这个不起眼的带有半西式风格的，矗立在喧闹的高楼大厦之间的建筑，挂着一个小牌子，上面写着：“铁路工人俱乐部”。它俨然已是一件“古物”了，早已没有了往日的繁华与辉煌。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 04:19, 21 December 2020 (UTC)<br /> <br /> ==Gong Yumian 龚钰冕==<br /> This train station was once a symbol of bustling urgency, day and night swallowing and spewing out the many different hues of travelers who come to and leave the old capitol. Outsiders that have been to Beijing may not have wandered on Fragrant Mountain or not even have visited the Imperial Museum, but none would not remember this railway station. <br /> <br /> This train station, like any other place in Beijng, has experienced everything, cycles of prosperity and demise passing before its watch. It has greeted both the voluntary and the involuntary travelers to Beijing, and also the powerful it welcomed, as well as those it did not welcome. It sent off the happy people on their first [train] voyages, and also the broken hearted people who were departing; how many of them left this place never to come back?<br /> <br /> 曾经，这个火车站象征着热闹繁华，也象征着赶火车的紧迫，无论是在白天还是黑夜，火车站里都是人来人往，有来自不同国家的旅客来到这座古都，也有旅客离开。到过北京的外地人，也许没有在香山漫步过，甚至没有参观过故宫博物院，但没有人会不记得这个火车站。<br /> <br /> 这个火车站，和北京其他地方一样，经历了一切，见证了繁荣和衰败的循环。它既欢迎自愿来北京的旅客，也欢迎被迫来北京的旅客，它欢迎有权有势的人，也欢迎那些它不欢迎的人。它送走了第一次来旅行的快乐的人，也送走了那些离去时伤心欲绝的人；他们中有多少人离开了这里，再也没有回来过？--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 14:38, 20 December 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> When 20-year-old Shen Congwen arrived in Beijing after his roundabout journey from Phoenix in Hunan Province, he may have walked out of the station and stood for a while at the square in front of it. He would have seen, because in those years there was still a space in front, first the uniformly arranged buildings, and the colorfully carved gate of Zhengyang tower. His senses would have been struck with awe at the deep and solemn beauty. Did he think of the way Kang (youwei) and Liang (qiqiao) were in the depths of an inescapable trap when they embarked their train to flee, in the midst of their hurry without even the time to look back upon the winged palace roofs of their beloved capitol?<br /> <br /> 当20岁的沈从文从湖南凤凰绕道来到北京时，他可能走出车站，在车站前的广场站了一会儿。 他一定会看到，先是统一排列的建筑，还有正阳塔的彩雕大门,因为在那些年，前面还有一个空间。 他的感官会被这深邃而庄严的美感所震撼。 他是否会想到，康（有为）和梁（七巧）在踏上逃亡的列车时，在匆忙中连回望心爱的都城的翼宫屋顶的时间都没有，就陷入了不可自拔的陷阱深处？<br /> <br /> ==Guan Qinqing 管钦清==<br /> That year in July the canons sounded at Lugou Bridge. When the railroad was restored between Beiping and Tianjin, the first trainload was the “four thousand refugee reds fleeing to Tianjin,” that was how the Tianjin newspaper put it. When those travelers entered East Station, they took their first step on the road of flight; were there any among them that that could predict that long after their own “fortuitous rescue,” in 1958 there would be another group making their unseemly departure from the Beijing station, submitting their fates to the unpredictable road.<br /> <br /> 那年七月，卢沟桥炮火连天。据天津报纸报道，从天津前往北平的铁路刚恢复通车，搭载的便是四千名红军战士。火车一到达北平东站，他们便踏上了流亡之路。不知在这群人中，是否有人预料到，经历了这段“幸运营救”很久以后的1958年，他们其中还有一部分人将悄然离开北京，踏上一段未知的旅程？--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 03:08, 21 December 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> Recently I looked through Liu Meng's “Reminiscences on a Rainy Day” in which he writes of the rainy day April of 1958, when [he along with] a group was sent to the great northern wilderness. The platform in the rainy day, the locomotive in the rainy day; he deliberately reminisced calmly, saying it was like this memory had also been washed clean by the rainy rain. At that time Liu Meng had been young, but traveling along with him were many people who had fallen into this hardship in their old age, certainly each of them had their own earlier “at that time.”<br /> <br /> Head hanging, walking upon the rain-wet road; this is someone who has far to travel. Every window is weeping; this is someone reminiscing in the rain.<br /> ==Guo Lu 郭露==<br /> And in March of 1949, when Guo Moruo and his democrats gathered together and arrived in Beijing, they were received with grand ceremonious welcome; the tears they wept were of joy. At the time he composed a poem “How much of the people's blood was spilled for this honor. Thinking of it, the tears fall, and happy laughter is unable to articulate in sound.” -- I don't know why, but this poem was not collected in any of his later collections.<br /> <br /> The platform of Beijing East Station, from the end of the last century to the middle of this century, has been a stage of constantly revolving action, no matter whether the security forces patrolling the edges of the stage were armed police of the North Coast Warlords, or the Japanese Army Police, or the Nationalist soldiers, police, M.P.’s or special agents, or the “People's Traffic Police.”<br /> <br /> 而在1949年3月，当郭沫若和他的民主人士到达北京时，他们受到了隆重的欢迎仪式，他们流的是喜悦的泪水。 当时郭沫若作了一首诗：&quot;为了这个荣誉，洒了多少人民的血。 想着想着，眼泪就掉下来了，幸福的笑声无法用声音来表达。&quot; --不知道为什么，这首诗在他后来的作品集里都没有收录。<br /> <br /> 北京东站的站台，从上世纪末到本世纪中，不管在舞台边缘巡逻的保安部队是北洋军阀的武警还是日本军警，又或者是国民党的士兵、警察、宪兵或特务，还是 &quot;人民交通警察&quot;，它一直是一个不断变幻的舞台。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:23, 17 December 2020 (UTC)<br /> <br /> 1943年3月，当郭沫若和他的民主人士到达北京时，他们收到了隆重的欢迎仪式，他们流的是喜悦的泪水。当时郭沫若作了一首诗：“为了这个荣誉，洒了多少人民的血。想着想着，眼泪就掉下来了，幸福的笑声无法用言语来表达。”--我不知道为什么，但是这首诗在他后来的作品里都没有收录。<br /> <br /> 从上世纪末到本世纪中，北京东站的站台已然成为一个不断轮回的舞台，在那里有边界巡逻的保安部队不论是武装的北洋军阀还是日本军警，又或者是国民党的士兵、警察、宪兵或者是特务，还是“人民交通警察。”<br /> <br /> ==Han Haiyang 韩海洋==<br /> But because nearly everybody “performed” there in one way or another, at least having passed across that stage, everything about it was forgotten. Literary works pass through it with a single stroke, only the ending of the novel “Golden Powder Dynasty” provided a scene for it. This leftover architectural structure does not even rate a “district preservation unit” marker. This is because there are too many ancient traces in Beijing, how could an object merely one hundred years of age be considered antique? <br /> <br /> Today will also become history. And every inch of Beijing earth will provide proof of its history. <br /> <br /> 1989. 9. 13 <br /> <br /> Please don't cut or change this date. The new railway station began operation in 1959, and this fits in parallel with “more that thirty years ago” at the beginning of the essay.<br /> <br /> 但是因为几乎所有人不管怎样都在那“表演过”，最起码从那个舞台上经过，于关于它的一切全部都被遗忘。文学作品在这个舞台上浮光一掠，只有小说《金粉世家》的结局算作是上演了一幕。遗留的建筑结构都没有被评为“保护区”的标志。这是因为在北京像这样的古老残留建筑有很多，才拥有一百多年历史又怎么能被算作是古老建筑呢？<br /> <br /> 今天也依然会成为历史。北京的每一寸土地都可以为此证明。<br /> <br /> 1989.9.13<br /> <br /> 请不要删除或改变这个日子。 这个新的火车站于1959年开始工作，同时，也是这部散文的开始之言“三十年之前”。<br /> <br /> 但因为几乎每个人都在那里或多或少地 &quot;表演 &quot;过，至少是经过了那个舞台，关于它的一切都被遗忘了。 文学作品一气呵成地经过它，只有小说《金粉王朝》的结局为它提供了一个场景。 这座遗留下来的建筑结构，连 &quot;区级保护单位 &quot;的标志都评不上。 这是因为北京的古迹太多，仅仅百年的物件怎么能算作古董呢？ <br /> <br /> 今天也将成为历史。 而北京大地的每一寸土地都将为其历史提供证明。 <br /> <br /> 1989. 9. 13 <br /> <br /> 请不要删减或更改这个日期。 新火车站于1959年开始运营，这与文章开头的 &quot;三十多年前 &quot;相吻合。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:34, 17 December 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> '''Nostalgia without Memory: Reading Zhang Wei’s Essays <br /> In the Context of Fable of September''' <br /> <br /> Jie Lu<br /> <br /> '''Abstract'''<br /> <br /> In this paper I will discuss what can be called agrarian nostalgia in Zhang Wei's essays collected in his Anxious and Indignant Homeward Journey, published in 1995 as a part of Resisting Compromise Book Series. I will examine his nostalgia as a critical and moral stance in the literary context of his highly claimed novel The Fable of September. In the novel, history is mythologized, essentialized, and therefore erased to embody an agrarian being associated with land. If land in Zhang's novel represents an idealized existence, then in his essays, it becomes both a social and literary metaphor to symbolize moral purity and literary elitism. It is posed as a means to achieve individual, social and literary salvation, and an absolute standard to critique social reality and popular culture in the age of commercialization.<br /> <br /> '''没有记忆的怀恋：阅读张炜的散文集<br /> 以九月寓言为背景'''<br /> <br /> 吕杰<br /> <br /> '''摘要'''<br /> <br /> 在本文中，我将讨论张炜的散文中可以被称为农业乡愁的东西，这些散文收录在他的《焦急而愤懑的归途》中，该书于1995年出版，是《抗妥协书系》的一部分。我将在他备受称道的小说《九月寓言》的文学语境中，考察他作为一种批判和道德立场的乡愁。在小说中，历史被神话化、本质化，从而被抹杀，体现出一种与土地相关的农业存在。如果说土地在张的小说中代表了一种理想化的存在，那么在他的文章中，土地就成为一种社会和文学的隐喻，象征着道德的纯洁和文学的精英。它被摆在了实现个人、社会和文学救赎的手段上，也是商业化时代批判社会现实和大众文化的绝对标准。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:23, 17 December 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> Nostalgia as an indication of fundamental condition of human estrangement or alienation has been exacerbated by the speeds and scopes of modernization and globalization in contemporary China. This nostalgic sentiment is intensely experienced by intellectual elites who wish to maintain their traditional role as society's moral guardians or as society's conscience, and by literary writers who wish to sustain the distinction between pure and popular literature. It is exactly this moral absolutism and literary elitism that have been undermined by cultural and socioeconomic changes. What nostalgia in Zhang's writings reveals is not so much a resistance to modernization process as incapability of deep understanding the complexity of Chinese modernity.<br /> <br /> 乡愁表现了人类疏远或疏离的一种基本状态，随着当代中国现代化和全球化的进程加快，范围扩大，乡愁也因此加深。对希望保持传统的社会道德守护者或社会良知角色的知识精英和希望维持纯文学与通俗文学区别的文学家来说，这种怀旧情绪他们深有体会。正是这种道德绝对主义和文学精英主义遭到了文化和社会经济变化的破坏。张志强笔下的怀旧主义所揭示的，与其说是对现代化进程的抵触，不如说是未能对中国现代性复杂性做深入的理解。--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 07:31, 21 December 2020 (UTC)<br /> <br /> ==Hu Baihui 胡百辉==<br /> At the turn of the twenty-first century in China, with modernization and globalization gaining full momentum, it is interesting to find many writers turning their gaze backward to the past rather than singing the praises of this new global age. Among writers such as Liang Xiaosheng, Zhang Chengzhi, and Zhang Wei, nostalgia has become their dominant literary mode, through which to both critique commercialism and globalism and express the authors’ moral and literary ideals. In this paper I wish to focus on the moral and literary implications of nostalgia in Zhang Wei’s essays, as collected in his Anxious and Indignant Homeward Journey (youfen de guitu), published in 1995 as a part of the Resisting Compromise Book Series (dikang touxiang shuxi). [* Jie Lu is an Assistant Professor of Chinese at the University of the Pacific. The author is grateful to Martin Woesler, the organizer of the conference on The Modern Chinese Literary Essays (August, 2000, Germany) where this paper was presented, and Michelle DiBello for her insightful comments and careful editing of the whole text. <br /> Resisting Compromise Book Series (Dikang touxiang shuxi) includes collections of essays by Zhang Chengzhi, Zhang Wei, Han Shaogong, Yu Qiuyu, Li Ri, and Shi Tiesheng respectively. ]<br /> <br /> 在二十一世纪之交的中国，随着现代化和全球化的全面推进，许多作家将目光转向过去，而不是歌颂这个新的全球化时代，这是一个有趣的现象。在梁晓声、张承志、张炜等作家中，怀旧已成为他们的主流文学模式，通过它既批判商业主义，又批判全球化，表达作家的道德理想和文学理想。本文旨在探讨张炜散文中怀旧的道德和文学意蕴，这是1995年出版的《反抗妥协丛书》（迪康头像书西）的一部分。（陆洁是太平洋大学中文系助理教授。本文作者感谢2000年8月在德国举行的中国现代文学随笔会议的组织者马丁·韦斯勒和米歇尔·迪贝洛对全文的深刻评论和精心编辑。《抗争妥协丛书》（迪康头像书西）收录了张承志、张炜、韩少功、余秋雨、李日、史铁生的散文集。）--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:17, 18 December 2020 (UTC)<br /> <br /> 在二十一世纪之交的中国，随着现代化和全球化的全面推进，出现了一个有趣的现象，许多作家没有歌颂这个全球化的新时代，反而将目光转向过去。如梁晓声、张承志、张炜等作家，怀旧已成为他们的主流文学模式，通过这种文学模式他们既批判商业主义，又批判全球化，表达作家的道德理想和文学理想。本文旨在探讨1995年出版的《反抗妥协丛书》（迪康头像书西）一书中的怀旧的道德和文学意蕴。（陆洁是太平洋大学中文系助理教授。本文作者感谢2000年8月在德国举行的中国现代文学随笔会议的组织者马丁·韦斯勒和米歇尔·迪贝洛对全文的深刻评论和精心编辑。《抗争妥协丛书》（迪康头像书西）收录了张承志、张炜、韩少功、余秋雨、李日、史铁生的散文集。）--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 02:54, 19 December 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> Instead of putting Zhang’s writings in the larger context of contemporary intellectual debates over radicalism (radical intellectual/cultural discourse) and (new) conservatism (anti-radical),[ Regarding the major theoretical discourses in contemporary intellectual debates in China, see Xu Ben’s “Contesting Memory for Intellectual Self-Positing: The 1990s’ New Cultural Conservatism in China” in Modern Chinese Literature and Culture, Vol.11 (Spring, 1999) 157-193; Jianhua Chen’s “Local and Global in Narrative Contestation: Liberalism and the New Left in Late-1990s China” in Journal of Asian Pacific Communication, Vol. 9 113-129; Intellectuals’ Positions (Zhishi fenzi lichang) in three volumes, edited by Li Shitao, published by Shidai wenyi chubanshe, 2000. ] I will examine it in the literary context of his highly acclaimed novel Fable of September published in 1992. <br /> Fable of September represents history in a way that mythologizes, essentializes, and therefore erases it in the name of an idealized agrarian existence. Indeed, the idea of “the land” (tudi) is a transcending and all-encompassing concept in Zhang Wei writings, representing an idealized pure state uncontaminated by industrialization and modernization. In his essays, the land is transformed into a social and literary metaphor that symbolizes moral purity and literary elitism against what the author perceives as the contemporary backdrop of general moral decadence and literary chaos. This ideal is posed as a means to achieve nothing less than social, moral and literary salvation, raised as a kind of absolute standard to critique social reality and popular culture.<br /> <br /> 而不是将张的作品在当代知识争论激进主义的大背景(激进知识/文化话语)和(新)保守主义(anti-radical),(关于当代知识辩论的主要理论话语在中国,看到徐本的“争夺记忆知识Self-Positing: 1990年代在中国的新的文化保守主义”在中国现代文学和文化,Vol.11(春天,1999)157 - 193;陈建华“叙事论争的本土与全球:90年代末中国的自由主义与新左派”，载于《亚太传播》第9卷113-129;李世涛主编《知识分子的地位》三卷，《时代文艺社》2000年出版。我将从他1992年出版的广受赞誉的小说《九月寓言》的文学背景来探讨这个问题。<br /> 《九月寓言》以一种神话化、本质化的方式展现了历史，并因此以理想化的农业存在的名义抹去了历史。实际上，“土”在张维的著述中是一个超越的、包罗万象的概念，代表着一种理想化的、未受工业化和现代化污染的纯净状态。在他的文章中，这片土地被转化为一种社会和文学隐喻，象征着道德纯洁和文学精英主义，而不是作者所认为的普遍道德颓废和文学混乱的当代背景。这一理想被认为是实现社会、道德和文学救赎的一种手段，被提升为一种批判社会现实和大众文化的绝对标准。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 11:23, 18 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> My argument, however, is that Zhang’s reification of “land” as a transcendental metaphor in his essays only betrays the author’s lack of any profound historically informed understanding of the complexity of Chinese modernity. He simply refuses to accept social and cultural dilemmas and contradictions as permanent fixtures of the intellectual and cultural landscape. At the same time, Zhang’s outright criticism of consumerism and globalism suggests an underlying ambivalence about modernization. As China’s post-socialist social reality grows more complex and demanding, with more diversified and unstructured cultural formation, any clear-cut moral solution to social evils based on pre-modern social relationship and norms (positing the utopian vision of a transcendental realm) can no longer be effective. Nor is it sufficient to solve the sense of cultural crisis brought on by the progression of both modernization and globalization.<br /> <br /> 然而，在我看来，张炜在他的散文中把“土地”具化为一个先验的隐喻，这只能暴露出作者对中国现代化的复杂程度缺乏深刻的认识。他只是拒绝接受社会和文化困境和矛盾作为知识和文化领域的永久固定装置。与此同时，张炜对消费主义和全球主义的直接批判表明了他对现代化的矛盾心理。随着中国后社会主义的社会现实变得越来越复杂和越来越严苛，文化形态也越来越多样化和无组织化，任何明确的道德解决方案，不管是基于前现代社会关系和规范(设想一个先验领域的乌托邦愿景)还是针对社会罪恶，都不再有效。也不足以解决现代化和全球化进程带来的文化危机。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 06:05, 18 December 2020 (UTC)<br /> <br /> 然而，在我看来，张炜在他的散文中将“土地”具体化为一个先验隐喻，这只能说明作者对中国现代性的复杂性缺乏深刻的历史见解。他只是拒绝接受社会和文化的困境和矛盾作为永久固定的知识和文化景观。与此同时，张炜对消费主义和全球主义的直接批判也表明了他对现代化的矛盾心理。随着中国的后社会主义社会现实变得更加复杂和苛刻，文化形态更加多样化和无组织化，任何基于前现代社会关系和规范的明确的道德解决方案(假定一个先验领域的乌托邦愿景)都不再有效。也不足以解决现代化和全球化进程所带来的文化危机感。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 06:00, 21 December 2020 (UTC)<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> The contemporary Chinese intellectual and cultural scene is a complex one, with major conflicting trends – one toward the commercialization of knowledge/literature and another in strong resistance to the very same. A new diversity of voices can be heard in intellectual debates at the more abstract conceptual level, and a number of Chinese writers have also joined the scene – whether consciously or unconsciously -- with their own distinct literary voices. The Resisting Compromise Book Series in fact embodies these writers’ own effort of resistance to commercialism and globalism, which they perceive as corrosive forces in their culture and society.<br /> <br /> 当代中国的知识文化环境是复杂的，其主要冲突趋势有两种，一种是知识/文化的商业化，另一种是对该商业化的强烈抵制。在更抽象的概念层面的知识分子的辩论中，可以听见各种不同的新声音，许多中国作家也加入了这一环境中——有意或无意地——带着他们自己独特的文学声音。《抵抗妥协》系列实际上体现了这些作家反对商业主义和全球主义的努力，他们认为商业主义和全球主义侵蚀了他们的文化和社会。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:51, 16 December 2020 (UTC)<br /> <br /> 当代中国的知识文化环境是复杂的，主要的冲突趋势——一种是走向知识/文学商业化的趋势和另一种对知识/文学商业化的强烈抵制趋势。在更抽象的概念层面的知识分子辩论中，可以听到新的多元化的声音，许多中国作家也加入了这个舞台——有意或无意地——带着他们自己独特的文学声音。《抵抗妥协》系列丛书实际上体现了这些作家反对商业主义和全球主义的努力，他们认为商业主义和全球主义侵蚀了他们的文化和社会。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 14:24, 16 December 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> As the series’ editor-in-chief states in the preface, the work is devoted to those contemporary “literary heroes” (Xiao 1995, II), that is, certain literary idealists such as Zhang Wei, Zhang Chenzhi, Han Shaogong, Yu Qiuyu, Shi Tiesheng, and Li Rui. These literary heroes are recognized for daring to stand up and raise the banner of “literature of resistance” (Xiao 1995, II), attacking the literary degeneration and moral decay of the times.<br /> <br /> 正如丛书主编在序言中所说，这部作品是专门写给那些当代 &quot;文学英雄 &quot;的（萧 1995，二），即某些文学理想主义者，如张炜、张震之、韩少功、余秋雨、史铁生、李锐等。他们之所以被认可，是因为他们敢于站出来，高举 &quot;反抗文学 &quot;的大旗（萧 1995，二），抨击当代的文学堕落和道德沦丧。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:29, 18 December 2020 (UTC)<br /> <br /> 正如丛书主编在序言中所说，该作品是专门写给那些当代 &quot;文学英雄 &quot;的（萧 1995，二），即某些文学理想主义者，如张炜、张震之、韩少功、余秋雨、史铁生、李锐等。这些文学英雄之所以被认可，是因为他们敢于站出来，高举 &quot;反抗文学 &quot;的旗帜（萧 1995，二），抨击了当时的文学堕落和道德沦丧。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:57, 20 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> In publishing the Resisting Comprises series, its creators were responding to a growing domination of the literary arena by a so-called “Hooligan Movement.” According to the editor, literary hooliganism, as it were, is essentially a “language game” -- represented first and foremost by the irreverent writer Wang Shuo – with its various forms of “literary trash” including “literature of sexual promiscuity” (xingluan), “literature of leisure” (xianshi), “hack literature” (bangxian) and “sneezing literature” (penti) (Xiao 1995, II).<br /> <br /> 在出版《反抗》系列时，它的创作者是在回应所谓的流氓运动对文学领域日益增长的统治。编者认为，文学流氓，实质上是一种 “语言游戏”——首先以不敬的作家王朔为代表——其形式多样的 “文学垃圾 ”包括 “性乱文学”、“闲适文学”、“黑客文学”和 “喷嚏文学”（萧1995，二）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:19, 17 December 2020 (UTC)<br /> <br /> 通过出版《反抗》系列，创作者回应了所谓的“流氓运动”对文学领域日益增长的统治。编者认为，文学流氓主义的实质是一种 “语言游戏”——首先以不敬的作家王朔为代表，他有形式多样的 “文学垃圾 ”，包括 “性乱文学”、“闲适文学”、“黑客文学”和 “喷嚏文学”（萧 1995，二）。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:21, 18 December 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> But there are several larger social and literary issues that this project essentially addresses, namely: the loss of literary/cultural/social dominance by the intellectual elite to mass/commercial culture; the commercialization of knowledge/literature; erosion of the “humanist spirit;” abandonment of ultimate human concerns; desertion of idealism, enlightenment and such modernist projects. In the face of such upheaval, the editor describes the contemporary cultural/literary scene in China as dark and degenerate. The age is “cursed,” “tragic,” an age of “betrayal” and “surrender” (Xiao 1995, IV). And the targets of the literary/moral resistance are postmodernism, commercialism, and mass culture.<br /> <br /> 但本质上，这个计划旨在设法解决几个更重要的社会和文学问题，即文学、文化、社会的主导地位由知识精英转移到大众及商业文化;知识文学的商业化;对“人文精神”的侵蚀;对人类终极关怀的抛弃;对理想主义、启蒙主义和诸如此类的现代主义计划的放弃。面对这样的剧变，编者将中国当代文坛描述为黑暗和堕落的。这个时代是“被诅咒的”、“悲剧性的”，是一个“背叛”和“投降”的时代(肖，1995，IV)。文学和道德反抗的对象是后现代主义、商业主义和大众文化。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:09, 18 December 2020 (UTC)<br /> <br /> 但本质上，这个计划旨在设法解决几个更重要的社会和文学问题，即文学、文化、社会的主导地位由知识精英转移到大众及商业文化;知识文学的商业化;对“人文精神”的侵蚀;对人类终极关怀的抛弃;对理想主义、启蒙主义和诸如此类的现代主义计划的放弃。面对这样的剧变，编者将中国当代文坛描述为黑暗又堕落的时期。这个时代是“被诅咒的”、“悲剧性的”，是一个“背叛”和“投降”的时代(肖，1995，IV)。文学和道德反抗的对象是后现代主义、商业主义和大众文化。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:31, 18 December 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> Zhang Wei is primarily known as a novelist. His major novels include Ancient Boat, Fable of September, My Countryside, Clan, and novelle include Meditation in Autumn, Anger in Autumn, and Vineyard. [ Ancient Boat (Guchuan), Fable of September (Jiuyu yuyan), My Countryside (Wode tianyuan), Clan (Jiazu), Meditation in Autumn (Qiutian de sisuo), Anger in Autumn (Qiutian de fennu), and Vineyard (Putaoyuan) are all included in Zhang Wei wenji (Collected Writings of Zhang Wei) (Shanghai: Shanghai wenyi chubanshe, 1997).] He has also published many collections of essays. His writings collected in Anxious and Indignant Homeward Journey include essays, talks, and interviews. These essays do not express this uncompromising stance in such a strong voice and straightforward manner. Instead, Zhang poses a literary persona of moral integrity as a kind of self-representation. He appears as an idealized individual, embodying in every way pure moral qualities of both a human being and artist/writer. This idealized individual is a fighter, fighting a lonely and heroic battle against fashionable trends and any and all forms of evil (Xiao 1995, 6).[ Anxious and Indignant Homeward Journey includes both Zhang Wei’s essays as well as critical articles by various critics. In this paper I will use Xiao Xialin, the editor of this collection as the reference to provide in-text citations to essays by both Zhang Wei and other critics. ]<br /> <br /> 张炜主要以小说家闻名。他的主要小说包括《古船》、《九月寓言》、《我的田园》、《家族》、《秋天的思索》、《秋天的愤怒》和《葡萄园》。【《古船》、《九月寓言》、《我的田园》、《家族》、《秋天的思索》、《秋天的愤怒》和《葡萄园》均收录于《张炜文集》(上海:上海文艺出版社，1997)。]他还出版了许多散文集。他在《焦虑和愤怒的归途》中收集的作品包括散文、谈话和采访。这些文章没有用如此强烈的声音和直白的方式表达这种不妥协的立场。相反，张提出了以一个文学人格作为一种自我表现。他表现为一个理想化的个体，在各方面都体现了一个人和艺术家或作家的纯粹道德品质。这个理想化的人是一个战士，与时尚潮流和各种邪恶势力进行着孤独而英勇的斗争(肖 1995，6)。【《焦虑和愤怒的归途》既包括张炜的散文，也包括各种评论家的评论文章。在这篇论文中，我将使用这本文集的编辑萧夏林作为参考，为张炜和其他评论家的文章提供文本内引文。]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:09, 19 December 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> As a generous humanitarian, he loves and helps all good people. As a socially committed artist, he takes upon himself a great responsibility to all humanity. And as a serious writer, he self-consciously pursues high literature. He is also represented as an honest laborer, making a living through hard labor and sweat. As part of this self-representation, Zhang criticizes those who succumbed to moral and artistic degradation, such as those writers who choose to “enter the commercial world” (xiahai), or cater to popular low-brow tastes by writing “trash literature.”<br /> <br /> 作为一个慷慨的人道主义者，他热爱并帮助所有善良的人。作为一名致力于社会事业的艺术家，他主动承担起对人类的重大责任。作为一个严肃的作家，他自觉地追求高雅文学。他也被描绘成一个务实的劳动者，辛勤劳作、挥洒汗水维持生活。作为自我表现的一部分，张批评了那些屈从于道德和艺术堕落的人，比如那些选择“走进商业世界”(夏海)的作家，或者为了迎合大众低级趣味而写“垃圾文学”的作家。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 09:14, 17 December 2020 (UTC)<br /> <br /> 作为一个慷慨的人道主义者，他热爱并帮助所有善良的人。作为一名致力于社会事业的艺术家，他主动承担起对人类的重大责任。作为一个严肃的作家，他自觉地追求高雅文学。他也是务实的劳动者的代表，他辛勤劳作挥洒汗水来维持生活。作为自我表现的一部分，张批评了那些屈从于道德和艺术堕落的人，比如那些选择“走进商业世界”(夏海)的作家，或者为了迎合大众低级趣味而写“垃圾文学”的作家。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 02:56, 18 December 2020 (UTC)<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> He points out in his essay “Anxious and Indignant Homeward Journey” several “lacks” in many contemporary writers. First, many of today’s writers lack “self-reflexivity” (which really refers more to moral “self-reflection” or “self-consciousness” rather than intellectual self-reflexivity). They lack “conservatism,” an ability to hold to a certain kind of spirit, in which he also sees as a lack of real avant-guard spirit. They lack “intolerance,” meaning they are overly tolerant of vices and decadent practices, and rarely engage in serious, genuine, and frank criticism and debate. Finally, they lack “stable emotions” -- the definition of which is rather ambiguous.<br /> <br /> 张炜在散文《忧愤的归途》中指出了当代很多作家存在的一些“缺憾”。首先，如今的很多作家缺乏“自我反思”(实际上更多地是指道德上的“自我反思”或“自我意识”，而非理智上的自我反思)。其次他们缺乏“守旧精神”，即坚持某种精神的能力，于此张炜还看到当代作家前卫精神的缺失。他们也还不够“偏执”，过度容忍恶习和堕落的行为，很少进行严肃、真诚和坦率的批评和辩论。最后，他们缺乏“稳定的情绪”——尽管这种情绪的定义相当模糊。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 02:43, 18 December 2020 (UTC)<br /> <br /> 他在《焦急愤懑的回家之旅》一文中指出了许多当代作家的“不足”。首先，当今许多作家缺乏“自我反省性”（这实际上更多指的是道德上的“自我反省”或“自我意识”，而不是智力上的自我反省）。他们缺乏“保守精神”，这是一种坚持某种精神的能力；并且他认为作家缺乏真正的前卫精神。他们不能够坚持自我，这意味着他们对恶习和腐朽行径过于宽容，很少进行严肃、真诚和坦率的批评和辩论。最后，他们缺乏“稳定的情绪”——尽管他对于稳定这一定义相当模糊。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:22, 18 December 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> Zhang’s self-representation, then, is also a form of self-legitimization. It endows him with legitimacy through a kind of literary aura and the staking out of high moral ground. From this privileged stance, he proceeds to interpret, represent, articulate, define and judge the essence, meaning and criteria of literature, society, and human life. Throughout his essays, including interviews, talks, and lectures, we find Zhang, like a self-styled guru, constantly giving advice to college students, young writers, and literature fans on what to read, how to write, and how to live. This advice is based exclusively on a clear distinction between high and popular literature, and on his unabashed criticism of mass culture (represented by television).<br /> <br /> 接着，张炜的自我体现也是一种自我合法化形式，这种形式赋予他一种文学氛围和声明高尚的道德立场的合法性。从这个特权立场的立场出发，他继续诠释、再现、明确表达、定义以及评价了文学、社会和人类生活的本质、意义和标准。通过他全部的文章包括采访、会谈和讲座，我们可以发现，张炜就像一位有自我风格的专家，不断地给大学学生、年轻作家和讲座迷关于写什么、如何写以及怎样生活的问题提供建议。这些建议完全基于高雅文学和通俗文学之间鲜明的区别以及他对大众文学（以电视节目为代表）的毫不掩饰的批判。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 05:40, 20 December 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> In a broader sense, we can see his self-representation as an essential reaffirmation of the traditional role that Chinese intellectuals played in society. The claim to an authoritative voice is fundamental to maintaining the privileged position of the intellectual elite within a structure of knowledge and power. Zhang’s self-representation, then, is nothing less than an attempt to reestablish the intellectual elite’s role in literature and society based on a clear distinction between high and popular literature. This power struggle for cultural dominance and hegemony in the ongoing reformation of intellectual/cultural discourse largely defines China’s socio-cultural condition in the wake of socialism.<br /> 从广义上讲，我们可以看到他的自我表现是对中国知识分子在社会中扮演的传统角色的重要重申。要求权威声音是在知识和权力结构内维持知识分子精英阶层特权地位的基础。 因此，张的自我表象无非是试图根据对高级文学和通俗文学之间的明显区分来重新确立知识分子精英在文学和社会中的作用。在不断进行的知识/文化话语改革中，这场争夺文化优势和霸权的权力斗争在很大程度上定义了社会主义之后中国的社会文化条件。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 01:37, 21 December 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> Perhaps the most important part of Zhang’s essays is his use and development of the concept of “land” (tudi), which strongly conveys his self-representation as a simple yet serious “rural intellectual” (xiangcun zhishi fenzi). In his well-known essay “Immersion in the Wild Field” (rongru yiedi), the land in fact functions as a transcending metaphor. As a signifier of nature – wild fields, mountains, bushes, green crops, the ocean -- the land symbolizes all that is morally good in social and cultural realms as well as in individual’s life. The land represents a mother figure, where one can always find comfort, wisdom and inspiration. As an eternal backdrop, the land embodies eternity itself. It serves as an aesthetic standard through which the author defines the social and aesthetic functions of “pure literature,” and criticizes various aspects of cultural reality.<br /> <br /> 在张炜的文章中，最重要的部分可能是他对 &quot;土地 &quot;概念的使用和发展，这强烈地表达了他作为一个朴素而严肃的 &quot;农村知识分子 &quot;的自我形象。在他的名篇《融入野地》中，土地实际上是一个超越性的隐喻。作为自然的象征--野地、山川、灌木、绿色的庄稼、海洋--土地象征着社会、文化领域和个人生活中所有道德上的美好事物。土地代表着母亲的形象，在那里人们总能找到安慰、智慧和灵感。作为一个永恒的背景，土地体现了永恒本身。它作为一种审美标准，作者通过它来界定 &quot;纯文学 &quot;的社会功能和审美功能，对文化现实的各个方面进行批判。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 08:22, 18 December 2020 (UTC)Lei Kuangxi<br /> <br /> 在张炜的文章中，最重要的部分可能是他对 &quot;土地 &quot;概念的使用和发展，这强烈地表达了他作为一个朴素而严肃的 &quot;农村知识分子 &quot;的自我形象。在他的名篇《融入野地》中，土地实际上是一个超越性的隐喻。野地、山川、灌木、绿色的庄稼、海洋是自然的象征，而土地象征着社会、文化领域和个人生活中所有道德上的美好事物。土地代表着母亲的形象，在那里人们总能找到安慰、智慧和灵感。作为一个永恒的背景，土地体现了永恒本身。它作为一种审美标准，作者通过它来界定 &quot;纯文学 &quot;的社会功能和审美功能，对文化现实的各个方面进行批判。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:12, 19 December 2020 (UTC)<br /> <br /> ==Li Haiquan 李海泉==<br /> Zhang associates popular literature and TV culture with low class and uneducated tastes, and criticizes current literary Chinese criticism for being overly influenced by foreign literary jargons. His concept of the land is even a moral criterion through which he criticizes many aspects of contemporary modern society -- from commercialization in which money is the source of all evils, to globalization marked by domination of transnational corporations and bad influence of some foreign literature, as well as modernization represented by cellular phones, cars, and high technology.<br /> <br /> 张将通俗文学与电视文化这种低级的和未受过教育的品味联系在一起，并批评当前中国文学评论过度受到了外国文学术语的影响。他的领域概念甚至是一种道德标准。通过这种道德标准，他批判了现当代社会的各个方面——从金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:41, 16 December 2020 (UTC)<br /> <br /> 张将通俗文学与低级、无文化品位的影视文化联系在一起，并批评当代中国文学批评过度受外国文学术语影响。他的领域概念甚至是一种道德标准，他运用这种道德标准批判了现当代社会的方方面面——从商金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和科技为代表的现代化。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 14:56, 16 December 2020 (UTC)<br /> <br /> 张将大众文学和电视文化与低级趣味和没有文化的品味联系在一起，并批评当前中国的文学批评过于受外国文学术语的影响。他的领域观念甚至是一种道德标准，通过这种标准，他批评了现当代社会的许多方面——从以金钱为万恶之源的商业化，到以跨国公司的支配和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:21, 17 December 2020 (UTC)<br /> <br /> 张将通俗文学与低级、无文化品位的影视文化联系在一起，批评当前的中国文学批评过分受外国文学术语的影响。他的领域观甚至是一种道德标准，他的领域概念甚至是一种道德标准。通过这种道德标准，他批判了现当代社会的各个方面——从金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 05:28, 20 December 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> But most of all, Zhang’s concept of land symbolizes an ideal based on ages old dichotomy between city and countryside. At the beginning of the essay, he tells us: “[The] city is a willfully and recklessly modified wild field, and I will eventually leave it” (Xiao 1995, 19). Later he claims that a real artist should be “a worshiper of land” (Xiao 1995, 60). To Zhang, the spirit of “land” should be the spirit of the age (Xiao 1995, 241). Seen in the context of his criticism of modernization, it is evident that this dichotomy is built around the moral distrust of the city – a psychological complex that traces back to Chinese agrarian tradition and Mao’s revolutionary heritage. At the same time, it reveals a profound nostalgia for a pre-modern rural existence.<br /> 但最重要的是，张先生对于土地的概念象征着一种古老的城乡对立的观念。在文章的开头，他告诉我们。&quot;[城市]是一片被肆意改造的野地，我终将离开它&quot;（萧1995，19）。后来他声称，一个真正的艺术家应该是 &quot;土地的崇拜者&quot;（萧1995，60）。在张先生看来，&quot;土地 &quot;的精神应该是时代的精神（萧1995，241）。从他对现代化的批判来看，这种二元对立显然是基于对城市道德不信任而建立起来的--这种心理情结可以追溯到中国的农耕传统和毛泽东的革命传统。同时，它也透露出对现代社会以前农村生活的深刻怀念。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:07, 16 December 2020 (UTC)Li Lili<br /> <br /> 但最重要的是，张先生的土地概念象征着一种基于古老的城乡对立的理想。在文章的开头，他告诉我们。&quot;[城市]是一片被肆意改造的野地，我终将离它而去&quot;（萧1995，19）。后来他声称，一个真正的艺术家应该是 &quot;土地的崇拜者&quot;（萧1995，60）。在张先生看来，&quot;土地 &quot;精神就是时代精神（萧1995，241）。从他对现代化的批判来看，这种二元对立显然是围绕着对城市的道德不信任建立起来的--这种心理情结可以追溯到中国的农耕传统和毛泽东的革命传统。同时，也透露出对先前农村生活的的深刻怀念。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 00:57, 17 December 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> The Land, then, points to an ideal transcendent realm, closed to contamination by the modern world. But represented only in highly literary, allusive, emotive language and nature images and analogies, the idea of the Land only comes across as very abstract and unreal. The author himself asks: “What exactly is the wild field? Where does it exist? Does it really contain my innocent world I imagine?” (Xiao 1995, 30). Indeed, as an all-encompassing and pervasive metaphor, The Land is never once in his essays clearly and objectively defined. Whether expressed as a personification of the mother figure, an embodiment of eternal being, or as a constellation of various ideal qualities and values, Zhang’s “land” lacks the substantial tour-de-force as a moral and social metaphor. But if we are to discover an ontological anchoring for this concept, it can only be found, I would argue, in his well-known novel Fable of September.<br /> <br /> 于是，这片土地指向了一个理想的超然境界，不受现代世界的污染。但只有在高度文学化、暗示性、情感化的语言和自然意象和类比中，土地的概念才显得非常抽象和不真实。作者自己问：“野地到底是什么？它在哪里存在？它真的包含了我想象中的纯真世界吗？”（肖1995，30）。事实上，作为一个无所不包、无所不在的隐喻，土地在他的散文中从来没有一次被清晰、客观地定义过。无论是表现为母亲形象的人格化、永恒存在的化身，还是各种理想品质和价值观的组合，张的“土地”缺乏作为道德和社会隐喻的实质性的力量。但是，如果我们要为这个概念找到一个本体论的锚定，只能在他著名的小说《九月寓言》中找到。<br /> <br /> ==Li Liqin 李丽琴==<br /> In reading this novel, I will focus on the dialectic between its strikingly postmodernist form -- which he criticizes and whose influences he constantly denies --and its pre-modern content (in terms of the primitive agrarian existence represented and the mode of storytelling used). I find nothing to criticize in Zhang’s use of magic realism and certain postmodernist techniques to recapture the so-called original world of pre-modern existence. I do find a glaring contradiction, however, in the author’s repeated denial of any positive influence of postmodernism. This, together with his unqualified valorization of “The Land” as a metonymy of a primitive utopia, only betray not so much his literary hypocrisy as his limited ability to understand modernity, postmodernism and even history itself.<br /> <br /> 阅读此书时，我将重点关注后现代主义形式——虽然他一直予以批判并极力否认其影响——与前现代主义内容之间的辩证关系（主要从其所代表的原始农业生活与文章使用的叙事模式这两个方向进行阐述）。张炜运用魔幻现实主义和某些后现代主义的手法再现了所谓的现代以前的原始世界，这一点无可厚非。然而，作者一再否认后现代主义的积极影响，这是我觉得矛盾点所在。这一矛盾点，再加上他毫无保留地将《远河远山》隐喻为原始乌托邦这一行为，与其说暴露了他的文学虚伪性，不如说这暴露了他在理解现代性、后现代主义乃至历史本身的不足。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:41, 16 December 2020 (UTC)<br /> <br /> 在读这本书的过程中，我将重点关注后现代主义的形式——虽然他一直对其予以批判并极力否认其影响——与前现代主义内容之间的辩证关系（主要从其所代表的原始农业生活与文章使用的叙事模式这两个方向进行阐述）。张炜运用魔幻现实主义和某些后现代主义的手法再现了所谓的原始世界，这一点无可厚非。然而，作者一再否认后现代主义的积极影响，这就是矛盾所在。这一矛盾之处，再加上他毫无保留地将《远河远山》隐喻为原始乌托邦的行为，与其说暴露了他的文学虚伪性，不如说这暴露了他在理解现代性、后现代主义乃至历史本身的不足。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:26, 17 December 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> In contrast to his essays, which tend to be didactic, long-winded, condescending, and full of literary clichés, Zhang’s novel ''Fable of September'' is a fascinating and imaginative piece of writing. It is best situated in the genre of fictional history -- not a fictionalized account of real historical figures and events, but a pure fiction, written in a historical mode. Other examples of this way of, say, tracing the fictional history of a person, a family, or a village, include Su Tong’s Maple Tree Village series, or Ge Fei’s fictional biography, ''Marginality.'' Given its fragmented, incoherent story and sophisticated narrative plot, it is a challenge to give the novel a concise, accurate description.<br /> <br /> 与说教、长篇大论、屈尊俯就、充满文学陈词滥调的散文不同，张炜的小说《九月寓言》是一篇引人入胜、富于想象力的作品。这是一篇典型的虚构历史类型的文学作品——不是对真实历史人物和事件的虚构叙述，而是以历史的模式写成的纯粹虚构的作品。运用这种方法的其他例子，如追溯一个人、一个家庭或一个村庄的虚构历史，包括苏童的“枫杨树村”系列和格非的虚构传记小说《边缘》。考虑到小说中支离破碎、不连贯的故事和复杂的叙事情节，给这部小说一个简洁、准确的描述是一个挑战。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 14:08, 16 December 2020 (UTC)<br /> <br /> 与他那些倾向于说教、长篇大论、屈尊俯就、陈词滥调的散文不同，《九月寓言》这部小说引人入胜。这是一篇典型的虚构历史文学作品——不对真实的历史人物和事件进行虚构叙述，而是一篇以历史的模式写成的虚构作品。这种手法同样运用于追溯某个人、某个家庭或某个村庄的虚构历史，包括苏童的“枫杨树”系列作品与格非的虚构传记小说《边缘》。由于这部小说故事叙述支离破碎、叙事情节复杂，因此简洁准确地描述它着实是一个挑战。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:58, 16 December 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> In general, the novel depicts a “historical” picture in which a small pre-modern, self-contained village is obliterated by industrialization. But what the novel really focuses on, instead of village’s fall itself, are certain memorable events and people that are part of the last 30-40 years of its existence (though the exact length of time remains questionable and unclear). <br /> The novel is divided into seven parts, each focusing on stories of a single character or family. These stories are mutually connected, and at the same time intermingled with myths, legends, anecdotes and magical or strange occurrences, which in turn map out a sort of “history” of the village. <br /> ==Li Yongshan 李泳珊==<br /> Ironically, however, history is not quite the right term here to describe the village’s temporal contour, for what stand out as the central features in the life of the village are “land”/food (more specifically sweet potatoes), the tradition of staying with the village, and a certain mode of storytelling used in the village to recall past suffering. As quintessential indexes in the village’s existence, these features mark not a temporal movement but an eternal being. Centered on these three essentials, life in the village is hard, simple, unchanging, and close to the archetypal. The only way for the young to use up their abundant and restless energy is to run and play in the wild fields at night, and the married to beat their wives and do “cupping” (''ba huoguan'').<br /> 然而,具有讽刺意味的是,在描述村庄的时间轮廓时,历史并不是太正确的术语。因为突出村庄生活的主要特征是“土地” /食物（更具体地说是地瓜） 与村庄在一起，并在村庄中使用某种讲故事的方式来回忆过去的苦难。 这些特征作为村庄存在的精要指标，不是暂时的运动，而是永恒的存在。 围绕这三个要素，村庄的生活艰苦，简单，不变且与原型亲密。 年轻人要用尽他们充沛而烦躁的精力的唯一方法是晚上在野外奔跑和嬉戏，已婚夫妇殴打妻子并做“托杯”（“ ba houguan”）。--[[User:Li Yongshan|Li Yongshan]] ([[User talk:Li Yongshan|talk]]) 15:42, 19 December 2020 (UTC)<br /> <br /> 讽刺的是，历史并不是一个描述村庄时间轮廓的正确术语，因为村庄生活突出的中心特征是“土地”/食物（更确切地说是番薯）、留在村子里的传统想法和一种村里常用的回忆过往苦难的特殊的讲故事的方式。就像村庄得以存在的典型标志，这些特征标志的是一个永恒的存在，而不是一个暂时的运动。以这三个要素为中心，村里的生活艰苦、简单、始终如一、并接近典型的村庄生活。夜里，在野外奔跑、玩耍成了年轻人将充沛且静不下来的精力耗尽的唯一的方法，而已经结婚的人则是通过殴打他们的妻子以及拔火罐来消耗其精力。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 06:03, 20 December 2020 (UTC)<br /> <br /> ==Li Yu 李玉==<br /> Thus what Zhang Wei aims to represent in this novel is a pure, simple, close-to-primitive life, uncontaminated by modern civilization. But he is also representing a sense of eternal being, long lost as it may be in our modern age. <br /> The novel is undoubtedly imaginative and fascinating. My sense of fascination as a reader, however, is derived largely from its mode of literary representation than from what is actually depicted in Zhang’s fictional world. Part reality, part myth, part legend, the story is at once mythical and real. It is a synthesis of straightforwardness and artifice, primitivism and mannerism, thematic simplicity and formal sophistication. In other words, in order to represent a pre-modern agrarian existence – Zhang’s utopian vision of pure being – he relies on quite sophisticated modernist/postmodernist literary devices. <br /> ==Lin Min 林敏==<br /> Perhaps the most striking feature of the novel, as many critics have noted, is its formal manipulation of temporality, or to be more specific, the narrative negation of temporality. It is almost impossible for the reader to discern the actual timeline of the village’s history. Even the time span running from the 1930s to 1970s and temporal progression within the narrated world (which can only be pieced together after repeated readings), are unreliable, full of unexplainable loopholes. [ For the full discussion on the novel’s temporal scheme, see Chen Sihe’s “Huanyuan minjian: tan Zhang Wei ''Jiuyue Yuyan''”(Returning to the people: on Zhang Wei’s ''Fable of September'') collected in Youfen de guitu (Indignant Homeward Journey) 260-267.] <br /> <br /> This unusual narrative stance achieves a number of thematic effects. First, it cuts the village off from the larger movement of history. The novel mentions no political movements, significant historical events, or chronology of dates other than “September.”<br /> <br /> 正如许多批评家所指出的那样，可能这部小说最引人注目的特征是对时间性的形式化操纵，或更具体地说，是对按时间叙事的否定。读者几乎不可能分辨出该村历史的实际时间表。即使是从三十年代到七十年代的时间跨度，以及叙述世界中的时间进展（只能在反复阅读后才能拼凑起来）也是不可靠的，充满了无法解释的漏洞。 [有关小说的时间安排的完整讨论，请参见陈四河的 《还原民间：谈张炜的〈九月寓言〉》，收录于《忧愤的归途》260-267 ]<br /> <br /> 这种不寻常的叙事手法实现了许多主题效果。首先，它使村庄脱离了更大的历史潮流。小说没有提及“九月”以外的任何政治运动，重大历史事件或日期顺序。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 13:35, 19 December 2020 (UTC)<br /> <br /> 正如许多批评家所指出的那样，可能这部小说最引人注目的特征是对时间性的形式化操纵，或更具体地说，是对时间性的叙事否定。读者几乎无法了解到该村历史发展的实际进程。即使是从二十世纪三十年代到七十年代的时间跨度，以及所叙述的世界中的时间进展（只能在反复阅读后才能拼凑起来）也是不可靠的，充满了无法解释的漏洞。 [有关小说的时间线索布局的详尽讨论，请参见陈四河的 《还原民间：谈张炜的〈九月寓言〉》，收录于《忧愤的归途》260-267 ]<br /> <br /> 这种不寻常的叙事手法实现了许多主题效果。首先，它使村庄脱离了更大的历史潮流。小说没有提及“九月”以外的任何政治运动，重大历史事件或日期顺序。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 01:19, 20 December 2020 (UTC)<br /> <br /> ==Lin Xin 林鑫==<br /> The only other temporal indicators are rainy seasons, or periods of winter when the snow is as sharp as strong acid, or autumn when the field is abundant with sweet potatoes and beans. These seasonal markers indicate changes more in nature than in the human world where chronological dates mark time. These markers of nature serve to draw the story further away from a real historical framework and closer to the pre-modern agrarian mode of existence, as if human life was “timed” by nature itself. Furthermore, this kind of temporal negation also foregrounds eternity in the land itself. Wherever any historical hint or political implication may crop up in the story, it is immediately dissolved into one of many village legends.<br /> <br /> 唯一的时间指标是雨季，抑或是冬季鹅毛大雪，或者是秋季田野里盛产红薯和豆子的时期。这些季节性标志比人类世界中的时间标志，比如年、月、日，更能在本质上表明变化。这些自然界的标志物的作用是使故事进一步远离真实的历史框架，而更接近于前现代的农业生存模式，仿佛人类的生活是由自然本身&quot;定时&quot;的。此外，这种时间性的否定也预示着土地本身的永恒性。凡是故事中可能出现的任何历史暗示或政治意味，都会立即被消解为众多乡村传说中的一种。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 13:11, 18 December 2020 (UTC)<br /> <br /> 唯一的时间指标是雨季，或是下起鹅毛大雪的冬季，或田野里红薯和豆子丰收的秋季。这些季节性标志比人类世界中的时间顺序标志，更能在本质上表明变化。这些自然界的标志物使故事进一步远离真实的历史框架，而更加接近前现代的农业生存模式，仿佛人类的生活由自然本身“定时”。此外，这种时间性的否定也预示着土地本身的永恒性。凡是故事中可能出现的任何历史暗示或政治意味，都会立即隐入为众多乡村传说中的一种。 --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:54, 19 December 2020 (UTC)<br /> <br /> ==Ling Zijin 凌子瑾==<br /> For instance, “recalling past suffering” (yiku), an important collective activity of the village, is transformed from a political discourse used during the Cultural Revolution into a form of storytelling for binding the village community together, and for producing oral history and creating legends. In essence, history is erased from the village’s background all together. <br /> The novel’s detachment from historical background also means a metaphysical negation of historical paradigm of interpretation and signification, characterized by such notions as causality, progress and teleology. This allows the author to have a larger space for interaction of diverse configurations. As critic Chen Sihe points out, Zhang’s village exists in three forms: in reality, in legend/myth, and in oral storytelling (Xiao 1995, 265).<br /> <br /> 如“忆苦”，作为村落重要的集体活动，从“文革”时期的政治话语，转变为凝聚村落社群、口述历史、创造传说的叙事形式。从本质上说，历史被从村庄的背景中抹去了。<br /> <br /> 小说脱离历史背景也意味着形而上学地否定解释和意义的历史范式，其特征是诸如因果关系、进步和目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和指出的那样，张的村庄存在三种形式:现实中的，传说/神话中的，口头讲故事的(Xiao 1995,265)。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 14:41, 16 December 2020 (UTC)<br /> <br /> 如“忆苦”，作为村落重要的集体活动，从“文革”时期的政治话语，转变成为了凝聚村落社群、口述历史、创造传说的叙事形式。本质上，人们将历史完全从村庄的背景中抹去了。<br /> <br /> 小说脱离历史背景也意味着形而上学地否定了解释和意义的历史范式，其特征是诸如因果关系、进步和目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和指出的那样，张的村庄以三种形式存在着:现实中的，传说和神话中的，口头故事中的(Xiao 1995,265)。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:21, 17 December 2020 (UTC)<br /> <br /> 例如，“忆往昔”这一重要的村集体活动，由文革时期的政治话语，转变为凝聚村社、创造历史、创造传奇的叙事形式。从本质上说，人们把历史从村庄的背景中全部抹去。小说对历史背景的超脱也意味着对历史解释和意义范式的形而上否定，其特征是因果、进步、目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和所指出的，张的村庄以三种形式存在：现实中的、传说或神话中的以及口述故事中的。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 01:41, 21 December 2020 (UTC)<br /> <br /> ==Liu Bo 刘博==<br /> However, the absence of a clear-cut time framework only blurs and transgresses the ontological boundaries among reality, myths, legends, the magic and storytelling. The novel abounds with magical, mythical, and supernatural figures and events: Niugan’s body was air-dried for a period of time before his actual death. A man named Jinyou can squeeze milk from his breasts. Another man’s eyeball jumps out and changes into a frog, disappearing into grass. The mother of Longran does not die after drinking pesticide; instead, her hairs have become darker, and skin softer. Very much like in Gabriel Garcia Marquez’s ''One Hundred Years of Solitude'', these magical events are presented in a realistic mode on the same ontological level as other “real” events.<br /> <br /> 然而，缺乏一个明确的时间框架，只会模糊和超越现实，神话，传说，魔术和故事之间的本体论界限。小说中充满了神奇的、神话的、超自然的人物和事件：牛干的尸体在他真正死亡前被风干了一段时间。一个叫金友的人可以从他的乳房里挤出牛奶。另一个人的眼球跳出来，变成了青蛙，消失在草丛中。龙然的母亲并没有因为喝农药而死，相反，她的头发变黑了，皮肤变软了。就像加西亚马尔克斯的《百年孤独》一样，这些神奇的事件在本体论的层面上以现实主义的方式呈现，就像其他“真实”事件一样。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 01:36, 21 December 2020 (UTC)<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> In other words, the magic is approached through the everyday. And the transgression of ontological levels of representation thus further negates historical temporality. <br /> <br /> The absence of historical time in the novel also negates historical interpretation. Instead, myths and legends assume the function of historical explanation. The origin of the small village is explained in a myth about a group of vagrants who, exhausted after a long journey, stopped, and settled on a piece of land that could provide them with food. The story of the monkey spirit with the ability to carry things becomes a mythic explanation of social stratification and exploitation, a further departure from historical and positive discourses.<br /> <br /> 换句话说，魔法是每天都有的。 因此,本体论表示形式进一步否定了历史的时间性。<br /> 小说中缺少的历史时间也否定了历史解释。相反，神话和传说承担着历史解释的功能。神话中解释了这个小村庄的起源，这个神话是关于一群流浪者的，这些流浪者经过漫长的旅程已经精疲力尽了，他们停下来，然后定居在一块可以为他们提供食物的土地上。具有承载能力的猴子精神的故事成为对社会分层和剥削的神话解释，这进一步背离了历史语境。--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 10:37, 20 December 2020 (UTC)<br /> <br /> 换句话说，魔法每天都有，而本体论表征层面的越轨，进一步否定了历史时间性。<br /> 小说中历史时间的缺失也否定了历史解释。相反，神话和传说承担了历史解释的功能。小村子的由来在一个神话中得到了解释，这个神话讲述了一群流浪汉经过长途跋涉后疲惫不堪，停了下来，在一块可以为他们提供食物的土地上定居下来。故事中具有承载能力的猴子精神成为社会分层和剥削的神话阐释，这进一步背离了历史和正面的论述。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 12:42, 20 December 2020 (UTC)<br /> <br /> ==Liu Liu 刘柳==<br /> These myths and legends are presented as part of the village’s everyday reality. Thus different ontological levels within the text – reality and myth/legend/oral storytelling/magical events -- in which the village exists collapse into one. It is a world in which past and present become all-at-once. In other words, the past is the present, the myth is reality, and vice versa. The timeless place is like a sentence without tense. And herein lies the author’s profound sense of nostalgia for a fundamental, archetypal existence in its complete nakedness, beyond modern historical and rational configurations. <br /> <br /> As Nan Fan points out, though the temporal span of the novel is not long, its content is massive, filled as it is with various stories (Xiao 1995, 253).<br /> <br /> 这些神话和传说是作为村庄日常现实的一部分呈现的。因此，文本中不同的本体论层面—现实和神话/传说/口头故事/神奇事件—村庄存在于其中，合二为一。这是一个过去和现在都成为一体的世界。换句话说，过去就是现在，神话就是现实，反之亦然。永恒的地方就像一个没有时态的句子。而作者对一种完全赤裸裸的、超越现代历史和理性配置的根本性、原型性存在的深刻怀念感就在于此。<br /> <br /> 正如南帆所指出的，虽然小说的时间跨度不长，但其内容却是庞大的，充满了各种故事（萧1995，253）。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:37, 16 December 2020 (UTC)<br /> <br /> 这些神话和传说作为村庄日常现实的一部分呈现出来。因此，文本中不同的本体论层次——现实和神话/传说/口头讲故事/魔法事件——村落的存在瓦解为一个整体。这是一个过去和现在同时成为一切的世界。换句话说，过去就是现在，神话就是现实，反之亦然。永恒的地方就像一个没有时态的句子。在这里，作者对一种基本的、原型的、完全赤裸的、超越现代历史和理性结构的存在有着深刻的怀旧之情。<br /> 南帆指出，小说的时间跨度虽然不长，但内容却很宏大，充满了各种各样的故事(肖1995,253)。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 14:43, 16 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> If the macro-structure of the novel is characterized by narrative strategies of postmodernist fragmentation and transgression, then at the micro-structure of individual stories the pre-modern form of Benjaminian storytelling becomes the dominant mode of narrative. “Recalling past suffering” is in fact in the typical mode of storytelling. The narrative tells us that in those long and cold winter nights when rain turned into snow, when there were nothing else to do for the rural folks, all villagers of the Small Village would gather together to listen to Jinxiang, one of the principal storytellers in the village, to recall past suffering. Here Jinxiang functions in the role that Water Benjamin describes: the giver of stories, of counsel, the link to a mythic but necessary past.<br /> ==Liu Yangnuo 刘洋诺==<br /> Through storytelling, the storyteller’s personal experiences mixed with the mythic and magic become the collective experiences of the village, binding the village together, and providing it not only with a sense of community but also a sense of identity. Interestingly, the villagers prefer only the storytellers in their own village to tell of past. Thus, in relating his own experience and that reported by others, the storyteller in turns makes it the experience of those who are listening to his tale (Benjamin 1968, 87). In a way, Jinxiang perfectly embodies Benjaminian storyteller as the one who, in his storytelling, also gives counsels to the listeners -- the young in this context -- to value the happiness of the present and therefore stay with the tradition.<br /> 通过讲故事，叙述者个人经历与神话、魔法混合在一起，与村子紧密联系，成为村民的共同经历，这样增添了社区感和认同感。有趣的是，村民们只喜欢自己村子里的叙述者讲述过去。因此，叙述者在讲述他自己的经历和别人的经历时，同样也在讲述那些听他讲故事的人的经历（Benjamin 1968，87）。在某种程度上，金祥完美地运用了本雅明式的叙述者，他在讲故事的同时，也劝告听故事的人--在此背景下的年轻人--珍惜当下的幸福，从而保持传统。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 12:34, 20 December 2020 (UTC)<br /> <br /> 通过讲故事，将叙述者的个人经历融合了神话、魔法，与村子紧密联系，成为村民的共同经历，这样增添了社区感和认同感。有趣的是，村民们只喜欢自己村子里的人讲述过去的经历。因此，叙述者在讲述自己的经历和别人讲述的经历时，反过来也成为那些听他讲故事的人的经历，讲述那些听他讲故事的人的经历（Benjamin 1968，87）。在某种程度上，金祥完美地运用了本雅明式的叙述者，他在讲故事的同时，也劝告听故事的人--在此背景下的年轻人--珍惜当下的幸福，保持传统。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 15:23, 20 December 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> Jinxiang’s story telling demonstrates the power of the oral, in that his performance has potential for moving beyond rational control. He tells stories spontaneously and with great emotion, often with tears and slobbers and shouts at each stop. His dynamic orality controls the whole atmosphere of the meeting and carries the listeners to multiple emotional climaxes. Thus in the highly emotionally charged atmosphere of telling and listening marked by crying and shouting, the teller and listeners identify completely with one another. As a storyteller “in his living immediacy” (Benjamin 1968, 83), Jinxiang is thus an integrate part of the pre-modern rural existence based on its closely-knit community, the shareable experiences, and a fund of stories and lore.<br /> <br /> 金祥的讲故事展现了口述的力量，他的表演具有超越理性控制的潜力。他讲故事时自然而然，感情充沛，每到一站，往往泪流满面，口水直流，大呼小叫。他的动态口述控制了整个会场的气氛，并将听众带入多个情感高潮。因此，在以哭和喊为标志的高度情绪化的讲和听的氛围中，讲者和听者完全相互认同。作为一个 &quot;活生生的即时性 &quot;的讲故事的人（Benjamin 1968, 83），金乡是前现代农村生活的一个组成部分，其基础是其紧密联系的社区、可分享的经验以及故事和传说的基金。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:37, 16 December 2020 (UTC)<br /> 金祥的故事讲述展现了口述的力量，他的表演具有超越理性控制的潜力。他很自然地讲述故事，感情充沛，一停下来，往往泪流满面，口水直流，大呼小叫。他那充满活力的口述控制了整个会场的气氛，并将听众带入多个情感高潮。因此，在以哭和喊为标志的高度情绪化的讲和听的氛围中，讲者和听者完全相互认同。作为一个 &quot;活生生的即时性 &quot;的讲故事的人（Benjamin 1968, 83），金乡是现代以前农村生活的一个组成部分，以前的农村整个乡村紧密联系、人们互相交流经历，还流传着大量的传说和故事。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:24, 16 December 2020 (UTC)Li Lili<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> And this pre-modern rural existence can only be narrated and made sense of through the mode of storytelling, for the specific sense of historicity and experience of reality as mixed with myth, legend, the magical transgress normal parameters of our modern and rational paradigm of representation. <br /> <br /> Thus the synthesis of the pre-modern, marked by both its existence and the mode of storytelling, and postmodernist mannerism with its sophisticated narrative strategies also points to an irony, in that this natural, pre-modern world can only be re-presented in very stylized devices. Here Zhang Wei encounters a similar paradox as the famous Taoist icon, Zhuang Zi. In spite of his distrust of language, Zhuang Zi could only envision the ineffable Way through language.<br /> <br /> 而这种前现代的乡村只有通过故事的方式才能被叙述和理解，因为与神话、传说、魔幻混杂在一起的特定的历史感和现实体验，超过了我们现代和理性表述模式的正常感受。 <br /> <br /> 因此，前现代的存在和故事模式，以这两者为标志的前现代与后现代主义方式主义以其复杂的叙事策略综合，也偏向了讽刺，即这个自然的、前现代的世界只能用非常风格化的手段来重新呈现。在这里，张炜遇到了与著名道教代表人物庄子类似的悖论。庄子尽管怀疑语言，但他只能通过语言来设想不可言说的道。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:06, 18 December 2020 (UTC)<br /> <br /> 这种前现代的乡村生活只有通过讲故事的方式来进行叙述，因为与神话、传说、还有魔幻的事物混杂在一起的历史感和现实体验超越了我们现代化和理性表达模式下的正常感受。<br /> <br /> 因此，前现代主义以生活和讲述模式为特点，后现代主义方式拥有复杂叙事策略，这两者的结合也指向了讽刺，而只有通过讽刺才能通过风格化的手段重新呈现这个自然的前现代世界。这里张玮遇到了与著名道教代表人物庄子类似的悖论。尽管庄子怀疑语言，但是他也只能通过语言来想象一些又不能言表的道。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:00, 20 December 2020 (UTC)<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> In other words, it was through language, given humanity’s permanent separation and alienation from nature, that Zhuang Zi could imagine the existence of something beyond. Zhang Wei’s pre-modern being is by no means ineffable. Yet, its “otherness” and its alterity vis a vis the modern world can only be perceived in our modern world, and represented through sophisticated devices of modernism/postmodernism. The absolute irony that the primitive or the pre-modern cannot be envisioned and represented except in our modern cultural condition in fact exists in the very center of this utopian text, though unrealized by the author himself as he repeatedly criticizes postmodernism and denies its inevitable influence.<br /> <br /> 换句话说，语言将人类和自然区别开来，而庄子也是通过语言想象了一些超验的东西。张玮前现代主义绝不是不可言表的。然而，它的“他者性”及其对现代世界的另类性，只能在我们的现代世界中被感知，并通过现代主义或后现代主义的复杂手段来表现。乌托邦文本中心存在着一种绝对的讽刺，即原始的或前现代的东西，它只在我们的现代文化条件下无法被想象和表现。尽管作者本人在反复批判后现代主义、否认后现代主义的必然影响时，仍没有意识到这一点。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 01:46, 21 December 2020 (UTC)<br /> <br /> ==Lou Cancan 娄灿灿==<br /> So the natural or the pre-modern state of being as eulogized by the author is no longer the first order of naturalness, but the second order, for it is only through an elaborate narrative architecture that such primitivism and naturalness can be re-enacted. To put it in another way, in resurrecting the primitive in our postmodernist age, the author in fact brings out, though unconsciously, a fundamental truth about primitivism. The natural, organic and a-temporal world of agrarian existence represented by the Small Village is not, in fact, a utopia from which we have fallen. Rather, it derives its meaning only through its opposition to a temporal world of modern civilization. Only in contrast to this temporal world can the primordial, the timeless take on meaning as negation of historical time.<br /> <br /> 因此，作者所赞颂的自然或现代化之前的存在状态不再是自然的第一阶，而是第二阶，因为只有通过一种精心设计的叙述架构，这种原始主义和自然才能重现。换句话说，在后现代主义时代，作者在复活原始事物的过程中，实际上无意识地揭示了原始主义的一个基本真理。事实上，以小村所代表的自然的、有机的、非时间的农业世界的存在并不是我们所堕落的乌托邦。相反，它之所以有意义，是因为它与现代文明的现世世界是对立的。只有与这个短暂的世界相对比，原始的、不受时间限制的事物才能被赋予否定历史时间的意义。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:37, 19 December 2020 (UTC)<br /> 所以，作者所赞颂的自然或现代化之前的存在状态不再是自然的第一阶，而是第二阶，因为只有通过一种精心设计的叙述架构，这种原始主义和自然才能重现。换句话说，在后现代主义时代，作者在复活原始事物的过程中，实际上无意识地揭示了原始主义的一个基本真理。事实上，以小村所代表的自然的、有机的、非时间的农业世界的存在并不是我们所降临的乌托邦。相反，它之所以有意义，是因为它与现代文明的现世世界是对立的。只有与这个短暂的世界相对比，原始的、不受时间限制的事物才能被赋予否定历史时间的意义。--[[User:Mo Nan|Mo Nan]] ([[User talk:Mo Nan|talk]]) 11:37, 19 December 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> Thus the ideal of a timeless, primordial rural past beyond modern civilization is only an ideal created in our modern times.<br /> <br /> In my discussion of modernist/postmodernist literary devices, I do not mean to label and categorize Zhang’s text as a modernist/postmodernist. Nevertheless, as seen in the above analysis, his formal strategies do share some strong features of postmodernism, or to be specific, magical realism. These features include boundary transgression, fusion and coexistence of different ontological worlds, and atemporal narrative structure. There is no doubt that Zhang Wei has succeeded in creating a world, a state of being beyond the reach of modern civilization. But his “world,” in the final analysis, can only be represented through modernist/postmodernist techniques. <br /> ==Luo Yuqing 罗雨晴==<br /> It is evident that the creation of this archetypal village embodies the author’s profound nostalgia for the pre-modern past and his utopian search for an ideal state of being. And this timeless place represents the author’s attempt to re-orient geographical and cultural nostalgia in China’s contemporary times from commercially stimulated nostalgia to the rural past as the fundamental Chinese root. Yet the lack of direct temporal and spatial references in the presentation of the Small Village makes his nostalgia closer to imagination, or to what David Wang called, imaginary nostalgia (1993, 107). In other words, his nostalgic representation of the Small Village is devoid of actual memory. This is particularly demonstrated in his deliberately designed a-temporal narrative structure, his foregounding of myth, legends and those magical events.<br /> <br /> 显而易见的是，这一原型村落的创作体现了作者对前现代过去的深切怀旧和对理想存在状态的乌托邦式追求。这个永恒的地方代表了作者试图从商业刺激性的怀旧到作为根本的中国根的农村的过去，重新定位中国当代的地理和文化怀旧。然而，在小村庄的表现中缺乏直接的时空参照，使得他的怀旧更接近于想象，或者更接近王大卫所说的想象怀旧（1993，107）。换言之，他对这个小村庄的怀旧表现缺乏真实的记忆。这一点在他精心设计的一种时间叙事结构、对神话传说和那些神奇事件的预言上表现得尤为明显。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:53, 19 December 2020 (UTC)<br /> <br /> 很明显，这个原型村的创建体现了作者对前现代历史的深刻怀旧和他对理想状态的空想。这个永恒的地方代表了作者试图重新定位中国当代地理和文化怀旧情怀，从商业刺激的怀旧情怀到农村作为中国人的根本根基。然而，在《小村庄》的呈现中缺乏直接的时空参考，使他的怀旧感更接近于想象，或者更接近于大卫·王所说的虚构怀旧（1993：107）。换句话说，他对小村庄的怀旧表现缺乏实际记忆。在他精心设计的时空叙事结构，对神话，传说和那些神奇事件的预言中，这尤其得到了证明。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 12:28, 20 December 2020 (UTC)Ou Rong<br /> <br /> ==Ma Juan 马娟==<br /> Moreover, as the title indicates, the whole novel is intended by the author as a fable, rather than a history, even though it is written in a historical mode. The village’s mythic origin, its lack of sense of time, and its sudden and catastrophic ending all point to the negation of historical progression. The elaborate narrative structure betrays the imaginative and fantastic construction of this mythic past. Thus Zhang Wei’s Small Village is less a historical object of nostalgia than a topographical/textual locus where imagination and utopian discourse intermingle. In other words, as a literary construction, this phantom village comes less from the actual yearning for what has been lost than from the desire for what has never been there (Wang 1993, 130). <br /> ==Ma Shuya 马淑雅==<br /> The striking incongruity indicates the nature of nostalgia as both a textural stance as well as a structure of feeling. <br /> <br /> Nevertheless, the incongruity between formal sophistication and primitive existence is a very hallmark of literary and cultural production in our postmodernist China. In discussing the Fifth Generation Films, Rey Chow points out that primitivism is often associated with modernism/postmodernism. The “primitive passion,” according to Chow’s definition, emerges at “a moment of cultural crisis.” It is an invented fact, fabrication of a sense of the primordial, rural rootedness that occurs in the post-construction (1995, 22-23). Chow’s theory of primitive passion is based on her study of new Chinese cinema.<br /> ==Ma Zhixing 马智星==<br /> However it does shed light on our discussion of Zhang’s profound nostalgia for the rural past at the age of globalization, and on the ironic rupture between postmodernist sophistication and the pre-modern/primordial world presented in his novel. Read in intertextual relation with his essays, it is more than clear that Zhang’s re-imagining of the primordial Chinese rural past is meant to correct what he perceives as the diseased modernity and to rejuvenate Chinese culture. As a response to the cultural crisis in our globalized age, Zhang Wei has chosen the past to measure the present. <br /> <br /> The nostalgic return in Zhang Wei’s writings is in fact a kind of self-exile. Zhang Wei actually spent five years in a rustic country house (soon to be torn down) near his hometown to write this novel. <br /> ==Meng Ying 孟莹==<br /> There he was literally cut off from the outside world, expecting that this exile away from modern cities would get him spiritually closer to the land and nature so as to feel anew the vitality of the Chinese people, and rediscover the historical/rural root of Chinese culture. As agreed by all critics, this novel’s representation of the primordial past succeeds in bringing out a native naiveté and simplicity, a sense of gushing life force and animal virility -- the ideal form of being. However, in de-historicizing the past in order to re-imagine the golden age of the rural innocence and plenitude of meaning, the author had no alternatives but to simply let narrative play out its historical inevitability.<br /> ==Mo Ling 莫玲==<br /> The pre-modern agrarian existence embodied by the Small Village is ultimately destroyed by modern industrialization. History then, though negated and erased by the narrative form of the novel, reasserts itself at the end. This leaves us not with a story about the slow decline of this pre-modern agrarian existence, but of its catastrophic fall. The structure of the village’s existence was in no way able to change and transform itself. This is demonstrated by the villagers’ strong resistance to outside influences represented by coal mining industry. As a result, rather than gradual transformation, the village is suddenly destroyed by industrial machine power.<br /> <br /> 最终，现代工业化抹杀了小村庄所展现出的前现代农业文化。那时的历史虽因小说的叙事形式而遭否定和抹去，但在结尾时又重新跃然纸上。它为我们展现的并不是前现代农业文化缓慢地销声匿迹，而是其灾难性的衰落。这个村庄的存在结构决定了它无法自变，村民强烈抵制受到来自外界煤矿业的影响就是一个很好的证明。结果，这个村庄并没有逐步转型，而是突然摧毁于工业机器的动力。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:26, 17 December 2020 (UTC)Mo Ling<br /> <br /> 小村庄所体现的前现代农业生存最终被现代工业化所摧毁。那么，历史虽然被小说的叙事形式所否定和抹杀，但却在结尾处重新出现。这给我们留下的不是这个前现代农业缓慢衰落的故事，而是它灾难性的崩溃。村庄的生存结构是无论如何无法自变的，这表现在村民对以采煤业为代表的外界影响的强烈抵制。结果，这个村子不是逐步转型，而是突然被工业机器力量所摧毁。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:10, 18 December 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> The moral dilemma Zhang faces in re-enacting of the Chinese rural past is similar to those encountered by root-seeking writers: the quest for the essence of “Chineseness” also leads to the discovery of unpleasant aspects in its society and cultural tradition. This moral dilemma is also reflected in the novel’s narrative form. While magical events serve to deconstruct the realist paradigm of historical representation, they at the same time also create a picture of rural life as something exotic. As David Wang points out, the object of nostalgia is also easily associated with the exotic (1993, 109). <br /> <br /> So if we have found some substance in Zhang’s novel to support his transcendent, yet empty metaphor of “land,” this “substance” remains less than compelling and appealing.<br /> 张艺谋在再现中国乡村历史时所面临的道德困境，与寻根作家所面临的困境相似:在追寻“中国性”实质的同时，也发现了中国社会和文化传统中令人不悦一面。这种道德困境在小说的叙事中也有反映。奇幻事件在解构历史表象的现实主义范式的同时，也创造了一幅具有异域风情的乡村生活画面。正如王大卫指出的那样，怀旧的对象也很容易与异国情调联系在一起(1993,109)。<br /> 因此，如果我们在张大千的小说中找到某种物质来支持他超然而空洞的“土地”隐喻，那么这种“物质”仍然不够具有吸引力和吸引力。--[[User:Mo Nan|Mo Nan]] ([[User talk:Mo Nan|talk]]) 07:26, 17 December 2020 (UTC)Mo Nan<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> A primitivistic village life can be little more than that: it is basic and instinctual, centering on food and sex. The meaning of land is closely related to food; indeed the reason the villagers stick to this land is because it can produce rich food enough to preserve their community. The carnivalesque scenes describing the village young romping in the wild fields at night, while highly acclaimed by many Chinese critics, do not, to my mind, represent an infinite solitude or a simple form of joy as much as the poverty of these lives in an extremely closed and impoverished world. This strikes an even more pathetic chord when knowing that this form of exercise will soon be transformed into wife beating and cupping when these young people grow into adulthood.<br /> <br /> 原始的村庄生活也不过如此：它是基础的、本能的，以食物和性为中心。土地的意义与食物密切相关，事实上，村民们坚守在这片土地上的原因是这片土地可以生产出足够的食物来维持他们的群落。对年轻村民夜游野地的狂欢场面的描写得到了众多中国评论家的高度赞扬，然而在我看来，它代表的是一种无限的孤独或一种简单的快乐——这些人生活在一个极端封闭、贫穷的世界里。这些年轻人长大成人后，这种锻炼形式很快就变成了毒打老婆，这令人更觉悲哀了。--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 01:14, 21 December 2020 (UTC)Nie Xiaolou<br /> <br /> 原始的乡村生活仅此而已：它是基础的、本能的，以食物和性为中心。 土地的含义与食物息息相关；事实上，村民坚守这片土地的原因是它能生产出足够的食物来保护他们的。 狂欢节般的场面描绘了村里的年轻人在夜晚狂野地嬉戏，尽管许多中国评论家都赞不绝口，但在我看来，这并不代表无限的孤独或一种简单的喜悦，这些人生活在极其贫困、封闭的世界里。这些年轻人长大成人后，这种锻炼形式很快就变成了毒打老婆，这令人更觉悲哀了。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 01:50, 21 December 2020 (UTC)<br /> <br /> ==Ou Rong 欧蓉==<br /> The extremely stable pattern of the village’s social customs, mindset, and traditions is incapable of absorbing new things, or initiating any transformation. So the static and cyclical form of existence is simply erased by the outside forces of industrialization. In a broader sense, the history of the Small Village, or rather, its fate can be seen as an allegory for Chinese traditional society which was also forced into fundamental change from the outside. Thus the Small Village reflects the broader historical impotence and lack of cultural flexibility in traditional rural China. Many critics, including the author himself, argue that the idea of Land is meant to represent a certain spirit. Nevertheless, unless located somewhere, this spirit can only remain an empty structure.<br /> <br /> 村庄的社会习俗，思维方式和传统极为稳定，无法吸收新事物或发起任何转变。因此，工业化的外在力量简单地消除了静态和周期性的存在形式。从广义上讲，小村庄的历史，或者说它的命运，可以看作是中国传统社会的寓言，中国传统社会也被迫从外部进行了根本性的改变。因此，小村庄反映了中国传统农村地区更广泛的历史影响力和缺乏文化灵活性。许多批评家，包括作者本人在内，都认为土地的意思是代表某种精神。但是，除非位于某个地方，否则这种精神只能保持一种空洞的结构。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 12:25, 20 December 2020 (UTC)Ou Rong<br /> <br /> 村庄的社会习俗、思维方式及传统极为稳定，无法吸收新事物或发起任何转变。因此，工业化的外在力量很容易便消除了这种静态、周期性的生存方式。从广义上讲，小村庄的历史，或者说它的命运，可以看作是中国传统社会的寓言，中国传统社会也被迫从外部进行了根本性的改变。因此，小村庄反映了中国传统乡村地区更为广泛的历史影响力以及缺失的文化灵活性。许多批评家，包括作者本人在内，都认为土地代表着某种精神。但是，倘若精神无处安置， 这种精神只是一种空洞的存在。--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 01:25, 21 December 2020 (UTC)Nie Xiaolou<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> Nevertheless, it is precisely this structural emptiness that enables Zhang Wei to fill in many meanings throughout his essays. <br /> <br /> ''Fable of September'', as well as Zhang’s essays, embody his search for truth and a moral ground based not on the rationally constructed modern world of scientific knowledge and market economy represented by urban centers, but on the simplicity of rural life. This search is rooted in the author’s disenchantment with certain aspects of modern civilization. To Zhang Wei, “Modern industrial civilization represents a form of beauty; yet this form is prone to hurt another more fundamental, more eternal beauty. Idealists all hope that these two forms of beauty can exist in harmony, without much conflict.<br /> ==Ouyang Ling 欧阳玲==<br /> But of course, this hope is only a dream” (Xiao 1995, 193). This distrust of modern civilization also reflects in him what Raymond Williams called “rural-intellectual radicalism” (1973, 36). Indeed, as a rural intellectual (as many critics have labeled him), Zhang demonstrates many aspects of rural-intellectual mentality: hostile to modern capitalism, opposed to commercialism, and attached to country ways and feelings (Williams 1973, 36). Without doubt, ''Fable of September'' is a fascinating novel and has uttered our deepest longings and profoundest nostalgia for a pre-modern simplicity of existence free of modern-day ills like alienation and corruption.<br /> <br /> <br /> ......当然，这份希望只是幻梦一场”（萧夏林 1995,193）。张炜的作品也体现了对现代文明的不信任，雷蒙德·威廉姆斯称之为“乡村知识分子激进主义”(威廉姆斯 1973, 36)。确实，张炜作为一名乡村知识分子（许多批评家如此标榜他），在作品中展现了乡村知识分子的多个心理面貌：对现代资本主义的敌意，对商业主义的反抗，对乡村风情的依恋(威廉姆斯 1973, 36)。毋庸置疑，《九月寓言》是一部引人入胜的小说，它表达出了现代人对过去的那种简单生活浓浓的渴望和怀旧之情，那个时候不像现代社会这样，存在人与人之间的疏离和腐败。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:00, 17 December 2020 (UTC)<br /> <br /> 但当然，这种希望只是一个梦想“（萧夏林 1995，193）。 这种对现代文明的不信任也反映了雷蒙德·威廉姆斯所谓的“农村-知识分子激进主义”（威廉姆斯 1973，36）。 事实上，作为一名农村知识分子（正如许多评论家给他贴上的标签），张炜展示了农村知识分子心态的多个方面：敌视现代资本主义，反对商业主义，对乡村风情的依恋(威廉姆斯 1973，36)。 毫无疑问，《九月寓言》是一部引人入胜的小说，它表达出了现代人对过去的那种简单生活深切的渴望与怀念，那个时候不像现代社会这样，存在人与人之间的疏离和腐败。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 11:54, 17 December 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> Nevertheless, Zhang’s use of the central concept of “land” (referring to an idealized being) as the basis for his critique of modern civilization – decrying moral decay, consumerism, dominance of popular literature and commercialization of knowledge – and his rural intellectual mentality this concept reveals betray the author’s simple-minded, essentialist, and absolutist approach to the complexity of an ever changing social and cultural reality. The reification of land in his essays lacks a broad and deep historical perspective on Chinese modernity. Commercialism and its culture have by all means contributed to the general moral decay and erosion of basic humanistic values in society, and global cultural effects lead to profounder cultural crisis.<br /> <br /> 然而，张使用“土地”的中心概念（指理想化的存在）作为他批判现代文明的基础-谴责道德沦丧、消费主义、大众文学的主导地位和知识的商业化-以及他的知识分子心态-这一概念揭示了作者对不断变化的社会和文化现实的复杂性的朴素、本质主义和绝对主义的态度。 在他的散文中，土地的再化缺乏对中国现代性的广泛而深刻的历史视角。 商业主义及其文化通过各种手段促成了社会基本人文价值的普遍道德沦丧和侵蚀，全球文化效应导致了严重的文化危机。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 11:46, 17 December 2020 (UTC)<br /> <br /> 然而，张把“土地”（指理想化的存在）的中心概念作为他批评现代文明的基础——谴责道德沦丧，消费主义盛行，流行文学盛行，知识商业化——这一概念揭示了他作为农村知识分子的心态，思想单纯，本质主义，以及对不断变化的社会和文化现实的复杂性采用绝对主义方法。他散文中土地的物化缺乏对中国现代性采用广阔而深刻的历史视角。商业主义和它的文化无疑导致了道德上的沦丧，也侵蚀了社会中基本的人文价值，全球文化效应导致了更深层次的文化危机。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 01:10, 18 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Peng Juan 彭娟==<br /> However, the absolute rejection of consumerism, globalism, and postmodernism fails to recognize their power and inevitability in restructuring contemporary Chinese society. The problems created by these developments have already moved the issue of solution beyond a discourse on morality. China’s ever more complex and changing social and cultural reality requires a more sophisticated and mature understanding. And finally, I would suggest that in today’s post-Cold War age in which socialism-capitalism antithesis has lost its relevance and meaning, the intellectual paradigm of confrontation must be replaced by one of negotiation. Nostalgia may always be pulling at us, and we may always be willing to indulge in a trip to the imagined past with stories like ''Fable of September.'' But as a critical stance, it does not equip us to effectively address the complex process of cultural reformation happening in contemporary Chinese and the world.<br /> 然而，对消费主义、全球主义和后现代主义的绝对排斥，未能认识到它们在当代中国社会重构中的力量和必然性。这些发展所造成的问题已经使得解决问题超越了道德论述的范畴。中国日益复杂和不断变化的社会和文化现实需要更加深刻和成熟的理解。最后，我认为，在今天的后冷战时代，社会主义与资本主义的对立，已经失去了其相关性和意义，对抗的思想范式必须被谈判的范式所取代。怀旧之情也许总是在吸引着我们，我们也许总是愿意沉浸在想象中的过去之旅中，讲一些像“九月寓言”这样的故事但作为一个批判的立场，它并没有装备我们有效地处理复杂的进程，文化改革发生在当代中国和世界。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 12:29, 20 December 2020 (UTC)penguan<br /> <br /> Works Cited（不用翻）<br /> <br /> Chow, Rey, Primitive Passions, (New York: Columbia University Press, 1995)<br /> <br /> Benjamin, Walter, Illuminations, (New York: Schocken Books, 1968) <br /> <br /> Widmer, Ellen, and Wang, David Der-Wei, ed., From May Fourth to June Fourth, (Cambridge: Harvard University Press, 1993)<br /> <br /> Williams, Raymond, The Country and the City (New York: Oxford University Press, 1973)<br /> <br /> Xiao Xialin, Youfen de guitu (Anxious and indignant homeward journey) (Beijing: Huayi chubanshe, 1995)<br /> <br /> Zhang Chengzhi 1991, History of the Soul (Guangzhou: Huacheng chubanshe, 1991) 311.<br /> <br /> Zhang Chengzhi 1994a, The Heroes’ Paths in Wilderness (Shanghai: Zhishi Publishing House, 1994)<br /> <br /> Zhang Chengzhi 1994b, “Poets, Why aren’t you indignant?”, in Wenhui Bao (Wenhui Daily, Shanghai) (August 7, 1994) <br /> <br /> Zhang Chengzhi 1999a, Wuyuan de sixiang (Unassisted Thoughts) (Human wenyi chubanshe, 1999)<br /> <br /> Zhang Chengzhi 1999b, “My Method of Tearing up those Business Cards,” in Zhang 1999a<br /> <br /> Zhang Chengzhi 1999c, “Zaizhi xiansheng,” in Zhang 1999a 100-105<br /> <br /> Zhang Wei, Jiuyue yuyan (Fable of September), in Zhang Wei wenji (Collected works of Zhang Wei). Vol. 2 (Shanghai: Shanghai wenyi chubenshe, 1992)<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> '''Deciphering the Populist Gadfly: Cultural Polemic around Zhang Chengzhi's &quot;Religious Sublime&quot;''' <br /> <br /> ''Xinmin Liu<br /> <br /> ''<br /> '''Abstract<br /> '''<br /> <br /> Since mid-1990s the Chinese Sanwen has witnessed an upsurge by way of frantic polemics over social and cultural issues in journals, newspaper fueillton, book series and forums. In this &quot;war of words,&quot; no writer has been as prolific, as provocative and as problematic as Zhang Chengzhi. <br /> <br /> Zhang's essays feature a scathing critique of Chinese intellectuals' lack of spiritual faith, their surrender to global consumerism and the postmodern. Driven by a populist zeal, Zhang extols Chinese muslims' devotion to their religious faith, defiance of material affluence and bond to their harsh yet unsullied habitat. His populist approach to religious transcendence in opposition to what he perceives as today's intellectual disenchantment is ambiguous and ambivalent.<br /> <br /> “”破译民粹：围绕张承志“宗教崇高”的文化论战”<br /> <br /> 刘新民<br /> <br /> ''<br /> '''摘要<br /> '''<br /> <br /> 自1990年代中期以来，中国三文通过在期刊，富尔登报纸，系列丛书和论坛上对社会和文化问题的激烈争论而目睹了高涨。 在这场“口水战”中，没有哪个作家像张承志那样多产，挑衅和有问题。<br /> <br /> 张的文章对中国知识分子缺乏精神信仰，他们屈服于全球消费主义和后现代主义提出了严厉的批评。 在民粹主义热心的推动下，张赞赞扬中国穆斯林对宗教信仰的热爱，对物质富足的蔑视，并与他们生硬但未受污染的生境联系在一起。 他的民粹主义对宗教超越的态度与他认为今天的知识界的对立是模棱两可和矛盾的。<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> It wavers between subaltern politics and religious fundamentalism. It falls short of the prospect of constructing a ethnic pluralism that protects cultural differences without yielding to cultural positions that claim unique access to truth.<br /> <br /> In a polyglot age in which all has to be contested and negotiated anew, boundary- violating is the rule rather than the exception. Before the last millennium closed out, the Chinese essay thrived in an upsurge of cultural polemics, but in terms of aesthetic and ontological norms, the essayists could ill afford to stay within secure and clear-cut boundaries for long, because they often found themselves bombarded and displaced by a plethora of slippery issues, wacky themes and “roguish dilettantes.”<br /> <br /> 它在次要政治和宗教原教旨主义之间摇摆。它没有建立一种可以保护文化差异而又不屈服于声称通过独特途径获得真理的文化立场的民族多元主义前景。<br /> <br /> 在一个必须重新竞争和协商的多语言时代，违反边界是规则而不是例外。在上个千禧年结束之前，中国散文在文化争论中兴起。但就美学和本体论规范而言，由于经常被众多滑溜的问题，古怪的主题和“肮脏的弱势分子”轰炸而流离失所，散文家们无法长期在安全和明确的边界内停留。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 11:51, 17 December 2020 (UTC)<br /> <br /> 它在低级政治和宗教原教旨主义之间摇摆不定。它未能构建一个保护文化差异，并不屈服于声称有独特途径了解真相的文化立场的民族多元化的前景。<br /> <br /> 在一个多语言的时代，一切都必须重新竞争和谈判，打破边界是规则而不是例外。在上一个千禧年结束前，中国散文在文化论战的热潮中蓬勃发展，但就美学和本体论规范而言，散文家们无法长期呆在安全和明确的界限内，因为他们常发现自己被一大堆难以捉摸的问题、古怪的主题和“无赖的业余爱好者。”驱逐出去--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:45, 17 December 2020 (UTC)Xu Pengfei<br /> <br /> ==Peng Yongliang 彭永亮==<br /> With battle lines frequently redrawn and growing ever so fuzzy, this round of cultural polemics took on the characteristics of a wild slugfest, no-holds-barred wrestling and elusive shadow boxing. But true to its essaying (or, alternatively, assaying) role, the essay form rose to the challenge with the right mix of mercurial, discordant and yet self-assured mettle. Thus, it proved most capable of lending expression to chaos, fracture and trivia of the postmodern world. One need not search far to bring this point home: the essay has lately swamped the public media with its newfangled offshoots: in addition to the common literary and political essays appeared the licai (personal financing) essay, the xiuxian (leisure/recreation) essay, the photo essay, the cyber essay and so forth. But it is with the cultural polemics of the 1990s that the readers witnessed the essay form in most amazing novelty, deftness and verve.<br /> <br /> <br /> 随着战线的频繁重新划分和日益模糊，这一轮的文化论战呈现出狂野的搏击、毫无保留的摔跤和难以捉摸的影子拳击的特点。 但是，文章的形式忠实于它的论文（或者说，论断）角色，以适当的多情、不和谐而又自信的姿态迎接挑战。 因此，事实证明，它最能表达后现代世界的混乱、断裂和琐事。我们不需要深入研究就能发现这一点：近来，论文以其新奇的分支淹没了公共媒体：除了常见的文学和政治论文外，还出现了理财论文、休闲论文、摄影论文、网络论文等。但正是有了上世纪90年代的文化论战，读者才见证了论文形式最惊人的新奇、灵巧和魄力。<br /> --[[User:Peng Yongliang|Peng Yongliang]] ([[User talk:Peng Yongliang|talk]]) 03:21, 21 December 2020 (UTC)<br /> <br /> 由于战线不断被重新划定，并变得越来越模糊，这一轮的文化论战呈现出一种狂野的猛击、毫无保留的摔跤和难以捉摸的太极拳的特点。但文章的形式忠实于它的论文（或者，也可以说是分析性的）的作用，这篇文章以其多变、不和谐和自信的姿态迎接了挑战。因此，它最能表现后现代世界的混乱、断裂和琐事。我们不需要深入研究就能发现这一点：最近，论文以其新奇的分支充斥着公共媒体：除了常见的文学和政治文章外，还出现了理财论文、休闲论文、摄影论文、网络随笔等等。但是，正是有了20世纪90年代的文化论战，读者才见证了论文最令人惊叹的新奇、灵巧和神韵式。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 03:59, 21 December 2020 (UTC)<br /> <br /> ==Peng Yuzhi 彭育志==<br /> One way to make sense of what essay form enabled the writers to achieve amid the “wars of words” (pizhan) is to take it to task by way of its intrinsic bond with cultural dialogics, i.e. to see how approaches of writing essays lead to the laying of grounds for a dialogic relationship that intersects even the most incendiary issues and dissimilar views of this discursive maze. To that end, we will focus on Zhang Chengzhi’s essays published after mid-1990s to see why a radical intellectual figure like Zhang, considered an intractable loose cannon by most, often contests and mediates, by virtue of his border-violating politics, what the cultural mainstream considers to be polemical and divisive. At once belletristic and carnivalesque, Zhang Chengzhi’s essays stood out with striking clarity and urgency, if also with unnerving uproar.<br /> <br /> 想要理解散文这一形式让作家们在“文字之战”中做到了什么，一种方法是通过它与文化对话的内在联系来批判它，比如去检视散文的写作方式是如何为一种对话关系打下基础，这一关系甚至贯穿了这一纷乱迷宫的最具煽动性的议题和最具分歧的观点。为此，我们将聚焦张承志在1990年代中期后发表的散文，试图探索何以张承志这样的知识分子，多数人视他为难以控制的麻烦人物，常常通过他过界的策略来抗议和调解主流文化认为是挑起争端和分裂的东西。张承志的散文曾经是纯文艺的，狂欢的，凸显的特点是其令人惊异的明晰和急迫或许还有让人焦虑的骚乱。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 08:34, 19 December 2020 (UTC)<br /> <br /> 想要理解散文这一形式让作家们在“文字之战”中获得了什么，一种方法是通过它与文化对话的内在联系来批判它，比如去检视散文的写作方式是如何为一种对话关系打下基础，这一关系甚至贯穿了这一纷乱迷宫的最具煽动性的议题和最具分歧的观点。为此，我们将聚焦张承志在1990年代中期后发表的散文，试图探索何以张承志这样的知识分子，多数人视他为难以控制的麻烦人物，常常通过他过界的策略来抗议和调解主流文化认为是挑起争端和分裂的东西。张承志的散文曾经是纯文艺的，狂欢的，凸显的特点是其令人惊异的明晰和急迫或许还有让人焦虑的骚乱。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 19 December 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> Extolled by some as the author whose one book single-handedly redeemed Chinese writing of the entire twentieth century, Zhang was riding high on the tailwind of his enormously popular Xinling shi (History of the Soul, 1992) and seemed to have returned to the public forum with his discursive buoyancy revived and his sense of the “sacred” mission renewed. At first glance, this does not seem the same Zhang Chengzhi who was overwhelmed by the spiritual loftiness he had ascended to upon completing ''Xinling shi'' and pleaded to his readers in all earnest, “there will no longer be this “me” from now on. Please banish me from your memory. … I have even taken myself by surprise that with this book I could bring myself to such a screeching halt.”[ Zhang Chengzhi, ''History of the Soul'' (Guangzhou: Huacheng chubanshe, 1991) 311.] But did Zhang ever quit the public forum and banish his voice from the on-going dialogue with his readers afterwards?<br /> <br /> 称赞为一本书的作者一手救赎整个二十世纪中国写作,张风头正劲的顺风非常受欢迎的新陵史(历史的灵魂,1992)和似乎已经回到了公共论坛和他东拉西扯的浮力重新和他的“神圣”的使命感再次。乍一看，这似乎不是当年的张承志，他在完成《新灵诗》后，因精神上的崇高而狂喜，并真诚地向读者祈祷:“从今以后，不会再有这个‘我’了。”请把我从你的记忆中抹去。……我甚至连自己都感到惊讶，有了这本书，我竟然能让自己停下来。张承志:《灵魂史》(广州:花城初社1991)311。但是章子怡有没有退出公共论坛，在随后与读者进行的对话中抹掉自己的声音呢?--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 11:20, 19 December 2020 (UTC)Qi Kai<br /> <br /> 张承志被一些人赞誉为一本书拯救了整个二十世纪的中国写作，他乘着《心灵史》（《灵魂史》，1992年）大受欢迎的顺风，似乎又回到了公共论坛，他的话语权又恢复了，他的 &quot;神圣 &quot;使命感又重新被唤醒。 乍一看，这似乎不是那个完成《心灵史》后被自己升华到的精神境界所折服，向读者诚恳恳地恳求：&quot;从今以后，不再有这个'我'了 &quot;的张承志。请把我从你们的记忆中驱逐出去。......我甚至已经把自己吓了一跳，有了这本书，我可以让自己如此戛然而止。&quot;[张承志，“心灵史”（广州：花城出版社，1991）311。但是，张承志在此后与读者的持续对话中，是否曾退出公共论坛，放逐自己的声音？--[[User:Peng Yongliang|Peng Yongliang]] ([[User talk:Peng Yongliang|talk]]) 03:25, 21 December 2020 (UTC)<br /> <br /> ==Qu Miao 瞿淼==<br /> And did he accidentally join the ranks of those escapist intellectuals who self-righteously beat a retreat in the face of social repression and identity dislocation of the early 1990s? <br /> <br /> Indeed, at the height of his unexpected fame in 1992,[ Zhang Chengzhi made repeated statements in his essays written around this time that he had voluntarily terminated his career as a professional writer out of his desire to be embraced by the Muslim community and out of his disgust for what writers and intellectuals in general had failed to do in the face of rampant consumerist values.] Zhang did not hesitate to declare that his career as a professional writer had come to an end, and that he would retreat to the Muslim communities in the barren loess in Northwest China to begin his new life. While it is true that he verbally renounced his faith in and severed his tie with the mainstream intelligentsia, reality has proved otherwise: he could neither disinherit the dialogic potential of his earlier essays the same way as he allegedly cast off his ''Han'' Chinese upbringing, nor disown the intellectual milieu of his growth as though it were those business cards he symbolically tore up in disgust.[ This symbolic act is given an elaborate defense in one of his “position-statement” essays, “My Method of Tearing up those Business Cards,” published in Wuyuan de sixiang (Unassisted Thoughts) (Human wenyi chubanshe, 1999).]<br /> <br /> 他是否意外地加入了那些逃避现实的知识分子的行列?面对20世纪90年代初的社会压迫和身份错位，他们自以为是地击退了退缩。<br /> <br /> 的确,在1992年他意想不到的名声的高度,(张承志再三声明在他所写的文章在这个时候,他自愿终止他的职业生涯作为一个职业作家的渴望被拥抱的穆斯林社区,他厌恶的作家和知识分子一般没有做什么面对猖獗的消费主义价值观。<br /> 张毫不犹豫地宣布，他的职业作家生涯已经结束，他将回到中国西北贫瘠的黄土地区的穆斯林社区，开始新的生活。<br /> 虽然是真的,他口头宣布放弃他的信仰与主流知识分子,他的领带,否则事实证明:他既继承遗产的对话的潜力他早期散文一样他据称摆脱“汉族”中国教育,也不否认他增长的知识环境,好像那些名片他象征性地厌恶地撕碎了。<br /> (这一象征性的行为在他的一篇“立场陈述”文章《我撕名片的方法》中作了详细的辩护，发表在《无辅助的思想》(人类文艺出版社，1999)。)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 07:36, 21 December 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> Zhang cannot give up the act of writing through which he once defied the false sanctity of official histories and celebrated the purity and incorruptibility of the ''Jahriyya'' Muslims,[ A sect Chinese Muslims who are often considered the inheritor of mystical Sufis of the religion of Islam.] and to which he owed the stage for exhibiting his extraordinary discursive power as well as his reinvented ethnic identity. While still pursuing his spiritual pilgrimage as a lone warrior, he could hardly remain an intellectual recluse in an imagined sanctuary. Although his views often turned hard-edged due to his combative and self-aggrandizing tone, we need not necessarily be put off by his ill-advised posturing, which is far more rhetorical than substantive. Rather we are urged to see beyond his argumentative mode and detect that ineluctable draw of cultural dialogics that lured him to charge right back to the frontline of the discursive war zones. <br /> <br /> 张先生不能抛弃他的写作形式，其通过写作蔑视官方历史的虚假神圣性并赞扬“贾赫里亚”穆斯林的纯正和廉洁行为。（中国穆斯林的一个教派，通常被认为是伊斯兰宗教的苏菲派的继承者。）在这中展现出非凡的话语权和重塑的种族身份帮助他重回舞台。 虽然他仍然作为一个孤独的战士追求精神朝圣，但他几乎无法在一个想象的避难所中维持知识分子的隐居。 尽管由于他的好斗和自我骄傲的语气常常使他的观点变得难以接受，但我们不一定非要因他不明智的姿态而推迟，这种姿态要比实质性的要夸张得多。 相反，我们受其敦促来超越他的论证模式，并发现不可避免的文化对话吸引他，使他重新回到话语战区的前线。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 01:55, 21 December 2020 (UTC)<br /> <br /> Zhang’s essays published since mid-1990s prove most intriguing and forceful when they give vent to his critical views that deliberately blur the boundary between personal commitment with public conscience.<br /> <br /> <br /> 自1990年代中期以来，张发表的论文产生了极大的吸引力和影响力，他的批判观点故意模糊了个人承诺与公众良心之间的界限。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 01:55, 21 December 2020 (UTC)<br /> <br /> ==Sagara Seydou ==<br /> Seldom a believer of easy cultural synthesis, Zhang thrives in getting caught in the crossfire of public debates and wreaking havoc for the intellectual mainstream whose social legitimacy has fed off a complicitous liaison with the official and the ideological center. In a sense, what constituted the identity of his previous self, i.e., the “I” who nimbly narrated a hidden history of a suppressed people in ''History of the Soul'', was a persona already poised on the borders between public outcry and personal misgiving, between official histories and popular memoirs, between discourses of cultural criticism and identity politics. Akin to the self/other-conscious tone of Martin Buber’s ''I and Thou'', Zhang’s resort to “You” side by side with “I” as his discursive partner not only denotes the presence of a dialogic partner cued up by intersubjectivity, but interjects a critical awareness to set off the “unanimous intellectual escapism.”[ Here I am quoting the phrase from Dai Jinhua’s journal article “Hidden Narratives: The Politics of Mass Culture in the 1990s.” Her view is critically assessed by Chen Jianhua in his “Local and Global in Narrative Contestation: Liberalism and the New Left in Late-1990s China” carried in Journal of Asian Pacific Communication, vol. 9, Nos. 1 &amp; 2, 113-29. ]<br /> <br /> 很少有人相信简单的文化综合，他在公共辩论的交火中fire壮成长，并对知识分子主流人士造成严重破坏，他们的社会合法性已经与官员和意识形态中心进行了复杂的联络。从某种意义上说，构成他以前的自我的身份（即“我”）已经在公开抗议的边界上蓄势待发，该人在“灵魂历史”中灵活地讲述了一个被压迫者的隐藏历史。在官方历史和大众回忆录之间，在文化批评和认同政治的话语之间，还有个人的疑虑。类似于马丁•布伯（Martin Buber）的《我和你》 的自我/其他意识语气，张以“我”作为他的话语伴侣并肩地诉诸于“你”，不仅表示存在被主体间性暗示的对话性伴侣. ，但插入了引发“一致的知识逃避现实主义”的批判意识。[在这里，我引用戴金华的期刊文章“隐藏的叙事：1990年代的大众文化政治”这一短语。陈建华在《亚洲及太平洋通讯》第一卷中发表的“叙事竞赛中的本地和全球：自由主义和新左派在1990年代后期的中国”中对她的观点进行了严格的评估. 9号1和2，113-29. ]--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:20, 19 December 2020 (UTC)<br /> <br /> ==Shi Diwen 石迪文==<br /> Initially a survival tactic to avert political repression in post-1989 China, this latter movement gained popular currency in the early 1990s as some intellectuals and professionals who used to pursue political activism now withdrew into enclosed fields of specialist researches where they could claim professional excellence as their new moral high grounds and practice professional elitism as a testimony to their personal spiritual faith. These so-called “New Scholars” valorized scholarly research as “not just a matter of knowledge or profession, but more fundamentally, a form of life choice and value inquiry.”[ Chen Pingyuan, “Thoughts on Research of Scholarship History,” Xueren I, 2-6. ] Alongside this process of self-authorization, they also sported a sweeping disdain toward mass culture or other nonprofessional cultures. Was this a covert strategy of resisting moral degeneration, or a “club-spirit” rally of collective escapism in the guise of professional disinterest? <br /> <br /> ==Shi Haiyao 石海瑶==<br /> Zhang’s answer rebukes the latter. Long before the first public debate over such issues took place, his own self-authorization in writing ''History of the Soul'' brought the “impartial” search for historical truth under critical scrutiny. Positing his ethnic unconscious as the testing site, Zhang launched an assault on the falsely fixed standards in writing ''Hui'' histories whose authority had been complicitous with the chauvinistic State ideology. He berated the methodological status quo in Chinese Muslim scholars’ historiography for tailoring local and ethnic memories to cater to the legitimacy of its hegemonic control. In the same vein, he called into question the validity of collecting and editing historical documents according to empiricist standards, chastising its total submission to a positivist view of historical development in the name of scholarly objectivity.<br /> <br /> 张承志的回答斥责了后者。早在第一次公开讨论这些问题之前，他自己写《灵魂史》的自我授权就让 &quot;公正 &quot;的历史真相的探索受到了批判。他以自己的民族无意识为试验场，对那些权威与沙文主义国家意识形态同流合污的''回族''史写作中错误的固定标准进行了抨击。 他痛斥中国穆斯林学者史学的方法论现状，即为迎合其霸权控制的合法性，而对地方和民族记忆进行裁剪。 同样，他对按照经验主义标准收集和编辑历史文献的有效性提出质疑，责备其以学术客观性为名，完全屈从于实证主义的历史发展观。<br /> --[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 02:20, 21 December 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> He specifically targeted the renowned Hui historian Yang Huaizhong whose investigation of ''munafeles'', ''Hui'' collaborators with ''Manchu'' and ''Han'' rulers, had, in Zhang’s view, internalized the reigning codes of power-knowledge alliance. Despite of his fine appraisal and extensive research, Zhang reproves Yang’s aloof stand:<br /> <br /> On the one hand, you try to reflect critically yourself and your tradition, on the other, you want to bring to light the suppression and violation committed against the human soul. How can the kind of subject you’re studying still be the same historiography? <br /> If Yang had yet to shake off the false sense of ethnic anonymity, Zhang does not make it any easier for himself when faced with the historical injustice inflicted upon the ''Huis''.<br /> <br /> 他特别针对著名的回族史学家杨怀忠，他对回族与满汉统治者合作的穆纳菲尔斯的调查，在张先生看来，已经内化了权力知识联盟的统治密码。尽管张先生对此评价优良，研究也很广泛，但他斥责杨先生的冷漠立场。<br /> <br /> 一方面，你试图批判性地反思你自己和你的传统，另一方面，你又想把对人类灵魂的压抑和侵犯公之于众。你所研究的那种课题，怎么可能还是同样的历史学？如果说杨振宁还没有摆脱虚伪的民族匿名感，那么，面对历史上对胡人的不公正待遇，张先生也不会让自己轻松。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 04:57, 21 December 2020 (UTC)<br /> <br /> ==Song Jianru 宋建茹==<br /> At the Jinji Bao, a historical site of many quelled ''Hui'' uprisings in 19th century, he could hardly help chiding himself for not “avenging the historical wrongs” as a professional historian. He confesses in a 1996 essay entitled “Odes to Waves”: <br /> <br /> 在19世纪多次镇压回族起义的遗址金积堡，他不由得斥责自己身为专业的历史学者却没有为历史错误报仇。他在1996年发表的一篇名为《海浪颂》的文章中坦言道。<br /> <br /> It so happened that I have the fortune of being a full-fledged academic historian, yet I examined every single detail (of official records) critically but could not offer any rebuttal. It so happened that I was born of ''Hui'' parentage, yet I attempted to skirt around it but could not escape this historical site---the wintry mist shrouding Jinji Bao pounded me wave after wave, pressing me to make a pledge, to declare a ''nietie'', to make good the pledge of being dedicated to the people I took rather casually years ago. <br /> <br /> 碰巧我有幸成为一名经过全面训练的历史学家，但一丝不苟地检查了每一处官方记载都没能提供任何反驳。碰巧我是“回族”出身，虽然我试图绕过这一点，但无法逃脱这个历史遗址——笼罩在金积堡的冬季薄雾一波又一波地敲打着我，迫使我作出承诺，宣布“nietie”，以履行我多年前随意作出要奉献给人民的承诺。<br /> <br /> Yang Huizhong, also known as Yang Mohammed Usiar, is a well-known Hui historian who has done crucial research on 18th Century Jahriyya Muslim uprisings. Zhang’s critical comments appear in T''he Heroes’ Paths in Wilderness'' (Shanghai: Zhishi Publishing House, 1994) 125.（文献无需翻译）<br /> <br /> 杨怀忠， 也叫杨·默罕默德·乌斯拉尔，是一名知名的回族史学者，对18世纪哲合忍耶穆斯林起义做了重要的研究。张先生在《英雄的野性之路》评论道。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 06:33, 21 December 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> This is not an occasional outburst of emotions for the sake of letting off his own guilt. This is sincere self-reproach to prod himself into keeping his ethnic memory and affective empathy from being worn thin by his years of academic studies, field work and research. Unlike the New Scholars’ chase of “disinterest” and neutrality, Zhang opts valiantly for the direction of racial and social activism: to knock down posts erected by “objective” histories, penetrate the walls of political and religious phobias and uncover the buried truths of ethnic repression and violence. One might query Zhang’s view of historical scholarship as emotive and skewed, thus running the risk of demeaning historiography into personal misgivings.<br /> 这并不是为了发泄自己的负罪感而偶尔爆发的情感。多年的学术研究、田野工作和研究，使自己的民族记忆和情感同理心不那么淡薄，这是一种真诚的自责。与新学者对“无兴趣”和中立的追求不同，张勇敢地选择了种族主义和社会激进主义的方向:推倒“客观”历史竖起的柱子，穿透政治和宗教恐惧的墙壁，揭开被掩埋的种族压迫和暴力的真相。有人可能会质疑张对历史学术的看法过于情绪化和偏颇，从而冒着将史学贬低为个人疑虑的风险。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 05:46, 21 December 2020 (UTC)<br /> <br /> ==Tan Xingyue 谭星越==<br /> But in the era of cultural pluralism and ethnic identities, it is precisely the affective and personal that keep our ethnic awareness alive and urge us not to take boundaries of power and knowledge for granted. <br /> <br /> No doubt, Zhang enters the debate of “the ultimate concern” of the mid-1990s, but he does so on his terms. He puts forward an ethnographical approach consisted of a person’s affective propensities (''qinggan''), ethnic lineage (''xuetong'') and a “prefigured destiny” (''qianding''). These are interlocked and reciprocal in variety of ways to enmesh a person in a nexus of cultural dialogics. He then probes the illusion of professionalism in the form of an “originary question” (''yuanchu zhiwen'').<br /> <br /> 但在文化多元化和民族认同的时代，恰恰是情感和个人因素使我们的民族意识得以保持，并敦促我们不要把权力和知识的界限视为理所当然。<br /> <br /> 毋庸置疑，张加入了90年代中期关于 &quot;终极关怀 &quot;的讨论，但他是以自己的方式进行的。他提出了一种由一个人的情感倾向、民族血统和乾定命运组成的民族学方法。这些因素相互联系和相互作用，以各种方式使人置身于文化对话的关系中。然后，他以 &quot;原初之问 &quot;的形式来探究专业主义的假象。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 03:56, 19 December 2020 (UTC)<br /> <br /> 但是在文化多元化和民族认同的时代，正是情感和个人因素使我们的民族意识保持鲜活，并敦促我们不要将权力和知识的界限视为理所当然。<br /> <br /> 毫无疑问，张加入了1990年代中期关于“终极关怀”的辩论，但他是按照自己的意愿这样做的。 他提出了一种民族学方法，包括一个人的情感倾向（“情感”），种族血统（“血统”）和“乾定的命运”（“乾定”）。 这些以各种方式相互联系和相互影响，使个人陷入与文化对话之网。 然后，他以“原初之问”（“原初之问”）的形式探讨了专业主义的假想。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 01:39, 21 December 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> He asks: “How do you account for your being in the face of your own soul when there is nothing scientific or ideological to fend you from this ultimate accountability?” To him what accounts for his ultimate humanist concern is his ''Hui'' ethnicity. Ethnicity, according to Michael Fischer, “ … is something dynamic, often unsuccessfully repressed or avoided. It can be potent even when not consciously taught; … something that institutionalized teaching easily makes chauvinistic, sterile, and superficial.” It is thus the “id-like” sentient and psychological that lay the ground for one’s ethnic/cultural conditioning and in turn bring it to bear upon one’s historical awareness. <br /> <br /> A sinicized Islamic term for “taking a devotional vow.” It is also known as Juyi in Chinese.<br /> Zhang 1999a, 37.<br /> Zhang Chengzhi, The Heroes’ Paths in Wilderness (Shanghai: Zhishi Publishing House, 1994) 125. <br /> Michael Fischer, ‘Ethnicity and the post-modern arts of memory,” in James Clifford and George Marcus, eds., Writing Culture: The Poetics and Politics of Ethnography (Berkeley: University of California Press, 1986) 195. （文献无需翻译）<br /> 他问道:“当没有任何科学或意识形态来保护你逃避终极责任时，面对自己灵魂时你如何解释?”对他来说，对他来说，回族是他终极人文关怀的原因。迈克尔·菲舍尔(Michael Fischer)认为，种族“……是一种动态的东西，往往无法被压制或避免。”即使是没有意识地教育，它也可能是有效的;制度化的教学很容易造成沙文主义、无结果和肤浅的东西。因此，正是“类我”的知觉和心理奠定了一个人的种族/文化条件的基础，并反过来影响一个人的历史意识。<br /> 一个中国化的伊斯兰术语，意为“虔诚的誓言”。它在中文中也被称为“Juyi”。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:49, 20 December 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> Being ethnically predisposed as an “other” likewise makes Zhang acutely watchful of the State’s covert practice of ethnocentrism in the name of social progress and scientific rationality. Drawing on his renewed ethnic ethos, Zhang has no qualms in issuing a call to all historians: “… disinherit the whole positivist baggage of the conventional historiography, and seek out the complex intuitive faculty of your individual soul.” <br /> <br /> What about his image of a lone moral crusader? A great deal of ruckus has been raised over Zhang’s arguably obsessive stress on the “purity” and “truthfulness” of the ''Jahriyya'' Muslims; he is disparaged by some critics as “the most self-pleased” man in China today,” due precisely to his tireless and unsuspecting adoration of the close-knit and reclusive ''Jahriyya'' community.<br /> <br /> 作为一个 &quot;他者 &quot;的民族倾向，同样也使张先生对国家以社会进步和科学理性的名义，隐蔽地实行民族中心主义的做法产生了敏锐的警惕。 借着重新焕发的民族气质，张先生毫无顾忌地向所有历史学家发出号召。&quot;... 摒弃传统史学的全部实证主义包袱&quot; &quot;寻找你个人灵魂的复杂直觉能力&quot; 。<br /> <br /> 他的一个孤独的道德十字军形象呢？ 张先生对''贾里雅''穆斯林的 &quot;纯洁性 &quot;和 &quot;真实性 &quot;可以说是执着地强调，引起了很大的骚动；他被一些评论家贬为当今中国 &quot;最自得其乐 &quot;的人，&quot;这正是由于他孜孜不倦地、不怀好意地崇拜着封闭而隐居的''贾里雅''群体。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:38, 16 December 2020 (UTC)<br /> <br /> 作为一个“他者”的民族倾向，同样也使张先生对国家以社会进步和科学理性的名义，隐蔽地实行民族中心主义的做法产生了敏锐的警惕。借着重新焕发的民族气质，张先生毫无顾忌地向所有历史学家发出号召。“……摒弃传统史学的全部实证主义包袱”，“寻找你个人灵魂的直觉能力。”<br /> <br /> 那么关于他的一个孤独的十字军形象呢？张先生对贾里雅穆斯林的“纯洁性”和“真实性”可以说是不断地进行强调，引起了很大的骚动；他被一些评论家贬为当今中国“最自得其乐 的人，”而这正是由于他孜孜不倦地、毫无戒心地崇拜着紧密而又隐居的贾里雅群体。”--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:08, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ==Tang Bei 汤蓓==<br /> Does this not make him one of those solitary seekers of moral perfection in a morally promiscuous age? Zhang’s admonishing axioms seem to answer in a seamless fit to Wang Xiaoming’s definition of a self-oriented search for ethical righteousness. As an alternative to the intellectuals’ direct involvement in politics of the 1980s, Wang emphasized the personal quality of ultimate concern and argued: “(1) you can only search for the ultimate value from your personal experience; (2) what you find is your own interpretation of what the ultimate value is, not the ultimate value itself.” Zhang seems to share the solitary seekers’ new sense of priorities in favoring a self-motivated quest for absent moral virtues, albeit transcendental and visionary.<br /> <br /> 在一个道德混乱的年代，这难道不会使他成为一个孤独的追求道德完美的人吗？张的忠告似乎与王小明对于自我导向的道德正义的定义完全吻合。作为20世纪80年代知识分子直接参与政治的一种选择，王强调了终极关怀的个人品质，认为: “(1)你只能从个人经验中寻找终极价值; (2)你找到的是你自己对终极价值的解释，而不是终极价值本身。”张似乎和那些孤独的寻找者一样，重视自我激励，追求缺失的道德美德，尽管这种追求具有超越性和远见性。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:38, 21 December 2020 (UTC)<br /> <br /> ==Tang Ming 唐铭==<br /> But one facet of his writings forcefully rejects that equation: he has all along kept up public-minded criticism of social ills and moral depravities as a free-lance social/cultural critic. What the seekers of personal integrity and sublimation failed to hang onto Zhang has carried on with infinitely sharper insight and fiercer zeal.<br /> <br /> Zhang detects and detests the anxiety of these individuals to rise above the laity of social meanings and responsibilities as a way to avoid being an accomplice to ideological repression. And indeed his most scathing exposé has so far been reserved for the mainstream intellectuals rather than the money-grabbing ''New Riches'' or the consumerist mass.<br /> <br /> 但他作品的一个方面有力地否定了这个等式:作为一个自由的社会/文化批评家，他一直坚持对社会弊病和道德堕落的公德批判。追求人格完整性和升华的人未能抓住的东西，张远山以更敏锐的洞察力和更狂热的热情继续着。<br /> <br /> 张远山察觉到并憎恨这些人的焦虑，他们想要超越世俗的社会意义和责任，以避免成为意识形态压制的共犯。事实上，到目前为止，他最严厉的揭露都是针对主流知识分子，而不是那些贪财的“新富人”或消费主义大众。<br /> --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 01:53, 21 December 2020 (UTC)Tang Ming<br /> <br /> 但他的作品某个方面有力地否定了这个等式:作为一个自由的社会/文化批评家，他一直坚持对社会弊病和道德堕落的公德批判。追求人格完整性和升华的人未能抓住的东西，张远山以更敏锐的洞察力和更狂热的热情继续着。<br /> <br /> 张远山察觉到并憎恨这些人的焦虑，他们想要超越世俗的社会意义和责任，以避免成为意识形态压制的共犯。事实上，到目前为止，他最严厉的揭露都是针对主流知识分子，而不是那些贪财的“新富人”或消费主义大众。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 05:03, 21 December 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> When readers’ feedback to his ''History of the Soul'' heated up into a media squabble in 1994, Zhang burst onto the scene again with another of his tirades “Poets, why aren’t you indignant?” The essay is brimmed with scorn for the public for its total surrender to consumerism and their frantic drive for worldly pleasures; yet it is the intellectual mainstay who bear the brunt of his verbal onslaught. Zhang accused them of “selling out to monetary gains and worldly repute,” the news media of “swarming up like bees after the ‘big shots’ for petty favors and leftovers, and the cultural critics of “becoming painfully silent on any honest, principled, to-the-point criticism.” <br /> <br /> Zhang 1994a, 125.<br /> Zhang Yuanshan, “Zhang Chengzhi---the Most Self-Pleased Writer” at Xin yu si dianzi wenku (www.xys.org), listed under Zhang Yuanshan.<br /> Zhang Rulun et al, “The Humanist Spirit: whether and How Is It Possible?---Reflections on the Humanist Spirit, I” in Dushu 3: 3-13.<br /> For a fine critique of this shift of intellectual paradigm, see also Xu Ben. Disenchanted Democracy: Chinese Cultural Criticism after 1989 (Ann Arbor: The University of Michigan Press, 1999) 49-56. （文献无需翻译）<br /> <br /> 1994年，当读者对他的《灵魂史》的反馈升温成为媒体争论的焦点时，张远山又一次带着他的长篇巨制一跃进入公众的视野：“诗人，你为什么不愤怒？”这篇文章充满了对公众的蔑视，他们完全屈服于消费主义，疯狂地追求世俗享乐；然而，在他的口头抨击中，首当其冲的是知识分子的中流砥柱。张远山指责这些人“为了金钱利益和声誉而出卖自己”，新闻媒体“像蜜蜂一样为了小恩小惠和剩饭而蜂拥而至”，文化评论家则斥责他们“对任何诚实、有原则、直截了当的批评，都会痛苦地保持沉默”。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:57, 20 December 2020 (UTC)<br /> <br /> ==Tao Ye 陶冶==<br /> For a time, Zhang’s readers felt jabbed by his barbed comments on the gaping “void” of spiritual faith and rampant cynicism, philistinism and moral incompetence among the intellectuals. They were also exacerbated by his unmatched tribute to the ''Jahriyya'' Muslims who remained unperturbed by the hustle and bustle of economic boom elsewhere in China. All this led the public to conclude that Zhang’s posturing was cashing in on the polarization of the Haves and the Have-nots of China’s new social strata, and that with his accolades for “the poor men’s religion” he intended to push for the image of a “Me-alone Spirituality.”<br /> <br /> ==Wang Meiling 王美玲==<br /> This grave misperception turned out to be the main ground for his detractors like Wang Shuo to lodge a protest, accusing him of getting rich with loyalties for his publications in Japan and overseas while turning hypocritically around to lecture the intellectuals at home in their weakness for cynicism, corruption and bankruptcy. <br /> <br /> Nothing could be further from the truth: although feeling at home with the rigid and barren habitat of the poverty-stricken Muslims, Zhang is not necessarily biased against material comforts or social development as some critics have labeled him to be.<br /> <br /> 这种严重的误解竟然成为王朔等人诋毁他而提出抗议的主要理由，指责他依靠日本和海外出版的刊物事业一心一意地发大财，却还虚伪地反过来教训国内知识分子玩世不恭、腐败潦倒。 <br /> <br /> 这一切都离不开此等事实：即张先生虽然对贫困穆斯林僵化贫瘠的生活环境感到十分亲切，但他并不一定像某些批评家所标榜的那样，会对物质享受和社会发展持有偏见态度。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 14:46, 16 December 2020 (UTC)<br /> <br /> This grave misperception turned out to be the main ground for his detractors like Wang Shuo to lodge a protest, accusing him of getting rich with loyalties for his publications in Japan and overseas while turning hypocritically around to lecture the intellectuals at home in their weakness for cynicism, corruption and bankruptcy. <br /> <br /> <br /> 这种严重的错误认识，成了像王朔这样的诋毁者提出抗议的主要理由，他们指责他依靠在日本和海外的出版物一心只想着致富，同时又虚伪地反过来告诫国内知识分子，说他们玩世不恭、腐败潦倒。<br /> <br /> Nothing could be further from the truth: although feeling at home with the rigid and barren habitat of the poverty-stricken Muslims, Zhang is not necessarily biased against material comforts or social development as some critics have labeled him to be.<br /> <br /> 事实并非如此：尽管张先生对贫困穆斯林的僵硬贫瘠的生活环境感到熟悉亲切，但他并不一定像一些批评家所说的那样，对物质享受或社会发展抱有偏见。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 16:09, 16 December 2020 (UTC)Xiao Yining<br /> <br /> ==Wang Xuan 王轩==<br /> Rather, he is adamant with the intellectuals’ frailties in the face of social malfunction and injustice as a result of harried economic policies, and he is outspoken about what little critical awareness the educated class can foster against the blindly raging “market forces” and the new alliances of wealth and power. In 1999, Zhang wrote a sequel “Again to the Honorable Teacher” to his 1991 tribute to Lu Xun, in which he firmly declares that he will not back down from his previous judgment on Lu Xun’s misfortune---why Lu Xun chose not to leave us a legacy of great volumes of scholarly or professional worth.<br /> <br /> Zhang Chengzhi and Zhang Wei initiated a heated round of ''bizhan'' (pen-combats) in the Literary Supplement of ''Wenhui'' Bao (Wenhui Daily, Shanghai) over the issue of mass consumption and culture with many writers who are more sympathetic with the marketized economy and consumerist culture. This essay by Zhang---“Poets, Why aren’t you indignant?” is featured as the leading editorial on August 7, 1994. <br /> Zhang Chengzhi, “Poets, Why aren’t you indignant?” in ''Wenhui'' Bao (Shanghai) (August 7, 1994).<br /> For further detail of this dispute, read Geremie Barmé, ''In the Red: On Contemporary Chinese Culture'' (New York: Columbia University Press, 1999) 304-309. （文献无需翻译）<br /> <br /> 相反，他坚持知识分子在面对经济政策所导致的社会失灵和不公正时的脆弱性，并直言不讳地说，受过教育的阶层在对抗盲目肆虐的“市场力量”和新的财富和权力联盟方面，能够培养出什么样的批判意识。1999年，张艺谋为纪念1991年的鲁迅写了一部续集《再次献给这位可敬的老师》，在这本书里，他坚定地宣称，他不会放弃先前对鲁迅不幸的判断——为什么鲁迅选择不给我们留下大量学术或专业价值的遗产。张承志、张炜在《文汇报》文艺副刊（上海文汇报）上，与许多对市场化经济和消费主义文化比较同情的作家，就大众消费与文化问题展开了一轮激烈的笔战。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:32, 18 December 2020 (UTC)Wang Xuan<br /> <br /> 相反，他坚持知识分子在面对经济政策所导致的社会失灵和不公正时的脆弱性，并直言不讳地说，受过教育的阶层在对抗盲目肆虐的“市场力量”和新的财富和权力联盟方面，能够培养出什么样的批判意识。1999年，张艺谋为纪念1991年的鲁迅写了一部续集《再次献给这位可敬的老师》，在这本书里，他坚定地宣称，他不会放弃先前对鲁迅不幸的判断——为什么鲁迅选择不给我们留下大量学术或专业价值的遗产。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:23, 17 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Wang Yu 王煜==<br /> In fact, Zhang now argues, in less sarcastic yet firmer terms, why Lu Xun’s solitary yet relentless social and cultural crusades are gaining rather losing currency in 1990s’ China. He writes:<br /> <br /> The populace in this nation have little power or scarce hope. But they are quick to discover: when they suffer and despair under the heavy burden of tyrannical rule of the bureaucratic few, “the intellectual class” turn out to be, after politicians and money, another cruel oppressor. The broad masses want nothing more than being fed and clothed. But they need the intellectuals to keep up the basic and constant criticism of the social elite and the powerful. Otherwise, their plight would be unthinkable.<br /> <br /> 事实上，张现在用一种不那么讽刺但更坚定的措辞来论证:为什么鲁迅独行而无情的社会文化改革在90年代的中国越来越流行。他写道：<br /> <br /> 这个国家的人民没有什么力量，也没有什么希望。但他们很快就会发现：当他们在少数官僚专制统治的沉重负担下痛苦绝望时，“知识阶层”就成了继政客和金钱之后的又一个残酷的压迫者。广大群众只想吃穿。但他们需要知识分子不断地对社会精英和权贵进行基本的、持续的批评。否则，他们的困境将是无法想象的。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 04:52, 19 December 2020 (UTC)<br /> <br /> 事实上，张炜现在用不那么讽刺但坚定的措辞来论证为什么鲁迅这种孤僻但无情的社会文化变革在90年代的中国长久不衰。他写道：<br /> <br /> 这个国家的人民是积弱且缺乏希望的。然而他们很快就会发现：当他们在少数官僚专制统治的沉重负担下痛苦和绝望时，“知识阶层”便成了金钱和政客之后的又一残酷压迫者。广大百姓想要的只不过是吃得饱，穿的暖。但他们需要知识分子对社会精英和权贵保持基本、持续的批判。否则，他们的困境时无法想象的。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:39, 19 December 2020 (UTC)<br /> <br /> ==Wang Yuan 王源==<br /> We, as readers of Lu Xun’s ''zawen'', are surely struck by the familiar wording, the similar tone, and the unyielding views that have implausibly found their way back into Zhang’s essays over half a century later. We are also surprised at how candid and unaffected he is when making such social commentary from a position comparable to the Great Lu Xun. <br /> <br /> One is tempted to ask: is Zhang grandstanding? I think not. However, the causes for leaping to charges against his feisty offensive are worth looking into: they are, ironically, spawned off the same binary frame of mind that has been consistently used by the CCP ideologues to denounce the inroads made by “liberal bourgeois values;” yet such a frame of mind is also replicated by many of Zhang’s critics at home and overseas.<br /> <br /> 作为鲁迅的读者，我们当然会被超过五十年后在张先生文章里发现那难以置信地熟悉的遣词、语气和坚定不移的想法而打动。我们也会惊讶，当把他放在同一位置和伟大的鲁迅进行比较，做出社会评论时，他是多么的坦率和不受影响。<br /> <br /> 有人也许想问：张炜是在哗众取宠吗？我认为不是。然而，对于他来势汹汹的攻势的原因却值得探讨：讽刺的是，这些原因是由中共意识形态形态者用来谴责“自由主义资产阶级价值观”入侵的二元思维框架产生的。但是这种思维框架也被海内外许多张炜的批评者们所复制。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:19, 19 December 2020 (UTC)<br /> <br /> ==Wei Honglang 韦洪朗==<br /> Odd bedfellows resting on the same cultural logic, they argue that criticism of the intellectuals’ dislocation and impotence in current China is motivated by the either/or option. One is either directed by a regressive Party-led agenda to exert the authority of socialist ideological legacy while intimating their message amidst the consumerist ambience. Or he/she is motivated by a dissenting political force to jump-start a new round of political subversion while laying itself open to patronage of the West (mainly America)-centered global order. Zhang’s detractors from both these stances see eye-to-eye on his role in today’s cultural politics, following the either/or mode of straightjacket thinking.<br /> <br /> 这种奇特搭配基于同样的文化逻辑，他们认为对当前中国知识分子混乱、无能现状的批判是由以下两种因素中的一个引发的。一种是落后的由党领导的议程设置，通过在消费主义风气盛行时传达其话语以发挥社会主义意识形态遗产的权威。又或者他/她受到了一股不同的政治力量的驱使下开始的新一轮政治颠覆的影响，这股势力同时向以西方(主要是美国)为中心的全球秩序敞开大门。张的两种立场的批判者们都不约而同地，以一种“非此即彼”的思维方式，看待其在当今政治文化中所扮演的角色。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 14:07, 20 December 2020 (UTC)<br /> <br /> ==Wei Yafei 魏亚菲==<br /> But I believe he is neither a firebrand of old egalitarian idealism nor an extremist with religious fundamentalist zeal. His self-styled apologist persona is neither a haughty custodian of monolithic values, nor a self-righteous model of narcissistic purity and perfection, nor a slick po-mo master showcasing newly imported goods. His is more of a lone outlaw in a “mobile warfare” in the Gramchian sense: preying on the unjust and corrupt elite, yet forever keeping the society at large at bay. <br /> <br /> Take the case of Zhang’s attitude towards “the people.” Pervasive social and cultural changes triggered by State-endorsed market economy had been set in place in China by mid-1990s which had led to seismic dislocation and reordering across the entire social spectrum.<br /> <br /> ==Wen Sixing 文偲荇==<br /> The result is that familiar notions such as “the people” had been stripped of their usual ideological moorings, whereas the newly emerged social grouping was yet to be reckoned with. While the recent cultural warfare has struck a bitter discord between the Liberals and the New Leftists over the definition of the masses (''dazhong''), Zhang has been relentlessly lucid and unambiguous who they are---those of the disadvantaged and the impoverished in China today. He is evidently critical of the Liberals who are eager for China to partake of a global economic order and evolve into a liberal society with a rising middle class as the nucleus of its civic values, but tend to lose sight of how this class of well-off Chinese (most notably the New Riches) can emerge without tipping economic and social imbalances towards those at the lower rungs of the social ladder.<br /> <br /> 其结果是，人们熟悉的概念，如“人民”，已被剥夺了他们通常的意识形态根基，而新出现的社会群体还有待考虑。虽然最近的文化战争在自由主义者和新左派对“大众”的定义上产生了激烈的分歧，但张却毫不含糊地明确了他们是谁——当今中国的弱势群体和贫困群体。他显然是重要的自由主义者,他们迫切希望中国参与全球经济秩序和发展成一个自由与崛起的中产阶级社会作为其公民价值观的核心,但往往忽视这类富裕的中国人(尤其是新兴富人群体)的出现，而不引爆经济和社会失衡以及影响刚刚起步的社会主义事业。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 13:50, 16 December 2020 (UTC)<br /> <br /> 其结果是，&quot;人民 &quot;等熟悉的概念已被剥去了惯常的意识形态寄托，而新出现的社会群体却还没有被重视起来。 当最近的文化战在自由派和新左派之间就大众（''大中''）的定义发生激烈的争执时，张先生却毫不留情地明确了他们是谁--当今中国的弱势群体和贫困者。 他显然对自由派提出了批评，他们渴望中国参与全球经济秩序，并发展成为一个以中产阶级为公民价值核心的自由社会，但却往往忽视了这个富裕的中国阶层（最主要的是新富阶层）如何能够在不使经济和社会失衡向社会底层倾斜的情况下出现。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:39, 16 December 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> For that matter, he is also adamant with the Po-Mo culturalists whose extreme ''kowtowing'' to the market culture and its mass consumers is, by way of an odd twist, turned into propelling forces for the predominantly ''Han'' Chinese to regain a very ethnocentric mode of self-empowering in a renewed East-West confrontation.<br /> <br /> Although Zhang’s view on “the people” is in close proximity to those of the New Leftists, he does not convey them as if they were their carbon copies. Instead he distills the critical efficacy of their combat with the deceptive “mass culture” and implants it in his border-violating strategy as a mobile yet vital critiquing position.<br /> <br /> ==Wu Kai 吴恺==<br /> Contrary to what he sometimes claims---to jettison the culpable intellectuals in the name of “religious” purity, Zhang has always felt the urge to recharge the power of the intellectual self as expository but not dispossessing, diagnostic but not agnostic, and independent but not self-insulating. The key to his border-crossing self is a dialogic interplay among multiple viable postures of the self while never allowing the self to be tied to a single rigid form of it. It is by negotiating between these individual stances of conviction that Zhang aims to create a vigilant and constructive ambience to see to the redress of social injustice. While revisiting Lu Xun in “Again to the Honorable Teacher,” he avidly called on Chinese intellectuals to embark on a solitary but enduring quest for the interests of the people at the lower rungs of the society.<br /> <br /> For further readings on this dispute, read Li Shitao, ed. Zhishi fengzi lichang: ziyou zhiyi zhizheng yu zhongguo xixiangjie de fenghua (The Position of Chinese Intellectuals: The divided intellectual circle over the issue of Liberalism) (Changchun: Shidai wenyi chubanshe, 2000).（文献无需翻译）<br /> <br /> 与他有时声称的那样——以“宗教”纯洁的名义抛弃应受谴责的知识分子，张先生总有一种冲动，那就是，要把知识分子自我的力量重新注入，做到说教而不是剥夺，诊断而不是不可知论，独立但不自我隔离。他跨越边界的自我的关键是在自我的多种可行姿势之间的对话互动，而不允许自我被束缚在单一的僵硬形式上。正是通过这些个人信念立场之间的协商，张先生旨在创造一种警惕和建设性的氛围，以期纠正社会不公。他在《重温恩师》一书中重温鲁迅时，热切地呼吁中国的知识分子开始一种孤独而持久的追求社会下层人民的利益的道路。<br /> <br /> 关于这一争议的进一步解读，请阅读李世涛主编《知识分子立场:自由主义之争与中国思想界的分化》（中国知识分子的立场：自由主义问题上的分裂的知识界）(Changchun: Shidai wenyi chubanshe, 2000)。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:47, 18 December 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> To engage in a dialogue with these masses, he observes, is for the intellectuals “to forever keep a watchful custody of such people against the socially established and the powerful.” And the masses will discover Zhang’s polemical writings, much as they did Lu Xun’s Zawen in 1930s, “there is always someone like Lu Xun who is cussing his heart, all alone in his crusade.” <br /> <br /> '''Discussion of this chapter: The ''xiaopin wen'' between ''xianshi sanwen'' and ''zawen'''''<br /> <br /> ''King-Fai Tam''<br /> <br /> I would first of all like to commend the contributors of this chapter for their original, well researched and well articulated papers which represent a diversity of angles of approaching the study of essays, while sharing an interest in the polemical nature of the genre. <br /> <br /> Zhang Chengzhi, “Zaizhi xiansheng” in Wuyuan de sixiang (Unassisted Thoughts) (Changsha: Hunan chubanshe, 1999) 100-105.（文献无需翻译）<br /> <br /> 他发现，与这些民众的对话是为了让知识分子”对反社会和反权利人群永远保持警惕”。而且这些民众会发现张的议论文，就像他们在1930年代对鲁迅《杂文》所做的一样，“总有人像鲁迅一样，独自一人在呕心沥血地讨伐。”<br /> <br /> '''本章讨论：实现散文和杂文中的小品文'''<br /> <br /> ''谭景辉''<br /> <br /> 首先，我想向为本章提供原始资料作出贡献的人表示感谢，经深度探索且表达清楚的论文可以在分享对散文体裁辩论本质的兴趣时，从多个角度来呈现散文研究现状。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 02:28, 18 December 2020 (UTC)<br /> <br /> ''谭景辉''<br /> <br /> 首先，我想对本章贡献原始资料的人表示感谢，这些论文研究深刻、表达清楚，不仅仅为着手研究散文提供了多个角度，还对散文体裁辩论本质拥有相同兴趣。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 06:36, 20 December 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> Together, they constitute an eye-opener for me, given my interest in ''xiaopin'' wen and other similar works with a lyrical bent that shy away from discursiveness and argumentation. If the ''xiaopin'' wen writers have anything to say about politics and society, it is often with a bemused tone; and the most that one can expect from them is a lamentation of some unjust social phenomenon, accompanied perhaps by an expression of outrage and an ineffectual cry for change. In that sense, ''xiaopin'' wen can be said to have rejected one the basic tenets of the essay as a process of experimentation, questioning, reflection, and, indeed, essaying. Too often, it gestures superficially to the analysis of an issue, only to come down heavily on an emotional response at the end.<br /> <br /> 鉴于我对 &quot;小品 &quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &quot;小品 &quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，''xiaopin''wen可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 13:21, 16 December 2020 (UTC)<br /> <br /> 这些作品加在一起，让我大开眼界，让我对 &quot;小品 &quot;文和其他类似的抒情作品产生了兴趣，。 如果说 &quot;小品 &quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，“小品”文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 13:47, 16 December 2020 (UTC)<br /> <br /> 鉴于我对 &quot;小品 &quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &quot;小品 &quot;文对政治和社会有什么要说的，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，小品文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 13:53, 16 December 2020 (UTC)<br /> <br /> 鉴于我对 &quot;小品 &quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &quot;小品 &quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，''小品''文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 14:53, 16 December 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> Yet, the four contributions to this chapter point out that there is a bigger world in the study of essays beyond ''xiaopin'' wen. The essay can, as Mary Scoggin argues, be cantankerous, recalling the image of a spear and a dagger, where one piece of ''zawen'' is more likely to elicit an equally cantankerous response than to put an issue to rest. With good reasons, we describe such exchanges as ''pizhan'' (battling with the pen). The essay is also a site where the essayist can consciously sculpt an image of himself, as Lu Jie and Liu Xinmin show in the cases of Zhang Wei and Zhang Chengzhi.<br /> <br /> 然而，本章所作的四个贡献指出，在小品文之外散文研究还有一个更广阔的世界。正如玛丽·斯科金所说，这篇文章可能给人不好的感觉，回忆时像一把长矛和匕首，其中一段“扎文”更可能引起同样不愉快的反应，而不是让问题得到解决。我们有充分的理由称这种交流为“笔战”。（用笔作战）正如陆洁和刘新民在张炜和张承志的案例中所展示的那样，这篇文章也是散文家有意识地塑造自己形象的成果。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:22, 18 December 2020 (UTC)<br /> <br /> 然而，本章所作的四个贡献指出，在小品文之外散文研究还拥有一个更广阔的世界。正如玛丽·斯科金所说，散文也可以尖锐凌厉，让人联想到长矛和匕首的形象，其中“扎文”更可能引起尖锐的反应，而不是使问题得到解决。我们有充分的理由将这种交锋称为“笔战”。正如陆洁和刘新民在张炜和张承志的案例中所展示的那样，散文家也是会有意识地将散文作为塑造自己形象的场所。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 04:17, 19 December 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> Moreover, while one single piece of essay is indeed different from a treatise in that its brevity makes it ill-equipped to address an issue in great depth, essayists such as Zhang Wei and Zhang Chengzhi can resort to voluminous output, exhaustively exploring different shades of a question in one essay after another to build up a coherent position. Wang Ban furthermore approaches the essay as a sensibility, or a structuring device, with which a writer tells and retells a story, puts forward a proposition and modifies or denies it. As such, it replaces the novel as the form that best captures the consumerist ethos of urban China in the 1990s.<br /> <br /> 虽然一篇文章与论文确实存在区别，其简洁性使其不具备解决问题的深度，但是如张伟和张承志一类的作者产出颇丰，详尽探索一篇篇文章中不同深浅的问题，以此来建立一个连贯的位置。在此基础上，王班进一步将文章作为一种情感，或者一种结构化工具，作者可以通过文章来讲述或复述一个故事，提出一个命题，对其进行修饰或否定。因此，它取代了小说，抓住了20世纪90年代中国城市消费主义思潮。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 05:57, 20 December 2020 (UTC)<br /> <br /> 尽管一篇论文的确与论文有所不同，因为篇幅简洁，无法充分解决一个问题，但张炜和张承志等作者却可以求助于大量论文，详尽地探讨了不同层次的论文，以此来建立一个连贯的位置。在此基础上，王班进一步将文章作为一种情感，或者一种结构化工具，作者用它来讲述和叙述一个故事，提出一个命题并加以修改或否认。 因此，它取代了小说，成为最能体现90年代中国城市消费主义思潮。--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 10:37, 20 December 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Yet, if a literary genre can take up so many shapes and forms, are we still justified to consider these shapes and forms as a uniform entity, to be analyzed and studies with the same methodology ? In my study of the essay, I have often been confronted with this question. In the New England Association of Asian Studies conference in October last year I raised a similar query in response to the presentations of Alexandra Wagner, Martin Woesler and Xinmin Liu: in what way can we consider works as diverse as those of Feng Zhi, Qu Qiubai, and a group of other writers that we discussed that day as essays? Now, in light of the four papers of this chapter, I would like to ask the same question again.<br /> <br /> 然而，如果一种文学体裁可以有如此多的形态和形式，我们是否仍然有理由把这些形态和形式看作一个统一的实体，用同样的方法来分析和研究?我在研究这篇文章时经常遇到这个问题。在新英格兰去年10月举办的亚洲研究协会会议上，我针对亚历山德拉•瓦格纳的演示提出了一个疑问:我们怎样运用丰富的手段来研究文章，就像研究风智,瞿秋白、和一群其他作家的作品?这个问题亚历山大，马丁.沃尔斯勒和新民刘曾提出过。现在，对这一章节里的四篇文章，我想再问一遍同样的问题。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 14:46, 20 December 2020 (UTC)Wu Zijia<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> I will take the clue from Wang Ban when he considers the “polemic pole” for the essay, i.e., that which the essay stands against, and see whether we can understand what essay is but finding out what it is not. At different historical junctures and in different cultural contexts, the essay has served as the voice of the opposition and the marginal. Wang Ban has already alluded to Adorno’s “The Essay as Form” to underscore the institutional system of philosophy, the discourse of scientific positivism, and its attendant socio-cultural conditions of reification, to which the essay stands in opposition. Likewise, one can find a late twentieth-century parallel where the articulation of feminism and decolonization often takes the form of the essay.<br /> <br /> 我将从王班思考文章的“论战极点”，即文章所反对的东西，来寻找线索，看看我们能否理解文章是什么，但找出它不是什么。在不同的历史节点和文化语境中，散文充当了反对派和边缘者的声音。王班已经提到阿多诺的“文章形式”来强调哲学的制度体系、科学实证主义的话语以及与其相伴随的物化的社会文化条件，而阿多诺的“文章形式”是与之对立的。同样，我们可以找到二十世纪后期的一个平行，女权主义和非殖民化的表述经常以文章的形式出现。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:19, 17 December 2020 (UTC)Xiao Shuangling<br /> <br /> 我将从王班提出的文章的“论战极点”，即文章所反对的东西入手，看我们能否理解文章而不是发现它的局限。在不同的历史节点和文化语境中，散文充当了反对派和边缘者的声音。王班已经提到阿多诺的“文章形式”来强调哲学的制度体系、科学实证主义的话语以及与其相伴随的物化的社会文化条件，而阿多诺的“文章形式”是与之对立的。同样，我们可以找到二十世纪后期的一个平行，女权主义和非殖民化的表述经常以文章的形式出现。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:59, 17 December 2020 (UTC)Xiao Ting<br /> <br /> [http://www.example.com link title]<br /> <br /> ==Xiao Ting 肖婷==<br /> Yet, in the Chinese context, even if we narrow it down to the last two decades of the twentieth century, it is not entirely clear what the polemic pole of the essay is. Wang Ban believes that the polemical pole to contemporary Chinese essays to be identified as the Enlightenment and Marxist paradigm of teleological history and its literary counterpart: the novel of “revolutionary realism.” For the zawen she is examining, Mary Scoggin suggests that ''zawen'' spits in the face of a “discourse of beauty” that serves to mute criticism in ''the'' name of social and rhetorical graciousness, an attitude that essentially forbids ''zawen'' writers to say anything if they cannot think of something nice to say.<br /> <br /> 然而，在中国的环境之下，即使我们把范围缩小到20世纪最后20年，也不能完全弄清楚散文的极点是什么。王班认为，当代中国散文的论极要确定为启蒙运动和马克思主义的心学史范式及其文学的对应物：&quot;革命现实主义 &quot;的小说。玛丽-斯科金在研究杂文以后认为，杂文对所谓“美的篇章”十分唾弃，以直白、朴实的语言来噎住批评，而这种态度实质上是禁止“杂文”作家在想不出好话时再说什么。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:49, 17 December 2020 (UTC)Xiao Ting<br /> <br /> 然而，在中国，即使把范围缩小到20世纪最后20年，也不能彻底弄清散文的论极是什么。王班认为，当代中国散文的论极应该定义成启蒙运动和马克思主义的心学史范式及其文学对等物：&quot;革命现实主义 &quot;的小说。玛丽-斯科金在研究杂文以后认为，杂文对<br /> 唾弃“美的篇章”，通过直白、朴实的语言来噎住批评，而这种态度实质上是防止“杂文”作家在想不出好话时再说些什么别的。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 12:23, 18 December 2020 (UTC)<br /> <br /> ==Xiao Xi 肖茜==<br /> Zhang Chengzhi, Xinmin’s subject, has made it abundantly clear that his essays are manifestations of a historical method that deconstructs Han chauvinism even as he has little by way of counter evidence to go by. Like Wang Ban, Lu Jie also pits the essay against the novel, but for a different reason, and with findings intriguingly different from that of Wang Ban. Wang Ban attributes the “metafictional” signs in Wang Anyi’s ''Shushu di gushi'' to the intrusion of the essayist sensibilities. In other words, it is her essayist touch that accounts for the tentativeness of her narrative. On the other hand, Lu Jie succeeds in showing that Zhang Wei the novelist is much more tentative and equivocal than Zhang Wei the essayist.<br /> 《新民》的主体，张承志已经非常清楚地表明，他的散文是解构大汉族主义的历史方法的表现，尽管他几乎没有任何相反的证据可供参考。和王班一样，卢杰也把这篇文章与《红楼梦》对立起来，但原因不同，他的发现与王班的截然不同。王班把王安忆《叔叔的故事》中的“元化”符号归结为散文家情感的侵入。换句话说，正是她的散文家风格造成了她的叙述的不确定性。另一方面，卢杰成功地展示了小说家张伟比散文家张伟更加犹豫不决和模棱两可。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 13:49, 16 December 2020 (UTC)Xiao Xi<br /> <br /> 张承志是《新民》的主人公，他非常直白地表明，他的散文是解构大汉族主义的历史方法的表现，尽管他几乎没有任何相反的证据可供参考。如同王班，陆杰也把这篇文章与《红楼梦》对立起来，但原因不同，并且他的发现与王班的完全不同。王班把王安忆《叔叔的故事》中的“元化”符号归结为散文家情感的侵入。换句话说，正是她的散文家风格导致她的叙述带有不确定性。另一方面，陆杰成功地展示了一个事实——小说家张伟，比散文家张伟，更加犹豫不决，更加模棱两可。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:30, 17 December 2020 (UTC)<br /> <br /> ==Xiao Yining 肖伊宁==<br /> Even if one were to maintain that ''Jiuyue yuyan'', like ''Shushu di gushi'', is informed by the essayist sensibilities, one still has to consider why Zhang Wei’s essays are more categorical, and hence more simplistic and reductionist, in their assertion than the novel, whose meaning requires considerable teasing out. What is one to make of this discrepancy between Wang Anyi and Zhang Wei? What does it say about the two writers? And what do they have to say, if anything, about the essay and the novel?<br /> <br /> 即使有人坚持认为《九月寓言》和《叔叔的故事》一样，都是受散文家的情感影响的，但我们还是要思考为什么张炜的散文在论断上比小说更直截了当，也因此更为简单明了，而他的小说的意义却需要相当多的梳理推敲。怎么去理解王安忆和张炜之间的这种差异呢？对于这两位作家有什么看法呢？他们对这篇文章和小说有什么要说的吗？<br /> <br /> 即使有人坚持认为《九月寓言》和《叔叔的故事》一样，都受散文家的情感影响，但我们还是要思考为什么张炜的散文的论断比小说更直截了当，也因此更为简单明了，而他的小说的意义却需要相当多的梳理推敲。怎么去理解王安忆和张炜之间的这种差异呢？对于这两位作家有什么看法呢？他们对这篇文章和小说有什么要说的吗？<br /> <br /> In various ways, our contributors also look into the self-image the essayists construct for themselves as they participate in the cultural polemics at the end of the century.<br /> <br /> 在本世纪末的文化论战中，我们的撰稿人也从不同的角度审视了散文家为自己建构的自我形象。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:56, 16 December 2020 (UTC)Xiao Yining<br /> <br /> 在20世纪末的文化论战中，我们的撰稿人也从用不同的方法审视了散文家为自己建构的自我形象。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:29, 18 December 2020 (UTC)<br /> <br /> ==Xie Fan 解帆==<br /> Gone, apparently, is the supercilious pose of the ''xianshi'' essayist who, to paraphrase Lu Xun’s famous translation of Kuriyagawa Hakuson, “sits in a rocking chair by the stove in winter or puts on a bathrobe in summer to drink tea and chat casually with one’s good friends about things that do not give one a headache.” Rather, as our contributors succeed in pointing out, headache is precisely what our essayists aim to provide. Even though they also affect varying degrees of reclusivity or compromise, they always come back later to the polemic fray with renewed vigor. I have in mind such instances as Zhang Wei’s repeated claim to find a monastery in the mountains where he will study all by himself for a year even as he goes around giving advice to his readers on how best to resist the corrupting influences of mass culture.<br /> <br /> 这显然是散文家高傲的姿势,套用鲁迅翻译Kuriyagawa Hakuson的一句话,“冬天坐在火炉旁的摇椅上或夏天穿上浴袍跟好朋友喝茶聊天不会让人头疼。相反，正如我们的撰稿人所说，散文集作者想让我们头疼。”即使他们有不同程度的隐逸或妥协，但他们总是在之后的论战中重新焕发活力。我记得这样的例子，张维反复声称要在山里找到一个寺院，在那里独自学习一年，甚至到处给读者建议如何最好地抵制大众文化的腐蚀影响。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 12:15, 18 December 2020 (UTC)<br /> <br /> 显然，“闲适”散文家那种傲慢的姿态已经消失了，套用鲁迅对厨川白村的著名翻译，&quot;冬天坐在炉子边的摇椅上，或者夏天穿上浴袍，和好朋友喝茶闲聊，谈的都是一些不使人头痛的事情&quot;。相反，正如我们的撰稿人所说，头痛正是要由我们的散文家提供。即使他们也会不同程度地影响到隐忍或妥协，但他们后来总是以新的活力重新回到论战中来。我想到的就是这样的例子，比如张炜反复声称要在山里找一个寺院，在那里独自学习一年，甚至到处给读者建议如何最好地抵制大众文化的腐化影响。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 13:37, 18 December 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> Similarly, the ''zawen'' writer distance themselves from the overtly declamatory tone with the sole purpose of making their gripes more readily stomachable, and their voices more readily heard. Zhang Chengzhi’s temporary withdrawal into religious isolation is another example, for, after a brief period of reclusivity, he enters once again the public sphere with deeper conviction and a broader agenda. In light of Wang Ban’s discussion, Wang Anyi’s case is perhaps less clear-cut than the rest. To be sure, she seems to have adapted rather well to the new consumerist society that commodifies literature; yet, it is clear that there is a serious intent in her deployment of the essayist sensibilities.<br /> <br /> 同样，“ zawen”作家与公开的庄严语调保持距离，其唯一目的是使他们的握柄更易于胃口，声音更易听见。 张成志暂时退出宗教隔离是另一个例子，因为在短暂的独占统治之后，他以更坚定的信念和更广泛的议程再次进入公共领域。 根据王朋的讨论，王安忆的案子可能不那么清楚。 可以肯定的是，她似乎已经很好地适应了商品化的新的消费主义社会。 然而，很明显，她对杂文作家情感的运用是认真的。<br /> <br /> --[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:53, 21 December 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> In fact, to the extent that ''Shushu di gushi'' has challenged the master-narrative with which the life’s progress of a rehabilitated rightist is often told, I would argue that the essayist sensibilities, far from being irrelevant to history, can be put to historical use. The works of Zhang Wei, Zhang Chengzhi and Shao Yanxiang can perhaps supply us with a footnote to the historical relevance of the essay.<br /> <br /> '''The 20th Century Chinese Essay - Characteristics, Actors, and Trends'''<br /> <br /> ''Martin Woesler''<br /> <br /> '''Abstract'''<br /> <br /> In the first part of my paper, which deals with the characteristics of the essay, I will start with a definition of the essay as a non-fictional subjective representation in a free form: “Essay”, in Chinese mostly ''sanwen'' 散文, is a genre term for shorter, self-contained nonfictional prose texts, in which the author tries to mediate individual experiences on an object or a question using a subjective I-perspective.<br /> <br /> 其实，在某种程度上，《叔叔的故事》挑战了万能叙事模式，这种模式通常讲的是改造后的右翼分子生活得到了改善。在我看来，散文家的敏感性绝不是与历史无关的，它可以用在历史上。张伟、张成志、邵延翔等人的作品或许可以为这篇文章的历史关联性提供一个注脚。<br /> <br /> '''20世纪中国论文--特点、角色及其趋势'''<br /> <br /> ''Martin Woesler''<br /> <br /> '''摘要'''<br /> <br /> 本文第一部分论述散文的特点，首先，我将散文定义为一种自由形式的非虚构性主观表征。&quot;Essay&quot;，中文为''散文''，指较短的、自成一体的非虚构性文体，其作者试图用主观的“我”的视角来表达个人对某一对象或问题的体验。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:57, 18 December 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许晶==<br /> I will introduce the hypothesis that the Chinese and the Western essays belong to the same international genre and try to prove it by showing cross-cultural similarities both in form and content. However, there are special local characteristics of the Chinese essay, which I will name.<br /> <br /> In the second part, I try to narrate the beginnings of the rediscovery of the essay in the early 1980s. Not before 1995 did international scholarship start to use common philological methods to explore single essayists or the essays of groups and to write a history of the Chinese essay. Then I will show the topical development of political and apolitical essays.<br /> <br /> In the third part, I will ask, who were the major players in the Chinese essayism of the 20th century?<br /> <br /> 我将会介绍我提出的假设，即中国和西方的散文都属于同一种国际体裁，并尝试通过展示两者在形式和内容上的跨文化相似点来证明这一假说。但是，我也会列举中国散文的一些特殊的本土特色。<br /> <br /> 在第二部分，我尝试讲述散文在1980年代的复现开始阶段的事情。1995年前，国际学术界开始运用常见的语言学方法来探索单篇散文和散文集，并撰写了中国散文的历史。之后，我将展示政治性散文和非政治性散文的主题发展。<br /> <br /> 在第三部分，我将提出我的问题，即谁是20世纪中国散文的代表人物？--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:33, 20 December 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> I will introduce Lu Xun, with his sharp, polemic subgenre for daily-political use, the ''zawen''. Analysis reveals that he still remains the most-read essayist, not because of his ''zawen'', but because of his reminiscences and lyrical essays. Using the examples of the most often reprinted essays, “The Back View” (Zhu Ziqing 1928b), “The Moonlit Lotus Pond” (Zhu Ziqing 1927), “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing 1924), “Wild Vegetables of my Home Region” (Zhou Zuoren 1925), “Listening to the Cold Rain” (Yu Guangzhong 1974) and “In Memoriam of Xiao Shan” (Ba Jin 1979b), I will show that moving essays form the top tier of the genre. I will also try to stimulate further analytic works by giving hints for examples of promising intertextual and intersubjective comparison.<br /> <br /> 我介绍一下鲁迅尖锐的、供日常政治使用的议论性子文--杂文。分析发现，他之所以仍然是作品传阅最广的作家，不是因为他的杂文，而是因为他的回忆文和抒情散文。我将从这类体裁的经典代表作中予以说明，以再版次数最多的散文为例，《背影》（朱自清1928b）、《荷塘月色》（朱自清1927）、《桨声灯影里的秦淮河》（朱自清1924）。&quot;故乡的野菜&quot;（周作人1925年）、&quot;听听那冷雨&quot;（余光中1974年）和 《怀念萧珊》（巴金1979b）。我还将试图通过文本间和主体内的比较，来促进进一步的分析。<br /> --[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 09:50, 20 December 2020 (UTC)<br /> <br /> 我将介绍鲁迅尖锐的、供日常政治使用的议论性子文--杂文。分析发现，他之所以一直是读者最多的散文家，不是因为他的杂文，而是因为他的回忆录和抒情散文。我将从这类体裁的经典代表作中予以说明，以再版次数最多的散文为例，《背影》（朱自清1928b）、《荷塘月色》（朱自清1927）、《桨声灯影里的秦淮河》（朱自清1924）。&quot;故乡的野菜&quot;（周作人1925年）、&quot;听听那冷雨&quot;（余光中1974年）和 《怀念萧珊》（巴金1979b）。我还将试图通过文本间和主体内的比较，来促进进一步的分析。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:58, 20 December 2020 (UTC)<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> In the fourth section, I will name contemporary trends in essay writing. After the Cultural<br /> <br /> Revolution essays came from the perspective of an authentic eye. In the 1980s and especially in the 1990s, individualism demanded a critical reflection on the satisfaction of personal consumption needs and tried to give a personal orientation, as essayists pleaded for moral virtues. Other essays in the 1980s and 1990s were written with a kind of new subjectivism, targeted away from contemporary contradictions but appealing to the feelings of the audience by creating either a positive or a negative world. <br /> <br /> The fast-paced nature of current Chinese society demands diverting and short texts. There is also increasing consciousness of individuality, for which the essay is the most direct form of subjective expression, even more direct than the poem which is mediated by its metrical and formal demands.<br /> <br /> 在第四部分，我将列举当代散文写作的趋势。在文革之后，散文变得写实。尤其是在20世纪80年代和90年代，个人主义对个人消费的满足进行反思；像散文家呼吁美德一般，他们也尝试提供人生导向。其它20世纪80年代和90年代的散文以新主观主义写作，不再聚焦当代矛盾，而是创造出一个或是积极或是消极的世界来和读者产生共鸣。<br /> <br /> 当今中国社会快节奏的本质需要有趣且简短文本。人们对个性也越来越关注，而散文就是最直观的个人表达形式，诗歌与之相比还受到了格律和形式的限制。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 00:57, 18 December 2020 (UTC)Xu Mengdie<br /> <br /> 第四部分，我将阐述当代散文写作的趋势。文革后，散文开始写实。从20世纪80年代开始，尤其是在90年代，个人主义对个人消费需求的满足进行批判性的反思；正如散文家呼吁美德一般，他们也尝试提供人生导向。八九十年代的其他散文则以新的主观主义作为写作目标，不再聚焦当代矛盾，而是通过营造一个积极或消极的世界和读者产生共鸣。<br /> <br /> 当今中国社会快节奏的特点要求文字有趣而简短。人们的个性意识也在不断增强，而散文是最直接的主观表达形式，甚至比要求以格律和形式为中介的诗歌更加直接。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:40, 18 December 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> In China we see a renewed interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s and 30s. We become conscious of the banality of daily life when it is being used as a literary topic, as in the essay, which most commonly treats the genre of everyday life. The de-ideologization of Chinese society led to a rediscovery of the apolitical essays, dating from the Republican era, especially from the years 1923 to 1928. In the 1990s, the essayistic culture of political criticism of the 1980s has vanished; the only political relic is patriotism, for example expressed in the monograph published in 1996, ''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see ''China can say no''!).<br /> <br /> 在中国，我们能看到如同二十世纪二十年代至二十世纪三十年代，通过论文这一媒介，人们又有了兴趣讨论社会政治问题。当日常生活被用作文学主题时，我们就会意识到其平庸，就像在散文中一样，散文通常是针对日常生活的体裁。中国社会的去意识形态化，导致了民国时期，特别是1923 - 1928年的非政治性散文的重新发现。20世纪90年代，80年代政治批评的散文式文化消失了;唯一的政治遗迹是爱国主义，例如1996年发表的专著《中国可以说不!》-冷战后政治和情感的可能性”(见《中国可以说不》!)''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see ''China can say no''!).--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:35, 17 December 2020 (UTC)Xu Pengfei<br /> <br /> 在中国，我们能看到人们通过论文这一媒介，又有了讨论社会政治问题的兴致，就如同上世纪二三十年代那样。日常生活成为文学主题时，我们就会意识到它的平淡无味，就像在散文中表现的那样，散文通常描写的就是日常生活。中国社会的去意识形态化，让人们重新发现自民国时期，特别是1923至1928年以来的非政治性散文。20世纪90年代，80年代用散文进行政治批评的文化已经消失了，唯一留下来的政治痕迹是爱国主义，例如在1996年出版的专论《中国可以说不!-冷战后政治和情感的可能性》中传达的那样(见《中国可以说不！》)。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:34, 20 December 2020 (UTC)Xu Jia<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> '''1. CHARACTERISTICS<br /> <br /> 1.1 Defining the essay as a non-fictional subjective representation in a free form'''<br /> <br /> Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with ''xiaoshuo'' (fiction), sanwen (here in the broader meaning non-fictional prose)), lyrics ''shige'' (lyrics) and ''xiqu'' (drama). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term “''wu yunwen''” which corresponds to the term “epic” in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground. In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet.<br /> <br /> 1. 特征<br /> <br /> 1.1将本文定义为一种非虚构的主观自由表现形式<br /> <br /> 与国际文学类似，中国文学的基本细分一般是三类：史诗（小说、散文（这里指广义的非虚构散文））、诗歌和戏剧）。虽然没有纯正的史诗形式，但小说和散文常常被合称为中文的“无韵文”对应西方的“史诗”一词。从性质上看，这几种类型可以大致区分为以下几种。在史诗中，过去的事件被重述，一个宽广的、充实的故事占据了重要位置。在歌词中，鼓励读者去感受诗人当前的感觉，往往是告白式的感受。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> '''1. 特征<br /> <br /> 1.1 将散文定义为一种非虚构的主观自由表现形式'''<br /> <br /> 和国际文学一样，中国文学一般细分为三类：即史诗（包括小说、散文（这里指广义的非虚构散文））、诗歌和戏剧。小说和散文虽然没有纯正的史诗形式，但人们通常把他们合称为“无韵文”，这里中文的“无韵文”对应西方的“史诗”一词。这三种类型从本质上来说大致可以通过以下方式来区分：在史诗中，过去的事件被重述，一个广阔充实的故事主导了前景。在诗歌中，鼓励读者去感受诗人当时告白式的感觉。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 12:14, 17 December 2020 (UTC)<br /> <br /> ==Yang Hairong 杨海容==<br /> The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.<br /> <br /> “Essay,” Chinese mostly ''sanwen'' 散文 , is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Free-dom in form and content is essential for the essay.<br /> <br /> <br /> 该剧直接在独白或对话中唤起了一个独立的情节，并以此减轻了读者/观众的创造性想象力。 这篇散文作为史诗体裁的文章是一种自由形式的超脱的非虚构主观表现形式。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:29, 18 December 2020 (UTC)<br /> <br /> “Essay”的中文即散文，主要是较短的、自成体系的非虚构散文的流派，作者试图从主观角度调解对象或问题的个人经验。 这样，从不同方面进行了关联性的尝试，而不是作为日常使用的文本，而是通过艺术或教育上要求苛刻的语言手段进行了尝试，但仍以可访问的形式进行。 散文内容完全由散文家掌握，并且可以在更大的范围内了解主旨，甚至可以幽默地对其进行介绍。 形式和内容的自由对散文来说至关重要。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:29, 18 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, subcategoring the essay in too many small entities, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.<br /> <br /> Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems.<br /> <br /> 不同的观点在国际类型的文章：体裁主要是文学的分工，通过文学的学术专门思考，为了能够更容易地比较类似的文本。另一方面，在太多的小实体中对这篇文章进行了归类，在解释学的发现中质疑了这种划分的意义。人们还必须意识到文学本身不断变化的性质和科学观点的相对性，这仍然是一个及时的问题，即使它在国际上被接受。<br /> <br /> 地域差异对文章的重要性似乎不如对短篇小说、小说等已有的体裁那么大，而对诗歌的重要性则要小得多。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:45, 18 December 2020 (UTC)<br /> <br /> 对于文章的国际体裁存在不同的观点：体裁主要是文学的分类，通过对文学进行专门的学术研究，能够更容易地对比相似的文本。另一方面，在太多小实体中进行更小的分类，在解释学的发现中质询了这种细分的意义。人们还必须意识到文学本身不断变化的性质和科学观点的相对性，即使它在国际上得到认可，这仍是一个及时的问题。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:20, 20 December 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.<br /> <br /> In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. <br /> <br /> ==Yang Yue 杨悦==<br /> This is a second hint that the modern Chinese essay belongs to the international genre of the essay. Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay). <br /> <br /> The choice of the term “''sanwen''” instead of “''suibi''” (familiar essay) or “''xiaopin wen''” (short literary piece) is of course arbitrary, but it corresponds to the present usage. In about 200 essay collections and histories between 1949 and 1996 known to the author, ''sanwen'' turned out to be the common expression, ''xiaopin'' was used only in one out of 25 essay titles of the PR China, in one out of 14 Taiwanese, and one out of ten Hong Kong publications.（文献无需翻译）<br /> <br /> 这是中国现代散文属于国际散文文体的第二个暗示。尽管写“短故事”的&quot;短篇小说&quot;的翻译被普遍接受，但两者之间的联系却不如西方散文和中国散文紧密。这一定义是我从5000多篇现代中国论文样本中得出的，也符合国际上对这篇论文的特殊理解。<br /> <br /> 当然，用“散文”代替“随笔”或“小品文”是随意的，但它符合现在的用法。在1949年至1996年作者所知的约200本杂文集和历史中,“散文”更为常见,而只有1/25的中国文章标题、1/14的台湾出版物，以及1/10的香港出版物使用“小品文”。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:16, 17 December 2020 (UTC)<br /> <br /> 这是中国现代散文属于国际散文文体的第二个表现。尽管大众普遍接受“短故事”和&quot;短篇小说&quot;的翻译，但两者之间的联系却不如西方散文和中国散文紧密。这一定义是我从5000多篇现代中国论文样本中得出的，也符合国际上对这篇论文的特殊理解。<br /> <br /> 当然，用“散文”代替“随笔”或“小品文”是随意的，但它符合现在的用法。在1949年至1996年作者所知的约200本杂文集和历史中,“散文”更为常见,而只有1/25的中国文章标题、1/14的台湾出版物，以及1/10的香港出版物使用“小品文”。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:27, 18 December 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it “Chinese”? In the occidental essay the ''form'' seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework. This can be shown with Cheng Ming-Lee, who subcategorises the “unfinished diary” or the “unfinished letter”. Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Cheng Ming-Lee: “essay in diary form” and “essay in letter form,” see Cheng Ming-Lee), they are accepted as essays.<br /> <br /> 周作人是第一个呼吁采用英语文风来体现全球化社会趋势的，除此之外，中文杂文还具有地方特色。 中文杂文如何在文化上定义，是什么让其更加“中国化”？ “形式”在西方杂文里，比在中文散文中，更为一个重要的区分标准。 在中国，甚至包括那些内容相似的文本，但都跨越了正式通用框架的边界。 程明利（Cheng Ming-Lee）将“未完成的日记”或“未完成的信件”分类，进而证明了这一点。这些文本在西方语境中属于个人使用的文本，因此属于非虚构的散文作品。 只有在将其改写之后，人们才称之为杂文。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 01:44, 17 December 2020 (UTC)<br /> <br /> 周作人是第一个呼吁采用英语文风来体现全球化社会趋势的，除此之外，中国散文还具有地方特色。从文化上来看，如何定义中国散文，是什么让其更加“中国化”？与中国散文相比，“形式”在西方散文中似乎是更为重要的区分标准。 在中国，甚至包括那些内容相似的文本，但都跨越了正式通用框架的边界。 程明利（Cheng Ming-Lee）将“未完成的日记”或“未完成的信件”分类，进而证明了这一点。这些文本在西方语境中属于个人使用的文本，因此属于非虚构的散文作品。 只有在将其改写之后，人们才称之为杂文。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:23, 17 December 2020 (UTC)<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén''“non-rhythmic prose,” which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning “short literary essay pieces”.<br /> <br /> Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.<br /> <br /> 这种对中国论文的倾向性更广泛的理解可以直接追溯到“sanwen（散文）”一词的中文含义：“wúyùnwén（无韵文）”，“非韵律散文”，它最初是指所有非虚构的散文。 在这种更广泛的含义上，它还包括个人或日常使用的文本。 但是，我只用狭义的“散文”来处理“sanwen”。<br /> <br /> 进一步的区别是，中国散文往往具有思想内涵，并表现出重复性和俗语性等风格特征。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 13:46, 16 December 2020 (UTC)<br /> 在中国，这种对散文更广泛理解的趋势，可以直接追溯到“散文”一词在中文里所具有的内涵:“无韵文”“非韵律散文”，最初指的是所有非虚构的散文。在这个更广泛的意义上，个人或日常使用的文本也包括在内。但我说的“散文”只是狭义的“短篇小片段”。进一步的区别是，中国散文往往具有思想内容，并表现出重复、用语等文体特征。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 13:53, 16 December 2020 (UTC)Xiao Xi<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> '''1.2 I will describe the beginnings of the discovery of the essay.'''<br /> <br /> Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay. <br /> <br /> In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).<br /> <br /> '''1.2我将介绍发现散文的开端'''<br /> 从1979年开始，虽然散文写作增多，但却在十年之后才首次产生对这一现象的理论思考。又过了十年，国际汉学界才开始意识到散文现象。 <br /> <br /> 20世纪80年代，中国学术界首次以撰写散文史和收集散文的方式对散文文学进行重大的反思，这些反思首先集中在鲁迅等个别作家的散文作品上。另外，90年代的两次散文会议也没有显示出国际学术研究的动向。1995年以后，国际学术界才开始使用共同的语言学方法来探讨单个散文家（关于梁漱溟[梁锡华] 库宾1995年，关于王蒙 沃斯勒1995年，关于刘再复 曼斯伯格1995年[未发表]）或群体散文家的散文（ 关于新月派 &quot;瓦格纳 1996年）。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 07:53, 17 December 2020 (UTC)<br /> <br /> '''1.2我将介绍散文是如何开始发现的'''<br /> 尽管从1979年开始，散文作品有所增多，但对这一现象的理论反思却用了十年的时间才首次出现。又过了十年，国际汉学界才开始意识到散文现象。<br /> <br /> 20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这些反思首先聚焦于鲁迅等单一作者的散文作品上。另外，90年代的两次散文论坛也没有显示出朝国际学术研究发展的动向。直到1995年以后，国际学术界才开始使用普遍的文献方法来探讨单一散文家（关于梁漱溟[梁锡华]库宾1995年，关于王蒙 沃斯勒1995年，关于刘再复 曼斯伯格1995年[未发表]）或团体散文家的散文（关于新月派 &quot;瓦格纳1996年）。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 08:48, 19 December 2020 (UTC)<br /> <br /> ==Yi Huan 易欢==<br /> <br /> Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998). For the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, see Lau/Goldblatt, ''Modern Chinese Literary Thought'' 1996, see Denton).<br /> <br /> Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones. In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th.<br /> 直到90年代后半期，才开始用西方语言学的手段研究中国散文（吴莫汀 1998）。散文第一次作为与小说、诗歌同等的文体被收入西方文学选集（《哥伦比亚现代中国文学选集》1995，见劳/葛浩文 《中国现代文学思潮》1996，见丹东）。<br /> 中国台湾和西方对散文的重视存在着地区差异。在美国，人们往往按照西方人的口味来选择散文，完全不知名的作家和知名作家一样，都会得到同样多的篇幅。在台湾，鲁迅被雪藏了很久，而如今，在我所进行的关于90年代发行量最多的中国散文家排行榜中，鲁迅排行第16位。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 15:44, 17 December 2020 (UTC)<br /> <br /> 直到90年代后半期，才开始用西方语言学的手段研究中国散文的历史（Woesler 1998）。散文第一次作为与小说、诗歌同等的文体被收入西方文学选集（《哥伦比亚现代中国文学选集》1995，见劳/葛浩文，《中国现代文学思潮》1996，见丹东）。<br /> 中国台湾和西方对散文的重视存在着地区差异。在美国，散文往往按照西方人的口味被人们选择，完全不知名的作家和知名作家一样，都会得到同样多的篇幅。在台湾，鲁迅被雪藏了很久，而如今，在我所进行的关于90年代发行量最多的中国散文家排行榜调查中，鲁迅排在第16位。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 03:13, 18 December 2020 (UTC)<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode, 50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.<br /> <br /> Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation. Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai [announced]) or already published (Pollard 1999, Woesler 2000). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. Most of the contributors to the collection in hand met in 2000 on a first international conference on the essay.<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays.<br /> <br /> '''1.3 20th Century Development and Hindrances'''<br /> <br /> The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.<br /> <br /> 在未来，新的《波恩中国文学史》将给这篇文章一个合适的位置，它将有两到三卷专供《比集》、《酉集》和其他文章的专供。<br /> “1.3 20世纪的发展与阻碍”<br /> 政论散文的专题发展经历了一个从1907年启蒙教育散文到20世纪30年代日政散文的转变，再到20世纪40年代的抗日宣传和20世纪50、60年代的思想宣传。在20世纪80 - 90年代，日常兴趣政治的讨论比20 - 30年代要少。在20世纪80年代所有类型包括诗歌和散文为意识形态服务，被评论家用于反对关于共产主义的叙述或毛泽东主义的艺术理解。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:39, 18 December 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. (Yu Guangzhong's essay “The Wolves are Coming” shows that the ideological perspective did not only harm mainland essaywriting, see Yu Guangzhong 1977.) The essay seems to be the only genre in China which has kept its educatio-nal claim with the exception of essays which claim to be “art pourt l'art”.<br /> <br /> I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda.<br /> <br /> 而在20世纪80年代，政治问题在关于最佳社会制度的讨论（也在一般文学和电影中）中复兴。到了20世纪90年代，散文家们重新定义了自己的角色，首先是与大众的消费取向相对应。（余光中的散文《狼来了》表明，意识形态的视角不仅仅破坏了大陆的散文创作，见余光中1977年）。这篇散文似乎是中国唯一一个保持其教育主张的体裁，除了那些号称“艺术的散文”。<br /> 我提到了缺乏西方语言的翻译。其中一个原因可能是一些学者的印象，认为许多中国散文只是宣传。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:17, 18 December 2020 (UTC)<br /> <br /> 划词翻译<br /> 20 世纪 80 年代，在讨论社会的最佳制度时，政治问题又出现了复苏，(也包括在一般的文学和电影中) 在 20 世纪 90 年代变成了纯粹的非政治性和更具哲学性的-道德主题，在那里，散文家定义了他们的角色，首先是要与大众的消费取向相对应。余光忠的“狼来了”一文表明，意识形态的视角不仅损害了中国大陆的文学创作，参见余光中 1977 年的作品) 似乎是中国唯一保留其教育主张的体裁，但主张“艺术是艺术”的论文除外。<br /> <br /> 我提到缺乏西方语言的翻译。其中一个原因可能是一些学者的印象，许多中国的文章只是宣传。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:50, 18 December 2020 (UTC)<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character. In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.<br /> <br /> 在20世纪40年代甚至50年代，这可能是真的，但如今，正如绝大多数出版物所证明的那样，情况已经改变了。这需要更仔细的观察:自1949年以来,在政治上积极的文学一直在政府的鼓励下,导致了统计上的悖论:在20世纪90年代的散文家中，大多数人不是持肯定态度的作者而是持批判态度的散文家，他们的文章是非政治的、有时甚至带有挑衅特征，以此来反对为政治服务的秩序。在20世纪90年代，中华人民共和国二三十年代的文本仍然和当代中国的文本一样被重印。显然，我们可以得出这样的结论:20世纪50年代的政治肯定随笔只存在于特殊的政治随笔集中，在21世纪初，当代著名作家的作品和中国读者的阅读都将不复存在。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 01:22, 17 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> In restrictive regimes, where freedom of speech is not guaranteed, people still have different political ideas. To speak out directly is unhealthy, so in these countries people use art to express their differences. The most direct way of expressing political ideas in art is literature. To trick the censors, one must find indirect ways of expression. In an exhibition of ''Tendency Quarterly'', 16 banned Chinese magazines were displayed. Most of the magazines choose the poem as their favorite form to express political thoughts. After having been banned, some magazines went abroad and now are published in exile. The internet has added a number of underground magazines, which are available also inside mainland China. In the last years of the 20th century, one can find an increase of essays in these magazines. This might be a hint, that the authors dare to speak out more directly.<br /> <br /> 在限制体制下，言论自由得不到保障，人们仍然有不同的政治观点。直接说出来是不健康的，所以在这些国家，人们用艺术来表达他们的差异。艺术中表达政治思想最直接的方式是文学。要骗过审查者，人们必须找到间接的表达方式。在“趋势季刊”展览中，展出了16本被禁的中文杂志。大多数杂志选择诗作为他们最喜欢的表达政治思想的形式。在被禁之后，一些杂志社搬到了国外，现在以流亡的方式出版。互联网增加了地下杂志数量，这些杂志也可以在中国大陆境内阅读。在20世纪的最后几年里，人们可以在这些杂志上发现散文数量越来越多了。这可能是一个暗示，暗示作者敢于更直接地表达出来。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:23, 17 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (“On Dreams,” see Zhu Ziqing 1928c) and Zhou Zuoren from 1917 (''My Own Garden'' 1923, “The Fly” 1924, “Reading on the Toilet” 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.<br /> <br /> 非政治性散文在话题上的发展开始于1917年，当时朱自清（见朱自清1928年《说梦》）和周作人（1923年《自己的园地》、1924年《苍蝇》、1936年《在马桶上读书》）谈论的是日常话题，到1927年尾声，政治性散文成为主流，30年代末，非政治性散文在抗日运动中彻底淘汰。直到20世纪70年代，生活步入常态化，这一时期长期不受关注的日常事物反而成为了人们感兴趣的话题，非政治性散文由此得以恢复。同样在90年代，也由于人们对政治问题不怎么感兴趣，加上在大众消费主义的新世界中需要全新的定位，非政治性散文蓬勃发展起来。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 08:39, 19 December 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> '''2. Actors: Lu Xun, Zhu Ziqing, Ba Jin, Wang Zengqi, Yu Guangzhong'''<br /> <br /> Who were the major players in the Chinese essayism of the 20th century?<br /> <br /> Here is not the place to recount the struggle, which many of the today well-known heroes of the May-Fourth Movement had to establish their literary values and narrative. Unlike today, at that time the authors were also editors and publishers of magazines and therefore had a strong position in the cultural field.<br /> <br /> One thinks first of Lu Xun, who invented a sharp, polemic subgenre for daily-political use, the ''zawen''. In his own, broad understanding of ''zawen'', it could contain poems, short stories, drama etc. From a genial writer of short stories, he turned to ''zawen'' for the rest of his life, leaving behind a legacy of more than 700 essays.<br /> <br /> '''2、参与成员：鲁迅、朱自清、巴金、汪曾祺、余光中'''<br /> <br /> 20世纪中国散文的主要参与者是谁？<br /> <br /> 这里不是叙述谁于争雄的地方，而当今许多著名的五四英雄人物必须确立自己的文学价值观和叙事方式。与现在不同的是，当时的作者同时也是杂志的编辑和出版商，因此在文化领域有着很强的地位。<br /> <br /> 人们首先想到的是鲁迅，他发明了一种尖锐的、具有争议性的日常政治用的亚体裁，即''杂文''。在他自己对''杂文''的广泛理解中，它可以包含诗歌、短篇小说、戏剧等。他从一名亲切的短篇小说作家转向了一名撰写''杂文''的作家，留下了700多篇文章。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:02, 17 December 2020 (UTC)<br /> <br /> '''2. 参与者：鲁迅、朱自清、巴金、汪曾祺、余光中'''<br /> <br /> 20世纪中国散文的主要人物有哪些?<br /> <br /> 这里不会讲述这场斗争，当今许多著名的五四运动英雄不得不建立他们的文学价值和叙事。与当今不同的是，当时，作者同时也是杂志的编辑和出版人，因此在文化领域有很高的地位。<br /> <br /> 人们首先想到的是鲁迅，他为日常政治生活创造了一个尖锐的、争论不休的亚文体——''杂文''。在他广义理解中，''杂文''包括诗歌、短篇小说、戏剧等。他从一个和善的短篇小说作家，转向成为《杂文》作家，终其一生，留下700多篇散文。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 10:30, 17 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> During his lifetime, with his sharp attacks, he was the most known essayist. But these essays were of daily-political interest only and are seldom read today. Analysis reveals now that he stills stays the most often read essayist until the end of the 20th century. Not his ''zawen'', but the following reminiscences and lyrical essays remain until the end of the century in the top-ten list of essays: “Autumn Night” (Lu Xun 1925b), a lyrical essay from ''Wild Grass'', in “Mr. Fujino” (Lu Xun 1926c), Lu Xun remembers his Japanese teacher, in “The Kite” (Lu Xun 1925a) he remembers how he hurted his younger brother's feelings once, and “From Hundred Plant Garden to Three Flavour Study” (Lu Xun 1926b), which recounts his childhood experience also with classical literature.<br /> <br /> 在他的一生中，他以尖锐的攻击力成为最著名的散文作家。但是他的这些散文仅仅是处于日常的政治兴趣，在今天很少有人阅读。分析表明，到20世纪末，他的作品仍然是阅读得最多的。直到本世纪末，保留下来的并非是他的杂文，而是以下的回忆录和抒情散文：《野草》中的一篇抒情散文《秋夜》（鲁迅 1925），在《藤野先生》（鲁迅 1926）中，鲁迅仍然记得他的日语老师，在《风筝》（鲁迅 1925）中，鲁迅记得他曾经是如何伤害他的弟弟的，在《从百草园到三味书屋》（鲁迅 1926）中，鲁迅叙述了他的童年经历和经典文学。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:02, 20 December 2020 (UTC)<br /> <br /> 在他的一生中，凭借尖锐的抨击，他成为最著名的作家。但他的文章都是与时政相关，在今天很少有人读了。分析表明，直到20世纪末，他的作品依旧最受欢迎。二十世纪末阅读量排行榜前十的不是他的《杂文》，而是以下回忆录和抒情随笔:《秋夜》(鲁迅1925)--一篇《野草》中的抒情随笔、《藤野先生》(鲁迅1926)--他还记着自己的日本老师、《风筝》(鲁迅1925)中--他记得他曾经怎样伤害过弟弟的感情、《从百株园到三味书房》(鲁迅1926)--这篇也同样以古典文学的方式叙述了其童年经历。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 14:23, 20 December 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> The other most often printed essays are from Republican or modern times: The first is “The Back View” (Zhu Ziqing 1928b). With his whole work, this author ranks shortly behind Lu Xun. From this and other essays one can derive the criteria for essay best sellers in the P.R. of China: In “The Back View,” filial piety is the driving factor, parallelistic and repetitive structures in atmospherical nebulous the “The Moonlit Lotus Pond” (Zhu Ziqing 1927), also written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader. In “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing 1924) the author describes a beautiful landscape and makes ancient customs alive again. Nostalgic home feelings are the emotional identification element in “Wild Vegetables of My Home Region” (Zhou Zuoren 1925).<br /> <br /> 其它最频繁出版的散文多写于民国或当代：首先是《背影》（朱自清1928）。因为这整部作品，朱自清曾短暂地名列鲁迅之后。人们可由此及其它散文看出中华人民共和国对散文畅销书的评判标准：在《背影》中，孝是推动故事发展的因素，在朱自清另一部散文《荷塘月色》中，气氛朦胧，排比反复，这种风格在西方读者看来也许是有些矫揉造作的。在《桨声灯影里的秦淮河》里（朱自清1924），作者描绘了一副优美风光，再现传统风俗。怀乡情绪则是《故乡的野菜》（周作人1925）中极具辨识度的感情色彩。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 02:56, 21 December 2020 (UTC)<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> Yu Guangzhong is represented in this list with the nostalgic “Listening to the Cold Rain” (Yu Guangzhong 1974). In Ba Jin's most often reprinted essay “In Memoriam of Xiao Shan” (Ba Jin 1979b) he remembers his wife. <br /> <br /> Works of authors who decided to serve an ideology are far less often reprinted than the eight authors found to be leading: Mao Dun and Guo Moruo (rank 15) are mentioned in the average as seldom as Lu Xun in Taiwan and Yang Shuo (ranks 30) appears only half as often.<br /> <br /> Therefore one can state, that unpolitical, moving essays form the top.<br /> <br /> For a list of the 36 most often (re)printed essayists, and the top 59 essays please see the mentioned monograph (Woesler 1998b).<br /> <br /> 余光中因其怀旧散文《听听那冷雨》（余光中 1974）而榜上有名。在巴金最常被转载的散文《怀念肖珊》(巴金 1979b）中，他追忆了他的妻子。<br /> <br /> 决定为某种意识形态服务的作家的作品被转载的次数远远少于处于领先地位的八位作家：茅盾和郭沫若（排名15位）在台湾被提及的平均数与鲁迅一样少，而杨朔（排名30）的出现频率仅为一半。<br /> <br /> 因此，我们可以说，非政治性的、感人的文章占据了榜首。<br /> <br /> 有关36个最常（重新）印刷的散文家和排名前59位的散文家的列表，请参见所提到的专着（Woesler 1998b）。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 03:35, 18 December 2020 (UTC)<br /> <br /> <br /> 余光中因其怀旧散文《听听那冷雨》（余光中 1974）而榜上有名。在巴金最常被转载的散文《怀念肖珊》(巴金 1979b）中，他追忆了他的妻子。<br /> <br /> 决定为某种意识形态服务的作家的作品被转载的次数远远少于处于领先地位的八位作家：茅盾和郭沫若（排名15位）在台湾被提及的平均数与鲁迅一样少，而杨朔（排名30）的出现频率仅为一半。<br /> <br /> 因此，我们可以说，非政治性的、感人的文章囊获了榜首。<br /> <br /> 有关36个最常（重新）印刷的散文家和排名前59位的散文家的列表，请参见所提到的专着（Woesler 1998b）。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:41, 18 December 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> The huge number of essays and essayists offer many possibilities for intertextual and intersubjective comparison, out of which only some thoughts can be indicated here due to lack of space. They might stimulate further analytic works. Lu Xun, Zhou Zuoren and Zhu Ziqing wrote about the same occasion, the massacre on March 18, 1926 quite differently. Zhu Ziqing attacks the government directly and promises it a soon collapse (“Report of the Government’s Great Massacre,” Zhu Ziqing [1926]). Lu Xun described the massacre in an unctuous chant instead (“Jinian Liu Hezhen jun” Lu Xun 1926a), and Zhou Zuoren bitter-humorously in his essay “Different Ways to Die” (Zhou Zuoren 1926).<br /> <br /> Different ways of coming into terms with the 'Cultural Revolution' we can see in the essays of Ba Jin, Bing Xin, and Wang Meng: Ba Jin enlucidated unsparingly to the extend of self-accusation (Ba Jin 1979a).<br /> <br /> 大量的散文和散文家为互文性和主体间性的比较提供了许多可能性，但由于篇幅有限，这里只能表达一些想法。它们可能激发进一步的分析工作。鲁迅、周作人、朱自清对同一事件——1926年3月18日的大屠杀——的描写则截然不同。朱自清直接攻击了政府，并断定它很快就会崩溃(朱自清《政府大屠杀报告》[1926])。鲁迅用虚情假意的歌谣(《纪年刘和真君》鲁迅1926a)描述了这次大屠杀，而周作人则在他的散文《不同的死法》(周作人1926)中诙谐而辛辣地描写了这次大屠杀。<br /> <br /> 从巴金、冰心、王孟等人的文章中，我们可以看到巴金对“文化大革命”的几种不同的看法:巴金的狂热达到了自我谴责的程度(巴金1979a)。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 13:43, 16 December 2020 (UTC)<br /> <br /> 大量的散文和散文家为互文性以及主体间性的对比提供了多种可能性。但由于篇幅有限，这里只能展示一部分想法。它们或许能够激发进一步的分析作业。鲁迅、周作人和朱自清都描写过同一场景，1926年3月18日的大屠杀，但是描绘的手法不尽相同。朱自清正面攻击政府，并断定它不久就会垮台（《执政府大屠杀记》朱自清 1926）。而鲁迅用谄媚的诗歌描述了这次大屠杀（《几年刘和珍君》 鲁迅 1926a)，周作人在他的散文《不同的死法》以幽默而苦涩的手法描写了这次大屠杀。<br /> <br /> 从巴金、冰心、王蒙的散文中，我们可以看到，巴金对“文化大革命”有着不同的理解方式：巴金不遗余力地自我谴责（巴金1979a）。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 07:38, 18 December 2020 (UTC)<br /> 大量的散文和散文家为互文性和主体间性的比较提供了许多可能性，但由于篇幅有限，这里只能表达一些想法。它们可能激发进一步的分析工作。鲁迅、周作人、朱自清对同一事件——1926年3月18日的大屠杀——的描写则截然不同。朱自清直接攻击了政府，并断定它很快就会崩溃。而鲁迅用谄媚的诗歌描述了这次大屠杀（《纪念刘和珍君》 鲁迅 1926a)，周作人在他的散文《不同的死法》以幽默而苦涩的手法描写了这次大屠杀。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:58, 18 December 2020 (UTC)<br /> 从巴金、冰心、王蒙的散文中，我们可以看到，巴金对“文化大革命”有着不同的理解方式：在自我批评方面，巴金对自己毫不手软。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:58, 18 December 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> Wang Meng dealed with it humorously (Wang Meng 1980), Bing Xin tried to pretend continuity by naming her works after the 'Cultural Revolution' with the same titles as before: The successful collections ''Letter to the Children'' (Bing Xin 1931), and ''Letter to the Children, vol. 2'' containing texts since 1958, were followed by ''Letter to the Children, vol. 3 ''with texts since 1978. In her “Autobiographical Notes” (Bing Xin 1982) she simply skips the 'Cultural Revolution'.<br /> <br /> A trip in early August 1923 (Mei/Wu, 46) with Yu Pingbo to the Qinhuai river, which Zhu knew from an earlier visit (Chen Xiaoquan, 68), inspired both to write in the same year at the age of about 24 and 26 an essay with the title “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing dated 10/11, 1923, Yu Pingbo dated 8/22, 1923, jointly published in ''Eastern Miscellany''), an English translation by Hu Shiguang can be found in ''Chinese Literature'' 1 (Spring 1988) Yu 162-172, and Zhu 173-182 resp. Zhu Ziqing and Yu Pingbo continue here a tradition of Chinese poets, writing poems on a common experienced journey to compete with each other. I found, that Zhu Ziqing's essays is more persuading.<br /> <br /> 王萌幽默地处理了这一问题（王萌1980），冰心试图通过在&quot;文化大革命&quot;后用与以前相同的标题命名自己的作品来假装连续性：成功收藏了《给儿童的信》（冰心1931） ）和“给孩子的信，第一卷， 2”（包含自1958年以来的文字），其次是“给孩子的信”（第一卷）,3”自1978年以来一直使用文字。在她的“自传笔记”（Bing Xin 1982）中，她只是跳过了“文化大革命”。<br /> <br /> 朱元培在1923年8月上旬（梅/吴，46岁）与秦淮河的一次旅行（陈小泉，68岁）认识了秦淮河，这激发了双方在同年24岁左右写诗的初衷。 26一篇题为“在秦淮河上泼桨和灯笼光”的文章（朱自清1923年10月11日，于平波1923年8月22日，在《东方杂记》上共同出版），英文翻译胡世光的著作可以在《中国文学》 1（1988年春季）中找到Yu 162-172和Zhu 173-182。朱自清和余平伯在这里延续了中国诗人的传统，在经历了共同竞争的共同经历中创作了诗歌。我发现朱自清的论文更具说服力。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 02:22, 17 December 2020 (UTC)<br /> <br /> 王蒙幽默地处理了这一问题（王蒙1980），冰心试图以'文革'后的作品命名，标题与以前相同，以假装连续性。成功的作品集《给孩子们的信》（冰心1931年）和《给孩子们的信，第二卷》收录了1958年以来的文字，随后又出版了《给孩子们的信，第三卷》，收录了1978年以来的文字。在她的《自述》（冰心1982）中，她干脆跳过了'文革'。<br /> <br /> 1923年8月上旬（梅/武，46）与俞平伯到秦淮河游玩，朱自清早年曾到过秦淮河（陈孝全，68），激发了两人的灵感，两人在同年分别约24岁和26岁时写了一篇题为《秦淮河上的溅桨和灯火》的文章（朱自清10/11。1923年，俞平伯日期为1923年8月22日，合刊于''东方杂记''），胡世光的英译本见''中国文学''1（1988年春）俞162-172，朱173-182 resp。朱自清和俞平伯在这里延续了中国诗人的传统，在共同经历的历程中写诗，互相竞争。我发现，朱自清的文章更有说服力。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:07, 17 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Wang Meng, Jia Pingwa and others wrote essays entitled “Falling leaves” (Jia Pingwa 1981, Wang Meng 1989) on the transitoriness of life in the allegory of falling leafs. It is interesting and surprising to discover the similarity between a, the differences between the description and interpretation of the falling leaves and b, the differences between the different authors' self-understanding and philosophy. One may compare essays entitled “On dreams” with 58 years difference in their origin (Zhu Ziqing 1928c, Bing Xin 1986). Moreover it is interesting to compare conceptions of essayism as we can see in Lu Xun's theory of “emerging” and “blossoming” and Zhou Zuoren's theory of the synthesis of the gongan school and the English essay.<br /> <br /> 王蒙、贾平凹等人共同撰写了《落叶集》(贾平凹1981、王蒙1989)，论述落叶寓言中生命的短暂。对落叶的描述与解读之间存在的差异以及不同作家的自我理解与人生哲学的差异，这两者之间竟然发现有相似之处，实在令人惊喜。人们可以将《论梦》这篇散文与有58年历史的渊源差异作比较（朱自清1928c，冰心1986）。此外，比较鲁迅的“兴”与“花”与周作人的“公安派”与“英语散文”的综合理论中的散文主义概念，是很有意思的。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 02:11, 18 December 2020 (UTC) <br /> <br /> 王蒙、贾平凹等人共同撰写了《落叶集》(贾平凹1981、王蒙1989)，在落叶寓言中阐述生命的短暂。对落叶的描述与解读之间存在的差异以及不同作家的自我理解与人生哲学的差异，这两者之间竟然发现有相似之处，实在令人惊喜。人们可以将《论梦》这篇散文与有58年历史的渊源差异作比较（朱自清1928c，冰心1986）。此外，比较鲁迅的“兴”与“花”与周作人的“公安派”与“英语散文”的综合理论中的散文主义概念，也十分有趣。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 03:15, 21 December 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> '''3.Trends<br /> <br /> 3.1 The essay as a snapshot of contemporary thoughts'''<br /> <br /> What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.<br /> <br /> The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a wilfully “corrected” truth.<br /> 3.潮流与趋势<br /> “中国当代散文写作的现状如何?”<br /> 它的地位应该与后现代主义元素、后殖民主义思维、解构主义等最近的分类方法、视角和术语恰当地联系起来。<br /> “文革”后散文增多，因为原因有两点：1.散文比其他文体更真实地表达个人经历的能力 2.它对历史真理的内在诉求。<br /> 但散文并不是客观真实的保证:它同时具有主观性，作者有意识地对自己的形象进行调整。<br /> 这就会导致所报道的真相只能是主观的，防止有人故意“篡改”真相。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:52, 18 December 2020 (UTC)<br /> <br /> 3.趋势<br /> 3.1作为当代思想的快照的散文<br /> 中国当代散文创作的现状如何？它的定位应与后现代主义、后殖民主义、解构主义等现代理论方法、视角和术语保持适当的联系。<br /> <br /> “文革”后散文产量的增加，这可以用散文的能力来解释，因为它具有内在的历史真理诉求，比其他文体更真实地表达个人经历。但散文并不是客观真实的保证，同时它也是主观的，散文作者有意识地调整自己的形象。这就把报道的真相限制在主观上，并承担着故意“修正”真相的风险。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:55, 19 December 2020 (UTC)<br /> <br /> ==Zhang Qi 张琪==--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 05:53, 20 December 2020 (UTC)<br /> <br /> The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (“Serene” Wang Meng 1992, “First make your own things in a good way” Wang Meng 1994). These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.<br /> <br /> 共和时代的个人主义建立在站在历史转折点上的共同感觉的基础上，并朝着共同目标发展，例如创建新文学和新中国社会。 在1980年代，尤其是1990年代，个人主义要求对个人消费需求的满足进行批判性思考，并试图赋予个人取向，散文学家呼吁道德美德（“ Serene” Wang Meng 1992，“首先用自己的东西制造自己的东西）。 好方法”（王萌，1994年）。 这些论文主要发表在报纸和杂志上，在瞬息万变，匿名，疏远和消费导向的大众文化社会中被人们广泛阅读。<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive (“Shanxi Opera,” Jia Pingwa 1984) or negative world (“The Nightmare,” Si Yu 1995).<br /> <br /> '''3.2 The essay as the genre of the giddy-paced nature of society, individuality, socio-political discussions, de-ideologization, everyday's profaneity and banality'''<br /> <br /> From the essay, we can see contemporary ''trends of literature'', which are also reasons for the increase in volume of this genre in the 1990s:<br /> <br /> -The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall, xiii);<br /> <br /> 20世纪80，90年代的其他杂文则是一种新的主观主义，以摆脱当代矛盾为目标，而是通过创造一个积极的世界（贾平凹1984年的《山西戏曲》)或消极的世界（司宇1995年的《噩梦》)来迎合观众的感受。<br /> <br /> ''3.2作为社会，个性，社会政治讨论，去意识形态化，日常的亵渎和平庸的轻快节奏的性质的文章的体裁''<br /> <br /> 从这篇文章中，我们可以看到当代的“文学思潮”，这也是90年代这一体裁数量增加的原因:<br /> <br /> --当下中国社会节奏急促的本质，以及它对转移性和短小文本的要求:...]我们生活在一个博览会的时代<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> -The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands; <br /> <br /> -A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.<br /> <br /> -The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.<br /> <br /> -The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays. For example Ba Jin complains in “Remembering Xiao Shan” (Ba Jin 1979b) about the death of his wife in the 'Cultural Revolution'.<br /> <br /> - 散文是个性意识增强的最直接的主观表达形式，甚至比具有韵律和形式要求的诗歌更直接；<br /> - 通过散文重新唤起人们对讨论社会政治问题的兴趣，如20世纪20年代或30年代。<br /> - 因成为文学话题，日常生活的平庸性变得有意识，最常见的是日常生活文体——散文。<br /> - 中国社会的去意识形态化。今天，不是政府要求的肯定性文本，而是非政治性的散文在最前面，大多可以追溯到共和党时代，特别是1923年至1928年。这一观察结果得到上述统计分析结果的支持。1949年以后，人们阅读最多的政治散文是批评散文。例如巴金在《追忆萧山》（巴金1979）中控诉妻子在“文化大革命”中去世。<br /> <br /> - 散文是个性意识增强的最直接的主观表达形式，甚至比具有韵律和形式要求的诗歌更直接；<br /> <br /> -通过这篇文章唤起人们对讨论社会政治问题的关注，如20世纪20年代或30年代的情况。<br /> <br /> -日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。<br /> <br /> 中国社会的去意识形态化。今天，不是政府要求的肯定性文本站在最前面，而是非政治性的文章，大多可以追溯到共和党时代，特别是1923年至1928年。这一观察结果得到上述统计分析结果的支持。1949年以后，人们阅读最多的政治论文是批评文章。1949年以后，人们阅读最多的政治散文是批评散文。例如巴金在《追忆萧山》（巴金1979）中控诉妻子在“文化大革命”中去世。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:31, 19 December 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> -Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain. This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation toward customers (former: “readers”). <br /> <br /> -In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in-dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.<br /> <br /> -关于散文集的编辑：对于中华人民共和国，台湾和香港最常被选的散文，道德和审美标准似乎已成为基础。 这表明论文选集的编辑越来越独立于政府或意识形态的障碍，而且出版社的商业化也越来越着眼于客户（前身为“读者”）。<br /> <br /> -在1990年代后半期，主叙述者本人似乎迷失于个人的主观性以及日常的亵渎和平庸，以及越来越正式化但基本上空虚的城市生活。 时间浪费了价值，因为越来越多的日常活动充满了机械和自闭症的行为。<br /> --[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 03:20, 21 December 2020 (UTC)<br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph ''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see China can say no!).<br /> <br /> The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art. Also trends like the use of ordinary language, which one finds in novels since 1993 (Feidu, Jia Pingwa 1993; ''Ying'er'', Gu Cheng 1993) and ''New Borderlessness'' since 1995, cannot be proven in the essaywriting.<br /> <br /> 20世纪90年代，80年代受到政治批评的散文文化已经消失，唯一留下的政治产物是爱国主义。例如，1996年出版的专著《中国可以说不——冷战后时代的政治与情感抉择》（见于《中国可以说不》）。<br /> <br /> 从后现代主义小说的角度来看，我们找不到后现代散文的原因就是散文具有直接性。散文作为一种文体，是沟通作者和读者的桥梁，而不是一种艺术对象。通常艺术对象指企图引起不同的解读，或依靠独一无二的形式或内容，甚至引用前现代主义的特点使其成为一种独特的艺术对象。另外，1993年出版的小说《废都》（贾平凹 1993年）、《英儿》（顾城 1993年）以及1995年出版的《新无界》，作者在这些作品中日常语言的使用趋势在散文写作中也未得到体现。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:18, 17 December 2020 (UTC)<br /> 到20世纪90年代，80年代政治批评的散文文化已经式微，唯一留下的政治产物就是爱国主义。……我们之所以没有在后现代小说意义上找到后现代主义论文的原因在于散文的直接性：散文是一种作者与读者之间对话的体裁，而不是一种引起不同解读的艺术体，也不是依赖于独一无二的形式或内容，甚至是为使本身变得独特而引用前现代主义特征的艺术对象。……--[[User:Li Yongshan|Li Yongshan]] ([[User talk:Li Yongshan|talk]]) 16:04, 19 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> -Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being “The Small Dog Baodi” (Ba Jin 1981), in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before (“In Memoriam of Xiao Shan II,” Ba Jin 1984b). Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Wang 1992), helpful for the reading of “Rain in Kunming” (Wang Zengqi [1984]) as well as for “Shanxi Opera” (Jia Pingwa 1984). <br /> <br /> 1 Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.<br /> <br /> 2 Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay “The Nightmare” (Si Yu 1995), where the author appears as a deconstructionist, the I-narrator even is drawn near to suicide.<br /> <br /> 老舍，茅盾和沈从文作品中呈现的虚构现实主义也被证明有助于理解某些文章，例如文章《小狗包弟》（巴金，1981）中，作者不再像以前那样叙述事实，（如《萧山回忆录》，巴金，1984b）。两者都是对过去的回忆，也就是王在沈从文作品中提出的虚构的真相（David Wang，1992），它有助于阅读《昆明的雨》（王增琪[1984]）和《山西歌剧》（贾平瓦（1984）。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:03, 20 December 2020 (UTC)<br /> <br /> 另外，王德威在老舍、茅盾和沈从文身上看到的虚构现实主义，也证明了对一些文章的理解是有帮助的。例如，在《小狗包弟》（巴金1981）一文中，作者变成了一个叙述者，用寓言式而不是像以前那样用描述性的真实来叙述'文革'的记忆（《纪念萧山二号》，巴金1984b）。类似的还有想象的怀旧概念，如王家卫所说的沈从文作品中的虚构真相（王家卫1992），对《昆明的雨》（汪曾祺[1984]）以及《山西戏曲》（贾平凹1984）的阅读都有帮助。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:03, 20 December 2020 (UTC)<br /> <br /> 1辛庄台小说新状态小说，由韩东，鲁羊，朱文，林白，陈梁，张梅代表。<br /> <br /> 2后殖民主义思维（Williams等，1994）虽然被视为社会政治话语的一部分，却出现在文章中，特别是在1990年代批评性和政治性较弱但提倡爱国主义的论文中。卡夫卡主义可以帮助我们理解《梦m》（Si Yu 1995）一文，在那篇文章中作者是一位解构主义者，而主人公甚至被迫自杀。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:08, 20 December 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> -The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing ''fictional truth'' through the metaphor of his dog Baodi (Schwarcz 1996).<br /> <br /> '''20th Century Chinese Essay - A Survey of the Genre and New Insights Into the Essayists Ba Jin, Zhou Zuoren, Zhu Ziqing'''<br /> <br /> Martin Woesler<br /> <br /> The narrative established by literary histories and anthologies has drawn a distorted picture of 20th century Chinese literature: The genre of the essay was almost ignored. In my paper I will demonstrate, how the picture of three authors change, if we take into consideration also some of their esayistic work. Here I choose the example of the critical political essay. The essay tells us more about an author than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions.<br /> <br /> 施瓦茨的''个人悲伤''概念以''隐喻话语''的方式表达，有助于我们理解巴金是如何克服他所熟知的''存在的真相''，而只是通过对他的狗，宝迪，进行隐喻达到一个更有说服力的''虚构的真相'&quot;（施瓦茨，1996）。<br /> <br /> '''20世纪中国散文--散文家巴金、周作人、朱自清的文体调查与新见解'''<br /> <br /> 吴漠汀<br /> <br /> 文学史和选本建立的叙事，对20世纪的中国文学进行了歪曲的描绘。文章的体裁几乎被忽略了。在我的论文中将证明，如果我们考虑到他们的一些散文作品，三位作家的形象将如何变化。在此，我选择了批判性政治文章的例子。与小说或诗歌相比，散文更能让我们了解一个作者，因为在这种文体中，我们遇到的是没有格律限制的作者本人。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 11:58, 20 December 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> In 1927, when the writers were threatened by a massacre among leftists by the National People's Party in Shanghai, a whole generation of writers found a common base in communist ideology, formally expressed in 1930 in the foundation of the &quot;League of Left-Wing Writers&quot;. <br /> <br /> 1927年，当作家们受到上海国民党左派屠杀的威胁时，整整一代的作家找到了共产主义意识形态的共同基础，1930年，在“左翼作家联盟”的成立中正式表达。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:46, 20 December 2020 (UTC)<br /> <br /> Many writers had to define and often redefine their position and self-understanding in reaction to the changing political climate, often burying their own ideals, in the larger perspective for the seeming &quot;needs&quot; of society, which also claimed the author to be one of its products. This struggle of finding a position in a politicized environment is best documented in the essay --- &quot;a genre of self-reflection&quot;. Moreover, by its very nature, the essay overcomes boundaries of form and content. Therefore there are more essays than there is fiction free from political thoughts. Some essayists even went a step further, deconstructed the master narrative of leftist ideology, like the three writers I will talk about today.<br /> <br /> 许多作家不得不定义并经常重新定义他们的立场和自我理解，以回应不断变化的政治环境，往往埋葬自己的理想，从“需要”的社会这个更大的视角，它也声称作者是其产品之一。在政治化的环境中寻找职位的斗争最好在散文中记录-“自我反省的类型”。此外，就其本质而言，散文克服了形式和内容的界限。因此，没有政治思想的散文比小说多。一些散文家甚至更进一步， 解构了左派意识形态的大师叙事， 就像我今天要谈论的三位作家一样。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:46, 20 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> '''Zhou Zuoren'''<br /> <br /> The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that a sophisticated May Fourth genius &quot;degenerated&quot; and later became a national &quot;traitor&quot;. Zhou's writings were officially considered bad literature, a total elimination of his texts was only prevented, because of the fame of his brother, who became a state author posthumously through the valuing of Mao Zedong. Actually the reception of his essays reaches a new climax now, in the essay collections of the 1990s, his essays rank 3rd, as I was able to proof with a survey of 5000 essays. That makes clear that his political engagement had no effect on the brilliance of his literary works.<br /> <br /> 周作人<br /> <br /> 中华人民共和国官方文学史对周作人的主要叙述是，一个卓越的五四天才“退化”，后来成为民族“叛徒”。 周的著作被官方认为是不良文学，由于他兄弟的名声，而他的兄弟因高度评价毛泽东死后成为国家作家，这彻底阻止了他的著作的全部出版。 实际上，现在他的论文的接受度达到了一个新的高潮，在1990年代的论文集中，他的论文排名第三，正如我通过对5000篇论文的调查所证明的那样。 这清楚地表明，他的政治参与对他的文学作品的辉煌没有影响。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 02:23, 17 December 2020 (UTC)<br /> <br /> 周作人<br /> <br /> 民国官方文学史对周作人的主要叙述是，一个老练的五四天才 &quot;堕落 &quot;了，后来成了民族 &quot;汉奸&quot;。周作人的文章被官方认为是劣质文学，彻底消灭他的文字只是因为他兄弟的名气，他通过重视毛泽东而成为国家作家，这彻底阻止了他的著作的全部出版。其实现在对他的散文的接受达到了一个新的高潮，在90年代的散文集中，他的散文排在第三位，这是我对5000篇散文的调查所能证明的。这说明，他的政治参与对他的文学作品的辉煌没有影响。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 02:52, 17 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> The official assessment of the People's Republic is that Zhou's work experienced a caesura in 1938 due to his &quot;degeneration&quot; and opposition against the patriotic campaign. Zhou kept trying to aesthetizise the little things of the everyday out of the subjective experience of his private space his whole life, only seven months after the incident at Marco Polo bridge he showed that it was again possible to write about a candy seller for which he had been critizised as &quot;paralyzing&quot; . But there was indeed a caesura, namely the change in style and subject in his essays on literature, art etc. to ''zhengjing'' 正經­ (serious, intentional essays), and ''xiánshì'' 閑適 (essays for one’s own enjoyment). But this change is located not before his outlawing through Mao Zedong (1942), and his arrest by the Guomindang (1945). Therefore not the Japanese suppressors should be made responsible for the retreat of this great writer, but his Chinese compatriots. <br /> <br /> 3 C. T. Hsia. [Note: Some of the annotations are in German and are translated into English during the editiorial work for the forthcoming edition.]<br /> <br /> 4 (&quot;Mai tang 卖糖&quot; 1924).<br /> <br /> 5 (Lu Xun 1934, Zhu Zhaoluo 1943).<br /> <br /> 人民共和国官方的评价是，在1938年，由于他自身的 &quot;堕落 &quot;和反对爱国运动，周春芽的作品经历了一个尾声。周作人一生都在试图将日常的小事从私人空间的主观经验中审美出来，在马可波罗桥事件发生七个月后，他才表明，他又可以写一个卖糖的人了，他曾因此被批判为 &quot;麻痹&quot;。但是，他的文章确实有一个高潮，那就是他的文艺文章在风格和主题上发生了变化，变成了严肃的、有意的文章和自娱自乐的文章。但这一变化并非在他被毛泽东取缔（1942年）、被国民党逮捕（1945年）之前。因此，对于这位伟大作家的退隐，不应该由日本的镇压者负责，而应该由他的中国同胞负责。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 13:35, 16 December 2020 (UTC)<br /> <br /> 人民共和国官方的评价是，在1938年，由于他自身的 &quot;堕落 &quot;和反对爱国运动，周春芽的作品经历了一个尾声。周作人一生都在试图将日常的小事从私人空间的主观经验审美中剥离出来，在马可波罗桥事件发生七个月后，他才表明，他又可以写一个卖糖的人了，他曾因此被批判为 &quot;麻痹&quot;。但是，他的文章确实有一个高潮，那就是他的文艺文章在风格和主题上发生了变化，变成了严肃的、有意的文章和自娱自乐的文章。但这一变化并非在他被毛泽东接力（1942年）、被国民党逮捕（1945年）之前。因此，对于这位伟大作家的退隐，不应该由日本的镇压者负责，而应该由他的中国同胞负责。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:43, 16 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> So the first correction of the narrative is, that his literature was ''not'' effected by socio-political circumstances in quality, but in contents. And there is a second master narrative on Zhou Zuoren, which says that he was an apolitical author. Actually, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance . In the modernizing society, he advocated the liberation of women and asked to &quot;treat children as full subjects with their own external and internal lives&quot; and to &quot;make children the essence of children's literature&quot; , literature should make the society more humane.<br /> <br /> The second example, where a reading of some of his essays lets us rediscover the author is Ba Jin: He is known for his practical essays with anarchistic and communist background in the 1930s and 40s, for his opportunistic self-criticism, self-censorship and the accusation of a writers' collegue during the cultural revolution. After the 'Cultural Revolution' he seemed to emerge as a righteous character , when he claimed to have done all this under pressure. He then devoted his essays to the working up of the trauma of the 'Cultural Revolution', for example in the self-accusing essay series ''Random Thoughts''.<br /> <br /> 因此，对叙事的第一个纠正是，他的文学不是在质上受社会政治环境的影响，而是在内容上。还有一个关于周作人的第二个故事，说他是一个不关心政治的作家。事实上，他想把他对政治声明的无欲理解为一种政治声明本身。对他来说，文学不是革命的手段，而是反抗的手段。在现代化社会中，他倡导妇女解放，要求“把儿童作为一个完整的主体，有自己的外在和内在的生命”，“使儿童成为儿童文学的本质”，文学要使社会更加人性化。<br /> 第二个例子，读了他的一些文章，我们就可以重新发现这个作者是巴金：他以他在20世纪30年代和40年代写作的具有无政府主义和共产主义背景的实用文章而闻名，因为他在文革期间机会主义的自我批评、自我审查和对作家圈的指责。在“文化大革命”后，当他声称自己是在压力下做这一切的时候，他似乎成了一个正直的人。然后，他把自己的散文归于“文化大革命”的创伤中，例如在自责的系列随笔《随想》中。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:50, 19 December 2020 (UTC)<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> Since they were seldom reprinted, two of Ba Jin’s critical essays &quot;''Independent Thoughts''&quot; and &quot;''Writers’ Courage and Sense of Duty''&quot;, dating 1956 and 1962 were overlooked. With them, Ba Jin turns out to be a lifelong independant writer. The two essays were criticised. He had to deny their contents and later they were censored. Even nowadays, these texts are not easy to find in anthologies and dictionaries in the P.R.C. and Taiwan.<br /> <br /> &quot;''Independant Thoughts''&quot; dated 1956, propagates the freedom of the individual and of thoughts. This essay was written in the '100-Flower-Movement', when criticism was induced officially. Ba Jin corresponded only to the 'mainstream', although his criticism was unusually sharp. Much more distinctly directed against the 'mainstream' was the second text, which I want to introduce shortly.<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> &quot;''Writers’ Courage and Sense of Duty''&quot;, a speech at the second Shanghai congress of writers and artists in early 1962, has later been censored at seven striking places. In it, Ba Jin judges very hard about himself and his collegues: At different campaigns against literary works they would have followed the political demands opportunistically and therefore were traitors. The second target of Ba Jin's criticism were the censors and critics, who would posess more power than the writers and that without legitimation. Ba Jin interpreted Mao's Yan'an speeches on art and literature in the way, that writers should themselves take over responsibility.<br /> <br /> '''&quot;The Small Dog Baodi&quot; as a metaphorical discourse on Ba Jin's personal grief'''<br /> <br /> Although Ba Jin is regarded together with Bing Xin as one of the representatives of Republican literature, the more important part of his essayistic work seems to lie after 1949 . Publishing from Hong Kong since 1979, he has spoken out loudly in opposition and in trying to help ease the trauma associated with the 'Cultural Revolution'.<br /> <br /> 1962年初在上海第二届文艺代表大会上的一篇演讲《作家的勇气与责任感》后来有七个引人注目的部分被删减。在这部小说中，巴金对自己和他的同僚进行了严格的评判：在不同的文学运动中，他们会适时地追随政治要求，因此他们是叛徒。巴金批评的第二个对象是审查员和批评家，他们比作家拥有更多的权力，没有合法性。巴金对毛泽东延安文艺讲话的解读是：作家应该自己承担责任。<br /> <br /> '''《小狗包弟》作为一种隐喻讲述了巴金的个人悲痛'''<br /> <br /> 巴金虽然与冰心一起被视为共和文学的代表人物之一，但其散文作品更重要的部分似乎在于1949年以后。自1979以来从香港出版，他大声反对，并试图帮助缓解与“文化大革命”有关的创伤。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:24, 19 December 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> One of this essays is the story-like &quot;''Small Dog Baodi''&quot;. Written in 1980, the author remembers his dog, which he had received two decades ago from a Swedish person and which he loved after a while. When the 'Red Gards' raged, the dog was in danger. Ba Jin describes in detail the fate of the animal and his own resignation, when he learned that he could not protect the dog. In order to save him from a torturous death, he finally submitted the dog in 1966 for medical experiments. Revisiting his garden after the 'Cultural Revolution', he remembers painfully how his wife had played here with the dog. I would like to show six points of interpretation:<br /> <br /> 这篇随笔中有一篇是像故事一样的《小狗宝蒂》。这封信写于1980年，作者回忆起他的狗，这只狗是20年前他从一个瑞典人那里收到的，过了一段时间他就爱上了它。当“红色大革命”流行时，狗处于危险之中。巴金详细描述了这只动物的命运和他自己的辞职，当他得知他不能保护狗。为了把他从痛苦的死亡中拯救出来，他最终在1966年把狗送去做医学实验。“文化大革命”后，他重新回到他的花园，痛苦地回忆起妻子在这里和狗玩耍的情景。我想提出六点解释:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 00:36, 19 December 2020 (UTC)<br /> <br /> 这随笔集中，有一篇故事《小狗包弟》。这篇文章写于1980年，作者怀念他的狗，这只狗是作者二十年前从一个瑞典人手中收到的，过了一段时间作者就爱上了它。当'红卫兵'肆虐的时候，这只狗的处境危险。巴金详细描述了小狗包弟的命运和自己得知无法保护狗时的无可奈何。为了让小狗包弟免于折磨而死，巴金终于在1966年将这只狗送去做医学实验。'文革'后巴金重游自家花园，他痛苦地回忆起妻子在这里与狗玩耍的情景。对这篇文章，我想提出六点解读：--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 06:55, 19 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> 1, The dog is a metaphor. In the beginning Ba Jin seems to report the fate of a dog with relevance only to his owner. But soon it becomes clear that Ba Jin actually mediates to the reader the cruelty of the 'Cultural Revolution'. The reader wonders, &quot;if they did ''this'' with an ''innocent'' dog, what did they do with ''men'', whom they considered ''guilty''?&quot; Ba Jin analogizes himself with the dog, when he sees himself liying on the dissection table. Even Baodi's death is useful, he serves science - could a man be more altruistic?<br /> <br /> 狗是一个隐喻。在故事的开头，巴金看似在说狗的命运只和主人有关。但很快我们就明白了，巴金实际上是在向读者传达“文化大革命”的残酷。读者想知道，“如果他们对一只“无辜”的狗都能这样做，那么他们对那些他们认为“有罪”的“人”又做会怎样做呢?”当巴金看到自己躺在解剖台上时，他把自己比作狗。就连鲍迪的死也是有用的，他是为科学服务的，一个人还能更无私吗?--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 13:53, 16 December 2020 (UTC)<br /> <br /> 狗是个比喻。 一开始，巴金似乎在说狗的命运只跟主人有关。但是很快我们就知道了，巴金实际上是在向读者介表述“文化大革命”的残酷。读者想知道，“如果他们对一只“无辜”的狗“都能如此”，对那些视为“有罪”的“人”又会怎样呢？” 当巴金看到自己躺在解剖台上时，他将自己比作狗。就连鲍迪都死得其所，服务了科学---一个人还能更无私吗？--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 01:52, 17 December 2020 (UTC)<br /> <br /> 狗是一个隐喻。在故事的开头，巴金看似在说狗的命运只和主人有关。但很快我们就明白了，巴金实际上是在向读者传达“文化大革命”的残酷。读者会想，“如果他们对一只“无辜”的狗都能如此，那么他们对那些他们认为“有罪”的“人”又会怎样呢?”当巴金看到自己躺在解剖台上时，他把自己比作狗。就连包弟的死也是有用的，他是为科学服务的，一个人还能更无私吗?--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:25, 20 December 2020 (UTC)<br /> <br /> 狗是个比喻。一开始，巴金似乎在说狗的命运只与主人有关。但很快，我们就明白了，巴金实际上向读者表达了“文化大革命”的残酷性。读者想知道，“如果他们用一只“无辜”的狗都做这些，那他们对那些认为“有罪”的人呢？当巴金看到自己躺在解剖台上时，他把自己比作狗。就连包弟的死也是有用的，他是为科学服务的，一个人还能更无私吗?--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:52, 20 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> 6 (Zhou 1929:180-181).<br /> <br /> 6 （周 1929:180-181）<br /> <br /> 7 (Zhou 1923).<br /> <br /> 7 （周 1923）<br /> <br /> 8 (The Family in 1951)<br /> <br /> 8 （《家》1952）<br /> <br /> 9 (1982 Yi pian xuwen).<br /> <br /> 9 （1982 一篇叙文）<br /> <br /> 10 (Suixianglu) The essays of the 1980s are more autobiographical, and deal with literature and questions for society nowadays. Due to the very nature of the essay, we can look through his &quot;Random Thoughts&quot; into the soul of Ba Jin..<br /> <br /> 10 （随想录）1980年代的论文更具自传性，涉及当今社会的文学和问题。 由于本文的性质，我们可以通过他的“随机思想”来了解巴金的内心世界。<br /> <br /> 11 (Random Thoughts 1978-86, see Ba Jin 1988).<br /> <br /> 11（随想录 1978-86， 见 巴金 1988）<br /> <br /> 2, Ba Jin expresses the pain of the loss of his wife through the dog. Not before the very end of the essay, Ba Jin mentions his wife in painful remembrance, who became ill and died during those ten years. In the essay &quot;''In Memoriam Xiāo Shān''&quot;, which appeared earlier in the collection, he had confessed severe feelings of guilt regarding her death, what haunted him into his dreams. He claimed, that they had withhold her medical treatment because of him.<br /> <br /> 2，巴金通过狗表达了失去妻子的痛苦。 在论文结尾之前，Ba Jin痛苦地回忆起他的妻子，他在那十年中病倒了去世。 在早些时候出现在该系列中的文章“在纪念下山中”中，他承认对她的死感到内severe，这使他陷入了梦中。 他声称，他们因他而拒绝了她的治疗。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:52, 21 December 2020 (UTC)<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> 3, The essay is an accusation of the 'Cultural Revolution'. The not-mentioning of the 'Cultural Revolution' as the reason for his wife's death makes the pain the more accusatory, especially in front of the comparable unimportant doglife. His terrifying awareness is the powerlessness - he was not able to protect his dog nor his wife. Ba Jin actually wants to illustrate the powerlessness of the individual in front of collective cruelty.<br /> <br /> 本文是对'文革'的控诉。 没有提到“文化大革命”是其妻子去世的原因，这就更让人痛心疾首，尤其是在相对不重要的狗命面前。他可怕的意识是那种无力感-他没有能力保护他的狗和他的妻子。巴金其实是想说明个人在集体的残酷面前的无能为力。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 00:50, 17 December 2020 (UTC)<br /> <br /> 这篇文章是对“文化大革命”的控诉。没有提及“文化大革命”是他妻子死亡的原因，使这种疼痛更具控诉性，尤其是在相对无关紧要的狗的性命面前。他意识到无能为力是多么可怕——他既不能保护他的狗，也不能保护他的妻子。巴金其实是想展示在集体的残酷面前个体的无能为力。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 01:29, 17 December 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> 4, The significance of this way to deal with the 'Cultural Revolution'. If one compares the mentioned essay with others of the year 1979, it lied within the common trend of criticizing the 'Cultural Revolution'. But there were also authors like Bing Xin denied the 'Cultural Revolution' - soon after its end, she used similar titles for her books than before - in order to pretend continuity. Wang Meng worked up the 'Cultural Revolution' in a humoristic way - ''Ba Jin'''s essays stand out of these, because of their relentlessness and confessing character.<br /> <br /> 4，用这种方式处理“文化大革命”的重要性。 如果将这篇文章与1979年的其他文章进行比较，那它和其他跟风批判“文化大革命”的文章无异。 但是，也有像冰心这样的作家为了制造作品连贯的假象，她在文化大革命不久就使用了与以前相似的书名，以此否认“文化大革命”。 王蒙以幽默的方式应对“文化大革命”-“巴金”的文章因无情和坦白独树一帜。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 04:24, 21 December 2020 (UTC)<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> 5, The use of rhetorical means. Ba Jin pretends to be a simple documentarist &quot;I expect from literature [...] that it tells the truth.&quot;. In fact he is known for his direct and accusing truth, sometimes his literary style is critizised as too direct and too less artful (a reproach from Hong Kong students). In &quot;''The Small Dog Baodi''&quot; he is using literary means to create emotion in his readers. He uses composition and rhetoric means like animation. The dog Baodi allegorically shows the injustice and inhumanity of the 'Cultural Revolution'. Here, Ba Jin turns into a narrator who recounts the memories of the 'Cultural Revolution' in ''allegoric'' instead of in descriptive truth as before . He is longing for a ''fictional truth'', instead of the ''truth of being'' in the sense of Thomas Aquinas. The fictional realism Wang Der-wei sees in Lao She, Mao Dun and Shen Congwen, proofs helpful for the understanding of this piece.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> 6, Ba Jin's personal grief is much more persuading in the metaphor of the dog than in his direct accusing essays. As Vera Schwarcz (1996) points out<br /> <br /> &quot;To speak too much of grief is to blunt its edge. It might even make us deaf to the cry that sparked discourse about suffering in the first place. A cold, calculating intelligence cannot grasp the rough contours of grief. [...] To preserve the significance of personal suffering in public life we need a more indirect approach; one that accepts and, indeed, nourishes AMBIGUITY. This, in the words of Cynthia Ozick, is the discrete province of METAPHOR, &quot;the reciprocal agent, the universalizing force that makes it possible to envision the stranger's heart.&quot; [...]<br /> She also mentions that &quot;[...] absence of talk -- or, rather modest use of ''metaphorical discourse'' -- serve us better in the presence of massive grief.&quot;<br /> <br /> 6.巴金的个人悲痛，在狗的隐喻中比他直接指责的文章更有说服力。<br /> <br /> 正如薇拉·施娃茨（Vera Schwarcz）（1996）所指出的那样&quot;过多地谈论悲痛就是钝化它的锋芒。这种行为甚至可能让我们对最开始引发关于讨论痛苦的呐喊充耳不闻。冷酷、斤斤计较的智慧无法把握悲伤的粗糙轮廓。[...]为了保持个人苦难在公共生活中的意义，我们需要一种更间接的方法；一种接受并且实际上滋生模棱两可的方法。用辛西娅·奥齐克（Cynthia Ozick）的话说，这就是隐喻的分立范畴，&quot;相互作用，普遍化的力量，使得我们能够想象陌生人的心。&quot;[...]她还提到，&quot;[....]保持沉默--或者说适度使用“隐喻性话语”--在巨大的悲痛面前更有利于我们&quot;。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 07:05, 19 December 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> To sum up, Ba Jin turns out not to be the self-censorer, who tried to make his literature fit into the communist ideology. Instead he was a lifelong fighter for the freedom of speech and the independancy of literature from politics, who spoke out whenever he had the opportunity without endangering himself. He also no longer appears as the &quot;uneducated&quot; writer of simple truth, as he leads us to believe. Yet he has achieved a high rhethoric of ''fictional truth'' and is able to transmit his personal grief even more persuadingly in a ''metaphorical discourse'' throught the metaphor of the dog Baodi.<br /> <br /> 综上所述，巴金原来并不是一个自我审查者，试图使自己的文学符合共产主义意识形态。相反，他一生都在为言论自由和文学独立于政治而奋斗，只要有机会，他就会大声疾呼，但不会危及自身。他也不再像他引导我们相信的那样，以“不谙世事”的作家形象出现。巴金对虚构事实的修辞手法已经十分高超，能够通过狗宝弟的隐喻，以隐喻性的话语，更有说服力地传递他个人的悲伤。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 06:47, 18 December 2020 (UTC)Zou Xinyu<br /> <br /> 综上所述，巴金并不是一个试图使自己的文学符合共产主义意识形态的自我审查者。相反，他一生都在为言论自由和文学独立于政治而奋斗，只要一有机会，他就会在不危及自己的情况下畅所欲言。他也不再像他引导我们相信的那样，以“没有受过教育的”作家的形象出现。然而，他实现了“虚构真实”的高度流变，通过狗宝弟的隐喻，在“隐喻话语”中更有说服力地表达了个人的悲伤。<br /> --[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 00:41, 19 December 2020 (UTC)</div>

Qu Miao https://bou.de/u/index.php?title=20201214_cult&diff=117576 2020-12-21T07:30:52Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Alsied, Saffana==<br /> <br /> ==Cao Runxin 曹润鑫==<br /> 1.儒家精神有其相对稳定、不易改变的一面。它不完全受社会形态的影响，有较为普遍的适应性，可以跨越不同社会历史时期，被不同政治制度、不同经济形态和不同文化背景下的人们所接受。<br /> <br /> The spirit of Confucianism is relatively stable and unchangeable. It is not entirely influenced by social forms and has a more universal adaptability, and can be accepted across different socio-historical periods and by people in different political systems, different economic forms and different cultural backgrounds.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 05:33, 20 December 2020 (UTC)<br /> <br /> Confucianism is relatively stable and unchangeable in some degree as it does not easily affected by different societies and has a quality of adaptability. On the long river of various social history, Confucianism has been well-accepted by people from different political, economic and cultural backgrounds.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 01:51, 21 December 2020 (UTC)<br /> <br /> 2.道家从维护个人利益的角度出发，在经济理论、社会实践方面创立了“人本”的思想观点，主张通过维护每个人的个人利益来达到社会的和谐繁荣。<br /> <br /> From the perspective of protecting the interests of the individual, Taoism has created a &quot;humanistic&quot; ideology in economic theory and social practice, advocating that social harmony and prosperity can be achieved by protecting the individual interests of each person.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 05:33, 20 December 2020 (UTC)<br /> <br /> From the perspective of defending individual interests, Taoism has created a &quot;humanistic&quot; ideology in economic theory and social practices, advocating that social harmony and prosperity can be achieved by safeguarding the interests of every citizen.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:07, 21 December 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> <br /> 1.儒家思想精髓在于它的社会伦理思想，正是封建社会伦理观从国家统治阶级的高度期望出发将人们生活现实中的行为规范用通俗的语言规范起来，让农民成为社会道德思想的奴隶，而这种封建伦理观作为封建统治阶级上层建筑社会意识中的最广泛影响治理社会群众基础的核心，从而完成对国家社会双重治理的理想效果。<br /> <br /> The essence of Confucianism lies in its social ethical thought. It is the thought of feudal society that regulates the behavior norms of people’s lives in popular language from the high expectations of the country’s ruling class, making the peasants be enslaved to social ethics. As the core of the social consciousness of the feudal ruling class superstructure, which has the most extensive influence on governing the society and the people, it has achieved the ideal effect of dual governance of the state and society. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:04, 18 December 2020 (UTC)<br /> <br /> 2.道教把生命看得极为重要，修道就是要长生不死，主张通过修炼来延长生命的长度，提高生命存在的质量，以达到生命的永恒。道教主张以清净无为、不争寡欲的态度对待世俗生活，以“我命在我不在天”的精神进行修炼，通过各种道术修炼，与道合一，成为长生不死的神仙。<br /> <br /> Taoism regards life as extremely important and practicing Taoism is to become immortal. It advocates to extend the length of life and improve the quality of life by practicing, so as to achieve eternity of life. Taoism holds an attitude of purity and non-contentiousness towards worldly life, and cultivation in the spirit of &quot;I am the master of my fate&quot;, so that through various Taoist practices, one can unite with the Tao and become an immortal deity. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:04, 18 December 2020 (UTC)<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> 1.孔子生而七漏，头上圩顶，而又因其母曾祷于尼丘山，故名“丘”，字“仲尼”。<br /> <br /> Confucius was born terribly ugly with a bump on the head, and as his mother once prayed on Mount Niqiu for his birth, he is named “Qiu” with the word “Zhongni”. <br /> <br /> 2.道家认为只有老百姓认可的平等才幸福，人们想要没有徭役租赋负担，“内足衣食之用，外无势利之争”的社会<br /> <br /> Taoism claims that only the sort of equality that the ordinary people recognized will bring true happiness. People are yearn to be free from labour rent and taxes and to live in a society with adequate food and clothes and no struggle for power and gains.<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> 1. It's generally believed that when Confucius was in his late 60s, he returned to his hometown Qufu in Shandong Province. For several years in his early 70s, he taught a group of disciples who later propagated his beliefs and developed their own philosophies. <br /> <br /> 人们普遍认为，孔子在六十多岁时回到了他的家乡山东曲阜。 在70年代初期的几年中，他教过一群门徒，后来这些人传播了自己的信仰并发展了自己的哲学。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:07, 19 December 2020 (UTC)<br /> <br /> 我们通常认为，孔子在六十多岁时回到了他的家乡山东曲阜。在七十多岁的前几年，他教过一群门徒，后来这些人传播了他的信仰并发展了自己的哲学。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 02:14, 20 December 2020 (UTC)<br /> <br /> 2. Consequently, many leaders of Taoism had gained great respects from the imperial governments. <br /> <br /> 因此，许多道教领袖得到了帝王政府的尊敬。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:07, 19 December 2020 (UTC)<br /> <br /> 因此，许多道教领袖都受到了朝政的尊敬。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 02:14, 20 December 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> 1. 孔子提出“有教无类”，认为人人都应该受教育。在教育实践中创立了灵活多样的教学方法，提倡“学”与“思”的结合、学习与复习的结合以及教与学的结合，讲求因材施教和启发式教学等等。<br /> <br /> Confucius maintained the idea that everyone has the right to be educated despite class differences. In teaching practice, Confucius adopted flexible teaching methods which involve the combinations of learning and thinking, learning and reviewing as well as teaching and learning. He strived for educating students in accordance with their aptitude and adopted a heuristic style of teaching.<br /> <br /> Confucius put forward &quot;there is no kind of education,&quot; and believed that everyone should be educated. In educational practice, flexible and diverse teaching methods have been created, advocating the combination of &quot;learning&quot; and &quot;thinking&quot;, the combination of learning and review, and the combination of teaching and learning, and emphasis on teaching students in accordance with their aptitude and heuristic teaching, etc.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:11, 19 December 2020 (UTC)<br /> <br /> 2. 道家强调自由、自然、修身养性，甚至追求永生。道教对中国文化的许多领域都产生了深刻而持久的影响，包括艺术、哲学、医学和美食，并在东亚地区广泛流传。<br /> <br /> Daoism emphasizes freedom, nature, self-cultivation and even pursues immortality. Daoism has had a deep and lasting influence in many fields of Chinese culture, including the arts, philosophy, medicine, and cuisine. It has also spread widely throughout East Asia.--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:18, 19 December 2020 (UTC)<br /> <br /> Taoism emphasizes freedom, nature, self-cultivation, and even the pursuit of immortality. Taoism has had a profound and lasting influence on many areas of Chinese culture, including art, philosophy, medicine, and gastronomy, and it has spread widely in East Asia.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:11, 19 December 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> 1.孔子的哲学思想强调个人美德和政治原则、和谐的社会秩序以及公正和真诚的社会环境。<br /> <br /> The philosophy of Confucius emphasized personal and governmental morality, correctness of social relationships, justice and sincerity. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:23, 20 December 2020 (UTC)<br /> <br /> The philosophy of Confucius emphasizes on personal morality, political principles, harmonious social order, justice, and sincere social environment.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:30, 20 December 2020 (UTC)<br /> <br /> 2.老子是中国历史上伟大的哲学家、作家。他不仅是道家的创始人，也成为了道教中供奉的一位神祇。<br /> <br /> Laozi is a great philosopher and writer in Chinese ancient history. He is not only the founder of philosophical Daoism, but also worshipped as a deity in religious Daoism. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:23, 20 December 2020 (UTC)<br /> <br /> Laozi, a great philosopher and writer in Chinese history, had not only became the founder of Taoism, but also a deity worshipped by Taoism.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:30, 20 December 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 1.儒家思想以传统封建社会为物质承担者，传统封建社会以儒家思想为精神承担者，传统社会的瓦解，致使孔子圣人权威丧失。<br /> <br /> The Confucianism takes traditional feudal society as material undertaker while the latter takes the former as sipiritual undertaker. Therefore, the disintegration of traditional society causes the Sage Confucius to lose his authority.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 05:00, 20 December 2020 (UTC) <br /> <br /> Confucianism takes the traditional feudal society as its material undertaker, while the traditional feudal society takes Confucianism as its spiritual undertaker. The collapse of the traditional society leads to the loss of Confucius’ authority.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:31, 20 December 2020 (UTC)<br /> <br /> 2.道家作为一种思想流派，崇尚大道，主张“惟道是从、道法自然”，主要从事的是学术活动和政治文化活动，奉《道德经》、《庄子》、《黄帝四经》等为经典。<br /> <br /> As a school of thought, Taoism advocates the great truth and follows the principle of nature. It is mainly for academic, political and cultural activities and regards Tao Te Ching,Chuang-tzu and Huang Di Si Jing as classics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 05:00, 20 December 2020 (UTC)<br /> <br /> Taoism, a school of thought, advocates the great truth and follows the principle of nature. It mainly serves academic, political and cultural activities and regards Tao Te Ching, Chuang-tzu and Four Classics of the Yellow Emperor as classics.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:31, 20 December 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> 1、“儒学”、“儒家”、“儒教”这些概念要分清。儒学作为一种学说，儒家作为一个阶层，儒教作为一种信仰，三者需要区分开来。<br /> <br /> We should clearly distinguish the three concepts ---- Confucianism, Confucianist, Confucian religion, among which Confucianism is a theory and Confucianist is a strata and Confucian religion is a religion. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:44, 18 December 2020 (UTC)<br /> <br /> The concepts of &quot;Confucianism&quot;, &quot;Confucianism&quot; and &quot;Confucianism&quot; must be distinguished. Confucianism as a doctrine, Confucianism as a class, and Confucianism as a belief, the three need to be distinguished.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 08:57, 20 December 2020 (UTC)<br /> <br /> 2、在我国优秀传统文化中，道家思想蕴含了和谐理想、平等观念、诚信美德等诸多伦理智慧，这些思想很多都与社会主义核心价值观具有相通性，它们为社会主义核心价值观构筑了坚实的文化沃土。<br /> <br /> In Chinese excellent traditional cultures, Taoism contains such ethics and wisdom as the desire for harmony, the idea of equality and the virtue of honesty, many of which have commonalities with the core values of socialism and have laid a solid cultural foundation for the core values of socialism. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:44, 18 December 2020 (UTC)<br /> <br /> In Chinese excellent traditional culture, Taoism contains many ethical wisdoms, such as the ideal of harmony, the concept of equality, and the virtue of honesty. Many of these ideas have similarities with the core socialist values. They have built a solid cultural fertile ground for the core socialist values.<br /> <br /> In my country’s excellent traditional culture, Taoism contains many ethical wisdoms, such as the ideal of harmony, the concept of equality, and the virtue of honesty. Many of these ideas have similarities with the core socialist values. They have built a solid cultural fertile ground for the core socialist values.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 08:57, 20 December 2020 (UTC)<br /> <br /> ==Grosheva, Anna==<br /> <br /> 1. Confucianism is the main ancient philosophy of China. It implicitly embodies key aspects of Chinese culture. Confucian beliefs have constantly changed and developed over the past 2,500 years. <br /> 儒学是中国的主要古代哲学。 它隐含了中国文化的关键方面。在过去的2500年中，儒家信仰不断变化和发展。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:56, 19 December 2020 (UTC)<br /> <br /> 2. During its popularization since its birth, Taoism had long been a kind of high-level culture, and widely pursued by the upper-class society. <br /> 道教自诞生之日起就一直是一种高级文化，并受到上层社会的广泛追捧。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:56, 19 December 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> 1.儒学社会政治层面功能的形成和加强，同时也就减弱了儒学作为一般伦理道德修养和政治理想层面的作用。在原始儒学那里，它是通过道德教育、理想教育去启发出人们遵守道德规范、追求理想社会的自觉。<br /> <br /> The formation and strengthening of the socio-political dimension of Confucianism simultaneously diminished its role as a general ethical and moral cultivation and political ideal. In primitive Confucianism, it is through moral education, ideal education to inspire people to abide by moral norms and pursue an ideal society.<br /> <br /> 2.在道教文化杂而多端的内容当中，有一个核心，就是道教神仙信仰。道教作为一个成熟的宗教，具有一套自己的神学理论，有一种能够吸引人们进行追求的宗教信仰目标。这种信仰就是，人可以通过努力追求而成为长生不死、功能广大的神仙。<br /> <br /> Among the miscellaneous and multifaceted contents of Taoist culture, there is a core, which is the belief in Taoist gods and immortals. As a mature religion, Taoism has a set of theological theories and a religious goal that attracts people to pursue. This belief is that people can become immortal and functional deities through hard work.<br /> <br /> ==Guan Qinqing 管钦清==<br /> 1.春秋时期，老子集古圣先贤之大智慧。总结了古老的道家思想的精华，形成了道家完整系统的理论，标志着道家思想已经正式成型。<br /> <br /> During the Spring and Autumn Period, Laozi, through gathering the great wisdom of ancient sages and summarizing the essence of ancient Taoist thought, formed a complete and systematic theory of Taoism, marking that Taoist thought has formally taken shape.<br /> <br /> 2.儒家是孔子所创立、孟子所发展、荀子所集其大成，之后延绵不断，为历代儒客推崇，至今仍有一定生命力的学术流派。<br /> <br /> Confucianism is an academic school founded by Confucius, developed by Mencius, and collected by Xunzi. It has continued to be admired by Confucian scholars in the past and still has a certain vitality.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 03:30, 21 December 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> 1. 四书五经是儒家施行其儒学教化的重要教科书，中国古代文人科举做官的必读书。<br /> <br /> The Four Books and The Five Classics are the most important textbooks for the Confucian scholars to disseminate the educational thoughts of the Confucian School and a must for ancient scholars who had to pass the imperial competitive examination to become government officials.<br /> <br /> 2.道，代表宇宙本体和法则的统一，高度的抽象性与普遍意义是它的特点。<br /> <br /> Tao, which refers to the integration of the noumenon and rules of the cosmos, is characterized by its deep abstraction and universal significance.--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 12:33, 20 December 2020 (UTC)<br /> <br /> The Tao, representing the unity of the essence and laws of the universe, is characterized by its high degree of abstraction and universal significance.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 02:13, 21 December 2020 (UTC)<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> ==Guo Lu 郭露==<br /> 1. 孔子是我国古代伟大的思想家和教育家,儒家学派创始人,世界最著名的文化名人之一。孔子的言行思想主要载于语录体散文集《论语》。<br /> <br /> Confucius was a great thinker of ancient China and educator, he is also the founder of Confucianism and one of the world's most famous cultural figures. His words and deeds were mainly recorded in his work ''The Analects''.<br /> <br /> Confucius is a great thinker and educator in ancient China, he is also the founder of Confucianism and one of the world's most famous cultural figures. His words and deeds were mainly recorded in his work ''The Analects''.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:44, 18 December 2020 (UTC)<br /> <br /> 2.道教(或道教)是指各种相关的中国哲学传统和概念的英文名称。这些传统影响了东亚两千多年，有些还在国际上传播。道家的礼教和伦理强调 &quot;道 &quot;的三宝，即“慈、俭、让”。道家思想注重 &quot;无为&quot;、&quot;人本&quot;、&quot;虚无&quot;。无为常常被错误地翻译为（&quot;无所作为&quot;），这种错误由于非道家学者的翻译而广泛传播。道教强调人与自然的联系。道教认为，这种联系减少了对规则和秩序的需要，使人更好地理解世界。<br /> <br /> Taoism (or Daoism) is the English name referring to a variety of related Chinese philosophical traditions and concepts. These traditions influenced East Asia for over two thousand years and some have spread internationally. Taoist propriety and ethics emphasize the Three Jewels of the Tao; namely, compassion, moderation, and humility. Taoist thought focuses on wu wei (&quot; action that does not involve struggle or excessive effort&quot; ) spontaneity, humanism, and emptiness. Wu wei is often incorrectly translated as (&quot;non-action&quot;) and this error has propagated widely as a result of translations made by academics who are non practising Taoists. An emphasis is placed on the link between people and nature. Taoism teaches that this link lessened the need for rules and order, and leads one to a better understanding of the world.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:12, 17 December 2020 (UTC)<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> 1.Although Confucianism became the official ideology of the Chinese state, it never turned into an established religion with a church and priesthood.<br /> <br /> 尽管儒学成为中华民族的官方意识形态，但它从来没有发展成为具有教会和神职人员的宗教。<br /> <br /> 2.The Four Books form the basis of Confucianism.<br /> <br /> 这四本书构成了儒学的基础。<br /> <br /> 3.In education, Confucius upheld the theory that “in education, there is no class distinction.<br /> <br /> 在教育方面，孔子坚持“在教育中没有阶级区别的理论”。--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:51, 20 December 2020 (UTC)<br /> <br /> 在教育方面，孔子主张“有教无类。”--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 03:15, 21 December 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> 1. 在孔子的影响下，古代中国人形成了对天的敬畏和信仰。<br /> <br /> Under the influence of Confucius, the ancicent Chinese developed a sense of awe and belief in Heaven.<br /> <br /> 2. 老子从他自然无为的哲学出发，对于人的行为方式，提出了“以柔软胜刚强”的观点。老子说“上善若水”—水具有最高德行的善。<br /> <br /> On the basis of &quot;naturalness&quot; and &quot;non-action&quot;, Laozi proposed teh view of &quot;overcoming the strong by being weak.&quot; Laozi said, &quot;The greatest virtue is like water.&quot;--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 05:43, 21 December 2020 (UTC)<br /> <br /> ==Hu Baihui 胡百辉==<br /> 1.孔子是中国儒学的创始人。两千余年来，儒家思想对中国的影响不仅体政治、政治、文化等方面，也体每一个中国人的行为和思维方式之中。<br /> <br /> Confucius is the founder of Confucianism in China. For more than two thousand years, the influence of Confucianism on China is not only in politics, politics, culture and so on, but also in the behavior and mode of thinking of every Chinese.<br /> <br /> Confucius is the founder of Confucianism in China. For more than two thousand years, the influence of his Confucianism on China is not only in politics,culture and so on, but also in the behavior and mode of thinking of every Chinese.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 04:34, 20 December 2020 (UTC)<br /> <br /> 2.道教在世界宗教中是独一无二的，因为它没有官方的教条和教义。它最重要的文本是《道德经》和《庄子》，这两本书可能被认为是文学或哲学作品，而不是宗教文本。<br /> <br /> <br /> Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered works of literature or philosophy more than religious texts. --[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:56, 18 December 2020 (UTC)<br /> <br /> Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered works of literature or philosophy instead of religious texts.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:04, 19 December 2020 (UTC)<br /> <br /> Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered as works of literature or philosophy rather than religious texts.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 04:34, 20 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> 1. 孔子是儒家学派的创始人，也是春秋时期人本主义思想的集大成者。儒家思想已成为我们文化遗产中的一部分。<br /> <br /> Confucius was the founder of the Confucian school and the main Humanist thinker of the Spring and Autumn Period. Confucian ideas have become part of our cultural inheritance.<br /> <br /> Confucius was the founder of the Confucianism and the major Humanist thinker in the Spring and Autumn Period, whose ideas have become part of our cultural inheritance.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:06, 18 December 2020 (UTC)<br /> <br /> Confucius was the founder of the Confucian school and a master of humanistic thoughts in the Spring and Autumn Period. And Confucianism has become a part of our cultural inheritance.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 05:01, 19 December 2020 (UTC)<br /> <br /> 2. 传统上，道教是归因于三个来源，最古老的是黄帝传说，但最著名的是老子的《道德经》。第三个来源就是庄子的作品。道教的最初来源据说是古代的《易经》。<br /> <br /> Traditionally, Taoism has been attributed to three sources, the oldest being the legendary ‘Yellow Emperor’, but the most famous is Lao Zi's Tao Teh Ching. The third source is Chuang Tzu's work. However, the original source of Taoism is said to be the Book of Changes.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 08:48, 18 December 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> 孔子在中国历史上最早提出人的天赋素质相近，个性差异主要是因为后天教育与社会环境影响（“性相近也，习相远也”）。因而人人都可能受教育，人人都应该受教育。<br /> <br /> Confucius was the first Chinese to argue that human beings are endowed with similar qualities, and personality differences are mainly due to the influence of education and social environment (&quot;By nature men are similar to one another, but learning and practice make them different.&quot;). Thus, everyone could be and should be educated.<br /> <br /> 庄子在哲学思想上继承和发展了老子“道法自然”的思想观点，使道家真正成为一个学派，他自己也成为了道家的重要代表人物，与老子并称“道家之祖”。<br /> <br /> Zhuangzi inherited and developed Laozi's philosophical idea of &quot;the natural law&quot;, making Taoism an academic school, and he himself became an important representative of Taoism, known as &quot;the ancestor of Taoism&quot; together with Laozi.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:54, 18 December 2020 (UTC)<br /> <br /> Zhuangzi inherited and developed Laozi's idea of &quot;Tao following nature&quot; in philosophy, making Taoism a school of thought. He himself became an important representative of Taoism and was called &quot;the ancestor of Taoism&quot; with Laozi.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 09:05, 18 December 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> 1.儒家思想是先秦诸子百家学说之一，由孔子于公元前5世纪创立，是中国影响力最大的流派，也是中国古代的主流意识。 儒家思想的内涵丰富复杂，在广泛汲取古代典籍精华的基础上逐步发展出基础理论和思想，即讲大一统、讲君臣父子。由程朱理学、陆王心学到废除封建君主专制制度等，都体现了儒家思想的内容。<br /> <br /> Confucianism is one of the various schools of thought in pre-Qin period, established by Confucius in the 5th century BC. It is the most influential school in China and the mainstream ideology in ancient China. The connotation of Confucianism is rich and complex. On the basis of extensively absorbing the essence of ancient classics, it has gradually developed the basic theories and thoughts, namely, the great unification and the emperor and the subjects just like father and sons. Besides, the philosophy of Cheng and Zhu, the philosophy of Lu and Wang, the abolition of the feudal autocratic monarchy, and so on are all the embodiment of Confucianism.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:48, 19 December 2020 (UTC)<br /> <br /> Confucianism, one of the hundred schools of thought of the pre-Qin dynasty, was founded by Confucius in the 5th century B.C. It is the most influential school in China and the mainstream ideology of ancient China. Confucianism is rich in connotations and complex, and has gradually developed its basic theories and ideas on the basis of extensive drawing on the essence of ancient texts, i.e. on the great unity, on the ruler, the minister, the father and the son. From Cheng Zhu's philosophy and Lu Wang Xinxue to the abolition of the feudal monarchy, all of them embody Confucianism.--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 05:46, 21 December 2020 (UTC)<br /> <br /> 2.道家思想是无所不能、永恒不灭，有辩证法因素和无神论倾向，是老子总结古老的道家思想所形成的完整系统理论，它以“道”为最高哲学范畴，认为“道”是世界的最高真理，是宇宙万物的本源，也是宇宙万物赖以生存的依据。 其主流派有黄老学派，鬼谷子纵横家、修真派、法家学派、玄学、杨朱学派。无为、不争，是老子对君王的告诫，汉文帝、唐太宗、宋仁宗、明太祖等皆以道家思想治国，使人民从前朝苛政之后得以休养生息。<br /> <br /> Taoism, omnipotent and eternal, with a tendency to dialectical factors and atheism, is a complete system of theories formed by Lao Zi by summarizing ancient Taoist thoughts. It takes &quot;Tao&quot; as the highest philosophy and truth, the origin of the universe, and also the basis for the existence of the universe. Its main schools are Huang Lao school, Guiguzi school, Xiuzhen school, Legalist school, metaphysics, and Yang Zhu school. Lao Zi persuaded emperors to do nothing and fight for nothing. And Emperor Wen of the Han Dynasty, Emperor Taizong of the Tang Dynasty, Emperor Renzong of the Song Dynasty and Emperor Taizu of the Ming Dynasty all ruled with Taoist thoughts, so that people could recover from the tyranny of the previous dynasty.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:48, 19 December 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> 1. 理学是中国古代最为精致、最为完备的理论体系，其影响至深至巨。理学的天理是道德神学，同时成为儒家神权和王权的合法性依据，至南宋末期被采纳为官方哲学。<br /> <br /> Neo-Confucianism is the most exquisite and complete theoretical system in ancient China, and its influence is profound and enormous. The natural principle of Neo-Confucianism is moral theology, which has become the legal basis of Confucian theocracy and kingship, and was adopted as official philosophy at the end of Southern Song Dynasty.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:02, 19 December 2020 (UTC)<br /> <br /> Neo-Confucianism is the most comprehensive and complete theoretical system in ancient China, and its influence is profound and enormous in wide and in-depth. The core of Neo-Confucianism is moral theology, which has become the legal basis of Confucian theocracy and kingship, and was adopted as official philosophy at the end of Southern Song Dynasty.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:28, 21 December 2020 (UTC)<br /> <br /> 2. 古代道家崇尚自然，有辩证法的因素和无神论的倾向，但是主张清静无为，反对斗争。<br /> <br /> Ancient Taoism advocates nature, has dialectic factors and atheism tendency, but advocates quietism and opposes struggle.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:02, 19 December 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> 1. 大学之道，在明明德，在亲民，在止于至善。 <br /> <br /> The purpose of the university is to reveal noble virtues, to make people get rid of old habits, and to reach the highest state of goodness.<br /> <br /> 2.福之所倚，福兮祸之所伏。<br /> <br /> It means that blessings and disasters are interdependent and transform each other. The metaphor is that bad things can lead to good results, and good things can lead to bad results. In other words, under certain conditions, blessings can become disasters and disasters can become blessings.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 02:07, 21 December 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> 1、儒家学派的创始人孔子第一次打破了旧统治阶级垄断教育的局面，变“学在官府”为“有教无类”，使传统文化教育播及到整个民族。因此儒家思想有了坚实的民族心理基础，为全社会所接受并逐步儒化了全社会。但是儒学在历史上也多次遭受严重冲击，近至满清的文字狱，毁古书严重的《四库全书》，远至秦始皇焚书令等。<br /> <br /> Confucius, the founder of the Confucian school, broke the monopoly of the old ruling class on education for the first time, changed the &quot;learning in the government&quot; to &quot;teaching without class&quot;, and spread traditional culture and education to the whole nation. As a result, Confucianism had a solid national psychological foundation and was accepted by society as a whole, which gradually became Confucianized. However, Confucianism has also suffered many serious impacts in history, from the Manchu Qing dynasty's written jails to the destruction of ancient books in the Siku Quanshu, and the Qin Shihuang's book burning order.<br /> <br /> Confucius, the founder of the Confucian school, broke the monopoly of education by the old ruling class for the first time, changing &quot;study in the government&quot; to &quot;education without class&quot;, so that traditional cultural education spread to the entire nation. Therefore, Confucianism has a solid national psychological foundation, accepted by the whole society and gradually Confucianized the whole society. However, Confucianism has also suffered severe impacts in history many times, as far as the Manchu literary prison, the &quot;Siku Quanshu&quot;, which has severely destroyed ancient books, and as far as the book burning order of Qin Shihuang.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:11, 19 December 2020 (UTC)<br /> <br /> 2、一般认为道家思想的特征之一，是通过各种修炼而达到永恒不死的至高完美境界，“因而开创了中医养生学” ；又从炼丹实践中发明了火药，中国四大发明都与道教有关。从养生学源流的角度说：寿命无限。<br /> <br /> It is generally believed that one of the characteristics of Taoist thought is to achieve the supreme perfection of eternal immortality through various cultivations, thus it creating the science of Chinese medicine and health and from the practice of alchemy, gunpowder was invented, and the four major inventions of China are all related to Taoism. From the perspective of the source of health science:it means infinite life span.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 08:35, 18 December 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Lili 李丽丽==<br /> <br /> 1.董仲舒顺应汉武帝强权的需要，倡导“罢黜百家，独尊儒家”的思想。<br /> Dong Zhongshu adapted to the needs of Emperor Wu of Han Dynasty to strengthen power, and advocated the idea of &quot;deposing hundreds of schools and respecting Confucianism only&quot;. --[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:49, 18 December 2020 (UTC)Li Lili<br /> <br /> 2.道家以“道”为核心，是“诸子百家”中一门极为重要的哲学流派，存在于中华各文化领域，对中国乃至世界的文化都产生了巨大的影响。<br /> Taoism, with &quot;Tao&quot; as its core， is a very important philosophical school in &quot;various schools of thought&quot;. It exists in all cultural fields of China and has a great impact on Chinese and even the world culture.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:49, 18 December 2020 (UTC)Li Lili<br /> <br /> ==Li Liqin 李丽琴==<br /> 1. 儒家在先秦时期和诸子百家地位平等，秦始皇焚书坑儒后，使儒家遭受重创。而后汉武帝为了维护封建专制统治，听从董仲舒“罢黜百家，独尊儒术”的建议，对思想实施钳制，使儒家重新兴起。历经两千多年的发展演变，儒学文化构建起完整的思想体系，涉及政治、教育、道德伦理、行为准则、生活技艺等诸多方面，长期涵养国人的智慧和心灵，形成固定思维、心理以及生存模式，可谓根深蒂固。<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:17, 16 December 2020 (UTC)<br /> <br /> 2. 《老子》是道家学派的主要著作之一，它的产生丰富了我国传统文化和思想宝库。老子是道家思想的创始人，他提出了许多重要的范畴和观点，在中国哲学史上独放异彩，并给予后世以深远影响。<br /> <br /> ''Laozi'' is one of the main works of the Taoist School; its production enriches our country's traditional culture and stock house of thoughts. Lao Zi, the founder of the Taoism, proposed a lot of important views and conceptions which have original enchantment in Chinese philosophy, and influence the afterworld deeply. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:17, 16 December 2020 (UTC)<br /> <br /> ''Laozi'' is one of the main works of the Taoism and its production enriches our traditional culture and the treasury of thoughts. Lao Zi, the founder of the Taoism, proposed many important views and conceptions which have original enchantment in Chinese philosophy, and have a far-reaching influence on the afterworld.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:36, 17 December 2020 (UTC)<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1.人道主义是人类永恒的主题，对于任何社会，任何时代，任何一个政府都是适用的，而秩序和制度社会则是建立人类文明社会的基本要求。<br /> <br /> Humanity is the eternal theme of humanity, applicable to any society, any era, any government, while order and institutional society are the basic requirements for building a civilized human society.<br /> <br /> Humanitarianism is the eternal theme of humanity, applicable to any society, any era, any government, while order and institutional society are the basic requirements for building a civilized human society.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:14, 17 December 2020 (UTC)Xiao Shuangling<br /> <br /> Humanity is the eternal theme of human society, and it is applicable to any society, any era, and any government. Order and institution is the basic requirement for building a civilized human society.<br /> ----<br /> <br /> <br /> 2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。<br /> <br /> Among the five major religions in China, Taoism is the only religion that originated in China and was founded by Chinese people, so it is also known as a native religion.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 06:38, 17 December 2020 (UTC)<br /> <br /> Among the five major religions in China, Taoism is the only one that originated in China and was founded by the Chinese, so it is also known as a native religion.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:14, 17 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ==Liu Yi 刘艺==<br /> 1、孔子的大同社会、小康社会理想对中国后世影响深远。后来不同历史时期，不同阶段的思想家提出不同内容的憧憬蓝图和奋斗目标，这种思想对进步思想家、改革家也有一定启发，洪秀全、康有为、谭嗣同和孙中山都受其影响。<br /> <br /> Confucius' ideal of a commonwealth society and a moderately prosperous society had a profound influence on later generations in China. Later on, thinkers at different stages of history put forward different content of visionary blueprints and goals to strive for, and such ideas also inspired progressive thinkers and reformers, with Hong Xiuquan, Kang Youwei, Tan Sitong and Sun Yat-sen being influenced by them.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:35, 16 December 2020 (UTC)<br /> <br /> The social ideal of a commonwealth society and a moderately prosperous society from Confucius has posed profound impacts on China's future generations. Later, even in sundry historical times, miscellaneous idealists put forward different blueprints and struggle goals, which indicated that Confucius ideal has inspired advanced idealists and refomers, including Hong Xiuquan, Kang Youwei, Tan Sitong and Sun Zhongshan.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:20, 17 December 2020 (UTC)<br /> <br /> 2、新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。道教在反右斗争、大跃进、人民公社化等政治运动中受到波及。<br /> <br /> After the founding of New China, some unreasonable systems and bad practices that existed in Taoism in the old society were reformed, and Taoism took on a new face. The establishment of the Chinese Taoist Association realized the unification of Taoists nationwide, and the majority of patriotic Taoists began to work together for the development of Taoism. Taoism was affected by political movements such as the anti-rightist struggle, the Great Leap Forward, and the Communization of the People's Commune.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:35, 16 December 2020 (UTC)<br /> <br /> After the founding of the People's Republic of China, Taoism was out of some unreasonable systems and bad practices in the old society were reformed and it then took on a new face. The establishment of the Chinese Taoist Association promoted the unification of Taoists nationwide, and the majority of patriotic Taoists began to work together for the development of Taoism. However, Taoism was affected by political movements such as the anti-rightist struggle, the Great Leap Forward, and the Communization of the People's Commune.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 05:06, 17 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> 从鸦片战争到戊戌变法是新儒学的准备阶段，这一阶段主要表现为儒家学者在西方文明冲击之下被动接受西方文明的一些内容以求自强。<br /> The period from the Opium War to the Hundred Days Reform was the preparatory period of Neo-Confucianism,which was characterized by the passive acceptance of some elements of Western civilization by Confucian scholars in order to strengthen themselves under the impact of Western civilization.<br /> <br /> 道教源于神仙思想和神仙方术。虽神仙方术没有系统的理论，但神仙家信仰的方术被道教承袭，神仙方术演化为道教的修炼方术，神仙方士演化为道家的道士。<br /> Taoism originated from the idea of the divine immortals and the divine immortal arts. Given the fact that there is no systematic theory of divine and immortalism, the divine and immortalist beliefs were inherited by Taoism. The divine and immortalist prescriptions evolved into Taoist cultivation prescriptions, and the divine and immortalist practitioners evolved into Taoist priests.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:21, 18 December 2020 (UTC)<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 1 孔子（公元前551～公元前479）名丘，字仲尼，是中华文化思想的集大成者，儒家学说的创始人。我国古代伟大的思想家、政治家、教育家。他的哲学思想提倡“仁义”，“礼乐”，“德治教化”,儒学思想渗入中国人的生活，文化领域中，同时也影响了世界上其它地区的大部分人近两千年。<br /> <br /> Confucius (551BC-479 BC), whose name is Qiu, courtesy name Zhong Ni, is the master of Chinese culture and thought and the founder of Confucianism. He is a great thinker, statesman and educator in ancient China. His philosophy advocated &quot;benevolence and righteousness&quot;, &quot;rites and music&quot;, and &quot;moral education&quot;. Confucianism permeated the life and culture of the Chinese people, and also influenced most people in other parts of the world for nearly two thousand years.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:40, 19 December 2020 (UTC)<br /> <br /> 2 在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。<br /> <br /> Among the five major religions in China, Taoism is the only one that originated in China and was founded by the Chinese, so it is also known as the native religion. Taoism had a profound influence on the politics, economy and culture of ancient China and was one of the three spiritual pillars of the ruling class. After the founding of the People's Republic of China, Taoism gained a new life through the democratic reform of the religious system and gradually embarked on the road to adapt to the socialist society. Since the reform and opening up, under the guidance of the religious policies of the Party and the government in the new era, Taoism in China has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, reunification of the motherland and world peace.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:14, 19 December 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> 1.在大同的世界里，天下的人，不止以自己的家人为亲，不止以自己的父母儿女为爱，而是相互敬爱，爱天下所有的人。使老有所终，壮有所用，孩子们都能获得温暖与关怀，孤独的人与残疾者都有所依靠，男人各自有自己的事情，女人有满意的归宿。<br /> <br /> Love each other not only in our family, but also in the world. Make the old have a home, strong and useful, children can get warmth and care, lonely people and the disabled can rely on others, men have their own businesses, women have a satisfactory home.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:51, 19 December 2020 (UTC)<br /> <br /> 2.儒家认为平等是来自于人性，人性是善良的那么人类社会也应该是善良的，既被证成的平等；而道家认为过去平等已经有很好的发展成果，那么在现有的平等认知基础上现在以及未来社会应该发展的更好才是，但是儒家礼教阶层阻碍了人类发展并成为窃国诸侯剥削百姓的大旗，所以要非仁绝礼消解各种意识形态，得到一个人类都满意的社会，既被承认的平等。<br /> <br /> Confucianism believes that equality comes from human nature, and human nature is good, so human society should also be good, which is proved to be equality; while Taoism believes that equality has achieved good results in the past, then on the basis of the existing equality cognition, the society should develop better now and in the future. However, the Confucian ethical class hindered the development of human beings and became the banner of exploiting the common people by the feudal lords，therefore, it is necessary to eliminate all kinds of ideologies without benevolence, to achieve a society that is satisfactory to all human beings, which is already recognized as equality.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:51, 19 December 2020 (UTC)<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.君子坦荡荡，小人长戚戚。<br /> <br /> A gentleman is open and poised; while a petty man is unhappy and worried.<br /> <br /> The gentleman is calm and at ease, while the small man is always full of anxiety. --[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:45, 17 December 2020 (UTC)<br /> <br /> 2.人法地，地法天，天法道，道法自然。<br /> <br /> The person reflects the earth.The earth reflects heaven. Heaven reflects the Way. And the Way reflects its own nature.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:46, 17 December 2020 (UTC)Mo Ling<br /> <br /> Men must conform to the earth, earth to heaven, heaven to Tao and Tao to nature.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:45, 17 December 2020 (UTC)<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> 1. 经由董仲舒重新解释和发挥的儒教教义，十分重视礼仪制度的建设，特别是其中祭天、祭祖的礼仪制度建设。完备而复杂的礼仪制度有助于人们养成遵守秩序、安分守己的习惯，这正是儒教重视礼仪的重要目的之一。<br /> <br /> Dong Zhongshu's reinterpretation of Confucian doctrines attached great importance to the construction of ritual system, especially that of offering sacrifices to heaven and ancestors. A complete and complex ritual system helps people to develop the habit of abiding by order and bahaving properly, which is one of the important purposes for Confucianism to emphasize rites.<br /> <br /> Dong Zhongshu's reinterpretation of Confucian doctrines attached great importance to the construction of ritual system, especially that of offering sacrifices to heaven and ancestors. A complete and complex ritual system helps people to develop the habit of abiding by order and conducting themselves, which is one of the important purposes for Confucianism to emphasize rites.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:17, 19 December 2020 (UTC)<br /> <br /> 2. 道家以道为世界的本原，以柔弱因循为道的作用，在政治上主张无为而治，因为对道和无为的理解不同，所以内部又划分为不同派别，不同的学派之间思想重心也不同，或偏于治国，或偏于治身等。<br /> <br /> Daoists regard Tao as the origin of the world. In politics, they uphold that Tao is to conform to the nature and advocated governing by doing nothing. According to the understanding of Tao and doing nothing, there are different denominations of Daoism focusing on different thoughts, some of which focus on governing and some on self-cultivation.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:25, 17 December 2020 (UTC)<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> 1.儒家原先是先秦诸子百家之一，其创始人是孔子。儒家在先秦时期和诸子百家地位平等。而后汉武帝为了维护封建专制统治，听从董仲舒&quot;罢黜百家，独尊儒术&quot;的建议，对思想实施钳制，使儒家重新兴起。<br /> <br /> Confucianism was originally one of the hundred schools of pre-Qin scholars, whose founder was Confucius. In the pre-Qin period, Confucianism had equal status with all scholars. In order to maintain the feudal autocratic rule, Emperor Wu of the Han Dynasty followed Dong Zhongshu's suggestion of &quot;removing a hundred schools of thought and respecting Confucianism&quot;, and imposed a restraint on ideology, which revived Confucianism.<br /> <br /> 2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。<br /> <br /> Among the five major religions in my country, Taoism is the only religion that originated in China and was founded by the Chinese, so it is also called a local religion. Taoism had a profound impact on the politics, economy and culture of our country in ancient times, and it is one of the three spiritual pillars of the ruling class.<br /> <br /> ==Phyo, Su Kyi==<br /> 1-儒家通过等级制度的传播而传播。这种宗教是由于中国人对邻国的影响而传承的。儒家思想从其在山东的地盘传到了中国的北部和南部地区。<br /> <br /> Confucianism diffused through hierarchical diffusion. This religion was passed on through the Chinese's influence on their neighboring countries. Confucianism spread from its hearth in the Shandong province into China's northern and southern territories.<br /> <br /> 2-道教或道教是中国血统的哲学传统，强调与道家和谐相处。道是大多数中国哲学流派的基本思想。然而，在道教中，它表示的原则是存在的一切的来源，模式和实质。<br /> <br /> Taoism, or Daoism, is a philosophical tradition of Chinese origin which emphasizes living in harmony with the Tao. The Tao is a fundamental idea in most Chinese philosophical schools; in Taoism, however, it denotes the principle that is the source, pattern and substance of everything that exists. --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:43, 18 December 2020 (UTC)Su kyi<br /> <br /> ==Pingki, Tanchangya==<br /> 1. 孔子出生于2500年前。 孔子是17世纪的耶稣会传教士，他称他为孔子。<br /> Confucius was born over 2,500 years ago. Confucius was the Jesuit missionaries of the 17th century who called him Confucius and this latinate name has since become known to the west.<br /> <br /> 2. 儒家思想是中国古代的一种信仰体系，即人类从根本上讲是善良，可教和可改进的。<br /> Confucianism is an ancient Chinese belief system that human beings are fundamentally good and teachable and improvable.<br /> <br /> 3. 道教是中国两种伟大的本土哲学传统之一。 老子，准子和道教描述了自汉末以来各种所谓的“宗教”运动。<br /> Daoism is one of the two great indigenous philosophical traditions in China. Laozi, Zhunzi and Daojiao describe various so-called &quot;religious&quot; movements since the end of Han Dynasty.<br /> <br /> 4. 道教甚至没有说出一位开国思想家所建立的传统，甚至是通过一个共同的信念，即一位名叫老子的老师创立了这所学校并写下了它的主要著作，称为道德经，有时 也被称为老子。<br /> Daoism does not name a tradition constituted by a founding thinker even through the common belief is that a teacher named Laozi originated the school and wrote it's major work, called the Daodejing， sometimes known as the Laozi.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 13:35, 20 December 2020 (UTC)<br /> <br /> ==Qu Miao 瞿淼==<br /> 1.相传孔子有弟子三千，其中有贤人七十二。孔子去世后，其弟子及其再传弟子把孔子及其所有弟子的言行语录和思想记录下来，整理编成儒家经典《论语》。<br /> <br /> According to legend, Confucius had three thousand disciples, of which seventy-two wise men. After the death of Confucius, his disciples and other disciples recorded the words, deeds and thoughts of Confucius and all his disciples and compiled them into the Confucian classic &quot;The Analects&quot;.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 07:30, 21 December 2020 (UTC)<br /> <br /> 2.老子思想对中国哲学发展具有深刻影响，其思想核心是朴素的辩证法。在政治上，主张无为而治、不言之教。在权术上，讲究物极必反之理。在修身方面，讲究虚心实腹、不与人争的修持，是道家性命双修的始祖。<br /> <br /> Laozi's thought has a profound influence on the development of Chinese philosophy, and the core of his thought is simple dialectics. In politics, it advocates the rule of doing nothing and teaching without words. In terms of power tactics, things must be the opposite. In terms of self-cultivation, it is the ancestor of Taoist cultivation of both life and soul, which emphasizes humility and solidity, and does not compete with others.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 07:30, 21 December 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> 1. Confucius is regarded as a great philosopher and a great sage of ancient China. <br /> <br /> 孔子是中国古代的伟大哲学家和圣贤。<br /> <br /> 2. Confucianism, a major official system of thought in China, originated from the teachings of Confucius. <br /> <br /> 儒家思想是中国的主要官方思想体系，它源于孔子的教.<br /> <br /> 3. Daoism has a god for almost everything: the sun, the moon, stars, wind, rain, thunder, lightening, mountains and rivers.<br /> <br /> 道教几乎所有的事物都有上帝-太阳，月亮，星星，风，雨，雷声，闪电，山脉和河流。<br /> <br /> 4. Daoism was also associated with alchemy, which was at one time a practical way of seeking the elixir of life by the transmutation of base matter into gold.<br /> <br /> 道教还与炼金术有关，炼金术曾经是一种通过将基础物质转化为黄金来寻求生命之药的实用方法。--[[User:RAJABOV ANUSHERVON 10|RAJABOV ANUSHERVON 10]] ([[User talk:RAJABOV ANUSHERVON 10|talk]]) 12:32, 20 December 2020 (UTC)<br /> <br /> ==Seydou, Sagara==<br /> 1Confucianism is often characterized as a system of social and ethical philosophy rather than a religion. In fact, Confucianism built on an ancient religious foundation to establish the social values, institutions, and transcendent ideals of traditional Chinese society.<br /> 2 Confucius father died when he was too young and he was teaching moral and physical training. <br /> 3 Daoism is a philosophy, a religion, and a way of life that arose in the 6th century BCE in what is now the eastern Chinese province of Henan. It has strongly influenced the culture and religious life of China and other East Asian countries ever since.<br /> 1儒教通常被描述为一种社会和伦理哲学体系，而不是一种宗教体系。 实际上，儒家思想建立在古老的宗教基础上，旨在确立中国传统社会的社会价值观，制度和超越理想.<br /> 2孔子的父亲在年纪轻轻的时候就去世了，当时他正在教道德和体育锻炼.<br /> 3道教是公元前6世纪在现在的中国东部河南省兴起的一种哲学，一种宗教和一种生活方式. 从那以后，它对中国和其他东亚国家的文化和宗教生活产生了深远的影响.<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> ==Si Yu 司妤==<br /> <br /> 1.在汉代的儒家思想普及过程中，很多社会问题得到解决。儒家思想倾向于施用仁政管理国家，政治家们以此为根据，限制土地过分集中，建立完善的道德体系。<br /> <br /> Many social issues were settled during the popularization of Confucianism in the Han Dynasty. Confucianism claimed benevolent governance in managing the country, according to which politicians limited the centralization of lands and built a comprehensive moral system.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 06:55, 20 December 2020 (UTC)<br /> <br /> During the popularization of Confucianism in the Han Dynasty, many social problems were resolved. Confucianism tended to use benevolent governance to manage the country. Politicians used this as a basis to limit the excessive concentration of land and establish a sound moral system. --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:17, 20 December 2020 (UTC) <br /> <br /> 2.道家认为过去平等已经有很好的发展成果，那么在现有的平等认知基础上现在以及未来社会应该发展的更好才是，但是儒家礼教阶层阻碍了人类发展并成为窃国诸侯剥削百姓的大旗，所以要非仁绝礼消解各种意识形态，得到一个人类都满意的社会，既被承认的平等。<br /> <br /> Taoism proposed that equality had gained fine development in the past, on which equality in contemporary and future society should have a better development. But Confucianism’s feudalism and ethical codes hindered the human growth and became the banner of theft and exploitation of the people by the vassals, so it is necessary to dissolve the various ideologies of non-benevolence and ritual to get a society that is satisfactory to all human beings, namely, recognized equality.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 06:55, 20 December 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> 1. 董仲舒提出“春秋大一统”和“罢黜百家，独尊儒术”，强调以儒家思想为国家的哲学根本，杜绝其他思想体系。汉武帝采纳了他的主张。从此儒学成为正统思想，研究四书五经的经学也成为了显学。此时，孔子已死三百余年。董仲舒在具体的政策上将道家，阴阳家和儒家中有利于封建帝王统治的部分加以发展，形成了新儒家思想。<br /> <br /> Dong Zhongshu proposed the &quot;Great Unification of the Spring and Autumn Period&quot; and the &quot;Dismissal of the Hundred Schools and Exclusive Respect for Confucianism&quot;, emphasizing Confucianism as the philosophical foundation of the state and the elimination of other systems of thought. Emperor Wu of Han Dynasty adopted his ideas. From then on, Confucianism became the orthodoxy, and the study of the Four Books and Five Classics became a prominent school. At this time, Confucius had been dead for more than 300 years. Dong Zhongshu developed the parts of Taoism, Yin and Yang and Confucianism that were beneficial to the rule of the feudal emperor in his specific policies, forming Neo-Confucianism.<br /> <br /> Dong Zhongshu proposed the &quot;Great Unification of the Nation&quot; and the &quot;Dismissal of the Hundred Schools and Exclusive Respect for Confucianism&quot;, emphasizing Confucianism as the philosophical foundation of the state and the elimination of other systems of thought. Emperor Wu of Han Dynasty adopted his ideas. From then on, Confucianism became the orthodoxy, and the study of the Four Books and Five Classics became a prominent school. At this time, Confucius had been dead for more than 300 years. Dong Zhongshu developed the parts of Taoism, Yin and Yang School and Confucianism that were beneficial to the rule of the feudal emperor in his specific policies, forming Neo-Confucianism.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:25, 19 December 2020 (UTC)<br /> <br /> 2. “道”是中国古代哲学的重要范畴，用以说明世界的本原、本体、规律或原理。在中国哲学史上，“道”这一范畴为道家首先提出。道的原始涵义指道路、坦途，以后逐渐发展为道理，用以表达事物的规律性。这一变化经历了相当长的历史过程。春秋后期，老子最先把道看作是宇宙的本原和普遍规律，成为道家的创始人。以后，在不同的哲学体系中其涵义虽有不同，但基本上成为世界本原、本体、规律或原理的代名词。<br /> <br /> &quot;Tao&quot; is an important category in ancient Chinese philosophy, which is used to describe the origin, essence, law or principle of the world. In the history of Chinese philosophy, the category of &quot;Tao&quot; was first introduced by the Taoists. The original meaning of Dao refers to the path, the straight path, and later it gradually developed into reason, which is used to express the regularity of things. This change has gone through a rather long historical process. In the late Spring and Autumn period, Laozi first regarded Tao as the origin and universal law of the universe and became the founder of Taoism. Later, although its meaning differs in different philosophical systems, it basically became a synonym for the origin of the world, the essence, the law or the principle.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 03:59, 17 December 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> 1.孔子于公元前551年出生于现在的山东省，是中国古代著名的哲学家、政治家和教育家，也是儒家思想的创始人，“仁”和“礼”是其两大核心思想。孔子的儒家思想对中国和周边国家及地区乃至世界都有着深远的影响。2004年中国政府为了向外推广给汉语和传播中国文化，在海外建立了第一所“孔子学院”。<br /> <br /> Confucius was born in 551 B.C. in the place where it is in Shangdong province now. He was a famous philosopher, statesman, educator in ancient China, and also the founder of Confucianism. “Humaneness” and “rites” are two of his core thoughts. Confucianism has had far-reaching influence on China, the surrounding countries and areas, and even the whole world. And in 2004, the Chinese government established the first Confucius Institute overseas for the purpose of promoting Chinese language and publicizing Chinese culture.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:53, 20 December 2020 (UTC)<br /> <br /> Confucius was born in 551 B.C. in what is now Shandong Province. He was a famous philosopher, statesman and educator in ancient China, and the founder of Confucianism, of which &quot;benevolence&quot; and &quot;rites&quot; are the two core ideas. In 2004, the Chinese government established the first Confucius Institute overseas in order to promote the Chinese language and culture abroad.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 01:33, 21 December 2020 (UTC)<br /> <br /> <br /> 2.老子是中国古代著名的思想家、哲学家，是道家思想的创始人，也是世界百位历史名人之一。《道德经》是老子唯一的著作。朴素辩证法是老子哲学思想的精髓，而“无为”是其政治思想核心。即使在21世纪的今天，大至国家大家，小到个人的行为处事，老子的思想依然对社会有着深远的影响。<br /> <br /> As the founder of Taoism, Laozi was a philosopher and thinker in ancient China, and he is one of the world’s 100 great eminent figures in history. Naive Dialectic is the essence of Laozi’s philosophical ideas, while non-action is the core of his political thoughts. Even in the 21th century, his thoughts still have pervasive influence on socirties, from such important things as state affairs to such trivial things as individual styles.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:53, 20 December 2020 (UTC)<br /> <br /> Lao Tzu is a famous thinker and philosopher in ancient China, the founder of Taoist thought, and one of the world's 100 most famous historical figures. The Tao Te Ching is the only work of Laozi. The simple dialectic is the essence of Laozi's philosophical thought, and &quot;Wu Wei&quot; is the core of his political thought. Even in the 21st century, Laozi's thoughts still have a profound influence on society, from the national level to individual behavior.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 01:33, 21 December 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> 孔子主张“为政以德”，用道德和礼教来治理国家是最高尚的治国之道。这种治国方略也叫“德治”或“礼治”。<br /> <br /> Confucius advocated &quot;to govern the country with morality&quot;. It is the noblest way to govern the country with morality and ethics. This strategy is also called &quot;rule by virtue&quot; or &quot;rule by rites&quot;.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 01:25, 21 December 2020 (UTC)<br /> <br /> 无为、不争，是老子对君王的告诫，不与民争利。<br /> <br /> Letting things take their own course and no fight for profits with the people. are the admonition of Laozi to the emperors and lords.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 01:25, 21 December 2020 (UTC)<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> 1.儒家思想指的是儒家学派的思想，由春秋末期思想家孔子所创立。孔子创立的儒家学说在总结、概括和继承了夏、商、周三代尊尊亲亲传统文化的基础上形成的一个完整的思想体系。<br /> <br /> Confucianism refers to the thought of Confucianism, which was founded by the thinker Confucius in the late Spring and Autumn period. The Confucianism established by Confucius is a complete ideological system based on the summary, generalization and inheritance of the traditional culture of respecting relatives in Xia, Shang and Zhou Dynasties.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:23, 18 December 2020 (UTC)<br /> <br /> Confucianism refers to the thoughts of Confucianism, which was founded by Confucius，the thinker, in the late Spring and Autumn period. The Confucianism established by Confucius is a complete ideological system based on the summary, generalization and inheritance of the traditional culture of respecting relatives in Xia, Shang and Zhou Dynasties.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 07:04, 20 December 2020 (UTC)<br /> <br /> 2.道家的起源，可以一直追溯到春秋战国时期。道家思想的形成是以总结、发展、写著典籍为主要路径，每一次思想的跳跃都经历了极其长时间的众人积累，这也再一次的凸显了道家的生命力。<br /> <br /> The origin of Taoism can be traced back to the spring and Autumn period and the Warring States period. Taoist thought is formed with summary, development, and writings of classics as the main path. Every leap of thought has experienced an extremely long time of mass accumulation, which once again highlights the vitality of Taoism.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:23, 18 December 2020 (UTC)<br /> <br /> The origin of Taoism can be traced back to the Spring and Autumn period and the Warring States period. Taoism is formed with summary, development, and writings of classics as the main path. Every leap of thought has experienced an extremely long time of mass accumulation, which highlights the vitality of Taoism once again.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 13:43, 20 December 2020 (UTC)--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 13:43, 20 December 2020 (UTC)Xiao Ting<br /> <br /> ==Wang Xuan 王轩==<br /> 1. 孔子创立了以仁为核心的道德学说，他自己也是一个很善良的人，富有同情心，乐于助人，待人真诚、宽厚。“己所不欲，勿施于人”、“君子成人之美，不成人之恶”、“躬自厚而薄责于人”等等，都是他的做人准则。<br /> <br /> Confucius founded the moral theory with benevolence as the core. He was also a very kind person, full of compassion, willing to help others, sincere and generous. &quot;Don't do to others what you don't want to do to others&quot;, &quot;the beauty of a gentleman, the evil of a man who is not a man&quot;, &quot;bow oneself to thick and thin blame to others&quot;, and so on, are his principles of conduct.<br /> <br /> Confucius founded the moral theory with benevolence as the core. He himself was also a very kind person full of compassion who is willing to help others with sincerity and generousity. &quot;Don't do to others what you don't want to do to others&quot;, &quot;the beauty of a gentleman, the evil of a man who is not a man&quot;, &quot;bow oneself to thick and thin blame to others&quot;, and so on, are his principles of conduct.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> 2. 新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。<br /> <br /> After the founding of the people's Republic of China, through the democratic reform of the religious system, Chinese Taoism gained a new life and gradually embarked on the road to adapt to the socialist society. Since the reform and opening up, under the guidance of the party and the government's religious policy in the new period, Chinese Taoism has shown an unprecedented new atmosphere, and has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:06, 18 December 2020 (UTC)Wang Xuan<br /> <br /> After the founding of the people's Republic of Chin, Chinese Taoism has gained a new life and gradually embarked on the road to adapt to the socialist society through its democratic reform of the religious system. Since the reform and opening up, under the guidance of the Party and the Chinese Government's religious policy in the new period, Chinese Taoism has shown an unprecedented new atmosphere, and has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:29, 18 December 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> 1. 孔子创建了对中国及其周边国家具有深远影响的儒家学派。他学而不厌,海人不倦,首开私人讲学,是中国历史上致力于教育事业的第一人。<br /> Confucius founded the school of Confucianism, which had a profound influence on China and its neighboring countries. He was the first person in Chinese history to devote himself to the cause of education, as he never tired of learning and never tired of the sea.<br /> <br /> Confucius founded the school of Confucianism, profoundly influencing China and its neighboring countries. He was the first Chinese throughout history to devote himself to the cause of education, for never being tired of learning and teaching. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:33, 18 December 2020 (UTC)<br /> <br /> 1.孔子创建了对中国及其周边国家具有深远影响的儒家学派。他学而不厌,诲人不倦,首开私人讲学,是中国历史上致力于教育事业的第一人。<br /> Confucius founded the school of Confucianism, which had a profound impact on China and its neighboring countries. He was the first person in Chinese history dedicating himself to the cause of education, as he never tired of learning and teaching.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 07:01, 20 December 2020 (UTC)<br /> <br /> 2. 道家以道为世界的本原，以柔弱因循为道的作用，在政治上主张无为而治，因为对道和无为的理解不同，所以内部又划分为不同派别，不同的学派之间思想重心也不同，或偏于治国，或偏于治身等。<br /> Taoism takes the Tao as the origin of the world, and the role of the Tao is to be soft and follow the path. In politics, Taoism advocates the rule of inaction, and because of the different understanding of the Tao and inaction, it is divided into different schools, and the focus of thought differs between different schools, either favoring the rule of the state, or favoring the rule of the body, etc.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:08, 17 December 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> 1.发愤忘食，乐以忘忧，不知老之将至云尔。<br /> <br /> One studies too hard to have meal and indulges himself in knowledge too elated to worry，even failing to .aware the pending oldness.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 06:57, 20 December 2020 (UTC)<br /> <br /> 2.一般认为道家思想的特征之一，是通过各种修炼而达到永恒不死的至高完美境界，“因而开创了中医养生学” ；又从炼丹实践中发明了火药，中国四大发明都与道教有关。<br /> <br /> Generally, it is believed that one of the features of Taoism is to reach the ultimate perfect of immortality through various ways of practice. So the science of health maintenance of traditional Chinese medicine was established; in addition, gunpowder originated from alchemy practice, actually, the four ancient Chinese inventions are all related to Taoism.<br /> --[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 06:57, 20 December 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> 1.孔子（前 551—前 479）名丘，字仲尼，中国古代著名的思想家、教育家。他生活在天下失序的社会状态中，以济世爱民为己任，赋予天与人以全新的含义，形成了以“仁”为核心，以“礼”为形式的儒家理论体系，力图实现圣君、贤臣、良民的太平盛世的理想。<br /> <br /> 1.Confucius (551 BC – 479 BC), given name Qiu and capping name Zhongni, was a renowned philosopher and educator in ancient China. Living in a chaotic society, he assumed responsibility of transforming society and caring for the people, and redefined the concepts of Tian (Heaven) and Ren (Humanity). In the end, he developed a set of doctrines now known as Confucianism whose core value is Ren (Humanness / Benevolence) and outward expression is Li (Rituals), to achieve his dream of a peaceful and prosperous society consisting of sage-kings, capable ministers and well-behaved subjects.<br /> <br /> 2.老子哲学并不是弱者的哲学，他的哲学中充满了力量感。老子认为，水在柔弱宁静中，积聚了强大的力量，可以冲破世界上的一切障碍。<br /> <br /> 2.Laozi’s philosophy is not for the weak; it gives a strong sense of strength. Laozi believed that weak and calm as it may seem, water collects great strength that helps it break down all barriers.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:03, 20 December 2020 (UTC)Wu Zijia<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> 1.中庸精神随着时间的推移，其价值和重要性必将日益显现出来，这一点已经有所表现。中庸之道是世界上最具有连续性的文化，也是中国众多文化流派中最具有价值的核心精神和观念。<br /> <br /> 1.With the passage of time, the value and importance of the spirit of the mean will become increasingly apparent, which has already been demonstrated. The Golden Mean is the most continuous culture in the world and the most valuable core spirit and concept among many cultural schools in China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:48, 17 December 2020 (UTC)Xiao Shuangling<br /> <br /> With the passage of time, the value and importance of the spirit of the mean, already demonstrated, will become increasingly apparent. The Golden Mean is the most continuous culture in the world and the most valuable core spirit and concept among many cultural schools in China.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:27, 18 December 2020 (UTC)Wang Xuan<br /> <br /> 2.道教文学艺术就是以宣传道教教义、神仙长生思想以及反映其宗教生活为题材的内容的各种形式的文学艺术作品。文学艺术可以扩大道教的社会影响，进而提高道教的宗教素质。反过来，道教的神仙信仰也给中国文学艺术的发展巨大的影响。<br /> <br /> 2.Taoist literature and art are literary and artistic works in various forms that promote Taoist doctrines, the thoughts of immortal longevity, and reflect their religious life. Literature and art can expand the social influence of Taoism, thereby improving the religious quality of Taoism. In turn, Taoist belief in immortals has also had a huge impact on the development of Chinese literature and art.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:48, 17 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> 1.儒家思想对中国文化的影响很深。传统的责任感思想、节制思想和忠孝思想，都是它和封建统治结合的结果，因此，儒家思想是连同我们当代在内的主流思想。儒学在中国存在几千年，对于中国的政治、经济等各个方面依然存在巨大的潜在影响。<br /> <br /> Confucianism has had a profound influence on Chinese culture。The traditional ideas of responsibility, moderation, and loyalty and filial piety are the result of its combination with feudal rule, and thus Confucianism is the dominant ideology along with our contemporary times. Confucianism has existed in China for thousands of years and still has a huge potential influence on all aspects of Chinese politics and economy.<br /> <br /> Confucianism has had a profound influence on Chinese culture. The traditional ideas of responsibility, moderation, and loyalty and filial piety are the result of its combination with feudal rule, and thus Confucianism has been the dominant ideology along with our contemporary times. Confucianism has existed in China for thousands of years and still has maintain a huge potential influence on all aspects of Chinese politics and economy.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:48, 18 December 2020 (UTC)<br /> <br /> 2．和谐文化建设是构建社会主义和谐社会的要义之一。中国传统道教文化对中国社会产生了深远的影响。在当今构建和谐社会的进程中,道教文化依然有其独特的存在价值。<br /> <br /> The building of a harmonious culture is one of the essentials for building a harmonious socialist society. The traditional Chinese Taoist culture has had a profound influence on Chinese society. In the process of building a harmonious society today, Taoist culture still has its unique value to exist.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 09:14, 17 December 2020 (UTC)Xiao Ting<br /> <br /> The construction of a harmonious culture is one of the essentials of a harmonious socialist society. Taoist culture, a traditional Chinese culture, has exerted a profound influence on Chinese society. It still embraces unique value in today's building of a harmonious society. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:29, 17 December 2020 (UTC)<br /> <br /> ==Xie Fan 解帆==<br /> 1.孔子学院是中外合作建立的非营利性教育机构，致力于适应世界各国（地区）人民对汉语学习的需要，增进世界各国（地区）人民对中国语言文化的了解。<br /> <br /> Confucius Institutes are non-profit educational institutions jointly established by China and other countries. They are dedicated to meeting the needs of people in all countries (regions) for Chinese learning and promoting their understanding of Chinese language and culture.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:24, 18 December 2020 (UTC)<br /> <br /> The Confucius Institute is a non-profit educational institution established through Sino-foreign cooperation, dedicated to meeting the needs of people around the world for Chinese language learning and enhancing their understanding of Chinese language and culture.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:57, 18 December 2020 (UTC)<br /> <br /> 2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。<br /> <br /> Since the reform and opening up, under the guidance of the religious policies of the CPC and the government in the new era, Taoism in China has shown an unprecedented look and made positive contributions to promoting economic development, social harmony, reunification of the country and world peace.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:24, 18 December 2020 (UTC)<br /> <br /> Since the reform and opening up, under the guidance of the Party and the government's religious policies in the new era, Chinese Taoism has taken on a new and unprecedented appearance, making positive contributions to the economic development, social harmony, reunification of the motherland and world peace.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:57, 18 December 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> 1. 孔子去世后，其弟子及再传弟子把孔子及其弟子的言行语录和思想记录下来，整理编成《论语》。该书被奉为儒家经典。<br /> <br /> After the death of Confucius, his students wrote down all conversations they had with their teacher and then compiled them into the Analects, which has been regarded as a classic of Confucianism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:40, 18 December 2020 (UTC)Xu Jia<br /> <br /> After the death of Confucius, his disciples and re-disciples recorded the words and thoughts of Confucius and his disciples and compiled them into the ''Analects'', which is regarded as a classic of Confucianism.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:06, 18 December 2020 (UTC)<br /> <br /> 2. 《老子》书提出以“道”为核心的哲学思想体系。它以道为宇宙的根本，阐述了道的本质、特点及其运动变化的规律。<br /> <br /> The book Laozi establishes a philosophical system of thought with the Tao as its core. It takes Tao as the root of the universe, and explains the nature and characteristics of Tao and its laws of movement and change.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:40, 18 December 2020 (UTC)Xu Jia<br /> <br /> The book, ''Laozi'', presents a philosophical system of thought with the Tao as its core. It takes Tao as the root of the universe, and explains the nature and characteristics of Tao and its laws of movement and change.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:06, 18 December 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> 因此古儒实际上是在一个礼崩乐坏的时代，努力复兴西周价值的这样一个学派。离开了对西周这一套的分析，我们是没有办法认识古儒的。<br /> <br /> Thus ancient Confucianism was in fact a school of thought striving to revive the values of the Western Zhou at a time when rituals and music were in ruins. It can not be fully understood without an analysis of Western Zhou.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 10:08, 20 December 2020 (UTC)<br /> <br /> 老子说：“上善若水，水善利万物而不争。”水无常形，顺势而为，为而不争，方达所愿。可以削平山川却堵不住流水。“不争先”不是不求上进，而是尊重自然规律，不破坏均衡，不因小失大、迷失自我。<br /> <br /> Lao Tzu said, &quot;Water is good for it is good for all things but does not compete.&quot; Water has no permanent form. It follows the trend and does not struggle to reach its destination. While it is possible to cut down mountains water can not be blocked. &quot;It is not a matter of not striving for advancement, but of respecting the laws of nature, not destroying the balance, not losing oneself for the sake of minor things.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 10:08, 20 December 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> 1. 南北朝时期（420一589）是道教进一步充实完善的时代，是道教走上成熟的时代，出现了众多的道教改革家、理论家，他们的活动对后世道教有着重要的影响。<br /> <br /> 1. The Southern and Northern Dynasties period (420-589) was a time when Taoism was further enriched, a time when Taoism came to maturity and numerous Taoist reformers and theorists emerged, having an important influence on the development of Taoism.<br /> <br /> Taoism was further developed and came to maturity in the Southern and Northern Dynastie(420-589) when numerous Taoist reformers and theorists emerged and their activities had an important influence on the development of Taoism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:47, 18 December 2020 (UTC)Xu Jia<br /> <br /> <br /> 2. 曲阜孔庙为纪念孔夫子而兴建，千百年来屡毁屡建，到今天已经发展成超过100座殿堂的建筑群。<br /> <br /> 2. The Confucius Temple in Qufu was built to commemorate Confucius, which has been destroyed and built again and again over the centuries. Today, it has grown into a building complex of over 100 palaces today.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:19, 17 December 2020 (UTC)Yang Chenting<br /> <br /> The Confucius Temple in Qufu was built to commemorate Confucius, which has been destroyed and rebuilt again and again over the past centuries. Today, it has grown into a building complex of over 100 palaces.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:49, 17 December 2020 (UTC)Mo Ling<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> 1.儒家的“德治”主义就是主张以道德去感化教育人。儒家认为，无论人性善恶，都可以用道德去感化教育人。这种教化方式，是一种心理上的改造，使人心良善，知道耻辱而无奸邪之心。<br /> The Confucian &quot;rule of virtue&quot; doctrine advocates the use of morality to influence and educate people. Confucianism believes that no matter what human nature is good or bad, morality can be used to influence and educate people. This way of enlightenment is a kind of psychological transformation, making people good-hearted, knowing the shame and not being evil.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)<br /> <br /> Confucian doctrine of &quot;rule of virtue&quot; advocates the use of morality to influence and educate people. Confucianism believes that no matter what human nature is, good or evil, morality can be used to influence and educate people. This way of enlightenment is a kind of psychological transformation, making people kind-hearted and knowing the shame but not being evil.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)<br /> <br /> 2.“己所不欲，勿施于人”、“躬自厚而薄责于人” 等，都是孔子的做人准则。<br /> &quot;Do not do to others what you do not want to do to others&quot;, &quot;self-respect and responsibilities to others&quot; are all Confucius’s principles of life.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)<br /> <br /> &quot;Do not do to others what you do not want to do to yourself&quot; and &quot;self-respect and responsibilities to others&quot; are both Confucius's codes of conduct.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)<br /> <br /> 3.认为天地万物都有&quot;道&quot;而派生，即所谓&quot;一生二，二生三，三生万物&quot;，社会人生都应法&quot;道&quot;而行，最后回归自然。<br /> It is believed that all things in heaven and earth are derived from &quot;Tao&quot;, which is the so-called &quot;One life two, two life three, three life all things&quot;, social life should follow the law &quot;Tao&quot; and finally return to nature.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)<br /> <br /> It is believed that all things in heaven and earth are derived from &quot;Tao&quot;, which is the so-called &quot;Two in one, three in two, three in all&quot;. Social life should all follow the law &quot;Tao&quot; and finally return to nature.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> 1.孔子追求的“礼”，是西周时的等级名分制度。为了实现“礼”，孔子进一步提出了“正名”的主张。<br /> <br /> Confucius's pursuit of &quot; rites &quot; is the Western Zhou Dynasty hierarchy system.In order to realize the &quot; rites &quot;, Confucius further put forward the &quot; rectification of name &quot;.<br /> <br /> The &quot;ritual&quot; pursued by Confucius was the hierarchical system of the Western Zhou Dynasty. In order to realize &quot;li&quot;, Confucius further proposed the idea of &quot;rectification of name&quot;.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:59, 19 December 2020 (UTC)<br /> <br /> 2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象,为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。 <br /> <br /> Since the reform and opening-up, under the guidance of the religious policies of the Party and the government in the new period, Chinese Taoism has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:39, 18 December 2020 (UTC)<br /> <br /> Since the introduction of reform and opening-up, under the guidance of the religious policies of the Party and the government in the new period, Chinese Taoism has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 07:11, 20 December 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> 1、孔子是中国思想史上第一个把道德作为做人和治国首要条件和最高标准提出来的哲人。道德的核心是仁。儒家提倡人与人之间的仁和礼。今天，在中国和其他许多国家，儒学的研究正在迅速增长。<br /> <br /> Confucius was the first philosopher in China's ideological history to propose moral standards as the prior criterion for man's behaviour and governing a country.The core of morality is benevolence. Confucianism advocates benevolence and courtesy among people. Today, in China and many other countries, the study of Confucianism is rapidly growing.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:29, 17 December 2020 (UTC)<br /> <br /> Confucius was the first philosopher in the history of Chinese thought to put morality as the primary and highest standard for being a man and governing a country. The core of morality is benevolence. Confucianism advocates benevolence and etiquette among people. Today, in China and many other countries, the study of Confucianism is growing rapidly. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:04, 17 December 2020 (UTC)<br /> <br /> 2、道教是中国固有的一种宗教，距今已有1800余年的历史。它深深扎根于中华沃土之中，具有鲜明的中国特色,并对中华文化的各个层面产生了深远影响。 <br /> <br /> Taoism, an inherent religion of China, has a history of over 1800 years. It is deeply rooted in the Chinese fertile soil with distinct Chinese characteristics, and have a profound impact on all levels of Chinese culture.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:29, 17 December 2020 (UTC)<br /> <br /> Taoism is a religion inherent in China, with a history of more than 1,800 years. It is deeply rooted in the fertile soil of China, with distinctive Chinese characteristics, and a profound impact on overall Chinese culture. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:04, 17 December 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> 孔子在卫国住了约10个月，因有人在卫灵公面前进谗言，卫灵公对孔子起了疑心，派人公开监视孔子的行动，因此孔子带弟子离开卫国，打算去陈国。<br /> <br /> Confucius lived in Wei State for about 10 months. Due to someone advancing slander in front of Duke Ling of Wei, he became suspicious of Confucius and sent people to publicly monitor Confucius. Therefore, Confucius led his disciples to leave Wei and planned to go to Chen State. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:00, 17 December 2020 (UTC)<br /> <br /> 道教继承和发展了先秦道家思想，将“道”作为最高信仰，从中演化出最高经典，最上道术及最高的神灵，构建了庞大的经典道术神仙体系。<br /> <br /> Daoism inherited and developed Taoism thought in the pre-Qin period, taking &quot;Dao&quot; as the highest belief, evolving from it the highest classics, the highest Daoism and the supreme gods, and building a huge system of classic Daoism gods. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:00, 17 December 2020 (UTC)<br /> <br /> 1. Confucius stayed in Wei for about 10 months, but when someone slandered him in front of Duke Weiling, he became suspicious of Confucius and sent people to monitor his movements openly. Therefore, Confucius left Wei with his disciples to Chen. <br /> <br /> 2. Inheriting and developing the pre-Qin dynasty Taoist thought, it holds “Tao” as the highest belief, evolving the highest classics, the highest Taoist arts and the highest deities, forming a huge system of classical Taoist arts and deities.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:22, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> 1.在长期的教学实践活动中，孔子积累和总结了很多教学经验。他主张因材施教，根据学生的不同特点分别指导。<br /> <br /> In the long-term teaching practice, Confucius has accumulated and summarized a lot of teaching experience. He advocated teaching students in accordance with their aptitude and instructing them separately according to their different features.<br /> <br /> In the long-term teaching practice activities, Confucius has accumulated and summed up a lot of teaching experience. He advocates teaching students in accordance with their aptitude and guiding students according to their different characteristics.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 14:01, 19 December 2020 (UTC)<br /> <br /> 2.作为一种宗教实体，道教不仅有其独特的经典教义、神仙信仰和仪式活动，而且还有其宗教传承、教团组织、科戒制度、宗教活动场所。<br /> <br /> As a religious entity, Taoism not only has its unique classical doctrine, immortal belief and ritual activities, but also has its religious inheritance, organization of religious groups, system of discipline and places for religious activities.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:27, 18 December 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> 1.孔子的经济思想最主要的是重义轻利、“见利思义”的义利观与“富民”思想。这也是儒家经济思想的主要内容，对后世有较大的影响。<br /> <br /> The most important economic thought of Confucius is the value of justice over profit, the view of righteousness and benefit, and the thought of enriching the people. This is also the main content of Confucian economic thought, which has great influence on later generations.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:42, 18 December 2020 (UTC)<br /> <br /> <br /> Confucius'economic thought mainly consists of the concept of justice and benefit, the concept of justice and benefit and the thought of enriching the people.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:41, 18 December 2020 (UTC)<br /> <br /> 2.道教哲学和宗教已经渗透到所有受中国影响的亚洲文化中，尤其是越南、日本和韩国的文化。在受中国文化影响的地区，各种宗教习俗让人想起道教，这表明他们与中国游客和移民的早期接触还没有被阐明。<br /> <br /> Daoist philosophy and religion have found their way into all Asian cultures influenced by China, especially those of Vietnam, Japan, and Korea. Various religious practices reminiscent of Daoism in such areas of Chinese cultural influence indicate early contacts with Chinese travelers and immigrants that have yet to be elucidated.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:42, 18 December 2020 (UTC)<br /> <br /> Daoist philosophy and religion have infiltrated all Asian cultures influenced by China, especially those of Vietnam, Japan, and Korea. Various religious practices reminiscent of Daoism in such areas of Chinese cultural influence indicate early contacts with Chinese travelers and immigrants that have yet to be elucidated.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:31, 18 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> 解放前的道教中充满着浓厚的封建气息，对广大道教徒进行爱国主义教育，改革宫观封建经济，废除道教中的封建残余，与反动会道门划清界限，成为道教在新中国面临的重大任务。<br /> <br /> Taoism before liberation was represents strong feudal atmosphere. It became a major task for Taoism in New China to carry out patriotic education for the majority of Taoists, reform the feudal economy of the palace, abolish the remnants of feudalism in Taoism, and draw a clear line with the reactionary Taoist doors.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)<br /> <br /> Taoism before liberation was in strong feudal atmosphere. Therefore, it became a major task for Taoism in New China to carry out patriotic education for the majority of Taoists, reform the feudal economy of the palace, abolish the remnants of feudalism in Taoism, and draw a clear line with the reactionary Taoist doors.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:29, 17 December 2020 (UTC)<br /> <br /> 孔子，姓孔，名丘，字仲尼，公元前551年，出生于春秋后期的鲁国。<br /> <br /> Confucius is known as Kong Qiu, a combination of his surname and his given name, and he is also named as Zhongni, which is his courtesy name.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> 1.儒教是孔子所创立、孟子所发展、荀子所集其大成，之后延绵不断，为历代儒客推崇，至今仍有一定生命力的学术流派。<br /> Confucianism is an academic school which was founded by Confucius, developed by Mencius, and epitomized by Xuncius. It has continued to be admired by scholars of Confucianism and remined vitality until today.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:59, 20 December 2020 (UTC)<br /> <br /> Confucianism is an academic school which was founded by Confucius, developed by Mencius, and epitomized by Xuncius. It has been further developed and admired by scholars of Confucianism in all ages and still has vitality at present.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:32, 20 December 2020 (UTC)<br /> <br /> 2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。<br /> Among the five major religions in our country, Taoism is the only one that originated in China and was founded by Chinese, so it is also called a local religion of China.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:59, 20 December 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> 儒家在先秦时期和诸子百家地位平等。而后 汉武帝为了维护封建专制统治，听从董仲舒&quot;罢黜百家，独尊儒术&quot;的建议，对思想实施钳制，使儒家重新兴起。<br /> Confucianism had equal status with other schools of thought in the pre Qin period. In order to maintain the feudal autocratic rule, Emperor Wu of the Han Dynasty followed Dong Zhongshu's suggestion of &quot;deposing hundreds of schools of thought and respecting Confucianism alone&quot;, so as to reinvigorate Confucianism.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:11, 20 December 2020 (UTC)<br /> <br /> 在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。<br /> Among the five major religions in China, Taoism is the only religion originated in China and founded by Chinese people, so it is also known as local religion.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:11, 20 December 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> 1.身处乱世的孔子所主张的仁政没有施展的空间，但在治理鲁国的三个月中，使强大的齐国也畏惧孔子的才能，足见孔子无愧于杰出政治家的称号。<br /> <br /> The benevolent government advocated by Confucius in troubled times has no room for display, but during the three months of ruling Lu State, the powerful Qi State also feared Confucius’ talents, which shows that Confucius deserves the title of outstanding statesman.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:06, 17 December 2020 (UTC)<br /> <br /> In the troubled times, Confucius' benevolent rule had no room to be exercised, but in the three months he ruled the state of Lu, he made even the powerful state of Qi fear Confucius' talent, which shows that Confucius deserves the title of outstanding statesman.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:13, 17 December 2020 (UTC)<br /> <br /> In the troubled times, Confucius' benevolent rule had no room to give free play, but during the three months he governed the state of Lu, his talent made even the powerful state of Qi fear, which serves to show that Confucius deserves the title of outstanding statesman.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:26, 20 December 2020 (UTC)<br /> <br /> 2.道教继承和发展了先秦道家思想，将“道”作为最高信仰，从中演化出最高经典，最上道术及最高的神灵，构建了庞大的经典道术神仙体系。<br /> <br /> Taoism inherited and developed Taoism thought in the pre-Qin period, taking &quot;Tao&quot; as the highest belief, and evolving from it the highest classics, the highest Taoism and the highest gods, and building a huge system of classic Taoism gods.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:06, 17 December 2020 (UTC)<br /> <br /> Taoism inherited and developed Taoist thought from the pre-Qin dynasty, taking &quot;Tao&quot; as the highest belief, evolving from it the highest classics, the highest Taoist arts and the highest deities, and building a huge system of classical Taoist deities.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:13, 17 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> 1. 孔子63岁时，曾这样形容自己：“发愤忘食，乐以忘忧，不知老之将至。”当时孔子已带领弟子周游列国9个年头，历尽艰辛，不仅未得到诸侯的任用，还险些丧命，但孔子并不灰心，仍然乐观向上，坚持自己的理想，甚至是明知其不可为而为之。<br /> <br /> When Confucius was 63 years old, he used to describe himself as, &quot;(One is) so engrossed in his studies that he forgets to have his meals on time; so cheerful that he forgets all his worries; so youthful that he forgets his actual age.&quot; At that time, Confucius had guided his disciples to travel around the various states and nations for nine years. He had not been appointed by the feudal lord, but he almost died. However, he was not disheartened. He was still optimistic and insisted on his ideal even he knew it was impossible. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 04:05, 17 December 2020 (UTC)<br /> <br /> When Confucius was 63 years old, he used to describe himself as, &quot;(One is) so engrossed in his studies that he forgets to have his meals on time; so cheerful that he forgets all his worries; so youthful that he forgets his actual age.&quot; At that time, Confucius had guided his disciples to travel around the various states and nations for nine years. He had not been appointed by the feudal lord, and even almost died. However, he was not disheartened. He was still optimistic and insisted on his ideal even he knew it was impossible.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:52, 18 December 2020 (UTC)<br /> <br /> 2. 作为中华文化最重要的两翼，道家和儒家的关系比较复杂，它们之间有互相学习的一面，也有互相对立的一面。<br /> <br /> As the two most important components of Chinese culture, Daoism and Confucianism have a complicated relationship, with both learning from each other and opposing each other. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 04:05, 17 December 2020 (UTC)<br /> <br /> As the two most important wings of Chinese culture, Taoism and Confucianism have a complex relationship. Specifically, they are mutually reinforcing and antagonistic.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:34, 17 December 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> 道教是中国的本土宗教，道教主张天人合一，东汉末年出现大量的道教组织。<br /> <br /> Taoism is China's indigenous religion advocating the unity of heaven and man.The end of the Eastern Han Dynasty appeared a large number of Taoist organizations.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:26, 18 December 2020 (UTC)<br /> <br /> Taoism is an indigenous religion of China and it advocates the unity of heaven and man. A large number of Taoist organizations appeared in the late Eastern Han Dynasty. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:19, 18 December 2020 (UTC)<br /> <br /> 儒学思想，是先秦诸子百家学说之一。儒学文化是以儒家学说为指导思想的文化宗派，为春秋时期孔丘所创。<br /> <br /> Confucianism is one of the schools of thought in the pre-Qin dynasty. Confucianism is a school of culture guided by Confucianism. It was created by Confucius in the Spring and Autumn Period.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:26, 18 December 2020 (UTC)<br /> <br /> Confucianism is one of the schools of thought in the pre-Qin periods. Confucian culture is a cultural sect with Confucianism as its guiding ideology, created by Confucius during the Spring and Autumn Period. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:19, 18 December 2020 (UTC)<br /> <br /> Confucianism is one of the schools of thought in the pre-Qin periods. Confucian culture is guided by Confucianism and created by Confucius during the Spring and Autumn Period.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:50, 20 December 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> 1. 现存《仪礼》十七篇，便是由孔子及弟子将活态的典礼仪式转换成凝固态文本的成果。为了突出主要线索，避免枝蔓，宫室形制、服饰裁剪、礼器使用等诸多细节每每被省略，这对当时的读者不会造成阅读障碍。这一次转换是《仪礼》成书的缘起，与孔壁中经一样，旨在保存文化，希冀借助文本形式传于后世。<br /> <br /> 1. The existing 17 &quot;rituals&quot; are the result of Confucius and his disciples transforming the living rituals into solidified texts. In order to highlight the main clues and avoid omitting many details such as branches and tendrils, palace shape, clothing cutting, ritual vessel use, etc., this will not cause dyslexia to the readers at that time. This transformation is the origin of the completion of Yili, which, like Kongbi Zhongjing, aims to preserve culture and hopes to pass it on to later generations in the form of text. <br /> <br /> 2. 道家所主张的“道”，是指天地万物的本质及其自然循环的规律。自然界万物处于经常的运动变化之中，道即是其基本法则。就是关于“道”的具体阐述。所以，人的生命活动符合自然规律，才能够使人长寿。这是道家养生的根本观点。<br /> <br /> 2. The &quot;Tao&quot; advocated by Taoism refers to the essence of all things in the world and the law of their natural circulation. All things in nature are in constant movement and change, and Tao is its basic principle. It is a concrete exposition of &quot;Tao&quot;. Therefore, only when people's life activities conform to the laws of nature can they live a long life. This is the fundamental view of Taoist health preservation. <br /> --[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 01:59, 21 December 2020 (UTC)Zhang Weihong<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 1.儒家学派的创始人孔子第一次打破了旧统治阶级垄断教育的局面，变&quot;学在官府&quot;为&quot;有教无类&quot;，使传统文化教育播及到整个民族。因此儒家思想有了坚实的民族心理基础，为全社会所接受并逐步儒化了全社会。<br /> <br /> For the first time, Confucius, the founder of the Confucian school, broke the monopoly of education by the old ruling class and changed &quot;study in the government&quot; to &quot;education without class&quot;, so that traditional cultural education spread to the entire nation. Therefore, Confucianism has a solid national psychological foundation, accepted by the whole society and gradually Confucianized the whole society.<br /> <br /> 2.春秋战国时期，老子集古圣先贤之大智慧，形成了道家完整系统的理论，标志着道家思想已经正式成型。<br /> <br /> During the Spring and Autumn Period and Warring States Period, Laozi gathered the great wisdom of ancient sages to form a complete and systematic theory of Taoism, marking the formal formation of Taoism.<br /> --[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 03:17, 21 December 2020 (UTC)<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.儒家经书是四书五经，但儒家早期以五经为主，在佛教禅宗的挑战下，宋代程朱理学以四书取代五经的地位。<br /> <br /> The Confucian scriptures are the Four Books and Five Classics. However, the early Confucianism was dominated by the Five Classics. Under the challenge of Zen Buddhism, the neo-Confucianism of Song Dynasty replaced the Five Classics with the Four Books.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:22, 17 December 2020 (UTC)<br /> <br /> The Confucian scriptures are the Four Books and Five Classics, but the early Confucianism was dominated by the Five Classics. Under the challenge of Buddhist Zen Buddhism, the Song Dynasty's Cheng-Zhu Theory replaced the status of the Five Classics with the Four Books.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:13, 17 December 2020 (UTC)<br /> <br /> The scriptures of confucianism are the Four Books and Five Classics, in which the majority is the latter one at the prelimetary stage, but then the Four Books got the upper hand under the theory of Chen-zhu in the Song Dynasty.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:41, 18 December 2020 (UTC)<br /> <br /> <br /> 2.春秋时期，老子总结了古老的道家思想的精华，形成了道家完整系统的理论，标志着道家思想已经正式成型。道家是对中华哲学、文学、科技、艺术、音乐、养生、宗教等影响最深远的学派。<br /> <br /> During the Spring and Autumn Period, Laozi summarized the essence of ancient Taoist thought and formed a complete and systematic theory of Daoism, marking the formal formation of Daoism. Daoism is the school of thought that has had the most profound influence on Chinese philosophy, literature, science and technology, art, music, health care and religion.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:22, 17 December 2020 (UTC)<br /> <br /> During the Spring and Autumn Period, Laozi summarized the essence of ancient Taoist thought and formed a complete and systematic theory of Taoism, marking the formal formation of Taoist thought. Taoism is the school of thought that has had the most profound influence on Chinese philosophy, literature, science and technology, art, music, health care and religion.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:13, 17 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 孔子是中国古代思想家、政治家、教育家，儒家学派创始人。<br /> <br /> Confucius is an ancient Chinese thinker, statesman, educator, and founder of the Confucian school.<br /> <br /> 在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。<br /> <br /> Among the five major religions in my country, Taoism is the only religion that originated in China and was founded by the Chinese, so it is also called a local religion。<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> 1. 孔子是中国著名的思想家、教育家、政治家，与弟子周游列国十四年，晚年修订六经，即《诗》《书》《礼》《乐》《易》《春秋》。<br /> <br /> Confucius was a famous Chinese thinker, educator and statesman who traveled around ancient China with his disciples for 14 years and revised the Six Classics in his later years, namely, The Book of Songs, The Book of History, The Book of Rites, The Book of Music, The Book of Changes, and The Spring and Autumn Annuals.<br /> <br /> 2. 庄子的文章，想象奇幻，构思巧妙，多彩的思想世界和文学意境，文笔汪洋恣肆，具有浪漫主义的艺术风格，瑰丽诡谲，意出尘外，乃先秦诸子文章的典范之作。<br /> <br /> Zhuangzi's writings are full of fantastical imagination, ingenious ideas, colorful world of thought and literary contexts, and unrestrained writing. They also fall to a romantic artistic style which is magnificent and deceitful, boasting for masterpieces among those in the pre-Qin plutocrats.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:19, 20 December 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> 儒学,儒学亦称儒家学说，起源于东周春秋时期，自汉朝汉武帝时期起，成为中国社会的正统思想。<br /> <br /> Confucianism, known as Confucian School, originated from Spring and Autumn Period in the Eastern Zhou Dynasty and became orthodox of the society in China since the reign of Hanwu Emperor of the Han Dynasty. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:17, 20 December 2020 (UTC)<br /> <br /> 在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。<br /> <br /> Among the five major religions, Daoism is the only religion which originated from China and was founded by Chinese. Therefore, it was called native religion as well.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:17, 20 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 1.孔子是当时社会上最博学者之一，在世时就被尊奉为“天纵之圣”“天之木铎”，更被后世统治者尊为孔圣人、至圣、至圣先师、大成至圣文宣王先师、万世师表。<br /> <br /> Confucius was one of the most knowledgeable people in the society at that time, and he was honored as &quot;the sage of heaven&quot; and &quot;the mudor of heaven&quot; during his lifetime.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:09, 17 December 2020 (UTC)<br /> <br /> Confucius was one of the most erudite scholars in society at that time. He was honored as the &quot;Sage of Heaven&quot; and &quot;Wood Duo of Heaven&quot; when he was alive. The most sacred Wenxuan Wang Xianshi, Wanshishishi.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:16, 17 December 2020 (UTC)<br /> <br /> Confucius was one of the most knowledgeable people in the society at that time, and he was honored as &quot;the sage from heaven&quot; and is honored as &quot;the mudor of heaven&quot; nowadays.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 04:05, 17 December 2020 (UTC)<br /> <br /> 2.道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。<br /> <br /> Taoism has had a profound impact on the politics, economy and culture of our ancient times and was one of the three spiritual pillars of the ruling class.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:09, 17 December 2020 (UTC)<br /> <br /> Taoism had a profound impact on the politics, economy and culture of our country in ancient times, and it is one of the three spiritual pillars of the ruling class.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:16, 17 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> 1.孔子是儒家学派创始人，他提出“仁”，具有古典人道主义的性质：主张“礼”，维护周礼这是孔子政治思想中的保守部分。儒家文化后来发展成为中国古代正统文化。<br /> <br /> Confucius is the founder of The Confucian school, he proposed &quot;benevolence&quot;, with the nature of classical humanitarianism: advocated &quot;rites&quot; and maintained the Rites of Zhou, which is the conservative part of Confucius' political thought. Confucian culture later developed into the orthodox culture of ancient China<br /> <br /> 2.道家所主张的“道”，是指天地万物的本质及其自然循环的规律。自然界万物处于经常的运动变化之中，道即是其基本法则。<br /> <br /> The &quot;Tao&quot; advocated by Taoism refers to the nature of the universe and the law of its natural cycle. Everything in nature is in constant motion and change, and tao is its fundamental law.<br /> --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 14:58, 20 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> 1.儒家思想是中国文明史经历了夏、商、周的近1700年之后，由春秋末期思想家孔子所创立。孔子创立的儒家学说在总结、概括和继承了夏、商、周三代尊尊亲亲传统文化的基础上形成的一个完整的思想体系。<br /> <br /> Confucianism was founded by the thinker Confucius in the late Spring and Autumn Period after nearly 1700 years in the history of Chinese civilization. The Confucianism founded by Confucius formed a complete ideological system on the basis of summarizing, generalizing and inheriting the traditional culture of respecting and respecting relatives in Xia, Shang and Zhou.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:02, 21 December 2020 (UTC)<br /> <br /> 2.若是说儒家的中枢是仁的话，那么道家的中枢便是自然。依道家来看，儒的倡导虽好，却只能靠严以律已刻意做到，一有不慎，则内以伤身，外以乱人。宋朝时，儒生发展到“存天理、灭人欲”便可看出。而道以自然为本，更加贴近于人的生活。<br /> <br /> If the essential idea of Confucianism is benevolence, then for Taoism, it is nature. According to Taoism, although the advocacy of Confucianism is good, it can only be done deliberately by strict rules. If there is any carelessness, it will hurt the body internally and disturb people externally. In the Song Dynasty, it can be seen that Confucian scholars developed to &quot;save the laws of nature and destroy the desires of man.&quot; Based on nature, Taoism is closer to people's lives.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:02, 21 December 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> 孔子把天看成是不断创造生命的自然界，天带有某种神圣性，人对于天应该敬畏和感恩。<br /> <br /> Confucius regarded heaven as a nature where lives are bestowed, therefore, heaven is sacred and deserves awe and gratitude from people. <br /> <br /> <br /> 老子说：“道法自然。”“自然“是老子哲学最重要的概念之一，它并非指外在的自然物，而指自然而然、顺应世界的态度。<br /> <br /> Lao Tzu once said, &quot;Tao follows the principle of nature.&quot; &quot;Nature&quot; as one of the most important concepts in Laozi's philosophy, it does not refer to any external natural objects, but to a attitude of conformity to nature and the world.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 04:06, 21 December 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> 1.孔子的美学思想核心为“美”和“善”的统一，也是形式与内容的统一。孔子提倡“诗教”，即把文学艺术和政治道德结合起来，把文学艺术当作改变社会和政治的手段，陶冶情操的重要方式。并且孔子认为，一个完人，应该在诗、礼、乐修身成性。孔子的美学思想对后世的文艺理论影响巨大。<br /> <br /> The core of Confucius’s aesthetic thought is the unity of “beauty” and “Goodness” , as well as the unity of form and content. Confucius advocated “Poetic Education” , that is, the combination of literature and art and political morality, literature and art as a means to change society and politics, an important way to cultivate sentiment. And Confucius thought, a perfect person, should be in poetry, ritual, music self cultivation. Confucius’s aesthetic thought had a great influence on the literary theory of later ages.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 14:30, 20 December 2020 (UTC)<br /> <br /> 2.老子思想的核心是道，道的本性即是自然，出于对自然的推崇，老子也很推崇素朴和稚拙。古朴、稚拙作为一种美的形态，在中国古代一直受到人们普遍的赞颂，与此对立的华艳轻浮，历来为人们所蔑视，这一倾向即受到老子思想的影响。古朴、稚拙之外，老子也很推崇恬淡。平淡之美，也为很多人所崇尚，在宋代更成为一种审美风尚。<br /> <br /> The core of Lao Zi's thought is &quot;Tao&quot;, which essential is nature. Due to his extol the nature, Lao Zi also praise simplicity and naivety. simplicity and naivety, as a type of beauty, always be admired during Chinese ancient time. On its oppsite, extravagance and flippancy Has always been despised by people. this tendency was influenced by Laozi's thought. In addition tosimplicity and naivety, Laotse also highly praised plain. Plain Beauty, also for many people advocate. Moreover in the Song dynasty it become an aesthetic trend.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 14:30, 20 December 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> 1.儒家文化对当代社会的现实意义在于它的道德价值、教育价值及政治价值。儒家的孝道文化，是中华民族的宝贵精神财富，在当今社会更应该代代传承，发扬光大。知行合一这种思想对于解决今天的应试教育与素质教育相矛盾、学校教育与社会需求相脱节的问题有着十分重要的意义。<br /> <br /> The practical significance of Confucian culture to contemporary society lies in its moral value, educational value and political value. The Confucian filial piety culture is the precious spiritual wealth of the Chinese nation, and it should be passed down from generation to generation and carried forward in today's society. The idea of ​​the unity of knowledge and action is of great significance for solving the contradiction between today's test-oriented education and quality education, and the disconnection between school education and social demand.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 04:57, 21 December 2020 (UTC)Zou Xinyu<br /> <br /> 2.道家认为物各有性，性各不同，即万物各有其本性，每种事物本性各不相同，所以应尊重万物天性，顺其自然，这样才合乎大道。<br /> <br /> Taoists believe that everything has its own nature, and the nature of each thing is different. Therefore, we should respect the nature of all things and let nature take its course, so as to conform to the Dao.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 04:57, 21 December 2020 (UTC)Zou Xinyu<br /> <br /> ==Zubareva, Ekaterina==<br /> <br /> 1.Confucianism, the way of life propagated by Confucius (6th–5th century BCE) and followed by the Chinese people for more than two millennia.<br /> <br /> 儒教，是孔子（公元前6至5世纪）传播的生活方式，其后是中国人传播了两千多年。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:05, 20 December 2020 (UTC)<br /> <br /> 儒家思想由孔子（公元前6-5世纪）传播一种生活方式，中国人已遵循的两千多年。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:22, 20 December 2020 (UTC)<br /> <br /> 2.Taoism, indigenous religion-philosophical tradition that has shaped Chinese life for more than 2000 years.<br /> <br /> 道教是一种固有的宗教哲学传统，已经改变了中国2000多年的生活。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:05, 20 December 2020 (UTC)<br /> <br /> 道教是中国的本土宗教，也是一种哲学传统，影响了中国2000多年。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:22, 20 December 2020 (UTC)</div>

Qu Miao https://bou.de/u/index.php?title=20201215_cultexam_2&diff=115036 2020-12-18T16:32:42Z

<p>Qu Miao: /* Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 英语笔译 */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 English Interpreting==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance(&lt;span style=&quot;color:red&quot;&gt;advanced&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:15, 18 December 2020 (UTC) culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic(&lt;span style=&quot;color:red&quot;&gt;historical&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and(&lt;span style=&quot;color:red&quot;&gt;the&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of(&lt;span style=&quot;color:red&quot;&gt;the&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of (&lt;span style=&quot;color:red&quot;&gt;the&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of (&lt;span style=&quot;color:red&quot;&gt;the&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, (&lt;span style=&quot;color:red&quot;&gt;the&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate(&lt;span style=&quot;color:red&quot;&gt;the&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013.(Zou Jingyi , Zhang Yimei 2018,131)<br /> <br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered（改） in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. 空格 (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:16, 18 December 2020 (UTC)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1.Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi - Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.(Kang Yuming, Li Jinfeng2020,281)<br /> <br /> 1.(点号后空格)Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi - Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. 这句话意思不太理解。During the Ming and Qing dynasties, the government controlled（改） tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. 空格 (Kang Yuming, Li Jinfeng2020,281) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:28, 18 December 2020 (UTC)<br /> <br /> <br /> 3.The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD .It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.<br /> 4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, .(Kang Yuming, Li Jinfeng2020,282)<br /> <br /> 3. (点号后空格)The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. (句点空格) It is in the south of Yunnan's main tea producing area. It is an important trade channel between ancient China and South Asia.<br /> 4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers(逗号删掉).(Kang Yuming, Li Jinfeng2020,282) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:28, 18 December 2020 (UTC)<br /> <br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route （改） pass through Chengdu, and their development is closely related to the tea-horse trade. (句点后空格) (Kang Yuming,Li Jinfeng2020,283) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:28, 18 December 2020 (UTC)<br /> <br /> ===Historical Values===<br /> 1.The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.<br /> <br /> 1. 点号后空格 The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation and exclusive resources and is unparalleled in the world. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Ji Jing2016,354)<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. 句点后空格 (Ji Jing2016,354)--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> <br /> 3.Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.<br /> <br /> 3. 点号后空格 Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> <br /> 4. The Path of National Spirituality<br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Ji Jing2016,355)<br /> <br /> 4. The Path of National Spirituality<br /> We can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and becomes a part of the Chinese national spirit. 句点后空格 (Ji Jing2016,355)--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> <br /> 5.The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.<br /> <br /> 5. 点号后空格 The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> <br /> 6.The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.<br /> <br /> 6. 空格 The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributes to the stability and consolidation of China's southwest frontier. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> <br /> 7.The road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:25, 18 December 2020 (UTC)<br /> <br /> 7. 空格 The road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. 空格 (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:25, 18 December 2020 (UTC) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 1.What is 多了个空格 the ancient tea horse road ? --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:37, 18 December 2020 (UTC)<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 2.How many main routes 多了个空格 does the ancient tea-horse road include? --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:37, 18 December 2020 (UTC)<br /> <br /> 3.What is the historical value?<br /> <br /> 3.What is the historical value of the ancient tea-horse road? --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:37, 18 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> <br /> Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].<br /> ''北京规划建设 BeiJing Planning Review''(04)131-140.<br /> <br /> Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技Rural Economy and Science'' 31(11)281-283.<br /> <br /> Li Gang, Li Wei李刚,李薇.(2011).论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History].''西北大学学报Journal of Northwestern University'' 41(04):113-117.<br /> <br /> Ji Ji纪静.(2016.)茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ].''福建茶叶 Tea In Fujian'' 38(07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:23, 18 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪 学号missing 英语口译==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.[Please add your quotation]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:02, 18 December 2020 (UTC)Wu Zijia<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:05, 18 December 2020 (UTC)Wu Zijia<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:08, 18 December 2020 (UTC)Wu Zijia<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.[Too long]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:09, 18 December 2020 (UTC)Wu Zijia<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:11, 18 December 2020 (UTC)Wu Zijia<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> *[1]https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> *[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012<br /> *[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012<br /> *[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012<br /> *[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012<br /> *[6]四大谴责小说政治批判手法研究[J].李辉东,2017<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Play - Li Lili 李丽丽==<br /> ===Shadow Play Li Lili No.202070080594 MTI===<br /> 大标题+小标题+名字拼音+汉字+学号+专业，大标题应该涵盖小标题，比如文学，《红楼梦》...(可以直接在最上面一栏写哦，不必再写一栏）--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 15:00, 17 December 2020 (UTC)<br /> <br /> ====The Origin of Shadow Play====<br /> Shadow play has a long history from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning for her was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid，so he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13) <br /> <br /> Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he could not put down for a long time. This love story is considered to be the earliest origin of shadow play.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:29, 18 December 2020 (UTC)<br /> <br /> There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development is closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)<br /> <br /> There are also some views that shadow play originated in Xi'an during the Tang Dynasty. However, it is worth discussing that although there were various operas in the Tang Dynasty, there is no record of any shadow plays in the Tang Dynasty. Up to now, the earliest record of shadow play that we can see is in Song Dynasty. Its rise and development were closely related to the superior geographical environment, the development of commodity trade and good commercial transportation at that time in Bianjing (the capital of the Northern Song Dynasty).--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:29, 18 December 2020 (UTC)<br /> <br /> ====Introduction====<br /> 可以复制别人图片的格式，修改名字和来源即可--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)<br /> [[File:shadow play.jpg|300px|thumb|right|]]<br /> <br /> In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)<br /> <br /> In ancient Chinese society, the Chinese people began to perform with puppets against a luminous screen. This was &quot;shadow puppets&quot;, also known as &quot;light and shadow play&quot;. It is considered the “predecessor of movie” because it was the earliest physical moving part in the world to be dubbed with human voices. In the play, puppeteers hide behind a white screen and move puppets while narrating the story, usually through singing. The performances are accompanied by musicians playing percussion and stringed instruments. Shadow puppets can perform actions such as “serving wine”, “waving a sword and dancing a spear,” and even “smoking” by the puppeteer holding and moving joysticks on its body.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)<br /> <br /> Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)<br /> <br /> Typically, a shadow play has three poles, and some may have five or seven. It can create a rich variety of designs, for example shadow puppets, animals and stage props such as buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It incorporates traditional Chinese modeling and performing arts as well as the arts of painting, paper-cutting, local opera, and ventriloquism. Besides, it has absorbed the essence of local operas and folk songs and formed many genres. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play, etc.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)<br /> <br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)<br /> <br /> So how do you make a puppet? Firstly, draw a picture of each part of the shadow puppet; secondly, finish the carving with a knife and put the hard board underneath the designed pattern; thirdly, color the puppet with watercolor pens; fourthly, paint the body parts with a brush dipped in oil paint. It can make the puppet transparent and better reflect colors under the light; fifthly, connect the joint sections with the cotton thread; sixthly, make the joysticks; finally, attach the joysticks to the shadow puppet with cotton thread. Due to the different movements of the joysticks, the shadow puppet has a life and can express joy, anger, sorrow and happiness.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people are short beard, but the elderly men are long beard. (Wang Yexia 2012,10-11)<br /> <br /> The eyes and the eyebrows of the shadow puppet’s five facial features represent different personalities. A good and upright person is typically benevolent and kind with nice-looking eyebrows and eyes, while a villain or general is ferocious and evil-looking with sharp eyebrows and almond-shaped eyes. And the former tends to hide their teeth and the latter show their teeth. The middle-aged people have short beards, while the elderly men have long beards.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)<br /> <br /> The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and are often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)<br /> <br /> The decorative patterns on the shadow puppets are so important that they must match the social status of characters. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenixes, while male characters are often decorated with patterns such as dragons, tigers, water and clouds. The shadows puppets look colorful under the light. To achieve a better visual effect, translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. Red is a symbol of heroic and upright character and the representative is Guan Yu. Black indicates a fair, honest and selfless character and the representative is Zhang Fei. Yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic powers.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）<br /> <br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of scripts, the painting and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, with the exception of a few places, lasted until 1976.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:40, 18 December 2020 (UTC)<br /> <br /> After the end of the &quot;Cultural Revolution&quot;, shadow puppet art revived rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> <br /> After the end of the &quot;Cultural Revolution&quot;, the art of shadow puppet was rapidly revived. However, as economic development was placed at the forefront of social activities with the popularity of television and the enrichment of art forms, shadow play is declining with an irresistible trend, because the art of shadow play are unable to keep pace with the times and be appreciated by the audience. As a result, the future of shadow play is becoming increasingly bleak.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:52, 18 December 2020 (UTC)<br /> <br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.（baidubaike）引用不规范--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:53, 18 December 2020 (UTC)<br /> <br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:52, 18 December 2020 (UTC)<br /> <br /> ===References===<br /> *Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House] <br /> *Wei Liqun 魏力群.(2018). 《小书大传承-皮影》[&quot;Small Book, Big Heritage - Shadow Play&quot;] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]<br /> *Zhu Hengfu 朱恒夫.(2020) 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]<br /> *https://baike.baidu.com/item/%E7%9A%AE%E5%BD%B1%E6%88%8F/23224?fr=aladdin<br /> <br /> ===Words and Expressions===<br /> *shadow puppet皮影戏 <br /> *paper cutting 剪纸<br /> *ventriloquism 口技<br /> *manipulating rod 操纵杆<br /> *five facial features 五官<br /> *sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> *Cultural Revolution 文化大革命<br /> *intangible cultural heritage 非物质文化遗产<br /> <br /> ===Questions===<br /> *1.When is the earliest shadow puppet’s record? <br /> *2.What art of forms do shadow play use?<br /> *3. What does a red head stand for in a play?<br /> *4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> ===Answers===<br /> *1.Song dynasty.<br /> *2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> *3.The red is symbol of a heroic and upstanding character.<br /> *4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI ==<br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) <br /> <br /> After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> After more than 2,000 years of development and evolution, Confucian culture has built up a complete ideological system, covering politics, education, morality and ethics, codes of conduct, life skills and many other aspects.It has long nurtured the wisdom and mind of the Chinese people and formed a fixed modes of thinking, psychology and survival, which are deeply rooted in the nation.--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 03:49, 18 December 2020 (UTC)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) <br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as the dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education, and '''being educated and sensible''' became a basic requirement. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19)--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 03:59, 18 December 2020 (UTC)<br /> <br /> For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.<br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)<br /> <br /> In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is the fundamental reason why Confucianism was so popular with the feudal rulers, <br /> Instead of promoting social equality, it worked to maintain an unequal and slavish feudal hierarchy. Indeed, after a long period of feudal rule, the sense of hierarchy would enslave the national psyche. With the progress of times and civilization, Confucianism's view of the Mandate of Heaven and the ruling ideology of social order have becme a psychological yoke that enslaved the people.--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:33, 18 December 2020 (UTC)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)<br /> <br /> Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) <br /> <br /> Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) <br /> <br /> Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)<br /> <br /> The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)<br /> <br /> The concept '''has not only served''' as theoretical basis for reformers in the past, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, '''by promoting the &quot;innovative&quot; spirit of Confucianism''', we can greatly enhance the reform consciousness of the Chinese people; externally, by using the influence of Confucianism in the world, we can help promote opening up to the outside world.(Li Chengzong 2002, 67)--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 06:42, 18 December 2020 (UTC)<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) <br /> <br /> Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)<br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) <br /> <br /> In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) <br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral '''qualities in order to play an exemplary and leading role'''. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) --[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:40, 18 December 2020 (UTC)<br /> <br /> In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)<br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> As China's international status continues to rise and international contacts become more widespread, Chinese culture is gaining more and more attention overseas. The demand for Chinese language learning and understanding of Chinese culture has grown dramatically around the world. The Confucius Institute project, founded in 2004, emerges in this context. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30)--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:43, 18 December 2020 (UTC) <br /> <br /> Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)<br /> <br /> At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) <br /> <br /> Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ====Answers====<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ====References====<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. '''[The pages are not given]'''<br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. '''[The pages are not given]'''<br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.'''[The pages are not given]'''<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. '''[The pages are not given]'''<br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. '''[The pages are not given]'''<br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. '''[The pages are not given]'''<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. '''[The pages are not given]'''<br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C． '''[The pages are not given]'''<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. '''[The pages are not given]'''--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:34, 18 December 2020 (UTC)<br /> <br /> ==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:00, 13 December 2020 (UTC)--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧， 202070080597，MTI==<br /> 大标题+小标题+名字拼音+汉字+学号+专业--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> '''相声 Crosstalk'''<br /> <br /> ===The Development of Crosstalk===<br /> <br /> Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)<br /> <br /> Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)夹注应在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) <br /> <br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)<br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people 这句话语法错误--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) . The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata 这句话关联词不完整， spread主谓注意一致，注意逗号的使用以及夹注在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:01)<br /> <br /> ===Four Basic Skills in Crosstalk===<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194)作者？--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation 不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). By learning all kinds of sounds to gain the ability to imitate不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:11)<br /> <br /> ===Characteristics of Crosstalk===<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)参考格式(Liu Miqing 2010, 17) --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties 没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> <br /> “Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)<br /> <br /> Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)<br /> <br /> ===Famous Artists of CrossTalk===<br /> <br /> In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )<br /> <br /> ===Terms and Expressions===<br /> <br /> speaking, imitating, teasing and singing 说学逗唱<br /> <br /> Taiping lyrics 太平歌词<br /> <br /> Baofu 包袱<br /> <br /> Drama Talks 《戏剧杂谈》<br /> <br /> Drunkenness 《醉酒》<br /> <br /> Selling Tickets 《卖挂票》<br /> <br /> ===Questions===<br /> <br /> 1.When did crosstalk form its format?<br /> <br /> 2.What is Taiping lyrics?<br /> <br /> 3.Who was regarded as the “ancestor”of crosstalk art ?<br /> <br /> 4.What are the four basic skills of crosstalk?<br /> <br /> ===Answers===<br /> <br /> 1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.<br /> <br /> 2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.<br /> <br /> 3.Zhu Shaowen.<br /> <br /> 4.They are speaking, imitating, teasing and singing.<br /> <br /> ===References===<br /> <br /> 1.Hou Baolin，Xue Baokun，1982，《相声溯源》，People's Education Press<br /> <br /> 2.https://cul.sohu.com/20090619/n264630449.shtml<br /> <br /> 3.https://baike.so.com/doc/1925383-2037001.html<br /> <br /> 4.https://baijiahao.baidu.com/s?id=1590742532351773378<br /> <br /> 注意参考文献格式：<br /> Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO - Liu Yi 刘艺 202070080640 MTI===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2]<br /> <br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4]<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> ==Liu Yiyu 刘怡瑜,202070080598 MTI--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==<br /> <br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> <br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. <br /> <br /> At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. <br /> <br /> Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. <br /> <br /> He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. <br /> <br /> Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. <br /> <br /> Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.<br /> <br /> His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.<br /> <br /> 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”<br /> <br /> History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. <br /> <br /> It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:33, 18 December 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 英语笔译==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170) <br /> <br /> Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)<br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178) <br /> <br /> By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) <br /> <br /> During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) <br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)<br /> <br /> The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)<br /> <br /> The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)<br /> <br /> In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) <br /> <br /> In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)<br /> <br /> <br /> In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175) <br /> <br /> In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)<br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)<br /> <br /> The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong ofTang Dynasty 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.<br /> <br /> MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==<br /> <br /> ===Four State-level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.<br /> <br /> ====Simuwu Ding====<br /> <br /> [[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]] <br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).<br /> <br /> Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015). <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015). <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> [[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]] <br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020). <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016). <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> [[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]] <br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> [[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]] <br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu &amp; Zhao Jing, 2019).<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu &amp; Zhao Jing, 2019). <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).<br /> <br /> ===Terms and Expressions===<br /> <br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> Anna 安娜.(2015).中国人的鼎文化. 科学大观园(15),72-73.<br /> <br /> Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟. 中华文化论坛(11),2.<br /> <br /> Li Xiaohu &amp; Zhao Jing 李小虎 &amp; 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读. 艺术教育(09),170-171.<br /> <br /> Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上).中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中).中国文物报,006.<br /> <br /> Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下).中国文物报,006.<br /> <br /> Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 .文物鉴定与鉴赏 (03):38-39.<br /> <br /> Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[M]. 北京:商务印书馆.<br /> <br /> Wang Jing 王静.(2008).汉代玉衣研究(硕士学位论文,河北师范大学).<br /> <br /> Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究.艺术品鉴, (26):10-11.<br /> <br /> Wan Quanwen 万全文.(2020).曾侯乙编钟.文史知识 (11):1-2.<br /> <br /> Zhou Yi 周仪.(2016).“八音合鸣 乐舞齐容”——大型乐舞作品《编钟乐舞》述评. 戏剧之家(19),66-67+79.<br /> <br /> == Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 英语笔译 ==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panorama view of the Forbidden City.jpg|300px|thumb|left|A Panorama view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> The common English name &quot;Forbidden City&quot; is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)<br /> <br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> <br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)<br /> <br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(????????quotation)<br /> --[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)<br /> <br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)<br /> <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)<br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602 &lt;span style=&quot;color:red&quot;&gt;【专业 is missing】&lt;/span&gt;==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents. <br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents. &lt;span style=&quot;color:red&quot;&gt;【quotation is missing】&lt;/span&gt;<br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refersthat if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers&lt;span style=&quot;color:red&quot;&gt;【refers to a practice that..】&lt;/span&gt; that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks, phoenix&lt;span style=&quot;color:red&quot;&gt;【？】&lt;/span&gt; and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask&lt;span style=&quot;color:red&quot;&gt;【asks】&lt;/span&gt; the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the&lt;span style=&quot;color:red&quot;&gt;【可删】&lt;/span&gt; one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential&lt;span style=&quot;color:red&quot;&gt;【prospective】&lt;/span&gt; bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to &lt;span style=&quot;color:red&quot;&gt;【inform sb of sth 】&lt;/span&gt;the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, &lt;span style=&quot;color:red&quot;&gt;【 connective is missing】&lt;/span&gt;many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride &lt;span style=&quot;color:red&quot;&gt;【before or during？】&lt;/span&gt;. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls&lt;span style=&quot;color:red&quot;&gt;【addresses】&lt;/span&gt; the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:49, 16 December 2020 (UTC) a unique Chinese characteristics.<br /> <br /> As time goes by, there are many reforms about marriage right now&lt;span style=&quot;color:red&quot;&gt;【nowadays】&lt;/span&gt;. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now&lt;span style=&quot;color:red&quot;&gt;【the present day】&lt;/span&gt;. There still exist betrothal gifts and dowry&lt;span style=&quot;color:red&quot;&gt;【dowries】&lt;/span&gt;, and many couples choose to wear red costumes. The groom should &lt;span style=&quot;color:red&quot;&gt;【？】&lt;/span&gt;go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep&lt;span style=&quot;color:red&quot;&gt;【deeply】&lt;/span&gt; rooted in the hearts of Chinese people and shows&lt;span style=&quot;color:red&quot;&gt;【show】&lt;/span&gt;--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:49, 16 December 2020 (UTC) a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603专业 is missing--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 08:16, 14 December 2020 (UTC)Mo Ling==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> 2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have(&lt;span style=&quot;color:red&quot;&gt;has&lt;/span&gt;) been engraved in every Chinese people. --[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling<br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence.(&lt;span style=&quot;color:red&quot;&gt;there are various opinions,however,many of them are presented without sufficient evidences&lt;/span&gt;) There are many myths explaining these animal signs and their arrangement. Among them the most enduring(&lt;span style=&quot;color:red&quot;&gt;time-honored&lt;/span&gt;) one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who (&lt;span style=&quot;color:red&quot;&gt;that&lt;/span&gt;)made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research(&lt;span style=&quot;color:red&quot;&gt;researches&lt;/span&gt;) on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling<br /> <br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The zodiac sign not only can (&lt;span style=&quot;color:red&quot;&gt;can not only&lt;/span&gt;)reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. (&lt;span style=&quot;color:red&quot;&gt;quotation is missing&lt;/span&gt;) --[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling<br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic(&lt;span style=&quot;color:red&quot;&gt;zodiac&lt;/span&gt;) sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures(&lt;span style=&quot;color:red&quot;&gt;creature&lt;/span&gt;) , the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is(&lt;span style=&quot;color:red&quot;&gt;are&lt;/span&gt;) born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight(&lt;span style=&quot;color:red&quot;&gt;fight against&lt;/span&gt;) each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have(&lt;span style=&quot;color:red&quot;&gt;has&lt;/span&gt;) developed a profound connotation and implications through generation(&lt;span style=&quot;color:red&quot;&gt;generations&lt;/span&gt;). Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 06:20, 17 December 2020 (UTC)Mo Ling<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> The Lisu ethnic group is the Tibeto-Burman ethnic group whose people live in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames came from their own hunter work in primitive times. And later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture does. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic group in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, the traditions were once lost in Nujiang Prefecture and were recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the ministry of war, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the &quot;Going up to the mountain of swords and going down to the sea of ​​fire&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> Going up to the mountain of swords and going down to the sea of ​​fire is one of the the main custom performances of the Taozhen Festival, which came from the life experience of people living in mountainous areas as they climb the mountains with the hard spirit and skills of climbing.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> Pine trees were used as tool poles, with iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. Before people going up the mountain and down the fire, they play cowhide drum, gong , hairpin , Suo na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals of pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Settings, knife pole, vertical pole, sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the player grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When he reaches the top through the three scissors, he opens the lock of heaven, takes out the grains and flowers, spreads them out into the lively crowd, and then places the red ribbon on the colored door, sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth. All of these show the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and make various difficult performances at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the Lisu people to perform their stunts.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies. <br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start paying or to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> ==The Aesthetic Performance of Design. Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that&quot;the upper part should be short, the below part should be long&quot;; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the &quot;long upper part,short below part&quot;ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)<br /> <br /> ==The Aesthetic Performance of colors. Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusj, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color .People advocate yellow but don't prohibit yellow.(Jiangsu, 2016,page-6)<br /> <br /> In Chinese traditional clothing colors red has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)<br /> In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 15:26, 18 December 2020 (UTC)<br /> <br /> ==Conclusion==<br /> Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.<br /> <br /> <br /> 2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604 ==<br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604 英语笔译 ==--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.（后面好像缺了文献的引用，参考文献中的没有在正文体现）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12) <br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting it. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please?<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. (这句话的因果关系不知道是什么，改错了就删掉我的就好）The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage. where is source coming?<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council included &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared it as the world intangible cultural heritage.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)(sorry,又忘记复制粘贴，直接改动了）<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. <br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels is basically specific. <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> <br /> [[File:zun.left.jpg|300px|thumb|left]]<br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty and Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than it in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking games is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康<br /> <br /> 2.Chinese Dionysus 中国酒神<br /> <br /> 3.husked sorghum rice 秫米饭<br /> <br /> 4.Baishui 白水县（陕西渭南市辖县）<br /> <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县）<br /> <br /> 6.fermented wine 发酵酒<br /> <br /> 7.Distilled liquor 蒸馏酒<br /> <br /> 8.Yellow rice wine 黄酒<br /> <br /> 9.Shaoxing Wine 绍兴酒 <br /> <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> <br /> 11.Mellow Wine 醇香酒 <br /> <br /> 12.Dongwu Rice Wine 东吴老酒<br /> <br /> 13.Liquor and Spirits 白酒 <br /> <br /> 14.Kweichow Moutai 贵州茅台<br /> <br /> 15.sauce-flavor type 酱香型 <br /> <br /> 16.light flavor type 清香型 <br /> <br /> 17.strong flavor type 浓香型 <br /> <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> <br /> 19.the Peiligang culture period裴李岗文化时期 <br /> <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> <br /> 21.Zun 樽 <br /> <br /> 22.injection vessel and bowl 注子和注碗<br /> <br /> 23.drinking order 行酒令<br /> <br /> 23.drinking games 行酒令--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> ====Questions==== （问题好像还要再加一两个 忘记标准了）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> 2.What is the most prominent characteristic of Shaoxing Wine?--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> == China Railway High-Speed ​​(CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> Introduction <br /> <br /> High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot;[[[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]]]<br /> <br /> Definition and terminology <br /> <br /> High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高 铁; Gāotiě; &quot;High-speed rail&quot;) are commonly used trains E In class D trains (动 车; Dòngchē; &quot;Electrical multiple unit&quot;) are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[[https://ru.qaz.wiki/wiki/China_Railway_High-speed]]<br /> <br /> Influence on airlines<br /> <br /> The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a<br /> Technologies <br /> Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐 号; Traditional Chinese: 和 諧 號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[[https://en.m.wikipedia.org/wiki/Wayback_Machine ]]<br /> <br /> 4 + 4 HSR network <br /> <br /> The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[[http://www.railjournal.com/A/xfeature2.html]]<br /> <br /> Advantages <br /> <br /> HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [[https://ru.qaz.wiki/wiki/China_Railway_High-speed]]<br /> <br /> Wenzhou accident <br /> <br /> On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]]<br /> <br /> Terms and expressions<br /> <br /> 高 铁 - High-speed rail<br /> 动 车 - Electrical multiple unit<br /> 和 諧 號 – Harmony<br /> 復興號 - Rejuvenation<br /> <br /> Questions <br /> <br /> 1. What does the World Bank research say?<br /> 2. What forced China's domestic airlines to cut airfares and cancel regional flights?<br /> 3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?<br /> 4. What caused the accident?<br /> 5. What are the benefits of HSR?<br /> <br /> Answers<br /> <br /> 1. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot; <br /> 2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.<br /> 3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. <br /> 4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.<br /> 5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.<br /> <br /> References <br /> <br /> http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf<br /> https://ru.qaz.wiki/wiki/China_Railway_High-speed<br /> https://en.m.wikipedia.org/wiki/Wayback_Machine <br /> http://www.railjournal.com/A/xfeature2.html<br /> https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between these dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019, 124)<br /> <br /> China is a very big country with a large population, multi-ethnic nationalities, and multi-language. Each ethnic groups may have its own lingo, or dialects, which sounds completely different from each other because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, worse still, this situation may lead to embarrassment and misunderstanding. Therefore, the Chinese people communicate with each other in standard Chinese, Putonghua, also known as Mandarin in Western countries. (Cheng Aimin, 2019, 124)--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 16:54, 17 December 2020 (UTC)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusion.== <br /> Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> <br /> Lingo: 林戈<br /> <br /> Lingo: 行话，语言<br /> <br /> Putonghua: 普通话<br /> <br /> Await student:等待学生<br /> <br /> Pinyin: 等待学生<br /> <br /> Pinyin: 拼音<br /> <br /> Lofty: 崇高<br /> <br /> Vernacular: 白话<br /> <br /> Swine: 猪<br /> <br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

Qu Miao https://bou.de/u/index.php?title=History_of_Translation_Studies_7&diff=115007 2020-12-18T16:03:19Z

<p>Qu Miao: /* The Breakthrough and Innovation of Dong Qiusi’s Translation Thoughts 娄灿灿 Lou Cancan, student no.202070080599 英语笔译 */</p> <hr /> <div>这里是《翻译学史》的书稿第七部分(Part 7)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> *Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> *Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]<br /> *Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].<br /> ='''Translation Studies'''=<br /> <br /> <br /> ==A Review and Reflection of Holmes and Toury’s Descriptive Translation Studies ==<br /> &lt;center&gt; 曾雁湖 Zeng Yanhu 202020080590&lt;/center&gt;<br /> ===Abstract===<br /> Descriptive translation studies transcends the traditional view of translation and enables people to have a more comprehensive and objective understanding of translation, so that translation theory can serve translation practice more effectively. Description is a theoretical supplement to the norm, and the unity of opposites constitutes the overall framework of translation theory. Scholars represented by James Holmes introduced the concept of &quot;independent discipline&quot; into the field of translation studies, and the birth and development of the school of translation studies promoted the establishment of the discipline of translation studies and the development of translation theory studies. This paper mainly introduces the representatives of the school of translation culture and the main points of their theoretical views in order to understand and explore the development and trend of western translation theories.<br /> ===Key Words===<br /> Descriptive Translation Studies; Holmes; Toury<br /> ===题目===<br /> 霍尔姆斯和图里的描述性翻译研究的回顾与反思<br /> ===摘要===<br /> 描述性翻译研究超越了传统的翻译观，使人们对翻译有了更全面和客观的理解，从而翻译理论可以更有效地为翻译实践服务。 描述是对规范的理论补充，对立统一构成了翻译理论的整体框架。 以詹姆斯•霍尔姆斯（James Holmes）为代表的学者将“独立学科”的概念引入了翻译研究领域，翻译学派的诞生和发展促进了翻译学学科的建立和翻译理论学的发展。 本文主要介绍翻译文化流派的代表及其理论观点的要点，以理解和探索西方翻译理论的发展和趋势。<br /> ===关键词===<br /> 描述性翻译研究；霍尔姆斯；图里<br /> ===1. Introduction ===<br /> DTS is also known as the polysystem approach, the manipulation school, the Leuven axis of Tel Aviv, the descriptive, empirical or systematic school, or the low country group, which corresponds to the descriptive, empirical, interdisciplinary, goal-oriented Translation research methods, with special attention to its role in cultural history. This method was first developed in the early 1970s, gained momentum in the 1980s, and flourished in the 1990s, still inspiring some researchers to seek &quot;in-depth research as a translation of cultural and historical phenomena,&quot; Explore its context and constraints, and look for reasons that explain why there is something&quot; (Hermans 1999: 5). <br /> <br /> DTS is also known as multi-system method, manipulation school, Tel Aviv Leuven axis school, descriptive school, empirical school or systematic school, or low-country group. It corresponds to descriptive, empirical, interdisciplinary and goal-oriented translation research methods, paying special attention to its role in cultural history. This method was first developed in the early 1970s, and it flourished in the 1980s and 1990s. Some researchers who are still inspiring seek to &quot;deeply study the cultural and historical phenomena of translation,&quot; explore its context and constraints, and find reasons to explain why it exists &quot;(He Mansi 1999:5).--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Although usually equivalent to the study of literary translation, especially in its early stages, translation studies have been extended to several directions, including technical translation, audiovisual translation, or interpretation.DTS is said to have emerged in the 1980s due to the contribution of a group of scholars of Manipulation School.<br /> <br /> Although translation studies are usually synonymous with literary translation studies, especially in its early stages, translation studies have expanded into several directions, including technical translation, audio-visual translation, or interpretation. DTS is said to have emerged in the 1980s as a result of the contributions of a group of manipulative scholars.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> The idea of describing translation studies originated in the 1950s. John McFarlane(1953) and James Holmes(1972) proposed a translation research map that shocked the translation research community in his thesis of &quot;The Name and Reality of Translation Studies&quot;, and established the role of &quot;descriptive&quot; research in translation research. Central position. After Gideon Toury published the book &quot;Descriptive Translation Studies and Others&quot;, which systematically outlines the methodology and research focus and framework of translation research, descriptive translation research has gradually begun to regulate the position of translation research for a long time. The &quot;scramble for power&quot; and &quot;description&quot; of sex studies have become a new trend in translation studies.<br /> <br /> The idea of describing translation studies originated in the 1950s. John McFarney (1953) and James Holmes (1972), in their paper The Names and Realities of Translation Studies, presented a map of translation studies that shocked the translation research community and established the place of &quot;descriptive&quot; research in translation studies. Center position. It has been a long time since Gideon Tully published Descriptive Translation Studies and Beyond, which gives a systematic overview of the methodology, focus and framework of translation studies. &quot;Power struggle&quot; and &quot;description&quot; in gender studies have become a new trend in translation studies.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> ===2. Descriptive translation definition===<br /> According to existing definitions, descriptive translation is “the use of descriptions to translate terms or phrases in the source, rather than direct translation” (Darwish 2010, p.142). However, there are other ways to look at descriptive translation; for example, some sources define the term from the perspective of social function (Darwish, 2010). As Bao Bao explained, descriptive translation can be considered as a tool &quot;used to faithfully present the values, hegemonic views or ideological positions of the target text participants&quot; (Baby, 2009, p. 201).<br /> <br /> According to the existing definition, descriptive translation is &quot;the use of a description to translate a term or phrase from a source, rather than a direct translation&quot; (Darwish 2010, p. 142). However, there are other ways of looking at descriptive translation; For example, some sources define the term in terms of social function (Darwish, 2010). As Bao explains, descriptive translation can be considered a tool &quot;used to faithfully present the values, hegemonic views or ideological positions of the participants in the target text&quot; (Baby, 2009, p. 201).--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Therefore, it can be assumed that Descriptive Translation can be seen from both the linguistic and the sociological aspects (Bazzi 2009). It is remarkable that in the course of the search for the definition of Descriptive Translation, some scholars even doubted that the given study can actually be related to the discipline of translation in general (Bazzi 2009). For example, Gutt often criticized the idea of relating the Descriptive Translation to Translation Studies, arguing that the given branch of translation should, in fact, be named as interpretive (Bazzi 2009, p. 199).<br /> <br /> Therefore, it can be assumed that descriptive translation can be viewed from both linguistic and sociological perspectives (Bao Bao, 2009). It is worth noting that, in the search for a definition of descriptive translation, some scholars even suspect that given research can actually be linked to the general discipline of translation (Bao Bao, 2009). For example, Guth has often criticized the idea of associating descriptive translation with translation studies, arguing that a given branch of translation should actually be named interpretive (Bazzi 2009, p. 199).--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> <br /> Pym (2010) broadly defines the aim of Descriptive Translation Studies (henceforth DTS): ‘to describe what translations actually are, rather than simply prescribing how they should be’. Less prescriptive than its predecessors, DTS sought to establish probable expectations of translation behaviour by handling the practice as 'an empirical discipline with a hierarchical organisation and a structured research program’ (Cheung 2013). The concept was propounded by Gideon Toury from the 1970s onwards (Naudé 2012), and it was characteristic of the mood of that time, where ideas that challenged established conventions of translation came to prominence. <br /> <br /> Pym(2010) broadly defined the goal of descriptive translation studies (DTS): &quot;describe the real translation, rather than simply specify what translation should be&quot;. Compared with its predecessor, DTS is not so normative, but tries to establish the possible expectation of translation behavior by taking translation practice as an empirical discipline with hierarchical organization and structured research plan (Cheung 2013). This concept was put forward by Gideon Toury from 1970s (Naudé2012), which was the characteristic of the mood in that era, where the thought of challenging the established translation practice became increasingly prominent.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> There was a sense that previous theories lacked a certain sensitivity to, and awareness of, the socio-cultural conditions under which the process of translation occurs (Bassnett McGuire 1991; Bassett 2012) and that greater significance should be attached to these issues.<br /> <br /> There is a feeling that the previous theories lack some sensitivity and understanding of the social and cultural conditions in the process of translation (Bassnett McGuire 1991；; Bassett 2012), these problems should have greater significance.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Descriptive translation studies are mainly proposed for traditional translation studies that emphasize the equivalence relationship between the original text and the target text, while ignoring the relationship between the target text and the target language reader and the target language culture (He Yuanjian, Wei Zhiqiang, 1998: 17-28 ) The theoretical research of descriptive translation studies is to establish a reference system of principles for explaining and predicting the translation process and the structure and function of the translated text (quoted from Zhang Xiaobo 2001).<br /> <br /> Descriptive translation studies are mainly aimed at traditional translation studies, which emphasize the equivalence between the original text and the target text, while ignoring the relationship between the target text, target language readers and target language culture (He Yuanjian, Wei Zhiqiang, 1998): 17-28). The theoretical study of descriptive translation studies is to establish a principle reference system to explain and predict the translation process and the structure and function of the translated text (quoted from Zhang Xiaobo 2001).--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> The descriptive translation studies framework proposed by Holmes provided the correct development direction for translation studies, made translation studies pay more attention to descriptiveness, and laid the ideological foundation for the later descriptive translation school.<br /> <br /> The framework of descriptive translation studies proposed by Holmes provides a correct development direction for translation studies, which makes translation studies pay more attention to description and lays an ideological foundation for the later descriptive translation school.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> ===2.1 The Prospects of Translation Theory===<br /> &lt;The Future of Transla- tion Theory: A Handful of Theses&gt; is not an ordinary paper. Holmes lists the urgent problems in future translation research, such as: creating a synthesis One of the main obstacles to sexual translation theory is the lack of effective communication between scholars in different fields, especially linguistics and literary schools; some researchers are accustomed to regard personal or national or a certain stage of norms as the general rules of translation; 5. Linguistic translation theory seems to have entered a dead end since the decade. <br /> <br /> &lt;The Future of Transla- tion Theory: A Handful of Theses&gt; is not an ordinary paper. Holmes lists the urgent problems in future translation research, for example: creating a synthesis One of the main obstacles to sexual translation theory is the lack of effective communication between scholars in different fields, especially linguistics and literary schools; some researchers are accustomed to regard personal or national or a certain stage of norms as the general rules of translation; 5. Linguistic translation theory seems to have entered a dead end since the decade. --[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Researchers are stuck at the word, phrase or sentence level without considering the context at all. To establish a comprehensive translation theory, it is necessary to break through the linguistic research method with sentences as the upper limit. Holmes believes that to create a truly scientific and comprehensive translation theory requires the coordination of textual research, linguistics (especially psycholinguistics and sociolinguistics), literary research, psychology, and sociology. It is necessary to eliminate barriers between countries and languages and promote international academic exchanges. As a translator, Holmes also emphasizes the importance of translators with practical experience participating in the creation of translation theories.<br /> <br /> Researchers are trapped at the level of words, phrases or sentences, regardless of context. To establish a comprehensive translation theory, it is necessary to break through the language research method with sentences as the upper limit. Holmes holds that to create a truly scientific and comprehensive translation theory, it needs the coordination of text research, linguistics (especially psycholinguistics and sociolinguistics), literature research, psychology and sociology. It is necessary to remove the barriers between countries and languages and promote international academic exchanges. As a translator, Holmes also emphasized the importance of translators with practical experience participating in the creation of translation theory.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> ===2.2 Benefits of descriptive translation for translation studies discipline===<br /> An obvious advantage of describing the contribution of translation to the development of translation research is that describing translation almost obliterates the concept of norms (Medros 1985, p.142). Although the given feature of descriptive translation can also be seen as a major shortcoming, which will be demonstrated later, it is also a huge advancement in the development of translation studies as a discipline (De La Bascia, 2008, p. 245 ). <br /> <br /> An obvious advantage of describing translation's contribution to the development of translation studies is that describing translation almost eliminates the concept of norms (Medros 1985, p. 142). Although the established characteristics of descriptive translation can also be regarded as a major defect, which will be proved later, it is also a great progress in the development of translatology as a discipline (De La Bascia, 2008, p.245).--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> As Kruger explained, descriptive translation provides a prerequisite for shaping the &quot;decision-making process in translation and operational norms in translation&quot; (Kruger 2012, p. 103). Distorting existing translation norms means that translation studies are developing, and the phenomenon of descriptive translation has promoted the progress of the discipline (Koster 2011, p. 21). The fact that descriptive translation is a tool to shape specific translation behavior should also be considered (Flynn and Gambier, 2011, p. 88). <br /> <br /> As Kruger explained, descriptive translation provides a prerequisite for shaping the &quot;translation decision-making process and translation operational norms&quot; (Kruger, 2012, p. 103). The distortion of existing translation norms means that translation studies are developing, and descriptive translation promotes the development of this discipline (Koster 2011, p. 21). The fact that descriptive translation is a tool for shaping specific translation behaviors should also be considered (Flynn and Gambier, 2011, p. 88).--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> In fact, it is wrong to assume that descriptive translation technology is only used for the purpose of conveying specific information to the recipient; as Ravisa explained, descriptive translation research is also a means for trainees to memorize specific translation patterns in translation. To develop the required skills: However, at the same time, translation teachers are independently borrowing insights from corpus-based descriptive translation studies, and in the long run, it seems that they aim to formulate cohesive rules, assuming that if translation trainees insist on descriptiveness What should be done in the translation behavior model revealed by scholars. <br /> <br /> In fact, it is wrong to think that descriptive translation technology is only used to convey specific information to recipients. As Ravisa explained, descriptive translation studies are also a means for trainees to memorize specific translation patterns in translation. Training the required skills: However, at the same time, translation teachers are learning from corpus-based descriptive translation studies independently. In the long run, they seem to aim at formulating cohesion rules, assuming that translation students insist on what should be done in the translation behavior model revealed by scholars.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> The given method reflects the fact that descriptive translation allows the study of translation from an empirical perspective. In other words, descriptive translation practice allows translation research to be regarded as a social activity, rather than a process of presenting certain information by using specific means of expression. Therefore, descriptive translation as a discipline can be regarded as a social activity that has a significant impact on the community, and therefore should be encouraged as an additional tool to improve communication among community members (Esfeld 2001, p. 99). At this point, the linguistic meaning of translation is transferred to the background, and its social importance is reflected (Weissbrodt 2008, p. 50).<br /> <br /> The given method reflects the fact that descriptive translation allows an empirical study of translation. In other words, descriptive translation practice makes translation studies a social activity, rather than a process of presenting certain information by using specific expressions. Therefore, descriptive translation, as a discipline, can be regarded as a social activity that has great influence on the community, so it should be encouraged as an additional tool to improve communication among community members (Esfeld 2001, p. 99). At this point, the linguistic meaning of translation is transferred to the background and reflects its social importance (Weissbrodt 2008, p. 50).--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> ===2.3 Limitations of descriptive translation for translation studies discipline===<br /> Needless to say, the descriptive nature of the above translation practice tools can be described as completely unprescriptive elements (Milan &amp; Patna, 2013). There is actually no problem-solving process in the practice of descriptive translation; instead, the situational translation method is used (Kaplan 2010, p. 478). One might say that the given method of handling the translation process allows to avoid so-called “prescriptive intervention” or purism in language (Toury 2013, p. 87). <br /> <br /> Needless to say, the descriptive nature of the above translation practice tools can be described as completely non-descriptive elements (Milan＆Patna, 2013). In the practice of descriptive translation, there is actually no problem solving process. Instead, it uses the context transformation method (Kaplan 2010, p. 478). Some people may say that a given method to deal with the translation process can avoid the so-called &quot;prescriptive intervention&quot; or language purism (Toury 2013, p. 87).--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Although descriptive translation does help to eliminate examples of purism, it still lacks norms completely, which has caused confusion about the definition of descriptive translation methods (Tu Li, 2013, p. 88). Another obvious issue of perspective and scope is that supporters of descriptive translation, which is the key to translation studies, must generally acknowledge the boundaries of descriptive translation; a series of studies have pointed out the vagueness of the subject and the impossibility of descriptive translation. <br /> <br /> Although descriptive translation does help to eliminate examples of purism, it still lacks norms completely, which leads to confusion about the definition of descriptive translation methods (Tu Li, 2013, p. 88). Another obvious problem of perspective and scope is that the supporters of descriptive translation (which is the key to translation studies) usually have to recognize the boundaries of descriptive translation. A series of studies have pointed out the fuzziness of topics and the possibility of descriptive translation.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> <br /> Despite the fact that it seems to allow more choices in translating a particular idea into the target language, once it tries to define its position in the field of translation studies, it can also lead to a series of confusion (Toury 2013, No. 49 page). In other words, descriptive translation is characterized by the lack of specific norms and rules, which is typical for other types of translation (Tu Li, 2013, p. 50). Descriptive translation does not allow the creation of tangible norms. This is a compromise between the rules and characteristics of a language and an absolute necessary condition for any type of translation research. <br /> <br /> Although there seem to be more choices when translating a specific idea into the target language, once it tries to determine its position in the field of translation studies, it may also lead to a series of confusion (Toury 2013, No.49). In other words, descriptive translation is characterized by the lack of specific norms and rules, which is unique to other types of translation (Tu Li, 2013, p. 50). Descriptive translation does not allow the creation of tangible specifications. This is a compromise between the rules and features of language and the absolute necessity of any translation study.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Of course, one might say that “the boundaries between various types of constraints are therefore scattered” (Turi, 2013, p. 54). Therefore, in translation studies, the concept of norms is rather vague. The lack of obvious norms in the field of descriptive translation, which in turn limits the effectiveness of descriptive translation as a translation tool (Tu Li, 2013). Before further discussion, it is necessary to explain that the concepts of &quot;problems&quot; and corresponding &quot;solutions&quot; in the field of translation research are quite loose (Tu Li, 2013). <br /> <br /> Of course, some people may say, &quot;Therefore, the boundaries between various constraints are scattered&quot; (Turi, 2013, p. 54). Therefore, in translation studies, the concept of norms is rather vague. There is no obvious norm in the field of descriptive translation, which in turn limits the effectiveness of descriptive translation as a translation tool (Tu Li, 2013). Before further discussion, it is necessary to explain that the concepts of &quot;problems&quot; and corresponding &quot;solutions&quot; in translation studies are still loose (Tu Li, 2013).--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> As Tuli explained, the terminology status of the word &quot;problem&quot; is still very unclear when discussing problem-solving models in the field of translation research, especially descriptive translation (Tuli, 2013). Seeing how descriptive translation reduces the vague concept of translation norms into situational translation practice, the problem-solving model becomes more unclear (Christa Fuli, 2003, p. 13). Descriptive translation actually erased the concept of problem-solving and replaced it with the concept of &quot;conditions of existence&quot; (Tu Li, 2013, p. 37). <br /> <br /> As Tuli explained, when discussing the problem-solving model in the field of translation studies (especially descriptive translation), the term status of &quot;problem&quot; is still very unclear (Tuli, 2013). Seeing how descriptive translation transforms the vague concept of translation norms into situational translation practice, the problem-solving model becomes more unclear (Christa Fuli, 2003, p. 13). Descriptive translation actually erased the concept of problem solving and replaced it with the concept of &quot;existence condition&quot; (Tu Li, 2013, p. 37).--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Although this phenomenon can be regarded as another stage of the development of translation research, it still creates a series of obstacles in the definition of norms and standards and the methods to solve specific translation problems (Darwish, 2008, p. 35). Finally, the fact that descriptive translation should be put forward creates a premise for translators to link the text with their own cognitive mechanism. Although it is wrong to deny the fact that the translator’s background knowledge is actively used in the translation process, the details of the translator’s vision must not hinder the provision of correct translation. <br /> <br /> Although this phenomenon can be regarded as another stage in the development of translation studies, it still causes a series of obstacles in the definition of norms and standards and the methods to solve specific translation problems (Darwish, 2008, p. 35). Finally, it should be pointed out that the fact of descriptive translation creates a premise for translators to link texts with their own cognitive mechanism. Although it is wrong to deny that the translator's background knowledge is actively utilized in the translation process, the details of the translator's vision must not hinder the provision of correct translation.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> However, by applying the principle of --[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)descriptive translation, it is impossible to have a &quot;correct&quot; translation variant; therefore, the translator may face a very tempting idea, which is to project his own vision into the translation process, thereby making the recipient of the information Observe the information through the translator's visual lens. A series of authoritative sources mentioned the need for translators to avoid filtering information in the source language, emphasized the limitations of cognitive mechanisms, and especially emphasized the limitations of culture (Darwish, 2010, p. 35).<br /> <br /> However, it is impossible to have a &quot;correct&quot; translation variant by applying the principle of descriptive translation. Therefore, the translator may face a very attractive idea, that is, to project his own vision into the translation process, so that the receiver of information can observe the information through the translator's visual lens. A series of authoritative sources mentioned that translators need to avoid filtering information in the source language, emphasizing the limitations of cognitive mechanisms, especially cultural limitations (Darwish, 2010, p. 35).--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> ===3. James Holmes===<br /> James Holmes (1924-1986) is an American Dutch scholar and an outstanding translator of English-Dutch poetry. He has long worked at the University of Amsterdam. His main essays are collected in the collection &quot;Literary Translation and Translation Studies Essays&quot; (1988) compiled for him after his death. His work &quot;The Name and Reality of Translation Studies&quot; (1972) is regarded as the declaration of the establishment of the Translation Studies School and the foundational work of the Translation Studies School. <br /> <br /> James Holmes (1924-1986) is an American Dutch scholar and an outstanding translator of English and Dutch poetry. He worked at Amsterdam University for a long time. His major papers are included in &quot;Essays on Literary Translation and Translation Studies&quot; (1988) prepared for him after his death. His book The Name and Reality of Translation Studies (1972) is regarded as the declaration of the establishment of the Institute of Translation Studies and its basic work.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> It mainly put forward creative opinions on the name, nature, research field, problem setting and subject scope of translation studies as an independent subject. He also proposed the scope and structure of the new field of translation research, and believed that the research method is a practice based on experience, and the object of research is the translation that appears in a particular culture.He finally thought that &quot;Translation studies&quot; was the most suitable name in the terminology.Theoretical assumptions can start research in the other two fields.<br /> <br /> It mainly puts forward innovative opinions on the name, nature, research field, problem setting and discipline scope of translation studies as an independent discipline. He also puts forward the scope and structure of the new field of translation studies, and holds that the research method is an experience-based practice, and the research object is the translation in a specific culture. &quot;&quot;is the most appropriate name in this term. Theoretical hypothesis can start the research in other two fields.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> ===3.1 Holmes’s point of Descritive Translation Studies===<br /> Holmes emphasizes the description of the translation process. A significant change in his descriptive translation theory is the change in the nature of the works. Holmes believes that the target of translation is not a specific thing in the objective world referred to by the original text, but the language composition of the original text. Translation language is different from the language in literary works. <br /> <br /> Holmes emphasizes the description of translation process. A major change in his descriptive translation theory is the change in the nature of his works. According to Holmes, the goal of translation is not the specific things in the objective world, but the language composition of the original. Translation language is different from that in literary works.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> He borrowed from Roland Barthes's literary classification: 1) Poems, novels, and dramas reflect specific things and phenomena; 2)The literature category describes not the objective world, but the language composition proposed by others, which is a re-evaluation of evaluation (Barthes, 1964: 126) He also borrowed the term &quot;meta-language&quot; and expanded its meaning from referring exclusively to literary criticism to a variety of meta-literary forms, and poetry translation is only one of them. Holmes pointed out that poetry translation has intensified comments and metalanguage in other forms. <br /> <br /> He borrowed Roland Barthes's literary classification: 1) Poetry, novels and plays reflect specific things and phenomena; 2) Literature category describes not the objective world, but the language composition put forward by others, which is a re-evaluation of evaluation (Barthes, 1964: 126). He also borrowed the word &quot;metalanguage&quot; and expanded its meaning from reference. Poetry translation is only one of the various metaliterature forms dedicated to literary criticism. Holmes pointed out that poetry translation intensifies criticism and metalanguage in other forms.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> On the one hand, it is the evaluation and interpretation of a meta-literary to another work, and on the other hand, it forms a new meta-literary collection with its own literary nature. Therefore, this special literary form not only reflects the original text but is also a self-made creation, which has the dual nature of meta-literature and literature. Some-based translation studies focus no longer on issues such as equivalence and referent, but analyze the relationship between the translation as a second work and the original work in the literary standard symbol system of the original text, and only focus on the translation as a new work and the translation. <br /> <br /> On the one hand, it is an evaluation and interpretation of metaliterature of another work; on the other hand, it forms a new metaliterature collection with its own literary nature. Therefore, this special literary form not only reflects the original text, but also is a self-made work with dual characteristics of metaliterature and literature. Translation-based studies no longer pay attention to equivalence and reference, but analyze the relationship between the translation of the second work and the original work in the literary standard symbol system of the original text, and only focus on the translation as translation. New works and translation.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> <br /> The relationship between cultural standard symbol systems. Compared with traditional translation theory, Holmes's method of describing the translation process shows another change. That is, he strives to seek a better understanding of a certain type of symbol translation by describing various translation methods and their historical use. He divided translation into four categories: <br /> <br /> 1) Similar forms, although the exact same form is impossible, similar forms are possible; <br /> <br /> 2) Similar functions, find similar functions in the translation language standards, and create open forms that can produce similar effects; <br /> <br /> 3) The content is derived, and the original meaning and specific expression form are maintained in the target language; <br /> <br /> 4) The form is abnormal, and for some special reasons, only the same as the original text is kept as little as possible. <br /> <br /> Relationship between symbol systems of cultural standards. Compared with the traditional translation theory, Holmes's translation process description method shows another change. In other words, he tries to find a better understanding of the translation of certain types of symbols by describing various translation methods and their historical uses. He divides translation into four categories:<br /> <br /> 1) Similar forms, although the exact same form is impossible, similar forms are possible; <br /> <br /> 2) Similar functions, find similar functions in the translation language standards, and create open forms that can produce similar effects; <br /> <br /> 3) The content is derived, and the original meaning and specific expression form are maintained in the target language; <br /> <br /> 4) The form is abnormal, and for some special reasons, only the same as the original text is kept as little as possible. --[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> <br /> Holmes believes that the four types are equally important. Translation is a process in which the translator makes a decision. The translator can make a choice in translation according to the different nature of the four translation methods. Once the initial decision is made, the translation forms its own rules, which can provide the translator with some possible translation methods, while also excluding other translation methods, so the initial decision will determine the next choice. He also believes that translation has no distinction between right and wrong, only differences. <br /> <br /> Holmes thinks these four types are equally important. Translation is a process in which translators make decisions. Translators can choose translation methods according to the different nature of the four translation methods. Once an initial decision is made, translation will form its own rules, which can provide translators with some possible translation methods while excluding other translation methods. Therefore, the initial decision will determine the next choice. He also believes that there is no difference between right and wrong in translation, only difference.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> <br /> These differences derive from the translator’s poetic level on the one hand, and on the other hand, the translator’s initial choice and the relationship between the two languages. The same source text has as many translations as there are translators.<br /> <br /> These differences are due to the translator's poetic level, the translator's initial choice and the relationship between the two languages. The amount of translation of the same source text is as much as that of translators.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> ===4. Gideon Toury===<br /> Gideon Toury is a professor at Tel Aviv University in Israel and a world-renowned translation theorist. He developed the polysystem theory proposed by Evan Zohar, a famous scholar of the Tel Aviv school. In the book &quot;Descriptive Translation Studies and Others&quot;, Tury systematically explained the theoretical framework and methodological basis of Descriptive Translation Studies. Tury believes that the descriptive translation theory focuses on examining the degree of absorption of the target language text in the target language culture, and uses inductive and statistical methods to compare and analyze case texts, and summarize the empirical variables or empirical norms governing translation behavior, and then formulate interpretations. <br /> <br /> Gideon Toury is a professor at Tel Aviv University in Israel and a world-famous translation theorist. He developed the theory of multiple systems put forward by Evan Zohar, a famous scholar in Tel Aviv School. Tury systematically explained the theoretical framework and methodological basis of descriptive translation studies in his book Descriptive Translation Studies and Others. Tury believes that descriptive translation theory focuses on the absorption of the target language in the target language culture, compares and analyzes case texts by inductive and statistical methods, summarizes empirical variables or empirical norms that control translation behavior, and then formulates explanations.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> The law of the internal relationship of these variables. (2001: 15-16) Gideon Toury is considered a pioneer of Descriptive Translation Studies, and the theories exposed in his 3 major books on the theme (Translational Norms and Literary Translation into Hebrew, In Search of a Theory of Translation and Descriptive Translation Studies and Beyond) show his innovative perspective on translation studies.<br /> <br /> The internal relation law of these variables. (2001: 15-16) Gideon Toury is regarded as a pioneer of descriptive translation studies, and his theories are covered in his three major books (translation norms and Hebrew literature translation, seeking translation theories and descriptive translation studies) and Beyond), showing his innovative views on translation studies.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> He established a groundbreaking approach based on the analysis of tendencies in the translation process that doesn’t involve strict rules. Translation science has the role of describing and highlighting tendencies, in order to provide practical guidelines for translators. Gideon Toury has given a significant contribution to translation studies. He formulated groundbreaking theories and succeeded in providing practical guidelines to language professionals, without imposing rigid rules on the translation process. He elaborated the concepts of source-oriented and target-oriented, defined two different strategies to apply when translating a text into a new language. Having worked as a translator himself, he was fully aware of the difficulties experienced by translators and enriched translation studies with his perspective. <br /> <br /> Based on the analysis of the trends in the translation process, he established a pioneering method, which does not involve strict rules. Translation science has the function of describing and highlighting trends, so as to provide practical guidance for translators. Gideon Toury has made great contributions to translation studies. He put forward a pioneering theory and successfully provided a practical guide for language professionals, without imposing strict rules in the process of translation. He expounded the concepts of source-oriented and target-oriented, and defined two different strategies to be applied when translating texts into new languages. As a translator himself, he is fully aware of the difficulties encountered in translation and enriches translation studies with his views.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Tury’s descriptive translation studies are based on norms and guided by rules. Its purpose is to analyze the general rules governing translation behavior by comparing the source and target texts. This is fundamentally different from the past process-based and application-oriented translation studies. Traditional translation is based on the abstract identity of the effect of &quot;equal&quot;, while Turry's theory is based on the difference. &quot;Each language system and textual tradition, whether in structure or usage guidelines, is different from others. <br /> <br /> Tury's descriptive translation studies are based on norms and guided by rules. Its purpose is to analyze the general rules governing translation behavior by comparing the source text with the target text. This is completely different from previous translation studies based on process and application. Traditional translation is based on the abstract identity of &quot;equality&quot;, while Turell's theory is based on differences. &quot;Every language system and text tradition, both in structure and usage guide, is different.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Different types&quot;. If it is said that being fully accepted by the target culture is one pole, and being completely consistent with the original text is the other pole, then Tury believes that translation should always be between the two poles. No translation can be fully accepted by the target culture, because the translation always brings new information and unfamiliar forms to the system; no translation always brings new forms to the system; no translation is completely the same as the original Consistent, because cultural norms always shift the structure of the original text. <br /> <br /> Different types &quot;. If being completely accepted by the target culture is one pole, and being completely consistent with the original text is another pole, then Toury thinks that translation should always be between the two poles. Because translation always brings new information and strange forms to the system; Translation has not brought new forms to the system; No translation is exactly the same as the original consistency, because cultural norms always change the structure of the original text of the target language.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> It is never possible for any specific translation to take into account the two extremes and achieve two abstract ideal criteria. Tury believes that the translation itself does not have &quot;inherent&quot; identity. The translation is always affected by various social and literary factors, and thus has multiple identities. The translation is always affected by various social and literary factors. Influence, thus having multiple identities, depends on the factors affecting translation in a particular period. Turi successfully made translation theory break through the framework of &quot;faithful original text&quot; and the theoretical model of a purely unified relationship between the original text and the target text, making translation a relative concept. <br /> <br /> It is impossible for any particular translation to consider these two extremes and achieve two abstract ideal standards. Tury believes that translation itself has no &quot;inherent&quot; status. Translation is always influenced by various social and literary factors, so it has multiple identities. Translation is always influenced by various social and literary factors. Therefore, the influence of multiple identities depends on the factors affecting translation in a specific period. Toury successfully breaks through the framework of &quot;faithful source text&quot; and the theoretical model of pure unified relationship between the source text and the target text, making translation a relative concept.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Correspondingly, the role of translation theory has also changed. Instead of seeking a theoretical system for evaluating translations, it has instead focused on establishing a model that interprets and determines the process of translation. Tury's theory introduces cultural-historical factors and calls them &quot;translation criteria&quot;. Translation criterion is the center of Tury's theory, which affects every stage of the translation process and plays a coordinating role between two equal potentials. <br /> <br /> Accordingly, the role of translation theory has also changed. It does not seek to evaluate the theoretical system of translation, but focuses on establishing a model to explain and determine the translation process. Tury's theory introduces cultural and historical factors and calls it &quot;translation standard&quot;. Translation criterion is the center of Toury's theory, which affects every stage of the translation process and plays a coordinating role between two equipotentials.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Therefore, it is not enough to study a single text. It is necessary to study the translations of different historical periods to discern general trends. Turui distinguishes the following three translation criteria: Elementary criteria: factors that determine the choice of translation and translation strategies in the entire multi-system Starting criterion: the translator’s personal preference, whether it is the original version or the retranslated text, or an attitude of choosing to be in the middle Operation criterion: Refers to the criterion that influences the translation decision in the actual translation process. Tury pointed out that &quot;translation&quot; is any expression in the target language that is manifested as translation or considered to be translation. <br /> <br /> Therefore, it is not enough to study only a single text. It is necessary to study translation in different historical periods to identify the general trend. Turui distinguishes the following three translation criteria: basic criteria: factors that determine the choice of translation and translation strategies in the whole multi-system; starting criteria: translators' personal preference, whether it is the original version or the retranslated text, or attitude choice in the middle; operating criteria: standards that influence translation decisions in the actual translation process. Tury pointed out that &quot;translation&quot; is any expression in the target language that is expressed or regarded as translation.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Describe the discovery process of Translation Studies (DTS). He believes that this process follows the following sequence: <br /> <br /> 1) Select those target language texts that the target language culture considers to be &quot;translation&quot;, but do not involve their corresponding original texts, and only study their acceptance as target language texts in the &quot;destination&quot; system. <br /> <br /> 2) Describe these texts, study these texts and their counterparts in the source language system or original text through the translation phenomenon constituted by the constituent elements of these texts, and find solutions to translation problems. <br /> <br /> 3) Identify and describe the relationship between each pair of research objects, focusing on discovering the changes and transformations that occur. <br /> <br /> 4) Finally, by thinking about the function of translation equivalence-the concept of relations, we set out to apply these relations to the overall concept of translation.<br /> <br /> It is the last two that constitute the ultimate goal after DTS's systematic research and interpretation. Tury believes that only after the essential concept of translation is determined, can it be possible to reconstruct the consideration and decision process involved in the translation process, as well as the constraints actually accepted by the translator. <br /> <br /> Contributions and achievements of descriptive translation to translation studies: As a representative of descriptive translation studies, the theory and methodological framework of descriptive translation studies proposed by Turi has an immeasurable impact on translation studies. <br /> <br /> Gentzler believes that Tury's theory has the following contributions to translation studies: First, abandon the &quot;one-to-one&quot; correspondence between the source target text in the normative translation study, and eliminate the possibility of the source target text being literary/language equivalence; Second, introduce the literary tendencies existing in the target language cultural system into the research on the production of translation works; Third, it breaks the concept that people have a fixed understanding of the source language information and translation expression; Fourth, place the source text and the target text in the symbolic network interwoven between the source and target cultures. (Gentzler, 2004: 131) <br /> <br /> Gentzler holds that Tury's theory has made the following contributions to translation studies: First, it abandons the &quot;one-to-one&quot; correspondence between source and target texts and eliminates the possibility of equivalence between source and target texts and literature/language. ; Secondly, the literary tendency in the target language and culture system is introduced into the production research of translated works; Thirdly, it breaks the concept that people have a fixed understanding of source language information and translation expression. Fourthly, the source text and the target text are placed in a symbolic network interwoven between the source culture and the target culture. （Gentzler，2004：131）--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> However, descriptive translation studies, as the mainstay of current international translation studies, have contributed far more to translation studies than those listed above. Insufficiency of Toury's theory: Some scholars have pointed out the inadequacies of Toury's theory. Munday pointed out that the meaning of &quot;norms&quot; used by Turui is vague, and these norms have the tendency to act and the function of regulation, which is contrary to the original intention of descriptive analysis. <br /> <br /> However, descriptive translation studies, as the main content of current international translation studies, have contributed much more to translation studies. Shortcomings of Toury Theory: Some scholars have pointed out the shortcomings of Toury Theory. Monday pointed out that the meaning of &quot;norms&quot; used by the Turui people is ambiguous, and these norms have effective trend and adjustment function, which is contrary to the original intention of descriptive analysis.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Tury’s view ignores factors such as ideology and politics. In addition, the &quot;rules&quot; that Turui wants to summarize from the case analysis seem to be some habitual beliefs or even beliefs that do not need to be proven in translation behavior, and to what extent these abstract and quasi-scientific rules can be applied to translation practice. <br /> <br /> Tury's point of view ignores ideological and political factors. In addition, the &quot;rules&quot; that Turui hopes to sum up from the case analysis seem to be some habitual beliefs, even beliefs that do not need to be proved in translation behavior. To what extent can these abstract and quasi-scientific rules be applied to translation practice?--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Not without controversy. (2002: 113-117) Venuti believes that Tury’s &quot;scientific&quot; descriptive translation studies model aims to extract &quot;value free&quot; norms and rules for translation behavior, and the field of translation studies must involve the social and cultural system Value orientation. In Venuti's view, although norms are initially only in the linguistic/literary sense, they also involve values and beliefs that serve specific social groups and are therefore ideologically binding.<br /> <br /> Is not without controversy. (2002: 113-117) Venuti holds that Tury's &quot;scientific&quot; descriptive translation research model aims to extract the &quot;worthless&quot; norms and rules of translation behavior, while the field of translation research must involve the value orientation of social and cultural systems. In Venuti's view, although the guidelines are only in the linguistic/literary sense at first, they also contain values and beliefs that serve specific social groups, so they are ideologically binding.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> ===4.1 Source-oriented and target-oriented===<br /> In his 1980 essay In Search of a Theory of Translation, Toury gives a remarkable contribution to translation studies identifying two translation strategies: ‘source-oriented’ and ‘target-oriented’. A source-oriented translation involves a formal approach aimed at reproducing forms and structures of the source language. According to Toury, this strategy is difficult to apply because of the differences between language structures. <br /> <br /> Toury made outstanding contributions to translation studies in his 1980 paper Seeking Translation Theory, and determined two translation strategies: &quot;source-oriented&quot; and &quot;target-oriented&quot;. Source-oriented translation involves formal methods aimed at copying the form and structure of the source language. According to Toury, this strategy is difficult to apply because of the differences between language structures.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> While a target-oriented translation aims at adapting the text to the structures and cultural context of the target language. Hence, Toury formulated two principles that define two approaches to translation: acceptability and adequacy. An ‘acceptable’ translation has to comply with the rules and structures of the target language. The primary goal is to convey the meaning of the source text, increasing readability and adapting texts to the language structures of the receiving culture. <br /> <br /> Goal-oriented translation aims to adapt the text to the structure and cultural background of the target language. Therefore, two principles have been formulated and two translation methods have been defined: acceptability and appropriateness. An &quot;acceptable&quot; translation must conform to the rules and structure of the target language. The main goal is to convey the meaning of the source text, improve readability and adapt the text to the language structure of the receiving culture.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> On the other hand, an ‘adequate’ translation stays true to the source language and complies with the structures of the original text. This means that the result doesn’t conceal its nature of translation. A translation aiming at full adequacy is unacceptable due to the fact that it doesn't take into account the demands of the target reader. Choosing between the two approaches is not an easy task. Everything depends on the kind of translation required and its purpose. But, regardless of a target-oriented or source-oriented approach, the purpose of a translation is to convey the meaning of the original.<br /> <br /> On the other hand, &quot;appropriate&quot; translation is consistent with the source language and conforms to the structure of the original text. This means that the result will not obscure the essence of its translation. In view of the fact that translation does not consider the requirements of the target readers, it is impossible to achieve full translation. It is not easy to choose between the two methods. Everything depends on the type of translation and its purpose. However, regardless of the target-oriented or source-oriented approach, the purpose of translation is to convey the meaning of the original text.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> ===4.2 Translation and postulates===<br /> In Descriptive Translation Studies and Beyond (1995), another masterpiece in the field of translation studies, Toury exposes a normative theory for translation critics. A theory that is not meant as a set of rigid rules for translators and critics but as a series of tendencies that could be observed in the translation process. According to Toury, critics should research those tendencies in order to describe the translation process, which means offering practical guidelines to translators. <br /> <br /> In another masterpiece in the field of translation studies, Descriptive Translation Studies and Beyond (1995), Toury reveals the normative theory for translation critics. This theory does not mean that there is a set of strict rules for translators and critics, but a series of tendencies that can be observed in the process of translation. According to Toury, critics should study these trends to describe the translation process, which means providing practical guidance for translators.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> A normative approach with rigid rules wouldn’t provide translators with a single clue on how to translate texts. Toury acknowledges a set of necessary requirements or postulates that a text has to comply with so that it could be called ‘translation’: The source text postulate: there has to be a source text; The transfer postulate: the translated text has to be generated from a “transfer” process; The relationship postulate: there has to be a relationship or similarity between the original text and translated text.<br /> <br /> Standardized methods with strict rules will not provide translators with any clues on how to translate texts. Toury admits a set of necessary requirements, or assumes that a certain text must be observed before it can be called &quot;translation&quot;: the source text assumes that it must be the source text; Transmission assumption: the translated text must be generated through the &quot;transmission&quot; process; Relationship assumption: there must be a relationship or similarity between the original text and the translated text.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> ===4.3 The value of Toury’s contribution===<br /> Toury has succeeded in giving practical advice to translators, identifying two possible strategies and approaches, providing professionals with a starting point to reflect upon when translating a text. Thinking of the purpose of translation and its potential readers can help with the choice of the best strategy. By the way, one should always keep in mind that the primary goal of a translated text is to convey the message of the original. <br /> <br /> Toury has successfully provided practical suggestions to translators, identified two possible strategies and methods, and provided a starting point for professionals to reflect when translating texts. Considering the purpose of translation and its potential readers can help to choose the best strategy. By the way, it should always be remembered that the main purpose of translating texts is to convey the original information.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> An example of acceptability as an adaptation to the target culture is represented by transcreation. The word transcreation is a blend of ‘translation’ and ‘creation’, suggesting the use of a creative approach in translation. In fact, it seeks to perform all the necessary adjustments to make a campaign work in all target markets while staying legal to the original creative intent of the campaign. <br /> <br /> Translation represents acceptability as an example of adapting to the target culture. Translation is a mixture of &quot;translation&quot; and &quot;creation&quot;. It is suggested to use creative methods in translation. In fact, it strives to make all necessary adjustments so that the advertising series can work normally in all target markets, while keeping the original creative intention of the advertising series legal.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Transcreation is the creative adaptation of marketing sales and advertising copy in the target language. It involves changing both the words and meaning of the source text while keeping its attitude and the desired persuasive effect. Transcreation focuses on transferring brands and messages from one culture to another and represents a striking example of how changing the language and structure of the source text helps in delivering a message. <br /> <br /> Transformation is a creative adaptation of marketing and advertising copy in the target language. It involves changing the words and meanings of the source text while maintaining its attitude and persuasiveness. Transcreation devotes itself to transferring brand and message from one culture to another, and represents an amazing example of how changing the language and structure of source text can help convey messages.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Toury’s theories gave a new impulse to translation studies. New principles have been elaborated since then. For instance, Venuti distinguished between two strategies: domesticating and foreignizing. Nida elaborated the concepts of formal equivalence and dynamic equivalence. Toury’s perspective established an alternative approach to translation studies, starting from merely theoretical concepts and leading to a direct observation of the translation process to finally provide professionals with practical guidelines to follow.<br /> <br /> Toury's theory has injected new impetus into translation studies. Since then, new principles have been formulated. For example, Venuti distinguishes two strategies: domestication and alienation. Nida elaborated the concepts of formal equivalence and dynamic equivalence. Toury's viewpoint establishes an alternative method of translation studies, which starts with theoretical concepts, directly observes the translation process, and finally provides a practical guide for professionals to follow.<br /> ===5. Conclusion===<br /> Translation description promotes the study of translator's subjectivity. Any translation is a process of understanding, selection and re-creation. The translator will inevitably show his artistic creativity and individual characteristics in this process. Therefore, the exertion of the translator's subjectivity is an unavoidable problem in translation activities. However, the core of traditional translation theory is the issue of translation standards, and this attention to standards determines the normative characteri--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)stics of traditional translation theories. <br /> <br /> Translation description promotes the study of translator's subjectivity. Any translation is a process of understanding, selection and re-creation. In this process, the translator will inevitably show his artistic creativity and personality. Therefore, the exertion of translator's subjectivity is an inevitable problem in translation activities. However, the core of traditional translation theory is the issue of translation standards, which determines the normative features of traditional translation theory.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Norms are to use ideals to restrain practice, and to use principles and standards to guide practice. It focuses on issues such as &quot;how the translation should be carried out&quot; and &quot;what principles should be followed in the translation&quot;, rather than &quot;how the translator translates&quot;. This normative feature is fundamentally excluded from the study of translator's subjectivity. Translation studies have been unable to get rid of the defects of one-sidedness and subjectivity for a long time, and thus cannot see the full picture of translation activities, and cannot conduct in-depth and systematic research on translation studies. <br /> <br /> Guidelines are to use ideals to constrain practice, and principles and standards to guide practice. It focuses on such issues as &quot;how to translate&quot; and &quot;what principles should be followed in translation&quot;, rather than &quot;how the translator translates&quot;. Translator's subjectivity study has fundamentally ruled out this normative feature. For a long time, translation studies have not been able to get rid of the defects of one-sidedness and subjectivity, so they can not see the whole picture of translation activities, nor can they conduct in-depth and systematic research on translation studies.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> In 1990, Susan Bassnett and André Lefebvre co-authored &quot;Translation, History and Culture&quot;, which raised the issue of the &quot;cultural turn&quot; in translation studies, which made cultural factors affect translation And the relationship between the two has been extensively studied. From the perspective of the nature of research, the &quot;cultural turn&quot; is actually the descriptive turn of translation studies, and constitutes an important part of the latter. <br /> <br /> In 1990, Susan Bassnett and AndréLefebvre jointly wrote Translation, History and Culture, which raised the issue of &quot;cultural turn&quot; in translation studies, which made cultural factors affect translation, and made extensive research on the relationship between them. From the perspective of research nature, &quot;cultural turn&quot; is actually a descriptive turn in translation studies and an important part of translation studies.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> In the process of descriptive research on translation, people discovered the distance between translation practice and the various translation standards proposed by normative research, and realized that “absolute equivalence” in translation cannot be achieved because of the translator’s Work is always uninterrupted by the purpose of translation, aesthetic preferences and cultural factors. <br /> <br /> In the process of descriptive study of translation, people have discovered the distance between translation practice and various translation standards put forward by normative research, and realized that translation work will never be interrupted for translation purposes, so it is impossible to achieve &quot;absolute equivalence&quot; in translation, aesthetic preference and cultural factors.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> Therefore, translation activities are affected and restricted by the subjectivity of the translator. To describe the translation and describe the translation, it is necessary to discuss this long-neglected Translation phenomenon. After decades of development, descriptive translation studies prove their own values and become a new starting point and a new pillar of translation research, leading to a deeper and wider level of translation research. <br /> <br /> Therefore, translation activities are influenced and limited by the subjectivity of translators. To describe translation and describe translation, it is necessary to discuss this long-neglected translation phenomenon. After decades of development, descriptive translation studies have proved their value and become a new starting point and a new pillar of translation studies, resulting in a higher level of translation studies.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> <br /> It is noteworthy that the descriptive translation study is a deviation and rebel from some degree of normative translation research, but it is not in the state that one mountain cannot accommodate two tigers. We should recognize the great contribution of descriptive translation studies to the translational research objectively, while we should also recognize the great results of the translation research agency under the guidance of normative translation research. There is no contradiction between the descriptive translation study and the normative translation study, as Lin Kennan pointed out. We need to combine two so that translation studies can reveal the entire translation.<br /> <br /> It is worth noting that descriptive translation studies run counter to normative translation studies to some extent, but they are not in a state where one mountain cannot accommodate two tigers. We should objectively recognize the great contribution of descriptive translation studies to translation studies and the great achievements of translation research institutions under the guidance of normative translation studies. As Lincoln pointed out, there is no contradiction between descriptive translation studies and normative translation studies. We need to combine them so that translation studies can reveal the whole translation.--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 12:48, 18 December 2020 (UTC)<br /> ===References===<br /> Toury, Gideon.Descriptive Translation Studies and Beyond[M].Shanghai:Shanghai Foreign Language Education Press, 2004.<br /> <br /> Gentzler, Edwin.Comtemporary Translation Theories[M].Shang-hai:Shanghai Foreign Language Education Press, 2004.<br /> <br /> Xiyao Hong.A Map for the Research in the Present Life and After Life of Descriptive Translation Studies: A Review of Descriptive Translation Studies and Beyond[J].Studies in Literature and Language,2015.<br /> <br /> Haiying Wang.Some Reflections on Translation Criticism and Descriptive Translation Studies[J].Studies in Literature and Language,2015.<br /> <br /> Ai-ling Wang.A New Perspective of Translation Criticism: Descriptive Translation Studies[J].Cross-Cultural Communication,2007.<br /> <br /> 刘星.STUDY OF TOURY'S THREE NORMS OF TRANSLATION[J].读与写(教育教学刊),2008.<br /> <br /> 顿官刚.图里的翻译描写模式述评[J].外国语言与文化,2018.<br /> <br /> 张美芳.后霍姆斯时期翻译研究的发展:范畴与途径[J].中国翻译,2017.<br /> <br /> 张冬梅.翻译学的实证性学科定位再思——霍姆斯、图里翻译学架构图问题思考之一[J].北京第二外国语学院学报,2015.<br /> <br /> 马士奎.詹姆斯·霍尔姆斯和他的翻译理论[J].上海科技翻译,2004<br /> <br /> ==Foreignizing Tanslation and National Culture Development 邓锦霞 Deng Jinxia Student No. 202020080599==<br /> <br /> ===Abstract===<br /> In the context of economic and social globalization, human civilization in the 20th century is developing towards diversification. In the process of multicultural exchanges, the impact of translation on local national culture has become a new topic of discussion. Foreignizing translation takes the source language as its destination and can retain the cultural characteristics of the source language to the greatest extent, which has gradually attracted the attention of contemporary translators. This chapter introduces the evolution of foreignizing translation in China and the West, then discusses the relationship between foreignizing translation and national culture development from three perspectives: The necessity of foreignizing translation, the restrictions on foreignizing translation, and the influence of foreignizing translation on national culture development.<br /> <br /> In the context of economic globalization and social development, human civilization in the 20th century is developing towards diversification. In the process of multicultural exchanges, the impact of translation on national culture has become a new topic of discussion. Foreignizing translation takes the source language as its destination and can retain its cultural characteristics to a great extent, which has gradually attracted the attention of contemporary translators. This paper introduces the evolution of foreignizing translation in China and the West, then discusses the relationship between foreignizing translation and national culture development from three perspectives: the necessity of foreignizing translation, the restrictions on foreignizing translation, and the influence of foreignizing translation on national culture development.--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 13:40, 18 December 2020 (UTC)<br /> <br /> ===Key words===<br /> foreignizing translation; national culture<br /> <br /> ===题目===<br /> 异化翻译与民族文化发展<br /> <br /> ===摘要===<br /> 在经济与社会全球化发展的背景下，20世纪的人类文明正在向多元化发展。在多元文化交流的过程中，翻译作品对本土民族文化的影响成为新的讨论话题。异化翻译以源语言为归宿，能够最大限度地保留源语言文化特色，逐渐受到当代翻译家的重视。本章介绍了异化翻译在中西方的演变历程，从异化翻译的必要性，异化翻译的限制条件以及异化翻译对民族文化的影响三个角度出发，讨论了异化翻译与民族文化发展的关系。<br /> <br /> ===关键词===<br /> 异化翻译：民族文化<br /> <br /> ===1. Introduction===<br /> The debate between domesticating translation and foreignizing translation has a long history. When contemporary translators choose translation strategies, domesticating translation is the dominant one, for it will be more easily accepted by the readers of the target language. In the translation process of &quot;domestication&quot;, it allows the source culture to adapt to the target culture, and even replace the source culture with the target one. Such translations cannot truly achieve the purpose of cross-cultural communication and dissemination. As far as the quality of cultural production and transformation is concerned, this is likely to cause the development of the homogeneity of the cultures of various ethnic groups, and does not conform to the general trend of cultural globalization. （Li Zheng &amp; Zhang Chunbo 2015)<br /> <br /> A typical domesticating translation in C-E translation is David Hawkes's translation of the word &quot;red&quot; in The Story of the Stone. Considering the different understanding of “red” in Chinese and Western cultures, he translated &quot;怡红公子&quot; as &quot;green boy&quot;. Although this translation is conducive to the understanding of western readers, for the connotations of “green” in the West is closest to the connotations of “red” in China. But it will make Western readers unknown to the real connotation of “Chinese red”. In the context of Chinese culture, &quot;red&quot; mostly symbolizes auspiciousness and joy. With such kind of domesticating translation, Western readers can never have the chance to know the real Chinese culture. (Liao Chunlan 2018, 137)<br /> <br /> It can be seen that in the process of cultural input and output, as an important part of indirect cultural communication, translation actually plays an important role. Therefore, it is very important to choose a suitable translation strategy. Compared with domesticating translation, source-oriented foreignizing translation has better retention of the original text in terms of language and culture. Due to political, economic, international and domestic reasons, domesticating translation once had the upper hand in the translation circles. But with the changes of the times, the choice of translation strategies should also keep pace with the times. As a translation oriented to the source language and culture, foreignizing translation, which plays a role in the development of national culture, deserves our attention.<br /> <br /> ===2. The Evolution of Foreignizing Translation===<br /> Any translation thought, no matter how modern and novel it is, has a gradual process of formation. Before discussing foreignizing translation and national culture, it is necessary to know the connotation of foreignizing translation. The concept of foreignizing translation is an extension and expansion of literal translation in traditional translation theories. Compared with literal translation, foreignizing translation pays more attention to cultural meanings behind the text. Foreignizing translation was first proposed and developed in the West. After absorbing the essence of Western foreignizing translation theories, Chinese translators have also added their own understanding and innovation toward foreignizing translation.<br /> <br /> ====2.1. The Evolution of Foreignizing Translation in the West====<br /> The concept of foreignizing translation in the West can be traced back to the word-for-word translation discussed by Cicero, Horace and St. Jerome in ancient Rome. It can be seen as the embryonic form of literal translation, which influenced the formation of foreignizing translation. (Tan Zaixi 2004, 32) <br /> <br /> In the early Middle Ages, Manlius Boethius, the most famous translator , had a rich view of literal translation as: “(1) Content and style are hostile to each other, either paying attention to style or preserving the content. It is impossible to have both. (2) Translation is centered on objective things, and translators should give up subjective judgments.” (Tan Zaixi 2004, 43) During the Renaissance period, the famous German poet and translator Sebastian Brant substituted the concept of literal translation into the poetry translation and proposed a verbatim translation strategy. (Tan Zaixi 2004, 73) <br /> <br /> In modern times, the dispute between literal translation and free translation has evolved into a dispute between the Old School and the New School. Bachet de Meziriae puts forward three principles that translators must follow: “(1) Do not stuff the original text with private goods. (2) Do not add or delete the original text (3) Do not make changes that are detrimental to the original intent.” (Tan Zaixi 2004, 114-115) <br /> <br /> Translation critic Daniel Huet believes that the best translation strategy is for the translator to follow the original author's meaning;&quot; If possible, the translator should follow the words closely, and finally reproduces the original character as much as possible.&quot; (Tan Zaixi 2004, 116) Charles Batteux believes that the primary translation rule is to preserve the original word order as much as possible. (Tan Zaixi 2004, 124)<br /> <br /> From a diachronic point of view, the concept of literal translation has become deeper and more specific, and its connotation has become more and more abundant. However, the concept of literal translation in this period still remained in the meaning, content and formal style of the language. The connotations in culture, poetics, society, ethics and ideology have gradually extended and developed, on which Western foreignizing translation is based.<br /> <br /> Friedrich Schleiermacher put forward two different translation strategies in his famous speech entitled ''On Different Translation Strategies'': The translator should either keep the original author as still as possible and make the reader closer to the original author; or let the reader stay still as much as possible and make the original author approach the reader. He advocated that the first translation strategy, foreignizing translation , which allows readers to appreciate foreign customs and respecting language and cultural differences. (Robinson &amp; Douglas 2006, 226-228) <br /> <br /> Walter Benjamin's thought of foreignization is reflected in his view of language. He believes that all languages convey themselves in themselves, so the language itself is a translation. Benjamin emphasized the directness of language and intended to subvert the bourgeois instrumental language view. The translation goal of pure language makes Benjamin tend to use the foreignizing translation strategy, retaining the language form of the original text, that is, the different way of conveying meaning. In other words, Benjamin's foreignizing translation idea is not to translate the meaning of the original text, but to convey the language expression of the original text to the target language. It is to achieve the ultimate goal of pure language for human salvation. (Benjamin 1999, 272)<br /> <br /> Antoine Berman puts forward the concept of &quot;translation ethics&quot; in the book ''The Test of Difference'' in response to the traditional translation thought centered on &quot;the transmission of meaning&quot; that has long dominated the Western translation world. “Translation ethics” advocated by Berman is to respect the original work and respect the language and cultural differences in the original work. In order to achieve his goal of translation ethics, he advocates foreignizing translation, implementing foreignizing translation through the translation strategy of translating text, which enriches language itself through the introduction of &quot;others&quot;. (Berman 1984, 23)<br /> <br /> Although the idea of foreignizing translation has existed for a long time, the terminology of &quot;foreignizing translation&quot; has not been promoted to the agenda of translation studies until 1995, when Lawrence Venuti published his famous book ''The Invisibility of the Translator-A History of Translation''. Venuti’s concept of foreignizing translation puts traditional literal translation on the local cultural and political agenda, and links translation with culture, political ethics, and ideology.（Zhang Jinhua, 2009) <br /> <br /> The rich connotations of foreignizing translation can be summarized into the following points: foreignization in the selection of material, language, culture, readers and translation ethics. The core of Venuti's foreignizing translation is to practice differentiated ethical propositions to resist the mainstream values of the culture of the target language, thereby highlighting the language and cultural differences of foreign languages. In other words, Venuti's translation ethics emphasizes the absorption and acceptance of “the other” as “the other”. It respects the language and cultural differences of the other, and also challenges the mainstream values of the target language.(Venuti 1995, 20)<br /> <br /> ====2.2. The Evolution of Foreignizing Translation in China====<br /> In the history of Chinese translation, there are two different translation strategies of Buddhist scripture, text-oriented (文派) and meaning-oriented (质派). In modern times, the ideas of foreignization and domestication are embodied in the dispute between literal translation and free translation. The concept of domestication and foreignization were not widely used by Chinese translators until Venuti proposed the translation strategy of “domesticating translation” and “foreignizing translation”. (Chen Fukang 1992)<br /> <br /> Text-oriented translators of Buddhist scripture pay attention to the text of the translation and do not strictly follow the original meaning, such as the Buddhist scripture translator Zhi Qian in the Han Dynasty, whose translation is focused on the fluency of the translated text.(Chen Fukang 1992, 16) On the contrary, Dao An, a representative of the translators of the meaning-oriented translators, put forward the &quot;Five Losses of Originals&quot; (五失本) and &quot;Three Difficulties of Transaltion&quot;(三不易), emphasizing faithfulness to the original meaning and content, which is the embryonic form of modern Chinese literal translation. (Chen Fukang 1992, 20)<br /> <br /> In modern times, with the deepening of translation understanding and the influence of Western translation theories, there has been a debate between literal translation and free translation. Scholars headed by Liang Shiqiu and Zhao Jingshen advocate free translation, while scholars headed by Lu Xun and Qu Qiubai advocate literal translation. Among them, the consciousness and concept of foreignization translation have appeared in Lu Xun's view of literal translation. When talking about translation, Lu Xun pointed out that translation needs to be exotic, which is the so-called “foreignness” (洋气). &quot;It must be exotic, which is the so-called foreignness.”(Lu Xun 2005, 365)<br /> <br /> The term “foreignizing translation”was first introduced to China by Guo Jianzhong, which arosed fierce debate about foreignization and domestication in China. In fact, as early as 1987, Liu Yingkai put forward that “domestication is the wrong way of translation”. In response to the phenomenon of excessive domestication in translation practice, Liu Yingkai proposed the &quot;transplantation strategy&quot; to maximize the original &quot;foreignness&quot;. (Liu Yingkai 1986, 59) <br /> <br /> With the introduction of Western foreignizing translation theory, literary translation practitioner and theorist Sun Zhili clearly proposed that literature translation should follow the principle of foreignizing translation: foreignization as the mainstay, and domestication as the supplement. He pointed out that domestication is mainly manifested at the linguistic level, while at the cultural level, foreignization should be stressed. (Sun Zhili 2001, 35)<br /> <br /> ===3.Discussion===<br /> Different translators have different definitions for foreignizing translation, but generally believe that foreignizing translation is a translation strategy that could preserves the characteristics of the source language, which will help readers get closer to the author. Although the background and purpose of different theorists’ perspectives on foreignizing translation are different, we should uphold the attitude of foreignizing translation as a translation strategy, and treat the role of foreignizing translation in the development of national culture objectively.<br /> <br /> ====3.1. The Necessity of Foreignizing Translation====<br /> The necessity of foreignizing translation comes from the diversity of national culture. If the world culture is homogenized, the concept of foreignizing translation will no longer exist. It can be said that foreignizing translation is proposed based on the development needs of national culture. Basically, there are two kinds of needs, one is the need of language development, the other is the need of cultural communication. <br /> <br /> ====3.1.1. The Need of Language Development====<br /> As the carrier of culture, language has never been self-sufficient and isolated from external factors. On the contrary, it is an open system with strong tolerance and attractiveness. With the deepening of exchanges among countries and ethnic groups, various languages are now enriched in varying degrees. The foreignizing translation played a very important role in this process.<br /> <br /> The change of language is firstly reflected at the lexical level. Some vocabulary do not exist in the target language originally, but come from the foreignizing translation works. A large number of words with foreign cultural customs were gradually accepted by people in this way. And it can be widely disseminated and used in the target culture. For example: The word &quot;honeymoon&quot; (蜜月) had no corresponding expression in Chinese, and its meaning were also not understood by Chinese at that time for the Chinese couple did not have the custom of being together during the first month of the wedding. But Lin Shu tried foreignizing translation boldly. The two parts of the compound word are translated and arranged together according to their literal meanings (honey &quot;蜜&quot;, moon &quot;月&quot;) to form the word &quot;蜜月&quot;. This undoubtedly injected fresh blood into Chinese at that time and developed modern Chinese. (Fu Weifeng 2007, 372)<br /> <br /> There are also many other words, such as &quot;咖啡 (coffee)&quot;, &quot;丁克 (DINK)&quot;, and &quot;可乐 (cola)&quot;, which have been understood and accepted by Chinese readers. Words such as &quot;Jiaozi (饺子)&quot;, &quot;tofu (豆腐)&quot;, &quot;Kungfu (功夫)&quot; originated from Chinese have also entered the English thesaurus and have become part of the English family. The inclusiveness of language is evident. Once these foreign words are accepted by the society, they are established by convention and become new members when they are added to the traditional language and culture. As a result, they will inevitably enrich the way of language expression, promote language proximity and communication, and enhance the vitality of language. In a sense, the process of language development is also a process of language foreignization. The foreignization of language is the general trend, and it cannot be blocked by manpower. The translator's use of foreignizing strategy actually follows the universal law of language development. (Fu Weifeng 2007, 372)<br /> <br /> The necessity of foreignizing translation is not limited to the lexical level, but also to the syntactic level. When Liang Qichao investigated the translation of Buddhist scriptures, he found a dozen of foreignizing translation of syntaxes in them. Facts have proved that the foreignizing syntax of these Buddhist translations took root in Chinese with the widespread spread of Buddhism and became the origin of the vernacular Chinese. (Wang Kefei 1997, 29) <br /> <br /> The grammar of modern Chinese is also enriched by Western languages, for example, the frequency and scope of passive voice use have expanded in Chinese. Passive form was used as early as in ancient Chinese, but it is rare, and it is generally used to express misfortune or unpleasant experience. Affected by the foreignizing translation of Western languages, the passive form in modern Chinese can also express pleasant things. It means that the syntax of the source language in foreignizing translation can be accepted as a part of the target language. (Zhang Jinlan 2003, 65)<br /> <br /> It can be seen that the use of foreignizing translation can enrich and expand the vocabulary and syntax of the target language, which is beneficial to the maturity and perfection of the target language. Around the 19th century, when German romantic writers and translators were translating foreign works, they paid great attention to absorbing some vocabulary and special expressions from foreign literary works to enrich the German language. In their view, the development of German is not yet perfect, and it is necessary to enrich and expand the German language through translation. Under the guidance of this kind of thinking, they showed great importance to the language form of the original text. (Zhang Jinlan 2003, 65)<br /> <br /> ====3.1.2. The Need of Cultural Exchanges====<br /> Each country and nation has its own unique culture, which all have contributed to the development of world civilization. The prosperity and development of world culture depend more on the further development of these cultures in their own fields rather than extinction. The existence of translation problems actually defaults to the existence of cultural diversity. If there is only one language and one culture in the world, there will naturally be no translation problems. The characteristics of foreignizing translation actually tolerate the diversity of national culture to the maximum extent, which is also the need of the cultural exchanges <br /> <br /> Lu Xun advocated foreignizing translation, believing that it can import new content and new expressions. He once said: &quot;Why is (translation) not completely sinicized so that readers can save some effort? How can it be called a translation with inexplicability? My answer is: such a translation is not only importing new content, but also importing the new expression.&quot; (Lu Xun 1894, 225) Through translation, we can achieve a deeper and more accurate understanding of the differences between cultures and the specific expressions of various ethnic languages.In the process of cultural input, foreignizing translation is essential if we want to understand the most authentic and essential culture of the source language. <br /> <br /> Correct cultural cognition is a prerequisite for cultural exchange. For example, most Westerners believe in Christianity, and they believe that God is the only savior of the world. Westerners' ideology, value system, religious beliefs, ethics, and even behaviors are all derived from Christian culture. As the carrier of culture, language is also influenced by religious culture. For this kind of proverbs, some translators may adopt the domesticating translation strategy, translating &quot;God helps those who help themselves&quot; as &quot;自助者天助&quot;, and translate &quot;The mills of God grind slowly but surely&quot; as &quot;天网恢恢 疏而不漏&quot;. It is easier to understand the sentence meaning, but it is unfair for most Chinese readers to lose the chance of knowing the true religious culture of the West. (Zhang Caixia 2019, 246)<br /> <br /> &quot;Goethe pointed out that everything has a beginning, and readers will eventually become accustomed to it. In short, readers' approval should be viewed from the perspective of development, not confined to temporary choices. This is the only way to multiculturalism.&quot; (Liu Miqing 2005, 75) When the phrase &quot;Praise is not pudding&quot; is translated into &quot;赞美不能当饭吃&quot;, it is certainly conducive to readers' understanding. But the cultural connotation of pudding for Westerners is completely concealed. The translation of &quot;赞美不能当布丁吃&quot; highlights the importance of pudding in the translation. <br /> <br /> Another example is the proverb &quot;unkissed, unkind&quot;. If it is translated as &quot;不作揖, 不友善&quot; by using domesticating translation strategy, although such a translation fully conforms to the thinking and habits of the Chinese people, it also causes a lack of the source culture. Therefore, by using the foreignizing translation strategy, &quot;不亲吻, 不友善&quot; can make readers know the difference between Western and Chinese etiquette, and will reduce obstacles in cultural exchanges. (Zhang Caixia 2019, 246)<br /> <br /> ====3.2. Restrictions on Foreignizing Translation====<br /> Foreignizing translation follows the trend of cultural globalization, but not all foreignizing translation works has a positive influence. This is mainly due to the translator's wrong use of foreignizing strategies and the wrong estimation of readers' expectations. Foreignizing translation is not mistranslation and it also requires the correctness of the translated text. At the same time, though foreignizing translation is not reader-oriented, it also needs to consider the readers' expectations in reality. <br /> <br /> =====3.2.1. Accuracy of Translation=====<br /> Lu Xun’s pursuit of literal translation was ridiculed by Liang Shiqiu and others at that time. Liang Shiqiu said that &quot;reading some of Lu Xun’s translations is just like looking at a map, you have to stretch your fingers to find clues in the syntax.&quot; He called his translation &quot;hard translation&quot; &quot;. (Liang Shiqiu 1929) This view is actually biased. “Hard translation” of Lu Xun does not mean mistranslation. Lu Xun said: &quot;Any translation must take both sides into consideration, one of course strives to be easy to understand, and the other preserves the beauty of the original.&quot; (Lu Xun 2005, 364-365) It can be seen that he insists on the translation strategy of faithfulness and smoothness under the premise of emphasizing faith first.<br /> <br /> This also brings us some enlightenment for using foreignizing translation strategies. As translation strategies, foreignizing translation and domesticating translation are not alternatives. We emphasize the importance of foreignizing translation, but we do not completely deny the meaning of domestication. In the case of mainly foreignizing translation, domesticating translation is also necessary in some cases. <br /> <br /> In the translation of some brand names, domesticating translation has become the main translation strategy due to the type of audience and the occasion. For example, “Revlon” translates to “露华浓” and “Lamer” translates to”海蓝之谜”. The former translation “露华浓” is born from an ancient Chinese poem “云想衣裳花想容, 春风拂槛露华浓”. For”海蓝之谜”, “海” symbolizes the mystery and “蓝” create a beautiful visual impression. These translations meet the aesthetic expectations of Chinese women and are conducive to the sale of goods. <br /> <br /> To master the degree of foreignizing translation can make the translation play its due role, otherwise it will make the translated text obscure and difficult to understand and worthless to read. For example, the English proverb “New brooms sweep clean” is difficult for readers of the target language to directly associate with its social meaning. In fact, this proverb means that a person will often do a better job just after taking office. Using foreignizing translation there may influence the readability of the text. In this case, domesticating translation, “新官上任三把火”, is also a good choice.<br /> <br /> =====3.2.2. Readers' Aesthetic Expectations=====<br /> For foreignizing translation to be accepted, in addition to the correctness of the translated text itself, some social and cultural conditions need to be considered. Schleiermacher proposed two social and cultural conditions for the acceptance and recognition of foreignizing translation: &quot;First, foreign works are highly recognized and popular with the public in the target country; Second, the target language has certain tolerance and adaptability (for foreign language).&quot; (Rainer Schulte ＆ John Biguenet 1992, 48)<br /> <br /> For readers in the target country, the foreignizing translation of popular works in the source language country is more likely to have a positive influence. Take China as an example. The closure of the Qing Dynasty has made many foreigners have a stereotype of Chinese culture. Even in the early stage of reforming and opening up in China, some foreigners still think that China is a backward image with braids and are not interested in Chinese culture. <br /> <br /> When Hawkes translated ''The Story of the Stone'', he mainly used domesticating translation. With the deepening of globalization and the rise of China, Chinese culture has begun to occupy an important position in the world. Foreigners are becoming more and more enthusiastic about Chinese culture, and they are more willing to read and understand Chinese literary works. Under such background, Yang Xianyi, a famous Chinese translator,’s foreignizing translation of ''A Dream of Red Mansions'' has also been accepted by more and more foreigners. Therefore, when using foreignizing strategies, the influence of the source language country's culture in the target country should be considered.<br /> <br /> The view of Schleiermacher is actually put forward from the reader's perspective. When choosing a work of the source language, the translator should consider the reader’s cognitive and aesthetic expectations. &quot;Different readers have different aesthetic tastes, and their emphasis on each function of translation is different&quot; (Gu Zhengkun 1994, 66). The choice of translation strategy for the translated version also depends on the translator's expectations of different readers. <br /> <br /> However, unlike domesticating translation, foreignizing translation should not be too accommodating to readers. Instead, it should bring new things to readers and innovate on the basis of fully considering the expectations of the readers of the target language. Jiang Chunfang pointed out: &quot;The purpose of translation is to translate all foreign things, plots, and unique sentence structures that we do not have. This is to innovate for our readers.&quot; (Jiang Chunfang 1989,3)<br /> <br /> ====3.3. The Influence of Foreignizing Translation on National Culture====<br /> The influence of foreignizing translation of national culture is reflected in two aspects: For the source culture, foreignizing translation is beneficial to cultivate the self-confidence of national culture, and enhance the influence of national culture in the world; For the target culture, foreignizing translation helps to avoid national cultural centralism and promotes the development of the local national culture . <br /> <br /> =====3.3.1. The Influence on the Source Culture=====<br /> For the source culture, foreignizing translation is a manifestation of cultural self-confidence and helps to promote national culture to the world. For example, in the 1830s, in order to realize the cultural rejuvenation of his own nation, the Czech translator John Bowring, on the one hand, used the strategy of foreignizing translation to translate European documents and introduce Western culture to his own people. But on the other hand, he brought the little-known Czech culture to the world of Western civilization through foreignizing translation. His efforts have contributed to the cultural development and the revival of Czech culture (Wang Dalai &amp; Zhang Jinhua. 2002, 105). <br /> <br /> When the East is learning from the West, there are also traces of the West being influenced by the East, especially Europe and the United States, but it is far inferior to the former. This is mainly due to the influence of &quot;Western Centrism&quot; or &quot;Western Superiority&quot;. Today, the Chinese people know more about the West than the West people know about China, and many excellent Chinese works are unknown in the West. <br /> <br /> In fact, China, with its long history and glorious heritage, has always had an influence that cannot be ignored in the world. There are ''The Travels of Marco Polo'' written by the 13th-century Italian traveler Marco Polo, ''the History of Chinese Culture'' written by Matteo Ricci, a Catholic Jesuit in the 17th century &quot;, the &quot;China fever&quot; that prevailed in the UK in the 17th and 18th centuries, and the &quot;Sinology fever&quot; that once swept France, they all confirm that Chinese culture has profoundly influenced the development of civilization in Europe and the entire world. <br /> <br /> Therefore, in order to make the broad and profound Chinese culture known by the world, when translating Chinese literary works into foreign languages, foreignizing translation should be adopted. For example, when Pound translated ancient Chinese poems, he followed the linguistic habit of the original language, &quot;copying Chinese syntax&quot; and &quot;English is impossible to read&quot; (Zhao Yiheng 1985, 256-257). <br /> <br /> The cultural impact of these translations far exceeds the accuracy of its own translation. &quot;These translated poems brought Chinese poems to the West. Before Pound, China had no literature commensurate with its name that was popular in English-speaking countries... Pound is the inventor of Chinese poetry, and his translation enables us to deeply understand the true spirit of Chinese poetry.&quot; (Xie Qian 2001, 74-79)<br /> <br /> The influence of foreignizing translation on the source culture needs to be viewed dialectically. For some &quot;weaker cultures&quot;, excessive foreignizing translation will also make translation obscure and difficult to be accepted by the target culture, which loses the basic function of translation. For cultural output, foreignizing translation should be used while ensuring the basic function of translation.<br /> <br /> =====3.3.2. The Influence on the Target Culture=====<br /> Foreignizing translation can promote national culture development of the target country, and avoid the stalemate caused by cultural centralism. Any kind of culture needs to absorb the essence of a heterogeneous culture to enrich and perfect its own culture. For example, the Chinese took advantage of the Western culture at the end of the 19th century and the beginning of the 20th century. In the New Culture Movement, the Chinese completed their own &quot;literary revolution&quot; and created their own new literary system. <br /> <br /> This is also a process in which Chinese intellectuals actively learn from the West. When people talk about the prosperous times in Chinese history, they are often referred to the Han and Tang dynasties. In fact, in the aspect of literary works, the Han Dynasty is much more inclusive. The cultural policy of the Han Dynasty was to reject a hundred schools of thought but respect Confucianism only. However, it was different in the Tang Dynasty. The Tang Dynasty was arguably the most open society in Chinese history. As almost free from the restriction of the orthodox thought of the Han Dynasty, it formed a broad mind capable of accommodating cultural forms of different ideological and ideological backgrounds. &quot;Therefore, the cultural and artistic life of the society of the Tang Dynasty, in terms of content and genre all present unprecedented, brilliant colors.&quot; (Du Daoming 2000, 9). <br /> <br /> In addition, there have been several large-scale cultural reference booms in European history. For example, when Greece learned from Egypt, Rome learned from Greece. When Arabia referred to the Roman Empire, medieval Europe imitated Arabia, and Europe imitated the Byzantine Empire in the Renaissance. Almost every craze prompted a culture to flourish and at the same time promoted the progress of European civilization. <br /> <br /> Both Chinese and foreign history tell us a truth: a culture can only achieve great development if it has an open spirit and can recognize and respect differences. &quot;Just as Liang Qichao said:'The richer the culture of a nation, the stronger its growth ability, this theorem is also.'&quot; (Wang Kefei 1997, 27). In short, the greater the openness of the culture, the more vigorous the development, the stronger the absorption, and the more prosperous the foreignizing of translation; on the contrary, a culture that is self-proclaimed will stubbornly restrain foreignization.<br /> <br /> But foreignizing translation will also have a negative impact on the target language country. When colonialism prevailed, the cultural output of imperialist countries mainly adopted foreignizing translation strategies, which invisibly formed cultural colonization of the &quot;weaker culture&quot;. In Modern China, Chinese once had the idea of admiring and fawning on foreign culture, and lost confidence in the local culture. To make foreignizing translation a boost to the development of national culture, it is necessary to enhance cultural self-confidence and make progress on the basis of the local culture of the target country.<br /> <br /> ===4. Conclusion===<br /> Foreignizing translation makes readers closer to the author, retains the linguistic characteristics of the source language, and conforms to the diversity of national culture. The development of national languages, from the perspective of vocabulary and sentence patterns, requires foreignizing translation to inject fresh blood in order to achieve self-enrichment and development of the language. In addition to direct communication, indirect communication facilitated by translation is also indispensable for the communication between various ethnic cultures. Foreignizing translation helps the local culture to correctly recognize foreign culture and reduces cultural obstacles in direct communication.<br /> <br /> In order to play its role, although the foreignizing translation strategy is necessary, it must follow some restrictions when using it. There are two main points. First, the foreignizing translation must be carried out on the basis of ensuring the correctness of the translation. Second, foreignizing translation should cater to readers’ aesthetic expectations. And readers’ cultural background should be considered when selecting materials and translating. However, foreignization translation does not yield to readers, but innovates for readers on the basis of fully considering the expectations of target language readers.<br /> <br /> In the course of practice, foreignizing translation has a different influence on the source culture and the target culture. For the source culture, foreignizing translation helps to make the local culture known in foreign countries, which is a manifestation of cultural confidence. But for weaker cultures, foreignizing translation may also hinder the spread of culture. For the target culture, foreignizing translation helps the local culture absorb the essence of foreign culture and promote the innovation and development of the local culture. However, in the process of absorbing foreign cultures, foreignizing translation may also cause excessive worship of foreign cultures, leading to a lack of self-confidence in local cultures.<br /> <br /> In Conclusion, compared with domesticating translation, foreignizing translation embraces the diversity of national culture to a greater extent. At the same time, it needs to follow certain restrictions when applying it. The influence of foreignizing translation on national culture should be viewed dialectically.<br /> <br /> ===References===<br /> Antoine Berman. (1984). ''L’epreuve de l’etranger: culture et traduction dans l’Allemagne romantique.'' Paris: Gallimard.<br /> <br /> Chen Fukang. 陈福康. (1992). ''中国译学理论史稿''. [History of Chinese Translation Theory]. 上海：上海外语出版社[ Shanghai: Shanghai Foreign Language Publishing House].<br /> <br /> Du Daoming. 杜道明. (2000). ''盛世风韵''. [Prosperity]. 郑州:河南人民出版社[Zhengzhou: Henan People's Publishing House]. <br /> <br /> Fu Weifeng. 傅伟锋. 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[The Poetry God Who Travels Far Away]. 四川人民出版社[Sichuan People's Publishing House].<br /> <br /> == Analysis of Said’s Post-Cononial Criticism and Orientalism 姜好 Jiang Hao Student No.202020080606== <br /> <br /> <br /> <br /> ===Abstract===<br /> <br /> This paper is on the analysis of Edward Said’s post-colonial criticism and orientalism. In 1978, Edward Said's Orientalism was published, initiating the study of &quot;post-colonialism&quot; and making it another wave of criticism following structuralism.The post-colonial theory was formed in the 1980s and matured in the mid-1990s, affecting all fields of humanities and social sciences in the West. Its rich theoretical content and strong critical consciousness have made it a symbol of academic change and a relatively new critical method in Europe and America. In his classic work of post-colonial criticism, &quot;Orientalism&quot;, American literary and cultural critic Edward Said challenged the traditional Western orientalism, revealing the power discourse implicit in orientalism and the mechanisms by which it operates. Said's post-colonial critique of Orientalism reveals to us the emergence, formation and authority of political and ideological factors, cultural forces and their resulting &quot;inherent modes of domination&quot; in Orientalism, and the generative and inherited nature of these factors, making people rethink and interpret comprehensively the authoritative forms of knowledge and social identity created by colonialism and Western domination.<br /> <br /> ===Key Words===<br /> Post-colonial;Orientalism;Criticism<br /> <br /> ===题目===<br /> <br /> 赛义德后殖民批评与东方主义探析<br /> <br /> ===摘要===<br /> <br /> 本文主要是关于赛义德后殖民批评与东方主义的探析。1978年爱德华萨义德的《东方主义》问世，开创了“后殖民”研究，使之成为继后结构主义又一波批评浪潮。后殖民理论形成于20世纪80年代，90年代中后期趋于成熟，影响波及西方人文社会科学研究各领域。其理论蕴合丰富，批判意识强烈，这使得它成为欧美学术变革标志和比较时新的批评方法。美国文学家与文化批评家爱德华·赛义德在其后殖民批评经典著作《东方学》中，对西方传统的“东方学”发起挑战，揭示隐含在东方学中的权力话语及其运作机制。赛义德后殖民批评视野下的东方学批判，为我们揭示了存在于“东方学”中的政治和意识形态因素的产生、形成和权威、文化力量及其由此形成的“固有支配模式”的生成性、传承性,使人们重新全面地思考和阐释由殖民主义和西方统治所创造并且权威化的知识形式与社会认同。<br /> <br /> ===关键词===<br /> 后殖民；东方主义；批评<br /> <br /> ====Introduction====<br /> Edward Said, a Palestinian-American scholar. In 1978, he published his representative work of post-colonial criticism, Orientalism, in which “Orientalism” is not a study of the East itself, but refers to a kind of Orientalism existing in the minds of Westerners as an idea. By criticizing the Orientalists and deconstructing the cultural hegemony, it strives to transcend the basic stance of confrontation between the East and the West and emphasizes cultural pluralism, so as to form a new relationship of dialogue, mutual infiltration and symbiosis between the East and the West.<br /> <br /> ====Said's Post-colonial Criticism====<br /> As a theoretical critical discourse and academic trend, post-colonial criticism is based on the interdisciplinary study of history, literature, anthropology, philosophy, and other disciplines, dealing extensively with cultural imperialism, colonial discourse, and the West's cultural representation of the East, reflecting on the historical fact of European colonialism and its serious consequences. It focuses on issues of colonial discourse, Orientalism, cultural imperialism, national culture, cultural power identity, and the relationship between race, class, and gender. The core idea of Said's postcolonial criticism is to analyze the mechanisms of power discourse implicit in Orientalism, reveal the essence of Orientalism and cultural hegemony, explore strategies to dismantle cultural hegemony, and critique the colonial discourse and cultural colonization in Orientalism, cultural imperialism, cultural hegemony, the postcolonial era, and the colonial discourse in Western cultural thought since colonialism. The main contents of the criticism focus on the following aspects: criticism of Orientalism and cultural imperialism, representation of the repressed historical memory in the colonies, study of cultural identity, discourse analysis of the colonized, discussion of the unique identity and circumstances of women in the Third World, and the attitude and reference structure of literary criticism. The most important feature of Said's postcolonial criticism is that he regards European literature and culture as a kind of ideological production and the collusion of colonial power. Said's cultural view, critical consciousness and textual theory, as well as his practice of postcolonial literary and cultural criticism, have formed his unique postcolonial critical methodology system.<br /> <br /> ====Orientalism====<br /> In Orientalism, a classic work of post-colonial criticism, Said based his academic views, critical consciousness and theoretical interpretation on a wide range of text interpretation. He not only interprets Orientalism as a kind of academic research, but also as a way of thinking and a way of power discourse, revealing the power discourse and its operation mechanism implied in traditional Orientalism. Said takes colonial discourse as the object of study, that is, from the perspective of how the West sees the East, to criticize the Orientalist aesthetics embodied in Western literary works, including the prejudice that the West is superior, civilized and progressive, while the East is ignorant, barbaric and backward. According to Said, Orientalism exists in three discursive fields: academia, ontological understanding of the binary opposition between East and West, and the process of colonization. Said used Lacan's psychoanalytic method to study western culture, pointing out that Orientalism is the embodiment of the psychological experience of self and other in western culture —the composition of any person's self image is based on the coexistence of recognition and other. Because of this religious bias, much Orientalist scholarship, when one strips away the apparatus of footnotes and sources, is simply speculation, assertion, and baseless judgement with little concrete evidence. Despite these misgivings, Said's thesis has been broadly adopted and refined by anthropologists such as Christopher Miller, Robert Inden and Johannes Fabian, while others such as Nicholas Thomas have used their critiques of Orientalist discourse as a launching pad to develop new areas, theories and methods of anthropological investigation. Since the 1990s, this latter pattern of engagement with Orientalism through critique, refinement, historical contextualisation and reinterpretation has become the norm for scholarship in the humanities.（Teo, Hsu-Ming. Australian Humanities Review; Bundoora Iss. 54,  (May 2013): N_A.）<br /> <br /> Said examines the concept and representation of the East in the West since the mid-eighteenth century, gives a basic description of the history of the development and evolution of Orientalism as a disciplinary system, and uses the term Orientalism to generalize the post-colonial relationship between the Western world and the Eastern world. It also reveals the power discourse and its operation mechanism implied in the traditional Orientalism. According to Said, Orientalism refers to three interrelated meanings: first, it refers to the discipline of academic research, a system of knowledge, that is, Orientalism. Most acceptable is what it means to be a discipline of academic study, and indeed the term is still used in many academic institutions. What is most readily accepted is what it means to be a discipline of academic study, and indeed the term is still used in many academic institutions. Anyone who teaches, writes about, or studies the Orient—whether an anthropologist, a sociologist, a historian, or a linguist — is an Orientalist, whether he or she faces specific or general problems. Orientalists are paranoid that the difference between Orientalists and Orientals is that the former writes the latter, while the latter is written by the former.. For the latter, the assumed role is passive acceptance; For the former, it is the power of observation, research and so on. In short, it is an author and an object to be written. Therefore, in the Oriental Studies of Orientalists, the East is expressed as a kind of image symbol which is rigid, stagnant and unchangeable, and needs others to examine it, and even needs others to provide knowledge about themselves. The Orientalist insists that the world of the Orient can be understood and characterized by the West not because of its own efforts, but because of a set of effective Western operational mechanisms. It is through these mechanisms that the East is recognized by the West. In the eyes of orientalists, the East is unable to express itself, is an absent and silent &quot;other&quot;, controlled and expressed only by &quot;certain dominant frameworks&quot; of the West, and the image of the East remains unchanged, that is, it has never been able to define itself. In fact, &quot;Orientalism is an artificially created system of theory and practice&quot;. In Said's view, the Orient, as presented in various Western writings, is not an authentic reproduction of the Orient as a historical existence, but rather a cultural conception and discursive practice of Westerners. Therefore, the &quot;East&quot; is not the east, but the east has been &quot;Orientalized&quot;. <br /> <br /> Secondly, it refers to a way of thinking, namely &quot;Orientalism. It is an essentialist, dualistic, narrow way of thinking similar to the &quot;if you are not of our race, you are different&quot; approach, based on the ontological and epistemological distinction between East and West. &quot;A large number of writers, including poets, novelists, philosophers, political theorists, economists, and imperial administrators, accepted this East or West distinction and used it as a means of constructing the East, its people, customs, &quot;mind&quot;, and destiny, among other things. A starting point for theory, poetry, fiction, social analysis, and political discourse.&quot; This way of thinking is based on an ontological and epistemological difference between &quot;the Orient&quot; and what has mostly been called &quot;the Occident. Many poets, novelists, philosophers, and political theorists have used this difference between the Orient and the Occident as a starting point for constructing their own writings and theories about the East and Orientals and Oriental consciousness. In their writings, &quot;the Orient is described as something to be judged (as in a courtroom), something to be studied and portrayed (as in a syllabus), something to be disciplined (as in a school or prison), something to be iconoclastic (as in a zoology textbook)&quot;. This East is the product projected from the West as the center under the opposite thinking mode between the East and the West. Not only has Oriental been essentialized and stereotyped, but also Oriental has been dehumanized as an abstract concept without personality. It is this essentialist way of thinking that limits the horizons of Orientalists and reinforces their arrogance and prejudice: the East is not only a geographical concept, but also a concept of nature. All periods of the cultural, political, and social history of the East are considered merely passive responses to the West, which is an witness and judge of all the actions of the Orient. <br /> <br /> Again orientalism refers to a mode of discourse of power that is shaped by the exchange of power with political, cultural, moral, and intellectual power. Said states, &quot;We can describe orientalism as a mechanism for dealing with the Orient by making statements about it, authoritatively adjudicating ideas about it, describing it, teaching it, colonizing it, ruling over it: in short, see it as a way for the West to control, reconstitute, and monopolize it.&quot; Because the period of great progress in the structure and content of &quot;Oriental Studies&quot; coincided with a period of dramatic expansion of European colonialism. It coincided with Western imperialism and the slightest element of the Orient. Orientalists see themselves as completing the union between East and West, but mainly by further confirming the technological, political, and cultural superiority of the West. Because of the imperialist colonial expansion, Orientalists deliberately portrayed the East as silent, obscene, weak, authoritarian, backward, irrational and abnormal. This &quot;knowledge&quot; of the Orient not only created a false sense of cultural superiority in the West, but also legitimized the &quot;power&quot; of the colonialists. Orientalism is a political doctrine imposed on the East and is an integral part of imperialism and colonialism. By focusing so much attention on imperialist agents and policymakers rather than professional researchers, Said seeks to emphasize the significant shift from an academic to an instrumental attitude toward Orientalism, knowledge about the East, and communication with the East. The orientalist has now become a spokesman for the Western culture to which he belongs, and he compresses into his work an apparent duality, of which his work (in whatever concrete form) is the symbolic expression: Western consciousness, knowledge, science control the most distant eastern territories and &quot;orientalism itself is the expression of certain political forces and activities&quot;. For Said, a continuous arc of knowledge and power connects the European or Western statesman with the Western orientalist; this arc constitutes the outer edge of the Eastern stage. Orientalism does not describe or study the real Orient, but rather the fictional and manufactured Orient that Western cultural hegemony has created for its own benefit. It is a kind of distribution of regional political consciousness to the texts of aesthetics, economics, sociology, history and philosophy; It is not only a basic geographical division, but also a careful design of the whole interest system, which is created and maintained through academic discovery, linguistic reconstruction, psychological analysis, natural description or social description.<br /> <br /> In essence, Orientalism is a kind of cognitive system of the Western world to know the East, a discourse form of the West about the East closely linked with Western colonialism and imperialism, and a way in which the West in a strong position dominates, reconstructs and oppresses the East in a weak position for a long time. The East is not only adjacent to Europe; it is also the most powerful, richest, and oldest colony in Europe, the source of European civilization and language, a competitor of European cultures, and one of the most profound and recurrent images of the Other in Europe. In addition, the Orient helps Europe (or the West) to define itself in terms of images, ideas, humanity, and experience in contrast to the Orient. However, these images of the Orient are not all imaginary. The Orient is an intrinsic part of the material civilization and culture of Europe. Orientalism, as a way of discourse that expresses this component on a cultural and even ideological level, is deeply grounded in academic mechanisms, vocabulary, imagery, orthodox beliefs, and even colonial institutions and styles. Said gives various meanings to the term &quot;Orientalism&quot;, which is a political doctrine that is imposed on the East. Orientalism expresses a relationship of power, dominance, and hegemony of the Western world over the Eastern world. Said emphasizes that the &quot;East&quot; depicted in various Western writings and presented by Orientalists is not a true reproduction of the East as a historical being, but rather a cultural conception and discursive practice of Westerners under the opposing modes of thinking of East and West, and a product of the West-centered projection. Said analyzed, &quot;At the turn of the 17th and 18th centuries, the Orient had already definitively demonstrated the long history of its languages-earlier than the genealogy of the languages of the Hebrew Bible. This discovery was first made by a group of Europeans, then passed on to other scholars, and has been preserved in the new discipline of Indo-European linguistics. With the birth of this discipline, as Foucault shows in The Order of Things, a whole relevant network of scientific research was established. Beckford, Byron, Goethe, and Hugo reconstructed the Orient in the same way in their works, giving expression to its color, light, and people through the imagery, rhythms, and themes of their works. The true Orient at best inspires the writer's imagination, but rarely controls it. Said noted that Orientalism is itself a desire or an intention——to control, manipulate, even annex, so that it has more to do with&quot;our&quot;world than with the &quot;Orient&quot;. Based on the standpoint of post-colonial critical theory, Said criticized the so-called Orientalism or Oriental Studies which came into being in the 18th century, including not only the academic tendency of the West to the East, but also the deep-rooted prejudice of the West to the East in the objective world, political and social life and literary works. To challenge the traditional Orientalism of the West.<br /> <br /> ====The Value and Limitation of Orientalism====<br /> <br /> In Orientalism, Said examines the historical evolution of the construction and expression of oriental concepts in the West, from the early Orientalism shackled in the framework of the Christian Bible to the modern Orientalism with the evolution of religious secularization and colonial expansion, and to the current Orientalism with the development of mass media, all of which contain a kind of power. Such power divides East and West, and labels the East as the &quot;other&quot; with essentialist characteristics. Orientalism is a kind of domination, a helper for the West to reconstruct the East and invade the East, and Orientalism lurks the prejudice and hostility of Westerners towards Eastern culture. <br /> <br /> In fact, the term &quot;Orientalism&quot; existed before Said, but it was Said who made the concept truly global and provided a unique perspective and theoretical basis for related research. Through this perspective, people began to question and reflect on the meaning of Orientalism as a discipline, and to gain a deeper understanding of the cultural conflicts between developed capitalist countries and Third World countries. Said criticizes the thinking of binary opposition, criticizes the thought of Eurocentrism that the mind of non-US is different, holds that cultural differences should be respected, different cultures should respect and learn from each other, and advocates multiculturalism to eliminate the center, which is of great practical significance. Globalization has narrowed the distance between different countries, in this process, how to treat different cultures, how to protect their own culture, has become a problem that most countries must face and urgent thinking, in this regard, Said advocated the idea of multicultural exchange is worth learning. <br /> <br /> After Orientalism, Said himself and postcolonial theorists have explored and developed the issues of cultural colonization and discursive power in the context of globalization, which has greatly enriched and developed postcolonialism. More commendable is that, in Orientalism, Said not only exposes the Western colonization of the East, but also profoundly exposes the participation of modern Orientals in the process of Orientalization. He pointed out that the recent contemporary culture is dominated by the European and American models, and the universities in the Arab world are operating on the basis of former colonies, and the Arab world is at a cultural, intellectual, and technological disadvantage. Arab scholars do not dare to despise any American academic publications, and Arab students are proud to study in the United States, and they aspire to learn precisely what is taught under American orientalist dogma. Said finds this situation worrisome. The Eastern consumption model is similarly bound to the American market system, where the United States selectively consumes Arab oil and cheap labor, while Arabs unthinkingly and eagerly consume all American goods, whether material or ideological. After World War II, Western capitalist countries, represented by the United States, have been expanding their culture through aid programs, educational and cultural exchanges, and mass cultural industries, and the American cultural values of freedom and democracy have been spreading around the world, while the national cultures of some developing countries and regions are in danger. In 1977, the Western cultural communication scholar Baoibari proposed &quot;media imperialism&quot;, which refers to the fact that the media in some less developed countries are subject to other countries' media in all aspects and do not have the same influence as them. <br /> <br /> While we see Said's success in exposing and critiquing the hegemonic and colonial nature of Orientalism, we are forced to reflect on the question: How did Orientalism achieve such a strong position in the West and globally? Said's theory is based on an abstract cultural view, which is clearly biased and unconvincing. His theory is based on an abstract cultural view, with obvious biases and limitations. It is true that the prosperity of Orientalism is closely related to the economic, political and military strength of the West, but it is more closely related to the progress of Western science and technology. It is precisely because of the progress of Western science and technology that the economic, political and military development of Western countries has been promoted in an all-round way. Although Orientalism is constructed according to Western cultural thinking, we should clearly understand two problems: First, Westerners did not construct Orientalism according to Western traditional cultural thinking once and for all, and in the process they also constantly transcended and criticized their own traditional culture. If criticism means a kind of degradation and destruction of the object of criticism, then, according to this way of thinking, Westerners have also degraded and destroyed their own traditional culture (even including the degradation and denigration of their traditional society) many times in different periods. Because, it is in the process of constantly criticizing itself that Western culture progresses and develops. Second, Western culture, especially modern Western science, has unparalleled superiority over other cultures. Although we can not deny the spiritual value of Eastern culture, but from the perspective of historical development, we have to admit that Western culture is more conducive to the development of modern science and the construction of civilized society. Although modern Western scientific thinking has revealed certain limitations, it still has a strong scientific nature, both from the historical and practical point of view. In order to develop, the backward countries must take the initiative to learn Western culture and combine it with their own reality. If we insist on holding on to our cultural self, we will only end up being colonized.<br /> <br /> Western civilization and Western hegemony are somewhat related, but there is also a clear difference. Without Western civilization, it would be difficult for the West to establish lasting world hegemony; but Western hegemony, which gradually departs from the path of human civilization, will sooner or later be negated by Western civilization. The emergence of Marxism is a clear example of this. Faced with Western hegemony, the weak East cannot simply stay or be satisfied with the revelation of hegemony, but must see through the hidden essence of this hegemony, and through the stripping of hegemony and civilization and the learning and use of civilization to strengthen itself, in order to fundamentally get rid of Western hegemony and build a strong country. In the study of Western civilization, it is not enough to master technology and civilization, but also to master and build social civilization. In social civilization, institutional civilization is crucial. Only the establishment of advanced institutions is a lasting guarantee for the development of the state and society. In this regard, Marx's theory of social development is of immense importance. Although Orientalism also deals with Marx's theory of social development and gives him a possible positive assessment, unfortunately Said has always recognized and evaluated Marx's theory of social development in the framework of his Orientalism.<br /> <br /> Said is well aware that in order to resist Orientalism, Orientals themselves must build their own discourse system and seize the right to speak. He is also well aware that Orientals cannot construct their own discourse system with the traditional cultural self, and that the cultural self needs to be pluralistic and mixed. But in the face of the multiple separations of the self in contemporary social development (i.e., the fragmentation of the subject emphasized by postmodernists), how can people build a unified and effective cultural self? What should be the value coordinates for the construction of the cultural self? In this regard, the comments of British scholar George Laren are instructive. He says: &quot;All of these important changes occurred in the late twentieth century, and their rapid pace and global impact are thought to have had a marked effect on the dissolution of individual identity. While I acknowledge the importance of all these changes, I question whether they should be held fully responsible for a subject whose center has been completely dissolved. I acknowledge that the faster the pace of change in relationships, the more difficult it is for the subject to understand what is happening, to see the connections between the past and the present, and therefore to form a unified view of himself and determine how to act. Yet there is still a great distance to jump from this point to the complete fragmentation of the subject. The so-called dissolution of the center of the subject corresponds to the triumph of the presumed objecthood, to the triumph of the presumed power of the unconscious structure, which completely destroys the individual's sense of wholeness&quot;, &quot;Third World countries should also recognize these problems of identity from a different perspective, because in a world increasingly divided into three power blocs, they are excluded, for whom the road ahead is not only fraught with hardship and uncertainty, but also with the temptations of neo-historicism and essentialism.&quot; Effective resistance to Orientalism requires not only cultural awareness and effort, but also precise social discernment and strong national power. The latter is what Said's theory lacks.(杨生平.后殖民主义话语下中国问题研究评析[J]中国特艳社会主义研究, 2013, (2))<br /> <br /> ====The Influence of Postcolonial Theory on Translation====<br /> Out of Tradition, Toward Diversity. Although the postcolonial theory proposed by Said was directed at literature and literary texts, its theoretical formulation did contribute to the later development of translation. The theory of colonial criticism can be mapped to translation as well, dealing a fatal blow to traditional translation and shedding new light on translation studies.<br /> <br /> First, &quot;Orientalism&quot; and &quot;cultural empire&quot; point out the essence of the dichotomy between Chinese and Western, and the dichotomy between subject and object. In the traditional translation theory, the original work and the translation are dichotomous, the original work is supreme, and the translation must depend on the original work and strive for fidelity. This concept of &quot;original work and copy&quot; has been implicitly transformed into people's unconsciousness, that is, the colonizer and its language and culture are the &quot;original work&quot; in the dominant position, while the colonized and its language and culture are the &quot;copy&quot; in the subordinate position. The colonized and their language and culture are 'copies' and subordinate. The &quot;original&quot; image of the colonizer is personified as Eurocentrism and Orientalism, while the &quot;copy&quot; image of the colonized is personified as marginality and otherness. Said's post-colonial theory paves the way for people to move beyond the traditional faithful reciprocity and dissolve the dichotomy.<br /> <br /> Secondly, the inequality of rights hidden under the impurity of language and text, and the non-self-sufficiency of the text point to the great role of factors outside the text and the non-essential nature of the text, which require people to go beyond the traditional language level of translation to include the external factors of translation, such as social, economic, political, and consciousness, into the study of translation. Translation is no longer a neutral act, far away from political and ideological struggles and conflicts of interest. Instead, it becomes a place of such conflict, where the target language has to meet the target language face-to-face, fighting it out over the irreducible differences between them, where authority is invoked and challenged, ambiguity is dispelled or ambiguity is created, until new words or meanings appear in the target language. (Liu He, 36) Translation is actually the result of two cultures colliding, clashing and negotiating with each other, behind which lies the inequality of rights and the confrontation between mainstream and non-mainstream consciousness. Undoubtedly, this is another breakthrough to the traditional theory of fidelity.<br /> <br /> Thirdly, Said's emphasis on textual reading and textual criticism, highlighting the importance of the critic, also sheds light on the subjectivity of the translator in translation. In the traditional view of faithfulness and equivalence, the translator is always invisible, the success of the translation is due to the original author, and the failure of the translation is the translator's dereliction of duty, because faithfulness and equivalence is the translator's bounden duty, and the correspondence between the original and the translation seems to be a matter of course, as if the translator had never existed. The introduction of postcolonial theory has given the translator a legitimate status as well, and the subjectivity of the translator is no longer obscured.<br /> <br /> ====Conclusion====<br /> Postcolonial theory subverts the traditional theory of faithful equivalence in translation, breaks the rigid binary opposition pattern formed for a long time, and requires translation not only to focus on linguistic equivalence, but also to examine the roles played by society, economy, politic s and consciousness in translation, to examine the subjectivity of translators, and to pay attention to ideology and power in translation. So as to move towards pluralism. Translation is no longer transparent and no longer pure and innocent, I believe that taking this into account, translation studies will have a new perspective. In fact, postcolonial translation theory, feminist translation studies, and deconstructive translation studies have seen this point will be flourishing.<br /> <br /> ===References===<br /> [1]王宁,薛晓源.全球化与后殖民批评[M].中央编译出版社, 1998.<br /> <br /> [2]陈厚诚，王宁.西防当代文学批评在中国[M].百花文艺出版社,2000.<br /> <br /> [3](英)齐亚乌丁.萨达尔.东方主义[M]马雪峰等,译.吉林人民出版社,2005.[4](美)爱德华.W.萨义德东方学[M].王字根,译.三联书店,1999.<br /> <br /> [4]王岳川.后殖民主义与新历史主义文论[M].山东教育出版社, 1999.[6](美)爱德华.W.萨义德知识分子论[M].单德兴,译.三联书店,2002. [7]张京媛.后殖民理论与文化批评[M].北京大学出版社, 1999.<br /> <br /> [5]许晓琴.文化领域的一种批评实践与策略书泻[J].求索,2008(6).<br /> <br /> [6] (英)乔治拉伦.意识形态与文化身份:现代性和第三世界的在场[M].上海:上海教育出版社, 2005.209、225.<br /> <br /> [7]Bassnett, Susan and Lefever, Andre. ed. Translation, Historyand Culture.New York:Cassell, 1995. [2]Munday, Jeremy.Introducing Translation Studies.London andNew York:Routledge, 2001.<br /> <br /> [8]费小平:《翻译的政治》。北京:中国社科出版社, 2005。<br /> <br /> [9]何绍斌，“后殖民语境与翻译研究”，《天津外国语学院报》 , 4 (2006) :11-15。<br /> <br /> [10]刘禾:《语际书写-现代思想史写作批判纲要》 ，上海:上海三联书店, 1999。<br /> <br /> [11]孙会军:《普遍与差异-后殖民批评视阈下的翻译研究》。上海: 上海译文出版社, 2005。<br /> <br /> [12]张晶,靳瑞萍，《后殖民主义引发的翻译研究再思》，《佳木斯大学社会科学学报》:2 (2007) 258-259年。 [8]张京瑗:后殖民理论与文化批评。北京:北京大学出版社, 1999。<br /> <br /> [13]朱立元:《当代西方文艺理论》。. 上海:华东师范大学出版社, 2002。<br /> <br /> [14]祝朝伟,“后殖民主义理论对翻译研究的启示”，《四川外语学院学报》, 2 (2005) :89-93。<br /> <br /> == A Comparative Study of Chinese Versions of ''Uncle Tom’s Cabin'': From the Perspective of Hermeneutics 管钦清 Guan Qinqing Student No.202070080586 英语笔译==<br /> <br /> ===Abstract===<br /> <br /> Hermeneutics is a discipline that studies understanding and interpretation, and its development is inseparable from translation. Both literary translation and non-literary <br /> translation are inseparable from the understanding and interpretation of the original text. The nature of translation determines that the relationship between hermeneutic <br /> theory and translation studies is extremely close. This article is guided by Gadamer's hermeneutics. Based on the core concepts of historical understanding, prejudice, and <br /> fusion of horizons, this article will discuss how these related factors, such as historical ideology, translator's attitude, language fusion, cultural filtering, and <br /> translator's subjectivity, work and embody in the Chinese versions of Uncle Tom's cabin. This article first explains Gadamer's hermeneutics. Then the author and translator <br /> of ''Uncle Tom’s Cabin'' are introduced. Under the guidance of the above theory, the different translation strategies adopted by different Chinese versions and their reasons are analyzed from different perspectives. Through the above analysis, I draw some inspiration from it: the existence of multiple translation versions and the retranslation of literary works are reasonable. Translation works from different historical contexts can reflect the spirit of a particular era. And hermeneutics can provide reasonable explanations for some translation phenomena that are influenced and determined by the context of social culture and history, and it is very suitable for studying translation works that appeared in different periods.<br /> <br /> ===Key words===<br /> <br /> Hermeneutics; ''Uncle Tom’s Cabin''; historicity of understanding; fusion of horizons; effective history<br /> <br /> ===题目===<br /> <br /> 解释学视角下''Uncle Tom’s Cabin''译本的对比研究<br /> <br /> ===摘 要===<br /> <br /> 解释学是一门研究理解和解释的学科，其发展与翻译密不可分。无论是文学翻译还是非文学翻译，都离不开原文的理解和解释，翻译的这种性质决定了解释学理论与翻译研究之间的关系是极其密<br /> 切的。本文主要是从伽达默尔的解释学角度出发，根据理解的历史性、偏见和视域融合这几个核心概念，论述历史意识形态、译者态度、语言融合、文化过滤以及译者主体性等相关因素在斯托夫<br /> 人的''Uncle Tom’s Cabin''中译本中的体现及作用。本文首先对伽达默尔的解释学进行了阐述。随后介绍了''Uncle Tom’s Cabin''的原文作者以及译者，并在以上理论基础的指导下，从不同的角度对译本所采取的不同的翻译策略及其原因进行了分析。通过以上分析，笔者从中得出启示：多个译本同时存在以及文学名著重译现象的存在是合理的。产生于不同历史环境的译作，能够反映特定的时代精神。而解释学能为一些由社会文化历史语境影响和决定的翻译现象提供合理的解释，并且十分适用于研究不同时期出现的译作。<br /> <br /> ===关键词===<br /> <br /> 解释学；''Uncle Tom’s Cabin''；理解的历史性；视域融合；效果历史<br /> <br /> ===Introduction===<br /> <br /> ''Uncle Tom’s Cabin'' is a novel against slavery published by American writer Harriet Beecher Stowe in 1852. The novel's views on African-Americans and American slavery have had far-reaching influences, and to some extent intensified local conflicts that led to the American Civil War. The novel was the best-selling novel of the 19th century (and the second best-selling book, second only to the best-selling book, the Bible), and was considered a major reason for the rise of abolitionism in the 1850s. In the first year of its publication, it sold 300,000 copies in the United States. The impact of Uncle Tom’s Cabin on American society was so great that during the early days of the Civil War, when Lincoln met Mrs. Stowe, he said, &quot;You are the little woman who caused a great war.&quot;（Zhang Qiqun 2002, 77）<br /> <br /> ''Uncle Tom’s Cabin'' is a novel against slavery published by an American writer Harriet Beecher Stowe in 1852. The novel's views on African-Americans and American slavery have had far-reaching influences, and to some extent intensified local conflicts that led to the American Civil War. The novel was the best-selling novel of the 19th century (and the second best-selling book, second only to the best-selling book, the Bible ), and was considered a major reason for the rise of abolitionism in the 1850s. In the first year of its publication, it sold 300,000 copies in the United States. The impact of Uncle Tom’s Cabin on American society was so great that during the early days of the Civil War, when Lincoln met Mrs. Stowe, he said, &quot;You are the little woman who caused a great war.&quot;（Zhang Qiqun 2002, 77）--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:55, 17 December 2020 (UTC)Li Lili<br /> <br /> The influence of ''Uncle Tom’s Cabin'' on the Chinese translation industry is self-evident. As the first American novel was translated into Chinese, this novel first appeared in China in the form of classical Chinese in 1901. Its name was 《黑奴吁天录》 and translated by translators Lin Shu and Wei Yi. After the publication of《黑奴吁天录》, it caused a strong response from readers and caused a certain impact on the consciousness of Chinese readers. The second version of Uncle Tom’s Cabin in China was translated by Mr. Huang Jizhong, entitled 《汤姆大伯的小屋》 and published in 1982. A major feature of Huang Jizhong's ''Uncle Tom's Cabin'' was its fidelity to the original text. The translation was very popular once it was launched. 59,000 copies were printed in the first edition, and another 30,000 copies were soon printed, all sold out. These two translation works had different production time and different translation methods, but they both enduring have many readers. Why can a foreign novel be retranslated many times in China, and all kinds of completely different translation works can enjoy their respective reputations, and have been sought after by readers of different times? Why these two very different translation methods so successful? The above issues aroused my attention.(Zhu Jianping 2006, 70) <br /> <br /> The influence of ''Uncle Tom’s Cabin'' on the Chinese translation industry is self-evident. As the first American novel was translated into Chinese, this novel first appeared in China in the form of classical Chinese in 1901. Its name was 《黑奴吁天录》 and translated by translators Lin Shu and Wei Yi. After the publication of《黑奴吁天录》, it evoked a strong response from readers and had a certain impact on the consciousness of Chinese readers. The second version of Uncle Tom’s Cabin in China was translated by Mr. Huang Jizhong, entitled 《汤姆大伯的小屋》 and published in 1982. A major feature of Huang Jizhong's ''Uncle Tom's Cabin'' was its fidelity to the original text. The translation was very popular when it was launched. 59,000 copies were printed in the first edition, and another 30,000 copies were soon printed, all sold out. These two translation works had different production time and different translation methods, but they both have many readers. Why can a foreign novel be retranslated many times in China, and all kinds of completely different translation works can enjoy their respective reputations, and have been sought after by readers of different times? Why these two very different translation methods so successful? The above issues aroused my attention.(Zhu Jianping 2006, 70) --[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 14:52, 17 December 2020 (UTC)Li Lili<br /> <br /> Hermeneutics is a philosophical theory that explains and understands text. For the first time in the 20th century, translation theorist George Steiner put translation into <br /> hermeneutics and pointed out that language is constantly changing. With the continuous development of hermeneutics, the German philosopher Gadamer established a systematic <br /> philosophical hermeneutics and put forward the three principles of &quot;history of understanding&quot;, &quot;fusion of horizons&quot;, and &quot;history of effects&quot; in his works. These three <br /> principles can be used to explain many translation phenomena and translation theories in the history of Chinese and foreign translation, and have high reference value. In <br /> view of this, the author decided to use Gadamer's hermeneutics as a theoretical guide. Focusing on the analysis of the two versions of ''Uncle Tom's Cabin'', I will research and discuss the issues raised above, and draw inspiration from them to provide a way for literary translation.(Hong Handing 2010, 59)<br /> <br /> Hermeneutics is a philosophical theory that explains and understands texts. In the 20th century, translation theorist George Steiner first put translation into <br /> hermeneutics and pointed out that language is constantly changing. With the continuous development of hermeneutics, the German philosopher Gadamer established a systematic <br /> philosophical hermeneutics and put forward the three principles of &quot;history of understanding&quot;, &quot;fusion of horizons&quot;, and &quot;history of effects&quot; in his works. These three <br /> principles can be used to explain many translation phenomena and translation theories in the history of Chinese and foreign translation, and have high reference value. In <br /> view of this, the author decided to use Gadamer's hermeneutics as a theoretical guide. Focusing on the analysis of the two versions of ''Uncle Tom's Cabin'', I will research and discuss the issues raised above, and draw inspiration from them to provide a way for literary translation.(Hong Handing 2010, 59)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 14:52, 17 December 2020 (UTC)Li Lili<br /> <br /> ===1.Literature Review===<br /> <br /> This chapter will give a brief introduction to hermeneutics from three aspects: the development of hermeneutics, Gadamer's Philosophical Hermeneutics, and Hermeneutics' <br /> Guide to Translation Studies.（Zheng Liping &amp; Yi Xinqi 2015, 101）<br /> <br /> ====1.1. Development of Hermeneutics====<br /> <br /> Hermeneutics has a profound historical origin and is an ancient and well-established science. Traditional hermeneutics is not a specific philosophical school, but a <br /> philosophical theory of meaning, understanding, and interpretation. Its history can be traced back to ancient Greece. The term Hemeneutics is the name of Hemes, the <br /> messenger of the Greek gods. He accepted the will of Zeus and explained it to human beings, and also passed on the human claims to Zeus and the gods. The core of <br /> hermeneutics is the &quot;interpretation&quot; of problem. The academic community generally believes that hermeneutics can be divided into three stages: classical hermeneutics, <br /> modern hermeneutics and philosophical hermeneutics.（Zheng Liping &amp; Yi Xinqi 2015, 104）<br /> <br /> Hermeneutics has a profound historical origin and is an ancient and well-established science. Traditional hermeneutics is not a specific philosophical school, but a <br /> philosophical theory of meaning, understanding, and interpretation. Its history can be traced back to ancient Greece. The term Hemeneutics is the name of Hemes, a <br /> messenger of the Greek gods. He accepted the will of Zeus and explained it to human beings, and also passed on the human claims to Zeus and the gods. The core of <br /> hermeneutics is the &quot;interpretation&quot; of problem. The academic community generally believes that hermeneutics can be divided into three stages: classical hermeneutics, <br /> modern hermeneutics and philosophical hermeneutics.（Zheng Liping &amp; Yi Xinqi 2015, 104）--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:01, 17 December 2020 (UTC)Li Lili<br /> <br /> The core of classical hermeneutics is theological hermeneutics, which mainly involves the translation and understanding of the Bible. As a translator, the interpreter must <br /> explain the ambiguous and vague words that appear in the Bible. Therefore, classical hermeneutics is mainly a technique to convert hidden divinity into a language <br /> understandable to ordinary people, which mainly serves the spread of religion and promotes the promotion of the Bible and its teachings. With the continuous secularization <br /> of religious classics, hermeneutics has evolved from a single interpretation of the Bible into an interpretation of classic literary works. After the introduction of <br /> literary research, it gradually became a research method that pursued objectivity and tried to get rid of subjective will. Both F. Schleier-macher and W. Dilthey were <br /> deeply influenced by this methodological consciousness, and continuously promoted the development of hermeneutics, making hermeneutics a subject of interpretive methods.<br /> Modern hermeneutics began at the end of the 19th century, and its representative was Dilthey. Dilthey put forward the hermeneutics of &quot;historical rational critique&quot;, concerned about how the hermeneutics in a specific historical context can objectively understand other historical performances. Hermeneutics is no longer considered as an inquiry into the author's psychological intentions, but rather as an interpretation of the world of existence shown in the text.（Zhang Qiqun 2002, 77）<br /> <br /> The core of classical hermeneutics is theological hermeneutics, which mainly involves the translation and understanding of the Bible. As a translator, the interpreter must <br /> explain the ambiguous and vague words that appear in the Bible. Therefore, classical hermeneutics is mainly a technique to convert hidden divinity into a language <br /> understandable to ordinary people, which mainly is applied to the spread of religion and promotes the promotion of the Bible and its teachings. With the continuous secularization <br /> of religious classics, hermeneutics has evolved from a single interpretation of the Bible into an interpretation of classic literary works. After the introduction of <br /> literary research, it gradually became a research method that pursued objectivity and tried to get rid of subjective will. Both F. Schleier-macher and W. Dilthey were <br /> deeply influenced by this methodological consciousness, and continuously promoted the development of hermeneutics, making hermeneutics a subject of interpretive methods.<br /> Modern hermeneutics come into being at the end of the 19th century, and its representative was Dilthey. Dilthey put forward the hermeneutics of &quot;historical rational critique&quot;, concerned about how the hermeneutics in a specific historical context can objectively understand other historical performances. Hermeneutics is no longer considered as an inquiry into the author's psychological intentions, but rather as an interpretation of the world of existence shown in the text.（Zhang Qiqun 2002, 77）--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:01, 17 December 2020 (UTC)Li Lili<br /> <br /> Philosophical hermeneutics, represented by German philosophers Heidegger and Gadamer, is a fundamental change in hermeneutics. They changed the ontology of philosophical hermeneutics, so they are called philosophical hermeneutics. “Unlike previous practical philosophy, this type of hermeneutics as a dual task of theory and practice lies in restoring Aristotle's concept of practical wisdom”.And this article uses Gadamer's philosophical hermeneutics as a theoretical guide to analyze the translation.(Hong Handing 2010, 59)<br /> <br /> Philosophical hermeneutics, represented by German philosophers Heidegger and Gadamer, is a fundamental change in hermeneutics. They changed the ontology of philosophical hermeneutics, so they were called philosophical hermeneutics. “Unlike previous practical philosophy, this type of hermeneutics, with a dual task of theory and practice, lies in restoring Aristotle's concept of practical wisdom”.And this article uses Gadamer's philosophical hermeneutics as a theoretical guide to analyze the translation.(Hong Handing 2010, 59)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:01, 17 December 2020 (UTC)Li Lili<br /> <br /> ====1.2. Gadamer's Philosophical Hermeneutics====<br /> <br /> Gadamer always believed that the term &quot;Hermeneutics&quot; came from Hermes &quot;Hermes&quot;, one of the twelve main gods of ancient Greece, so he believed that the interpretation must include the acceptance and performance of the recipient, that is, understanding and explaining. On the basis of inheriting Heidegger's thought, Gadamer deepened his thought of understanding. He further developed hermeneutics into philosophical hermeneutics, and pushed hermeneutics to prosperity. Gadamer opposed the hermeneutics that stood before him in an objective position. He believed that understanding is not an act of reproduction, but should be an act of creation. He believed that the author's &quot;intent&quot; does not exist, and the search for the author's &quot;intent&quot; is also futile.（Chen Hongwei 2004, 25）<br /> <br /> Gadamer always believed that the term &quot;Hermeneutics&quot; came from Hermes &quot;Hermes&quot;, one of the twelve main gods of ancient Greece, so he thought that the interpretation must include the acceptance and performance of the recipient, that is, understanding and explaining. On the basis of inheriting Heidegger's thought, Gadamer deepened his thought of understanding. He further developed hermeneutics into philosophical hermeneutics, and pushed hermeneutics to prosperity. Gadamer opposed the hermeneutics that appeared before him in an objective position. He believed that understanding is not an act of reproduction, but be an act of creation. He believed that the author's &quot;intent&quot; does not exist, and the search for the author's &quot;intent&quot; is also futile.（Chen Hongwei 2004, 25）--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:09, 17 December 2020 (UTC)Li Lili<br /> <br /> As mentioned earlier, Gadamer's hermeneutics has three main principles: historicity of understanding, fusion of horizons, and history of effects. From the &quot;historicity of understanding&quot;, Gadamer believed that understanding is historical, and the history of understanding constitutes the bias of understanding, which determines the creativity and generation of understanding. Gadamer believed that the historicity of understanding will inevitably lead to prejudice, but the existence of such prejudice is reasonable. The second is the principle of horizon fusion. Gadamer believed that understanding is the way of existence of history, so both the subject and the object of understanding are the existence of history, and both have their own horizons. In the process of understanding, the translator should be as close as possible to the original horizon of the original author to achieve a fusion of horizons. The last principle is effect history. The effect history principle emphasizes understanding the work from the effect history of the work, which closely links history with the present and fully affirms the significance of ancient texts to contemporary society. Understanding Gadamer's history of effects helps us understand the need to retranslate a classic. These three principles of Gadamer provided an important theoretical basis for us to understand and explain some long-running issues in translation theory and translation practice.（Li Lei 2008, 122）<br /> <br /> As mentioned earlier, Gadamer's hermeneutics has three main principles: historicity of understanding, fusion of horizons, and history of effects. From the perspective of &quot;historicity of understanding&quot;, Gadamer believed that understanding is historical, and the history of understanding constitutes the bias of understanding, which determines the creativity and generation of understanding. Gadamer argued that the historicity of understanding will inevitably lead to prejudice, but the existence of such prejudice is reasonable. The second is the principle of horizon fusion. Gadamer believed that understanding is the way of existence of history, so both the subject and the object of understanding are the existence of history, and both have their own horizons. In the process of understanding, the translator should be as close as possible to the original horizon of the original author to achieve a fusion of horizons. The last principle is effect history. The effect history principle emphasizes understanding the work from the effect history of the work, which closely links history with the present and fully affirms the significance of ancient texts to contemporary society. Understanding Gadamer's history of effects helps us understand the need to retranslate a classic. These three principles of Gadamer provided an important theoretical basis for us to understand and explain some long-running issues in translation theory and translation practice.（Li Lei 2008, 122）--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:09, 17 December 2020 (UTC)Li Lili<br /> <br /> ====1.3. Hermeneutics' Guide to Translation Studies====<br /> <br /> As mentioned earlier, literary translation and hermeneutical theory are inseparable. Essentially, literary translation is an art of understanding and expressing meaning. It is a process of re-creation through interpretation. At present, hermeneutics is recognized as a valid theory for translation studies. Translation studies based on hermeneutics have broken the traditional inherent understanding of traditional translation theory on some issues, and raised questions and challenges to traditional translation theory. Among them, the guidance of hermeneutics on translation studies is mainly reflected in the following aspects.(Zou Guangsheng 2001，2)<br /> <br /> As mentioned earlier, literary translation and hermeneutical theory are inseparable. Essentially, literary translation is an art of understanding and expressing meaning. It is a process of re-creation through interpretation. At present, hermeneutics is recognized as a valid theory for translation studies. Translation studies based on hermeneutics have broken the traditional inherent understanding of traditional translation theory on some issues, and raised questions and challenges to traditional translation theory. Among them, the guidance of hermeneutics on translation studies is mainly reflected in the following aspects.(Zou Guangsheng 2001，2)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:29, 17 December 2020 (UTC)Li Lili<br /> <br /> First: the historical nature of understanding explained the misreading phenomenon. The historical nature of understanding means that the specific historical environment, historical status, and historical conditions of the translator are different from the object of understanding. Readers always have historical prejudice in the process of understanding the original text, because they cannot transcend historical space and time to objectively understand the original text. Hermeneutics' re-understanding and definition of this prejudice also provides a philosophical basis for the translator's subjectivity and the rationality of creative treason in the field of translation studies. Gadamer believed that there is no so-called normative interpretation of a text. And this prejudice is a positive factor formed in history and tradition. Scholars should treat this existence correctly and should not regard it as a part that should be eliminated.（Zhang Qiqun 2002, 77）<br /> <br /> First: the historical nature of understanding explained the misreading phenomenon. The historical nature of understanding means that the specific historical environment, historical status, and historical conditions of the translator are different from the object of understanding. Readers always have historical prejudice in the process of understanding the original text, because they cannot transcend historical space and time to objectively understand the original text. Hermeneutics' re-understanding and definition of this prejudice also provides a philosophical basis for the translator's subjectivity and the rationality of creative treason in the field of translation studies. Gadamer believed that there is no so-called normative interpretation of a text. And this prejudice is a positive factor formed in history and tradition. Scholars should treat this existence correctly and not regard it as a part that should be eliminated.（Zhang Qiqun 2002, 77）--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:29, 17 December 2020 (UTC)Li Lili<br /> <br /> Second: The principle of fusion of horizons explains the phenomenon of cultural filtering. The principle of horizon fusion theoretically confirms the historical roots of cultural filtering phenomenon in translation and the inevitable existence of cultural filtering phenomenon. Although the translator should strive to approach the original vision of the original author and understand the author's original intention, in fact, the translator always inevitably brings the world he is familiar with into the strange world of the original text.（Chen Hongwei 2004, 26）<br /> <br /> Second: The principle of fusion of horizons explains the phenomenon of cultural filtering. The principle of horizon fusion theoretically confirms the historical root of cultural filtering phenomenon in translation and the inevitable existence of cultural filtering phenomenon. Although the translator should strive to approach the original vision of the original author and understand the author's original intention, in fact, the translator always inevitably brings the world he is familiar with into the strange world of the original text.（Chen Hongwei 2004, 26）--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:29, 17 December 2020 (UTC)Li Lili<br /> <br /> Third：The principle of effective history explains the multiple translation versions of famous works. Gadamer believed that the text is open and its meaning is never endless. The text goes beyond the historical era in which it was created. This provides the possibility for people of different ages to understand the same text differently. Human beings are constantly developing. In the process of development, they constantly surpass themselves, renew their history, and rethink themselves and their culture. This provides a reasonable explanation for the phenomenon of retranslation of famous works.（Li Lei 2008, 122）<br /> <br /> Third：The principle of effective history explains the multiple translation versions of famous works. Gadamer believed that the text is open and its meaning is never endless. The text goes beyond the historical era in which it was created, which provides the possibility for people of different ages to understand the same text differently. Human beings are constantly developing. In the process of development, they constantly surpass themselves, renew their history, and rethink themselves and their culture. This provides a reasonable explanation for the phenomenon of retranslation of famous works.（Li Lei 2008, 122）--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:29, 17 December 2020 (UTC)Li Lili<br /> <br /> ===2.A Brief Introduction of the Original Author and Two Translators===<br /> <br /> This chapter will give a brief introduction to the original author and two translators to strengthen your understanding of the background of the original text and the two translation versions.(Liu Xiaohui 2010, 121)<br /> <br /> ====2.1. Harriet Beecher Stowe====<br /> <br /> Harriet Beecher Stowe is an American writer. She was born on June 14, 1811 in a well-known pastor family in North America, and died in 1896. The American Civil War was fought in the 1860s. But since the 1920s, the issue of abolition of slaves has become a central issue in American progressive opinion. At that time, many famous American writers were on the side of abolishing slaves, calling for the liberation of slaves. Mrs. Stowe was one of the most outstanding among these slave writers.(Liu Xiaohui 2010, 124)<br /> <br /> Harriet Beecher Stowe is an American writer. She was born on June 14, 1811 in a well-known pastor family in North America, and died in 1896. The American Civil War broke out in the 1860s. But since the 1920s, the issue of abolition of slaves has become a central issue in American progressive trend. At that time, many famous American writers were on the side of abolishing slaves, calling for the liberation of slaves. Mrs. Stowe was one of the most outstanding writers who were in favor of slaves.(Liu Xiaohui 2010, 124)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 02:53, 18 December 2020 (UTC)Li Lili<br /> <br /> Mrs. Stowe has been influenced by theology since she was a child, and she has spent her entire life in a religious atmosphere. When Mrs. Stowe was fourteen, their entire family has moved to Boston and has moved to Cincinnati a few years later. At the time, the outskirts of Cincinnati were dotted with large serf farms. It was one of the centers of the abolitionist movement in North America then, and heated speeches against slavery were often heard in urban areas. Mrs. Stowe had fugitive slaves in her home, which gave her the opportunity to hear the tragic experience of fugitive slaves. After that, Mrs. Stowe got another chance to visit several plantations in Maysville, Kentucky with her friends, and witnessed the tragic situation of slaves. Those plantations were the prototype of the Shelby plantation in ''Uncle Tom's Cabin''. This novel extensively describes the brutal oppression and exploitation of slaves by slave owners throughout the southern United States, and portrays the cruelty of slaves in various forms. The novel also describes different types of slave images. Once Uncle Tom's cabin came out, it attracted great attention and response at home and abroad. When the former President of the United States Lincoln met Mrs. Stowe, he jokingly called her “a little woman who brought a war&quot;. This joke also fully reflects the huge influence of Uncle Tom's cabin.(Zou Guangsheng 2001，2)<br /> <br /> Mrs. Stowe has been influenced by theology since she was a child, and she has spent her entire life in a religious atmosphere. When Mrs. Stowe was fourteen, their entire family has moved to Boston and then to Cincinnati a few years later. At the time, the outskirts of Cincinnati were dotted with large serf farms. It was one of the centers of the abolitionist movement in North America then, and heated speeches against slavery were often heard in urban areas. Mrs. Stowe had fugitive slaves in her home, which gave her the opportunity to hear the tragic experience of fugitive slaves. After that, Mrs. Stowe got another chance to visit several plantations in Maysville, Kentucky with her friends, and witnessed the tragic situation of slaves. Those plantations were the prototype of the Shelby plantation in ''Uncle Tom's Cabin''. This novel extensively describes the brutal oppression and exploitation of slaves by slave owners throughout the southern United States, and portrays the cruelty of slaves in various forms. The novel also describes different types of slave images. As soon as Uncle Tom's cabin came out, it attracted great attention and response at home and abroad. When the former President of the United States Lincoln met Mrs. Stowe, he jokingly called her “a little woman who brought a war&quot;. This joke also fully reflects the huge influence of Uncle Tom's cabin.(Zou Guangsheng 2001，2)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 02:53, 18 December 2020 (UTC)Li Lili<br /> <br /> ====2.2. Lin Shu====<br /> <br /> Lin Shu, a famous writer and translator in modern China, has made outstanding contributions to the translation of Chinese literature. Lin Shu had a profound and solid knowledge of ancient writing. But he did not understand foreign languages, and his translations were all done in cooperation with others. In cooperation with others, Lin Shu has translated 246 works involving 107 writers in 11 countries, and made indelible contributions to the introduction of Western literature. ''Uncle Tom's Cabin'' was Lin Shu's second translation work, and it was also a popular work translated at the peak of his translation career. This translation work can reflect Lin Shu's translation technique and his characteristics.（Zheng Liping &amp; Yi Xinqi 2015, 102）<br /> <br /> Lin Shu, a famous writer and translator in modern China, has made outstanding contributions to the translation of Chinese literature. Lin Shu had a profound and solid knowledge of ancient writing. But he did not understand foreign languages, and his translations were all done in cooperation with others. In cooperation with others, Lin Shu has translated 246 works involving 107 writers in 11 countries, and made indelible contributions to the introduction of Western literature. ''Uncle Tom's Cabin'' was Lin Shu's second translation work, and it was also a popular work translated at the peak of his translation career. This translation work can reflect Lin Shu's translation technique and his characteristics.（Zheng Liping &amp; Yi Xinqi 2015, 102）--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:10, 18 December 2020 (UTC)Li Lili<br /> <br /> At that time, China was facing aggression by the Allied Forces of the Eight Kingdoms, and the Qing government signed the Peace Protocol of 1901. In this context, Lin Shu's enthusiasm for anti-imperialist and national salvation was stirred. He wanted to translate some works that can open up people's wisdom and inspire them. So Lin Shu and Wei Yi co-translated Mrs. Stowe's ''Uncle Tom's Cabin''. Both of them had a strong sense of political mission in translating this work. After the publication of 《黑奴吁天录》, it caused a great response among the readers at that time. Translator Lin Shu ’s anti-imperialist thoughts in his translation work resonate emotionally with readers, directly stimulating readers’ anti-imperialist consciousness. In the treatment of the original works, Lin Shu made conscious cuts. Most of the unfaithful parts of his translations have adopted translation strategies of amplification and omission. From the perspective of traditional linguistic translation theories, Lin Shu may not be a successful translator. But from the perspective of hermeneutics and culture, the existence of Lin Shu's translation method is reasonable.《黑奴吁天录》was Lin Shu's representative translation, which can fully reflect Lin Shu's translation style. Far from Lin Shu's translation style was Huang Jizhong's Unc《汤姆大伯的小屋》，and I will elaborate on the translator Huang Jizhong below.(Liu Xiaohui 2010, 122)<br /> <br /> At that time, China was facing aggression by the Allied Forces of the Eight Kingdoms, and the Qing government signed the Peace Protocol of 1901. In this context, Lin Shu's enthusiasm for anti-imperialist and national salvation was stirred. He wanted to translate some works that can open up people's wisdom and inspire them. So Lin Shu and Wei Yi co-translated Mrs. Stowe's ''Uncle Tom's Cabin''. Both of them had a strong sense of political mission in translating this works. After the publication of 《黑奴吁天录》, it evoked a great response among the readers at that time. Translator Lin Shu ’s anti-imperialist thoughts in his translation work resonate emotionally with readers, directly stimulating readers’ anti-imperialist consciousness. In the treatment of the original works, Lin Shu made conscious cuts. Most of the unfaithful parts of his translations have adopted translation strategies of amplification and omission. From the perspective of traditional linguistic translation theories, Lin Shu may not be a successful translator. But from the perspective of hermeneutics and culture, the existence of Lin Shu's translation method is reasonable.《黑奴吁天录》was Lin Shu's representative translation, which can fully reflect Lin Shu's translation style. Far from Lin Shu's translation style was Huang Jizhong's Unc《汤姆大伯的小屋》，and I will elaborate on the translator Huang Jizhong below.(Liu Xiaohui 2010, 122)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:10, 18 December 2020 (UTC)Li Lili<br /> <br /> ====2.3. Huang Jizhong====<br /> <br /> Huang Jizhong was born on September 28, 1923 in a literary family in Ji'an, Jiangxi. He lost his father in his early years, and he followed his grandfather studying in Shanghai since childhood. He is good at Chinese and English and loves literary translation. In addition to teaching related courses, he has devoted himself to the translation of famous books for many years. As early as 1956, Huang Jizhong accepted the invitation of Shanghai Literature and Art Publishing House to translate ''Uncle Tom's Cabin''. His original plan was to complete the translation work in two years, but due to external shocks, it could not be published as scheduled. Later, this novel was retranslated in 1982 and published by Shanghai Translation Publishing House. Once this edition of Uncle Tom's Cabin was published, it was warmly welcomed by readers. A major feature of Huang Jizhong's《汤姆大伯的小屋》 was its faithfulness to the original text, and another feature was the use of translation method of foreignization. The translation style of ''Uncle Tom's Cabin'' in Huang Jizhong's version was very different from Lin Shu's version, which was of great research value. Therefore, I chose the translated versions of Huang Jizhong and Lin Shu for comparative research.(Zhu Jianping 2006, 71)<br /> <br /> Huang Jizhong was born on September 28, 1923 in a literary family in Ji'an, Jiangxi. He lost his father in his early years, and he followed his grandfather studying in Shanghai since childhood. He is good at Chinese and English and loves literary translation. In addition to teaching related courses, he has devoted himself to the translation of famous books for many years. As early as 1956, Huang Jizhong accepted the invitation of Shanghai Literature and Art Publishing House to translate ''Uncle Tom's Cabin''. His original plan was to complete the translation work in two years, but due to external shocks, it could not be published as scheduled. Later, this novel was retranslated in 1982 and published by Shanghai Translation Publishing House.As soon as the edition of Uncle Tom's Cabin was published, it was warmly welcomed by readers. A major feature of Huang Jizhong's《汤姆大伯的小屋》 was its faithfulness to the original text, and another feature was the use of translation method of foreignization. The translation style of ''Uncle Tom's Cabin'' in Huang Jizhong's version was very different from Lin Shu's version, which was of great research value. Therefore, I choose the translated versions of Huang Jizhong and Lin Shu for comparative research.(Zhu Jianping 2006, 71)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:17, 18 December 2020 (UTC)Li Lili<br /> <br /> ===3. A Comparison of Two Chinese Versions from Gadamer's Hermeneutics===<br /> <br /> The professor of Poetics and Comparative Literature Gideon Toury once said that translation is inevitably involves at least two languages and two cultural traditions (Toury, 2001:56). Professor Chen Hongwei of China also said that translation involves not only language conversion, but also cultural translation. Therefore, in the following chapter, the two translation works will be analyzed from a cultural and linguistic perspective.（Chen Hongwei 2004, 24）<br /> <br /> The professor of Poetics and Comparative Literature Gideon Toury once said that translation is inevitably involved at least two languages and two cultural traditions (Toury, 2001:56). Professor Chen Hongwei of China also said that translation involves not only language conversion, but also cultural translation. Therefore, in the following chapters, the two translation works will be analyzed from a cultural and linguistic perspective.（Chen Hongwei 2004, 24）--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:56, 18 December 2020 (UTC)Li Lili<br /> <br /> ====3.1. Comparative Analysis from A Linguistic Perspective====<br /> <br /> The two translators use different languages because they are in different eras. Lin Shu used classical Chinese, while Huang Jizhong used vernacular Chinese. Then they must have many differences in translation. Next, under the guidance of hermeneutics, we will analyze the differences between the two translation works from a linguistic perspective in three aspects.(Zhu Jianping 2006, 74) <br /> <br /> The two translators use different languages because they are in different eras. Lin Shu used classical Chinese, while Huang Jizhong used vernacular Chinese, so they must have many differences in translation. Next, under the guidance of hermeneutics, we will analyze the differences between the two translation works from a linguistic perspective in three aspects.(Zhu Jianping 2006, 74)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:56, 18 December 2020 (UTC)Li Lili <br /> <br /> =====3.1.1. Contrastive Discourse Analysis=====<br /> <br /> Since the two translators come from different historical times, the translation methods adopted by the two translators are also different. In terms of translation methods, Lin Shu adopted intercompilation while Huang Jizhong adopted complete translation. Examples are as follows:（Zheng Liping &amp; Yi Xinqi 2015, 103）<br /> <br /> 1.“Here the door opened, and a small quadroon boy, between four and five years of age, entered the room. There was something in his appearance remarkably beautiful and engaging. His black hair, fine as floss silk, hung in glossy curls about his round, dimpled face, while a pair of large dark eyes, full of fire and softness, looked out from beneath the rich, long lashes, as he peered curiously into the apartment. A gay robe of scarlet and yellow plaid, carefully made and neatly fitted, set off to advantage the dark and rich style of his beauty; and a certain comic air of assurance, blended with bashfulness, showed that he had been not unused to being petted and noticed by his master.”(Stowe 2011, 3)<br /> <br /> 林译：语至此，门辟，陡入一稚子，约四五岁，貌绝慧黠，雏发未燥，笑处辄动微涡，两目精光耿然。见海留，意殊骇。海留见其服饰之善，心知此奴必为主人主妇所厚昵者。(Lin Shu &amp; Wei Yi 1981, 4)<br /> <br /> 黄译：正在这当儿，房门开了。一个四、五岁左右的第二代混血男孩走了进来。这孩子相貌长得分外清秀，特别逗人喜爱。圆圆的脸蛋上有一对酒窝，头上覆盖着一圈圈光滑、鬈曲、细如绢丝的黑头发；一双又大又黑、柔和而炯炯有光的眼睛，从两道浓浓的长睫毛下面好奇地向屋内张望着。他身穿一件黄格子花呢的罩衫；手工精制，剪裁合身，越发衬托出这孩子黝黑、浓郁的俊秀劲儿；那种悠然自得、滑稽有趣而又略带羞涩的神态，表明他惯常得到东家的青睐和宠爱。（Huang Jizhong 1993, 3）<br /> <br /> This paragraph comes from the first chapter of ''Uncle Tom’s Cabin'', where the original book vividly describes the cute image of the son of the slave Eliza who owned by Shelby. Comparing the two translations, Lin Shu's translation is in classical Chinese, and in his character description, Lin Shu used a compilation method，omitting many details. However, Huang Jizhong's translation is in vernacular form, and every detail of the original text has been translated in detail by Huang Jizhong. The original text of this paragraph consists of 122 words. Lin Shu's translation is only 62 words, while Huang Jizhong's translation is as many as 183 words. Before the New Culture Movement in the late Qing Dynasty, vernacular Chinese were not welcomed by literati and intellectuals, let alone let them write or translate in vernacular Chinese. The specific society in which Lin Shu lived formed his inherent horizon, which also determined his choice to translate in classical Chinese. In the era of Huang Jizhong, vernacular Chinese have been popular throughout the country, and have become popular in all classes. Therefore, Huang Jizhong must also translate in vernacular texts.<br /> <br /> This paragraph comes from the first chapter of ''Uncle Tom’s Cabin'', where the original book vividly describes the cute image of the son of the slave Eliza who owned by Shelby. Comparing the two translations, Lin Shu's translation is in classical Chinese, and in his character description, Lin Shu used a compilation method，omitting many details. However, Huang Jizhong's translation is in vernacular form, and every detail of the original text has been translated in detail by Huang Jizhong. The original text of this paragraph consists of 122 words. Lin Shu's translation is only 62 words, while Huang Jizhong's translation is as many as 183 words. Before the New Culture Movement in the late Qing Dynasty, vernacular Chinese were not welcomed by literati and intellectuals, let alone let them write or translate in vernacular Chinese. The specific society in which Lin Shu lived formed his inherent horizon, which also determined his choice to translate in classical Chinese. In the era of Huang Jizhong, vernacular <br /> Chinese have been popular throughout the country, and have become popular in all classes. Therefore, Huang Jizhong must also translate in vernacular texts.(The quote is missing)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:56, 18 December 2020 (UTC)Li Lili<br /> <br /> According to hermeneutics, translating a work is a process in which the translator brings his own specific horizon into the historical horizon of the text. It is not a process of letting the interpreter abandon his own horizon, nor is it a horizon replacement. In this example, two translators both are in their own specific field of horizon and try to merge with the field of horizon of the original author, resulting in different translated texts. Gadamer's view of the fusion of the two horizons, to a certain extent, shows the essence of translation, especially literary translation. &quot;Fusion of Horizons &quot; overcomes the time gap and historical gap between the text and the interpreter, and the infinite process of understanding and discovery of text meaning is also achieved through &quot; Fusion of Horizons &quot;. (Xie Tianzhen 2000, 204)<br /> <br /> According to hermeneutics, translating works is a process in which the translator brings his own specific horizon into the historical horizon of the text. It is not a process of letting the interpreter abandon his own horizon, nor is it a horizon replacement. In this example, two translators both are in their own specific field of horizon and try to merge with the field of horizon of the original author, resulting in different translated texts. Gadamer's view of the fusion of the two horizons, to a certain extent, shows the essence of translation, especially literary translation. &quot;Fusion of Horizons &quot; overcomes the time gap and historical gap between the text and the interpreter, and the infinite process of understanding and discovery of text meaning is also achieved through &quot; Fusion of Horizons &quot;. (Xie Tianzhen 2000, 204)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:56, 18 December 2020 (UTC)Li Lili<br /> <br /> =====3.1.2. Contrastive Study of Lexicon=====<br /> <br /> Literary translation is an aesthetic re-creation process that is completed through interpretation, that is, the process of including the translator's acceptance and release of information. Lin Shu was proficient in Chinese, and he regarded translation as a creative process. Therefore, in the process of releasing the information, he incorporated his own opinions and adopted the translation strategies of amplification and revision. However, Huang Jizhong's horizon is different from Lin Shu's, so his method of receiving and releasing information was also different. For examples:(Zhu Jianping 2006, 72) <br /> <br /> 2.“I’m sorry to say that I am,” said Mr. Shelby. “I’ve agreed to sell Tom.” (Stowe 2011, 44)<br /> <br /> 林译：解而培忸怩久之，曰：“吾已署券卖汤姆矣！” (Lin Shu &amp; Wei Yi 1981, 14) <br /> <br /> 黄译：“很抱歉，”谢尔贝先生答道，“我已经答应把汤姆卖给他了。”（Huang Jizhong 1993, 30）<br /> <br /> his example is from Chapter 5 of the original text. In this case, Lin Shu added the word &quot;忸怩久之&quot;, showing Shelby's entangled heart and the fear of her wife's blame. Looking back at the original text, there is no word in the original text that can express the meaning of &quot;忸怩&quot;. However, Huang Jizhong was faithful to the original text here, and didn’t add or subtract words from the original text. In Gadamer's hermeneutic theory, there is the concept of &quot;pre-understanding&quot;. Pre-understanding refers to the fact that people are influenced by the specific historical environment, historical conditions, historical status, etc. they are in when they understand texts or recognize things. People always carry certain subjective consciousness elements such as emotion, knowledge, and will when they observe and recognize external things. The word &quot;忸怩&quot; added by Lin Shu here embodies the concept of &quot;pre-understanding&quot;，and shows that Lin Shu brought his emotions into his translation work.It's“Rather, we stand always within tradition, and this is no objectifying process, ie we do not conceive of what tradition says as something other, something alien. It is always part of us, a model or exemplar, a recognition of ourselves which our later historical judgment would hardly see as a kind of knowledge, but as the simplest preservation of tradition.” Gadamer believes that every interpretation is based on a pre-existing basis. In order to understand something, we must first have it. We cannot understand something that is not part of our overall world. Our understanding of things is based on our own existing knowledge system. That is, we rely on our existing knowledge and experience to understand and explain phenomena and things. Therefore, translators must have their own &quot;pre-understanding&quot; in the process of understanding and translating the source text.(Gadamer H 1999, 250) <br /> <br /> This example is from Chapter 5 of the original text. In this case, Lin Shu added the word &quot;忸怩久之&quot;, showing Shelby's entangled heart and the fear of her wife's blame. Looking back at the original text, there is no word in the original text that can express the meaning of &quot;忸怩&quot;. However, Huang Jizhong was faithful to the original text here, and didn’t add or subtract words from the original text. In Gadamer's hermeneutic theory, there is the concept of &quot;pre-understanding&quot;. Pre-understanding refers to the fact that people are influenced by the specific historical environment, historical conditions, historical status, etc. they are in when they understand texts or recognize things. People always carry certain subjective consciousness elements such as emotion, knowledge when they observe and recognize external things. The word &quot;忸怩&quot; added by Lin Shu here embodies the concept of &quot;pre-understanding&quot;，and shows that Lin Shu brought his emotions into his translation work.It's“Rather, we stand always within tradition, and this is no objectifying process, ie we do not conceive of what tradition says as something other, something alien. It is always part of us, a model or exemplar, a recognition of ourselves which our later historical judgment would hardly see as a kind of knowledge, but as the simplest preservation of tradition.” Gadamer believes that every interpretation is based on a pre-existing. In order to understand something, we must first have it. We cannot understand something that is not part of our overall world. Our understanding of things is based on our own existing knowledge system. That is, we rely on our existing knowledge and experience to understand and explain phenomena and things. Therefore, translators must have their own &quot;pre-understanding&quot; in the process of understanding and translating the source text.(Gadamer H 1999, 250) --[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:56, 18 December 2020 (UTC)Li Lili<br /> <br /> 3. But real gentlemen, such as I hopes you’ll be, never let fall no words that isn’t respectful to their parents. (Stowe 2011, 132)<br /> <br /> 林译:盖极望吾小主为一代伟人,万勿肆口出言,以逢二亲之怒。(Lin Shu &amp; Wei Yi 1981, 45)<br /> <br /> 黄译:我希望你将来做个正人君子,而一个正人君子是决不会说一句不尊敬父母的话的。（Huang Jizhong 1993, 94）<br /> <br /> When Uncle Tom said goodbye to his little master George, he expressed his expectations for the little master ---- be a real gentleman. Lin Shu translated this as &quot;一代伟人&quot;, thereby expressing his strong desire to change the status quo. Huang Jizhong translated it as &quot;正人君子&quot;. &quot;正人君子&quot; used to refer to people with good conduct. It was the ultimate goal of ancient China and had a profound influence in Chinese history. Lin Yupeng, a translator born after the two translators, translated this as &quot;真正的绅士&quot;. It can be seen from this that translators in different eras are very different in the translation of the same word due to the influence of the era at that time. In addition, there are some examples in the text, such as &quot;married&quot; and &quot;my wife&quot; were translated by two translators as &quot;出阁&quot;, &quot;结婚&quot; and &quot;吾妻&quot;, &quot;内人&quot; respectively. These are the two concepts of hermeneutics---&quot;effective history&quot; and &quot;pre-understanding&quot;. The so-called effect history means that history produces effects by restricting our historical understanding. Here, the translation of the same text by the two translators is consistent with their own social and historical environment. The social environment and social development of the era in which the two translators lived both affected and restricted the two translators' understanding of the original text.<br /> <br /> hen Uncle Tom said goodbye to his little master George, he expressed his expectations for the little master ---- be a real gentleman. Lin Shu translated this as &quot;一代伟人&quot;, thereby expressing his strong desire to change the status quo. Huang Jizhong translated it as &quot;正人君子&quot;. &quot;正人君子&quot; used to refer to people with good conduct. It was the ultimate goal of ancient China and had a profound influence in Chinese history. Lin Yupeng, a translator born after the two translators, translated this as &quot;真正的绅士&quot;. It can be seen from this that translators in different eras are very different in the translation of the same word due to the influence of the era at that time. In addition, there are some examples in the text, such as &quot;married&quot; and &quot;my wife&quot; were translated by two translators as &quot;出阁&quot;, &quot;结婚&quot; and &quot;吾妻&quot;, &quot;内人&quot; respectively. These are the two concepts of hermeneutics---&quot;effective history&quot; and &quot;pre-understanding&quot;. The so-called effect history means that history produces effects by restricting our historical understanding. Here, the translation of the same text by the two translators is consistent with their own social and historical environment. The social environment and social development of the era in which the two translators lived both affected and restricted the two translators' understanding of the original text.(The quote is missing）--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:01, 18 December 2020 (UTC)Li Lili<br /> <br /> During the translation process, the translator will let his pre-understanding and experience come into play, thus forming different understanding and expression of the same text. Because of this, there will be different versions of the same literary work in the same era, and different versions of the same literary work will appear in different times. Therefore, the co-existence of the two versions of Uncle Tom's cabin in completely different styles is reasonable from the point of view of Gadamer's hermeneutics. Similarly, the retranslation of other literary texts and the existence of multiple versions of translation works are also reasonable.(Zhu Jianping 2006, 70)<br /> <br /> During the translation process, the translator will let his pre-understanding and experience come into play, thus forming different understanding and expression of the same text. Because of this, there will be different versions of the same literary works in the same era, and different versions of the same literary works will appear in different times. Therefore, the co-existence of the two versions of Uncle Tom's cabin in completely different styles is reasonable from the point of view of Gadamer's hermeneutics. Similarly, the retranslation of other literary texts and the existence of multiple versions of translation works are also reasonable.(Zhu Jianping 2006, 70)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:01, 18 December 2020 (UTC)Li Lili<br /> <br /> =====3.1.3. Contrastive Study of Syntax=====<br /> <br /> 4.“But why, of all others, choose these?” said Mrs. Shelby. “Why sell them, of all on the place, if you must sell at all.” (Stowe 2011, 44)<br /> <br /> 林译：爱密柳曰：“君既欲卖，胡不再谋，而必卖此二人？尔知汤姆为极忠挚义之人,小海雷又意里赛独子，尔何忍心鬻此二人？纵为势所迫，亦何必属之此伧？” (Lin Shu &amp;Wei Yi 1981, 14)<br /> <br /> 黄译：“可是为什么偏偏要挑这两个呢？”谢尔贝太太问道：“即使非买不可，在园上这么些黑人，为什么一定要卖他们呢？” （Huang Jizhong 1993, 30）<br /> <br /> In this example, Lin Shu added “尔知汤姆为极忠挚义之人，小海雷又意里赛独子，尔何忍心鬻此二人？纵为势所迫，亦何必属之此伧？” to express the anger of Shelby's wife and her extreme disapproval of Shelby's behavior. On the whole, Lin Shu adopted the strategy of free translation here, while Huang Jizhong's translation was quite consistent with the original text, using the strategy of literal translation.(Zhu Jianping 2006, 73) <br /> <br /> According to Gadamer's hermeneutics, as special readers, translators selectively accept textual information due to historical factors of their own understanding ，and incorporate their own aesthetic concepts into their translation works. Therefore, their translation methods will also be different. The interpretation of artistic works is closely related to the translator's understanding and expression of the source text in the translation process. “Translation is a dynamic process from understanding to expression, and the master of this process is the translator.”Translators cross the barriers of different languages and cultures and build a bridge between the source language and the target text. However, as Gadamer emphasizes, the text is open to all ages and enters into the field of meaning of the understander, so the translator's interpretation will inevitably conflict with the objective existence. To this end, translators must play an active and subjective role and adopt different strategies for selection and adaptation. Here, Lin Shu integrated his own aesthetic concepts into his translation work and exerted his own subjectivity, thus forming a different translation version from Huang Jizhong. This also further reveals that the interpretation of text in the translation process from the perspective of hermeneutics can reveal the process and mechanism of translator's understanding of text in translation activities. ( Liu Xiaohui 2010, 125 )<br /> <br /> According to Gadamer's hermeneutics, as special readers, translators selectively accept textual information due to historical factors of their own understanding ，and incorporate their own aesthetic concepts into their translation works. Therefore, their translation methods will also be different. The interpretation of artistic works is closely related to the translator's understanding and expression of the source text in the translation process. “Translation is a dynamic process from understanding to expression, and the master of this process is the translator.”Translators cross the barriers of different languages and cultures and build a bridge between the source language and the target text. However, as Gadamer emphasizes, the text is open to all ages and enters into the field of readers, so the translator's interpretation will inevitably conflict with the objective existence. To this end, translators must play an active and subjective role and adopt different strategies for selection and adaptation. Here, Lin Shu integrated his own aesthetic concepts into his translation work and exerted his own subjectivity, thus forming a different translation version from Huang Jizhong. This also further reveals that the interpretation of text in the translation process from the perspective of hermeneutics can reveal the process and mechanism of translator's understanding of text in translation activities. ( Liu Xiaohui 2010, 125 )--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:33, 18 December 2020 (UTC)Li Lili<br /> <br /> 5. …and the arrangements of the house, and the general air of the housekeeping, indicated easy, and even opulent circumstances. (Stowe 2011, 2)<br /> <br /> 林纾：其一人文秀，家亦少康，名解而培。(Lin Shu &amp; Wei Yi 1981, 3)<br /> <br /> 黄继忠：跟他一起谈话的那位谢尔贝先生倒是个绅士模样的人；屋子里的陈设和气派都说明此人家道小康，甚至可以说得上颇为富裕。（Huang Jizhong 1993, 1）<br /> <br /> This example comes from the first chapter of the novel. At the beginning of the article, the author introduces the characters of the novel. Comparing the translations of the two translators, we can see that Lin Shu's translation should be more concise and refined. The original author's description of the environment has been deleted in Lin Shu's translation. It may be that the translator believed that this was not important for the development of the novel. This long sentence of the original text was simplified by Lin Shu to four words &quot;家亦少康&quot;, while the translation version of Huang Jizhong almost matched the original content. In the translation of this sentence, the translation methods adopted by the two translators are also completely different.(Liu Xiaohui 2010, 125)<br /> <br /> This example comes from the first chapter of the novel. At the beginning of the article, the author introduces the characters of the novel. Comparing the translations of the two translators, we can see that Lin Shu's translation should be more concise and refined. The original author's description of the environment has been deleted in Lin Shu's translation. It may be that the translator believed that it was not important for the development of the novel. This long sentence of the original text was simplified by Lin Shu to four words &quot;家亦少康&quot;, while the translation version of Huang Jizhong almost matched the original content. In the translation of this sentence, the translation methods adopted by the two translators are also completely different.(Liu Xiaohui 2010, 125)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:33, 18 December 2020 (UTC)Li Lili<br /> <br /> In the field of translation, people often liken translators to shackled dancers. This metaphor vividly describes that while the translator is restricted by the original author and the original text during the translation process, he must use his subjective initiative to reshape the work. Traditional translation theory values the author and the original text, treats the original as authority, and treats &quot;faithfulness&quot; as the highest standard of translation. Hermeneutics redefines the &quot;prejudice&quot; caused by the historicity of understanding, and provides an effective basis for the translator's subjectivity and the rationality of creative treason in the field of translation studies. In the above two examples, the two translators, while being influenced by the historical society in which they are located, also gave full play to their subjectivity, especially Lin Shu. This also tells us that the translator's subjectivity plays an important role in literary translation.(Zhu Jianping 2006, 69)<br /> <br /> In the field of translation, people often liken translators to shackled dancers. This metaphor vividly describes that while the translator is restricted by the original author and the original text during the translation process, he must use his subjective initiative to reshape the works. Traditional translation theory values the author and the original text, treats the original as authority, and treats &quot;faithfulness&quot; as the highest standard of translation. Hermeneutics redefines the &quot;prejudice&quot; caused by the historicity of understanding, and provides an effective basis for the translator's subjectivity and the rationality of creative treason in the field of translation studies. In the above two examples, the two translators, while being influenced by the historical society in which they are located, also gave full play to their subjectivity, especially Lin Shu. This also tells us that the translator's subjectivity plays an important role in literary translation.(Zhu Jianping 2006, 69)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:33, 18 December 2020 (UTC)Li Lili<br /> <br /> ====3.2. Comparative Analysis from A Cultural Perspective====<br /> <br /> British anthropologist Taylor believes that culture is &quot;a complex whole including knowledge, beliefs, arts, morals, laws, customs, and other abilities and habits learned by people as members of society&quot;. Language is the carrier of culture. A text is generated from a specific cultural context, and it must also include the characteristics of the culture. When translators translate one text into another language，the translator must bring the characteristics of his own culture when reading and interpreting the source text because the translator's language and culture are different from the original author's culture.(Hebding &amp; Glick 1992, 37)<br /> <br /> British anthropologist Taylor believes that culture is &quot;a complex whole including knowledge, beliefs, arts, morals, laws, customs, and other abilities and habits learned by people as members of society&quot;. Language is the carrier of culture. A text is generated from a specific cultural context, and it must also include the characteristics of the culture. When translators translate one text into another language，they must bring the characteristics of their own culture when reading and interpreting the source text because the translators' language and culture are different from the original author's culture.(Hebding &amp; Glick 1992, 37)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:17, 18 December 2020 (UTC)Li Lili<br /> <br /> =====3.2.1. Analysis from A Religious Perspective=====<br /> <br /> A major feature of Uncle Tom’s Cabin is that it contains a lot of religious elements. In translating this religious content, the two translators took radically different approaches. That is, Lin Shu's selective translation of religious content, most of which is carried over or not translated directly. However, Huang Jizhong conveyed the Western religious intentions to his readers at that time. For example:(Zou Guangsheng 2001，1)<br /> <br /> A major feature of Uncle Tom’s Cabin is that it contains a lot of religious elements. In translating these religious contents, the two translators took radically different approaches. That is, Lin Shu's selective translation of religious content, most of which is carried over or not translated directly. However, Huang Jizhong conveyed the Western religious intentions to his readers at that time. For example:(Zou Guangsheng 2001，1)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:17, 18 December 2020 (UTC)Li Lili<br /> <br /> 6. “…, but I didn’t think any Christian legislature would pass it！” (Stowe 2011, 95)<br /> <br /> 林纾：吾思文明之国，法当不如此。 (Lin Shu &amp; Wei Yi 1981, 34)<br /> <br /> 黄继忠：但是我相信任何一个基督教国家的立法机关都不会通过这种法令的。（Huang Jizhong 1993, 72）<br /> <br /> In the above example, &quot;Christian&quot; is an exact word for Christ. In the translations of the two translators, Lin Shu chose to omit it, while Huang Jizhong chose the method of literal translation. This was not only related to the era in which the two lived, but the play of the two translators ’subjectivity also played a great role. In the era which Lin Shu was, although Christianity had begun to spread on the land of China, the public acceptance rate was still low. Therefore, Lin Shu omitted the relevant words or used some words with Chinese culture to replace them. By the time Huang Jizhong was in, people's acceptance of these words had greatly increased. Therefore, it is appropriate to choose the method of literal translation.(Zou Guangsheng 2001，4)<br /> <br /> In the above example, &quot;Christian&quot; is an exact word for Christ. In the translations of the two translators, Lin Shu chose to omit it, while Huang Jizhong chose the method of literal translation. This was not only related to the era in which the two lived, but the two translators ’subjectivity also played a great role. In the era which Lin Shu was, although Christianity had begun to spread in China, the public acceptance rate was still low. Therefore, Lin Shu omitted the relevant words or used some words with Chinese culture to replace them. By the time Huang Jizhong was in, people's acceptance of these words had greatly increased. Therefore, it is appropriate to choose the method of literal translation.(Zou Guangsheng 2001，4)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:17, 18 December 2020 (UTC)Li Lili<br /> <br /> This difference stems from the historical environment and historical status of the two translators being different from the object of understanding, which is the historicity of understanding. Translators and readers will always incorporate what belongs to their time in the process of understanding the original text, and that is what we called historicity. The purpose of translation is not limited to conveying the original intention of the original author, which reasonably explains the &quot;misreading&quot; phenomenon in translation. Lin Shu's downplay of religious content in the original work is an interesting phenomenon of &quot;misreading&quot;. This &quot;misreading&quot; also gives us a good explanation of why the same religious content can be understood and interpreted in two different ways.(Zou Guangsheng 2001，6)<br /> <br /> This difference stems from the historical environment and historical status of the two translators being different from the object of understanding, which is the historicity of understanding. Translators and readers will always incorporate what belongs to their time into the process of understanding the original text, and that is what we called historicity. The purpose of translation is not limited to conveying the original intention of the original author, which reasonably explains the &quot;misreading&quot; phenomenon in translation. Lin Shu's downplay of religious content in the original work is an interesting phenomenon of &quot;misreading&quot;. This &quot;misreading&quot; also gives us a good explanation of why the same religious content can be understood and interpreted in two different ways.(Zou Guangsheng 2001，6)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:17, 18 December 2020 (UTC)Li Lili<br /> <br /> Gadamer believes that &quot;the horizon is the area of view, and this area encompasses everything that can be seen from a certain standpoint.&quot; Understanding is to place yourself in the traditional process, to make the past and the present continually merge. The so-called translation is that in a cross-cultural historical context, a historic translator blends his horizon with the horizon of the original text to form a new horizon, and the process of re-fixing the new horizon to form a new text with language symbols infiltrating the target language culture.The main body of understanding (translator or reader) and the author of the original text have their own unique horizons. When the original works cross different nationalities, languages, and eras, and enter a completely strange social and cultural context, translators can only play creatively to make his own views closing to the horizon and historical environment of the original author. However, no matter how hard the translator tries to enter the thoughts and feelings of the original author or imagine himself as the original author, he cannot completely get rid of the original vision, nor can he really enter the author's vision. Therefore, the translator has to form a new horizon between the horizon of the strange original author and the horizon of his own. Creative treason is a necessity in understanding. The generation of meaning requires creative thinking and moderate treason under normative constraints.(Zhu Jianping 2006, 73) <br /> <br /> Gadamer believes that &quot;the horizon is the area of view, and this area encompasses everything that can be seen from a certain standpoint.&quot; Understanding is to place yourself in the traditional process, to make the past and the present continually merge. The so-called translation is that in a cross-cultural historical context, a historic translator blends his horizon with the horizon of the original text to form a new horizon, and the process of re-fixing the new horizon to form a new text with language symbols infiltrating the target language culture.The main body of understanding (translator or reader) and the author of the original text have their own unique horizons. When the original works cross different nationalities, languages, and eras, and enter a completely strange social and cultural context, the translator can only play creatively to make his own views closing to the horizon and historical environment of the original author. However, no matter how hard the translator tries to enter the thoughts and feelings of the original author or imagine himself as the original author, he cannot completely get rid of the original vision, nor can he really enter the author's vision. Therefore, the translator has to form a new horizon between the horizon of the strange original author and the horizon of his own. Creative treason is a necessity in understanding. The generation of meaning requires creative thinking and moderate treason under normative constraints.(Zhu Jianping 2006, 73) --[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:17, 18 December 2020 (UTC)Li Lili<br /> <br /> =====3.2.2. Analysis from Cultural Image=====<br /> <br /> Gadamer believes that &quot;the horizon is the area of view, and this area encompasses everything that can be seen from a certain standpoint.&quot; Understanding is to place yourself in the traditional process, to make the past and the present continually merge. The so-called translation is that in a cross-cultural historical context, a historic translator blends his horizon with the horizon of the original text to form a new horizon, and the process of re-fixing the new horizon to form a new text with language symbols infiltrating the target language culture.The main body of understanding (translator or reader) and the author of the original text have their own unique horizons. When the original works cross different nationalities, languages, and eras, and enter a completely strange social and cultural context, the translator can only play creatively to make his own views closing to the horizon and historical environment of the original author. However, no matter how hard the translator tries to enter the thoughts and feelings of the original author or imagine himself as the original author, he cannot completely get rid of the original vision, nor can he really enter the author's vision. Therefore, the translator has to form a new horizon between the horizon of the strange original author and the horizon of his own. Creative treason is a necessity in understanding. The generation of meaning requires creative thinking and moderate treason under normative constraints.(Zhu Jianping 2006, 73) <br /> <br /> Gadamer believes that &quot;the horizon is the area of view, and this area encompasses everything that can be seen from a certain standpoint.&quot; Understanding is to place yourself in the traditional process, to make the past and the present continually merge. The so-called translation is that in a cross-cultural historical context, a historic translator blends his horizon with the horizon of the original text to form a new horizon, and the process of re-fixing the new horizon to form a new text with language symbols infiltrating the target language culture.The main body of understanding (translator or reader) and the author of the original text have their own unique horizons. When the original works cross different nationalities, languages, and eras, and enter a completely strange social and cultural context, the translator can only play creatively to make his own views closing to the horizon and historical environment of the original author. However, no matter how hard the translator tries to enter the thoughts and feelings of the original author or imagine himself as the original author, he cannot completely get rid of the original vision, nor can he really enter the author's vision. Therefore, the translator has to form a new horizon between the horizon of the strange original author and the horizon of his own. Creative treason is a necessity in understanding. The generation of meaning requires creative thinking and moderate treason under normative constraints.(Zhu Jianping 2006, 73) --[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:17, 18 December 2020 (UTC)Li Lili<br /> <br /> 7. As a fire in her bones, the thought of the pursuer urged her on.（Stowe 2011, 73）<br /> <br /> 林译：而意里赛此时，心绪兔起鹘。（Lin Shu &amp; Wei Yi 1981, 25）<br /> <br /> 黄译：一想起后面的追兵，她就五内如焚。急着想向前逃命。（Huang Jizhong 1993, 49）<br /> <br /> The word &quot;fire&quot; was used to describe Eliza's internal fear and anxiety while she was trying to save her son when the disaster came. Here, Lin Shu replaced “fire” with two animals, rabbit and falcon. In traditional Chinese culture, rabbits are docile and fragile, just like Eliza; and falcons are agile and fierce birds, just like black slave traders. Huang Jizhong translated “fire” into “五内如焚”, which vividly reproduced Eliza's anxious heart at the time. Lin Shu used domestication here, while Huang Jizhong used alienation.(Zou Guangsheng 2001，5)<br /> <br /> The word &quot;fire&quot; was used to describe Eliza's internal fear and anxiety while she was trying to save her son when the disaster came. Here, Lin Shu replaced “fire” with two animals, rabbit and falcon. In traditional Chinese culture, rabbits are docile and fragile, just like Eliza; and falcons are agile and fierce birds, just like black slave traders. Huang Jizhong translated “fire” into “五内如焚”, which vividly reproduced Eliza's anxiety at the time. Lin Shu used domestication here, while Huang Jizhong used alienation.(Zou Guangsheng 2001，5)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:37, 18 December 2020 (UTC)Li Lili<br /> <br /> In the above example, the horizon of the two translators and the original author merged in different forms, thus forming two different translation versions. While the translator strives to get closer to the original author's horizon, the two translators also strive to integrate with the horizon of the readers of their time, so they adopted a more acceptable expression for the target reader of the time. The language used in China in Lin Shu ’s time was classical Chinese, and the expression was more obscure, so Lin Shu replaced “fire” with two animals to reflect the characters in the text. In the era of Huang Jizhong, literature has further developed, and the official language used in China has also become vernacular, so he used the four-word &quot;五内如焚&quot; to translate. The reason why two different translation methods can be accepted by the target readers of the era is that the translator tried hard to integrate with the reader's horizon.(Zou Guangsheng 2001，7)<br /> <br /> In the above example, the horizon of the two translators and the original author merged in different forms, thus forming two different translation versions. While the translator strives to get closer to the original author's horizon, the two translators also strive to integrate with the horizon of the readers of their time, so they adopted a more acceptable expression for the target reader of their time. The language used in China in Lin Shu ’s time was classical Chinese, and the expression was more obscure, so Lin Shu replaced “fire” with two animals to reflect the characters in the text. In the era of Huang Jizhong, literature has further developed, and the official language used in China has also become vernacular, so he used the four-word &quot;五内如焚&quot;. The reason why two different translation methods can be accepted by the target readers of the era is that the translator tried hard to integrate with the reader's horizon.(Zou Guangsheng 2001，7)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:37, 18 December 2020 (UTC)Li Lili<br /> <br /> From the perspective of hermeneutics, the text is only a semi-finished product, which is in the process of understanding. The meaning of the text and the translator's understanding are in a constantly changing process, and they are constantly evolving. Understanding is not a one-time act, but an endless process of integration between the &quot;Horizon&quot; of original text and the translator’s &quot;Horizon&quot;. Each understanding is a process of generating textual meaning. The possibilities of textual meaning are endless, and textual meaning is a source of endless meaning.（Chen Hongwei 2004, 28）<br /> <br /> From the perspective of hermeneutics, the text is only a semi-finished product, which is in the process of being understood. The meaning of the text and the translator's understanding are in a constantly changing process, and they are constantly evolving. Understanding is not a one-time act, but an endless process of integration between the &quot;Horizon&quot; of original text and the translator’s &quot;Horizon&quot;. Each understanding is a process of generating textual meaning. The possibilities of textual meaning are endless, and textual meaning is a source of endless meaning.（Chen Hongwei 2004, 28）--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:37, 18 December 2020 (UTC)Li Lili<br /> <br /> <br /> 8. The married couple were enjoying their honeymoon.（Stowe 2011, 215）<br /> <br /> 林译：彼夫妇在蜜月期内，……（蜜月者，西人娶妇时，即挟其妇游历，经月而归）。(Lin Shu &amp; Wei Yi 1981, 75)<br /> <br /> 黄译：正值新婚夫妇在……欢度蜜月，……（Huang Jizhong 1993, 143）<br /> <br /> A text is generated from a specific cultural context, and it must also include the characteristics of the culture.In the above example, Lin Shu used the method of literal translation and annotation when translating the word &quot;honeymoon&quot;, so that the readers at the time could understand it. At that time, there was little cultural exchange between China and the West, so if Lin Shu used the literal translation method, it may cause readers to be unable to understand the word. Here Lin Shu adopted the method of annotation to translate the word, which is also a reflection of his efforts to integrate with the reader's horizon. Huang Jizhong directly adopted the literal translation method to convey the original imagery. Both the original text and the translated text exist in their respective historical conditions and horizons. Even if the translator tries his best to enter the world of the meaning of the original text and try to understand the intention of the original author, it will inevitably impose her own ideas and purposes. Coupled with the different historical environments of the two translators, the translation strategies used by them are certainly different.（Li Lei 2008, 122）<br /> <br /> A text is generated from a specific cultural context, and it must also include the characteristics of the culture.In the above example, Lin Shu used the method of literal translation and annotation when translating the word &quot;honeymoon&quot;, so that the readers at that time could understand it. At that time, there was little cultural exchange between China and the Western countries, so if Lin Shu used the literal translation method, it may cause readers unable to understand the word. Here Lin Shu adopted the method of annotation to translate the word, which is also a reflection of his efforts to integrate with the reader's horizon. Huang Jizhong directly adopted the literal translation method to convey the original imagery. Both the original text and the translated text exist in their respective historical conditions and horizons. Even if the translator tries his best to enter the world of the meaning of the original text and try to understand the intention of the original author, it will inevitably impose her own ideas and purposes. Coupled with the different historical environments of the two translators, the translation strategies used by them are certainly different.（Li Lei 2008, 122）--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:37, 18 December 2020 (UTC)Li Lili<br /> <br /> From the perspective of hermeneutics, literary translation is actually a process of interaction between text and readers. Because readers of different times are constrained by their own experience, intelligence, and aesthetic tastes, they have different expectations and evaluations of the translated text. The Reception Aesthetic theory pays much attention to the reader and emphasis on the uncertainty of the text, which have brought about a diversity of values and an open way of thinking.Understanding of the text is inseparable from the initiative of the reader. The translated text must also exist in the creativity and participation of readers. Readers of different ages have different understandings of the same cultural image. Therefore, in the process of translation, the translator should not only merge with the horizon of the original text, but also the horizon of the readers that the translation work is aimed at. Only in this way, the works translated by the translator can be understood by the readers of the time, and can be admired by the readers. The majority of our translators can draw enlightenment: when translating, while observing the principles of &quot;faithfulness, elegance, and elegance&quot;, we must also take into account the reader's understanding.(Zou Guangsheng 2001，2)<br /> <br /> From the perspective of hermeneutics, literary translation is actually a process of interaction between text and readers. Because readers of different times are constrained by their own experience, intelligence, and aesthetic tastes, they have different expectations and evaluations of the translated text. The Reception Aesthetic theory pays much attention to the reader and emphasis on the uncertainty of the text, which have brought about a diversity of values and an open way of thinking.Understanding of the text is inseparable from the initiative of the reader. The translated text must also exist in the creativity and participation of readers. Readers of different ages have different understandings of the same cultural image. Therefore, in the process of translation, the translator should not only merge with the horizon of the original text, but also the horizon of the readers that the translation work is aimed at. Only in this way, can the works translated by the translator be understood by the readers of the time, and can be admired by the readers. The majority of our translators can draw enlightenment: when translating, while observing the principles of &quot;faithfulness, elegance, and elegance&quot;, we must also take into account the reader's understanding.(Zou Guangsheng 2001，2)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:37, 18 December 2020 (UTC)Li Lili<br /> <br /> ===Conclusion===<br /> <br /> In the above, under the guidance of hermeneutics, we have conducted a comparative analysis of the two Chinese versions. Through the above analysis, the three major concepts contained in hermeneutics—historicity of understanding, fusion of horizons, and effective history have brought us some inspirations: 1.The existence of multiple translations is reasonable. Translation is a special interpretative act, which is based on the translator's own understanding, so it will inevitably carry the personal trace of the translator. Based on their different experiences and views, translators make different interpretations of the same text in the process of translating, resulting in different translation works. 2. Creative treason is inevitable. A correct understanding of &quot;creative treason&quot; will help translators to bravely accept the challenges and find the correct solutions when facing translation difficulties caused by cultural differences between China and the West. 3. The changes of translation works can reflect social change. On the whole, hermeneutics can effectively explain some translation phenomena and provide a new perspective for translation studies.(Liu Xiaohui 2010, 123)<br /> <br /> In the above, under the guidance of hermeneutics, we have conducted a comparative analysis of the two Chinese versions. Through the above analysis, the three major concepts contained in hermeneutics—historicity of understanding, fusion of horizons, and effective history have brought us some inspirations: 1.The existence of multiple translations is reasonable. Translation is a special interpretative act, which is based on the translator's own understanding, so it will inevitably carry the personal trace of the translator. Based on their different experiences and views, translators make different interpretations of the same text in the process of translating, resulting in different translation works. 2. Creative treason is inevitable. A correct understanding of &quot;creative treason&quot; will help translators to bravely accept the challenges and find the correct solutions when facing translation difficulties caused by cultural differences between China and the Western countries. 3. The changes of translation works can reflect social change. On the whole, hermeneutics can effectively explain some translation phenomena and provide a new perspective for translation studies.(Liu Xiaohui 2010, 123)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:55, 18 December 2020 (UTC)Li Lili<br /> <br /> ===References===<br /> <br /> Gadamer, Hans-Georg. (1999). [Truth and Method]. Beijing: Peking University Press.<br /> <br /> Hebding, Daniel E. &amp; Glick, Leonard. (1992). [Introduction to Sociology:a Text with Reading]. New York: McGraw-Hill, Inc.<br /> <br /> Stowe, Harriet Beecher. (2011). [Uncle Tom’s Cabin]. Jilin: Jilin Publishing Group Co., Ltd.<br /> <br /> Toury, Gideon. (2001). [Descriptive Translation Studies and Beyond]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> Chen Hongwei 陈宏薇. (2004). ''新编汉英翻译教程'' [A New Coursebook on Chinese-English Translation]. Shanghai: Shanghai Foreign Language Education Publishing House 上海外语教育出版社.<br /> <br /> Hong Handing 洪汉鼎. (2010). ''诠释学：真理与方法''[Hermeneutics:Truth and Method]. Beijing: Commercial Press 商务印书馆.<br /> <br /> Huang Jizhong 黄继忠. (1993). ''汤姆大伯的小屋'' [Uncle Tom's Cabin]. Shanghai: Shanghai Translation Publishing House 上海译文出版社.<br /> <br /> Li lei 李磊. (2008). 从伽达默尔哲学阐释学看''Uncle Tom’s Cabin'' 的两个中译本[D]. 上海外国语大学硕士学位论文, 2008.<br /> <br /> Lin Shu &amp; Wei Yi 林纾,魏易. (1981) ''黑奴吁天录''[Uncle Tom's Cabin]. Beijing: Commercial Press 商务印书馆.<br /> <br /> Liu Xiaohui 柳晓辉. (2010). ''译者主体性的语言哲学反思''[A Reflection of the Language Philosophy of Translator's Subjectivity]. ''外语学刊'' Foreign Language Research （1）122-125. <br /> <br /> Xie Tianzhen 谢天振. (2000). ''翻译的理论建构与文化透视''[ Theoretical Construction of Transaltion from a Cultural Perspective]. Shanghai: Shanghai Foreign Language Education Publishing House 上海外语教育出版社.<br /> <br /> Zou Guangsheng 邹广胜. (2001). ''读者的主体性与文本的主体性''[ The Subjectivity of the Reader and the Text]. ''外国文学研究'' Foreign Literature Studies （4）1-7.<br /> <br /> Zhu Jianping 朱健平. (2006). ''翻译即解释:对翻译的重新界定----哲学诠释学的翻译观''[Translating Is Interpreting:Redefining ''Translating'' from Perspective of Philosophical Hermeneutics]. ''解放军外国语学院报'' PLA University of Foreign Languages （2）69-74.<br /> <br /> Zheng Liping &amp; Yi Xinqi 郑立平,易新奇. (2015). ''翻译过程中文本理解的解释学阐释''[Interpretation of Textual Understanding in Translation Process from the Perspective of Hermeneutics]. ''外语学刊'' Foreign Language Research （04）101-104.<br /> <br /> Zhang Qinqun 章启群. (2002). ''意义的本体论----哲学阐释学''[The Ontology of Meaning----Philosophical Hermeneutics]. Shanghai: Shanghai Translation Publishing House 上海译文出版社.<br /> <br /> ==On Translation Strategies of ''Why Women Kill'' from the Perspective of Functional Equivalence Theory 唐铭 Tang Ming==<br /> <br /> ===On Translation Strategies of ''Why Women Kill'' from the Perspective of Functional Equivalence Theory===<br /> <br /> &lt;center&gt; Tang Ming唐铭, 202020080643. &lt;/center&gt;<br /> <br /> ===Abstract===<br /> In process of subtitle translation, it is worth our attention that how to make information successfully conveyed in limited time and space, and to make the response of target audience as close as possible to that of original audience. Eugene Nida’s functional equivalence theory puts emphasis on the closest response of the target audience, which enables them to understand and appreciate the original texts in the way that the source audience do. This paper mainly discusses the application of Eugene Nida’s functional equivalence theory in the American TV series ''Why Women Kill'' from the levels of lexical, syntactic, textual and stylistic, and summarizes some specific strategies of subtitle translation according to its characteristics, among which are reduction, addition, interpretation, substitution, punctuation, word order adjustment and so on.<br /> <br /> In the process of subtitle translation, what deserves our attention is how to successfully convey information within a limited time and space, and make the response of the target audience as close to the original audience as possible. Eugene Nida's functional equivalence theory emphasizes the closest response of the target audience, which enables them to understand and appreciate the original text just like the source audience. This article mainly discusses the application of Eugene Nida's functional equivalence theory in the American TV series ''Why Women Kill'' from the perspective of vocabulary, syntax, text and style, and summarizes some specific translation strategies based on its characteristics, including reduction, addition, interpretation, substitution, punctuation, word order adjustment, etc.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 12:56, 18 December 2020 (UTC)Ou Rong<br /> <br /> ===Key words===<br /> Functional equivalence theory, subtitle translation, subtitle characteristics, translation strategies<br /> <br /> ===题目===<br /> 功能对等理论下的《致命女人》字幕翻译策略研究<br /> <br /> ===摘要===<br /> 如何使观众不仅能及时地了解字幕传达出的信息，并且获得与原文观众尽可能相近的感受，是字幕翻译过程中应当集中关注的问题。尤金•奈达的功能对等理论强调译本读者的反应，使其应能够以源语读者对原文的理解和欣赏方式，理解译本的要点。本文分别从词汇、句法、篇章、文体层面上探讨了功能对等理论在美剧《致命女人》英译汉中的应用，并就字幕特点总结了缩减法、增译法、解释法、替代法、标点符号法、语序调整法等具体策略。<br /> <br /> ===关键词===<br /> 功能对等理论；字幕翻译；字幕特点；翻译策略<br /> <br /> ===Chapter1 Introduction===<br /> <br /> Being a kind of language conversion restricted by many factors such as time, space, culture, and scene change, subtitle translation has the characteristics of being instantaneous, informative, comprehensive, situational, popular and colloquial(Qian Shaochang 2000, 61), etc. Throughout the domestic translation industry, however, the investment in literary translation is far greater than that of subtitle translation. And yet there is no systematic and specialized translation theory applied to it, for which most of researches are still at the empirical stage. The social role of subtitle translation wants urgent attention. <br /> <br /> Subtitle translation is a language conversion limited by many factors such as time, space, culture and scene changes. It has the characteristics of immediacy, information, comprehensiveness, contextuality, popularity and oral language (Qian Shaochang 2000, 61 ). However, in the entire domestic translation industry, investment in literary translation is far greater than subtitle translation. However, there is currently no systematic and professional translation theory, and most studies are still in the empirical stage. The social role of subtitle translation needs urgent attention.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:02, 18 December 2020 (UTC)Ou Rong<br /> <br /> That using ''the most close and natural equivalents'' in translation practice is the core of Eugene Nida’s (1969, 71) functional equivalence theory, which has been recognized and valued by many translators at home and abroad. From the perspective of the audience, we should choose popular expressions that are easy for audience to understand, maximizing service for audience and helping them to get the source information accurately. This is exactly the guiding significance of the functional equivalence theory for subtitle translation.<br /> <br /> The core of the functional equivalence theory of Eugene Nida (1969, 71) is the use of ''the closest natural equivalence'' in translation practice. This theory has been recognized and valued by many translators at home and abroad. From the audience's perspective, we should choose popular expressions that are easy to understand, so as to provide the audience with the greatest possible service and help them accurately obtain source information. This happens to be the guiding significance of functional equivalence theory to subtitle translation.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:49, 18 December 2020 (UTC)Ou Rong<br /> <br /> This paper is going to analyze subtitle translation from the perspective of functional equivalence theory by introducing the theory and main characteristics of subtitles, and comparing one subtitled version against the other (one is Renren subtitle group version and the other is Wanwan subtitle group version) of the American TV series ''Why Women Kill'' released in 2019, and discussing in detail the application of functional equivalence theory in ''Why Women Kill''. In the end, we will come to a natural and succinct conclusion of all the research findings.<br /> <br /> This article will analyze the subtitles from the perspective of functional equivalence theory by introducing the theory and main features of subtitles, and comparing one subtitle version with another subtitle version (one is the Renren subtitle group version and the other is the Wanwan subtitle group version) translation. The American TV series ''Why Women Kill'' was released in 2019 and discussed in detail the application of functional equivalence theory in ''Why Women Kill''. In the end, we will draw a natural and concise conclusion of all research results.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:02, 18 December 2020 (UTC)Ou Rong<br /> <br /> ===Chapter2 Subtitle Translation Analysis===<br /> <br /> ====2.1 Introduction of Subtitle Translation====<br /> <br /> In the field of subtitle translation, the European Association for Studies in Screen Translations (ESIST) was established in 1955, and gradually became an influential academic organization, whose formation has promoted exchanges and cooperation between researchers in the field, and advanced the development of subtitle translation in Europe. At home, however, we haven’t established a systematic and specialized translation theory applied to subtitle translation yet. Professor Qian Shaochang (2000, 61-65), who has many years of experience in subtitle translation, called for more attention to it in ''Film Translation--The Increasingly Important Fields in Translation Parks'' published in ''Chinese Translation''.<br /> <br /> When it comes to the definition of subtitle translation, we may have heard about several versions, among which Nedergaard-larson’s (1993) definition for it will be introduced first. ''He defines subtitle translation as a special language conversion, in which the film subtitle condensed the essence of the original spoken language. It enables the audience to better understand the plot of the film while listening to the information of the source language, and to experience the atmosphere and environment beyond the film subtitles.'' (Nedergaard-larson 1993, 116)<br /> <br /> When it comes to the definition of subtitle translation, we may have heard of several versions, among which the definition of Nedergaard-larson (1993) will be introduced first. ''He defined subtitle translation as a special kind of language conversion, in which movie subtitles condense the essence of the original spoken language. It enables the audience to better understand the plot of the movie while listening to the information in the original language, and experience the atmosphere and environment outside the movie subtitles.'' (Nedergaard-larson 1993, 116)--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:11, 18 December 2020 (UTC)Ou Rong<br /> <br /> In addition, Du Zhifeng, Li Yao, and Chen Gang jointly compiled the book Basic Film Translation and Research, in which the film subtitle is explained as: ''Subtitles often present the dialogue or monologue in written form, to help the audience understand the dialogue and other information, sound language including background music, the phone rings and other sound in the audio tracks, and non-sound language information such as words, street signs and so on''(Du Zhifeng, Li Yao, and Chen Gang 2013, 8). Therefore, subtitle translation does not only pay attention to the translation of characters’ dialogues, but also the translation of some key information.<br /> <br /> ====2.2 Characteristics of Subtitle Translation====<br /> <br /> In his article ''The Increasingly Important Fields in Translation Parks'', Qian Shaochang (2000, 61-65) analyzes the differences of film and television language and literary language. He also sums up five features of subtitle translation, which are the feature of hearing, comprehensiveness, instantaneity, popularity and no note. <br /> <br /> Qian Shaochang (2000, 61-65) analyzed the difference between film language and literary language in his article ''The increasingly important field in the translation park''. He also summarized the five functions of subtitle translation, namely, hearing, comprehensiveness, immediacy, popularity and non-tonal characteristics.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:11, 18 December 2020 (UTC)Ou Rong<br /> <br /> Firstly, by the feature of hearing, we mean that literary works are read with the eye, while the language of film and television works is heard with the ear. (Qian Shaochang 2000, 61)<br /> <br /> Secondly, subtitle translation is comprehensive in that a film or television work is a kind of comprehensive art, in which actor’s speech and act performance, various changes of scenes and sounds are presented simultaneously. Therefore when doing subtitle translation, we need pay attention to details such as a gesture or a nod as well. (Qian Shaochang 2000, 62)<br /> <br /> Thirdly, for factors of time and space, subtitles put on the bottom of the screen can change in a moment. Such characteristic of subtitles demands that subtitle translation be evident and smooth since limited time doesn’t allow audience to think deeply. Audience need to give up the words if they don’t hear or understand clearly, or they may even miss the following words. (Qian Shaochang 2000, 62)<br /> <br /> Third, due to time and space, the subtitles placed at the bottom of the screen may change immediately. This feature of subtitles requires that the translation of subtitles must be obvious and smooth, because the limited time does not allow the audience to think deeply. If the audience can't hear or hear, they need to give up these words, otherwise they may miss the following words. (Qian Shaochang 2000, 62)--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:11, 18 December 2020 (UTC)Ou Rong<br /> <br /> Fourthly, popularity means that subtitle language is informal, even vulgar sometimes, for that it mainly consists of daily dialogues of common people. Moreover, reading literary works must have a certain level of literacy, but even illiterate people can understand film and television. The audience for film and television works is so wide that the language of film and television ought to be suitable for all classes and ages.(Qian Shaochang 2000, 62)<br /> <br /> Lastly, subtitles have no additional note. It is another trait different from literary works. Literary translation where readers find it difficult to understand can be noted on the page, however, subtitle translators do not enjoy such treatment.(Qian Shaochang 2000, 62)<br /> <br /> Zhang Chunbai (1998) proposed immediacy and popularity, features of subtitle translation, in his article Preliminary Study on Film Translation. He also mentions an extraordinarily important feature of subtitle language - personalization of language. In film and television works, character traits are often expressed through language. In such case, free translation is usually required for presence of personalization of language, which is exactly the application of Eugene Nida’s theory of functional equivalence.<br /> <br /> Zhang Chunbai (1998) put forward the directness and popularity of subtitle translation in his preliminary research on film translation. He also mentioned a very important feature of subtitle language-language personalization. In film and television works, personality characteristics are usually expressed through language. In this case, free translation is usually required to personalize the language, which is the application of Eugene Nida's functional equivalence theory.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:11, 18 December 2020 (UTC)Ou Rong<br /> <br /> ===Chapter3 Theoretical Framework===<br /> <br /> ====3.1 Overview of Functional Equivalence Theory====<br /> <br /> The theory of functional equivalence, was first proposed by Eugene Nida, a famous American translator. ''Translators should strive for equivalence instead of identity. In a sense, it’s just another way of reproducing the information in the source language.'' (Nida 1969, 35) It makes it clear that it is impossible to achieve absolute equivalence, and it also emphasizes the most natural and closest equivalence. This is the core of Nida’s theory of functional equivalence. <br /> <br /> Functional equivalence theory was first proposed by the famous American translator Eugene Nida. The translator should strive for equality rather than identity. In a sense, this is just another way to reproduce information in the source language. &quot;(Nida 1969, 35) Obviously, it is impossible to achieve absolute equivalence, and it also emphasizes the most natural and closest equivalence. This is the core of Nida's functional equivalence theory.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:15, 18 December 2020 (UTC)Ou Rong<br /> <br /> Nida (1993, 117) also puts emphasis on the requirement that the translator should achieve in translation: that is, ''the audience should be able to grasp the key points of the translation, based on the way in which audience of the source language understand and appreciate the original text.'' From the perspective of audience’s reception, the target audience should have as much as similar reactions to the source audience when reading the translation. Therefore, the translator should make full use of the closest and the most natural equivalents.<br /> <br /> In the process of translation, people often make mistakes not in language, but in the wrong understanding of cultural construction. There are similarities and differences between language and culture, but there is a close relationship between them. (Nida 2001, 89) Obviously, translation practice is not only a simple literal translation of language itself. The impact of cultural differences also needs to be considered. ''In order to achieve “functional equivalence”, cultural adjustment can be carried out.'' (Ma Huijuan 2003, 63)<br /> <br /> Regarding the contents of functional equivalence theory, “equivalence” includes four aspects: (1)Lexical equivalence: the value of a word lies in its use in the language so that translators should find the corresponding meaning in the target language; (2)Syntactic equivalence: translators should not only know whether the target language has such a structure, but also how often it is used; (3)Textual equivalence: in discourse analysis, besides on language itself, translators should focus more on how the language embodies the meaning and function in the specific context; (4)Stylistic equivalence: translation works of different styles have their own unique linguistic characteristics.(Tan Zaixi 2005, 122)<br /> <br /> Regarding the content of functional equivalence theory, &quot;equivalence&quot; includes four aspects: (1) Lexical equivalence: the value of a word lies in its use in the language, so that the translator can find the corresponding meaning in the target language; (2) Syntactic equivalence: The translator should not only know whether the target language has this structure, but also the frequency of its use. (3) Discourse equivalence: In discourse analysis, in addition to the language itself, translators should also pay more attention to how language reflects meaning and functions in specific contexts; (4) Stylistic equivalence: translations of different styles Works have their own unique language characteristics (Tan Zaixi 2005, 122)--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:15, 18 December 2020 (UTC)Ou Rong<br /> <br /> ====3.2 The Guiding Significance of Functional Equivalence Theory to Subtitle Translation====<br /> <br /> Different from general text translation, Subtitle translation is influenced and restricted by more factors, among which cultural factors are the most critical. Cultural factors, obviously, form a gap between the target audience and the source language. This is something that no good translator can eliminate.In order to make up for this deficiency, the missing parts should be compensated, so that the audience response of the two texts can be the same. Narrowing the gap as far as possible and building a bridge connecting the two ends of the gap is the goal of subtitle translators. <br /> <br /> To convert subtitle language properly needs to cater to the taste of audience and characteristics of culture. This is a process of dynamic compromise, in which the theory of functional equivalence is an important guiding principle for generating closest audience experience. It is also noted that absolute equivalence does not exist. Taking subtitle translation for instance, audiences of the two texts are influenced by various factors such as historical and cultural background, social ideology, lexicon, grammar, etc., so that there is rare possibility that subtitle translators can achieve completely equivalent translation. <br /> <br /> In general, the functional equivalence theory pursues the closest response of the two groups of audience, so as to guide the translators to highlight more the cultural connotation and charm of the source text rather than its form. Under the guidance of functional equivalence theory, strategies of subtitle translation should adopt more liberal translation techniques, integrating the unique characteristics of the subtitles and the prominent characters and relationships in the plays. Functional equivalence theory as the principle, there are varied strategies available for subtitle translation, such as substitution, interpretation, addition, reduction, punctuation, word order adjustment and so on.<br /> <br /> Generally, the functional equivalence theory pursues the closest response of the two groups of audiences to guide the translator to emphasize the cultural connotation and charm of the source text rather than its form. Under the guidance of the functional equivalence theory, the subtitle translation strategy should adopt more free translation techniques, and integrate the unique characteristics of subtitles with the prominent characters and relationships in the drama. Based on the principle of functional equivalence, there are many strategies for subtitle translation, such as substitution, interpretation, addition, reduction, punctuation, word order adjustment, etc.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:15, 18 December 2020 (UTC)Ou Rong<br /> <br /> ===Chapter4 Text Analysis===<br /> <br /> This part makes a comparative analysis of the translation of Renren subtitle group and Wanwan subtitle group at lexical level, syntactic level, textual level and stylistic level respectively, points out the existing problems and puts forward some opinions on them.<br /> <br /> This part compares and analyzes the translation of Renren Subtitle Group and Wanwan Subtitle Group from the lexical level, the syntactic level, the text level and the stylistic level, and points out the existing problems and puts forward opinions.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:37, 18 December 2020 (UTC)Ou Rong<br /> <br /> ====4.1 Lexical Equivalence====<br /> <br /> (1)-Beth Ann: Oh, Rob, it’s lovely.（''Why Women Kill'' 2019）<br /> <br /> -Robert: Damn straight!...Well, it’s a mention, is what it is. Yeah, you’re married to a guy who can afford a goddamn mansion.（''Why Women Kill'' 2019）<br /> <br /> -Neighbors: Hello! Sheila Mosconi. This is my husband, Leo. I guess you’re our new neighbors.（''Why Women Kill'' 2019）<br /> <br /> -Beth Ann: I must apologize for my husband’s language…He doesn’t usually swear.（''Why Women Kill'' 2019）<br /> <br /> -罗伯特：那是当然！…这可是豪宅，你嫁给了一个买得起该死的豪宅的人。(Renren subtitle group 2019)<br /> <br /> -贝丝安：抱歉我的丈夫出口成脏。…他平时很少说脏话的。(Renren subtitle group 2019)<br /> <br /> -罗伯特：你说得太对了！…嗯，这是个豪宅，一个豪宅。没错，你嫁给了一个买得起该死的豪宅的人。(Wanwan subtitle group 2019)<br /> <br /> -贝丝安：我必须为我丈夫的言语道歉。…他通常不说脏话的。(Wanwan subtitle group 2019)<br /> <br /> Here Beth Ann and her husband had just arrived at the mansion. Beth Ann said the house is beautiful, and Rob said “straight” to show his approval. Since his feeling of proud, Rob added a “damn” to strengthen the tone, similar to “真他妈的” in Chinese. Similarly, “goddamn” is a word used to show that you are angry, annoyed, or surprise. Beth Ann was afraid that the neighbors would think less of them because of her husband’s previous rude remarks, so she explained to the neighbors for her husband. <br /> <br /> Beth Ann and her husband just arrived at the mansion here. Beth Ann said the house is beautiful, Rob said &quot;straight&quot; to show his approval. Out of pride, Rob added &quot;Damn&quot; to enhance his tone, which is similar to “真他妈的” in Chinese. Similarly, &quot;Damn&quot; is a word used to express your anger, anger or surprise. Beth Ann was worried that because of her husband’s previous rude remarks, the neighbors’ thoughts of them were not so obvious, so she explained her husband’s affairs to the neighbors.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:37, 18 December 2020 (UTC)Ou Rong<br /> <br /> Both groups didn’t rightly translate Rob’s remarks. Because for the former words of Rob, their translations are respectively “那是当然” “你说得太对了”, not demonstrating Rob’s rudeness at all, so that the audience may be confused when they see Beth Ann’s words for apologize. The translation of “真他妈的太对了” will be better. <br /> <br /> Neither group correctly translated Rob's remarks. Because of Rob’s original words, their translations were “那是当然” and “你说得太对了”, which did not show Rob's rude behavior, so the audience may be confused when they see Beth Ann's apology. The translation of &quot;It's so fucking right&quot; would be better.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:37, 18 December 2020 (UTC)Ou Rong<br /> <br /> In Beth Ann’s words, “language” means words that most people think are offensive, and swear to use rude and offensive language. Renren subtitle group translates “language” as “出口成脏”, ordinarily intending to be homophonic with “出口成章”. The intention is faultless, but such translation apparently doesn’t agree with Beth Ann’s following words “He doesn’t usually swear”. Wanwan subtitle group’s translation of it is simply “言语”, it is not clear enough, while subtitle translation is ought to be as much as easy to understand. Thus “粗言粗语” for “language” here will be a better choice.<br /> <br /> (2)Leo：Well, we have four little rug rats. At some point, they are gonna break something that you own.（''Why Women Kill'' 2019）<br /> <br /> 里奥：我们有四个小家伙。早晚有一天，他们会弄坏你们的东西。(Renren subtitle group 2019)<br /> <br /> 里奥：好吧，我们有四只小耗子。指不定哪天，他们可能会弄坏你们家什么东西。(Wanwan subtitle group 2019)<br /> <br /> While Sheila and Leo were visiting Beth Ann’s house, they asked Robert and Beth Ann if they had any children, and introduced that they had four. Leo used “rug rats”, which means annoying children, to describe his children. Because he thought the children are naughty, which was indicated by his following words “they are gonna break something that you own”. <br /> <br /> When Sheila and Leo visited Beth Ann's house, they asked Robert and Beth Ann if they had any children and introduced that they had four children . Leo uses the term “rug rats” to describe his children, which means a nasty child. Because he thinks children are naughty, he says “they are gonna break something that you own”.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:37, 18 December 2020 (UTC)Ou Rong<br /> <br /> In such background, both groups didn’t translate the word phrase properly. Renren subtitle group translate it as “小家伙”, failing to embodying the children’s feature of naughty, while Wanwan subtitle group translate it as “小耗子”, employing literal translation strategy, but can cause puzzlement of audience since we are not used to using “小耗子” to describe children in Chinese. Considering Chinese culture, the translation can be revised as “熊孩子”.<br /> <br /> (3)Eli: I married a kick-ass lawyer.（''Why Women Kill'' 2019）<br /> <br /> 伊莱：我嫁给了一个成功的律师。(Renren subtitle group 2019)<br /> <br /> 伊莱：我娶了一个超厉害的律师。(Wanwan subtitle group 2019)<br /> <br /> As we introduced above, Taylor’s husband Eli was unemployed and Taylor had been the one who provided the family. She was an extremely independent, capable woman, taking care of Eli like his mother. <br /> <br /> So there is a breakthrough in Renren subtitle group’s translation, it uses the word “嫁” to present Eli’s feature of reliance. The important feature of subtitle language - personalization of language gets embodied. In addition, Taylor was a feminist. The series’ three female protagonists, their social identity lifting from a housewife, a socialite to a lawyer, constitute a history of female growth. The translation at here is exactly to the point and is a bravo example of functional equivalence at lexical level.<br /> <br /> Therefore, Renren Subtitle Group has made a breakthrough in the field of translation. It uses the term “嫁” to express Eli's trustworthiness. The important feature of the subtitle language-the individualization of the language is reflected. In addition, Taylor is also a feminist. The three female protagonists of the series, from a housewife, a socialite to a lawyer, gradually improved their social identity and constituted the history of female growth. The translation here is very accurate and a brave example of functional equivalence at the lexical level.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:37, 18 December 2020 (UTC)Ou Rong<br /> <br /> (4)Simone: Tommy, that kiss we shared was sweet, but it was not a down payment.（''Why Women Kill'' 2019）<br /> <br /> 西蒙妮：汤米，我们那一吻是很甜蜜，但它不是笔首付。(Renren subtitle group 2019)<br /> <br /> 西蒙妮：汤米，我们的那个吻很甜蜜，但它并不代表我们之间有可能。(Wanwan subtitle group 2019)<br /> <br /> Tom was constantly on the pursuit of Simone. Because of Tom’s age and identity, her best friend’s 18-year-old son, Simone thought there is no possibility between them.<br /> The word phrase “down payment” is a metaphor here, and “首付” is literal translation. In principle, the translation of literary works should try to keep the rhetorical devices of the original. In subtitle translation, however, in order to reduce the time for the audience to think, semantics of language must be as clear as possible, so as to better convey the information. It’s also a kind of fidelity to the original. So I think to specify it as “并不代表我们之间有可能” is better.<br /> <br /> ====4.2 Syntactic Equivalence====<br /> <br /> (5)Naomi: Misery loves company.（''Why Women Kill'' 2019）<br /> <br /> 娜奥米：一起比惨，痛苦减半。(Renren subtitle group 2019)<br /> <br /> 娜奥米：同病方能相怜。(Wanwan subtitle group 2019)<br /> <br /> “Misery loves company” is an English proverb, generally translated as “同病相怜”. The translation is proper since Chinese idiom was employed, functional equal to English proverb. The translation of “一起比惨，痛苦减半” here is also acceptable. Because it contains end rhyme, “惨” and “半”, and has a slang feel. Moreover, it perfectly restores the original symmetrical sentence structure.<br /> <br /> (6)①Simone: I’m 20 minutes late, again.（''Why Women Kill'' 2019）<br /> <br /> 西蒙妮：我迟到了20分钟，又一次。(Renren subtitle group 2019)<br /> <br /> 西蒙妮：我迟到了20分钟，我已经迟到了很多次了。(Wanwan subtitle group 2019)<br /> <br /> ②Simone: You think you’re gonna get out of this by dying?（''Why Women Kill'' 2019）<br /> <br /> 西蒙妮：你以为你能以死解脱吗？(Renren subtitle group 2019)<br /> <br /> 西蒙妮：你觉得，你这样死掉就可以摆脱这一切吗？(Wanwan subtitle group 2019)<br /> <br /> As we mentioned above, for factors of time and space, subtitles put on the bottom of the screen can change in a moment. Therefore subtitle translations are required to be not only precise, but also concise. In these two sets of sentences, Renren subtitle group’s translations are better, both contains 10 words of Chinese, while Wanwan’s both contains 17 words. If the sentence is too long, the space at the bottom of the screen may not hold, and the subtitles have to switch more quickly to keep up with the dialogue of the characters. In addition, the duration of the subtitle is very short, only about two or three seconds. In such a short time, to let the audience understand the message conveyed by the subtitle, the subtitle translation must be concise and easy to read.<br /> <br /> As mentioned above, due to time and space factors, the subtitles placed at the bottom of the screen may change immediately. Therefore, subtitle translation must be precise and concise. In these two sets of sentences, the translation effect of Renren Subtitle Group is better, both contain 10 Chinese words, and Wanwan both contain 17 words. If the sentence is too long, the space at the bottom of the screen may not fit, and the subtitles must switch faster to keep up with the character’s dialogue. In addition, the duration of subtitles is very short, only about two or three seconds. In such a short time, in order for the audience to understand the information conveyed by the subtitles, the subtitle translation must be simple and easy to understand.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:37, 18 December 2020 (UTC)Ou Rong<br /> <br /> (7)①Taylor: You’ve been insecure lately because of your career.（''Why Women Kill'' 2019）<br /> <br /> 泰勒：你最近没有安全感，因为你事业不顺。(Renren subtitle group 2019)<br /> <br /> 泰勒：因为你的工作，你最近一直没有安全感。(Wanwan subtitle group 2019)<br /> <br /> ②Tom: You’re wearing sunglasses in doors, at night.（''Why Women Kill'' 2019）<br /> <br /> 汤姆：你在室内而且是在晚上戴着墨镜。(Renren subtitle group 2019)<br /> <br /> 汤姆：那是因为你大晚上的还在屋子里戴墨镜。(Wanwan subtitle group 2019)<br /> <br /> There are big differences between English and Chinese in the center of gravity. In these two sets of sentences, we will discuss two kinds of centroid ordering problems, one is the ordering of causes and results, the other is the ordering of time and space. The center of gravity of English sentences and Chinese sentences is generally presented in hypotheses, conclusions, results, etc. English sentences generally focus on the front and put the main part at the beginning of the sentence, while Chinese sentences generally vice versa, like “因为你的工作，你最近一直没有安全感”, rather than “你最近没有安全感，因为你事业不顺”. <br /> <br /> When stating the time and place of the event, English sentences usually start with the place and end with the time, so we seldom hear statement like “I tonight stay at home”, but “I stay at home tonight”. But in Chinese, the situation is different, the time usually comes first, behind which follows the place. For this factor, Wanwan subtitle group’s translation of “大晚上的还在屋子里” is better than Renren’s “在室内而且是在晚上”.<br /> <br /> When stating the time and place of activities, English sentences usually start with place and end with time, so we rarely hear statements such as &quot;I stay at home tonight&quot; and &quot;I stay at home tonight&quot;. But in Chinese, the situation is different, time is usually the first, followed by the second. For this reason, Wanwan's translation of “大晚上的还在屋子里” is better than everyone's “在室内而且是在晚上”.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:37, 18 December 2020 (UTC)Ou Rong<br /> <br /> (8)①Simone: You know what they say: It’s not a party until someone breaks something.（''Why Women Kill'' 2019）<br /> <br /> 西蒙妮：俗话说，没有打碎过东西的派对就不算是派对。(Renren subtitle group 2019)<br /> <br /> 西蒙妮：你知道的，大家都说派对是从有人打碎了什么贵重的东西开始的。(Wanwan subtitle group 2019)<br /> <br /> ②Taylor: This is the part where you walk away to avoid going to prison.（''Why Women Kill'' 2019）<br /> <br /> 泰勒：你现在该为避免蹲大牢走开了。(Renren subtitle group 2019)<br /> <br /> 泰勒：但如果你现在转头离开，就不用再进监狱。(Wanwan subtitle group 2019)<br /> <br /> By syntactic equivalence, it emphasizes that translators should not only know whether the target language has such a structure, but also how often it is used. It means that translators must take idiomatic expressions of the target language into consideration, to make target texts expressive and smooth. Regarding the three translation principles of “faithfulness, expressiveness and elegance” put forward by Yan Fu, Qian Shaochang believes that “expressiveness” should be the first. In these two sets of sentences, translations of “没有打碎过东西的派对就不算是派对” and “但如果你现在转头离开，就不用再进监狱”are much more idiomatic.<br /> <br /> ====4.3 Textual Equivalence====<br /> <br /> (9)-Robert: I saw you talking to the neighbors. What are they like?（''Why Women Kill'' 2019）<br /> <br /> -Beth Ann: Italian.（''Why Women Kill'' 2019）<br /> <br /> -罗伯特：我看到你和邻居聊天了，他们什么样？(Renren subtitle group 2019)<br /> <br /> -贝丝安：意大利人。(Renren subtitle group 2019)<br /> <br /> -罗伯特：我看到你在和邻居讲话，他们怎么样啊？(Wanwan subtitle group 2019)<br /> <br /> -贝丝安：意大利人。(Wanwan subtitle group 2019)<br /> <br /> After talking with her new neighbors for the first time, Beth Ann described her new neighbors as Italian, with a little bit of a label, which shows that she is not very fond of them.<br /> <br /> Evidently, there contains a culture-bound situation in the dialogue. But two groups did not illuminate the conventional meaning, thus making audience completely confused. They only cared about language itself, but did not pay attention on how the language embodies the meaning and function in the specific context, failing to realize functional equivalence at textual level. <br /> <br /> Obviously, there is a culture-related situation in the dialogue. But the two groups did not clarify the traditional meaning, so the audience was completely confused. They only care about the language itself, but do not pay attention to how the language reflects the meaning and function in a specific context, and fail to achieve functional equivalence at the textual level.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:37, 18 December 2020 (UTC)Ou Rong<br /> <br /> In fact, once during World War II, Americans suffered unfair treatment for a long time, then President Franklin D. Roosevelt, issued a statement, announcing citizens of Japan, Germany and Italy as “America’s foreign enemies”. Although on October 12, 1942, the U.S. attorney general Francis Biddle announced that Italian was no longer the nation’s enemies, but Americans in the 1960s still cannot get rid of their inherent prejudice for Italians. In such historical background, the implication concerning cultural factors requires illuminating. Translators can add a brief annotation behind the words, or add words like “你懂的”, “你说呢” to indicate deliberate implication but evident prejudice.<br /> <br /> (10)–Jade: Do you like bacon?（''Why Women Kill'' 2019）<br /> <br /> -Eli: Well, I’m Jewish, so, yeah.（''Why Women Kill'' 2019）<br /> <br /> 伊莱：这个嘛，我是犹太人，所以，我喜欢。(Renren subtitle group 2019)<br /> <br /> 伊莱：我是犹太人，但…行吧。(Wanwan subtitle group 2019)<br /> <br /> When Jade stayed at Taylor’s, she would get up early every day to make breakfast for the couple. The couple, on the other hand, enjoyed it because they usually ordered takeout and few people took care of their lives. So when Jade brought breakfast bacon to Eli and asked if he liked it, Eli replied politely. <br /> <br /> However, as Eli implied, he was a Jewish. If we know something about Jewish culture, we know that they don’t eat pork. And bacon is salted or smoked pork. For this case, Wanwan subtitle group handled it better than Renren did. It translate “so, yeah” as “但…行吧。”, adding an ellipsis and expressing the turning meaning, so that manifested Eli’s polite intention of not letting Jade down and conveyed the function of the original dialogue. Renren subtitle group’s translation just adopted literal translation, failing to present Eli’s inner rejection, thus making audience neglect the culture fact. Translation practice is not only a simple literal translation of language. The impact of cultural differences also needs to be considered.<br /> <br /> However, as Eli suggested, he was Jewish. If we know something about Jewish culture, we know that they don't eat pork. Bacon is cured or smoked pork. In this case, Wanwan Subtitle Group handles better than Renren. It translates &quot;so, yeah&quot; as “但…行吧。” and adds an ellipsis to express the meaning of turning, thus reflecting Eli's polite intention, that is, not to let Jade down, and convey the original The function of dialogue. The translation of Renren Subtitle Group only uses literal translation, which does not show the inherent rejection of ritual, which makes the audience ignore the cultural facts. Translation practice is not just a simple text translation of a language. Also need to consider the impact of cultural differences.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:37, 18 December 2020 (UTC)Ou Rong<br /> <br /> (11)–Tom: It’s called a Swatch. And, it’s waterproof.（''Why Women Kill'' 2019）<br /> <br /> -Simone: Oh, so it’s safe from my tears of joy.（''Why Women Kill'' 2019）<br /> <br /> -汤姆：这是斯沃琪手表。而且，这是块防水手表哦。(Renren subtitle group 2019)<br /> <br /> -西蒙妮：那它不会被我喜悦的泪水弄坏了。(Renren subtitle group 2019)<br /> <br /> -汤姆：是斯沃琪手表。还有，防水。(Wanwan subtitle group 2019)<br /> <br /> -西蒙妮：那我就不用怕我的喜悦之泪把它泡坏了。(Wanwan subtitle group 2019)<br /> <br /> Simone and Tom were on their first date. Tom carefully prepared a gift - a watch called Swatch- and cheerfully told Simone that it was waterproof. Before opening the present, Simone assumed it was something like jewelry. After seeing the waterproof watch, she expressed her distaste for the gift humorously.<br /> <br /> Simone and Tom are dating for the first time. Tom carefully prepared a gift-a watch named Swatch-and happily told Simone that it was waterproof. Before opening the gift, Simone thought it was like jewelry. After seeing the waterproof watch, she humorously expressed her aversion to gifts.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:37, 18 December 2020 (UTC)Ou Rong<br /> <br /> Reading the two translations, we will feel two completely different tone of Tom. One is earnest and full of expectation, the other is brief and coldish. As we know, Tom is a boy in his early eighteen, the calm and concise language style does not fit him. And when he presented the watch to Simone, he was delightful and thought Simone would like it. Therefore Renren subtitle group’s translation of “这是斯沃琪手表。而且，这是块防水手表哦” is better. The adding modal particle “哦” is to the point, too. <br /> <br /> Apparently, Simone did not like the gift, and she thought her little boyfriend and his gift of a waterproof watch were childish. As harsh as she was, so sharp were her words. The two group’s translation both failed to transmit the illocutionary meaning of Simone’s words, thus failing to fulfill the pragmatic function of language. In order to convey Simon’s implication and retain the humorous style of the source language, this sentence can be translated as “那它真是能防住我喜悦的泪水”, which means that she was very happy and expected to receive gift from Tom, but the gift itself made her joy disappear.<br /> <br /> (12)-Simone: You wouldn’t want to ruin her special day with a divorce.（''Why Women Kill'' 2019）<br /> <br /> -Karl: No.（''Why Women Kill'' 2019）<br /> <br /> -西蒙妮：你不会想用离婚来毁了她的大好日子吧。(Renren subtitle group 2019)<br /> <br /> -卡尔：对。(Renren subtitle group 2019)<br /> <br /> -西蒙妮：你不想因为离婚，就毁掉她最特别的一天吧。(Wanwan subtitle group 2019)<br /> <br /> -卡尔：不会。(Wanwan subtitle group 2019)<br /> <br /> Simone put forward that she won’t divorce with Karl until her daughter’s wedding. Karl also did not want to ruin her daughter’s wedding so he agreed, shaking his head.<br /> Karl was shaking his head when he answered “no”. Therefore it is not agree with his act if we translate “no” into “对”, although it is right in English when we translate the answer of general questions. When translating film and television works, due to the role of pictures, sounds, characters, the translation should fully consider all of the factors.<br /> <br /> ====4.4 Stylistic Equivalence====<br /> <br /> (13)Beth Ann: You want to see the same old Beth? Fine, here she is in all her glory.（''Why Women Kill'' 2019）<br /> <br /> 贝丝安：你不是想从前那个贝丝吗？好啊，老娘在此，胴光闪耀。(Renren subtitle group 2019)<br /> <br /> 贝丝安：你想看那个始终如一的贝丝？她就在这儿呢，毫无保留。(Wanwan subtitle group 2019)<br /> <br /> When Beth Ann found out that her husband was cheating on her, she still thought it was her fault, so she changed her image, got a haircut and bought a new dress. However, Robert did not notice her change at all, and said he did not need Beth Ann to change but to make dinner for him. Beth Ann got a little angry and made a surprising move: she sat down at the table, naked.<br /> <br /> When Beth Ann discovered that her husband was cheating on her, she still thought it was her fault, so she changed her image, got a haircut, and bought new clothes. However, Robert didn't notice her change at all and said that he didn't need Beth Ann to change, but made dinner for him. Beth Ann was a little angry and made a surprising move: she sat naked at the table.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:37, 18 December 2020 (UTC)Ou Rong<br /> <br /> There contains a word “胴” in Renren subtitle group’s translation. It means the body after the removal of the head, limbs and internal organs. But in real life, people use it very infrequently and few people know what it means. This is likely to prevent the target audience from resonating with the source audience. So Renren subtitle group’s translation is improper here. The choice of word, if too written or obscure, will affect the target audience’s understanding of the meaning of the source sentence. <br /> <br /> (14)-Taylor: Honey, that is a stupid plan.（''Why Women Kill'' 2019）<br /> <br /> -Eli: That’s a bit harsh, but, okay, fine, you go.（''Why Women Kill'' 2019）<br /> <br /> -伊莱：扎心了，好吧，你说。(Renren subtitle group 2019)<br /> <br /> -伊莱：这么说可有点伤人，那行吧，你来。(Wanwan subtitle group 2019)<br /> <br /> There contains a network vocabulary “扎心” in Renren subtitle group’s translation. As we emphasized, in films and TV works, the words of the translation should be popular. When the translator can find several similar equivalents, he must choose them carefully. At present, the majority of Chinese people who like to watch American TV series are young people, so the appropriate use of Internet vocabulary can enhance the resonance with the target audience.<br /> <br /> The translation of Renren Subtitle Group includes the online vocabulary “扎心”. As we emphasized, in movies and TV works, translated text should be very popular. When the translator can find several similar equivalents, he must choose them carefully. At present, most Chinese who like to watch American TV series are young people, so proper use of Internet vocabulary can enhance the resonance of the target audience.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:37, 18 December 2020 (UTC)Ou Rong<br /> <br /> (15)①-Robert: Well, I should get going.（''Why Women Kill'' 2019）<br /> <br /> -Beth Ann: Going?（''Why Women Kill'', 2019）<br /> <br /> - Robert: To my dinner meeting.（''Why Women Kill'' 2019）<br /> <br /> -罗伯特：去我的晚餐会议。(Renren subtitle group 2019)<br /> <br /> -罗伯特：去应酬。(Wanwan subtitle group 2019)<br /> <br /> ②–Amy: Who got to you?（''Why Women Kill'' 2019）<br /> <br /> -艾米：谁给你吹耳边风了？(Renren subtitle group 2019)<br /> <br /> -艾米：谁影响了你？(Wanwan subtitle group 2019)<br /> <br /> In these two sets of sentences, “应酬” and “吹耳边风” are better translations, while “晚餐会议” and “影响” are too formal. In films and TV series, especially in the dialogue between characters, colloquialism should be emphasized. Take “Who got to you?” for instance, Amy was Simone’s daughter and was angry about her boyfriend’s affair. Simone had been on Amy’s side at first, but began to speak good words for Amy’s boyfriend after she knew that Amy intended to use Tom to revenge. So the idiom “吹耳边风” is rather appropriate here. The use of idiom exactly accords with the principle of colloquialism.<br /> <br /> ===Chapter5 Subtitle Translation Strategies===<br /> <br /> Based on the analysis above, we can achieve some conclusions in terms of lime lights on subtitle translation under the guidance of functional equivalence theory. In this part we will discuss on some specific strategies to deal with the re-combed unique characteristics of subtitle translation.<br /> <br /> Based on the above analysis, we can draw some conclusions on subtitle translation under the guidance of functional equivalence theory. In this part, we will discuss some special strategies to deal with the unique characteristics of recombined subtitle translation.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:42, 18 December 2020 (UTC)Ou Rong<br /> <br /> ====5.1 Instantaneity: reduction/word order adjustment====<br /> <br /> In subtitle translation, we are obliged to provide information instantaneously and to ensure that the subtitle and the picture are highly synchronized. Due to the restriction of time and space, the strategies of reduction and word order adjustment are worth our attention.<br /> <br /> ====5.2 The property of being informative: colloquialism====<br /> <br /> Subtitle translation came into being in order to facilitate the audience to get a better viewing experience. Therefore it is ought to provide authentic, useful and easily understandable information, which requires the language of subtitle translation be concise, clear, informal and easy to understand. In addition, in films and television works, the dialogue of characters occupies a so important position that sometimes the colloquialism of language must be considered.<br /> <br /> Subtitle translation came into being to facilitate viewers to get a better viewing experience. Therefore, truthful, useful and easy-to-understand information should be provided. This requires that the language of subtitle translation must be concise, clear, informal and easy to understand. In addition, in film and television works, the dialogue of characters occupies such an important position that sometimes the colloquialization of language must be considered.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:42, 18 December 2020 (UTC)Ou Rong<br /> <br /> i.e. she is in all her glory: 毫无保留（''Why Women Kill'', 2019）<br /> <br /> ====5.3 The property of being situational: addition/interpretation====<br /> <br /> The situation discussed here includes many aspects, such as the character in the film, historical and cultural background, plot hints and so on. In this case, it is necessary to find out the profound meaning behind the literal meaning, and give the audience more clear prompts, solving the comprehension gap.<br /> <br /> i.e. language: 粗言粗语; it was not a down payment: 不代表我们之间有可能; Italian: 意大利人，你懂的/你说呢 （''Why Women Kill'', 2019）<br /> <br /> ====5.4 Comprehensiveness: punctuation====<br /> <br /> It is to be noted that, in subtitle translation, language should include not only the spoken language, but also the action, gesture, emotion and other information implied in the picture. Only by realizing the comprehensiveness of subtitle translation, can the film information be conveyed to the audience completely.<br /> <br /> It should be noted that in subtitle translation, language should not only include spoken language, but also implied actions, gestures, emotions and other information in the picture. Only by realizing the comprehensiveness of subtitle translation can the film information be completely conveyed to the audience.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:42, 18 December 2020 (UTC)Ou Rong<br /> <br /> i.e. Well, I’m Jewish, so, yeah: 我是犹太人，但…行吧 （''Why Women Kill'', 2019）<br /> <br /> ====5.5 Popularity: substitution/colloquialism====<br /> <br /> A film or television work faces the broad masses, its language should be popular correspondingly. This feature puts forward two main requirements for subtitle translators: the first is the popularity, which is similar to colloquialism we have mentioned; the second is the timeliness. The appropriate use of buzzwords can enhance the audience’s resonance.<br /> <br /> The language of films or TV works facing the masses should be popular accordingly. This feature puts forward two main requirements for subtitle translation: the first is popularity, which is similar to the colloquialization we mentioned; the second is popularity. The second is timeliness. Appropriate use of buzzwords can enhance the resonance of the audience.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:42, 18 December 2020 (UTC)Ou Rong<br /> <br /> i.e. little rug rats: 熊孩子; That’s a bit harsh: 扎心了; dinner meeting: 应酬; Who got to you: 谁给你吹耳边风了（''Why Women Kill'', 2019）<br /> <br /> ===Chapter6 Conclusion===<br /> <br /> Being an explanatory thesis, this paper has tried to shed light upon the topic of subtitle translation from the perspective of functional equivalence theory. The work has followed the typical procedure of a scientific study: firstly, it introduces the main characteristics of subtitle translation summarized by previous researches and then it presents the functional equivalence theory. Then, respectively from lexical, syntactic, textual and stylistic level, this paper selected some typical examples of subtitles in Why Women Kill as analysis objects, pointing out the advantages and disadvantages of the translation versions. Lastly, the author explores the subtitle translating strategies under the guidance of this theory. <br /> <br /> As an explanatory paper, this article attempts to clarify the subject of subtitle translation from the perspective of functional equivalence theory. This work follows the typical process of scientific research: first, the main features of subtitle translation summarized in previous studies are introduced, and then the theory of functional equivalence is introduced. Then, from the three levels of morphology, syntax, text, and style, some typical subtitles in ''Why Women Kill'' are selected as the analysis objects, and the advantages and disadvantages of the translated version are pointed out. Finally, the author discusses subtitle translation strategies under the guidance of this theory.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:46, 18 December 2020 (UTC)Ou Rong<br /> <br /> It is to be noted that functional equivalence is not absolute, but approximate. In the process of subtitle translation, the translator is obliged to employ various kinds of strategies and methods, from different angles and levels for effective treatment, to make the effect of the target text as much as possible close to that of the original, and make cultural characteristics of the original can be reserved. <br /> <br /> In particular, subtitle translation guided by functional equivalence theory should attach importance not only to the equivalence of words and sentences, which are small translation units, but also to the equivalence of texts and styles. Translators often focus on how to translate a single sentence or word well, but ignore the cohesion of the context or the consistency of the speaker’s dialogue, resulting in the dialogue between the characters becoming self-talk. Several typical examples are given to illustrate the importance of contextual equivalence.<br /> <br /> In particular, subtitle translation guided by functional equivalence theory should not only pay attention to the equivalence of words and sentences as the translation unit, but also the equivalence of text and style. Translators usually focus on how to translate a single sentence or word well, but ignore the cohesion of the context or the consistency of the speaker's dialogue, which causes the dialogue between characters to become self-talk. Several typical examples are given to illustrate the importance of contextual equivalence.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:46, 18 December 2020 (UTC)Ou Rong<br /> <br /> This paper holds that translators must have a thorough understanding of the unique characteristics of subtitles, such as being instantaneous, informative, situational, comprehensive, and popular etc., flexibly apply various translation strategies, and constantly improve their quality in translation practice. The evaluative criterion of subtitle translation should be whether it can provide the audience with the closet and the most natural information combined with the picture and sound in the limited space and time.<br /> <br /> This article believes that translators must have a thorough understanding of the uniqueness of subtitles (such as instantaneity, information, context, comprehensiveness and popularity, etc.), flexibly use various translation strategies, and continuously improve translation quality. The evaluation criteria of subtitle translation should be whether it can provide the audience with closets and the most natural information, as well as images and sounds within a limited time and space.--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 13:46, 18 December 2020 (UTC)Ou Rong<br /> <br /> ===References===<br /> <br /> *Gottlieb, Henrik. (1994). ''“Subtitling – A New University Discipline,” in Dollerup, Cay and Anne Loddegaard'' [M] Teaching Translation and Interpretation: Training, Talent and Experience, Amsterdam, Philadelphia, John Benjamin.<br /> <br /> *Nedetgaard-Larson, Birgit. (1993). ''Culture-Bound Problems in Subtitling'' [M]. Perspectives: Studies in Translatology.<br /> <br /> *Nida, Eugene A. (1993). ''Language, Culture, and Translation'' [M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nida, Eugene A. (2001). ''Language and Culture: Contexts in Translating'' [M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nida, Eugene A., C. R. Taber. (1969). ''The Theory and Practice of Translation'' [M]. Leiden: Brill.<br /> <br /> *Du Zhifeng, Li Yao, Chen Gang杜志峰,李瑶,陈刚. (2013). 基础影视翻译与研究[M].[Basic Film translation and Research]. 浙江:浙江大学出版社Zhejiang: Zhejiang University Press.<br /> <br /> *Hong Li洪莉. (2007). 功能译论在字幕翻译中的运用[J].[Application of Functional Translation Theory in Subtitle Translation]. 科技信息:学术研究Science and Technology Information: Academic Research (21): 460-461.<br /> <br /> *Li Yunxing李运兴. (2001). 字幕翻译的策略[J].[Subtitle Translation Strategy]. 中国翻译Chinese Translation (04): 38-40.<br /> <br /> *Liang Shuang梁爽. (2012). 功能对等理论在电影字幕中的应用研究[J].[Research on the Application of Functional Equivalence Theory in Film Subtitle Translation]. 对外经贸Foreign Trade and Economic Cooperation (09):140-142.<br /> <br /> *Ma Huijuan马会娟. (2003). 奈达翻译理论研究（英文本）[M].[Research on Nida’s Translation Theory (English Version)]. 北京:外语教学与研究出版社Beijing: Foreign Language Teaching and Research Press.<br /> <br /> *Qian Shaochang钱绍昌. (2000). 影视翻译——翻译园地中愈来愈重要的领域[J].[Film Translation--The Increasingly Important Fields in Translation Parks]. 中国翻译Chinese Translation (01): 61-65.<br /> <br /> *Tan Zaixi谭载喜. (2005). 翻译学[M].[Translatology]. 武汉:湖北教育出版社Wuhan: Hubei Education Press.<br /> <br /> *Zhang Chenxiang张沉香. (2007). 功能目的理论与应用翻译研究[M].[Functional Purpose Theory and Applied Translation Studies]. 湖南:湖南师范大学出版社Hunan: Hunan Normal University Press.<br /> <br /> *Zhang Chunbai张春柏. (1998). 德国的功能翻译理论[J].[German Functional Translation Theory]. 中国翻译Chinese Translation (03): 45-50.<br /> <br /> *Zhang Yan张燕. (2009). 浅析英文电影翻译中的文化碰撞[J].[An Analysis of Cultural Clash in English Film Translation]. 电影文学Film Literature (14): 147-148.<br /> <br /> *Renren subtitle group (2019.7.26).Translation of Subtitles in ''Why Women Kill''.“Why Women Kill” .http://www.rrys2020.com/, 2019-7-26/2020-12-2.<br /> <br /> *Wanwan subtitle group (2019.7.30).Translation of Subtitles in ''Why Women Kill''“Why Women Kill” .http://wanwansub.com/, 2019-7-30/2020-12-2.<br /> <br /> ==The Breakthrough and Innovation of Dong Qiusi’s Translation Thoughts 娄灿灿 Lou Cancan, student no.202070080599 英语笔译==<br /> <br /> ===The Breakthrough and Innovation of Dong Qiusi’s Translation Thoughts===<br /> <br /> ===Abstract===<br /> Dong Qiusi is a famous Chinese practitioner and thinker in translation. From the second half of the 1940s to the early 1950s, he deeply reflected on many issues in the field of Chinese traditional translation studies and made important contribution to the innovation and development of translation in the middle of the 20th century. During this period, Dong Qiusi put forward some innovative viewpoints of breakthrough sense. For example, he believed that translation criteria should be followed based on different styles and that translation is &quot;re-creation&quot;. When it comes to idea that the nature of translation is art, Dong Qiusi argued that translation is theoretical and emphasized the objective regularity of translation, which marked the shift of traditional Chinese translation thoughts from traditional to modern ones. Dong Qiusi initiated the establishment of Chinese translation studies as a discipline. He took the lead in separating translation criticism from traditional translation theories and focused on the two for deep study. He also included the history of translation into the research of translation as a discipline, thus building up a frame of translation studies consisting of translation criticism, translation theory and translation history.【quotation is missing】<br /> <br /> ===Key words===<br /> translation criteria; science;recreation; translation studies as a discipline; translation criticism; translation theory; translation history<br /> <br /> ===Key words===<br /> translation criteria; Dong Qiusi; recreation; translation studies as a discipline; translation criticism; translation theory; translation history--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:03, 18 December 2020 (UTC)<br /> <br /> ===题目===<br /> 董秋斯翻译思想的突破与创新<br /> <br /> ===摘要===<br /> 董秋斯是我国著名的翻译实践者和思想家。从20世纪40年代下半叶到50年代初，他对中国传统翻译研究领域的许多问题进行了深刻思考，为20世纪中期翻译的创新和发展做出了重要贡献。这一时期，董秋斯提出了一些具有突破性意义的创新观点。例如，他认为不同的风格应该遵循不同的翻译标准且翻译是“再创造”。在谈到翻译的艺术性质时，董秋斯认为翻译是理论性的，强调翻译的客观规律性，这标志着中国传统翻译思想由传统向现代的转变。董秋斯开创了中国翻译研究这门学科的创立，他率先将翻译批评理论与传统翻译理论分离开来，并对两者进行了深入研究。他还把翻译史作为一门学科纳入到翻译研究中，从而形成了由翻译批评、翻译理论和翻译史组成的翻译研究框架。<br /> <br /> ===关键词===<br /> 翻译标准；科学；再创造；翻译学；翻译批评；翻译理论；翻译历史<br /> <br /> ===关键词===<br /> 翻译标准；董秋思；再创造；翻译学；翻译批评；翻译理论；翻译历史--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:03, 18 December 2020 (UTC)<br /> <br /> ===1.Brief Introdction of Dong Qiusi===<br /> Dong Qiusi, originally named Zhan Shaoming, was born in Jinghai County (today's Tianjin City) in 1899. He graduated from Yanjing University (the predecessor of Beijing University) and in the same year he participated in the Northern Expedition （北伐战争）in 1926， editing the monthly Bloody Road. In 1930, he joined in the launching of the League of Left-Wing Writers and the Council, editing the monthly International. He worked as a secret agent in China for the Communist International during the 1930s. He participated in orginazing the China Association for Promoting Democracy in 1945 and joined the Communist Party of China in 1946. Persecuted during the Great Cultural Revolution in 1969, he died with unjust. (庄智象 2017, 901)<br /> <br /> Dong Qiusi, originally named Zhan Shaoming, was born in Jinghai County (today's Tianjin City) in 1899. He graduated from Yanjing University (the predecessor of Beijing University) in 1926 and in the same year he participated in the Northern Expedition （北伐战争)， editing the monthly ''Bloody Road''. In 1930, he joined in the launching of the League of Left-Wing Writers and the Council, editing the monthly'' International''. He worked as a secret agent in China for the Communist International during the 1930s. He participated in orginazing the China Association for Promoting Democracy in 1945 and joined the Communist Party of China in 1946. Persecuted during the Great Cultural Revolution in 1969, he died with unjust. (Zhuang Zhixiang, 2017, 901)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:03, 18 December 2020 (UTC)<br /> <br /> Dong Qiusi is a famous and outstanding Chinese literary translator. He had translated more than 50 foreign literary masterpieces in his lifetime. After the founding of the New China, he bacame chairman of the Shanghai Translators'Association, Editor-in-Chief of Translation, copy-editotr of the China Writers Association and Deputy Chief Editor of World Literature. His major translations include ''David Copperfield'', which is now still in print, ''A Home for the Highland Cattle'' by Doris Lessing, ''Cement'' by Fyodor Gladkov, ''War and Peace'' by Leo Tolstoy and so on. (Tian Chuanmao 2013，242)<br /> <br /> Not only did Dong work hard as a translator, but he also devoted himself to theoretical research on translation. During his long years of translation practice and work, he kept thinking about translation theories and made great contribution to the development of translation in New China. Early before the founding of the People's Republic of China, he had expressed his views on translation in such papers as ''On Translation Principles'' (1946), ''About Indirect Transalation'' (1946), and ''On the Value of Translation'' (1948). After 1949, he published three papers in ''Translation Tongbao Magazine'', including ''On the Construction of Criticism'' and ''Self-criticism in Translation Circles'' (1950), ''The Criteria and Priorities of Translation Criticism'' (1950) and ''On the Construction of Translation Theory'' (1951). (庄智象 2017, 901)<br /> <br /> Not only did Dong work hard as a translator, but he also devoted himself to theoretical research on translation. During his long years of translation practice and work, he kept thinking about translation theories and made great contribution to the development of translation in New China. Early before the founding of the People's Republic of China, he had expressed his views on translation in such papers as ''On Translation Principles'' (1946), ''About Indirect Transalation'' (1946), and ''On the Value of Translation'' (1948). After 1949, he published three papers in ''Translation Tongbao Magazine'', including ''On the Construction of Criticism'' and ''Self-criticism in Translation Circles'' (1950), ''The Criteria and Priorities of Translation Criticism'' (1950) and ''On the Construction of Translation Theory'' (1951). (Zhuang Zhixiang, 2017, 901)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:03, 18 December 2020 (UTC)<br /> <br /> The three papers are of great significance for the development of translation theory in China. Dong's translation thought is profound and extensive, covering construction of translation theory, translation criticism, selection of source texts, strategies of foreignization and domestication, recreation in literary translation, relationship between and the value of translation, etc. His views on translation, especially on the construction of Chinese translation theory and translation criticism, are of great importance in the translation history of our country. (庄智象 2017, 901-902)<br /> <br /> The three papers are of great significance for the development of translation theory in China. Dong's translation thought is profound and extensive, covering construction of translation theory, translation criticism, selection of source texts, strategies of foreignization and domestication, recreation in literary translation, relationship between and the value of translation, etc. His views on translation, especially on the construction of Chinese translation theory and translation criticism, are of great importance in the translation history of our country. (Zhuang Zhixiang, 2017, 901-902)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:03, 18 December 2020 (UTC)<br /> <br /> ===2.Dong Qiusi’s Breakthroughs in Translation Thoughts===<br /> <br /> '''2.1 Breakthrough in the Traditional Translation Criteria'''<br /> <br /> In terms of translation standards, Dong Qiusi made up for the deficiency of traditional Chinese translation criteria from the perspective of text type. From Buddhist scriptures translation to the middle of 20th century, one-way and simplistic mindset had been throughout the discussion on the issue of translation criteria. people always consciously or unconsciously sought a unique and right translation criterion as their ultimate pursuit and most people were prone to deem the translation for literary texts as the reference. (汪庆华 2016, 18)<br /> <br /> There is doubt that we all hope that translation standards are as simple as possible, and that one standard can function as solution to all problems in translation. However, practice has proved that it is not feasible for the complex work of translation. With the increasing various text types, unified translation standard can barely guide all types of translation practice. When discussing translation standards, most people only consider the relatively single text types they are exposed to, namely Buddhist scripture, social science or literature. Few take it into account that translation standards should vary depending on the type of text. Dong Qiusi was aware of this matter as early as 1946, and it is probably not enough to judge that he had a keen academic vision. (汪庆华 2016, 32-33)<br /> <br /> There is no doubt that we all hope that translation standards are as simple as possible, and that one standard can function as solution to all problems in translation. However, practice has proved that it is not feasible for the complex work of translation. With the increasing various text types, unified translation standard can barely guide all types of translation practice. When discussing translation standards, most people only consider the relatively single text types they are exposed to, namely Buddhist scripture, social science or literature. Few take it into account that translation standards should vary depending on the type of text. Dong Qiusi was aware of this matter as early as 1946, and it is probably not enough to judge that he had a keen academic vision. (Wang Qinhua, 2016, 32-33)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:03, 18 December 2020 (UTC)<br /> <br /> To study Dong Qiusi's translation criterion, we can not bypass Yan Fu. Yan Fu's three-character criteria &quot;faithfulness, expressiveness and elegance&quot; had exerted far-reaching influence and had been the only guide for translators for decades since it was put forward. Especially in the first half of the 20th century, most of the Chinese translation experts embraced the criterion of Yan Fu. (Sun Yifeng 2012, 2)<br /> <br /> Contrary to Yan Fu, Dong Qiusi believed that translation criteria for theoretical texts and literature ones are distinctive. For literary text, translators could adopt such standards as to be faithful to the original in &quot;thought, style, inclination and fluency,&quot; which could be condensed into a single word, &quot;faithfulness.&quot; Dong Qiusi held flexible and dialectical attitude towards the order of &quot;thought, style, inclination and fluency&quot;. (汪庆华 2016, 18-19)<br /> <br /> In terms of theoretical texts, Dong Qiusi thought that yan Fu's &quot;faithfulness&quot; and &quot;expressiveness&quot; should be adopted. That is to say, we should be faithful to the ideological content of the original work and ensure the fluency of the translation. As for &quot;elegance&quot;, Dong Qiusi thought it could be justified by the times where Yan Fu lived in. &quot;Elegance&quot; was not only unsuitable for the standard of &quot;theoretical texts&quot; in the era of &quot;vernacular Chinese&quot;, but also unsuitable for the standard of &quot;literature texts&quot;. As is known to all, in the 1940s, the discussion on translation criteria at home and abroad basically stayed within the language level of content, form, style and so on. The fact that Dong Qiusi thought about this issue from the perspective of text type was leading the world at that time. (汪庆华 2016, 20-21)<br /> <br /> In terms of theoretical texts, Dong Qiusi thought that yan Fu's &quot;faithfulness&quot; and &quot;expressiveness&quot; should be adopted. That is to say, we should be faithful to the ideological content of the original work and ensure the fluency of the translation. As for &quot;elegance&quot;, Dong Qiusi thought it could be justified by the times where Yan Fu lived in. &quot;Elegance&quot; was not only unsuitable for the standard of &quot;theoretical texts&quot; in the era of &quot;vernacular Chinese&quot;, but also unsuitable for the standard of &quot;literature texts&quot;. As is known to all, in the 1940s, the discussion on translation criteria in China and abroad basically stayed within the language level of content, form, style and so on. The fact that Dong Qiusi thought about this issue from the perspective of text type was leading the world at that time. (Wang Qinhua, 2016, 20-21)<br /> <br /> '''2.2 Literature Translation is Recreation'''<br /> <br /> Translation means to transfer the meaning of one language into another, while creation refers to the production of literary and artistic works. Translation is constrained by source text, while creation is free. It has been undcr discussion for a long time whether translation is a kind of creation or not. Many scholars, such as Guo Moruo, Zhu Guangqian , Luo Xinzhang , agreed that translation is a kind of creation. For example, Bassnett said it is therefore quite foolish to argue that the task of the translator is to translate but not to interpret, as if the two were separate exercises. (Newmark 1988, 33)<br /> <br /> The interlingual translation is hound to reflect the translator’s own creative interpretation of the SL text. Dong also thought of translation as a recreation. He said, &quot;a translator should not only get well acquainted with the meaning and style of the source text, but also with the author’s personality, his intention and other factors concerned. Having arrived at this stage, the translator is not only faced with words any more, but with the images behind the words. Therefore, what he needs to do is to express those concrete images out in his native language rather than just transfer the lexical meaning of one language into another. What I said might be a little exaggeration, but the translator should feel as if he were the author of the source text who was writing in another language that he was good at.&quot; (Bassnett 2004, 83) <br /> <br /> Since the images are organized by the author, their expression modes should also belong to the author. In this case, as British translator Alexander Fraser Tytler has stated, what the translator can do is nothing but recreate, although he has already obtained the soul of the original author.” (Ling Shan 2004, 86)<br /> <br /> As we can see, initially, Dong viewed that literature translation is creation, which could be seen as his recognition of the idea by Guo Moruo. Dong Qiusi considered that translation is not merely a simple, technical work, and the translation process requires the translator to exert his/her personal understanding, imagination and expression. A translator, like a writer, faces exactly the same things, but produces very different products. There is no doubt that both of them show the characteristics of creation. (Ling Shan 2004, 86-88)<br /> <br /> Dong Qiusi also said that just because of the existence of creativity, translators are able to produce different versions, making it possible that readers get close to and learn the true charm of the original work. Meanwhile, it should be alert that the translation being elevated to the status of creation will typically cause the translators to move from one extreme to another. In the history of translation, there are many cases in which the original texts have been freed from the shackles and the creativity has been overplayed. (汪庆华 2016, 41)<br /> <br /> For example, Lin Shu, a translator who had not master any foreign language, gave free play to his subjective creativity in the process of translation and ended up deviating from the original texts. Considering the limitation of creativity, Dong Qiusi modified his previously agreed view that &quot;translation is creation&quot; and added a &quot;re&quot; in front of the word &quot;creation&quot;. Obviously, Dong Qiusi still believed that the translation of literature work were by no means a mechanical and technical labor and could not be completed by mere imitation. In his mind, the creativity of literature translation is essential. The translator can only constantly get close to the original, but can not do a complete match with the original. (汪庆华 2016, 41-43)<br /> <br /> For example, Lin Shu, a translator who did not master any foreign language, gave free play to his subjective creativity in the process of translation and ended up deviating from the original texts. Considering the limitation of creativity, Dong Qiusi modified his previously agreed view that &quot;translation is creation&quot; and added a &quot;re&quot; in front of the word &quot;creation&quot;. Obviously, Dong Qiusi still believed that the translation of literature work were by no means a mechanical and technical labor and could not be completed by mere imitation. In his view, the creativity of literature translation is essential. The translator can only constantly get close to the original, but can not do a complete match with the original. (Wang Qinhua, 2016, 41-43)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:03, 18 December 2020 (UTC)<br /> <br /> In this process, the translators will inevitably give full play to his creativity. However, writers are free to write as they please. In contrast, the specific images that the translators wants to express are created by the original authors, meaning that translators are not as liberal as the original authors. Therefore, he was convinced that the creation of the translator is relative and absolute 100% creation is impossible; The translator's creation should be based on the original creation, which is a kind of &quot;re-creation&quot;. (汪庆华 2016, 45)<br /> <br /> It is self-evident that the modification of &quot;translation is creation&quot; to &quot;translation is re-creation&quot; is intended to emphasize the unity and opposition relations between the creativity and faithfulness of literary translation. &quot;Re-creation&quot; not only affirms the status and value of the translator's creativity in translation, the translator's positive role in the translation, but also demonstrates that the translator's creativity is limited, which means they can not break away from the original texts, give play to the imagination of the individual and create as much as they desire. In a word, Dong Qiusi deems it that the creation of literary translation should be definitely based on the original work and it is a kind of &quot;re-creation&quot; in nature. (Ling Shan 2004, 87)<br /> <br /> '''2.3 Translation is Science'''<br /> <br /> In 1951, Dong Qiusi clearly proposed that translation is science in his article ''On the Construction of Translation Theory''. According to him, the translation process is regulated by objective rules. These rules can be used for generating adequate translations. In order to discover and understand these rules,translation scholars should study all factors involved, and then use their findings to contribute to a complete theory, which is scientific owing to its objective basis. He explained that translation is science, meaning that there are laws that can be followed in the process of translation between Chinese and Western languages, and that it is not correct to say that translation can be done simply by talents and inspiration. (Luo Xuanmin 2004, 26)<br /> <br /> Since these translation laws are objective, not discovered simply by imagination, to master these laws, we need to do thorough and detailed study. To be specific, we need to explore three main aspects: first, the structure, characteristics of various languages; Second, the contents and ways of expression of various disciplines; Third, translation experience in different times and countries. (Luo Xuanmin 2004, 26)<br /> <br /> In Dong’s opinion, if many objective laws in translation could be summarized through investigation and research for people to learn and refer to, the novice translators would avoid wasting much time and energy to explore methods and techniques, and would not repeat the previous failures. Thus, it would be helpful to promote the translation work to achieve greater progress. This not only shows Dong Qiusi's profound understanding of the significance of studying the objective laws of translation in guiding practice, but also can be interpreted as his regret for the loss caused by Chinese translators' long-term neglect of the scientific nature of translation. (Chan Tak-hung 2004, 226)<br /> <br /> Dong Qiusi, inheriting the traditional Chinese concept that translation is art and enlightened by the newly emerging foreign view that translation science, clearly realized that translation, as art, would become random activities if it did not observe the objective scientific laws and accept the guidance of the objective laws. Therefore, in 1951, he became the first person in China who claimed that &quot; translation is a kind of science &quot; in the most authoritative journal Bulletin on Translation. (Chan Tak-hung 2004, 226)<br /> <br /> Dong Qiusi is the earliest translators in China who was aware of the unity and opposition relations between scientific and artistic translation. His view that translation is science is an important breakthrough in the development of traditional Chinese translation studies in the middle of 20th century, which marks the beginning of Chinese translation studies turning to linguistic science and plays an important role in the historical transition of Chinese translation studies from ancient to modern times. (Chan Tak-hung 2004, 226)<br /> <br /> Dong Qiusi is the earliest translators in China who was aware of the unity and opposition relations between scientific and artistic translation. His view that translation is science is an important breakthrough in the development of traditional Chinese translation studies in the middle of the 20th century, which marks the beginning of Chinese translation studies turning to linguistic science and plays an important role in the historical transition of Chinese translation studies from ancient to modern times. (Chan Tak-hung 2004, 226)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:03, 18 December 2020 (UTC)<br /> <br /> ===3. Dong Qiusi’s Innovation: to Establish Translation Studies As a Discipline===<br /> <br /> Back in the 1950s, it became obvious that translation Studies in China required theoretical breakthroughs. Speaking of translation studies, the name of Dong Qiusi was worth special mentioning. Dong Qiusi, in an article entitled On the construction of translation theory in Translation Newsletter, made the proposal to establish translation studies as a discipline, claiming that &quot;China has a long history of translation and, in spite of the lack of systematic theorization, has acquired an abundance of scattered and unconsolidated experiences and ideas&quot;. (Dong Qiusi 1951, 608)<br /> <br /> In his view, &quot;translation is not something unknowable; rather, it is an existential phenomenon governed by laws unique to itself, and therefore has all the qualities needed to become a theoretical&quot;. Dong projected a sanguine prognosis largely based on this perception of China’s long history of translation. With the wisdom that hindsight affords, Tan Zaixi ruefully notes:“In the 1950s China was behind no other country in terms of the construction of Translation Studies. Had Dong Qiusi’s idea caught everyone’s attention, our translation research might have been ahead of the West all along.” (Tan Zaixi 1995, 15)<br /> <br /> What Dong seemed to be doing in that paper was what Nida had earlier on in 1947 tried to do, i.e. applying a ‘scientific’, modern linguistics approach to the study of translation. Given the fact that there was virtually no academic contact with the West in the early years after the Chinese socialist revolution of 1949, Dong or his fellow Chinese scholars would not have access to, or be able to even hear of, Nida’s work, and that the Russian scholar Andrei Fedorov’s work was not to be published till 1953, a full two years after Dong had published his paper, we may say that at the time Dong’s proposition on applying a ‘scientific’ translation studies approach to the theoretical development of translation was quite original, and seemed in large measure to be modernizing Chinese translation discourse, in spite of the fact that Dong’s paper did read more like a ‘policy speech’ than in-depth academic research, or in some ways it was not as substantiated research as were Nida’s or Fedorov’s work. (Chan Tak-hung 2004, 225)<br /> <br /> However, this optimism is retrospectively ungrounded because China was soon afterwards plunged into great social and political upheaval and its embryonic intercultural connectivity would be severed. Translation Studies could not develop until the early 1980s when translation activity was in full swing once again, fuelling an interest in analyzing translation problems as well, since large scale translation practice created renewed impetus for promoting Translation Studies. (Sun Yifeng 2012, 2)<br /> <br /> Nevertheless, it was not difficult to judge from the contents of several articles by Dong published successively from 1950 to 1951, such as How to Establish Translation Criticism and Self-Criticism, Criteria and Key points of Translation Criticism, and On the Construction of Translation Theory that he had formed a preliminary framework at that time. This framework consists of three parts: translation criticism, translation theory and translation history. Dong envisaged two steps towards this. (汪庆华 2016, 77)<br /> <br /> First, that a “common programme” be drafted on the study of major issues such as methods of translating, systems of revision and proofreading, criteria of translation, etc. for adoption by a national conference on translation. Second, that the government sanctioned agency organize experts to do six things: (1) write a history of translation in China, (2) introduce Western books on translation theory to Chinese readers, (3) use scientific linguistic methods to compare Chinese and foreign languages, (4) conduct translation criticism, (5) sum up experiences of translating, and (6) publish a translators’ journal. The end products of this national drive would be two books, one on the history of translation in China, and the other on the translatology of China. (Fan, S.1999, 42)<br /> <br /> First, that a “common programme” be drafted on the study of major issues such as methods of translating, systems of revision and proofreading, criteria of translation, etc. for adoption by a national conference on translation. Second, that the government sanctioned agency organize experts to do six things: (1) write a history of translation in China; (2) introduce Western books on translation theory to Chinese readers; (3) use scientific linguistic methods to compare Chinese and foreign languages; (4) conduct translation criticism; (5) sum up experiences of translating; and (6) publish a translators’ journal. The end products of this national drive would be two books, one on the history of translation in China, and the other on the translatology of China. (Fan, S.1999, 42)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:03, 18 December 2020 (UTC)<br /> <br /> <br /> '''3.1 Translation Criticism'''<br /> <br /> &quot;Translation criticism is a major link between translation theory and translation practice.&quot; Not only can translation criticism be used to guide translation practice, but it can also enrich translation theory. It plays most direct role in the application of translation theory into translation practice. It can be seen that Dong has a very clear understanding of the positive function of translation criticism, hi order to make translation criticism serve translation practice constructively, he put forward practical opinions and suggestions on the criteria, priorities, and approaches of translation criticism, etc. (Newmark 1988, 184)<br /> <br /> &quot;Translation criticism is a major link between translation theory and translation practice.&quot; Not only can translation criticism be used to guide translation practice, but it can also enrich translation theory. It plays most direct role in the application of translation theory into translation practice. It can be seen that Dong has a very clear understanding of the positive function of translation criticism, in order to make translation criticism serve translation practice constructively, he put forward practical opinions and suggestions on the criteria, priorities, and approaches of translation criticism, etc. (Newmark 1988, 184)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:03, 18 December 2020 (UTC)<br /> <br /> Exactly as he said, this kind of translation criticism could play a very good supporting role even though it could not substitute for the whole work of constructing theoretical system of translation, because it could enrich translation theory, and defined each definition clearly and specifically, which was very important for the construction of any theory. (张茜 2012, 5)<br /> <br /> Translation development is inseparable from translation criticism, but translation criticism has been in a non-rational state for a long period, and translators always turn a blind eye to some serious problems, such as the impetuous translation climate, blind introduction of copyright, decreased translation quality. etc. The fundamental reason for this situation lies in that we do not establish a positive and effective criticism theory as Dong said. The establishment of such a theory depends largely on the establishment of scientific translation criticism system. (张茜 2012, 5) <br /> <br /> Although translation criticism can be traced back to ancient times in China, such as the argument about literal translation and free translation, the research on translation criticism itself did not start until after 1949. In the early period after the founding of New China, the tasks that Chinese translators faced with were pretty arduous. There were two main problems: translation work was poorly planned and organized, and low-quality translations were published in large quantity. Therefore, how to solve the problems became one of the major tasks for the relevant department of the government. On March 26, 1950, China Daily published three papers on translation criticism with the title of “Taking Serious Attitude to Translating” by the Divisions of People’s literature and People’s Field for Arts. That is to say, the first new chapter of translation criticism began in early 1950’s in China. (孙致礼 1996，193)<br /> <br /> Although translation criticism can be traced back to ancient times in China, such as the argument about literal translation and free translation, the research on translation criticism itself did not start until after 1949. In the early period after the founding of New China, the tasks that Chinese translators faced with were pretty arduous. There were two main problems: translation work was poorly planned and organized, and low-quality translations were published in large quantity. Therefore, how to solve the problems became one of the major tasks for the relevant department of the government. On March 26, 1950, ''China Daily'' published three papers on translation criticism with the title of “Taking Serious Attitude to Translating” by the Divisions of People’s literature and People’s Field for Arts. That is to say, the first new chapter of translation criticism began in early 1950’s in China. (孙致礼 1996，193)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:03, 18 December 2020 (UTC)<br /> <br /> In Dong's opinion, translation criticism is of great importance in that it is conducive to solving many practical problems and makes great contribution to cultivating translation talents, improving translation quality and developing translation criticism research itself. Dong Qiusi also put forward seven valuable Suggestions on how to carry out translation criticism: Firstly, distinguish established translators from novice ones. If a famous translator is irresponsible, he should be seriously criticized. For new translators, try to point out their mistakes. What is more important is to tell them how to correct mistake. Secondly, pin down the key points. The number of translation work is too large to criticize each of them. Thirdly, master principles and solve the issue of principles in translation through some typical cases. Fourthly, recommend successful experience and avoid simply criticizing mistakes. Fifthly, correct bad attitudes towards work. Translators and publishers should be responsible and meticulous respectively and avoid being perfunctory. Sixthly, establish correct theory. Translation theory is the foundation of translation criticism. Without the guidance of translation theory, translation criticism will become unclear about what is right or wrong. Seventhly, conduct critical attitude. Critics should seek truth from facts, be kind to others and try to be unbiased and objective. What’s more, Dong put forward the proposal of “constructive translation criticism.” (Dong Qiusi 1951, 608-610)<br /> <br /> He illustrated that the constructive translation criticism was “to deal with fundamental problems, which have not been handled properly for long, with the aid of some typical examples.” He further explained “It is only by means of intensively reading one book and extensively reading many books that we can focus on criticism priorities, obtain a practical criticism criterion, so that we can criticize or appraise fairly and appropriately, the people to be criticized can be convinced, and readers can benefit. This kind of translation criticism can be called truly constructive.” (Dong Qiusi 1951, 609)<br /> <br /> Reviewing the history of translation criticism 50 years ago, constructive translation criticism was quite rare. Apparently, translation criticism lacked theoretical self-consciousness. Due to the lack of supervision and guidance on practice, it was difficult to make thorough and reasonable explanations for many phenomena in the history of translation. Given that Translation criticism tended to be mixed with translation theory. Dong Qiusi separated translation criticism from translation theory and focuses his research on the construction of translation criticism. At that time, it was of extreme historical significance to emphasize the importance of the construction of translation criticism. (汪庆华 2016, 81)<br /> <br /> '''3.2 Translation Theory'''<br /> <br /> Although the study of stage translation theory had been making progress and had made some achievements, there were still many problems, which were mainly manifested in the lack of system, scientific research methods, pure theory explorations and communication with the West. In his article ''The Cultivation of Translators'', Dong Qiusi expressed his regret that China had not established a complete theoretical system of translation until the People’s Republic of China was founded in 1949. (张茜 2012, 38)<br /> <br /> Dong Qiusi held that the construction of translation theory was a long and arduous mission, the finishing of which required a lot of people to spend a long time, adopt scientific linguistic methods, and carry out in-depth investigation and research. In order to accomplish the task smoothly, he proposed a two-step strategy. The first step was to solve some important issues in the translation field in a short time. Second, long-term planning should be implemented simultaneously with short-term planning, including compiling ''Chinese Translation history'', sorting out and explaining China's local translation experience, absorbing and drawing on the essence of foreign theories and so on. After a long period of construction and the full development of the theoretical system of translation, some translation problems involved in the first step of the scheme would be finally solved. (张茜 2012, 38-39)<br /> <br /> Dong Qiusi's main views on the guidelines for the construction of translation theory can be summarized as follows: adopting scientific linguistic methods, focusing on traditional Chinese translation theories, learning from foreign translation theories and closely connecting with practice. Dong suggested that like all other scientific theories, Chinese translation theory has its own general and specific features. On one hand, it should correspond with the general laws of science; and, on the other hand, it should possess its own distinctive features of its own time and place. It should draw on the theories and experiences of foreign countries, but it is absolutely not a blind copy. (汪庆华 2016, 88)<br /> <br /> In other words, there is no shortcut. What is required is the investment of human and material resources of our country. He put forward that we could not simply expect foreign countries to establish translation theories for our use. Theories stem from experience. We already had a preliminary theoretical foundation and over-one-thousand-year translation experiences, including the experiences of translating Buddhist Scriptures in the early period of Tang Dynasty, and those of many translators like Lu Xun, Qu Qiubai since the May Fourth Movement. Therefore, it would not be difficult to establish a complete theoretical system if we could collect, analyze, refine and develop the experiences of our own country. After the founding of New China, Dong Qiusi took the lead in openly criticizing the traditional translation theories in China. Not only did he point out the crux of the slow development of Chinese traditional translation theories, but also, more importantly, he clarified the study objects of Chinese translation theories and the guidelines for the construction of translation theories. (汪庆华 2016, 88-89)<br /> <br /> '''3.3 Translation History'''<br /> <br /> Dong Qiusi are also a pioneer in the study of translation history. As we know, the study of translation history had been neglected for quite a long time. Although there had been relevant researches before Dong Qiusi, for example, in 1940, Huang Jiade(黄嘉德) edited a collection of Translation Studies entitled ''The History of Translation'', which excerpted the pertinent articles of Hu Shi and other translators in this field, we could not find anyone who formally came up with the history of translation as a specialized field of translation studies prior to Dong Qiusi. The study of the history of translation is a basic step which plays a decisive role in the construction and development of translation as a discipline. (汪庆华 2016, 90)<br /> <br /> Dong Qiusi also attached great importance to the study in the construction of his translation system. In &quot;On the Construction of Translation Theory&quot;, he wrote We should compile the ''History of Chinese translation'', sum up the translation experience since the Eastern Han Dynasty from a correct historical point of view, and grasp the right direction and principles in the process of development. Dong Qiusi stated that any research field inevitably had its own clear direction and principles if it wante to develop into an independent discipline. As far as the field of translation studies is concerned, the study of translation history undertakes this task. (汪庆华 2016, 91)<br /> <br /> The history of translation provides necessary documents for the construction of translation as a discipline. The study of the history of translation is favorable to understand the natural characteristics of translation and to provide reference for the construction of translation study. In the past, translators and researchers were bound to come across problems similar to those we encounter today, and have struggled to solve them. The ideologies, the development level of language and cultural in the Times they lived in would also have influenced them, so that they made choices on many issues such as translation standards, translation methods and translation functions. By sorting out the relevant experience and theories of translators throughout the history and mastering the development history of Translation in China, we can draw lessons from them, which is of enlightening significance to the confirming of status of the translation as a discipline. (汪庆华 2016, 991-93)<br /> <br /> The history of translation provides necessary documents for the construction of translation as a discipline. The study of the history of translation is favorable to understand the natural characteristics of translation and to provide reference for the construction of translation study. In the past, translators and researchers were bound to come across problems similar to those we encounter today, and have struggled to solve them. The ideologies, the development level of language and cultural in the times they lived in would also have influenced them, so that they made choices on many issues such as translation standards, translation methods and translation functions. By sorting out the relevant experience and theories of translators throughout the history and mastering the development history of Translation in China, we can draw lessons from them, which are of enlightening significance to the confirming of status of the translation as a discipline. (汪庆华 2016, 991-93)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:03, 18 December 2020 (UTC)<br /> <br /> ===4. conclusion===<br /> <br /> From the second half of the 1940s to the beginning of the 1950s, Dong Qiusi had a comprehensive and in-depth reflection on many important issues in traditional Chinese translation studies, such as translation standards, the nature of translation, the creativity of translation etc., among which there were multiple original perspectives, such as: the translation criteria are adhered to based on text styles; Literary translation is &quot;re-creation&quot;; The essence of translation is &quot;science&quot;, etc. In the early 1950s, Dong Qiusi established a translation framework consisting of translation criticism, translation theory and translation history. This viewpoint is not only leading in China, but also in the history of translation studies around the world. Chinese translation experts and scholars generally agree that Dong Qiusi is the founder of the establishment of the translation discipline. In terms of the historical contribution to the construction of the translation discipline, Dong Qiusi can be regarded as a worthy pioneer.<br /> ===4. conclusion===<br /> <br /> From the second half of the 1940s to the beginning of the 1950s, Dong Qiusi had a comprehensive and in-depth reflection on many important issues in traditional Chinese translation studies, such as translation standards, the nature of translation, the creativity of translation etc., among which there were multiple original perspectives, such as: the translation criteria are adhered to based on text styles; Literary translation is &quot;re-creation&quot;; The essence of translation is &quot;science&quot;, etc. In the early 1950s, Dong Qiusi established a translation framework consisting of translation criticism, translation theory and translation history. This viewpoint is not only leading in China, but also in the history of translation studies around the world. Chinese translation experts and scholars generally agree that Dong Qiusi is the founder of the establishment of the translation discipline. In terms of the historical contribution to the construction of the translation discipline, Dong Qiusi can be regarded as a worthy pioneer.<br /> <br /> ===References===<br /> <br /> Bassnett Susan. (2004). Translation Studies. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> Chan Tak-hung. (2004). Twentieth-century Chinese Translation Theory: Modes, Issues and Debates. Amsterdam and Philadelphia: John Benjamins Publishing.<br /> <br /> Dong Qianghua 汪庆华. (2016). ''董秋斯译学思想研究'' [Studies on Dong Qiusi's Translation Thoughts]. East China Normal University 华东师范大学.<br /> <br /> Dong Qiusi 董秋斯. (1951). ''‘論翻譯理論的建設’'' (On the Development of Translation Theory). 翻譯通報 (Translators’ Bulletin). 2: 3-4. Reprinted in Luo Xinzhang 羅新璋 and Chen Yingnian 陳應年 (2009) 翻譯論集 (修訂本) (An Anthology of Essays on Translation [Revised Edition]). Beijing: The Commercial Press. pp. 601-609. <br /> <br /> Fan, S. (1999). Highlights of Translation Studies in China Since the Mid-Nineteenth Century. Meta, 44 (1), 42.<br /> <br /> Ling Shan 凌山. (2004). 一个翻译家的脚印：关于董秋斯的翻译 [The Footprints of a Translator: On Dong Qiusi's Translation ]. Shanghai Literature ''上海文学''(3)86.<br /> <br /> Newmark Peter.纽马克. (1988). ''翻译教材''[A Textbook of Translation]. 伦敦/纽约London/New York: Prentice-Hall.<br /> <br /> Sun Yifeng. (2012). The Shifting Identity of Translation Studies in China. Intercultural Communication Studies XXI:2.<br /> <br /> Sun Zhili 孙致礼. (1996). ''我国英美文学翻译概论'' [An Introduction to Chinese and American Literary Translation]. Beijing: Yilin Press 北京: 译林出版社.<br /> <br /> Tan Zaixi 谭载喜. (1995). ''中西现代翻译学概论'' [A general survey of Chinese and Western translation theories]. 外国语言 Foreign Languages 16(3)15. <br /> <br /> Tian Chuanmao. (2013). A Sociocultural Analysis of Retranslations of Classic English Novels in Mainland China 1949‐2009. Universitat Rovira i Virgili.<br /> <br /> Xuanmin Luo &amp; Hong Lei. (2004). 中国的翻译理论与实践 [Translation theory and practice in China]. ''视角'' Perspectives: Studies in Translatology 12:1, 25-26.<br /> <br /> Zhang Qian 张茜. (2012). ''董秋斯翻译批评思想研究''[Research on translation Criticism of Dong Qiusi]. Shanxi University 山西大学.<br /> <br /> Zhuang Zhixiang, Fang Mengzhi 庄智象、方梦之. (2017). ''中国翻译家研究（民国卷）''[A Study of Translators in China]. Shanghai: Shanghai Foreign Language Education Press 上海:上海外语教育出版社.<br /> <br /> ='''Translation Criticism'''=<br /> <br /> <br /> ==On Translation Criticism-based on back-translation 丁代凤 Ding Daifeng==<br /> <br /> ===Abstract===<br /> <br /> Translation practice has a rather long history both at home and abroad. Once there is translation practice, there is translation criticism. Due to the change of time and space, translation criticism needs to be carried out from different perspectives. Based on previous studies and personal translation practice, the author finds two common problems in translation criticism: 1) lack of translation criticism in translation practice; 2) lack of awareness of time and space change during the process of translation criticism. Based on the analysis of the relationship between back translation and translation criticism, the author analyzes the application of back translation in words, expressions and texts, and illustrates the roles of back translation in translation criticism. The author analyzes a large number of examples in this thesis and tries to be reasonable and well-founded, hoping that this thesis can give some inspiration to other scholars who study translation criticism.<br /> <br /> ===Key words===<br /> <br /> translation criticism; back translation; translation testing; cultural communication<br /> <br /> ===题目===<br /> <br /> 论翻译批评—基于回译<br /> <br /> ===摘要===<br /> <br /> 无论在国内还是国外，翻译实践的历史可谓悠久。而只要有翻译实践，就会有翻译批评。由于时间与空间的变化，翻译批评也需从不同的角度进行。基于前人的研究以及自身的翻译实践，作者发现目前普遍存在于翻译批评中的两个问题：1）在翻译实践过程中缺乏翻译批评意识；2）在翻译批评过程中，缺乏对空间和时间变化的意识。基于对回译与翻译批评二者关系的分析，作者对回译法在词汇以及文本当中的应用分别进行了分析，阐述了回译法在翻译批评中作用。作者在论文中分析了大量的实例，尽量做到有理有据，希望本论文能够给其他研究翻译批评的学者些许启发。<br /> <br /> ===关键词===<br /> <br /> 翻译批评；回译；翻译检测；文化交际<br /> <br /> ===Introduction of translation criticism===<br /> <br /> Translation practice has a rather long history both at home and abroad. Once there is translation practice, there is translation criticism(Wang Kefei 1994,33). As for translation criticism, it refers to the evaluation of a translation under certain social conditions, following certain translation principles and using certain methods. It is one of the three major components of translation studies, and it also serves as an internal driving force for the disciplinary construction of translation. As the characteristic of one language is different from the other, it is difficult for us to judge whether a translation is appropriate or not. In the process of translation, we have to take both language and culture into consideration.(Wang Jianguo 2005,78) That is to say, we also have to lay equal emphasis on language and culture when we judge a translation. As a complete paragraph or passage is composed of many words and sentences, we are prone to analyze each word and sentence when we assess the quality of a translation. If we analyze a passage under the reader-oriented translation criticism principle, then the translation should be easy to read and be accepted by its readers. If we analyze a passage based on the translator-oriented translation criticism principle, the translated version should be in line with the original text in terms of meaning as much as possible. However, this far from enough. <br /> <br /> Translation practice has a rather long history both at home and abroad. Once there is translation practice, there is translation criticism(Wang Kefei 1994,33). As for translation criticism, it refers to the evaluation of a translation under certain social conditions, following certain translation principles and methods. It is one of the three major components of translation studies, and it also serves as an internal driving force for the disciplinary construction of translation. As the characteristic of one language is different from the other, it is difficult for us to judge whether a translation is appropriate or not. In the process of translation, we have to take both language and culture into consideration.(Wang Jianguo 2005,78) That is to say, we also have to lay equal emphasis on language and culture when we judge a translation. As a complete paragraph or passage is composed of many words and sentences, we are prone to analyze each word and sentence to assess the quality of a translation. If we analyze a passage under the reader-oriented translation criticism principle, then the translation should be easy to read and accept for its readers. If we analyze a passage based on the translator-oriented translation criticism principle, the translated version should be in line with the original text in terms of meaning as much as possible. However, this far from enough. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:28, 16 December 2020 (UTC)<br /> <br /> Given the translation practice takes place at different times and in different cultural backgrounds, we should adopt different perspectives to examine a translation accordingly(Xu Jun 2016,439). When it comes to the translation of Buddhist scripture in the Han Dynasty, its main purpose is to spread its doctrine, so what the translator needs to do is to grab its main idea. But when it comes to the sci-tech translation during the Westernization Movement in modern times, the main goal of this kind of translation is to learn advanced technologies from developed western countries, so the translator have to make sure that the translation of each sentence in the original text should be totally correct and their translations should be operational and practical.<br /> <br /> Given the translation practice takes place at different times and in different cultural backgrounds, we should adopt different perspectives to examine a translation accordingly(Xu Jun 2016,439). When it comes to the translation of Buddhist scripture in the Han Dynasty, its main purpose is to spread its doctrine, so what the translator needs to do is to grab its main idea. But when it comes to the sci-tech translation during the Westernization Movement in modern times, the main goal is to learn advanced technologies from developed western countries, so the translator have to make sure that the translation of each sentence in the original text should be totally correct and their translations should be operational and practical.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:28, 16 December 2020 (UTC)<br /> <br /> According to Professor Xu Jun, translation activities have always existed in human history, and their forms and connotations are constantly enriched because of the social, economic and cultural development.(Xu Jun 2014,288) Therefore, translation practice is a dynamic process, and that means translation criticism should be conducted under a certain historical and cultural context. Taking the factors mentioned above into consideration, the author found that there are still two problems existing in translation criticism, they are: 1) lack of translation criticism in translation practice; 2) lack of awareness of time and space change during the process of translation criticism.(Wang Jianguo 2005,78) Generally speaking, the author tries to solve these two problems of translation criticism by using the back translation method and analyzing the texts related to back translation, thus improving the current situation of translation criticism.<br /> <br /> According to Professor Xu Jun, translation activities have always been in human history, and their forms and connotations are constantly enriched because of the social, economic and cultural development.(Xu Jun 2014,288) Therefore, translation practice is a dynamic process, and that means translation criticism should be conducted under a certain historical and cultural context. Taking the factors mentioned above into consideration, the author found that there are still two problems existing in translation criticism, they are: 1) lack of translation criticism in translation practice; 2) lack of awareness of time and space change during the process of translation criticism.(Wang Jianguo 2005,78) Generally speaking, the author tries to solve these two problems of translation criticism by using the back translation method and analyzing the texts related to back translation, thus improving the current situation of translation criticism.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:28, 16 December 2020 (UTC)<br /> <br /> ===Relationship between translation criticism and back translation===<br /> <br /> There are a large number of translation methods available for us to choose when we do some translation, such as free translation, literal translation, transliteration, amplification, omission, back translation and so on. Among these translation methods, no translation method can have the same effects on testing the original text as back translation. Literally, back translation is the process of translating a text that has already been translated into a foreign language back to the original language(He Xianbin 2002,45).<br /> <br /> There are a large number of translation methods available for us to choose when we do some translation, such as free translation, literal translation, transliteration, amplification, omission, back translation and so on. Among these translation methods, no translation method can have the same effects on testing the original text as back translation. Literally, back translation is the process of translating a text that has already been translated into a foreign language to back to the original language(He Xianbin 2002,45). --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:28, 16 December 2020 (UTC)<br /> <br /> In A Dictionary of Translation Studies in China, Fang Mengzhi had divided back translation into three categories. They are back translation for testing, back translation for research and mechanical translation.(Fang Mengzhi 2011,97) Here, the author will mainly talk about back translation for testing. According to Fang Mengzhi, back translation for testing works as a kind of question type, aiming to test and find out the problems existing in the translation process(Fang Mengzhi 2011,97). As such, back translation for testing has the same purpose as translation criticism. This just proves that it is the right choice to apply back-translation method to translation criticism.<br /> <br /> In A Dictionary of Translation Studies in China, Fang Mengzhi had divided back translation into three categories. They are back translation for testing, back translation for research and mechanical translation.(Fang Mengzhi 2011,97) Here, the author will mainly talk about the first one. According to Fang Mengzhi, back translation for testing works as a kind of question type, aiming to test and find out the problems existing in the translation process(Fang Mengzhi 2011,97). As such, back translation for testing has the same purpose as translation criticism. This just proves that it is the right choice to apply back-translation method to translation criticism.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:28, 16 December 2020 (UTC)<br /> <br /> Back translation plays a irreplaceable role in comparing the similarities and differences between the structures of the original text and the translated version.(He Xianbin 2002,46) During this process, we can have a better understanding of the characteristics of the two languages involved. When we translate text A into text B, if we want to examine the quality of text B, an appropriate way is to translate it back into text C which is almost similar to text A in terms of its meaning and structure. Unlike other ways used in translation criticism, back translation offers us three different texts. Text A, the original text, will be the best material for us to examine the quality of our translation. Although text A serves as a criteria for us to conduct translation criticism, we can not decide whether the translation is good or not simply by judging the degree of similarity between text A and text C. We all know that every coin has two sides. On the one hand, there is no doubt that text A and text C can not be exactly the same. This is mainly because different languages have different language structures and different ways of expressing ideas. Even the one who do the back translation is exactly the writer himself or herself, the vocabularies and sentence patterns he or she uses will change over time. On the other hand, if the structures of text A and text C are very similar, it may means that text B only apply literal translation and its translation may not very elegant to some extent.<br /> <br /> Back translation plays an irreplaceable role in comparing the similarities and differences between the structures of original text and translated version.(He Xianbin 2002,46) During this process, we can have a better understanding of the characteristics of the two languages involved. When we translate text A into text B, an appropriate way to examine the quality of text B is to translate it back into text C which is almost similar to text A in terms of its meaning and structure. Unlike other ways used in translation criticism, back translation offers us three different texts. Text A, the original text, will be the best material for us to examine the quality of our translation. Although text A serves as a criteria for us to conduct translation criticism, we can not decide whether the translation is good or not simply by judging the degree of similarity between text A and text C. We all know that every coin has two sides. On the one hand, there is no doubt that text A and text C can not be exactly the same. This is mainly because different languages have different language structures and different ways of expressing ideas. Even the one who do the back translation is exactly the writer himself or herself, the vocabularies and sentence patterns he or she uses will change over time. On the other hand, if the structures of text A and text C are very similar, it may means that text B only apply literal translation and its translation may be not very elegant to some extent.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:28, 16 December 2020 (UTC)<br /> <br /> What we should we do is not only just to focus the correctness of each word and sentence, but to ensure similar or even same effects on cultural communication. That is to say, there is no need to pursue syntactic and lexical consistency in text A and text C. Otherwise, anyone who holds the text A will criticize your translation and say that there is still some difference between text A and text C, and your translation is still not good enough(Si Guo 2000,119). Therefore, back translation will not make any sense in the process of translation criticism.<br /> <br /> What we should we do is not only just to focus the correctness of each word and sentence, but to ensure similar or even same effects on cultural communication. That is to say, there is no need to pursue syntactic and lexical consistency in text A and text C. Otherwise, anyone who holds the text A will criticize your translation and say that there is still some differences between text A and text C, and your translation is still not good enough(Si Guo 2000,119). Therefore, back translation will not make any sense in the process of translation criticism.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:28, 16 December 2020 (UTC)<br /> <br /> ===Analysis of texts related to back translation===<br /> <br /> As our country continues to deepen the reform and opening-up policy, we have began to come into contact with more and more foreign words. Meanwhile, quiet a few foreign literary work related to Chinese culture and history have merged(Tan Zaixi 2018,3). For translators, it is a rather trick task to deal with such words, expressions and texts. In this part, the author will mainly analyze two situations of the use of back translation, namely, back translation in words and expressions and back translation in different texts.<br /> <br /> As our country continues to deepen the reform and opening-up policy, we have began to come into contact with more and more foreign words. Meanwhile, quiet a few foreign literary works related to Chinese culture and history have merged(Tan Zaixi 2018,3). For translators, it is a rather trick task to deal with such words, expressions and texts. In this part, the author will mainly analyzes two situations of the use of back translation, namely, back translation in words and expressions and back translation in different texts.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:52, 16 December 2020 (UTC)<br /> <br /> ====Back translation in words and expressions====<br /> <br /> Actually, back translation usually takes place at the word level. We can find that many Chinese words in our daily life come from western countries, such as 莎士比亚(Shakespeare), 华伦天奴(Valentino), 猎头(head hunter), 唐老鸭(Donald Duck), 雅思考试(International English Language Testing System, also known as IELTS), 阿司匹林(aspirin) and so on. At the same time, some foreign literati and scholars in China usually change their names or take a Chinese one. Here are some typical examples: 赛珍珠(Pearl S. Buck), 利玛窦(Matteo Ricci), 费正清(John King Fairbank), 马悦然(Goran Malmqvist) and葛浩文(Howard Goldblatt). Likewise, there are also many English words and expressions coming from China, such as Confucius(孔子), Long March(长征), tofu(豆腐), litchi(荔枝), chow mein(炒面), brainwash(洗脑), long time no see(好久不见) and so on. When we translate these two kinds of words, we have to make sure that our translation is completely the same as the original word. Because the translations of these words are fixed in the target language, we should not take it for granted that we can translate them by virtue of our own experience or in a normal way.(He Xianbin 2002,45)<br /> <br /> Actually, back translation usually takes place at the word level. We can find that many Chinese words in our daily life come from western countries, such as 莎士比亚(Shakespeare), 华伦天奴(Valentino), 猎头(head hunter), 唐老鸭(Donald Duck), 雅思考试(International English Language Testing System, also known as IELTS), 阿司匹林(aspirin) and so on. At the same time, some foreign literati and scholars in China usually change their names or take a Chinese one. Here are some typical examples: 赛珍珠(Pearl S. Buck), 利玛窦(Matteo Ricci), 费正清(John King Fairbank), 马悦然(Goran Malmqvist) and 葛浩文(Howard Goldblatt). Likewise, there are also many English words and expressions coming from China, such as Confucius(孔子), Long March(长征), tofu(豆腐), litchi(荔枝), chow mein(炒面), brainwash(洗脑), long time no see(好久不见) and so on. When we translate these two kinds of words, we have to make sure that our translation is completely the same as the original word. Because the translations of these words are fixed in the target language, we should not take it for granted that we can translate them by virtue of our own experience or in a normal way.(He Xianbin 2002,45)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:00, 17 December 2020 (UTC)<br /> <br /> ====Back translation in texts====<br /> <br /> Generally speaking, translation criticism usually take place in literary text. There are a large number of famous work related to back translation, such as Moment in Peking written by Lin Yutang, Joy Luck Club written by Amy Tan, The Good Earth written by Pearl S. Buck, My Country and My People written by Lin Yutang, Naked Earth written by Eileen Chang and so on. All these work are written in English, but the contents in them are all related to China. Some of them are written by overseas Chinese writers, and some of them are written by those foreign writers who have lived in China for a rather long time, so the authors of these works all have a great understanding of China’s society and its national conditions(Li Changbao 2019,133).<br /> <br /> Generally speaking, translation criticism usually takes place in literary text. There are a large number of famous works related to back translation, such as Moment in Peking written by Lin Yutang, Joy Luck Club written by Amy Tan, The Good Earth written by Pearl S. Buck, My Country and My People written by Lin Yutang, Naked Earth written by Eileen Chang and so on. All these work are written in English, but the contents in them are all related to China. Some of them are written by overseas Chinese writers, and some of them are written by those foreign writers who have lived in China for a rather long time, so the authors of these works all have a great understanding of China’s society and its national conditions(Li Changbao 2019,133).--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:14, 17 December 2020 (UTC)<br /> <br /> If we translate these kinds of work back into Chinese, this process is called rootless back translation. In this process, we have to pay particular attention to the cultural communication effect of its Chinese translation. Next, the author will analyze some literary texts by using the back translation method so as to compare the different structures of English and Chinese and illustrate how back translation functions in the process of translation criticism. Here are some examples and their analyses:<br /> <br /> (1) Original Text: Now this magistrate was a poor man and had not seen so much money in his life time before, being only newly risen to his position through the bounty of his father, who had put all the money he had and could borrow to buy this place for his son, so that from it the family might acquire some wealth. (Buck 2016,272)<br /> <br /> Target Text: 这县官原是个穷汉，一辈子不会见过这么多的款子，他靠了他父亲的鑽营，才谋到这位置，他父亲用了自己所有的以及能够借到的钱给儿子买到这官缺，目的是那家从此可以发财了。(Hu Zhongchi 1933,270) <br /> <br /> This paragraph is excerpted from The Good Earth written by Pearl S. Buck. As the most famous novel of Pearl S. Buck, The Good Earth describes the situations of the farmers in China in the early 20th century, aiming to show a real China to the western world.(Buck 2016,272) In order to compare the structures of the original text and the target text, the author tries to translate the target text back into the original text by means of some popular translation websites. Here is the translated version offered by Sougou online translation: <br /> <br /> The county magistrate was a poor man, and he never saw so much money in his life. He got this position by his father’s gaining, and his father used all his money and the money he could borrow to buy this official vacancy for his son, with the aim that the family can get rich from now on.<br /> <br /> Here, “他靠了他父亲的鑽营，才谋到这位置” is translated into “He got this position by his father's gaining”. But in the original text, it is “being only newly risen to his position through the bounty of his father”. In Chinese, we usually use many short sentences to express one thing, while a long sentence with many clauses are commonly used in English. Besides, “官缺” in the target text is “place”, while it becomes “official vacancy” when using the back translation method. The word “place” here refers to a position that is available for or being used by somebody. That exactly proves that English usually uses a simple word to express a rather complicated meaning. Hu Zhongchi extends the meaning of “place” and translated into “官缺”, which ensure the translation is in line with the the expression habits of Chinese and the background in The Good Earth.(Hu Zhongchi 1933,270)<br /> <br /> Here, &quot;他靠了他父亲的鑽营，才谋到这位置&quot; is translated into &quot;He got this position by his father's gaining&quot;. But in the original text, it is &quot;being only newly risen to his position through the bounty of his father&quot;. In Chinese, we usually use many short sentences to express one thing, while a long sentence with many clauses is commonly used in English. Besides, &quot;官缺&quot; in the target text is “place”, while it becomes &quot;official vacancy&quot; when using the back translation method. The word &quot;place&quot; here refers to a position that is available for or being used by somebody. That exactly proves that English usually uses a simple word to express a rather complicated meaning. Hu Zhongchi extends the meaning of &quot;place&quot; and translated into &quot;官缺&quot;, which ensures the translation is in line with the the expression habits of Chinese and the background in The Good Earth.(Hu Zhongchi 1933,270)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:14, 17 December 2020 (UTC)<br /> <br /> (2) Original Text: “It was accompanied by ‘dragon-and-phonex cakes’, silks, tea leaves, fruits, a pair of living geese, and four jars of wine.” (Lin Yutang 1998, 78)<br /> <br /> Target Text: “......送有龙凤饼、绸缎、茶叶、水果、一对鹤、四坛子酒。”(Zhang Zhenyu 2005,46)<br /> <br /> (2) Original Text: &quot;It was accompanied by 'dragon-and-phonex cakes', silks, tea leaves, fruits, a pair of living geese, and four jars of wine.&quot;(Lin Yutang 1998, 78)<br /> <br /> Target Text: “......送有龙凤饼、绸缎、茶叶、水果、一对鹤、四坛子酒。”(Zhang Zhenyu 2005,46)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:14, 17 December 2020 (UTC)<br /> <br /> This sentence is excerpted from Moment in Peking. It describes some gifts that the bridegroom should present to the bride when they get married. Here is the translated version offered by Sougou online translation: There are dragon and phoenix cakes, silks and satins, tea leaves, fruits, a pile of cranes and four jars of wine. Based on the translation given by Sougou, we can easily find that there are some differences between it and the original text. Firstly, “绸缎” is translated into “silks and satins” by Sougou. Actually, “绸缎” in Chinese refers to silk products in general. Therefore, the target text translated by Zhang Zhenyu is more idiomatic. According to Qian Zhongshu, translation is like painting, what we should pursue is the similarity in spirit rather than the similarity in form. As such, there is no need for us to translate every word in the original text in order to pursue royalty. Secondly, “一对鹤” is translated into “a pair of cranes” by Sougou. The meanings of living geese and crane are totally different. In China, cranes represent longevity. It is obviously not customary for men to give cranes to women when they get married. Therefore, “a pair of living geese” had better be translated into “一对活鹅” rather than “一对鹤”.(Wu Yangbo 2010,133)<br /> <br /> This sentence is excerpted from Moment in Peking. It describes some gifts that the bridegroom should present to the bride when they get married. Here is the translated version offered by Sougou online translation: There are dragon and phoenix cakes, silks and satins, tea leaves, fruits, a pile of cranes and four jars of wine. Based on the translation given by Sougou, we can easily find that there are some differences between it and the original text. Firstly, &quot;绸缎&quot; is translated into &quot;silks and satins&quot; by Sougou. Actually, &quot;绸缎&quot; in Chinese refers to silk products in general. Therefore, the target text translated by Zhang Zhenyu is more idiomatic. According to Qian Zhongshu, translation is like painting, so what we should pursue is the similarity in spirit rather than the similarity in form. As such, there is no need for us to translate every word in the original text in order to pursue royalty. Secondly, &quot;一对鹤&quot; is translated into &quot;a pair of cranes&quot; by Sougou. The meanings of living geese and crane are totally different. In China, cranes represent longevity. Obviously, it is not customary for men to give cranes to women when they get married. Therefore, it is better to translate &quot;a pair of living geese&quot; into &quot;一对活鹅&quot; rather than &quot;一对鹤&quot;.(Wu Yangbo 2010,133)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:14, 17 December 2020 (UTC)<br /> <br /> (3) Original Text:余幼聘金沙于氏，八龄而天。娶陈氏。陈名芸，字淑珍，舅氏心余先生女也，生而颖慧，学语时，口授《琵琶行》，即能成诵。四龄失怙，母金氏，弟克昌，家徒壁立。芸既长，娴女红，三口仰其十指供给，克昌从师，修脯无缺。一日，于书簏中得《琵琶行》，挨字而认，始识字。刺绣之暇，渐通吟咏，有“秋侵人影瘦，霜染菊花肥”之句。(Shen Fu 1878,8)<br /> <br /> Target Text: I was engaged in my childhood to one Miss Yu, of Chinsha, who died in her eighth year, and eventually I married a girl of the Ch’en clan. Her name was Yun and her literary name Suchen. She was my cousin, being the daughter of my maternal uncle, Hsinyu. Even in her childhood, she was a very clever girl, for while she was learning to speak, she was taught Po Chuyi’s poem, The P’iP’a Player, and could at once repeat it. Her father died when she was four years old, and in the family there were only her mother(of the Chin clan) and her younger brother K’ehch’ang and herself, being then practically destitute. When Yun grew up and had learnt needlework, she was providing for the family of three, and contrived always to pay K’ehch’ang’s tuition fees punctually. One day, she picked up a copy of the poem The P’iP’a Player from a wastebasket, and from that, with the help of her memory of the lines, she learnt to read word by word. Between her needlework, she gradually learnt to write poetry. One of her poems contained the two lines:“Touched by autumn, one’s figure grows slender, Soaked in frost, the chrysanthemum blooms full.”(Lin Yutang 1936,10)<br /> <br /> Target Text: I was engaged in my childhood to one Miss Yu, of Chinsha, who died in her eighth year, and eventually I married a girl of the Ch'en clan. Her name was Yun and her literary name Suchen. She was my cousin, being the daughter of my maternal uncle, Hsinyu. Even in her childhood, she was a very clever girl, for while she was learning to speak, she was taught Po Chuyi's poem, The P'iP'a Player, and could at once repeat it. Her father died when she was four years old, and in the family there were only her mother(of the Chin clan) and her younger brother K'ehch'ang and herself, being then practically destitute. When Yun grew up and had learnt needlework, she was providing for the family of three, and contrived always to pay K'ehch'ang's tuition fees punctually. One day, she picked up a copy of the poem The P'iP'a Player from a wastebasket, and from that, with the help of her memory of the lines, she learnt to read word by word. Between her needlework, she gradually learnt to write poetry. One of her poems contained the two lines:&quot;Touched by autumn, one's figure grows slender, Soaked in frost, the chrysanthemum blooms full.&quot;(Lin Yutang 1936,10)--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:14, 17 December 2020 (UTC)<br /> <br /> This passage is excerpted form Six Chapters of a Floating Life written by Shen Fu in the Qing Dynasty. Later on, it was translated into English by Lin Yutang. Based on the translation of Lin Yutang, Li Hui translated it back into Chinese. Here is the translation of Li Hui:<br /> <br /> This passage is excerpted from Six Chapters of a Floating Life written by Shen Fu in the Qing Dynasty. Later on, it was translated into English by Lin Yutang. Based on the translation of Lin Yutang, Li Hui translated it back into Chinese. Here is the translation of Li Hui:--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:14, 17 December 2020 (UTC)<br /> <br /> 我年幼时与金沙于氏小姐定亲，于氏八岁而亡，最后我娶了亲族陈家的姑娘。陈氏名芸，字淑珍，是我的表姐，我舅舅心馀先生的女儿。芸自小聪慧伶俐，在她学说话时，教她白居易的长诗《琵琶行》，她很快就能背诵。四岁时她父亲去世，家中只有她母亲（金氏）、弟弟克昌和她自己，家境几乎一贫如洗。芸年岁稍长即学做女红，供养一家三口用度，并始终设法按期付克昌的学费。一天，她自废纸篓中捡得《琵琶行》一诗，凭着对此诗的记忆，便从上面逐字逐句学认起来。刺绣的闲暇，她渐渐学会学诗，其中一首里有如下两句：“秋侵人影瘦，霜染菊花肥。”<br /> <br /> By comparing the original text and the translated version of Li Hui, we can easily find that the translation of Li Hui is obviously shorter than the original text. What is more, the translation of Li Hui is more like an explanation of the original text rather than a new text using the back translation method. The difference of these two texts lies only in the usage of some Chinese words because of the change of the times. For example, “失怙”, which means somebody lose his or her father, was changed into “父亲去世”. “修脯”, which means a gift or reward for the teachers in the Qing Dynasty, was changed into “学费”. Likewise, “书簏” was also changed into “废纸篓”. In order to ensure readability, Li Hui used the words popular in the present, which means that the era in which a translator live will influence the words he or she adopts. This also proves that Mr Lin Yutang has totally understood the meaning of the original text and used the free translation method so that the translation of Li Hui can be in line with the original text in terms of meaning. At the same time, all the words in the translation of Li Hui are rather easy for readers to accept, which means that Mr Lin Yutang has attached much importance to the the cultural communication in order to promote foreigners’ understanding of China and spread China’s culture.<br /> <br /> By comparing the original text and the translated version of Li Hui, It is easy for us to find that the translation of Li Hui is obviously shorter than the original text. What is more, the translation of Li Hui is more like an explanation of the original text rather than a new text using the back translation method. The difference of these two texts lies only in the usage of some Chinese words because of the change of the times. For example, &quot;失怙&quot;, which means somebody lose his or her father, was changed into &quot;父亲去世&quot;. &quot;修脯&quot;, which means a gift or reward for the teachers in the Qing Dynasty, was changed into &quot;学费&quot;. Likewise, &quot;书簏&quot; was also changed into &quot;废纸篓&quot;. In order to ensure readability, Li Hui used the words popular in the present, which means that the era in which a translator lives will influence the words he or she adopts. This also proves that Mr Lin Yutang has totally understood the meaning of the original text and used the free translation method so that the translation of Li Hui can be in line with the original text in terms of meaning. At the same time, all the words in the translation of Li Hui are rather easy for readers to accept, which means that Mr Lin Yutang has attached much importance to the the cultural communication in order to promote foreigners’ understanding of China and spread China’s culture.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:14, 17 December 2020 (UTC)<br /> <br /> As the economy in China is booming and the cultural exchanges between China and the rest of the world are increasing, translation plays an more and more important role in promoting the cultural soft power of China. Although most translation criticism activities take place in the field of literary text, we should put equal emphasis on the development of translation criticism in both literary text and non-literary text, thus improving our translation quality as a whole. Here is an example of the back translation method used in the non-literary text:<br /> <br /> As the Chinese economy is booming and the cultural exchanges between China and the rest of the world are increasing, translation plays an more and more important role in promoting the cultural soft power of China. Although most translation criticism activities take place in the field of literary text, we should put equal emphasis on the its development in both literary text and non-literary text, thus improving our translation quality as a whole. Here is an example of the back translation method used in the non-literary text:--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:14, 17 December 2020 (UTC)<br /> <br /> (4)Original Text: Coal is the most abundant energy source in the world, but opponents to its use are more vocal than ever.(excerpted from the Financial Times)<br /> <br /> Target Text: 煤炭是是全球储量最大的资源，但反对使用煤炭的声浪逐渐增长。<br /> <br /> This paragraph is excerpted from the Financial Times, which mainly describes the decreasing demand of coal. The author tries to translate the target language back into the original on her own, and use online translation website to translate it respectively, here are the two translated versions:<br /> <br /> This paragraph is excerpted from the Financial Times, which mainly describes the decreasing demand of coal. The author tries to translate the target language back into the original on her own, and also uses online translation website to translate it respectively. Here are the two translated versions:--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:14, 17 December 2020 (UTC)<br /> <br /> 1. Coal, the most abundant energy resource on the globe, is now facing increasing backlash. (trans by the author)<br /> <br /> 2. Coal is the resource with the largest reserves in the world, but the voice against the use of coal is increasing gradually.(trans by Sougou translation)<br /> <br /> By comparing these two translated versions offered by the author and Sougou respectively and the original text, we can easily find that there is still a big gap between them. For the same expression “声浪逐渐增长”, the translation of the author only expresses its superficial meaning, which is only faithful but not elegant. Similarly, the translated version offered by Sougou only use free translation without paying much attention to idiomatic expressions in English. However, the expression “are more vocal than ever” exactly corresponds to “声浪逐渐增长”. The word “vocal” is a word related to voice, so does the word “声浪”. The target text has ensured the same effects of cultural communication and made the passage more vivid and attractive.<br /> <br /> By comparing these two translated versions offered by the author and Sougou respectively and the original text, we can easily find that there is still a big gap among them. For the same expression &quot;声浪逐渐增长&quot;, the translation of the author only expresses its superficial meaning, which is only faithful but not elegant. Similarly, the translated version offered by Sougou only uses free translation without paying much attention to idiomatic expressions in English. However, the expression &quot;are more vocal than ever&quot; exactly corresponds to &quot;声浪逐渐增长&quot;. The word &quot;vocal&quot; is a word related to voice, so does the word &quot;声浪&quot;. The target text has maintained the same effects of cultural communication and made the passage more vivid and attractive.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:14, 17 December 2020 (UTC)<br /> <br /> ===Application of back translation===<br /> <br /> Based on the examples being analyzed in the previous part, the author will mainly introduce when back translation should be applied to translation criticism and the roles of back translation.<br /> <br /> At first, back translation help us improve China’s external image(Tan Zaixi 2018,2). Just as example 3 mentioned in the chapter three, this example is excerpted from a very famous work written by a Chinese, then another Chinese person who masters English has translated into English. If we want to understand how foreigners perceive the history of China and make sure that the English version can produce an impact on the spread of Chinese culture, we have to assess the quality of the English version. Of course, the most important thing is to ensure that all the contents are correctly translated. But except that, we should also ensure that the values are correctly conveyed. It is commonly known that the original text can not be totally the same as the target text because of the language differences. By translating the target text back into the original language, we can have a strong sense of the inner meaning of the target text, and we can also know how foreigners feel when they read the target text.<br /> <br /> At first, back translation help us improve China’s external image(Tan Zaixi 2018,2). Just as example 3 mentioned in the chapter three, this example is excerpted from a very famous work written by a Chinese, then another Chinese person who masters English has translated it into English. If we want to understand how foreigners perceive the history of China and make sure that the English version can produce an impact on the spread of Chinese culture, we have to assess the quality of the English version. Of course, the most important thing is to ensure that all the contents are correctly translated. Except that, we should also ensure that the values are correctly conveyed. It is commonly known that the original text can not be totally the same as the target text because of the language differences. By translating the target text back into the original language, we can have a strong sense of the inner meaning of the target text and also know how foreigners feel when they read the target text.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:27, 17 December 2020 (UTC)<br /> <br /> Secondly, back translation plays a key in improving our translation quality.(He Xianbin 2002,46) For example 1 and 2 in the chapter three, their main purpose is to show the image of China in a specific time or context. Therefore, we have to make sure that every word is correctly translated. However, we should not only pursue faithfulness and expressiveness, but pursue elegance as well. Just like the example 4 mentioned above, no matter how our translation correct is, we still can not make our translation as idiomatic as the original text. Only when we know that there is still a much room for us to improve, can we try our best to improve our translation abilities.<br /> <br /> Secondly, back translation plays a key in improving our translation quality.(He Xianbin 2002,46) For example 1 and 2 in the chapter three, their main purpose is to show the image of China in a specific time or context. Therefore, we have to make sure that every word is correctly translated. However, we should not only pursue faithfulness and expressiveness, but also elegance as well. Just like the example 4 mentioned above, no matter how our translation correct is, we still can not make our translation as idiomatic as the original text. Only when we know that there is still a much room for us to improve, can we try our best to improve our translation abilities.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:27, 17 December 2020 (UTC) <br /> <br /> Finally, back translation greatly helps us assess the whole structure and general meaning of the translation for we have to do the translation twice.(He Xianbin 2002,47) Usually, back translation takes place in a certain context or a relatively complete text so that we can avoid only analyzing the target text word by word or sentence by sentence. What is more, the usage of words and expressions may change with the times. As far as the author concerned, back translation is another way to rewrite the original text and make it more acceptable for the readers now.<br /> <br /> ===Conclusion===<br /> <br /> As China’s comprehensive national strength continues to increase, more and more researchers and scholars in the field of translation studies and translation practice have attached more importance to the cultural communication so as to promote the development of Chinese literature and culture. However, the translation market is still a mixed bag because of lack of awareness of translation criticism.(Fan Dongsheng 2000,33) When scholars began to pay attention to translation criticism, many problems still lie in this field. For example, translation criticism is usually conducted in literary texts, and there is lack of general principles to conduct translation criticism. Among various methods that can be applied to the improvement of the translation quality, the author particularly choose the back translation method. <br /> <br /> As China’s comprehensive national strength continues to increase, more and more researchers and scholars in the field of translation studies and translation practice have attached more importance to the cultural communication so as to promote the development of Chinese literature and culture. However, the translation market is still a mixed bag because of lack of awareness of translation criticism.(Fan Dongsheng 2000,33) When scholars began to pay attention to translation criticism, many problems still lie in this field. For example, translation criticism is usually conducted in literary texts, and there is lack of general principles to conduct translation criticism. Among various methods applied to the improvement of the translation quality, the author particularly chooses the back translation method. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:32, 17 December 2020 (UTC)<br /> <br /> There is no doubt that translation criticism can have a great influence on the improvement of the general translation quality in our country. Based on previous studies and personal translation practice, the author analyzes the application of back translation in words, expressions and texts, and respectively illustrates three roles of back translation in translation criticism. Firstly, back translation help us improve China’s external image. Secondly, back translation plays a key in improving our translation quality. And thirdly, back translation greatly helps us assess the whole structure and general meaning of the translation. The author analyzes a large number of examples in this thesis and tries to be reasonable and well-founded, hoping that this thesis can give some inspiration to other scholars who study translation criticism. However, there are still some limitations in this thesis. At first, the selected examples are limited in genre and can not fully explain all the problems. Secondly, back translation can only be applied to a certain situations because of the complexity of the translation activity. Learning is a lifelong process, the author will continue to study in this field in her later study life, hoping that the translation quality in China will gradually improve in days to come.<br /> <br /> There is no doubt that translation criticism can have a great influence on the improvement of the general translation quality in our country. Based on previous studies and personal translation practices, the author analyzes the application of back translation in words, expressions and texts, and respectively illustrates three roles of back translation in translation criticism. Firstly, back translation help us improve China’s external image. Secondly, back translation plays a key in improving our translation quality. And thirdly, back translation greatly helps us assess the whole structure and general meaning of the translation. The author analyzes a large number of examples in this thesis and tries to be reasonable and well-founded, hoping that this thesis can give some inspiration to other scholars who study translation criticism. However, there are still some limitations in this thesis. At first, the selected examples are limited in genre and can not fully explain all the problems. Secondly, back translation can only be applied to certain situations because of the complexity of the translation activity. Learning is a lifelong process, the author will continue to study in this field in her later study life, hoping that the translation quality in China will gradually improve in days to come.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:32, 17 December 2020 (UTC)<br /> <br /> ===References===<br /> <br /> Buck, S. Pearl. The Good Earth [M]. New York: Simon&amp;Schuster, Inc., 2005.<br /> <br /> Lin Yutang. Moment in Peking [M]. Beijing: Foreign Language Teaching and Research Press, 1998.<br /> <br /> Buck, S. Pearl赛珍珠.(1935).大地 [The Good Earth]. trans by Hu Zhongchi胡仲持. Shanghai: Kaiming Bookstore开明书店.<br /> <br /> Fan Dongsheng范东生.(2000).翻译的本质与翻译批评的根本性任务 [The essence of translation and the fundamental task of translation criticism]. 中国翻译Chinese Translators Journal(04): 32-36.<br /> <br /> Fang Mengzhi方梦之.(2011).中国译学大辞典[A Dictionary of Translation Studies in China]. Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社．<br /> <br /> He Xianbin贺显斌.(2002).回译的类型、特点与运用方法 [Types，features and methods of application of back translation].中国科技翻译Chinese Science&amp;Technology Translators Journal(04):45-47+54.<br /> <br /> Li Changbao黎昌抱, Tu Qingyin屠清音.(2019). 无本回译研究纵览 [An overview of research of rootless translation]. 中国翻译Chinese Translators Journal 40(03): 130-140.<br /> <br /> Lin Yutang林语堂.(2005).京华烟云 [Moment in Peking]. trans by Zhang Zhenyu张振玉. Xi’an: Shaanxi Normal University Press陕西师范大学出版社.<br /> <br /> Si Guo思果.(2000).翻译研究[Translation Studies].Beijing:China Translation and Publishing Corporation中国对外翻译出版公司.<br /> <br /> Tan Zaixi谭载喜.(2018)翻译与国家形象重构——以中国叙事的回译为例 [Translation and National Image Reconstruction: The Case of China Narratives and Cultural Back-Translation]. 外国语文Foreign Language and Literature 34(01): 1-10.<br /> <br /> Wang Jianguo王建国.(2005).回译与翻译研究、英汉对比研究之间的关系 [The relationship between back translation and translation studies and contrastive studies of English and Chinese]. 外语学刊Foreign Language Research(04):78-83+112.<br /> <br /> Wang Kefei王克非.(1994).关于翻译批评的思考—兼谈《文学翻译批评研究》[Reflections on Translation Criticism—A Study on Literary Translation Criticism].外语教学与研究Foreign Language Teaching and Research( 3) : 33-36．<br /> <br /> Wu Yangbo吴央波(2010).华裔英语文学翻译中的文化还原问题—以《京华烟云》为例[Cultural Restoration in the Translation of Chinese English Literature—A Case study of Moment in Peking].重庆科技学院学报(社会科学版)Journal of Chongqing University of Science and Technology(Social Sciences Edition)(07):132-134.<br /> <br /> Xu Jun许钧. (2016).论翻译批评的介入性与导向性——兼评《翻译批评研究》 [On the Interventionism and Orientation of Translation Criticism—A Review of Research on Translation Criticism]. 外语教学与研究Foreign Language Teaching and Research 48(03): 432-441+480.<br /> <br /> Xu Jun许钧.(2014).翻译论[On Translation].Nanjing:Yilin Press译林出版社.<br /> <br /> ==Analysis of Liang Shiqiu's domestication and Foreignization translation strategies on the Shakespeare's plays. 苏琳 Su Lin==<br /> Please write your student number and major here --[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 03:06, 18 December 2020 (UTC)<br /> <br /> === Abstract ===<br /> Translation is an &quot;art of choice&quot;. Translators are always faced with the choice of domestication or foreignization in the process of translation. The basic task and requirement of translation lies in that the translator can transcend the differences between languages and cultures and achieve the harmony and unity of the two cultures. Therefore, the principle of &quot;appropriateness&quot; is very important. The famous Chinese literary translator Liang Shiqiu translated independently ''The Complete Works of Shakespeare''by using the translation strategies of &quot;the doctrine of the mean&quot;, that is, foreignization is the main translation strategy, and domestication is the supplementary translation strategy, which embodies the principle of &quot;appropriateness &quot;. His translation strategy is based on the openness and inclusiveness of the language and culture itself, which not only fully conveys the meaning of the original text, but also has the translator's careful intervention, which is conducive to the mutual communication and penetration of different cultures.<br /> ===Keywords ===<br /> Liang Shiqiu; Foreignization; Domestication; ''The Complete Works of Shakespeare''<br /> ===摘要=== <br /> 翻译是一门“选择的艺术”，译者在翻译过程中，始终面临着应该采用归化还是异化的问题。而翻译的基本任务和基本要求在于译者能跨越语言文化间的差异，求得两种文化的协调统一，因此“适度”原则很重要。我国著名的文学翻译家梁实秋独立完成的汉译《莎士比亚全集》就采用了“中庸”的翻译策略，即以异化为主，归化为辅，体现了“适度”的原则。他的此种翻译策略立足于语言文化本身的开放性、包容性，既充分传递了原文意义，又有译者的谨慎介入，有利于不同文化的相互交流与渗透。<br /> ===关键词===<br /> 梁实秋；异化；归化；《莎士比亚全集》<br /> ===I.Introduction=== <br /> when it comes to translation strategies,it is worthwhile to mention the American translation theorist Lawrence venuti who borrowed his ideas directly from German theologian and philosopher friedrich schleiermacher and defined the two translation strategies domestication and foreign inaction respectively.the former,as venuti argues,means bringing the foreign culture closer to readers in the target culture, making the text recognizable and familiar while the later refers to taking readers over to the foreign culture,making they see the culture and linguistic differences.(Lawrence Venuti,1995:19-20)And In the field of translation, the choice of domestication and foreignization is very important.<br /> <br /> When it comes to translation strategies, it is worth mentioning the American translation theorist Lawrence venuti, who borrowed his ideas directly from the German theologian and philosopher Friedrich schleiermacher and defined two translation strategies, domestication and foreign inaction, respectively. The former, as venuti suggests, refers to drawing the foreign culture closer to the readers in the target culture so that the text is recognizable and familiar, while the latter refers to bringing the readers into the foreign culture so that they see the cultural and linguistic differences. (Lawrence Venuti, 1995:19-20) And in the field of translation, the choice of domestication and externalization is very important.--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> Liang Shiqiu used the two strategies accordingly and paid more attention to function-plus-loyalty model. He made a target text work in the intended way in the target situation, meanwhile he gave consideration to the interpersonal relationship between social environment, target receivers and original authors. If there is any conflict between them, he always mediated and sought the understanding of all sides. Just as he said in his article ''Talking about Translation'',“There is no certain method in translation. It is up to the translator who, with his mastery of language, weighs his words and reproduces the source text in another language in the way he thinks to be the best.&quot; (Yang Xunwen,2002: 437) From these words, we can see Liang Shiqiu did not hold that the translator must use one certain strategy or method in translation and thereby the adopting of domestication or foreignization in translation all depends on the actual needs. According to the “cultural turn”theory, it could be possible for us to think that it is the embodiment of Liang Shiqiu's idea of the mean in his translation. <br /> <br /> Dear Ms. Su, you have too many words in this paragraph, try to write a hundred words per paragraph.--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> “The problem of domestication and foreignization is not only a question of language choice on the technical level of translation, but also a moral and ethical attitude of translators towards foreign cultures.Foreignization does not take the original text and the culture of the original text as the final destination, because it always involves the process of the target language and cultural transformation, in which the translator mainly pays attention to and follows the cultural and moral factors of the original text.Therefore, domestication and foreignization are a pair of general concepts rather than a strict binary opposition. The definition and choice of the two depends on the specific cultural context and effect of the translation, which may change at any time and on the occasion.”（Liu Junping,2009:445)Through the study of Liang Shiqiu's translation, the author finds that there are both foreignization strategies and domestication strategies in liang Shiqiu's translation, but generally speaking, foreignization is the main translation strategy and domestication is the secondary translation strategy.<br /> <br /> What needs to be clarified here is that Liang Shiqiu, as a representative of early Chinese translators, has translated over ten western masterpieces.Due to the limited space of this article, the author finds it difficult to go through every translation of Liang’s . As the saying goes,the falling of one leaf heralds the autumn.The Complete Works of Shakespeare is his most successful and possessive representative works, so the author mainly makes effort to analyze some typical examples from his The Complete Works of Shakespeare so as to provide readers with an overall picture of Liang’s translation strategies.<br /> <br /> It should be noted here that Liang Shiqiu, as a representative of early Chinese translators, has translated more than ten Western masterpieces, and due to the limited space of this paper, it is difficult for the author to list each and every one of Liang's translations. As the saying goes, a leaf falls, and the Complete Works of Shakespeare is his most successful and possessive masterpiece, therefore, the author mainly endeavors to analyze some typical examples from his Complete Works of Shakespeare in order to provide readers with an overall picture of Liang's translation strategy.--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 02:55, 18 December 2020 (UTC)<br /> <br /> ===II.The application of foreignization and domestication===<br /> The problem of foreignization and domestication is a pair of very important categories in the study of literary translation. It can be traced back to the interpretation of translation approaches by German translation theorist Schleiermacher in 1813. “There are only two ways for translation: one is to let the author remain there and lead readers to approach the author, and the other is to make the author approach readers while readers remain there.&quot;These two concepts were later adopted by the American translator Venuti in 1995 and were titled &quot;foreignization &quot; and &quot;domestication &quot; in his book &quot;The Invisibility of the Translator&quot;. Foreignization and domestication are essentially a kind of thinking and value orientation of the translator that is, when facing heterogeneous factors, whether the translator tends to the original author's thinking or reader's thinking. Liang adopted foreignization strategy in translating the culture-loaded words so as to retain exotic flavor. It would be good to add a citation --[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 03:02, 18 December 2020 (UTC)<br /> ====2.1Foreignization-dominated strategy====<br /> Liang Shiqiu's foreignization strategy in translating Shakespeare's plays mainly includes two levels of connotation, one is cultural content, and the other is language structure . At the level of cultural content, translators mainly try to present the original foreign culture as much as possible, without any deletion. On the level of language structure , translators focus on introducing fresh expressions, and strive to expand and enrich certain norms in the target language culture.The author analyzed his foreignization strategy from the following three perspectives.<br /> <br /> =====2.1.1Transliteration=====<br /> “when it comes to translating the names of characters,Liang always transliterates them.transliteration can be understood as a method to practice foreignization,since it brings readers no familiar feeling of these names.Liang once pointed out that foreigners often had some strange and long-winded names and there was no need for a translator to offer them names with Chinese characteristics”(Kefei,1988:49).<br /> <br /> Let’s look at the following examples:Antonio 安图尼欧,bassanio 巴珊尼欧,Lorenzo 洛兰邹,Shylock 夏洛克,Tubal 条巴尔,Launcelot Gobbo 朗西洛特高波,Leonardo 李昂那多,Portia 波西亚,Nerissa 拿利萨,Jessica 杰西卡,etc.<br /> All the names in this play are transliterated into Chinese. They sound strange in Chinese. They bear no local imagination to our readers. This way of foreignizing names of the original into the target language will bring readers a fresh breath of air and avoid imposing false connection with Chinese.<br /> <br /> Western literature owes its development to the ancient Greek and Roman culture which is supposed to be the cradle of western civilization. Many writers from western countries would quote myths from the ancient Greece and Rome in one way or another to enrich the content of their works. The Bible is another source of quotation. Bible, together with the ancient Greek and Roman myths, makes western works difficult for us Chinese to appreciate. Since Chinese literature lives on a totally different cultural background, a translator could often find it hard to offer readers proper Chinese counterparts in his translations. The Merchant of Venice is full of allusions characteristic of western culture. Let's look at how Liang deals with the names of these allusions.<br /> <br /> Thus when I shun Scylla,your father,I fall into Charybdis,your mother:(Act 3,Scene 5)<br /> <br /> 好像是我躲开了西拉，你的父亲，又触上了卡利伯底斯，你的母亲：（2001:36-37）<br /> <br /> Peace,ho!The moon sleeps with Endymion,and would not be awak’d!(Act 5,Scene I)<br /> <br /> 别响了，喂！月亮伴着恩地米昂睡了，不愿被惊醒。（2001:182）<br /> <br /> If Hercules and Lichas play at dice which is the better man,the greater throw may turn by fortune from the weaker hand:(Act 2, Scene 2)<br /> <br /> 赫鸠里斯若是和赖卡斯掷骰子，赌谁的幸运大，就许是弱手反倒占胜：（2001:180）<br /> <br /> By Jacob’s staff I swear I have no mind of feasting forth to-night;(Act 2,Scene 6)<br /> <br /> 我凭着雅各的杖发誓，我真不想今晚去赴宴；（2001:174）<br /> <br /> For if they could,Cupid himself would blush to see me thus transformed to a boy.(Act 2,Scene 6)<br /> <br /> 因为假如情人能看得见，鸠比得见了我这样女扮男装也要脸红吧。（2001:178）<br /> <br /> All these allusions are transliterated into Chinese and sound foreign to us Chinese readers. From the Chinese translations, readers can not make sense of what they really mean. Liang persists in transliterating these allusions rather than explaining their meanings directly so that readers can easily notice their existence. In order to help readers realize and appreciate allusions, Liang still provides readers with notes to explain their implied meanings. This way of translating allusions catches readers ' eyes to the existence of allusions and betters their understanding of them.<br /> Liang's transliterating those names avoids false local connection and his notes explain clearly those allusions and promote readers better understanding, which also further prove the fact that Liang is a meticulous translator always pursuing faithfulness.<br /> <br /> =====2.1.2 Literal translation=====<br /> <br /> Literal translation can be understood as a way of foreignization. It refers to maintaining with smooth language such linguistic forms of the original as wording, sentence structure, figure of speech, etc. in a translation (Zhu Anbo, 2009: 11).<br /> <br /> Compared with other Shakespeare's translators, Liang's translations retain more foreign flavor of the original. This is what Liang intends to realize in his translations. To be close and faithful to the original, Liang mainly adopts literal translation method.<br /> Let's look at the following examples.<br /> <br /> Portia:The crow doth sing as sweetly as the lark<br /> When neither is attended.(Act 5,Scene 1)<br /> <br /> Liang’s version:<br /> <br /> 波西亚：乌鸦和百灵鸟唱的一样的好听，假如二者都没有环境的陪衬。（2001:158）<br /> <br /> Zhu’s version:<br /> <br /> 鲍西亚：如果没有人欣赏，乌鸦的歌声也就和云雀一样。（2001:187）<br /> <br /> Jessica:I would out-night you,did no body come;(Act 5,Scene 1)<br /> <br /> Liang’s version:<br /> <br /> 杰西卡：这样背夜晚的典故，我可以战胜你，若是没有人来；（2001:174）<br /> <br /> Zhu’s version:<br /> <br /> 杰西卡：倘不是有人来了，我可以搬弄出比你所知道的更多的夜的典故来。（2001:181）<br /> Both domestication and foreignization include two aspects: culture content and language structure. In the above examples, Liang keeps purposefully the original linguistic structures with adverbial clauses of condition after the main sentences,which do not sound like idiomatic Chinese. Zhu, however, domesticates language structures by changing sentences sequences. Liang wants to be faithful to the original. Therefore, he often literally translates the original sentence structures without altering the original sentence sequences. Liang's way of literal translation can be called foreignization on a linguistic level. Sometimes, Liang' version may not like idiomatic Chinese, but he indeed does great contribution to the development of modern Chinese by adopting the literal translation method. Nowadays, foreignized Chinese sentence structures like Liang 's can often be found in some literary woks.<br /> Gratiano:They lose it that do buy it with much care(Act 1,Scene 1)<br /> <br /> Liang’s version:<br /> <br /> 格拉蒂亚诺：用过多的烦恼去购买人生，是反倒要丧失人生的。（2001:18）<br /> <br /> Zhu’s version:<br /> <br /> 葛莱西安诺：一个人思虑太多，就会失却做人的乐趣。（2001:9）<br /> <br /> In the original version, the word “buy” is used metaphorically. This “buy&quot; is not followed by things but by life. How can one's life be bought by something? Here the word “buy&quot; implies the preciousness of life. In Liang’s version, he literally translates “buy” into “购买”so as to keep the original metaphor. Zhu, on the other hand,liberally translates “buy it with much care&quot; into “思虑太多”, which simply presents the meaning without maintaining Shakespeare's metaphor. A master piece is a good combination of content and language. We can not appreciate a piece without taking its language features into consideration. In this case, however, Zhu gives us no chance to appreciate the beauty of the metaphor. Liang's literal translation of the original brings readers a true Shakespeare. The above example of Liang's literally translating original metaphors is not an exception. In fact, it is his common practice.<br /> <br /> Shylock:If I can catch him once upon the hip,<br /> I will feed fat the ancient grudge I bear him.(Act 1,Scene 3)<br /> <br /> Liang’s version:<br /> <br /> 夏洛克：如其我能一旦抓到他的后腰，我要痛痛快快的报这一段旧仇。（2001:36）<br /> <br /> Zhu’s version:<br /> <br /> 夏洛克：要是我有一天抓住他的把柄，一定要痛痛快快地向他报复我的深仇宿怨。（2001:29）<br /> <br /> In this example, Liang still adopts literal translation method. Hе translates &quot;catch him once upon the hip literally into “我能一旦抓到他的后腰”while Zhu liberally translates it into “我有一天抓住他的把柄”.Liang's translation is vivid while Zhu's natural. When overused, a metaphor may lose its freshness. Liang's version “抓到他的后腰”may sound too literal, but it is faithful and also provides readers a thread of freshness.<br /> <br /> =====2.1.3 Literal translation with notes added=====<br /> A large number of annotations are an important feature of Liang Shiqiu’s translation of The Complete Works of Shakespeare.These annotations not only facilitate readers’interpretation,but also provide important research references for scholars.<br /> In fact, Liang tends to adopt liberal translation to translate different figures of speech. In so doing, Liang wants to be faithful to the original as much as he can. Literal translation, however, may sometimes result in understanding difficulties. As a meticulous translator, Liang is aware of these problems and sometimes he would resort to added notes to make a compensation for literal translation method.Here the paper takes Liang Shiqiu’s translation of Othello as an example:<br /> <br /> You’ll have your daughter conversed with a Barbary horse.(Act 1,Scene 1)<br /> <br /> 那么你的女儿可就要被一匹巴巴里的马给奸了。Liang ’s note:Barbary 即Moorish 摩尔人的.<br /> <br /> Here Liang Shiqiu transliterated the place name Barbary, and used a note to point out that it alluded to the dark-skinned Moor Othello. It was clear and concise, allowing readers to have a rich imagination of the image of Othello who was not on stage, and at the same time pointed out the subtlety of the characters relationship in the script. If it is not for meticulous research work, this kind of skillful application is difficult to achieve.<br /> <br /> Literal translation with notes added The Merchant of Venice abounds with puns and allusions. Liang often adopts literal translation method with notes added to reader those puns and allusions. In<br /> many puns and various allusions in the original version and when they could not be transferred into the target language, he would literally translate them with notes added.<br /> <br /> Portia:let me give light,but let me not be light;<br /> For a light wife doth make a heavy husband,<br /> And never be Bassnio so for me:(Act 5,Scene 1)<br /> <br /> 波西亚：让我给你们一点光，可是别像光似的轻浮；<br /> 因为轻浮的妻子要使得丈夫负着重担，我决不愿巴珊尼欧为我担心：（2001:182）<br /> <br /> Liang’s note:原文light是“光”，亦可解做“轻浮”，是双关语。<br /> <br /> Portia:You should in all sense be much bound to him,<br /> For,as I hear,he was much bound for you.(Act 5,Scene 1)<br /> <br /> 波西亚：你对他是应该感激不尽，因为我听说他为了你也受祸不浅哩。（2001:183）<br /> <br /> Liang’s note:原文bound双关语，可解为“感恩”，“立券”，“入狱”等等。<br /> <br /> Pun is a place where a writer can show his ability to control and employ words. As a language master, Shakespeare is very good at devising puns. As a translator of Shakespeare's plays, you will find how annoying these puns are. In general, a translator will find it extremely difficult to figure out an exact corresponding pun in the target language, and what he often does is to translate one meaning but ignores the other meaning of a pun. However, this kind of translating would lead to no perception the original pun. <br /> <br /> What Liang does in handling these puns is to try to maintain both meanings of a pun in his translations and provide each pun with a note explaining it. The word“light”in the original refers to“a kind of natural radiation that makes things visible”, and“frivolous&quot; as well while the word “bound”means“grateful as well as“obstructed”. In Liang's version, both meanings of “light” are literally translated into“像光似的轻浮”and both meanings of“bound”into“感恩”and“受祸”with two notes added respectively. This way of translating puns will help readers recognize their existence and appreciate them. If readers could not fully enjoy a pun,they could still seek notes for reference. As I understand, this way of translating puns is by far the most effective way to translate a pun before we could find an idea counterpart in the target language.<br /> <br /> Liang's way of translating allusions is very stable: literally translating them with notes added to explain their cultural meanings. Zhu Shanghai,another famous translator of Shakespeare’s plays,however, either transliterates the names of allusions or liberally translates their meanings. And neither way attaches notes to illustrate their underlying meanings.<br /> <br /> Portia:If I live to be as old as Sibylla,I will die as chaste as Diana,unless I be obtained by the manner of my fther’s will.(Act 1,Scene 2)<br /> <br /> Liang’s version:<br /> <br /> 波西亚：如果我活到西逼拉那样老，我也愿意是贞洁如戴安娜而死，除非是按照父亲医嘱的方法出嫁。（2001:32）<br /> <br /> Liang’s note:西逼拉（Sibylla），老态龙钟的女预言家。<br /> Zhu’s version:<br /> <br /> 鲍西亚：要是没有人愿意照我父亲的遗命把我娶去，那么即使我活到一千岁，也只好终身不嫁。（2001:25）<br /> <br /> Shylock:I have a daughter;<br /> Would any of the stock of Barbbas<br /> Had been her husband rather than a Christan!(Act 4,Scene 1)<br /> <br /> Liang’s version:<br /> <br /> 夏洛克：我有一个女儿；我愿她嫁给巴拉巴的后裔中任何男子，也比嫁给基督徒好些！（2001:158）<br /> <br /> Liang’s note:巴拉巴（Barabbas）即让出十字架给耶稣的那个强盗。<br /> <br /> Zhu’s version:<br /> <br /> 夏洛克：我有一个女儿，我宁愿她嫁给强盗的子孙，不愿她嫁给一个基督徒。（2001:163）<br /> <br /> Portia:Lie not a night from home;watch me like Argus:(Act 5,Scene 1)<br /> <br /> Liang’s version:<br /> <br /> 波西亚：你可别有一夜在家睡觉：像阿尔格斯似的看守着我。（2001:188）<br /> <br /> Liang’s note:阿尔格斯（Argus）神话中之“百眼儿”。<br /> Zhu’s version:<br /> <br /> 鲍西亚：您还是一夜也不要离开家里，像个百眼怪物那样看守着我吧。（2001:197）<br /> <br /> From the three examples quoted above, we can find in Liang's version that three allusions “Sibylla” , “Barabbas”, and “Argus” are literally translated into Chinese words“西逼拉” ,“巴拉巴”and “阿尔格斯”respectively, each attached with a note correspondingly. While in Zhu's version, we could hardly perceive the existence of these allusions, for he liberally translates these allusions into“一千岁”，“强盗”, and “百眼怪物”without added notes to explain them.<br /> <br /> In this sense, Zhu's version is not faithful to the original. Liang adopts literal translation to catch readers' attention to notice the existence of these allusions and, with notes added, helps readers appreciate them. In so doing, Liang has to do much extra work to provide notes for readers reference. Liang is indeed a man of meticulous scholarship. In his eyes,translating is a serious enterprise, and a translator should try to be faithful to the original in every aspect, even though it means extra labor. Liang' 's spirit of respecting the original is worth our further studying. Let's look at two more examples.<br /> <br /> Salarino:And other of such vinegar aspect<br /> That they’ll not show their teeth in way of smile,<br /> Though Nestor swear the jest be laughable.(Act 1,Scene 1)<br /> <br /> Liang’s version:<br /> <br /> 撒拉利诺：又有一些人天生的酸相，笑的时候也不露牙齿，虽然奈斯特赌咒说这笑话是可笑的。（2001:17）<br /> <br /> Liang’s note:奈斯特（Nestor）老成持重之王，轻易不笑，如认某一笑话为可笑，必甚可笑无疑。<br /> <br /> Zhu’s version:<br /> <br /> 萨拉•里诺：有的人终日皱着眉头，即使涅斯托发誓说那笑话很可笑，他听了也不肯露一露他的牙齿，装出一个笑容来。（2001:9）<br /> <br /> Shylock:A Daniel come to judgment!(Act 4,Scene 1)<br /> <br /> Liang’s version:<br /> <br /> 夏洛克：一位丹尼尔来裁判了！（2001:152）<br /> <br /> Liang’s note:Daniel圣经中之以色列的清明的法官。善决疑狱。<br /> <br /> Zhu’s version:<br /> <br /> 夏洛克：一位但尼尔来做法官了！（2001:157）<br /> <br /> In these two examples, the original allusions &quot;Nestor&quot; and Daniel&quot; are transliterated into“涅斯托”and“但尼尔”respectively in Zhu's version. When reading Zhu's version, readers, I believe, do detect the existence of these allusions,but maybe wonder why allusions are used here and what exactly these allusions mean.Zhu's transliterating the names of these allusions without attaching notes to explain them still can not be considered as a successful way or an idea way of translating allusions. Liang, on the other hand, follows his old practice to handle these allusions,i.e. literal translation with notes added. Nestor&quot; and Daniel&quot; are literally translated into“奈斯特”and “丹尼尔”respectively and each is combined with a note to explain its cultural meaning. Comparatively speaking, in translating allusions, Liang presents us а truer Shakespeare.<br /> <br /> ====2.2Domestication-supplemented strategy====<br /> By examing Liang’s version,we could find both domestication and foreign inaction strategies are employed.in a sense,domestication is inevitable in every translation.translations often assume some local color no matter how hard a translator tries to be faithful to the original.Liang tends to adopt the Strategy of foreignization in his version.however,he still leaves us many particular examples of domestication.<br /> <br /> When Jacob graz d his uncle Laban's sheep. (Act 1, Scene 3) <br /> <br /> 当初雅各给他的舅父拉班放羊的时候。（2001:38）<br /> <br /> Or shall I bend low, and in a bondman's key, (Act 1, Scene 3)<br /> <br /> 或是我应该深深的鞠躬，打着奴才的腔调。（2001:40）<br /> <br /> Yourself, renowned prince, then stood as fair as any comer I have look' d on yet for my affection. (Act 2, Scene 1)<br /> <br /> 那么，王爷你和我见过的几位有同样的可以赢得我的机会。（2001:48）<br /> <br /> Master young man, you; I pray you, which is the way to Master Jew's? (Act 2, Scene 2)<br /> <br /> 少爷，你来;请问到犹太人家向哪边走?（2001:50）<br /> <br /> I am half afeard thou wilt say anon he is some kin to thee, (Act 2, Scene 9)<br /> <br /> 我恐怕你接着要说他是你的本家了。（2001:92）<br /> <br /> Which appears most strongly in bearing thus the absence of your lord. (Act 3, Scene 4)<br /> <br /> 如此安然的忍受着新婚的郎君的远离。（2001:126）<br /> <br /> I have heard your Grace hath ta'en great pains to qualify his rigorous course; (Act 4, Scene 1)<br /> <br /> 我已听说大人很为我费力设法减轻他的凶恶的威胁;（2001:138）<br /> <br /> A form of address is an embodiment of national culture. The Chinese people attach great importance to family and family relations. Thus more forms of addressing members and relatives of a family can be found in Chinese than in English. The two examples“舅父”，“本家”are particular cases in Chinese.“舅父”shows clearly that this uncle is a relative from one's mother 's clan, while “本家”refers to a member of the same clan. During the feudal society, there was a strict classification among different social status which was also reflected in addressing terms. “大人”signify people who occupy higher class in a society while “奴才”refers to people with low social status. The above translations bear more or less some Chinese color, thus betraying the original to some extent. These typical examples of domestication bring Chinese readers a familiarfeeling.<br /> <br /> He lends out money gratis, and brings down the rate of usance here with us in Venice.<br /> (Act 1, Scene 3)<br /> <br /> 他把钱出借而不取利息，于是把我们在威尼斯放的印子钱的利率都给拉低了。（2001:36）<br /> <br /> For when did friendship take a breed for barren metal of his friend? (Act 1, Scene3)<br /> <br /> 因为哪里有朋友为臭铜钱而向朋友取利息的?（2001:42）<br /> <br /> Supply your present wants, and take no doit of usance for my moneys, and you'll not hear me: (Act 1, Scene 3)<br /> <br /> 借给你急需的钱，一文利息也不要，而你不肯听我说完了:（2001:43）<br /> <br /> And then the boy, his clerk, that took some pains in writing, he begg' 'd mine; (Act 5, Scene 1)<br /> <br /> 随后那个年青人，他的书记，笔墨上出过力所以他就要我的; （2001:24）<br /> <br /> <br /> The above examples “印子钱”，“铜钱”“一文”，“笔墨”are typical products of Chinese culture. In the feudal society, “铜钱”, i.e. copper, was used as money for people to do business and Y&quot;as a monetary unit referred to one copper. And “印子钱”was a kind of usury in the Qing Dynasty of China. Because every time a borrower repaid a certain amount of money to a moneylender, he had to stamp the book with a mark. This was the reason why this kind of usury was called“印子钱”at that time. China is a country with excellent history of calligraphy. For quite a long time in the history of China, scholars and men of letters usually used brushes and prepared Chinese ink to do their writings. So the translation “笔墨”does lead to some local imagination. All these four translations are typical examples of domestication, for the Chinese culture are heavily loaded in the version.<br /> <br /> In Belmont is a lady richly left, and she is fair, fairer than that word, of wondrous virtues;<br /> (Act 1, Scene 1)<br /> <br /> 在贝尔蒙有一位拥有巨产的姑娘，很美貌，更美的是出奇的贤慧;（2001:28）<br /> <br /> Your father was ever virtuous, and holy men at their death have good inspirations; (Act 1, Scene 2)<br /> <br /> 你的父亲一向 是贤明的，并且善人临终时必有灵感; （2001:38）<br /> <br /> This was a way to thrive, and he was blest: and thrift is blessing, if men steal it not. (Act 1, Scene 3)<br /> <br /> 这是他获利的方法，他是有福气的;获利是福气，只消不是偷来的。 （2001:46）<br /> <br /> I swear the best regarded virgins of our clime have lov'd it too;(Act 2, Scene 1)<br /> <br /> 我们国土里最著名的闺秀也都爱我的容貌;（2001:66）<br /> <br /> If e' er the Jew her father come to heaven, it will be for his gentle daughter's sake; (Act 2, Scene 5)<br /> <br /> 如其她父亲那犹太人还有升天之一日，那必是托他女儿的福；（2001:150）<br /> <br /> The original text is based on western culture, closely related to the Bible culture. The original English holy&quot;, blessing&quot;, and bless' d are obviously biblical words. Unlike westerners, however, we Chinese do not believe in God, but, instead, many of us more or less identify ourselves with Confucian and Buddhist ideas. Therefore, when it comes to translating such kind of culture-loaded words, it is very likely that a translator could not find such counterparts in the target language but have to domesticate them. Look at the words “贤明”,“善人”,and “闺秀”. They are good words that Confucius often teaches us Chinese to follow. And“福气”，“福”and “福佑”are obviously Buddhist words. Liang's translations indeed bring our Chinese readers a familiar feeling.<br /> <br /> As we know, translating is a process of intercultural communication. Cultural differences or gaps always exist. Sometimes, it is difficult for a translator to find proper counterparts in the target language and what a translator can do is to replace the original with seemingly-matched but actually culturally-different translations.<br /> <br /> In the era of Liang Shiqiu’s life,translation activities could hardly be deemed as mature as they are today. Many things were new to China, and many translations of foreign words were not finalized. A translator could not find in China some cultural phenomena peculiar to foreign countries, let alone find corresponding Chinese to describe them. In this case, domestication occurs. Of course, chances are that some translators adopt domestication on purpose so as to bridge cultural gaps and help readers to appreciate works. Both reasons could explain Liang 's adopting domestication in his translations.And the next part of this paper will further explore the reasons why Liang Shiqiu chose foreignization as the main translation strategy and domestication as the auxiliary translation strategy.<br /> <br /> ====2.3The reasons of Liang’s translation strategies====<br /> <br /> “the translator who is the reader of the original text and the creator of the translated text as well plays an important role in translation. Translating is not simply a kind of transition between different language systems but a kind of creative activity. In the process of translating, the translator is the bridge communicating the culture of source language and the culture of target language, and his subjective dynamics influence the success of this kind of communication to some extent. He would unconsciously put his own life experience, acquirements, personality, aesthetic views and habits into his reading, understanding and expressing of the source text.”(Yang Xi,2009:23) Just based on this idea, Liang Shiqiu's translation strategies are closely related to his life experience and background.<br /> <br /> Firstly, Liang Shiqiu was nurtured by Confucianism since he was a child, and the essence of Confucianism is similar to the core idea of ​​the Doctrine of the Mean. The Doctrine of the Mean refers to compromise and harmony, requiring people to follow the state of harmony and goodness among all things. This became the foundation of his philosophy of life.From his domestication strategy,we can see his strong accumulation of Chinese traditional culture,he opposed to europeanize completely, which resulted in disputation among some famous writers like Lu Xun. This will be further discussed in detail in the next chapter.<br /> <br /> Secondly, Liang Shiqiu went to the United States to study in order to broaden his horizons. During this period, he was deeply influenced by his mentor Irving Babbitt. He also recognized the new humanistic ideas and gave it time significance. Professor Irving Babbit is proficient in Confucianism, and to a large extent his theory has many similarities with Confucianism. He admires Western culture very much and advocates that Chinese could learn Western culture. Therefore, he chosed many classic works with Western cultural connotation for translation，He kept the original text as much as possible in the translation process. Sometimes when he encounters obscure and difficult sentences,He often used the method of literal translation with annotation to bring readers many fresh cultural experiences.<br /> <br /> Thirdly, In that time,China was in a special historical period when modern society and modern society were handed over. The cultural exchanges between China and the West influenced his way of thinking and translation concepts. Although Liang Shiqiu affirmed the mentor's new humanistic viewpoint, he did not separate romanticism from classicism, but found a balance between romance and classicism. He integrated Chinese and Western cultural concepts, based on Confucian spirit, added Babbitt’s theory, And it is the combination of these two ideas that made his translation strategy.<br /> <br /> ====2.4 The evaluation to Liang’s translation strategies====<br /> <br /> During the New Culture Movement and the May 4th Movement, a number of outstanding patriotic scholars emerged, and the translated literature was also full of vitality. These scholars were not only influenced by traditional culture, but also influenced by foreign culture. However, it is worth noting that there was a group of scholars appeared who opposed Liang Shiqiu's translation strategy, among whom Lu Xun was the most representative one.<br /> <br /> Lu Xun's standpoint has to do with an important function of translation, that is, the enrichment of the Chinese language and culture, which can be better fulfilled by literal translation. Here he obviously thought it natural and necessary for the readers to try their best to understand those new expressions and structures, but with gradual acceptance of such expressions and structures the Chinese language would be enriched. He insisted on complete literal translation and criticized Liang Shiqiu's domestication strategy as old and decadent.But Liang thought faithful but not fluent translation&quot; is as bad as fluent but not faithful translation. To him a desirable translation is one that is faithful to the content as well as other original features of the source language text. However, the translator cannot create obscure expressions for the so-called keeping the source text's mood (Yang Yulin, 2006:89 ). Besides, the translator should not confuse translation with the improvement o Chinese. In a word, Liang insisted that the translator should be responsible for both the source language writer and target language readers. On the other hand, Lu insisted that word-for-word translation&quot; is more faithful to the source text and he would rather have faithful but not fluent translation&quot; than fluent but not faithful translation.<br /> <br /> Taking into account the social background at that time, our nation was still in a weak position and its development was lagging behind that of Western countries, so Lu Xun also hoped to use translation to &quot;input new content and new expressions&quot; to Chinese to improve Chinese and promote Chinese language development. Development, so that Chinese as a language medium can better integrate domestic talents with international standards. Liang Shiqiu believes that translation is mainly to convey the original author’s thoughts and content to those who do not understand the original content. Therefore, loyalty to the original text and expression in conformity with the target language habits are the focus of Liang Shiqiu’s translation, and Liang Shiqiu advocates &quot;read first-rate Books, translated first-class books&quot;, I believe that only in masterpieces can people have profound ideological content. The author believes that looking at the dispute between the two dialectically, it can be said that both sides have their own merits, which is conducive to academic discussions in the translation industry and promotes the development of translation studies.<br /> <br /> It would be good to add a reference and Shorten the number of words in a paragraph--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 03:02, 18 December 2020 (UTC)<br /> <br /> ===III.Conclusion===<br /> <br /> Liang Shiqiu devoted his whole life to bringing many western classics to Chinese readers, and his translations of ''The complete works of Shakespeare's plays'' have exerted a great influence on Chinese translation. Liang Shiqiu adopted the strategy of combining domestication and foreignization in translating Shakespeare's plays.<br /> <br /> On the one hand, from the perspective of language and culture, he adopted the strategy of foreignization. For example, when translating proper nouns such as names and places, he disapproved of misleading Local Chinese translations and advocated transliteration. He transliterated &quot;Julius Caesar&quot; as&quot;朱利阿斯西撒&quot; instead of &quot;凯撒大帝&quot;. If a person's name reflects certain characteristics of the person, he would naturalize appropriately to convey this information in the translated name, so that readers can understand the personal characteristics. And there are so many puns, slang and colloquialisms in ''The Shakespeare’s Plays'' that they are almost impossible to be translated., then he adopted foreignization strategies, supplemented by annotations, to enrich the Chinese language with heterogeneous cultures. Culturally, he recreated exoticism. There are many vulgar and obscene words in ''The Shakespeare's plays'', which he reserved for the sake of their truth. He advocated the true reflection of Shakespeare's times, the translation of elegant and vulgar should be faithful to the original. <br /> <br /> On the other hand, human emotions are common and there are similarities between eastern and western cultures. Therefore, Liang Shiqiu supplemented his translation with domestication strategies. Although he stressed the &quot;existence of truth&quot;, he did not &quot;dead translation&quot;. He objected to the &quot;Europeanization&quot; of the target language, that is, using translation to reconstruct Chinese syntax directly from western grammar structure. Liang Shiqiu gave full consideration to readers, for texts with similar cultural connotations, he advocates &quot;nationalization&quot;, or domestication, of the target language. This makes the translation more fluent and in line with the expression habits of domestic readers, and greatly improves the readability and appreciation of the translation.<br /> <br /> ===IV.References===<br /> <br /> [1] Venuti, Lawrence. The Translator 's Invisibility: A History of Translation[M]. London &amp; New York: Routledge, 1995.<br /> <br /> [2]朱安博.归化与异化:中国文学翻译研究的百年流变[M].北京:科学出版社, 2009.<br /> <br /> [3]柯飞.梁实秋谈翻译莎士比亚[J].外语教学与研究,1988,(1):48-53.<br /> <br /> [4]梁实秋，2001.《莎士比亚全集》序[A].莎士比亚全集[M].北京:中国广播电视出版社.<br /> <br /> [5]朱生豪译，1978. 《莎士比亚全集》.北京:人民文学出版社.<br /> <br /> [6]杨迅文.梁实秋文集(5).厦门:鹭江出版社, 2002c.<br /> <br /> [7]刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009:445.<br /> <br /> [8]肖忆鑫.梁实秋之中庸翻译观研究.2013.赣南师范学院,MA thesis.<br /> <br /> [9]杨曦.梁实秋翻译思想研究.2010.浙江财经学院,MA thesis.<br /> <br /> [10]许玲.梁实秋的新人文主义思想与莎剧翻译.2007.安徽师范大学,MA thesis.<br /> <br /> Please standardize the format of references.--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 03:11, 18 December 2020 (UTC)<br /> <br /> ==A Brief Introduction to Deconstruction and Venuti's Translation Strategy of Foreignization 徐佳 Xu Jia==<br /> <br /> ==Contrast between literal translation and free translation - Liu Yi 刘艺 202070080640 MTI==<br /> <br /> ===Abstract===<br /> The discussion of literal paraphrase has been present throughout the development of translation theory. However, the ongoing debate between literal and paraphrase is not always at the same level and about the same translation issues. Literal translation and paraphrase can be regarded as both translation methods and translation strategies, and the discussion of literal translation and paraphrase first requires a conceptual analysis of the two terms and a clarification of the scope of the discussion. The theories of literal and free translation in Chinese and Western translation studies can be examined from the meta-theoretical level, which not only enables a rational understanding of the debate between literal and free translation, but also enables a better understanding of the relationship between translation theory, practice and their historical contexts. In this paper, we first analyze the concepts of literal translation and free translation, and then Throughout the thesis, we have introduced the application of literal translation and free translation and used some examples to show their application in proverb and idiom. At last, we will analyze the relation between literal translation and free translation.<br /> <br /> ===Keywords===<br /> free translation, literal translation, application.<br /> <br /> ===摘要===<br /> 在翻译理论的发展过程中，关于字面转述的讨论一直存在。然而，直译与意译的持续争论并不总是在同一层面上，关于同一翻译问题。直译和意译都可以看作是翻译方法和翻译策略，讨论直译和意译，首先要对这两个术语进行概念分析，明确讨论范围。中西方翻译研究中的直译和意译理论可以从元理论层面进行考察，这不仅可以理性地认识直译和意译的争论，而且可以更好地理解翻译理论、实践及其历史背景之间的关系。本文首先分析了直译和意译的概念，然后在论文中通篇介绍了直译和意译的应用，并用一些例子来说明它们在谚语和成语中的应用。最后，我们将分析两者之间的关系。<br /> <br /> ===关键词===<br /> 直译，意译，应用。<br /> <br /> ===I. Introduction===<br /> In intercultural communication, translation plays a very important role. Translation is the process of replacing chapters of material in one language (source language) with chapters of material in another language (target language), How to effectively translate between English and Chinese? The two languages have both commonalities and differences, as they belong to different language families: English is an Indo-European language, while Chinese belongs to the Sino-Tibetan language family. However, there are some common points between the two languages, such as the same subject-predicate word order and the same verb-object word order. In order to realize the interchangeability of the two languages, we have to make use of some translation methods, such as literal translation and paraphrase translation.<br /> <br /> The essence of translation is the conversion of information from one language to another or to several languages. In the translation process, translation is influenced by many factors, including contextual and cultural factors. Among translation strategies, literal and paraphrase are the most popular. Both literal and paraphrased translations have their own applications and cannot be generalized. Translators need to make good use of both literal and paraphrase translations in order to produce good translations. Literal translation and paraphrase are important translation strategies, and they are related, complementary and inseparable.<br /> <br /> ===II. Sources of Literal and free Translation===<br /> In the West, during the Roman era, literal translation was used to translate Greek into Latin. Later, Cicero advocated paraphrasing to preserve the overall style and power of the language (Tan Zaixi, 2009:19). After that, people used these two translation methods to translate, literal translation and paraphrase translation. In China, as early as the end of the Eastern Han Dynasty, the famous Buddhist scripture translator Zhi Qian put forward the idea of &quot;not emphasizing the wording, but keeping the original meaning&quot; as a method of literal translation.<br /> <br /> &quot;In his disciple Zhi Qian, he opposed such a literal translation from a stylistic point of view, and advocated a free translation. His disciple Zhi Qian, on the other hand, opposed such literal translation from a stylistic point of view and advocated free translation. During the Eastern Jin Dynasty, the commentator of Buddhist scriptures translation, Dao An, advocated literal translation of every word of the scriptures, without any addition or deletion to the original text. Kumarajiva, as the representative of the School of Free Translation of Buddhist Scriptures, proposed the method of free translation as &quot;faith-based,&quot; &quot;Tao practicing and compounding,&quot; and &quot;making quality rather than wild&quot;. In his evaluation of his translation, Liang Qichao said: &quot;All translations by Xuanzang, for the original, either add or subtract, in order to achieve the purpose.&quot; In the 1930s, both Lu Xun and Qu Qiu Bai advocated literal translation, Zhao Jing Shen favored free translation, and Lin Yutang advocated the integration of literal and free translation.<br /> <br /> ===III. Definition of Two Translation===<br /> '''3.1 Definition of Literal Translation'''<br /> <br /> Literal translation refers to a method to render of text from one language to another by following closely the form of the source language. Definitely different from mechanical translation (word for word translation), literal translation shall provide fluent and accurate translation that is easily comprehended by the readers of the target language. &quot;The so-called literal translation is a translation method or translated text that keeps the content and form of the original text&quot; (Feng Qinghua, 2002:37). There are a lot of differences between English and Chinese, but there are some commonalities between the two, which is the basis and reason for the existence of literal translation.[1]<br /> <br /> Literal translation refers to a method to render of text from one language to another by following closely the form of the source language. Definitely different from mechanical translation (word for word translation), literal translation shall provide fluent and accurate translation that is easily comprehended by the readers of the target language. &quot;The so-called literal translation is a translation method or translated text that keeps the content and form of the original text&quot; (Feng Qinghua, 2002:37). There are a lot of differences between English and Chinese, but there are some commonalities between the two, which is the basis and reason for the existence of literal translation.[1](Fang Yili.2012, 000(003):16-20.)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 04:14, 17 December 2020 (UTC)<br /> <br /> Mr. Mao Dun once explained and emphasized that literal translation is not a dead translation of &quot;word for word, not one more, not one less&quot; [2]. The real intention of literal translation is not to distort the creative purpose of the original work, but to express the spirit of the original work.<br /> <br /> Mr. Mao Dun once explained and emphasized that literal translation is not a dead translation of &quot;word for word, not one more, not one less&quot; [2].(Wei Lu;Hong Fang,2012,2(4):741-746.) The real intention of literal translation is not to distort the creative purpose of the original work, but to express the spirit of the original work.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 04:14, 17 December 2020 (UTC)<br /> <br /> You can also say that it refers to translate a sentence originally, keeping the original forms, including construction of sentences, meaning of the original words, and metaphor of the original and so on. It can not only reproduce the meaning and frame of language, but also keep its vivid image figure of speech and novel and unique expressive ways so that readers can comprehend the origin’s literal grace.<br /> <br /> For example: The winter morning was clear as crystal. The sunrise burned red in a pure sky, the shadow on the rim of the woodland were darkly blue, and beyond the white and scintillating fields patches of far off for forest hung like smoke.<br /> Literal translation: 冬天的早晨水晶般明澈。纯净的东边天上朝日烧的通红，林子边上的影子时暗蓝色，隔着那耀眼的白茫茫的天野远处的森林像挂在半空中的烟云。<br /> This translation keeps the original form and meaning totally. It comes out the author’s writing style and transfer the source language to target language perfectly.<br /> <br /> '''3.2 Definition of Free Translation'''<br /> <br /> Free translation is a method to deliver the intended meaning of the source text without paying attention to details such as syntax, style and so on of the original text. Free translation is suitable in case the translation is difficult to be understood or accepted by the readers or the translation seems not as attractive or powerful as the original text by approach of literal translation. It can also means a method of making the target text smooth and perfect .On the basis of them, places of word and constructions of sentence have to be almost changed to suit real meanings of original text.[3]<br /> <br /> Free translation is a method to deliver the intended meaning of the source text without paying attention to details such as syntax, style and so on of the original text. Free translation is suitable in case the translation is difficult to be understood or accepted by the readers or the translation seems not as attractive or powerful as the original text by approach of literal translation. It can also means a method of making the target text smooth and perfect .On the basis of them, places of word and constructions of sentence have to be almost changed to suit real meanings of original text.[3](Zhu Liyun,Xu Jingxian.2019(14):107-108)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 04:14, 17 December 2020 (UTC)<br /> <br /> In general, a paraphrase is a translation that is consistent with the original text in terms of content, but changes in form. In short, the translation should be faithful to the basic content of the original text, while the form of expression should be original. In the history of Chinese translation, the definition of free translation is also divided. For example, Fu Lei believed that a paraphrase should, to the maximum extent possible, maintain the syntax of the original sentence, not that the grammar of the original sentence can be completely thrown away. It is not that the grammar of the original sentence can be left out completely. Eskridge once said that a translator cannot arbitrarily add or delete sentences from the original in order to achieve the standard of &quot;up&quot; translation, but that the original should be taken into consideration. According to Qian Gechuan, although the translations use paraphrase and change form, they should still be faithful to the original.<br /> <br /> For example: It’s an ill wind that blows nobody good.<br /> Free translation: 对于某些人有害的事可能对于另外一些人有好处。<br /> In this translation, we can see that there is no word in Chinese that equivalence to the word “wind” in English. So we use free translation which not only keeps the original meaning but also makes source language to target language comprehensively. <br /> However, free translation does not mean to neglect or add the original. When to use free translation, translator must know both source language and target language very well, including the cultural background, the equivalence words and make the translation fluent and comprehensible. Free translation is a flexible translation skill. Once literal translation can not express the original well, it’s time to use free translation.<br /> <br /> ===IV. The different applications of literal and free translation===<br /> '''4.1 The application of literal translation'''<br /> <br /> Firstly, if it is possible to translate literally, translate it word-for-word. The advantage of literal translation is to keep the liveliness of the text which has rhetoric in it. Let’s take two sentences below as examples:<br /> <br /> (1) For my father know and I know that if you only dig enough, a pasture can be made free.<br /> Literal translation: 因为我父亲知道，我也知道，只要挖到一定程度，早晚可以在这里劈出个牧场的。<br /> Free translation: 因为我父亲知道，我也知道，功到自然成。<br /> <br /> (2) But I hated Sakamoto, and I had a feeling he’d surely lead us both to our ancestors.<br /> Literal translation: 但是我恨坂本，并预感到他肯定领着咱们去见祖先。<br /> Free translation: 但是我恨坂本，并预感到他肯定会领着咱们去送死。<br /> <br /> For the first one, we can see the free translation expressed the general meaning of the original sentences with the metaphors. It’s better and comprehensive. But for the second one, though free translations make sentences more fluent, literal translations are closer to the original and express author’s emotion much lively. Because the differences of two languages, sometimes it is difficult to retain the intrinsical thoughts and style of the source language. <br /> Secondly, some sentences are hard to translate literally in some circumstances, especially the different expression of metaphors, proverbs and idioms. To people in English speaking countries, they are hard to understand some old sayings in Chinese and literal translation is unacceptable in this situation. They can’t get the original meaning accurately.<br /> For example:<br /> <br /> (1) Our son must go to school. He must break out of the pot that holds us in.<br /> Literal translation: 我们的儿子一定得进学校，他一定得打破这个把我们关在里面的罐子。<br /> Free translation: 我们的儿子一定要上学，一定要出人头地。<br /> <br /> (2) Their legs moved a little jerkily, like well-made wooden dolls, and they carried pillars of blank fear about them.<br /> Literal translation: 他们的腿轻轻痉挛地移动着，像做得很好的木偶一样，他们随身携带者黑色的恐怖柱子。<br /> Free translation: 他们每向前迈进一步，腿就抖动一下，好似精致的木偶一样，他们身上带着一股阴沉的杀气。<br /> <br /> In these sentences, literal translation is improper. We cannot use literal translation if the presentation of the version does not conform to that of the source language. “Break out the pot that holds us in” is an English idiom. When we translate it to Chinese, we have an idiom “出人头地” that has the similar meaning. <br /> Generally speaking, literal translation is the basic technique in translation practice. It can keep the original form, including sentences’ structure and the original expression. But sometimes it needs some necessary changes to make the ways of expression be consistent between source language and target language.<br /> <br /> '''4.2 The application of free translation'''<br /> <br /> First of all, we use free translation when it’s difficult to translate them literally; especially there are differences on the ways of expression between the two languages. Moreover, in some sentences, though literal translation can make it understandable, it cannot express the profound meaning smoothly. Under this circumstance, free translation can help us get a better result.<br /> For example:<br /> <br /> (1) It is an ill bird that fouls its own nest.<br /> Literal translation: 弄脏自己巢的鸟的确是一只坏鸟。<br /> Free translation: 家丑不可外扬。<br /> <br /> (2) Cast pearls before swine.<br /> Literal translation: 把珍珠扔到猪前面。<br /> Free translation: 对牛弹琴。<br /> <br /> Free translation should be fluent and natural. It can express the general idea without paying much attention to the details; especially in the translation in idioms or proverbs. <br /> Secondly, never add our own emotion to the translation. A successful translation must be objective and clearly. Free translation gives the translators more freedom to express source language and readers can get the original meaning comprehensively. Once the translators add their own emotions to it, the two version’s readers would have different feelings on the same task.<br /> Finally, free translation is a flexible and technical skill. The translators must learn abundant knowledge and possess the general knowledge of both the two countries as much as possible. More extensive knowledge translators have, more completely they can comprehend the meaning of the original task.<br /> <br /> '''4.3 The comparison of applications of literal and free translation'''<br /> <br /> '''4.3.1''' What are the advantages of literal translation? Generally speaking, the use of rhetoric in a text makes it more vivid and lively, and through literal translation, the rhetoric of the original text is preserved and the target language is similar to the original text. In contrast, free translation only reflects the general idea of the original text, and the original rhetoric disappears through the original translator's ingenuity and processing. So, in general, literal translation is a good choice.<br /> For example, <br /> <br /> For Maria, this is a great success in her life, just as the brave winning over a great battle against the gigantic man in the black forests.<br /> <br /> Literal translation:在玛丽亚看来, 这是她一生中最了不起的成功, 这种成功就好像她英勇无畏地战胜了黑暗森林中的巨人。<br /> <br /> Free translation:在玛丽亚看来, 这是她一生中最了不起的成功。<br /> In this sentence, the literal translation only reflects the main idea of the original, which is too simple and bland, and the metaphorical rhetoric and description of the character's psychological state are lost. The literal translation, however, is much clearer and more vivid than the free translation, which is more vivid and natural. Due to language differences, it is sometimes difficult to retain the ideas and style of the original text in the translation process. The advantage of literal translation is precisely this: it can keep the ideas and style of the original text.<br /> <br /> '''4.3.2 A literal translation is not the same as a word-for-word translation.''' <br /> <br /> What is word-for-word translation? --When translating, every word in the source language is considered, and every word in the target language is translated one by one.Usually, the target reader does not know what the translated text is really saying, and this is also a word-for-word translation. For example, <br /> <br /> John had to face the music after his father came back for he had broken his father’s expensive vase.<br /> Literal translation :在他的爸爸回来后, 约翰不得不面对音乐, 因为他打碎了爸爸的昂贵的花瓶。<br /> <br /> The translation of these two sentences is clearly not in line with the Chinese way of expressing oneself; it is word-for-word, sentence-for-sentence, and overly rigid. It does not conform to the way the target language is expressed, and the meaning it is intended to convey is ambiguous, making it difficult for the target reader to understand what the translator is trying to say. A word-for-sentence translation is a substandard translation, as it confuses the target audience.<br /> A literal translation retains the style, rhetoric, and structure of the original text, while at the same time making the necessary adjustments to make it smooth, clear, and acceptable to the target language. After reading, the target language reader can have almost the same feeling as the source language reader.<br /> Some people make the mistake of thinking that a translation that keeps the structure and form of the original text exactly the same is a literal translation, confusing the concepts of literal and word-for-word translation. In the end, literal translation is not a word-for-word translation; it is an acceptable and flexible translation.<br /> <br /> '''4.3.3''' Some sentences should not be directly translated Some source sentences are difficult to translate. Some sentences do not fit the way the target language is expressed after literal translation. Different countries have different cultures, different customs, different rhetoric and different ways of expressing the same idea, and different idioms. In China, people usually use some idioms to describe an event or a person, and this is also the case in foreign countries. In the eyes of Westerners, Chinese idioms are very difficult to understand. In these cases, the result of a literal translation would be unacceptable. When the target language readers read such a translation, they cannot know the exact meaning of the source language, because the message in the target language is ambiguous. For example, if:<br /> <br /> The bastard finally kicked the bucket in an accident.<br /> Literal translation:那个坏蛋最后踢了木桶在一场交通意外中。<br /> Free translation:那个坏蛋最后在一场交通意外中丧命。<br /> <br /> '''4.3.4.''' The literal translation of this sentence is nonsensical, even absurd; but with a paraphrase, the translation becomes clearer and more acceptable to the target audience, and is culturally appropriate.<br /> But under what circumstances should a literal translation be done? How to use literal translation correctly? When the expression of the source language is not the same as that of the target language, literal translation should not be done. As a translator, you should pay attention to the following aspects:<br /> <br /> Firstly, to understand the culture of the source and target language, to acquire as much extensive knowledge as possible, and to become more familiar with the issues talked about in the source language, otherwise the translation work cannot be carried out. We often have the experience that we do not know or do not understand something, even after it is explained to us, because we do not have the appropriate knowledge. Therefore, a professional translator must have some knowledge of the relevant discipline or specialty. If a translator does not know the material he wants to translate and the content of the knowledge of the relevant discipline involved, his translation will be unqualified.<br /> <br /> Secondly, it is very important to understand the information in the source language correctly and thoroughly. The translator should not only know the apparent meaning of the text, but also read through the original text to thoroughly understand the idea and meaning of the original text. If a translator only knows the literal meaning of the original text, and translates literally, then his translation will not be successful. The target language reader will be confused when reading such a translation, and will have a different feeling between the intended message of the original text and the translation, or even a misunderstanding.<br /> <br /> Third, translation is not the same as reading. When reading, it doesn't matter how we understand or whether we can understand or misunderstand, because the reader's level is limited. Reading is only a sense of self. But a translation can affect other people. Therefore, translators should have a thorough understanding of the information in the source language and repeat the information correctly.<br /> Fourth, improve the acceptability of the translation. From the above, we know that the translation should be consistent with the expression of the target language, so that it can be easily accepted by the target language readers. In fact, it is not difficult to preserve the style of the source language; the real difficulty is to translate the source language into a language that is consistent with the mode of expression of the target language.<br /> <br /> Literal translation is a basic skill necessary for translation work. It preserves the form of the source language, including the sentence structure and diction. Sometimes, it makes necessary changes to the source language to make it closer to the expression of the target language and to make the translation more acceptable. But literal translation is not a panacea. Translators should expand their knowledge and practice extensively. After all, practice is an important aspect of translation work.<br /> <br /> '''4.4 The application of literal translation and free translation in idiom'''<br /> <br /> Idiom is also a kind of saying. Idiom is an expression, word, or phrase that has a figurative meaning that is comprehended in regard to a common use of that expression that is separate from the literal meaning of definition of the words of which it is made. Idioms are numerous and they occur frequently in all languages. <br /> <br /> The formation of idiom accords with the formation of culture. It is to say that the culture give birth to the idiom. Thousands of years ago, people draw lessons and experience from their daily life and then write down to tell their generations what they have gotten. As a result, most of idioms mirror almost everything related to the life. They contain experience and philosophy. We should know the basic structure of the sentences well, rather than the face value of words. Only in that way you would know what shouldn’t be reserved and what can be ignored. <br /> <br /> Every country has its own unique culture. We know most idioms are produced by farmers, hunters, and fishermen and came from daily life. So they often use much different imagery in the idioms. England is an island and fishery country so a great number of English idioms relate to fish and sea. On the contrary, China has been an agricultural country with a very large agricultural population. As a result, we have a great many Chinese idioms that contain farming experience, especially we use animals to signify person. When we translate the idioms, in some circumstance we can translate them literally; but under most circumstance, in order to make readers understand, we take free translation.[4]<br /> <br /> Every country has its own unique culture. We know most idioms are produced by farmers, hunters, and fishermen and came from daily life. So they often use much different imagery in the idioms. England is an island and fishery country so a great number of English idioms relate to fish and sea. On the contrary, China has been an agricultural country with a very large agricultural population. As a result, we have a great many Chinese idioms that contain farming experience, especially we use animals to signify person. When we translate the idioms, in some circumstance we can translate them literally; but under most circumstance, in order to make readers understand, we take free translation.[4](Gao Qiang, Li Cao.2008(14):265-266)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 04:14, 17 December 2020 (UTC)<br /> <br /> These imageries should be translated freely.<br /> For example: <br /> <br /> (1) Teach fish to swim.<br /> Free translation: 班门弄斧。<br /> <br /> (2) Beat the dog before the lion.<br /> Free translation: 杀鸡儆猴。<br /> <br /> (3) One must howl with the wolves.<br /> Free translation: 入乡随俗。<br /> <br /> (4) Love me, love my dog.<br /> Free translation: 爱屋及乌。<br /> <br /> (5) Put the cart before the horse.<br /> Free translation: 本末倒置。<br /> 5 The relationship of <br /> These imageries can be translated literally. <br /> <br /> For example:<br /> <br /> (1) The style is the man.<br /> Literal translation: 文如其人。<br /> <br /> (2) To be on thin ice.<br /> Literal translation: 如履薄冰。<br /> <br /> (3) Hasty makes waste.<br /> Literal translation: 欲速则不达。<br /> <br /> (4) Fish in troubled water.<br /> Literal translation: 浑水摸鱼。<br /> <br /> (5) Business is business.<br /> Literal translation: 公事公办。<br /> <br /> (6) Honey sweet words.<br /> Literal translation: 甜言蜜语。<br /> <br /> (7) A gentleman’s agreement.<br /> Literal translation: 君子协定。<br /> <br /> '''4.5The application of literal translation and free translation in proverb'''<br /> <br /> Proverb is a kind of sayings. It prevails in the community with concise words. Most proverbs reflect the practical experience of working people's life and are generally passed down orally. It is mostly spoken in the colloquial form of phrases or rhymes easy to understand. And proverbs are to some extent similar to idioms, twisters, common sayings, and aphorism.<br /> Readers can enrich themselves with plentiful interesting information of other cultures by familiarizing themselves with proverbs. Thus, the function of proverb translation is not only to absorb and introduce the vivid expressions, but also to enrich the readers with the culture of other nations and learn their basic philosophy of life or world. <br /> <br /> In order to understand the features of proverb translation, let’s take some examples:<br /> <br /> (1) One boy is a boy, two boys half a boy, three boys no boy.<br /> Literal translation: 一个男孩是男孩，两个男孩抵半个，三个男孩什么都不是。<br /> Free translation: 一个和尚挑水吃，两个和尚抬水吃，三个和尚没水吃。<br /> <br /> (2) One picture is worth a thousand words.<br /> Literal translation: 一张图胜过千言万语。<br /> Free translation: 百闻不如一见。<br /> <br /> (3) Where there’s a will, there’s a way.<br /> Literal translation: 有一种意愿，就有一种方法。<br /> Free translation: 有志者事竟成。<br /> <br /> (4) A new broom sweeps clean.<br /> Literal translation: 新扫帚能打扫干净。<br /> Free translation: 新官上任三把火。<br /> <br /> (5) The same knife cuts bread and fingers.<br /> Literal translation: 同一把刀可以切面包也会割到手指。<br /> Free translation: 水能载舟，亦能覆舟。<br /> <br /> (6) The pot calls the kettle black.<br /> Literal translation: 锅笑壶黑。<br /> Free translation: 五十步笑百步。<br /> From these examples, when the metaphors are different, free translation could help us understand the source language better. However, in some circumstance, Chinese proverbs have the same meaning, expression ways and metaphors using, taking literal translation is easier and convenient.<br /> For example:<br /> <br /> (1) Books are ships that pass though the vast sea of time.<br /> Literal translation: 时光好比汪洋，书籍好比航船。<br /> <br /> (2) Hedges have eyes, walls have ears.<br /> Literal translation: 隔篱有眼，隔墙有耳。<br /> <br /> (3) Out of sight, out of mind.<br /> Literal translation: 眼不见为净。<br /> <br /> (4) Like father, like son.<br /> Literal translation: 有其父必有其子。<br /> <br /> (5) Well begun, half done.<br /> Literal translation: 好的开始是成功的一半。<br /> <br /> ===V. The relation between literal and free translation===<br /> Because of the different metaphors and imageries using between English and Chinese, once we cannot translate literally, we should make some changes. Such as “dog” signifies good things in English but just on the contrary in Chinese. So sometime we choose free translation to make the sentence perfect. <br /> (1). Both literal and literal translations are intended to be accurate, both figurative and spiritual reproductions of the original meaning of the work, and there is no good or bad in either.<br /> &quot;Among wolves one must howl&quot; can be literally translated as &quot;你在狼群中必须得嗥&quot;, or it can be translated as &quot;入乡随俗&quot;.<br /> Nevertheless, we must note the difference between these two translation strategies. Literal translation has a higher requirement for &quot;faithfulness to the original&quot;, and is usually used for scientific, legal, and other texts, because it must be precise and not misleading to the reader. In addition, literal translation can also be used to translate general everyday language. In contrast, free translation is more abstract and is generally used to translate poetry, prose and other literary works, expressing the main connotation of the original work with divergent thinking to increase its beauty and artistry.<br /> (2) Literal translation and free translation are not mutually exclusive, but complementary and inseparable.<br /> <br /> ===VI. Conclusion===<br /> Throughout the thesis, we have introduced the definition of literal translation and free translation and used some examples to show their application in proverb and idiom. According to the analysis, we know literal translation and free translation are two basic methods in translation practice. Literal translation emphasizes both the form and meaning of the text, while free translation lays stress on the conveying of the spirit of the text. However, literal translation is different from word-to-word translation or dead translation, which converts words out of the text simply. Free translation, on the other hand, translating the text in a flexible way does not means to translate random but reasonable. Both of the two methods have their own beauty.<br /> Literal translation can keep the original expressing style and meaning of the text and achieve formal equivalence between Chinese and English. And it can be more directly in the expression. But not all sentences can be translated literally. In some circumstance, especially the poetry, proverb and idiom, literal translation shows its limitation. So we use free translation.<br /> The beauty of free translation lies in its freedom of the forms. It does not pay so much attention on details of the source language and it demands the translators to handle target language culture and customs and readers of target language could accept the translation easily and clearly. It can be used when literal translation cannot be taken. Translators should remember not to add their own emotion in their translation task, for that will make the readers have the different feeling in two languages versions then the translation is not appropriate. And free translation is not uncontrolled translation, it also require the correctness.<br /> Literal translation and free translation are two main forms of translation. They are not repulsive but complementary. In practice, we should not stick to one of the methods. We can translate the texts neatly and take the right method which is more suitable for the practical situation. Every country has its own history, culture and customs. Those aspects could be reflected by their language expressing. A good translator should have more extensive knowledge and apply these two methods flexibility, experientially and properly. We must accumulate knowledge of different nations in our daily life, read more books and practice as much as possible. <br /> <br /> ===References===<br /> [1] 方仪力. 直译与意译:翻译方法、策略与元理论向度探讨[J]. 上海翻译, 2012, 000(003):16-20.<br /> <br /> [2] Wei Lu;Hong Fang.Reconsidering Peter Newmark‟s Theory on Literal Translation[J].Theory and Practice in Language Studies,2012,2(4):741-746.<br /> <br /> [3] 朱丽云;徐静娴.有关直译和意译的讨论.汉字文化.2019年(14):107-108<br /> <br /> [4] 高强;李曹.浅谈直译法与意译法在翻译工作中的应用.科技信息(科学教研).2008年(14):265-266<br /> <br /> [5] Wensheng Deng.“Cultural Self-confidence” or “Cultural Trust”—A Proposal for Teaching Literal Translation[J].Theory and Practice in Language Studies,2020,10(3):300-305.<br /> <br /> [6] Rui Manuel Cruse.The Importance of Literal Translation in the Process of Learning English as a Foreign Language[J].The ESPecialist: Research in Language for Specific Purposes,2011,31(1).--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:02, 9 December 2020 (UTC)<br /> <br /> ='''Cultural Differences'''=<br /> <br /> <br /> ==The Translation of English and Chinese Idioms from the Perspective of Cultural Differences 李凌月 Li Lingyue 202020080611==<br /> &lt;center&gt;李凌月 Li Lingyue&lt;/center&gt;<br /> ==='''Abstract'''===<br /> Idioms are unique cultural products of different nationalities, regions and societies. It contains a long historical background and rich cultural connotation. It not only reflects the colorful social life of all ethnic groups, but also carries a unique aesthetic feeling of language. Due to the differences in geographical environment, religious beliefs and customs, English and Chinese idioms have different cultural characteristics and cultural information. Translation is not only an interlingual communication, but also a cross-cultural transfer. Cultural factors are often the focus and difficulty in translating idioms. Mastering the principles and methods of idiom translation is not only conducive to the translator's translation, but also conducive to the further construction of cross-cultural communication.<br /> ===Key words===<br /> idiom translation; cultural differences, cross-cultural communication; translation principles; translation methods<br /> ===题目===<br /> 从文化差异看英汉习语的翻译<br /> ===摘要===<br /> 习语是各民族、地域和社会特有的文化产物。它蕴含着久远的历史背景和丰富的文化内涵，不但反映了各民族丰采多姿的社会生活，且承载着独特的语言美感。因地理环境、宗教信仰、生活习俗等方面的差异，英汉习语具有不同的民族文化特色和文化信息。翻译是语际交流，更是跨文化的迁移。文化因素往往是翻译习语时的重点和难点。熟练掌握习语翻译的原则和策略，不仅有利于译者的翻译，且有利于跨文化交流的进一步构建。<br /> ===关键词===<br /> 习语翻译、文化差异、跨文化交流、翻译原则、翻译策略<br /> ===1. Introduction===<br /> Idiom is a cultural product of various regions. After the passage of time and the social and cultural changes and development of various regions, idioms have formed a unique cultural system, which is also a reflection of local cultural thoughts. It not only contains a large number of language and local living habits, but also reflects the local history and culture. Idioms have stable structure and distinctive national color, fixed form and profound implication. Idioms are one of the most effective ways of emotional expression, which can achieve the purpose of communication in a proper and implicit way. (Deng Qiufeng, 2020)<br /> <br /> Therefore, idioms are widely used in people's daily communication activities, as well as in various language textbooks and classroom teaching contents and practices. Idioms are also the crystallization of the wisdom of the peoples of the world and the gem of the language essence. They are the concentrated expression of national personality and national culture, and contain rich and colorful intension. Stylistically, idioms in a broad sense include proverbs, slang, colloquial, twin words, trinomials, catchphrase, lexical phrase and habitual collocation. (Deng Qiufeng, 2020)<br /> <br /> ===2. Features of Idioms===<br /> <br /> ====2. 1 Vividness====<br /> Many idioms use some images to reflect the meaning it expresses, and use a lot of rhetoric, such as metaphor, metaphor, personification, etc., especially the metaphor. These images and rhetoric increase the language effect of idioms, make them more vivid, and the language color more lively. For example, in Chinese, there is the saying of “漏网之鱼”, which literally refers to the fish escaping from the fishing net, which is used to describe the escaped criminals or enemies; another example is “光阴似箭，日月如梭”, which compares time to an arrow and a shuttle, which means that time passes by amazingly fast, just like an arrow out of a bow and a shuttle in operation. In English, for example, armed to the teeth, a snake in the grass. These idioms use rhetorical devices and some images to describe their meanings. In this way, not only can the language be vivid and vigorous, but also the rhythm is beautiful and easy to read. (Liu Mingjuan, 2020)<br /> <br /> ====2. 2 Historic Background====<br /> Idioms are all developed from people's long-term life and practice. They have certain historical imprints, and different nationalities have different expressions. For example, the idiom “换汤不换药” has a certain historical origin. Literally, it means to change the decoction water, but the prescription has not changed. Although the name and form of metaphor have changed, the content is still the same. As we all know, traditional Chinese medicine has existed since ancient times and is very popular. In this way, this proverb is obviously historic. In English, “at the eleventh hour” comes from the Bible. Even if the employees who enter the vineyard at 11 o'clock only work for one hour, they will be paid the same wages at 12 o'clock as those who enter the vineyard before 11 o'clock. It means that 11 o'clock is the last time, but it is still not too late. (Liu Mingjuan, 2020)<br /> <br /> ====2. 3 Stability====<br /> The stability here mainly refers to the stability of the structure and semantics of idioms. After a long period of continuous development and evolution, idioms gradually have certain norms, and their structures are no longer inconsistent. Idioms cannot be reduced or changed at will, nor can their structures be changed at will. Chinese idioms often retain the form of ancient classical Chinese, and their grammatical structure is different from that of modern Chinese. Taking “唯命是从” and “何陋之有” as examples, here “是” and “有” are the signs of the advance of the object, that is, to obey orders, there is no rudeness. In English idioms, the singular and plural can't be changed at will, and the part of speech can't be transformed at will. Just like Chinese, it can't increase or decrease components or change sentence structure arbitrarily. For example, we can't change it to “hang by hair” or “hang by a hair of his”. This is the stability of English and Chinese idioms. (Liu Mingjuan, 2020)<br /> <br /> ====2. 4 Semantic Unity====<br /> The semantic meaning of an idiom is a complete and indivisible entity. Therefore, we can't understand the idiom according to the meaning of the words that make up the idiom. Otherwise, we will make the mistake of taking the literal meaning for granted. “Pull one's socks up” cannot be understood as “lifting one's socks up” according to its four parts. (Deng Qiufeng, 2020)<br /> Of course, the structural stability of idioms is not absolute. Many idioms in both languages have their own variants. The change of idioms must be based on the overall meaning and basic structure of the prototype idioms, and be accepted by convention. (Deng Qiufeng, 2020)<br /> <br /> ====2. 5 Euphony====<br /> Idioms often use the harmony of pronunciation and structure to achieve the catchy, harmonious and pleasant effect. In terms of pronunciation, alliteration and final rhyme are mainly used to increase the phonetic beauty and rhetorical effect of idioms. For example, “hot and heavy”; “money makes the mare go”; “by hook or by crook”; “fair and square”; “wear and tear”; “A friend in need is a friend indeed”. In terms of structure, it is reflected in the neat antithesis and the use of repetition to form idioms. For example, “like father, like son”; “out of sight, out of mind”; “cool and calm”; “safe and sound”. On this point, Chinese idioms are more incisive, and most of them are four character structure. Such as “匆匆忙忙”，“如火如荼”，“兴致勃勃”. (Ma Guozhi, 2019)<br /> <br /> English and Chinese belong to different language families, English belongs to Indo European language family, Chinese belongs to Sino Tibetan language family, English belongs to hypotaxis language, and Chinese belongs to parataxis language. There are many static words in English and dynamic words in Chinese. Chinese idioms are very expressive, especially idioms with stable structure, many overlapping words and harmonious syllables; English idioms often bring beauty of sound in word stress, sentence stress and pitch fluctuation. (Ma Guozhi, 2019)<br /> <br /> ===3. Cultural Differences in English and Chinese Idioms===<br /> <br /> ====3. 1 Differences Based on Natural Environment====<br /> People living in different natural environment will form different culture, because each culture will have different characteristics according to its region and climate environment. Idioms, as a unique cultural gene, fully integrate the differences of natural and geographical environment. It can be said that the specific geographical environment is the basis for creating a specific culture, which makes the language in the culture be expressed through different idioms. (Deng Qiufeng, 2020)<br /> <br /> Chinese people live in a semi closed continental geographical environment with mild climate, and their self-sufficient small-scale peasant economy can meet people's living needs. Therefore, people believe that a good harvest cannot be separated from the gift of nature. They pay attention to the unity of man and nature, and pay more attention to human relations. Since ancient times, the Han nationality has given priority to agriculture, so many of its idioms are related to farming and planting. For example, “吃饭不忘种田人”；“不耕不种，终身落空。”；“瓜熟带落”；“生米煮成熟饭”；“牛郎织女”；“巧妇难为无米之炊”；“一份耕耘，一份收获。”and so on.<br /> <br /> Greece, the birthplace of western culture, is an open marine geographical environment. People need to fight against the harsh nature for a long time. Therefore, it has formed the tradition of exploring and conquering nature. The geographical environment makes the fishery, shipbuilding and shipping industry flourish and develop. Therefore, English idioms naturally have a lot of things about the sea. For example, the English idiom “spend money like water” is used to describe the waste of money and extravagance, while the Chinese idiom uses the idiom “挥金如土” to express this meaning; In English idiom, “between the devil and the deep sea” means “进退维谷” in Chinese idioms; Similar English idioms about ships and water are: “to keep sb's head above water&quot;, “miss the boat”, “rock the boat”, “feel at sea”, “in the same boat”, “take the helm”, etc. (Deng Qiufeng, 2020)<br /> <br /> In addition, English and Chinese idioms also reflect the differences in weather and climate between China and the West. In addition, due to the differences in geographical environment, the “west wind” in English is equivalent to the east wind in Chinese. Just as Shelley, a famous English poet, praises the west wind in his ode to the west wind, in English, the west wind has warm and pleasant meaning, while in Chinese, the west wind is bleak and desolate. (Deng Qiufeng, 2020)<br /> <br /> ====3. 2 Differences Based on Religion====<br /> The development of human religion has gone through a process from irrational witchcraft and superstition to mature and non-exclusive rational religious civilization. As different cultures choose different scales in the process, the development direction and track of religion are also different, which reflects different temperament. In the attitude towards religion, Chinese culture reflects the love of real life and has the value scale of humanism, while the western culture shows a yearning for the transcendent other side of the world and praise God. (Liu Mingjuan, 2020)<br /> <br /> As early as the Xi Han Dynasty, Buddhism has been introduced into China from ancient India. After a long time of development, it has become China's largest religion and related idioms, such as “平时不烧香临时抱佛脚”；“放下屠刀，立地成佛”；“借花献佛”; While in the western countries, as early as the first century A.D., Judaism, the source of Christianity, was born. In the later period of the Roman Empire, it was established as the state religion, and then developed through the monopoly in the middle ages. Christianity was closely related to the life of Westerners. The idioms such as “Judas kiss”, are used to describe shameful treachery; “as old as Adam”, means very old; “God help those who help themselves” and so on. Nowadays, these two religions have been integrated into the eastern and Western cultures respectively, and become an inseparable part of the daily life. Therefore, it is very important to deepen the understanding of Chinese and Western culture through idioms. (Liu Mingjuan, 2020)<br /> <br /> ====3. 3 Differences Based on Historical Allusions====<br /> Every nation has its own history and culture, which leads to different customs due to different historical cultures. In fact, many idioms come from history, which mainly come from historical stories or historical documents. These idioms are simple in structure and far-reaching in meaning, so they cannot be understood and translated only from the literal meaning. For example, “周瑜打黄盖，一个愿打一个愿挨”，“姜太公钓鱼，愿者上钩”，“身在曹营心在汉”，“三顾茅庐”,“名落孙山”. Many of these idioms, come from history and have profound significance. In western countries, there are many idioms related to history, such as &quot;an apple of discord&quot;, which comes from the Greek story of the war caused by an apple. “Greek Gift” is also derived from Greek mythology. At that time, the Trojans gave the Greek horses as gifts, and there were many soldiers in the horses, which led to the defeat of Greece. There is a certain historical story behind each idiom. Therefore, in order to translate idioms better, we must understand the history and culture of the West. (Chen Jian, 2016)<br /> <br /> In China, “dragon&quot; is our spiritual totem, a symbol of auspiciousness and power. Chinese people are also proud of being the descendants of dragon. However, in the eyes of Westerners, there is no such special feeling for “dragon”. Even “dragon&quot; is regarded as a dreadful monster with teeth and claws. (Chen Jian, 2016)<br /> <br /> ====3. 4 Differences Based on Living Customs====<br /> The difference of life customs is often one of the important reasons for language differences. Due to the differences of national customs and habits in different countries, there are great differences in attitudes and views on many things. Western civilization has the characteristics of searching for the outside world and a strong desire to conquer. This has formed the British and American people's outlook on life that emphasizes innovation, enterprise and boldness, which can be reflected in idioms such as “knowledge is power”. The English idiom “bread is the staff of life” embodies his pragmatic outlook on life, while “money talks&quot; embodies his pursuit of material interests and utilitarianism. (Deng Qiufeng, 2020)<br /> <br /> In Chinese idioms, the spirit of “collectivism” and “selfless dedication” is often emphasized, such as “天下兴亡，匹夫有责”. Take the attitude towards animals as an example. In Western English speaking countries, dogs are regarded as the most loyal friends of human beings, and are often loved by people. Therefore, there are many English idioms about “dog&quot;, such as: “a lucky dog”, “every dog has his day”, “love me, love my dog”, “rain cats and dogs”, “the dog days of summer”, “work like a dog”, etc. However, in Chinese culture, “dog” is often regarded as a humble animal, it is often given a derogatory meaning in Chinese idioms, such as: “狗咬吕洞宾，不识好人心”、“狗口里吐不出象牙”、“狐朋狗党”、“狗急跳墙”、“狼心狗肺”、“狗腿子”、“丧家之犬”and so on. In Chinese idioms, we often find such examples as “静如处子，动如脱兔” praising rabbit's cleverness and agility. However, in English idioms, rabbit has become a synonym for timidity. Therefore, “as timid as a hare&quot; can be used to express the meaning of “胆小如鼠” in Chinese. Custom is the hotbed of idioms, and the idioms which record the national customs and culture are also shining the glory of national culture in the language. (Deng Qiufeng, 2020)<br /> <br /> ===4. Translation Principles and Methods of English and Chinese Idioms===<br /> Chinese and foreign theorists have put forward different opinions on translation standards. From Yan Fu's “faithfulness, expressiveness and elegance”, Fu Lei's “spirit like but not form like”, to Zhang Peiji's “faithfulness and smoothness&quot;; from Qu Qiubai's “equivalent concept” to Eugene A. Nida's “functional equivalence” or “dynamic equivalence” We can see that these propositions influence each other, complement each other, and constantly improve. Although the emphasis is different, the central point is that the translation should faithfully and accurately express the meaning of the original text, maintain the style of the original work, and faithfully oppose the appearance of the original work. The so-called faithful expression of the original meaning should refer to the literal meaning, the image meaning and the implied meaning of the original text. However, not every sentence, every idiom and vocabulary in the original text has three meanings at the same time. Some may only have literal meaning, but have no image meaning; some may have both literal meaning and image meaning, but have no implied meaning. In particular, it is impossible for any two languages and cultures to be identical. (Chen Jian, 2016)<br /> <br /> ====4. 1 Translation Principles====<br /> =====4. 1. 1 Retain the Cultural Characteristics of the Original Language=====<br /> Idioms are unique cultural products of different nationalities, regions and societies. It contains a long historical background and rich cultural connotation. It not only reflects the colorful social life of all ethnic groups, but also carries a unique aesthetic feeling of language. When translating idioms, the translator must flexibly deal with it according to the specific situation of the context and retain the cultural characteristics of the original language. For example, “上天” is the ruler of heaven and earth in ancient Chinese view, which is usually translated as “heaven”. Christianity believes that God created heaven and earth, human beings, animals and plants, and is the master of all things in the universe. When encountering similar concepts in English and Chinese, translators should be careful to keep the cultural characteristics of the source language and not borrow the surface corresponding sentences in the target language. (Wang Xia, 2019)<br /> <br /> =====4. 1. 2 Keep the Style of the Original Language=====<br /> Translation is not only the conversion of words and sentences, but also the expression of the original idea in the target language. The ideological connotation is often contained in the style. Therefore, it is very important to show the style of the original text in translation practice. Only by doing the corresponding style can we accurately convey the ideological connotation of the original text and make the target language readers understand the essence of the original text. However, it is extremely difficult to achieve the corresponding style, because people from different cultures have great differences in the way of thinking and cultural concepts, which requires the translator to first understand the ideological connotation of the original text, to figure out the style of the original text, and then to express this style in a flexible way of target pragmatics. This kind of flexibility is indispensable in the translation of literary works. (Wang Xia, 2019)<br /> <br /> The art of translation lies in keeping the style of the original text in the translation. To do a good job of translation, we need to have the ability to express the style while recognizing it. The translator should try to preserve the style of the source language in the translation. If the idioms are archaic, they need to be translated more quaint. If the idioms are colloquial, they should be translated lively and colloquial. (Wang Xia, 2019)<br /> <br /> =====4. 1. 3 Do Not Take Words Too Literally=====<br /> In the translation of idioms, the translator often only interprets the literal meaning of the text, which cannot correctly express the true meaning of it, so that the translation completely lost credibility. In idiom translation, it is difficult to judge the meaning of an idiom with a certain word from its literal meaning. It is necessary to understand its original meaning, transferred meaning and the relationship between it and other words, and its context, so as to make clear its real meaning.<br /> <br /> ====4. 2 Translation Methods====<br /> Idioms are not only rigorous in structure, concise in form, incisive in meaning, vivid in image and alive in expression, but also rich in cultural information. Therefore, when translating idioms, it is the most difficult to maintain the flavor of the original language and conform to the habits of the target language. However, not every sentence, every idiom and vocabulary in the original text has the equivalent expression of two languages at the same time. Moreover, the culture carried by any two languages cannot be completely equivalent. (Zhou Suhan, 2017)<br /> <br /> The choice of foreignization and domestication has always been one of the core issues in the field of translation. Eugene Nida is the representative of domestication. His translation thoughts are mainly embodied in the theory of &quot;dynamic equivalence&quot; and &quot;functional equivalence&quot;. Nida advocates domestication translation from the perspective of readers' acceptance, and believes that the translation should be as fluent as the original without any traces of translation. On the contrary, Vernuti, a translation theorist who first combines domestication and foreignization with translation, is a representative of foreignization. On the basis of deconstruction and from the perspective of cultural colonialism, he put forward “impedance translation”, advocating that when translating a foreign language into English, it should retain the characteristics of the source language rather than follow the norms and patterns of the target language, so as to resist the cultural hegemony. (Zhou Suhan, 2017)<br /> <br /> Due to the different characteristics, forms and meanings of idiom culture in Chinese and Western countries, it is necessary to think twice in choosing translation strategies. In the process of translation, we should try our best to keep the characteristics of the original text and meet the requirements of readers. It is not enough to use a single translation strategy. We should analyze the specific situation and take its advantages to achieve the best effect. (Zhou Suhan, 2017)<br /> <br /> =====4. 2. 1 Literal Translation=====<br /> Literal translation is a kind of translation method that maintains both the content and the form of the original text, especially the metaphor, association and national and local characteristics implied in the original idioms, without violating the language norms of the target language and causing wrong associations. (Zhang Yanxin, 2017)<br /> <br /> Although the cultural background is different, human beings as a whole have many common factors, such as happiness, anger, sadness, joy and life, old age, disease, death and so on. These things determine that in the language and culture, English and Chinese have a lot of the same artistic conception, especially idioms, most of which come from feelings and life experiences. Therefore, when the same image is read in different languages, the same association can be aroused in people's mind. In idiom translation, those images and metaphors that can cause the same feelings and associations can be directly translated by literal translation. For example, Blood is thicker than water (血浓于水); Kill two birds with one stone (一石二鸟) ; A good medicine tastes bitter (良药苦口); To add fuel to the fire (火上浇油); Practice makes perfect (熟能生巧); to fish in the troubled water (浑水摸鱼). The Chinese word “纸老虎&quot; is literally translated into “paper tiger&quot;. Foreigners not only seem to understand its meaning, but also feel very vivid, so it has become the official British and American national language. In addition, “丢脸&quot; in spoken Chinese is also translated into “lose face”; and “走狗” is translated into “running dog”. Literal translation helps to maintain the style of the original text, and can also introduce new words, syntax and expressions to enrich the content of the language. (Zhang Yanxin, 2017)<br /> <br /> =====4. 2. 2 Borrowing=====<br /> In both Chinese and English, some synonymous idioms are consistent in content, form and color. They not only have the same meaning and rhetorical color, but also have similar forms or metaphors. Borrowing means that when some English idioms and Chinese idioms are consistent or basically consistent in meaning and form, they can be replaced by corresponding idioms in translation. (Hu Gangliang, 2019)<br /> <br /> For example, wall have ears (隔墙有耳); lain sail (一帆风顺); Love me, love my dog (爱屋及乌); When shepherds quarrel, the wolf has a winning game (鹬蚌相争，渔翁得利); Set a fox to keep one' s geese (引狼入室). In western culture, cunning foxes are specially designed to steal geese. If the geese are handed over to the foxes, it is like sending sheep into the tiger's mouth, which is almost equivalent to the Chinese saying “引狼入室”, and the translation is very vivid. (Hu Gangliang, 2019)<br /> <br /> It can be seen that borrowing can not only maintain the charm and form of the original text, but also be easily accepted by readers or listeners. However, when using borrowing, we should pay attention to the fact that although some English and Chinese idioms have similar literal meanings, their meanings are very different. At this time, we can't pull them together, or we will destroy the image of the original text and appear far-fetched, There are even misunderstandings. For example, “pull one's leg” seems to be the Chinese word for “拉后腿”, but the two idioms have completely different meanings. (Hu Gangliang, 2019)<br /> <br /> =====4. 2. 3 Free Translation=====<br /> Each national language has its own vocabulary, grammar, sentence pattern and expression. When the content of the original text conflicts with the language standard of the translation, literal translation is not suitable, and the same idiom cannot be found for borrowing, so the free translation method should be adopted. Free translation cannot be confined to the expression form of the original text, but it must faithfully express the content of the original text. Such as The kettle and the (一丘之貉); Once in the blue moon (千载难逢); Actions speak louder than words (事实胜于雄辩); The apple of one's eye (掌上明珠). (Hu Gangliang, 2019)<br /> <br /> In addition, some idioms contain historical allusions or ancient people's names, and some involve place names or religions. If they are translated literally, they will be very difficult for the target readers to understand. At this time, it is better to adopt the free translation method, because on the one hand, it can reflect the simplicity of the original text, on the other hand, it is more acceptable to the readers. For example, “赔了夫人又折兵” comes from the allusions of the Three Kingdoms. We can translate it into “suffer a double loss instead of making a gain”. “A new broom sweeps clean” cannot be translated as “新打帚打扫得干浄”，and it should be“新官上任三把火”。Therefore, free translation should be used as a major method in the translation of English idioms which possess metaphor. Of course, the use of free translation will inevitably damage the image metaphor of English idioms and reduce the expressive power, which requires translators to be more careful in translation and make full use of the advantages of Chinese to make up for it. (Hu Gangliang, 2019)<br /> <br /> =====4. 2. 4 Annotation=====<br /> Some idioms have strong national and local characteristics or allusions, and some involve ancient names or place names. We can fully express their significance only after we understand their historical background and the source of ancient books. In the process of translation, if the original text is translated literally, it is difficult for readers to fully understand its implication; if free translation is adopted, the unique image and style of the original text cannot be retained. At this time, the use of annotation to translate can not only make readers understand the original meaning, but also help readers to further understand the potential meaning of the language itself. (Guo Huiqing, 2019)<br /> <br /> For example, “The heel of Achille”: the literal translation of such idioms will make Chinese readers feel confused. The ancient Greek hero Achilles was carried upside down by his mother after he was born and soaked in the river Styx, so he was invulnerable. However, his heel was not immersed, which made him his only fatal weakness. In later battles, he did die of heel injuries. When we encounter such idioms, we can translate them with annotation, that is, Achilles' heel (fatal weakness) will be clearer. (Guo Huiqing, 2019)<br /> <br /> From the above translation examples, it is not difficult to find that although the annotation method can keep the original flavor of the original language, and can take into account its form and other aspects, some translations are somewhat lengthy and cumbersome, thus losing the characteristics of short, concise and humorous. Therefore, this method has some limitations. (Guo Huiqing, 2019)<br /> <br /> ===5. Conclusion===<br /> This paper mainly compares English and Chinese culture from four aspects: regional culture, religious culture, historical culture and custom culture, and then analyzes the differences between English and Chinese idioms, and puts forward some translation methods, including literal translation, borrowing, free translation and annotation. Idioms are characterized by rich cultural connotations, and the quality of their translation is closely related to the degree of cultural understanding. The translation of idioms needs to express the implied cultural meaning and communicate with the target audience smoothly to achieve better communication effect. (Chen Jian, 2016)<br /> <br /> Therefore, this paper compares English and Chinese Idioms from the perspective of language and culture, analyzes the differences between English and Chinese Idioms from the perspective of culture, and deeply understands idioms, so as to put forward appropriate translation methods and promote communication. However, the comparison of English and Chinese culture and the translation methods are not comprehensive enough and need further study.(Chen Jian, 2016)<br /> <br /> ===6. References ===<br /> Zhang Yanxin张严心.(2016). &quot;谈文化差异背景下的英汉习语翻译策略&quot; [On the Translation Strategies of English and Chinese Idioms in the Context of Cultural Differences]. &quot;中国教育学刊&quot; [China Education Journal].(S1):1-3<br /> <br /> Wu Xiaoli吴晓莉.(2008). &quot;从文化差异的角度看英汉习语的翻译&quot; [On the Translation of English and Chinese Idioms from the Perspective of Cultural Differences]. &quot;鸡西大学学报&quot; [Journal of Jixi University].(05):87-88.<br /> <br /> Ma Guozhi马国志. (2019). &quot;文化视域下的英汉习语对比与翻译&quot; [Comparison and Translation of English and Chinese Idioms from the Perspective of Culture]. [Science and Education] &quot;科教文汇&quot;. (03):180-183.<br /> <br /> Guo Huiqing郭卉青. (2019). &quot;从英汉文化差异看英汉习语翻译&quot; [On Idiom Translation from the Perspective of Cultural Differences between English and Chinese]. &quot;校园英语&quot; [Campus English]. (23):218-219.<br /> <br /> Zhou Suhan周苏菡.(2017). &quot;从文化差异的角度看英汉习语的翻译&quot; [Cultural Differences between English and Chinese Idioms and Their Translation]. &quot;湖北函授大学学报&quot; [Journal of Hubei Correspondence University].30(23)167-169<br /> <br /> Deng Qiufeng邓秋峰.(2020). &quot;浅谈中英习语的文化差异和翻译&quot; [On the Cultural Differences and Translation of Chinese and English Idioms]. &quot;校园英语&quot; [Campus English]. (04):242-243.<br /> <br /> Chen Jian陈坚.(2020). &quot;基于英汉语言文化对比探析习语的翻译方法&quot; [On the Translation of Idioms based on the Comparison between English and Chinese]. &quot;商务英语教学与研究&quot; [Business English Teaching and Research]. (00):92-99.<br /> <br /> Zhang Yue张悦.(2013). &quot;试论英汉习语的文化差异及教学思考&quot; [On the Cultural Differences between English and Chinese Idioms and Teaching Thinking]. &quot;中国教育学刊&quot; [China Education Journal].<br /> <br /> ==Cultural Differences On English Interpretation And The Coping Strategies马娟 Ma Juan 英语语言文学202020080623==<br /> 马娟Ma Juan202020080623<br /> ===Abstract===<br /> English interpretation as a cross-cultural social activity refers to the cultural differences between English and Chinese. Because of cultural differences in these asapects such as historical background , customs, religion and the way of thinking, English interpretation is necessary to take all of these influences into consideration and the interpreter must have a penetrating mind of the cultural differences.When the interpreter does English interpretation, he must know the coping strategies to grapple with these problems caused by cultural differnences so as to transmit the proper,correct and decent information to the target audiences.<br /> ===Key words===<br /> Cultural differences; English interpratation; Coping strategies;<br /> ===题目===<br /> 英语口译中的文化差异及应对策略<br /> <br /> ===摘要===<br /> 英语口译作为一个跨文化交际活动，涉及到英语和汉语的文化不同，因为历史背景、习俗、宗教和思维方式等等这些方面的不同，英语口译必须把这些因素的影响考虑进去，口译员也必须有跨文化交际意识。<br /> ===关键词===<br /> 文化差异；英语口译；应对策略；<br /> <br /> ===Introduction===<br /> ====Research Background====<br /> From the ancient time to now, the communication between peoples and nations is achieved through language. Because of the multitude of human’s languages in the world, translating rises in response to the proper time and conditions. Translating is divided into two kinds; one is translation and the other is interpretation. On the ground that interpretation is characterized by the properties of presence, time limit and live, it plays a prominent part in our daily life.(Hu Kun,2014) <br /> <br /> However, as we all know, people are living in a speech community. Hence, They are not immune to the culture of the community. It is precisely because the communication between people in different communities has this sort of characteristic, the interpretation between these communities speaking different languages is the transfer of ideas and cultures. Thus we can see that the interpretation as a cross-cultural activity, it can not avoid the effects of cultural differences between the target language and the source language.(Liu Yan,2015,08)<br /> <br /> As we all know, Chinese as an oriental language and English as a western language originate form two kinds of completely different community background, geographical conditions and cultural setting. Thus it is not hard to imagine the colossal differences behind these two languages, a simple but all-round representative of all the differences between these nations. So the interpretation between Chinese and English is obviously a way of culture spreading, which is absolutely influenced by the cultural differences between two or more sorts of cultures. Additionally, from the previous practice of cultural communication, a great number of interpreters chorus that the cultural differences affects the interpretation, a information transfer activity, a lot. For the sake of the cultural differences, it follows some problems caused by these differences such as misinterpretation and an informational loss in the process of English interpretation. Only can these problems be solved, a relatively complete and successful communication can be reached.(Gai Xiaoyu,2016)<br /> <br /> ====Research Significance====<br /> In that many problems are produced by cultural differences between Chinese and English, there must be some solutions to these problems in order to pursue better communication between people and facilitate the exchange of man’s ideas and minds. Therefore, this chapter is also going to introduce some kinds of coping strategies to improve the effects of interpretation despite of the long-existed cultural differences between the west and China. These coping strategies stretch from the ideal aspect to action aspects. Because the cultural differences includes many aspects such as way of thinking, customs and religious culture, it is required that the interpreter is capable of clearly mastering the two languages and also understanding the cultural differences in all aspects.(Ding Yin,2015) <br /> <br /> That is to say, the interpreter must have a awareness of cross-culture and a master of all kinds of flexible switching skills between Chinese and English, which are as follows; they are domestication and foreignization,natural equivalence, literal translation with a annotation or the method to borrow synonym in English and some flexible handling. All these coping strategies that will be advocated in this thesis are beneficial for achieving better effect of information transfer and also the culture exchange.To sum up, the research significance of this chapter is to improve the effects of English interpretation to guarantee a higher quality of the integrity on the information transfer and the same reaction of the listeners through the use of these strategies, and thus to promote culture exchanges between China and the west in spite of the influences of cultural differences.(Ding Yin,2015)<br /> <br /> ====The Structure of The Chapter====<br /> The chapter is divided into five parts. The first part is to explain the research background and the research significance of this chapter. With the development of globalization, exchange between nations and peoples is more and more frequent. As a witness and an indispensable participant of the international communication, interpretation plays an important role in this process. Nevertheless, for the sake of cultural difference between China and the west, there is always some misinterpretation and informational loss in the process of information exchange. Given this, the chapter also takes a part in the group that aims to find some strategies to improve the effect of interpretation. With the help of these strategies, the English interpretation may be more better in the aspect of informational transfer and emotional expression.(Gai Xiaoyu,2016) <br /> <br /> The second part will have an outlook of several cultural differences between China and the west. On account of a long period of discrepancy in the lifestyle, customs, geographical environment, religious belief and history, the difference between China and the west is countless. This chapter just give explanation to some of them.(Ding Yin.2015)<br /> <br /> The effects of these differences caused in the English interpretation will be down to the point in the third part. The effects of the influence is so colossal that the interpreter can not ignore them when they are doing the interpretation.(Ding Yin.2015) <br /> <br /> The forth part will finally make an account for the antidote to the problems that are evoked by cultural differences. This strategies will do a favor to the integrity of informational transfer and emotional expression.(Zhong Zaiqiang,2004) <br /> <br /> The fifth part concludes the whole chapter. As the conclusion, this part will be responsible for the variety if the cultural difference and the effects of the cultural interpretation on the English interpretation and most importantly the strategies to the settlement of these problems led by cultural differences.(Li Jing,2014)<br /> <br /> ===The Several Aspects of Cultural Differences Between Chinese and English===<br /> During a long period of individual development of culture, there are many aspects of cultural difference existing between China and the west.These differences are influenced by plenty of factors such as historical culture, regional culture, custom culture,religious culture, digital culture and social code. <br /> ====Historical Culture====<br /> First and foremost, the definition of historical culture would be introduced. The difference in historical culture here lies in cultural accumulation of the social heritage and the specific historical and cultural development process. These differences generally are reflected in the allusions, proverbs, idioms and so on .For thousands of years, China is an agricultural country and thus has developed the agricultural culture which largely influenced the shape of language. As the Sapire-Whorf hypothesis has demonstrated. the culture of a community can influence people’s in this community way of thinking. The way of thinking straightly decides how people use their language to express a signifier.(Ding Yin,2015) <br /> <br /> On the contrary, the western countries have been living next to the ocean and thus progressed an ocean culture. Under the influence of this kind of lifestyle, western people pays have developed the respect of the spirit of adventure, which reflects in their language performance is their direct expression of their emotion. Contrast to the ocean culture, Chinese people have worked on the agricultural production generation after generation. So they are more inclined to adopt the euphemistic expression because they have the modest and reserved character compared with the western people. These two kinds of completely different character reflects clearly in their language expression.(Ding Yin,2015)<br /> <br /> ====Regional Culture====<br /> China is located in the east of the earth while the west countries set in the other side of the world. The spatial distance is considerable and also the differences in the geography is immense. China is a land of high plateau and has more high mountain ranges, which gives rise to huge temperature difference between territories and vagaries of climate. While the Europe is a land of plains with a law altitude. On the side, because the west is on the edge of the Atlantic Ocean, the weather is moderate oceanic climate where the four seasons is like spring. Considering these regional differences leading to the distinctive climate on the year, they inevitably exert an influence on the culture and people’s way of expression.(Li Jing,2014)<br /> <br /> For example, the British people who speak English as their mother tongue are characterized by slight melancholy and are more conservative, partly because of their changeable weather on the whole year, than Americans who also speak English.Generally speaking, the phatic communion between British people whether they are strangers or not is often about the weather. The topic on the weather is the expected and inherent greetings between British people.(Ma Nan,2016) <br /> <br /> Similarly, the feature of geographical territory plays an part in Chinese people’s culture and their way of talking. Because China has a vast land for farming and the weather is also naturally suitable for the plant of rice. Chinese people have been dependent on the rice for making a living, which has been generated the agricultural culture after thousands of years. Therefore, the greeting between Chinese people is always about the food. When they make an acquaintance with someone, they will say “Have you eaten？” in a general way. It’s worth noting that when a Chinese people ask you this question, you can not mistaken their intentions. The implied meaning of this sentence is just “hello” rather than the invitation of you to go their home to eat. From these two examples, we can distinctly have a grasp of the difference on their way of expression caused by regional difference.(Ma Nan,2016)<br /> ====Custom Culture====<br /> Every nation has its own inherent customs through thousands of years’ cultural accumulation. These customs originate from people’s way of life and habits formed over thousands of years. They are deep-rooted in their culture to the extent that the later generations even have no awareness of the reason why to use them but have to abide by these customs habitually. By this token, a nation’s customs generated over their generations have so tremendous power over this nation’s way of action and way of expression.(Xia Zengqiang,2016) <br /> 2.4.Religious Culture<br /> The element of religion influences and to some degree plays a decisive role in people’s moral value and belief. As we all know, in the history people in the English world have a firm belief in the Christianity while Chinese people tend to believe and receive an influence of Buddhism and Confucianism. A huge gap between these kinds of cultures can be obviously seen in the aspect of the nature of religion. Christianity believes in the God named Jesus who can show people the truth and thus belief in the God is the trust in the truth. However, in the Buddhism, the disciple of the Buddhism believe in the Buddhist thoughts which they deem as divinity. Furthermore, the Buddhism is to teach people some Buddhist thoughts while the Christianity is a real religion. Similarly, the Confucianism is also to moralize and educate people and it can not be taken as a religion in a strict way.(Li Jing,2014)<br /> ====Digital Culture====<br /> As a part of culture, the digital culture as a matter of fact is influenced by other kinds of cultures such as religious culture and custom culture. Digital culture can be seen as a reflective of the other culture mentioned above. However, the difference reflected by digital culture also plays an important part in the huge background. There are many different linguistic use of digital characters between Chinese and English. For example, many idioms can find the track of digital characters such as “七嘴八舌”“三心二意”“四面八方” ans so on. When these idioms are translated into English, we can not use the literal translation otherwise the target audience will be completely confused. Instead of direct translation of these digital characters in the idioms, the translator or the interpreter normally adopt the free translation to explain the deep meaning contained in these idioms. Additionally, some likes and dislikes for the digital characters between English people and Chinese people is also different(Li Jing,2014). <br /> <br /> For example, Chinese people have an affectation of number six and number eight and dislike number four. While for the English people, affected by the religious culture, they dislike number thirteen.In the West, most people believe in Christianity, while in the Bible, Jesus, the most revered figure, was betrayed by his thirteenth disciple. Therefore, in the eyes of westerners, the number 13 represents deceit and betrayal, and is regarded as an unlucky number. Therefore, in western countries, there is usually no 13th floor, or row 13 seats on the plane. People’s preference for the digital characters mirrors their language use. They will be inclined to use the digital character that they dislike to represent some bad things and bad luck. Instead, the digital characters they are fond of are mostly to be on behalf of good luck and merry things.Different countries have different religious beliefs and customs, and different cultural differences lead to different concepts of numbers. (Li Jing, 2014)<br /> ====Social Code====<br /> Among all these parts, the social code can be seen as the most direct way to differential the cultural differences between two societies when we step into a new society. Due to the differences in the social norms that Chinese and Western cultures rely on in the process of linguistic and non-linguistic coding, Chinese and Western cultures have fixed patterns that are restricted by their national cultures in such aspects as greetings, apologies and comity, acknowledgements, taboo euphemisms, terms, topic selection, polite culture, etc.(Shi Huiying,2014) <br /> <br /> Therefore, there are obvious differences between Chinese and westerners in greeting, saying goodbye, praising, thanking, inviting, apologizing and so on, which leads to cultural conflicts. For example, when people meet in China, they often ask each other some questions about family, income, marriage experience and other aspects of life to show their concerns, but such topics will make westerners very disgusted, they think it is a violation of their personal privacy. Obviously, in contact with the target of the negotiation, if we don’t try to avoid such questions, definitely it can lead to culture clashes. For another example, Chinese people stress vanity and courtesy Li, and their words are often duplicative and contemptuous of others. When people in the west abuse their personality and self-affirmation, they will feel very confused when they hear Chinese people deny others' praise or their own achievements, and think Chinese people are dishonest and hypocritical.(Shihuiying, 2014) <br /> <br /> Therefore, in cross-cultural business communication, if we ignore the differences in communication principles and modes caused by the different social norms between China and the West, we will use the communication habits of our own nation and misunderstand both sides due to cultural differences, which will lead to the failure of communication and even bring serious consequences. (Shihuiying, 2014)<br /> <br /> ===The Effects of The Several Aspects of Cultural Differnences On English Interpretation===<br /> As mentioned above, there is so much cultural differences existed between the western culture and Chinese culture. These cultural differences are bound to have an impact on the language use. As we all know, the English interpretation directly has a relation with the language differences. Thus, when it is concerned with English interpretation, it must take the cultural differences into consideration. This part will mainly demonstrates the several aspects that the cultural differences has influenced on the English interpretation.(Zhang Wen,1998)<br /> ====Lexical Representation====<br /> Because every nation has its own unique history and culture, way of life and diet is also have many differences, so in the diet and lifestyle of interpreting, something with untranslatability in translation, this requires two process to further explain the culture of different places. For example, in the north of China, people will light their own stoves and watch them, while there is no kang in the West. Therefore, if the translator only has to suffer directly when translating, the recipient will not know why. In the same way, the Chinese rice cake &quot;zongzi&quot; and so on need to have the awareness of cultural difference in the interpretation, and the information needs to be further processed and exported.(Liu Yang,2019,17)<br /> ====Pragmatic Rules====<br /> The pragmatic rules of appellation are quite different in Chinese and Western cultures. In more formal occasions, the Chinese people in general like the title after the surname plus I, said the respect, for example, director of the &quot;king&quot; Eva airways had scheduled another round-trip charter &quot;teacher zhang, at the same time, China has a good traditional virtue, pays attention to pecking order, such as&quot; big jiu &quot;enforced&quot; elder sister-in-law &quot;sister&quot;, while westerners for appellation is simpler, more formal occasions, married with known people before the surname plus Mr Or Ms, for unmarried with MR. or Miss is not a Teacher Zhang, but can be addressed on a first-name basis. In informal situations, westerners will usually address the Teacher by his or her first name.(Liu Yang,2019,17)<br /> <br /> For the pragmatic rules of communication, China and the West are also quite different. In China, people like to say &quot;have you eaten yet? Where are you going? This, to westerners, is an invasion of privacy. It simply means that westerners feel that someone is inviting them to eat or that they are likely to be followed. Therefore, this cannot be translated directly into &quot;Have you eaten? Where are you going?&quot; &quot;, but through cultural transformation, translated in a western way into &quot;How do you do? How is everything going?&quot;(Liu Yang,2019,17) <br /> ====Way of Thinking====<br /> Different forms of social development lead to different values for each nation. This also affects the interpreter's translation quality and the accuracy of information transmission. For example, at the end of a group meeting, Chinese people like to end the meeting with a solidarity speech, such as &quot;let's work together to achieve greater success!&quot; As long as we keep our hearts together, we will have a better tomorrow. &quot;In the eyes of westerners, it seems to have little to do with themselves. Therefore, in interpreting activities, information should be processed to express the information presented in the source language based on the thinking mode of westerners.(Zhang Wen,1998)<br /> ====Historical and Cultural Background====<br /> China has a long history, and its long history has created many historical figures and events, such as the Terracotta Warriors, imperial officials and the Great Wall. Similarly, due to its different development history, the West also has its own unique historical figures and events, such as Shakespeare, the poet emerging in the Renaissance. Therefore, in interpreting activities, if the interpreter simply translates the names of historical figures and events, the recipient of the information will be confused and the information transmission will not be able to reach the role of &quot;bridge&quot;.(Liu Yang, 2019,17）<br /> <br /> ===The Coping Strategies of The Effects===<br /> As the reality that there is much more cultural differences between the Western culture and Chinese culture is presented in front of the interpreters working on the English interpretation. And furthermore these differences have some effects on the cultural exchange activity——the English interpretation. To improve the efficiency and quality of the English interpretation, some strategies must be employed in the process of English interpretation. These strategies involves many aspects such as domestication and foreignization,natural equivalence and flexible handling.Each of them can be correspondingly to the solution of the problems that caused by cultural differences.(Wang Yaqing,2014,27)<br /> ====Domestication And Foreignization====<br /> Domestication and foreignization are widely used techniques in translation. Domestication means to take the target language or target language reader as the destination, and to adopt the expression way used by the target language reader to convey the content of the original text, so that the translation can be easy to understand. In translation, foreignization ADAPTS the language characteristics of foreign cultures, absorbs the expression ways of foreign languages, and requires the translator to draw closer to the author and adopt the expression ways of the source language used by the author to convey the content of the original text, that is, to turn the target language into a destination. Many scholars believe that naturalization should be the main method to deal with cultural differences in interpretation, which is reasonable and wise to a certain extent. However, if the interpreter finds that the audience does not understand it well enough, he should try to find the closest expression in the target language or be easily understood by the audience.(Ding Yin,2015) <br /> ====Natural Equivalence====<br /> At its core is its principle of functional equivalence. This principle emphasizes that what the translator pursues is not literal correspondence but the reflection of cultural factors in the translation to achieve functional equivalence. In dealing with cultural differences, the search for natural equivalents is always the most desirable strategy because it best represents the source language information of the target language. In general, natural equivalents can be achieved in the following ways.(Ding Yin, 2015)<br /> 4..2.1.Transliteration<br /> There are some things or things that cannot be found in other cultures. For example, there are a large number of things that cannot be found in Chinese and English, and the translation of these things is transmitted to other cultures by transliteration.In China, &quot;jiaozi&quot; and &quot;baozi&quot; are different foods, but they are both interpreted as &quot;dumpling&quot;, which in English means fruit wrapped in sweet dough. As a result, if &quot;jiaozi&quot; and &quot;baozi&quot; are interpreted as &quot;dumpling&quot;, people who have never seen &quot;jiaozi&quot; and &quot;baozi&quot; may misunderstand them and they are transliterated as &quot;icaxi &quot;and &quot;baozi&quot;. Similarly, many of the words we use in daily life have transliterations from English, such as &quot;coffee&quot;, &quot;gene&quot;, &quot;Internet&quot;and so on.(Guo Yanan,2016)<br /> 4.2.2.Explanation of The Literal Meaning<br /> Literal interpretation of definitions, also known as direct interpretation. When the cultural connotation of the source language and the target language can be expressed in the same or similar words, it can be interpreted literally.(Ding Yin,2015)<br /> 4.2.3.Explanation of The Connotation<br /> When a word or expression cannot find the same meaning and form equivalent to the native-language, its interpretation often abandons the form of the original text and interprets it according to the connotation of the source language. In dealing with these languages, it is necessary to combine the cultural essence of the source language and avoid overly lengthy explanations as much as possible.(Ding Yin,2015)<br /> <br /> ====Flexible Handling====<br /> Because Chinese and English are so different in expression, it is not a one-side process to deal with cultural phenomena in interpretation. In addition to the countermeasures mentioned above, to solve specific problems must be combined with the characteristics of interpretation, strive to seek truth from facts. Because the translation has to be done in a very short time. The target language of interpretation cannot be completely separated from the influence of the source language, so in practice, it is necessary to make logical reasoning according to the context, understand its main meaning, and try to use the original meaning of the target language words and phrases to express. It’s better to adopt appropriate domestication or foreignization method to deal with flexibly. The treatment of cultural phenomena in interpretation should focus on naturalization to achieve a better understanding for the audience.(Ding Yin,2015) <br /> <br /> For instances, “In the past few days, the election situation in Taiwan has taken a sudden turn for the worst, and all political tricks have been used.” In the past few days, the Taiwan election campaign with dramatic changes, has been fraught with treachery and schemes. However the hidden intention is clear for anyone to see. Some people are trying their best to make the one who is for Taiwan independence win the election.(Zhong Zaiqiang,2004) <br /> <br /> These two sentences are composed of three four-character phrases and one idiom in two Chinese sentences. It is difficult to accurately express the four-character phrases and idioms in English in a very limited time. Here translators understand the actual meaning of these phrases and idioms through the context, and combine the words of &quot;changeable&quot; and intrigue with the words of &quot;magic trick and Intrigue&quot;, which can be translated appropriately and smoothly. Not only does &quot;dramatic change&quot; reflect the original meaning of Chinese, but it also accurately describes the tense atmosphere in Taiwan's election which caused the situation to go into a dramatic downward spiral due to the hidden exhaustion of political scheming and cunning. The hidden intention of Si Mazhao is clear for anyone to see.(Zhong Zaiqiang,2004) <br /> <br /> In this translation, the interpreter makes logical reasoning according to the context of the main text and adopts the domestication method to get rid of the shackles of the Chinese sentence pattern, which not only concisely expresses the meaning, but also makes a net profit.( Zhong Zaiqiang,2004)<br /> <br /> Since interpretation, as a form of translation, has the function of cultural communication in a certain sense, foreignization has its own value in dealing with some special cultural phenomena. Take this sentence as an example. “人们说, 到了北京不吃烤鸭是最大的遗憾。在就餐之前, 我向大家简单介绍一下烤鸭和它的来历。”And its translation is “People say that it would be a great pity to visit Beijing without tasting some Beijing Roast Duck .It really makes sense. Now , before we start to eat , I' d like to tell y ou something about this specialty.” Here, the direct alienation of Beijing Roast Duck into &quot;Beijing Roast Duck&quot; will not cause the guests' misunderstanding, because the term &quot;Beijing Roast Duck&quot; is a cultural vacancy in English, and the real object is placed in front of the guests to make it clear at a glance.( Zhong Zaiqiang, 2004)<br /> <br /> ===Conclusion===<br /> <br /> In summary, this chapter is all about the cultural differences between Chinese culture and western culture. These differences range from the religious aspect to the consciousness aspect such as the way of thinking. There is no question that these aspects have done a lot of influences in our way of expression during our interpretation. For instances, it will have an impact in our lexical expression, pragmatic rules and way of thinking. To have a pursuit of the efficiency and better informational transfer, this chapter offers some strategies to achieve this goal. These strategies is very beneficial and they include foreignization and domestication, achievement of the natural equivalence, transliteration and some flexible handling in accordance with the specific situation. With the help of these practical strategies, the interpreter can produce a more incredible and proper translating. Ultimately, a bridge can be build .As a result, though the cultural differences is still at present, the people from two different cultural backgrounds can be understandable for each other.(Li Jing,2014)<br /> <br /> ===References===<br /> Liu Yang.刘洋.(2019).文化差异对英语口译的影响与应对.The impact of cultural differences on English interpreting and coping with them.智库时代,Think Tank Times(17):198-199.<br /> <br /> Xue Shengjiao.薛胜娇.(2019).“两会”记者会的长句汉英交替传译策略研究[D].Study on the strategy of consecutive interpretation of long sentences between Chinese and English in the press conference of the &quot;two sessions&quot;华侨大学,Huaqiao University.<br /> <br /> Gai Xiaoyu.盖晓雨.(2016). 功能对等理论指导下的口译策略[D]. Interpretation Strategies Guided by Functional Equivalence Theory内蒙古大学, Inner Mongolia University.<br /> <br /> Xia Zengqiang.夏增强.(2016).浅析英汉语言文化差异——以英语口译为例. An analysis of the cultural differences between English and Chinese languages - taking English interpretation as an example.辽宁广播电视大学学报,Journal of Liaoning Radio and Television University,(04):127-128.<br /> <br /> Guo Yannan.郭亚楠.(2016). 顺应理论视角下的口译策略[D].Interpretation Strategies in the Perspective of Conformity Theory.内蒙古大学,Inner Mongolia University.<br /> <br /> Ding Yin.丁颖.(2015).浅析英语口译中的文化差异与应对.An analysis of cultural differences and responses in English interpretation.教育观察(上半月),Educational Observation (First Half of the Month),4(09):143-144.<br /> <br /> Zhong Zaiqiang.钟再强.(2004).试论口译中文化现象的翻译策略.Experimental translation strategies of cultural phenomena in interpretation.柳州职业技术学院学报,Journal of Liuzhou Vocational and Technical College,(04):99-102.<br /> <br /> Hu Kun.胡坤.(2014). 口译活动中文化差异引起的交流障碍及应对策略分析[D].Analysis of communication barriers caused by cultural differences in interpreting activities and coping strategies内蒙古大学,Inner Mongolia University.<br /> <br /> Ma Nan.马楠.(2016). 联络口译中文化差异引起的障碍及对策[D]. Barriers caused by cultural differences in liaison interpreting and countermeasures.黑龙江大学,Heilongjiang University.<br /> <br /> Liu Yan.刘燕.(2015).浅谈英语口译的文化差异现象.A Brief Introduction to the Phenomenon of Cultural Differences in English Interpreting.校园英语,Campus English.(08):245.<br /> <br /> Liu Miqing. 刘宓庆.口笔译理论研究[ M]. Research on Interpretation and Translation Theory.北京:中国对外翻译出版公司,Beijing: China Foreign Translation and Publishing Corporation,2004.<br /> <br /> ==Polysystem Theory and Cultural Turn-吴琪 Wu Qi，202020080653==<br /> &lt;center&gt;吴琪 Wu Qi &lt;/center&gt;<br /> ===Abstract===<br /> Even Zohar took the lead in putting forward polysystem theory, which was further developed in the descriptive translation studies put forward by his student Gideon Toury. On this basis, Susan Bassnett and André Lefevere first put forward the concept of cultural turn. Now, the issue of cultural factors in translation studies has received considerable scholarly attention. This paper sorts out several reasons why translation studies turn from linguistic studies to cultural studies bascically in chronological order. By revealing the role of cultural factors in translation, their influence on translation strategies and translation studies are objectively analyzed. Finally, it looks forward to how translators can better spread Chinese culture with the help of the cultural turn that has not disappeared.<br /> <br /> ===Key words=== <br /> Polysystem theory; Cultural turn; Translation studies<br /> <br /> ===题目===<br /> 多元系统理论和文化转向<br /> <br /> ===摘要===<br /> 伊文·佐哈尔率先提出了多元系统理论，并在他的学生吉迪恩·图里提出的描述性翻译研究中得到进一步发展。在此基础上，苏珊·巴斯内特和安德烈·勒弗维尔首次提出了文化转向的概念。目前，翻译研究中的文化因素问题已经引起了学术界的广泛关注。本文基本按时间顺序梳理了翻译研究从语言学研究转向文化研究的几个原因。通过揭示文化因素在翻译中的作用，客观地分析了文化因素对翻译策略和翻译研究的影响。最后，展望了译者如何借助尚未消失的文化转向之风更好地传播中国文化。<br /> <br /> ===关键词=== <br /> 多元系统理论；文化转向；翻译研究<br /> <br /> ===1. Introduction===<br /> The overall structure of the study takes the form of five chapters. Chapter I will systematically contextualize the research by introducing the historical background and ideological resources of polysystem theory；Chapter II will deal with the research carried out mainly by Zohar and Toury to develop polysystem theory and its application in translation practice; Chapter III will review the studies related to cultural turn; Chapter IV will clarify advantages and disadvantages of scholars’views on the role of cultural issues in translation studies；Chapter V will give a brief look forward to future research trends.<br /> <br /> ===2. Development of polysystem theory===<br /> <br /> ====2. 1 Research Background====<br /> <br /> =====2. 1. 1 Historical Background=====<br /> The representatives of Polysystem theory are Israelite scholars Zohar and Toury. Israel is an emerging country established after World War II. and there are almost no native cultures and literary works. The development of its own culture can only rely on absorbing the excellent cultures of other countries. In this context, Zohar can only focus on translated works(Gillespie &amp; Even-Zohar 1994:1). <br /> <br /> =====2. 1. 2 Influence of ideological sources=====<br /> Russian formalism prevailed in the 1920s, and the goal of Russian formalism theory was to improve the status of literature in society. Formalist scholars believed that &quot;literary works should be regarded as a part of the whole literary system instead of being an independent research object&quot;, and they also put forward the concepts of &quot;defamiliarization&quot; and &quot;literariness&quot;, aiming at establishing a research field for literature and distinguishing it from other disciplines. Zohar studied Russian formalism and Czech structuralism for many years, on the basis of which, in the 1970s, he put forward a new Polysystem theory to guide translation studies. Polysystem theory was proposed by Itamar Even Zohar(Gillespie &amp; Even-Zohar 1994:2). <br /> <br /> ====2. 2 From Linguistic-centered to Cultural-centered====<br /> Chomsky put forward transformational generative grammar in the mid-late 1950s, which deeply influenced a group of linguists and translators and changed the position of structural linguistics established by Saussure. In the 1960s and 1970s, the Science of Translation, also known as the Linguistic Approach, emerged with Nida, Jacobson, Newmark, and so on as its representatives. They maintained that translation studies were regarded as a subsidiary discipline of linguistics. They also proposed that the task of translation was to achieve functional equivalence, that is, translating should consist in reproducing in the receptor language the closest natural equivalent of the source language message first in terms of meaning and secondly in terms of style(Zhu Huichao 2017,88).<br /> <br /> Gradually, translation studies were restricted to the micro-linguistic level, with emphasis on the text, and the subjective initiative of translation was ignored. Translation studies focused on discussing the differences and discovering the laws between languages, then, a set of mechanical rules that could guide translation were summarized, translation studies were treated as a &quot;science&quot; with a complete theoretical system. This also formed a mindset, which narrowed the translator's eyes to the information level of the original text, ignoring the influence of wider culture and these factors on the generation and acceptance of the translation(Zhu Huichao 2017,88).<br /> <br /> Also, in the 1970s, Zohar put forward Polysystem theory based on Russian formalism, and he thought that the process of studying translation is also the process of studying the target language culture. Polysystem theory studies literature from multiple perspectives, not just in the field of literature, but through the study of other extension factors, it studies literary translation more comprehensively and deeply(Gillespie &amp; Even-Zohar 1994:113). <br /> <br /> Toury, a student of Zohar, put forward Descriptive Translation Studies (DTS) and translational norms, which provide a more perfect research idea for cultural studies. The International Association for comparative literature held a seminar about polysystem theory which allowed more scholars to study Polysystem theory and descriptive translation(Zhang Suwen 2019,93). <br /> <br /> By the mid-1990s, the cultural turn completely broke the situation that translation studies were confined to micro-linguistics. At that time, translators have shifted their focus from the micro-linguistic level to the macro-cultural level. Scholars, such as Susan Bassnett, Lefevere, and Venuti, began to pay attention to other factors outside the source text such as culture, philosophy, politics, poetics, and so on(Zeng Wenxiong 2006,196). <br /> <br /> Thanks to the efforts of these scholars, more intellectuals have been influenced by developments in cultural studies. They believed that because the source text is produced placed in the specific context of the cultural environment, the target text should not be regarded as a simple transformation between languages. Of course, in the process of translation studies, translators are most concerned about disciplines across the cultural spectrum. The emergence of cultural studies opened a new door for closed translation studies at that time. This new paradigm broadened the scope of translation studies and played a vital role in the construction of translation studies(Zeng Wenxiong 2006,196). <br /> <br /> ====2. 3 Representatives of Polysystem Theory====<br /> =====2. 3. 1 Main points of Zohar=====<br /> In order to better explain the theoretical core of the Polysystem system, I would like to roughly explain several basic concepts of the Polysystem system. First, what is the definition of Polysystem systems? Zohar generalized it as follows: The social symbol system is multiple and dynamic，which is composed of several different systems (such as culture, language, literature, society). Because the various systems interact and connect with each other, the status of each system is not equal，some subsystems are at the center, but some are at the edge. Second, what does the polysystem theory refer to? It points out that in different periods, the culture of a certain society may be superior or inferior to another culture.(Gillespie &amp; Even-Zohar 1994:45).<br /> <br /> In different historical contexts, translators will choose different translation strategies. Translators' choice of strategies will change in diverse situations, thus forms a dynamic translation study. Third, how are the levels in the Polysystem system classified? Zohar locates his translation studies in a Polysystem system of literature and classifies them according to the scale of their scopes. For example, the first layer is distinguished by country, the second layer is classified by literary type, the third layer is distinguished by whether it is translation literature, and the fourth layer is classified according to which country the original text comes from(Gillespie &amp; Even-Zohar 1994:45).<br /> <br /> Zohar was the first to uncover the status of translated literature and point out that translation literature can be a major role in the cultural system. For example, the three translation climaxes in Chinese history have functioned as a key element of the formation and development of Chinese culture(Gillespie &amp; Even-Zohar 1994:46). <br /> <br /> He stated that, in three cases, the system of translated literature will be at the center.<br /> <br /> ①. When a polysystem has not yet been crystallized, that is to say, when a literature is&quot;young,&quot; in the process of being established(Gillespie &amp; Even-Zohar, 1994); Take Israeli literature as an example, Israel was established after the second world war. The original Hebrew cultural tradition is very weak. So it is necessary for this country to introduce advanced literature from western countries and translate classical literature from other countries so that they can provide new thoughts and skills for the local country(Gillespie &amp; Even-Zohar 1994:47).<br /> <br /> ②. When a literature is either“peripheral”(with in a large group of correlated literatures) or “weak,” or both. when a literature is either “peripheral”, it will approach mainstream literature. The best way to approach it is to learn its techniques and skills by translated literature which can provide samples for imitation(Gillespie &amp; Even-Zohar, 1994:47).<br /> <br /> ③. When there are turning points, crises, or literary vacuums in a literature. For instance, after WWII, the vibrant American literature in the past two decades end abruptly and experienced a period of stagnation, because the existing literary model can no longer arouse the creative enthusiasm of a new generation of writers(Gillespie &amp; Even-Zohar 1994:47).<br /> <br /> When it comes to the position of literature, notice that，firstly，the innovation of the “weak” literary system is much lower than that of the center literary system. But we still have to affirm its function to spur it. Second, some literary systems are relatively strong when they are formed, and their own literary systems are often in the central position and are not easily influenced by other systems(Gillespie &amp; Even-Zohar 1994:50). <br /> <br /> Therefore, when the translated literature system is at the marginal position, literary translation is required (sometimes even necessary) to use words close to the target language so that the culture of the source language can be integrated into that of the target language. But if all the cultural features of the source language are eliminated in translation, then the translated literature will always be in a marginal state in such a system(Gillespie &amp; Even-Zohar 1994:50).<br /> <br /> =====2. 3. 2 Main Points of Toury=====<br /> Based on Zohar's theory, Toury made the following efforts to establish a generalized theory to describe translation. Above all, he proposed that the methodology of translation should be divided into three steps. First, the source text should be evaluated in the target cultural context to analyze its significance and acceptability; Second, the target language should be considered according to the target language environment; Third, a comparative analysis should be made between the source language and the target language, so as to identify the translation transformation. This can be used to explain the factors that influence or determine translation quality(Gao Feng &amp; Zhang Deng 2018,63). <br /> <br /> Besides, it is convenient to guide the translation practice of different topics by establishing relevant corpora. With the continuous advancement of translation and the accumulation of a large number of materials, different translation models can be concluded by conclusions, and finally, the universal rules for describing translation can be drawn, which is part of Toury's description translation theory(Gao Feng &amp; Zhang Deng 2018,63). <br /> <br /> Moreover, Toury put forward the concept of translation norms, which he thought were generally accepted in the process of translation. These norms are social and cultural restrictions on specific times, and people need to comprehend them through the necessary process of education and socialization. This is a powerful regulation，which means once they are established and recognized, translators must strictly abide by them, just like social legal documents(Gao Feng &amp; Zhang Deng 2018,63). <br /> <br /> It can be seen that Toury's theory is also based on the specific social and cultural context, and especially pays attention to the descriptive research of translation. His translation research method can be generalized as follow: before the research, a pre-set standard should be established, and then verified step by step in the process of translation research. Finally, the target text and the original text are compared, and the governing standards of the translated works are analyzed. Toury further suggested that translators can classify themselves into different standards, including source language standards, target language standards, and so on(Gao Feng &amp; Zhang Deng 2018,63).<br /> <br /> Toury's theories also attract more and more scholars to study translation from a cultural perspective. Likewise, Andrew Chesterman put forward new translational norms based on those of Toury's. He holds that the most important norm is &quot;expectation norm&quot;, that is, readers' expectation of the influence and communication power of translated works, and other norms are restricted by this &quot;expectation&quot;. It can be said that these two viewpoints provide the initial inspiration and theoretical basis for &quot;cultural turn”(Wu Ji 2018,205). <br /> <br /> ====2. 4 Polysystem Theory’s Influence on Translation Strategy====<br /> Zohar discusses the translator's choice of different translation strategies for foreignization and domestication when the translation literature system is at the center or marginal state of the polysystem. Foreignization and domestication were put forward by American translation theorist Lawrence Venuti in 1995 in The Translator's Invisibility. Historically, foreignization and domestication can be regarded as extensions of literal translation and free translation, but they are not completely equivalent terms(Song Yue 2018,93). <br /> <br /> The core issue of literal translation and free translation is how to deal with form and meaning from the micro-linguistic level. Domestication refers to the translation strategy of adopting a transparent and fluent style in translation to minimize the strangeness of the original text. Foreignization refers to the translation that deviates from the local mainstream values, preserves the linguistic and cultural differences of the original text. It can be seen that literal translation and free translation are mainly limited to the language level, while foreignization and domestication are based on the cultural context(Song Yue 2018,93).<br /> <br /> In translation practice, translators often choose the appropriate strategies according to the specific status the target culture places in the multicultural context. If the source text plays a central role in the whole language communication, the translator is more inclined to not be limited by the language model of the target text and can restore the content of the source text to the maximum extent, which can introduce a new language mode from the source text to the target language. If the source text plays a secondary role in the cultural system, usually, the translator will integrate the source text into the target language context to enrich the target language color(Song Yue 2018,94).<br /> <br /> For example, before the May Fourth Movement, translated literature was at the edge of the literary polysystem. Translators tend to adopt domestication translation strategies. Influenced by the Chinese literary tradition, Lin Shu adopted domestication in order to meet the needs of readers. Therefore, his translation works were restricted by the target language, and he translated the western source text into familiar ancient classical Chinese language, so that readers can more accept and recognize this translation activity(Xuan Huifang 2019,92).<br /> <br /> For example:<br /> <br /> Source text: I’ll fight for my liberty to the last breath I breathe. You say your fathers did it; if it was right for them. It is right for me(BEECHER &amp; DAVID).<br /> <br /> Target text: 盖吾之自由，必与持压力者抵死争之，必胜而后已。该美国之自由，美国同英伦力争而得。今吾之自由，必当力与美人争之(Stwoe, Li Shu, &amp; Wei Yi, 1981)。<br /> <br /> However, situations are not always the same. Liang Shiqiu began to translate Shakespeare's plays in the early 1930s. Here, the number of translated literary texts was in a growth trend. At the time of the translation of A Midsummer Night's Dream, China was eager to rejuvenate the country by absorbing foreign cultures. Translated literature had a higher position in the pluralistic system of Chinese literature(Ji Qiming 2016,66). <br /> <br /> Fang Ping's translation began in the early days of the founding of the People's Republic of China. Literary and artistic creation at this time emphasized the socialist characteristics of literature, and a lot of socialism excellent literature swarmed. Affected by ideology, China was resistant to the literary works of capitalist countries. When translating and researching with a strong color of ideology and class struggle. It can be seen that when Fang Ping translated and introduced A Midsummer Night’s Dream, translated literature was not at the center of the literary polysystem(Ji Qiming 2016,66).<br /> <br /> According to the polysystem theory, Liang Shiqiu should adopt foreignization and Fang Ping's translation strategy should accept domestication. However, in the practice of translating ''A Midsummer Night's Dream'', this is not the case. Here are examples.<br /> <br /> Source text: “By’r lakin, a parlous fear(William).<br /> <br /> Liang’s version:天啊， 是可怕的紧。<br /> <br /> Fang’s version:我的圣母娘娘,这可不是跟你闹着玩的事啊。<br /> <br /> The translation strategy Liang adopted is foreignization, while Fang Ping used the translation strategy of &quot;domestication.&quot; <br /> <br /> The above application gives us inspiration, that is, in a specific translation, the cultural exchange is complicated, which leads to the diverse choices of translation strategies. Therefore, translators can give full play to their subjectivity choosing appropriate translation strategies,not strictly abide by a certain theory. Because translation is a process of dynamic communication and re-creation. Only combined specific cultural context with personal understanding can translators figure out the best translation strategies(Ji Qiming 2016,67).<br /> <br /> ===3. Development of Cultural Turn===<br /> The view of &quot;cultural turn&quot; was formally put forward by Bassnett and Lefevere in the book ''Translation, History and Culture： A Sourcebook'' in the 1990s. The cultural turn mainly depends on the scholars of cultural approach, who actively advocate translators to shift their eyes on translation studies from the text itself to the cultural context outside the text, so as to change the long-standing existence of translation studies as the &quot;vassal&quot; of literature and art, and elevate translation studies to become an independent discipline(Lefevere 2004:110). <br /> <br /> Bassnett is one of the leaders, and her works often reveal the importance attached to the cultural background in translation studies(Bassnett, 1995). Translation has indeed become an independent discipline later with its own characteristics, which become the basis of research on cultural turn(Bassnett 1995:11). <br /> <br /> Bassnett also has a famous metaphor about culture and language, which expresses her emphasis on culture. She points out that culture is compared to the human body, and language is the heart of this body. Only when the heart and body interact can human vitality continue; Therefore, surgeons can't ignore the whole body that bears the heart when performing the ng surgery on the heart, similarly，it is dangerous for translators to treat the text isolated from culture(Lefevere 2004:110). <br /> <br /> The concept “cultural turn” inherited Zohar's polysystem theory, which has attracted many scholars to discuss the phenomenon. This theory examines translation activities from a macro perspective, that is, it puts translation in the context of culture, instead of exploring translation in a vacuum separated from culture and context(Bassnett 1995:88). <br /> <br /> Using Zohar's polysystem theory, the cultural school holds that culture has a restrictive effect on translation, and shifts the focus of translation studies from the original to the target text, from the author of the original to the translator of the target text, from the source language culture to the target language culture, and has a deeper understanding of the position and role of the target text(Bassnett 1995:88).<br /> <br /> At the same time, it is noteworthy that Jacques Derrida, a famous philosopher, put forward the theory of &quot;deconstructionism&quot;, which holds that the meaning of words is not only restrained within the source text but also multiple factors can influence it. He also points out that the original author is not the only creator, which also inspires scholars of cultural school to think about the role of translation and enhances the social status of translated works(Bassnett 1995:88). <br /> <br /> Chinese traditional translation theory is influenced by the thought of cultural turn. Xuan Huifang(2019)mentioned that the cultural turn of Chinese traditional translation theory can be regarded started from the scientific and technological translation in the late Ming Dynasty. Chinese translators, such as Xu Guangqi, Li Zhizao and Yang Yanjun, were the first to advocate transferring translation from religion to natural science. They also jumped out of the linguistic category of contrast between the source language and target language and directly introduced Chinese traditional translation theory into the social and cultural background concerned by the cultural school(Xuan Huifang 2019,95). <br /> <br /> At that time, translation theories began to focus on how to use translation as a tool to stimulate national consciousness. China lagged behind the West in terms of science and technology and ideas. Therefore, the purpose of translation was to absorb the essence of Western culture and arouse the learning enthusiasm of the Chinese. Only by learning the strengths of others can we surpass others. The function of translation is to convey new knowledge and ideas. As to the type of the source text, they tend to choose the technology that is closely related to people's lives and most urgently needed by the country, such as western astronomy, meteorology, machinery and land construction, and other related books. According to Lefevere, translators at that time were sponsors of translation activities, and they regarded translation as a way to maintain feudal autocratic rule, so the scope of attention was very narrow, and the cultural turn at this time was not obvious(Xuan Huifang 2019,95).<br /> <br /> Only later on, especially in the late Qing Dynasty, the feudal rulers adopted a policy of seclusion, which hampered China's progress and its exchanges with the outside world. That state was completely broken by the Opium War, which also crushed the illusion that many people thought the Qing Dynasty was powerful and stimulated many literati to &quot;opening the eyes to observe the world&quot;. Many translators have translated a wide range of foreign newspapers, histories, geography, and other books, not just scientific texts. Many defeats pushed more Chinese people to recognize the deficiencies of their own and the strength of the West. Although they were not direct translators, they acted as sponsors, which was the main reason for the abundance of translated works and the rapid development of cultural turn at that time(Xuan Huifang 2019,96). <br /> <br /> However, it didn't take long for the Westernization Movement to fail, which inspired some elites to realize that China's backwardness was not in technology at all, but in its feudal autocratic system. The reformists, represented by Kang Youwei and Liang Qichao, have become new sponsors. In this short period of only ten years, a large number of excellent translators have appeared, such as Yan Fu and Lin Shu. Lin Shu, in particular, did not understand any foreign language but translated a lot of works, like ''la Dame aux Camelias''，''Uncle Tom's cabin'' and ''David Copperfield'', etc. Dictated by others, he translated in classical style. Such kind of translation to some extent can be said to be no respect to the original text. This also reflects that the purpose of translation at that time was not to highly restore the thoughts and styles of the original text, but to convey conducive information part of the original text to the target readers. This period was also the development period of the cultural shift of Chinese translation theory(Xuan Huifang 2019,96).<br /> <br /> Developing to the May Fourth Movement, the ideological emancipation of Chinese intellectuals was more extensive. The translation mainly focuses on how to transform Chinese traditional culture benefiting from western culture and make the Chinese nation rejuvenate. The translation is regarded as an important tool to promote social change. Some scholars believe that the transmission of western new ideas is also to import new expression methods, and at the same time, in order to break the feudal traditional ideas, more intellectuals began to call for the use of vernacular Chinese. For example, Lu Xun and Qu Qiubai, who are well known to us, are representative figures(Xuan Huifang 2019,95). <br /> <br /> However, not everyone supports this idea. Mei Guangdi proposes that while introducing western culture, we should also carry forward the traditional culture. Western advanced ideas and technologies are needed to be absorbed, but it does not mean that our own language form, Classical Chinese, should be abandoned. But it can be seen that their ideas have not been widely supported. Just like Gu Zhengkun's viewpoint, unlike the cultural turn that emerged more than 100 years later in the West, cultural translation and translation studies in China at the end of the 19th century and the beginning of the 20th century has presented its obvious characteristics of subjectivity(Xuan Huifang 2019,95).<br /> <br /> ===4. Judgement===<br /> Since both the polysystem theory and cultural turn are not universal, so they have both advantages and disadvantages at the same time. We should keep rational and critical thinking when studying these theories, and treat their influence on translation studies objectively and dialectically. <br /> <br /> ====4. 1Advantages====<br /> Polysystem theory makes translation studies no longer an isolated linguistic study, but brings descriptive translation studies and cultural turn to translation studies. Linguistic schools tend to pay too much attention to static semantic contrast, focusing on language patterns or underdeveloped literary theories, while the polysystem system combines translation with many factors such as the cultural context, social conditions and politics, especially affecting translation studies at the political level, such as post-colonial translation studies, feminist translation studies and cannibalistic translation studies derived from historical events(Zhang Xiujuan 2017,47). <br /> <br /> Generally speaking, these theories have opened up a wide research field for translation studies, which makes translation studies no longer in a vacuum environment, and opens up a way for translation studies to finally get out of the prescribed aesthetic limitations(Zhang Xiujuan 2017,47). <br /> <br /> To enable people to look at translation from a broader perspective and grasp its true nature, people will not be limited on the equivalence between the source text and the target text, but also regard the target text as an entity in the target system to study its various properties. This is the very point that developed into Toury's &quot;Target-oriented approach&quot;(Zhang Suwen 2019,94). <br /> <br /> Since the translation is not only selected from several existing linguistic models but restricted by various systems, we can understand the translation phenomenon from the perspective of wider inter-system transmission. After fully understanding this phenomenon, it can also be used to guide us on how to better promote our own culture through translation, which is an unprecedented opportunity for translation studies. At the same time, according to Zohar's theory, we can also know that only with a higher level of research can we better convey our own culture and contribute to our translation studies(Zhao Bo 2017,112). <br /> <br /> ====4. 2 Disadvantages====<br /> Polysystem theory and the view of cultural turn neglect the translator's subjectivity, and the principle of choosing original texts is determined by the situation that dominates the (native) polysystem, which means that texts are chosen because they are consistent with the new methods of target literature, and also because of their possible innovative role in target literature. However, the choice of the target text is not only determined by the polysystem, but also by the translator's subjectivity. Translators will try their best to choose texts or familiar genres consistent with their own styles to give full play to their advantages and improve the quality of translations(Wu Ji 2018,205).<br /> <br /> Although the linguistic school pays too much attention to the micro-level of translation studies, which limits the development of translation studies, scholars such as Nida and Newmark put forward a series of scientific theories to study translation by studying syntax and vocabulary, which has merits(Wu Ji 2018,206). <br /> <br /> However, the attitude of the cultural school towards the linguistic school is to completely negate and abandon it. According to the cultural school, before putting forward the theory of cultural turn, translation studies lacked a set of macroscopic theories to guide them and did not form a theoretical system to guide translation practice, which is undesirable. At the same time, the cultural school's eyes are completely detached from the text, exaggerating the influence of macro factors other than the text, which has been criticized by later generations(Wu Ji 2018,206).<br /> <br /> ===5. Conclusion===<br /> The following conclusions can be drawn from the present study. Taken together, these findings suggest a role for cultural elements in promoting translation studies. Up to now, polysystem theory and cultural turn still have a wide influence on translation studies, and cultural factors are still important factors that must be considered in translation activities. The findings reported here also shed new light on the responsibilities of today’s translators(Han Xue 2019,138). <br /> <br /> When the earth is like a &quot;village&quot;, our cultural exchanges with other countries are getting closer and closer. It is necessary for contemporary translators to think about how to maintain cultural confidence through translation and effectively convey excellent culture to other countries. In the process of translation, translators should not only pay attention to linguistic equivalence, but also change their attitudes, think from the perspective of cultural exchange. They should explore a way to combine the inspiration of the polysystem theory and cultural turn, give full play to their subjectivities, and make efforts to tell Chinese stories well and build China's translation system in the world.<br /> <br /> ===6. References===<br /> Bassnett, S. (1995). Comparative literature : a critical introduction: Blackwell.<br /> <br /> BEECHER, S. H., &amp; DAVID, B. UNCLE TOM'S CABIN: Harvard University Press.<br /> <br /> Gillespie, G., &amp; Even-Zohar, I. (1994). Polysystem Studies. Comparative Literature, 45(4), 374. <br /> <br /> Lefevere, A. (2004). Translation/history/culture: a sourcebook: ''上海外语教育出版社''[Shanghai foreign language education press].<br /> <br /> William, S. A Midsummer Night’s Dream: Yale University Press.<br /> <br /> Zeng Wengxiong. 曾文雄. (2006). 翻译学“语用学转向”:“语言学转向”与“文化转向”的终结. [Pragmatic turn in translatology: the end of linguistic turn and cultural turn]. ''社会科学家''[Social Scientist],（05）,193-197. <br /> <br /> Gao Feng, &amp;Zhang Deng. 高峰, &amp; 张灯. (2018). 翻译研究发展的推动力——多元系统理论研究. [The Driving Force of the Development of Translation Studies: A Study of Multiple Systems Theory]. ''吉林省教育学院学报''[Journal of Educational Institute of Ji Lin province], 34(02), 62-64. <br /> <br /> Han Xue. 韩雪. (2019). 多元系统翻译论本土化策略及其创新性研究[Research on Localization Strategy and Innovation of Multi-system Translation Theory]. 福建茶叶[Fu Jian Tea], 41(02), 137-138. <br /> <br /> JI Qiming. 纪启明. (2016). 莎士比亚戏剧中意象的厚重翻译法—以梁实秋的《仲夏夜之梦》译本为例. [Heavy translation of images in Shakespeare's plays —— Taking Liang Shiqiu's translation of A Midsummer Night's Dream as an example]. ''青岛科技大学学报(社会科学版)''[Journal of Qingdao University of Science and Technology (Social Science Edition)], 32(03), 64-67. <br /> <br /> Stowe, Lin Shu &amp;Wei Yi. 斯托, 林纾, &amp; 魏易. (1981). 黑奴吁天录 [Uncle Tom's Cabin]: ''商务印书馆''[Commercial Press].<br /> <br /> Song Yue. 宋越. (2018). 浅析多元系统理论在文学翻译中的应用. [On the Application of Multi-system Theory in Literary Translation] ''教育教学论坛''[Education Forum],(34), 93-94. <br /> <br /> Wu Ji. 吴际. (2018). 翻译学中“文化转向”的前世今生. [Past and Present Life of &quot;Cultural Turn&quot; in Translation Studies]. ''校园英语''[Campus English],(10), 205-206. <br /> <br /> Xuan Huifang. 轩慧芳. (2019). 中国传统译论中的“文化转向”.[Cultural Turn in Chinese Traditional Translation Theory]. ''延安大学学报(社会科学版)''[Journal of Yan'an University (Social Science Edition)], 41(03), 92-96. <br /> <br /> Zhang Suwen. 张素文. (2019). 探析多元系统论的理论构建.[On the theoretical construction of polysystem theory] .''文理导航''[Wenli Navigation],(03), 93-95. <br /> <br /> Zhang Ziujuan. 张秀娟. (2017). 对翻译研究“文化转向”的思考.[Reflections on the Cultural Turn in Translation Studies]. ''文化创新比较研究''[A Comparative Study of Cultural Innovation], 1(11), 48-49. <br /> <br /> Zhao Bo. 赵勃. (2017). 多元系统翻译理论的批判性阐述. [Critical exposition of multi-system translation theory]. ''北方文学''[North Literature],(12), 112. <br /> <br /> Zhu Huichao. 朱慧超. (2017). 简析翻译学中的文化转向. [A Brief Analysis of Cultural Turn in Translation Studies]. ''文教资料''[Data of Culture and Education], 000(009), 86-88.<br /> <br /> ==The Influence of Cultural Differences on Translation Methods 姚佳 Yao Jia No.202020080662 ==<br /> <br /> ===Abstract===<br /> <br /> Translation activity may appear to be a communication and transfer between languages, but it is closely related to culture. Language and culture permeate each other, and no language can be created and developed without its cultural background, while cultural differences also affect the language expression of the users to a certain extent. In this paper, we analyse the main cultural differences in translation in terms of historical background, way of thinking, social customs and other factors, but the existence of cultural differences makes translation activities often face some difficulties, which requires translators to master translation skills and correctly look at cultural factors in order to achieve the purpose of communication.<br /> <br /> <br /> ===Key Words===<br /> <br /> Cultural differences, Translation methods, Influences, Translation skills<br /> <br /> <br /> ===摘要===<br /> <br /> 翻译活动看似是不同语言之间的交流与转换,实则与文化密切相关。语言与文化之间相互渗透,任何语言的产生与发展都离不开其文化背景,而文化差异在一定程度上也影响着使用者语言的表达。本文从历史背景,思维方式,社会习俗等因素来分析翻译中几种主要的文化差异,而文化差异的存在又使翻译活动常常面临一些困难,这就要求译者熟练掌握翻译方法和一定的翻译技巧,正确看待文化因素,从而实现交流沟通之目的。<br /> <br /> ===关键词===<br /> <br /> 文化差异,翻译方法,影响,翻译技巧<br /> <br /> <br /> ===Introduction===<br /> <br /> The long-term transmission of culture depends on language. Language has always been an important basis for cultural inheritance. And it is also one of the tools used by different cultures in communication. The exchanges between different countries and regions have deepened in recent years. The demand for translation activities has been increasing, and the requirement for translation quality has also been gradually improved. Translation is a cultural communication activity between different countries. It is not only the conversion of two sets of language symbols. In a sense, translation has gone beyond language and become a cultural transfer between countries. There are certain differences in social values and ways of thinking between China and the West. So it is easy to make mistakes in English translation if many words are understood purely from the point of view of performance. This, coupled with the fact that different nationalities are often influenced by their own culture in the course of their historical development, can also lead to errors when translating between Chinese and English. In the face of cultural differences, we should choose appropriate translation methods to achieve the purpose of communication. In recent years, the focus of translators has gradually shifted from language level to cultural level. They have started to study translation methods from a cultural perspective.<br /> <br /> <br /> ===The Main Aspects of Cultural Differences in Translation===<br /> <br /> Translation is the process of transforming a relatively unfamiliar expression into a relatively familiar one. Wang Zuoliang, a famous translator and linguist, once said that translators are dealing with individual words, but they are facing with two large cultures.(Wang Zuoliang 1997, 42) Therefore, translation should include not only language but also culture. The development of each country's language has gone through a long process of cultural accumulation and it is influenced by its own history, culture, ethics and many other aspects. The differences between English and Chinese are mainly reflected in the following aspects: historical background, way of thinking, and social customs.<br /> <br /> 2.1 The Historical Background<br /> <br /> Every country has a unique historical background, which inevitably gives rise to different cultural forms in the course of development. And this has a significant impact on the language as a carrier of culture. At the same time, differences in language can have a huge impact on translation activities. This requires the translator to be able to understand the different historical circumstances of the source and target language in order to improve the level of accuracy of the translation.<br /> <br /> First of all, we can see the difference in historical background between China and the West in the process of historical development. Agriculture has always been the lifeblood of the country's development, and the development of agriculture is even directly related to the stability of society. The Chinese people have created many excellent cultures through their industrious agricultural work. As a result, Chinese culture is rich in written expressions relating to agriculture. One of the most unique expressions of Chinese culture is the agricultural proverb. It is a fixed phrase that is widely spread among the people. It reflects the principles of agricultural production and summarises a wealth of experience in simple, popular, concise and vivid words, which is a cultural treasure of the Chinese nation and has always been loved by the people.<br /> <br /> We can appreciate the unique charm of Chinese culture in some idioms. For example, &quot;cast pearls before swine&quot;(对牛弹琴). We cannot simply interpret this as throw pearls at pigs, for this does not conform to the practical use of Chinese adage. And we can see another example, &quot;As you sow, so shall you reap&quot;(种瓜得瓜种豆得豆) We must realize that many expressions of proverbs in Chinese have been endowed with profound connotations. The deep meaning of this proverb is that one cannot enjoy the fruits of one's labor without putting in it a lot of hard work. There are many other Chinese agricultural proverbs. For example, “There are three rains in the early spring, all over the place”(立春三场雨,遍地都米), “Snow is in the field, wheat is in the barn”.(雪在田,麦在仓). As for Britain, it is an island country surrounded by the sea. Its national development is closely related to Marine civilization. Britain's development into the &quot;empire on which the sun never sets&quot; in the 18th century was largely dependent on overseas colonial expansion. Even in today's society, Britain's national development cannot be achieved without its favourable Marine environment. Moreover, Britain has a temperate maritime climate, with humid climate and good vegetation, which makes it very suitable for sailing and grazing. Therefore, there are a lot of idioms related to sailing or sheep herding in English culture, such as, “A small leak will sink a great ship” (微小的裂隙能使一艘巨轮沉没), “A smooth sea never makes a skillful mariner” (平静的大海孕育不出优秀的水手), Being on sea, sail; being on land, settle. (在海上就航行,在陆上就安居). (This paragraph is too long)<br /> <br /> Secondly, we can find the cultural differences between English and Chinese from the specific historical background. “In the time of Queen Elizabeth, for example, government loyal Jesuits protested against a &quot;fish only Friday&quot; rule imposed by the Catholic Church, which opposed the government. In this context, &quot;Juhn can be relied on, He eats no fish and plays the game&quot; should be translated as &quot;约翰忠诚可靠&quot;.” (Lu Wei 2019, 200) If we do not analyze the specific historical background directly, it is bound to lead to cultural cognition errors. In Chinese, &quot;鸿门宴&quot; should be translated as &quot;Hongmen Feast with a trap for the invited&quot;, but it is easy to translate into &quot;Hongmen Feast&quot; if the translator does not know the historical background of the appearance of the word &quot;鸿门宴&quot;, which would create a barrier to cultural exchange. Therefore, it can be seen that cultural background has a great impact on the smooth progress of translation activities, and translators can better choose translation methods only if they are proficient in the cultural background of source language and target language.<br /> <br /> <br /> 2.2 The Social Customs <br /> <br /> Customs and habits are mainly reflected in the language and behaviour that people use in communication, which is most likely to reflect the human mind and convey certain meanings. If, in the process of cultural exchange, there are significant differences in customs between countries, this can often lead to misunderstandings when expressing their views. The differences in social customs between China and the West can be extremely obvious. Therefore, in translation, the influence of language and behavioural habits on translation activities cannot be ignored. The differences between English and Chinese social customs are mainly reflected in customs, manners and habits of life.<br /> <br /> “We can feel the differences between Chinese and Western customs through people's habitual cognition of some animals in their daily life. ” (Wang Jingjing 2013, 28) In China, for example, the dog is a relatively lowly animal. Since ancient times, those Chinese idioms related to dogs have mostly expressed derogatory meanings. For example, &quot;狼心狗肺&quot;,&quot;鸡飞狗跳&quot; . In English-speaking countries, dogs mean the opposite. For example, &quot;Love me, Love my dog&quot;(爱屋及乌), A lucky dog(幸运儿), etc., which reflects the love of dogs in English-speaking countries. <br /> <br /> In addition to dogs, we can also see the different meanings of cats in different Chinese and Western customs. In Chinese culture, cats do not show a one-sided extreme phenomenon. Although there are derogatory words such as &quot;猫儿偷腥&quot;,&quot;猫儿念经-假慈悲&quot;, there are also &quot;无论白猫黑猫,抓到老鼠就是好猫&quot;. In general, cats are relatively neutral in Chinese culture. In Western customs, black cats are often associated with negative connotations. “Cats are known in the West as the familiar of witches and wizards, which stems from a medieval superstition ---- The Satan, the devil's favourite incarnation, was a black cat that witches used to take with them as a familiar.” (Zhu Yahui 2014, 25) For example, the idiom “she is a cat”. The translator cannot simply translate the literal meaning into &quot;她是一只猫&quot;, but should put it in the context of certain western social customs. So the proper translation should be &quot;a woman with a hidden agenda&quot;. <br /> <br /> Some Cat idioms are unique to English culture, such as &quot;Cat s paw.&quot; The idiom comes from The Monkey and the Cat, written by the famous 17th century fable writer La Fontaine. “The cunning monkey wanted to eat the chestnuts from the fire but was afraid of being burnt, so he encouraged the cat to take the chestnuts out of the fire with his paws, but when the cat asked for his share, the monkey ate all the chestnuts.”(Wang Aihua 2008) This idiom is used to describe a person who is used to do risky things. If such cultural differences are not well understood, there will be a lot of translation misinterpretations. (This paragraph is too long）<br /> <br /> In addition to the animal derivation, the same colour also has different meanings in both Chinese and English cultures. For example, in Chinese, blue generally represents a bright or relaxed feeling. In English expressions, blue generally stands for melancholy and deep depression. In Treasure Island, when Jim and his crew are faced with pirates, they are put in a very bad situation. “If we had been allowed to sit idle, we should all have fallen in the blues, but Captain Smollett was never the man for that”.(Stevenson 2013, 118) The word blue here refers to their emotionally depressed state. When translating 'blue' as it is used here, the different customs and habits of English-speaking countries should be taken into account in order to avoid incorrect translations. Here's another example of red. Chinese people believe that &quot;red&quot; stands for fighting spirit, passion and joy. Since ancient times, weddings and festivals have been celebrated with red lanterns and colours. But in the West, red represents blood, it represents killing, it represents death. For example, &quot;red alert&quot; (空袭) &quot;紧急警报&quot;,see the red light (觉察危险逼近). In the process of translation, we should have a deep understanding of the cultural background of customs to ensure the accuracy of words and to avoid unnecessary misunderstanding or even wrong translation. <br /> <br /> <br /> 2.3 The Thinking Mode <br /> <br /> “The way of thinking is the synthesis and unification of the stereotyped forms, methods and procedures of thinking of the subject in the process of reflecting on the object.” (Chen Hongwei&amp;Li Yadan 2005) “The way of thinking is mainly composed of eight elements: knowledge, conception, method, intellect, emotion, will, and language habits. These elements are interconnected and interact with each other to form a dynamic, organic and complex system. It is the characteristics of each of these elements and their structure that define the nature, type and characteristics of the way of thinking and produce differences in the way of thinking.” (Lian Shuneng 2002) Different ethnic groups not only have different national cultures, but also have their own different ways of thinking and thinking characteristics, which is what we call thinking differences. Each language reflects the thinking characteristics of the people who speak it, and the English and Chinese languages are no exception. The differences in thinking styles are mainly reflected in the different lines of thought that people are used to, and the different perspectives that are favoured in thinking. <br /> <br /> Chinese people think in a forward direction, while Westerners think in a reverse direction. Chinese and Westerners may use completely different, or very different, language to describe the same objects or images. It is not difficult to find that English is used to describe and explain things from small to big, from special to general, from individual to whole. The Order of Chinese is generally from big to small, from general to special, from whole to individual. “When introducing people, Chinese usually lists titles first and then calls them by name, and the titles are listed from the largest to the smallest. English is to announce a name first and then speak a series of duties from childhood to adulthood.”(Liu Wenhui 2002) For example, “现任中国共产党中央委员会总书记，中共中央军事委员会主席，中华人民共和国主席，中华人民共和国中央军事委员会主席于2020年一月十七日对缅甸进行了国事访问”.This sentence, if it is to conform to English language usage, should be translated as “January 17, 2020 saw the state visit to Myanmar of Xi Jinping, currently general Secretary of the CPC Central Committee, Chairman of the CPC Central Military Commission, President of the People's Republic of China, and Chairman of the CPC Central Military Commission”.<br /> <br /> Chinese people think in a spiral way while Westerners think in a straight line way. The Chinese people's philosophical thinking is good at making Chinese people think in a broad way. “No matter doing or speaking, they always do everything from the surface to the point, from the big to the small. First, they have a general view of the whole situation and make plans; then, they refine details and make plans. Westerners, on the contrary, like to think from the detailed to the overall, from the single to the whole, which is a completely different way of thinking”. (Li Dan&amp;Zhou Xiaoling 2006) It is a reflection of culture and also affects culture. Therefore, Chinese people always put the overall situation in the spiral thinking, while Westerners always put a straight line thinking and a straight line clue in it. <br /> <br /> The Chinese like to &quot;paint the dragon and dot the eyes&quot;. First, they like to put unimportant information on the top, and then talk about the main content, such as people and events, event results. “In narration, the emphasis of a sentence is usually placed at the end of the sentence, and the story is explained first, and then the theme is entered. The way of argument is the consequence of the first cause; Give the premises before you make a conclusion; Give the background first, then the topic.”(Bu Jia 2012, 123) The Western way is to come straight to the point. “The way they speak is the opposite, picking the main ones first, as if telling the answer first and then announcing the process. The narrative sequence is to first state the results and then analyze the reasons. Make a conclusion before you give a premise. Explain the topic first, then the background.”(Bu Jia 2012, 123) Therefore, it is necessary to adjust the word order in the English-Chinese translation so as to conform to the narrative logic of the two languages. For example, &quot;求稳定、谋发展、促合作 , 是当今各国人民的共同愿望&quot;。This sentence can be translated into：It is the common aspiration of all the people in the world to m aintain stability, seek development andpromote cooperation.<br /> <br /> ===Influences of Cultural Differences on Translation===<br /> <br /> Translation is not only the transformation between languages, but also the transformation between language forms, and even the transformation of culture. Therefore, in the process of language translation, communicative context, which refers to cultural factors, should be considered. On the one hand, culture is common, and there will be some overlap between cultures, which is also the basis of translation. On the other hand, the culture is also diverse, which is the difficulty of translation. The cultural diversity and uniqueness between English and Chinese often lead to lexical vacancy, semantic conflict and other phenomena that hinder translation. This requires translators to pay attention to such cultural differences and choose appropriate translation methods to solve the translation difficulties and make up for the lack of culture in the process of translation.<br /> <br /> <br /> 3.1 Lexical Gap <br /> <br /> Language is the carrier of culture. Every language has its own cultural peculiarities. As a cross-language and cross-cultural communication activity, translation not only conveys text information, but also inherits cultural significance. However, &quot;different cultures break down and describe the world in different semantic categories. Therefore, some semantics in one culture may not exist in another language.&quot;( Lado 1957, 78 ) This phenomenon is known as semanticzero. Practice has proved that the great differences between Chinese and English traditional cultures make English and Chinese words and meanings often difficult to correspond one to one, which makes translators have to take necessary strategies to eliminate or reduce barriers to communication. “Language is a culture created by people in the process of long-term practice, which naturally reflects the objective material world. If something does not exist in the community, there is often a vacancy in the meaning of the word.”(Cui Jing 2012, 38) For example, silk, which was not used by westerners at first, belongs to one of the earliest inventions in Chinese history. It was not until the Western Han Dynasty (202 BC-8 AD) that Zhang Qian, on his mission to the Western Regions, opened the door to China and the West by opening the &quot;Silk Road&quot;, which connected the Mediterranean countries and spread silk to the world. So, English borrowed Chinese pronunciation to translate the word. <br /> <br /> Another example is Peking Opera, which is beloved by the Chinese people. It is a comprehensive art that combines singing, reading, doing and playing. However, opera, dance drama and drama that Europeans and Americans like are all in a single form. There is no dance in opera and no singing in dance drama, while drama is mainly dialogues. In view of this, the translator needs to make English readers fully and correctly understand the differences between Chinese quintessence and other art forms. In China, for example, there was no &quot;咖啡&quot;coffee, &quot;冰淇淋&quot;icecream, &quot;沙发&quot;sofa, etc., which had to be completely transplanted from English. But as time changes and cultural exchanges, the development of material culture in China has been synchronization with the west, even beyond. Such as &quot;可乐&quot;(cola), &quot;自助&quot;(buffet), &quot;互联网&quot; (Internet), &quot;超市&quot;( supermarket ), the previous social lack of cultural awareness in China such as vocabulary, has now been welcomed the broad masses.<br /> <br /> The lexical vacancy also appears in the different gods known in the East and the West. Westerners believe that God created human beings and dominated the world, while The Chinese traditionally accept the myth that Pangu created the world and Nu Wa made man. They believe that the Buddha and Guanyin Bodhisattva have supernatural powers and are able to &quot;save suffering and all living beings&quot;. Similarly, the Puritans and Protestants in The English language had a color of religious movement that was not known in China as Puritans. Therefore, it is not easy to translate both in form and in spirit. Chinese people attach great importance to ethics, order of seniority and clear distinction between seniority and inferiority. “In the appellation of relatives in Chinese, clan relationship is very complicated. In contrast, English kinship terms are more vague and general.”(Cui Jing 2012, 38) For example, the English uncle, aunt, and cousin only show gender and simple relatives， the only way to tell them apart may be by their name. In addition, words with Chinese institutional culture characteristics, such as lunar solar terms, heavenly stems, earthly branches and traditional festivals, have no meaning at all in English. Such as The Chinese &quot;清明&quot;, &quot;端午&quot;, &quot;拜年&quot;, &quot;一国两制&quot;, and in English “Christmas”, “Easter”, “capitalism” and so on.<br /> <br /> 3.2 Semantic Conflict<br /> <br /> Due to the macroscopic similarity of human living environment and thinking structure, &quot;what can be said in one language can be expressed relatively accurately in another language&quot; (Nida, 1975). However, in addition to these semantically consistent words, there are many other pseudo-semantically consistent words between Chinese and English that seem to be the same. “In translation, this seemingly identical but different words and sentences are impossible to achieve the coexistence of source language and target language. We put this seemingly identical but different phenomenon in translation, known as the incompatibility of form and semantics in translation.”(Lu Guoqiang 2012) Incompatibility is contradiction. In translation practice, this kind of form and semantic incompatibility is very deceptive, which often leads to mistranslation of many words and phrases. For example, &quot;这个故事发生在巴黎.&quot; &quot;The story takes place in Paris.&quot;; &quot;我们的当务之急是要深化改革&quot; &quot;To deepen reform is the most urgent task. &quot;. Grammatically speaking, the above two translations seem to be sound, but they are semantically incompatible. They are all typical examples of Chinglish and should be amended as follows: 1) The story is set in Paris. 2) To deepen our commitment to reform is the top priority.<br /> <br /> In addition, there is another kind of semantic conflict, that is, the asymmetry of emotional meaning in Chinese and English translation. In addition to conveying information, language should also express the attitude of the speaker or the author towards what is said and the attitude of the listener and reader, that is to express feelings. In translation, the lack of a thorough understanding of the emotional meaning of a word often leads to incompatibility between form and meaning. The Chinese words for &quot;干部&quot; and &quot;当官的&quot; have the same conceptual meaning but different emotional colors. The former is neutral and sometimes even has a positive meaning, while the latter obviously has a negative meaning. Another example, the Chinese word for &quot;农民&quot;. Farmer is a neutral word in Chinese, while peasant has a derogatory meaning in English, referring to a rude and uncultivated person, so it is more appropriate to translate &quot;农民&quot; as a neutral word farmer. &quot;物美价廉&quot;, which means cheap and good. &quot;Cheap&quot; often reminds people of a cheap and inexpensive product, while &quot;economical&quot; has the associative meaning of &quot;good and inexpensive&quot;. Therefore, the positive word &quot;物美价廉&quot; should be translated into “economical and good” or “nice and inexpensive”.<br /> <br /> In translation, the semantic contradictions caused by improper collocation should be paid special attention to by translators. “Collocation meaning is a collocation of associations acquired by a word from the meanings of other words combined with it. In translation, due to improper collocation, a large number of target languages with incompatible formal and semantic meanings are produced.”(Liu Yang 2016, 18) Only by truly mastering both Chinese and English and getting familiar with their fixed collocation patterns and idiomatic expressions can translators avoid mistranslation caused by improper collocation to the greatest extent. “For example, &quot;假花&quot;(artificial flowers); &quot;假牙&quot; (false tooth), &quot;假新闻&quot;(pseudo-event), etc. In each of the above examples, &quot;假&quot; means &quot;untrue&quot; and is the opposite of &quot;true&quot;. However, if you use &quot;fake&quot; or &quot;false&quot; in the translation, it is not in line with the English collocation habit.”(Liu Yang 2016, 19) <br /> <br /> When Chinese people study English, they often suffer from the semantic incompatibility caused by improper collocation. One of the important reasons is that they are not familiar with the national expression methods of English speaking. This kind of English collocation translated by Chinese thinking is something we need to work hard to correct. For example, “学习英语知识”，many people will translate it into &quot;learn a knowledge of English&quot; . But the proper translation is acquire a knowledge of English/has a knowledge of English. Leech pointed out that, unlike other types of meaning, collocative meaning has the property of generalization. It is only a special property of individual words. When it cannot be explained by other types of meaning, collocative meaning is resorted to as a special category. (Leech 1974) The particularity of collocation makes it more difficult for us to improve our expressive ability. Therefore, translators need to keep learning these commonly used fixed collocations to improve the accuracy of translation.<br /> <br /> 3.3 Use Specific Translation Methods from the Perspective of Cultural Differences<br /> <br /> Transliteration is a form of translation based on the pronunciation of the original language, generally based on the pronunciation of the content of the original language to find alternative translations in the target language with similar pronunciation. Transliteration is usually used for translating names, place names, country names, proper nouns or words with national characteristics. The transliterated words can only be used together, not separately, otherwise they have no meaning. Since there is a big difference between China and the West in terms of name calling, the transliteration is usually done by transliteration. For example, Charles is translated as &quot;查尔斯&quot;, David Copperfield as &quot;大卫科波菲尔得&quot;, Romeo and Juliet as &quot; 罗密欧与朱丽叶&quot;. There are many examples of transliteration of Chinese and Western place names. For example, Washington, the capital of the United States, is transliterated as &quot;华盛顿&quot;, Florence as &quot;佛罗伦萨&quot;, and Bristol as &quot;布里斯托&quot;. The list of place names is endless. The phonetic transliteration of place names is too numerous to mention. In addition, due to cultural differences, both Chinese and Western countries have developed their own proper nouns and words with unique national characteristics, which generally require phonetic translations. For example, &quot;功夫&quot; translates into &quot;Kongfu&quot;, &quot;秧歌&quot; translates into &quot;Yangko&quot;. Another example, there is a famous line from a Tang poem:姑苏城外寒山寺,夜半钟声到客船. “&quot;寒山寺&quot; here is not because there is a &quot;Cold Mountain&quot; outside Suzhou, but because it was named after a monk who was called &quot;寒山&quot; in the Tang Dynasty. Therefore, the translation of “Cold- Hill Monastery” would be misleading as &quot;a temple on Han Shan Mountain,&quot; which should be translated as “Han Shan Monastery”. ”(Wang Jianghong 2007)<br /> <br /> Literal translation is the translation into English of words and phrases that have the same or similar meaning according to their original meaning. Literal translation is an important translation method that has many advantages, such as its ability to convey the meaning of the original text and to reflect its style. It is estimated that around 70% of sentences are processed by literal translation, so literal translation is a widely used translation method by translators, which shows the importance of this method. However, as there are certain differences between Chinese and Western cultures in various aspects, two situations must be taken into account when using literal translation. The first is to pay attention to the mistranslation of proper nouns or technical terms, and the second is to pay attention to words that have the same form but very different meanings in the two languages. For example, when selling something, you can't call your goods cheap, but inexpensive, because cheap means &quot;of inferior quality&quot;; &quot;继承人&quot; don't use successor but heir; &quot;白酒&quot;is not white wine but liquor.<br /> <br /> A free translation is different from a literal translation. A free translation is a translation that is based on the main idea of the original text rather than a word-for-word translation. It is usually used more often when translating sentences, phrases or larger groups of meaning. Free translation is mainly used in situations where the original language and the translated language reflect significant cultural differences. From the point of view of cross-cultural linguistic communication and cultural exchange, free translation emphasises the relative independence of the cultural system of the translated language from the cultural system of the original language, and is more capable of reflecting the linguistic characteristics of the nation. For example, the Chinese proverb &quot;三思而后行&quot;usually translated into &quot;Look before you leap&quot;,&quot;一朝被蛇咬十年怕井绳&quot;可以译为&quot;A burned child dreads the fire&quot;,&quot;心急吃不了热豆腐&quot;译为&quot;A watched pot never boils&quot;. <br /> <br /> In English there are also many words that need to be paraphrased and the cultural differences between the two languages in different situations should be respected when translating, otherwise it can lead to misunderstandings in the language transfer. For example, &quot;Every life has its roses and thorns.&quot;is translated into：&quot;人生有苦有甜。In Hamlet, Act II, Scene 2, there is this depiction and praise of mankind:&quot;What a piece of work is a man! How noble in reason! How infinite in faculty! In form and moving how express and admirable! In action how like an angel! In apprehension how like a god! The beauty of the world! The paragonof animals!&quot; It was translationed into： &quot;人类是一件多么了不得的杰作！ 多么高贵的理性！ 多么伟大的力量！ 多么优美的仪表！ 多么文雅的举动！ 在行为上多么像一个天使！ 在智慧上多么像一个天神！ 宇宙的精华！ 万物的灵长！&quot; “Words such as &quot;仪表&quot;, &quot;天神&quot;, &quot;灵长&quot; corresponded to Chinese cultural imagery and free translation was used for this purpose.”(Sun Yiwen 2019, 170)<br /> <br /> ===The skills to choose the proper translation methods from the perspective of cultural differences===<br /> <br /> The ultimate effect of translation should be that the audience receives complete and correct information and that they have the same experience of reading the translation as if it were their mother tongue. In order to achieve the best possible translation results, it is important to focus on the cultural characteristics of the translation itself and to analyse the target audience of the translation. At the same time, the differences between Eastern and Western cultures should be compared and analysed to identify the cultural factors that influence translation and to clarify that the influence of cultural differences in translation cannot be ignored. The aim is to enable people to face up to cultural differences and to value the dynamic equivalence of translation practice. The aim is to improve sensitivity to cultural differences and the accuracy of language use, to overcome cultural barriers in translation and to achieve intercultural communication.<br /> <br /> <br /> 4.1 Focus on the work itself<br /> <br /> When carrying out translation activities, it is essential that the translator carries out an in-depth analysis of the work to be translated. Therefore, the type of work, style, cultural features should be taken into account if the translator wants to achieve the desired results. If the type of work to be translated into English is different, then the requirements can vary considerably. Take the translation of poetry as an example. Poetry is the essence of language and culture. Poetry is usually a harmonious blend of emotions and scenery, and the theme of the poem is usually expressed by the mood. <br /> <br /> In the process of translating Chinese poetry, the ambiguity of the language and the problems that arise in the translation process actually stem from cultural differences. We can look at an example of Cao Xueqin’s work: &quot;空对着,山中高士晶莹雪; 终不忘,世外仙姝寂寞林.&quot;(1982, 17) And the translation is &quot;Vainly facing the hermit in sparkling snow － clad hills, I forgot not the fairy in lone woods beyond the world&quot;. (Yang Xianyi 1978, 67) “The &quot;雪&quot; in the poem ostensibly refers to snow in nature, but those who familiar with Dream of the Red Chamber will know that it is actually the Chinese character for &quot;薛&quot;. It refers to Xue Baochai. &quot;林&quot; appears to refer to a forest, but actually refers to Lin Daiyu. If the meaning of the puns in a poem is not clear, the original mood and emotion of the poem will be lost and the reader will be less able to understand the meaning of the poem.”(Li Yafeng 2016, 70) Therefore, the translator should never adopt an ambiguous attitude towards the translation of such punning words in poetry. The translator should start from the work itself, thoroughly clarify the cultural background of the original text and the profound meaning of the work, and choose the appropriate translation to reproduce the true meaning of the poem to help the reader better understand it.<br /> <br /> In addition, in the English translation process, the translator must have an accurate grasp of the cultural characteristics of each term in order to choose the appropriate translation method, so that the content of the translation is accurate and comprehensive. For example,&quot; 汉皇重色思倾国,御宇多年求不得。&quot;It was translated into: “The beauty － loving monarch longed year after To find a beautiful lady without a peer.”(Xu Yuanchong 2010, 222) “The word 'Han Huang' in the poem is the title of the emperor in Chinese feudal society, a term used in China, and Chinese readers are able to grasp the cultural han meaning of it. The word 'monarch' has been chosen to be more accessible to the reader, who has a general idea that he is a ruler of a country and can get a general idea of the meaning of the original poem&quot;. (Li Yafeng 2016, 72) We can see that both Chinese and Western cultures have one thing in common: they are the result of a long process of sedimentation and accumulation and are characterised by diversity and stability. English translators must accurately grasp the differences between Chinese and Western cultures and choose a suitable translation method in order to complete the translation work successfully.<br /> <br /> 4.2 Focus on the reader <br /> <br /> In the whole translation activity, the source material, the translation and the reader are the three elements. And translators should not only pay attention to the high degree of restoration of the source material, but also pay more attention to the feelings of the reader and take the readers’ reaction as the fundamental point of reaction. The translation activity itself is to serve the reader, and translators try to make their translations more accurate. If the problem of inaccurate translation still exists, it is necessary to combine naturalisation and alienation to prevent the translation language from being too rigid, and in cases where some local conditions are not understood, markings can be made to enhance the readers’ understanding.<br /> <br /> Depending on the type of reader, the translation strategy the translator should adopt should also change. For example, if the reader is a minor, the language used in the English-Chinese translation should be straightforward and simple, and the rationale should be clearly visible. Authentic translation not only restores the authenticity of the linguistic content, but also reflects the vividness of the cultural content, thus achieving the purpose of being available for research. The degree of difficulty, translation method and interpretation of the content should be decided according to the target audience in order to produce different effects for different people and thus achieve the purpose of English-Chinese translation.<br /> <br /> Eugene Naida has said that as white as snow (白如雪)is translated as &quot;white as goose feathers&quot; where the word is not familiar at all or does not exist in the language, because the readership or group of readers is different. By analogy, the English idioms 'birds of a feather flock together' and 'shed crocodile tears ' can be translated as &quot; 物以类聚, 鸟以群分&quot; and &quot;掉鳄鱼眼泪&quot; at higher readership levels; at lower readership levels it can be translated as &quot;鱼找鱼, 虾找虾&quot; and &quot;猫哭耗子&quot;, otherwise it will not only fail to resonate with the reader, but will also confuse the reader. “Eugene A.Nida strongly advocates that the translator should take into account the reader's receptivity, ‘The first task of the translator in a translation is to convey the information in the original text faithfully’, ‘The text must be interpreted correctly for the reader’.” (Tan Zaixi 1984, 21)<br /> <br /> 4.3 Focus on the dynamic equivalence of translation<br /> <br /> The principle of &quot;dynamic equivalence&quot; was coined by the famous American linguist Eugene Nida in the 1960s. According to Nida, &quot;the translation process aims to reproduce the information content of the source language in the recipient language that is closest to the source language, firstly in terms of equivalence of meaning and secondly in terms of equivalence of style”. (Nida 2001, 87) In this concept, Naida emphasises 'closest' rather than 'equivalent'. <br /> <br /> The so-called &quot;nearest equivalent&quot; means that the information in the source language is reproduced in the target language using the nearest &quot;natural equivalent&quot;, so that the translation is as natural as possible, both semantically and stylistically. According to the principle of dynamic equivalence, the translator starts with the reader in mind, and does not focus on the linguistic equivalence between the original and the translated form, but on the meaning and spirit of the original, reproducing the main idea of the original as completely as possible. The measure of a good translation is not how close the form of the translation is to the original, but whether the function of the information to be conveyed is the same as that of the original. The principle of &quot;dynamic equivalence&quot; has enormous implications for intercultural translation. To achieve bicultural understanding and communication, it is necessary to have a deep understanding of the differences between the two cultures and then be flexible enough to use translation methods that faithfully reproduce the cultural flavour of the original.<br /> <br /> In translation activities, the treatment of cultural background information is crucial. Translation plays the role of a bridge for cross-cultural communication, and its aim is not only to transform language and text on the surface structure, but also to transfer the cultural connotations embedded in the original work. For example, the famous English poet Shelley's Ode to the West Wind expresses a perfect eulogy of spring with beautiful and rich imagination. Because Britain is located in the northern temperate zone of the western hemisphere, it is subject to oceanic weather all year round, so the west wind generally heralds the arrival of spring. The differences in geographical location and climate between the two countries have resulted in different understandings of the easterly and westerly winds, resulting in different cultural connotations in the language. In order for the readers of the translated text to agree with the readers of the original text, the translator must find a translation in the culture of the target language as opposed to that of the source language. If this geographical and cultural difference is ignored and a literal translation is made, not only will cultural information not be exchanged, but it may also mislead the reader of the translated text.<br /> <br /> Over the course of their long history, all peoples have developed cultural symbols, also known as cultural imagery. Cultural imagery is mostly the result of the wisdom, history and culture of each nation. The same object, in a different cultural atmosphere, represents different cultural symbols, carries different cultural connotations and triggers different associations for the reader, leading to different interpretations.<br /> <br /> As in Jin Changxu's Spring Complaint': &quot;打起黄莺儿,莫教枝上啼；啼时惊妾梦,不得到辽西&quot;. The poem vividly expresses the woman's helpless desolation and her fervent longing for her husband, who has left home and gone to the battlefield. As a military stronghold on the northeastern border of the Tang dynasty, &quot;Liaoxi&quot; refers to the area around Yingzhou and Yanzhou, west of the Liao River in the Tang dynasty, and often appears in ancient Chinese poetry, referring to the &quot;battlefield&quot;. &quot;This typical Chinese cultural imagery of &quot;辽西&quot; carries a strong sense of Chinese culture that is difficult for Western readers to comprehend. “A literal translation would never work, but a transliteration plus an explanation of the &quot;辽西&quot; as &quot;Liao- xi, the frontier&quot; would make it as much of a cultural fax as possible. The abundance of cultural imagery conveys the cultural connotations of the cultural imagery of &quot;Liaowest&quot; well.” (Ke Zhao 2012, 114) Obviously, if the equivalence of form undermines the equivalence of meaning in the translation process, then the form should not be hesitated to be abandoned in favour of the fidelity of content.<br /> <br /> ===Conclusion===<br /> <br /> Cultural differences in translation are a complex matter, and there are no fixed rules for dealing with them. Therefore, only with a deeper understanding of the cultural differences between the East and the West can a translator maintain the original style of the translated work and make the translation accessible and acceptable to the target audience. As an important factor in building cultural bridges, translators should be prepared to understand the differences in historical background, ways of thinking, social customs and other aspects of different cultures before processing the translation. At the same time, translators should be able to adopt flexible translation methods according to different situations, overcome obstacles caused by cultural differences in translation activities, and respect other cultures as well as their own.<br /> <br /> <br /> ===References===<br /> <br /> Wang Zuoliang 王佐良. (1997) ''翻译:思考与试笔'' [Thinking and Testing] . [Beijing: Foreign Language Teaching and Research Press] 北京:外语教学与研究出版社.<br /> <br /> Lu, Wei 卢薇.(2019). ''探讨中西文化差异对英语翻译的影响'' [Exploring the Influence of Chinese and Western Cultural Differences on English Translation]. ''海外英语'' [English Abroad].(04)200-201.<br /> <br /> Wang Jingjing 王经晶. (2013). ''浅谈汉英文化差异对翻译的影响'' [An Introduction to the Influence of Chinese-English Cultural Differences on Translation]. [Success(Education)] ''成功(教育)''. (06)28.<br /> <br /> Zhu Yahui 朱亚辉. (2014). ''从中西猫文化视角看猫习语的翻译策略'' [Translation strategies of cat idioms from the perspective of Chinese and Western cat culture]. 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''Semantics''.［Penguin］ .<br /> <br /> Liu, Yang 刘扬.(2016). ''翻译中的形式与语义不相容问题'' [The problem of formal and semantic incompatibility in translation]. ''外语与翻译'' [Foreign Language and Translation]. 16-21. <br /> <br /> Wang, Jianghong王江宏.(2007). ''四种常用的翻译方法'' [Four common methods of translation]. ''Journal of Vocational University'' [职大学报].(03)77-81.<br /> <br /> Sun Yiwen孙一文.(2019). ''从翻译目的论视角看译者对翻译策略的选择——以《哈姆雷特》&lt;第二幕&gt;朱生豪译本为例'' [The Translator's Choice of Translation Strategies from the Perspective of Translation Purpose Theory--Taking the Translation of Hamlet &lt;Act II&gt; by Zhu Shenghao as an Example]. ''English Abroad'' [海外英语]. (13)170-171.<br /> <br /> Cao, Xueqin曹雪芹. (1982). ''红楼梦(上)'' [Dream of the Red Chamber (上). [Beijing:People's Literature Publishing House] 北京:人民文学出版社.<br /> <br /> Yang Xian Yi杨宪益. (1978) ''A Dream of Ｒed Mansions''. [Beijing:Foreign Language Press] 北京:外文出版社.<br /> <br /> Nida E A．(2001). ''Language and Culture-Contexts in Translating''. [Shanghai: Shanghai Foreign Language Education Press].<br /> <br /> Ke Zhao柯招. (2012). ''翻译中不同文化背景下的动态对等'' [Dynamic Reciprocity in Translation in Different Cultural Contexts]. [Journal of Mudanjiang Normal College (Philosophy and Social Science Edition)] ''牡丹江师范学院学报''.(06)114-116.<br /> <br /> ==Study of Domestication and Foreignization in Cross—Culture Translation 李海泉 Li Haiquan No.202020080610 English Language and Literature==<br /> <br /> =='''Abstract'''==<br /> For a long time, translation has been regarded as a conversion activity between languages. However, with the increasing international communication, translation studies gradually turn to cultural transfer. Generally speaking, there are two principal strategies to deal with cross-culture involved in translation, namely, TL (target language) culture-oriented domestication and culture-oriented foreignization. Domestication means bringing the foreign culture closer to the reader in the target culture,making the target text recognizable and familiar to the readers. Foreignization, on the other hand, means taking the reader over to the source text and in turn to the foreign culture, making him or her see the differences. Because of the differences between the SL culture and the TL culture,a translator is bound to face a choice. So it is inevitable to have the inclination of domestication or foreignization for a translation. It can be said that the subject of domestication and foreignization is one of the core topics of translation. This paper starts with the historical origin of domestication and foreignization, analyzes their respective strengths and weaknesses and discusses the relationship between them. The paper reaches a conclusion that the relationship between domestication and foreignization is dialectic and they can complement each other in the process of translation. And by analyzing the factors influencing and restricting the choice of translator’s strategy, the author puts forward some methods and means to realize cultural transmission through two translation strategies in order to guide translation practice.<br /> <br /> =='''Key words'''==: domestication; foreignization; cross-culture translation<br /> <br /> =='''摘要'''==<br /> 长期以来，翻译一直被视为语言间的转换活动。但随着国际间交往的日益紧密，翻译研究逐渐转向文化间的比较。一般而言，翻译中文化的转换有两种基本策略:即以目的语文化为归宿的归化和以源语文化为归宿的异化。归化是指尽量将译语文化纳入译文读者的知识范围，将作者引向读者;异化是指在翻译中保留原文语言文化的特异之处，将读者引向作者。由于源语和译语文化的巨大差异，译者在翻译过程中必然会面临两难选择，因而一篇译作也必然会出现归化或异化的倾向。可以说，归化和异化的课题是翻译的核心课题之一。<br /> 本文从归化和异化的历史渊源入手，分析二者各自的优势和缺陷，探讨了归化和异化两者之间的关系，认为二者既对立又统一，在翻译过程中可以互相补充，并通过选择一些翻译实践的例子加以说明二者的互补性。通过分析影响和制约译者策略选择的因素，作者最终提出了一些能够通过两种翻译策略实现文化传递的方法和手段，以期对翻译实践起指导作用。<br /> <br /> =='''关键词'''==：归化；异化；跨文化翻译<br /> <br /> =='''Introduction'''==<br /> <br /> Translation is not only an activity of lingual exchange and information transfer, but also a kind of cultural communication between different countries and nations. With the growing ties among countries, cross-translation has become a hot topic. And in recent years, translators have shown increasing interest in the problems arising from cultural differences in translation. Generally speaking, there are two principal strategies to tackle them in translation, namely, &quot;domestication&quot; &quot;foreignization&quot;. The domestication is target language oriented, while the foreignization is source language oriented.<br /> <br /> <br /> The study on domestication and foreignization has lasted for quite a long time.  <br /> <br /> There have been numerous disputes over domestication and foreignization both in China and abroad. In these disputes, people have been trying to obtain a<br /> conclusion as to which translation strategy is better. They tend to overemphasize one strategy and ignore the positive and indispensable role of the other. In fact, their relationship is dialectic. The paper tries to hold a dialectic attitude towards the dispute over domestication and foreignization and study the relationship between the two and tries to make a conclusion that domestication and foreignization are both useful in translation and translators should choose different strategies in various situations. In fact, an excellent translation always well combines the two strategies.<br /> <br /> This thesis mainly consists of three chapters.<br /> <br /> Chapter I is a brief survey of the history of domestication and foreignizatio.The paper will provide a detailed account of some fundamental issues in the study of domestication and foreignization, including their definitions, their details and their advantages and limitations.<br /> <br /> Chapter 2 presents that the disputes on domestication and foreignization have permeated the history of translation both in the West and in China. The disputes in translation history show that both sides take absolute and one sided attitude towards the two translation strategies and they just overemphasize one of them. Thus many translators feel puzzled at what strategy to choose according to different situations.<br /> <br /> Chapter 3 focuses on the factors influencing the choice of the translation strategies. General speaking,there are three major factors: translation purpose, the text type, and the target reader. Understanding these factors can help translators choose an appropriate translation strategy.A translator should try to avoid biases and remain objective. What’s more, he should consider the above three factors before he decides whether to adapt the original text or to retain as much as possible the foreign flavor of the original text.<br /> <br /> In conclusion, the writer tries to conclude that a good translator should adopt different devices to realize different strategies according to different situations, and a good translation is one that well combines domestication and foreignization.<br /> <br /> =='''Ⅰ A Brief Study of Domestication and Foreignization'''==<br /> <br /> In many cases controversy is due to the looseness of clarification of fundamental issues (Hou Yanan 2004,5 ). Many people talk about domestication and foreignization when the fundamental issues are seldom clearly defined.In this chapter, the paper will provide some fundamental issues of domestication and foreignization which are based on the following arguments.<br /> <br /> 1.1 Definition<br /> <br /> The terms of domestication and foreignization were first introduced by the famous American translator Lawrence Venuti in his book ''The Translator’s Invisibility: A History of Translation'', which was published in 1995. Domestication and foreignization are defined by Lawrence Venuti as follows:”Domestication means bringing the foreign culture closer to the reader in the target culture, making the text recognizable and familiar. Foreignization, on the other hand, means taking the reader over to the  foreign culture, making him or her see the cultural and linguistic difference&quot;(Venuti 1995:19-20). Domesticating means bringing the foreign culture closer to the reader in the target culture, making the text recognizable and familiar. Foreignizing, on the other hand, means taking the reader over to the foreign culture, making him or her see the differences.Compared to marriage, translation practice is similar to the marriage of a Chinese girl with a foreigner. By domestication,&quot;the Chinese girl&quot; will be forced to undergo the cosmetic in order to make her look like a westerner. By foreignization, the bride’s appearance will be left intact although she has to put on the western-style wedding gown. Her cultural identity is also kept to the maximum (Chen Fu 2004,4-5).<br /> <br /> 1.2 Details About Domestication<br /> <br /> There are various opinions as to the forms of domestication.According to Ke Ping (Ke Ping 1993,23),domestication only refers to adaptation of words or phrases.That is domestication means that translating a word or phrase which is of target language (TL) cultural color and which is used as frequently in the TL as the original in the source language (SL) (Hou Yanan 20046).Qin Hongwu (Qin Hongwu 2000,372) holds that domestication also includes the adaptation of SL syntactic structure.According to the definition given by Lawrence Venuti, all the forms of adaptation aim to make the TL more acceptable and familiar to the TL readers.<br /> <br /> Many scholars who favor domestication have put forward their own point view on domestication. Eugene Nida is widely considered as an influential representative of domesticating translation who puts much emphasis on the communication function of translation.His concept of &quot;dynamic equivalence&quot; or &quot;functional equivalence&quot;in translation is the representative of domestication strategy.Dynamic equivalence is defined as&quot;a translation principle according to which a translator seeks to translate the meaning of the original in such a way that the target language wording will trigger the same impact one target culture audience as the original wording did upon the source text audience&quot;.&quot;A translation of dynamic equivalence aims at complete naturalness of expression. And tries to relate the receptor to modes of behavior relevant within the context of his own culture:it does not insist that he understand the cultural patterns of the source-language context in order to comprehend the message”(Nida,1964,159). <br /> <br /> Therefore, Nida pay much attention to readers response.&quot;the relationship between the original receptors and message should be substantially the same as that which existed between the original receptors and message&quot;(Nida,1964:159).So a translation of dynamic equivalence directs its focus of attention not so much toward the source message as towards the receptor response (Zhou Min 2007, 23) For example,according to Nida’s approach of domestication,the Chinese idiom &quot;智者千虑,必有一失&quot;will be translated into &quot;Homer sometimes nods&quot;; the English idiom &quot;to cast pearls before swine&quot; can be translated into &quot;对牛弹琴&quot;. A dynamic equivalent translation shifts the focus from verbal comparison between the originala and translation to readers' response (Zhou Min 2007,24).<br /> <br /> Meanwhile, domestication involves alteration of the SL cultural images, syntactic structure, and so on. This kind of alteration is designed to make the translation more understandable and smoother to the TL readers. For example, in ''Hong Lou Meng'',<br /> <br /> 谋事在人，成事在天。（第六回）<br /> <br /> Man purposes, God disposes. (Hawkes)<br /> <br /> Hawkes quotes the English proverb directly and make it untouched. In this way,he changes the Buddhist flavor into the Christian flavor. The SL image is replaced with TL cultural image.<br /> <br /> He’s always been strong as a mule．<br /> <br /> 他一向壮得像头牛。<br /> <br /> ‘牛’is often used to express physical fitness in Chinese culture, while’牛’is expressed in‘horse’or‘mule’according to English expression habits.In summary, domesticated translation can provide readers with closeness,nature and fluency.TL readers easily accept this translation and have more profound understanding of the connotation of the target language(Zhou Min 2007,25).<br /> <br /> 1.3 Details About Foreignization<br /> <br /> Foreignization signifies the differences of the foreign text. Lawrence Venuti,the representative of foreignization, views such kind of translation method as&quot;a strategic cultural intervention in the current state of world affairs, against the hegemonic English-language nations and the unequal cultural exchanges in which they engage their global others” (Venuti 1995,20). Venuti puts forward that foreignization can be a form of resistance against ethnocentrism and racism, cultural narcissism and imperialism (Hou Yanan 2004,10).<br /> <br /> Translators who adopt the foreignization strategy try to avoid any alteration or departure from the SL. The culture-specific elements, literary form, and linguistic feature are preserved as much as possible. Foreignization is based on the differences between different national cultures and advocates the original flavor of culture. The purpose of foreignization is to make the TL readers fully experience the exotic atmosphere, feel different nationalities and realize the differences among different language traditions and national cultures by retaining the language styles and national characteristics of foreign countries. Therefore, the appropriate foreignization not only promotes the cultural exchange,but also greatly enriches the expressiveness of the translated language(Tian Yunping 2005,107 ).<br /> <br /> With the expansion of cultural exchange,many English loanwords gradually infiltrate into Chinese through foreignizing translation and are widely familiar and accepted by us. For example,in English-Chinese translation, we have talk show(脱口秀),ivory tower(象牙塔),crocodile tears(鳄鱼的眼泪),sour grapes(酸葡萄) and so on. And in Chinese-English translation,there are 气功(qi gong),豆腐(to fu),功夫(kong fu),君子协定 (gentleman’s agreement ), 门户开放政策(the open door policy) and so on (Hou Yanan 2004,12).<br /> <br /> 1.4 Advantages and Limitations of Domestication and Foreignization<br /> <br /> Domestication and foreignization are the main translating strategies. While in translation,translators have a tendency to overemphasize the significance of one strategy and ignore the role of the other one. In fact, both domesticating and foreignizing strategies have their advantages and limitations.As the main strategy,domestication holds its advantages. Mark Schuttleworth and Moira Cowie regard domestication as&quot;a term used by Venuti to describe the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for the TL readers&quot; (Schuttleworth and Cowie,1997,43-44). This involves erasing the linguistic and cultural differences of the original text and adapting them to the norms and conventions of the target culture.Therefore, this target-culture-oriented approach makes the foreign familiar and avoids cultural conflicts and communication barriers. However, every coin has two sides. Venuti holds that domestication has negative connotation &quot;as it is identified with a policy common in dominant cultures which are ‘aggressive monolingual, unreceptive to the foreign’, and which he describes as being accustomed to fluent translations that invisibly inscribes foreign texts with TL values and provide readers with the narcissistic experience of recognizing their own culture in a cultural other&quot;(Venuti, 1995,20). <br /> <br /> For example, Nide said that &quot;to grow like mushroom&quot; can be translated into &quot;雨后春笋&quot; so as to achieve functional equivalence, but &quot;雨后春笋&quot; may mislead Chinese readers into believing that there are bamboo shoots in the English-speaking countries.Though domestication is easier for the reader to understand and accept, its naturalness and smoothness of the TT are often achieved at the expense of the cultural messages of the SL. What's more, if the translator always adopts the domestication strategy to replace the cultural differences with the information familiar to TL readers, the TL readers will be further apart from SL culture. Readers just review their own culture which is against the purpose of intercultural communication.<br /> <br /> Foreignization, source-culture-oriented approach, respects the foreignness of the source language and culture and try to retain the foreign linguistic forms and cultural differences in target text, so that it enables the target readers to gain &quot;an alien reading experience&quot;(Venuti,1995,20), to know the cultural otherness and to promote cultural communication. Besides, foreignization will play an significant role in preventing cultural hegemony and enhancing the status of foreign culture in the target culture. It is necessary for the target reader to acquaint himself with the foreign culture. What’s more, translation with foreignization could broaden the view of readers.It accords with the needs of cultural transmission and exchanges among different nations. <br /> <br /> For instance,there are plenty of expressions concerning animals in every language.The tiger is considered to be the‘king of animals' and stands for dignity in Chinese, while in English,the same meaning is carried by the image of ‘lion’. For example,&quot;他结婚了,太太是只母老虎”,in English, it can translates&quot;He was married and had a lioness at home &quot;. In the foreignized expressions, it is natural for readers to associate them with their native expressions. Through the comparison, they can understand different usages and the exact connotations of the lion and those of the tiger. It is in this way that target readers enrich their acquisition of foreign cultures and accelerate cultural communication (Hou Yanan 2004,14).However,there are limitations in foreignizating translation.Sometimes, alien cultural image and linguistic features may cause information overload to the readers. For example,if the reader can’t understand the ST image, he can’t receive the cultural message contained in the ST, and he may even fail to understand the ST.<br /> <br /> =='''Ⅱ Disputes over Domestication and Foreignization in History'''==<br /> <br /> No study of domestication and foreignization would be complete without consideration of them in a historical perspective.Throughout the history,there are many different opinions on domestication and foreignization in cross-culture translation.<br /> <br /> 2.1 Disputes over Domestication and Foreignization in the West<br /> <br /> In the west,there are various opinions on domestication and foreignization.It was Cicero in the first century B.C.who first eloquently formulated that a translatormust be either an interpreter or rhetorician (Zhou Min 2007,38).For the next two thousand years, translation theory was mainly limited to a heated discussion of this dichotomy.In the western translation field of today, the loudest speaker for domestication is Eugene Nida, and Lawrence Venuti is the representative of those who favor foreignization.<br /> <br /> Domestication recommends fluent translation. Eugene Nida is the representative of those who favor domesticating translation. The concept of dynamic equivalence is a clear indication of his inclination towards domestication. &quot;A dynamic equivalence aims at complete naturalness of expression and tries to relate the receptor to modes of behavior relevant within the context of his own culture&quot; (Nida,1993,159). Dynamic equivalence or functional equivalence is based on the principle of equivalent effect,i.e.the relationship between receiver and message should aim at being the same as that between the original receivers and the SL message(Zhou Ming 2007,41).<br /> <br /> A minimal definition of functional equivalence is stated as “ The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it&quot; in the book ''Language, Culture and Translating'' (Nida, 1993,117).He claims, &quot;Anything less than this degree of equivalence should be unacceptable&quot;(Nida,1993, 118). The maximal,ideal definition is stated as “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&quot; (Nida, 1993: 118). Nida’s &quot;Dynamic Equivalence&quot; can be viewed as a euphemism for domestication (Zhou Ming 2007,41). This can be evidenced also in Nida's own words &quot;The translator must be a person who can draw aside the curtains of linguistic and cultural differences so that people may see clearly the relevance of the original meaning&quot;(Nida, 1993: 121). All in all, Nida's theory virtually reinforces the status of domestication as a canon in English-language translation.<br /> <br /> Since the publication of the Translator’s Invisibility in 1986, Lawrence Venuti has become one of the most prominent figures in contemporary U.S. translation circle. Lawrence Venuti is a major advocator of foreignization. His aim is &quot;rather to develop a theory and practice of translation that resists dominant target-language cultural values so as  to signify the linguistic and cultural difference of the foreign text&quot; (Venuti, 1995, 23). He states&quot;the fact of translation is erased by suppressing the linguistic and cultural differences of the foreign text, assimilating it to dominant values in the target-language culture, making it recognizable and therefore seemingly untranslatable. With this domestication the translated text passes for the original&quot;(Venuti,1995,23). Hence,he puts forth the principle of&quot;resistancy&quot; to signify the difference from the foreign text by disrupting the cultural codes that prevail in the target language.<br /> <br /> 2.2 Disputes over Domestication and Foreignization in China<br /> <br /> The disputes over domestication and foreignization can be dated back to the period of translating the Sanskrit Buddhist scriptures into Chinese， which is known as the dispute over&quot;simple translation&quot;(文)and&quot;sophisticated translation&quot;(质) Sutra scriptures. Dao’an (Luo Xingzhang 1984，26) firmly advocated faithful translation of &quot;zhi&quot;, namely,foreignizatiing translation. While Kumarajiva is strongly against foreignization. He advocated the translation of &quot;wen&quot;.In the 1930s,Zhao Jingshen (Luo Xingzhang 1984:267) proposed the translation principle of “smoothness over faithfulness”. Zhao declared that a piece of translation should be smooth, even if smoothness was achieved at the expense of faithfulness. Thus he chose to “rearrange Yan Fu’s three points in a new order, as follows: expressiveness, faithfulness, elegance&quot;(Luo Xingzhangv1984,267). The most famous Chinese scholar who firmly advocates domestication in the 20th century might be Qian Zhongshu. He insists that the highest standard of translation be &quot;sublimation&quot; and a translation be &quot;so faithful to the source text that it does not read like a translated work, because the text in the source language will by no means read like a translated one&quot;(Qian Zhongshu,1981,18-19).<br /> <br /> That is to say,a piece of good translation should not reveal its foreignness.Compared with the advocacy of foreignization, the school of domestication is more powerful and popular.Most acknowledged translators century were the representatives of the domestication school,such as Yan Fu,Zhang Guruo,Yang Bi ,just to name a few. (Zhou Min 2007,39) Professor Xu Yuanchong favors domestication. He sees clearly the differences between eastern and western cultures，and proposes the theory of cultural competition to deal with the cultural differences.That is, a translator should make full use of the strength of the TL in order to make the TT more beautiful (Xu Yuanchong,2000:90).As using of four-character-phrases is widely acknowledged as one of the characteristics as well as strong points of the Chinese language,Xu uses a lot of four character phrases in his translation. He also likes to use phrases from ancient Chinese literary works in his translation. For example,“ Elle morul”is translated into“魂归离恨天”which is a phrase used in ''Hong Lou Meng''(Hou Yanan 2004，21).<br /> <br /> =='''Ⅲ Factors Influencing the Choice of Domestication and Foreignization'''==<br /> <br /> In essence, domestication and foreignization are only two different translation methods used to deal with the linguistic and cultural differences between in the process of translation. Whether to choose domestication or foreignization is determined by many factors. Generally speaking, there are so many factors influencing the translator's strategy choice. For example, the text type,the translation purpose,the target reader, the translators cultural attitude,the context, etc.This paper will make a discussion about the three factors: the translation purpose,the text type and the target reader.<br /> <br /> 3.1 The Translation Purpose<br /> <br /> Translation is a purposeful activity.Any human activity is conducted with certain intention in mind.Translation as a human activity is no exception.According to Manttari，the famous functional translation theorist,translating behavior is a complex activity designed to realize the information convey across different cultures and different languages. In his opinion, purpose principle is the first principle of translation(Zhou Min 2007, 60). As Hermans points out: “Without such intention, without taking into account the function which the translation is meant to serve or the problem it is trying to solve,the translators choices appear whimsical, or pointless,or wholly idiosyncratic&quot; (Hermans,1999,39).Because of the existence of linguistic and cultural differences,there is no complete equivalence between TL and SL.Then what should be preserved and what should be altered, or to what degree the SL should be preserved, in other words, what translation strategies the translator should chose is determined by the purpose of translation (Zhou Min 2007,60-61). On the one hand, if the main purpose of translation is to introduce the culture of the SL, to promote the mutual understanding and communication between different cultures in order to broaden the view of the target readers. We should adopt the foreignization strategy. <br /> <br /> On the other hand, if the main purpose is for amusement or to please the target readers, and avoid the cultural obstacles or conflicts that may occur in readers reading and comprehending of the TT, domestication should be chosen firstly. Therefore,if translation is for a specific purpose and the task is very urgent, his major concern will be the fluency and readability of the translation in order to avoid obscurity and ambiguity. In such case,the domestication approach is preferable. On the contrary, if translation is for a pressing task of communication,he may adopt foreignization in order to meet the need of appreciating foreign cultures on the part of the readers. For example,in the Chinese sentence &quot;谋事在人, 成事在天&quot;, the word &quot;天&quot;, in China, is a Daoism concept, while in western we will use 'God'(Zhou Min 2007,62). Foreignization strategy should be adopted if the purpose of translation is to popularize the Daoism and broaden the westerners’ horizon about Chinese culture.The translator can use the word 'heaven' to keep foreign flavors. On the contrary,when the purpose of translation is to make the target readers know the meaning of the sentence and improve the readability of the sentence, domestication should be adopted to make TT more acceptable to the readers and the  word‘god’should be used. <br /> <br /> So the purpose of translation can shift cultural orientation, which may also determine which translation strateg to choose,domestication or foreignization in some aspects.<br /> <br /> 3.2 The Target Reader<br /> <br /> In the translating process, the translator acts as the producer and the readers the receptor. The relationship between the producer (translator) and receptor (readers)is considered one of the most important among relations involved in translating process (Zhou Min 2007,67).A translation process is not complete without the participation of the readers.Nida (Nida 1993: 139) once said:“The target audience for which a translation is made almost always constitutes a major factor in determining the translation procedures and the level of language to be employed.” Therefore, the level of the intended readers plays an important role in determining a translator’s  translation strategy. As target readers are different from each other in almost every aspect, the translator is responsible to analyze their respective communicative needs. The readers are the ultimate judges of a translation. Therefore,the first and foremost  thing the translator should bear in mind is to recognize what type of readers his work will probably face.The readers will be they children,general public or experts and so on, in order to have his versions acceptable to the target readers.<br /> <br /> Depending on the different groups of readers, the translator can decide which kind of approach he may adopt. For example, for the sentence below, there will be different translations according to different groups of readers.<br /> <br /> He is a modern Samson. <br /> <br /> (1)他简直就是现代的参孙。<br /> <br /> (2)他是一个大力士。<br /> <br /> Samson is a character in Bible, who is famous for his strong figure. For readers  who know western culture very well, version(1), which is the result of foreignization,seems to be a vivid translation. However, for those who are not familiar with or those who know little about western culture, version (2) is more comprehensible and preferable (Zhou Min 2007,68).<br /> <br /> All in all, translators should pay attention to the target reader in the translating process.Domestication and foreignization both take target readers,their cultural backgrounds,their expectation and the time the are in and so on, into consideration but with different focuses of emphasis. The translator should stress the significant role of target readers in order to make a better translation.<br /> <br /> 3.3 The Text Type<br /> <br /> Different types of texts require different translation strategies. Because different types of ST have different functions and intentions, which requires the translator to choose different translation strategies. So different types of ST also affect the choice of translation strategies. According to Christiane Nord,translation can be classified into instrumental translation and documentary translation (Christiane Nord,1997,36).Instrumental translation refers to transfer information of communicative activity in the source culture into the target culture in the translating process.This type of translation is mainly used in the true information and tries to preserve the truth.It stresses the transmission of information,which mainly includes non-literary writing such as advertisement, journalistic writing,reports,scientific and so on. Therefore, the aim of translation is to achieve the accuracy of the content and fluency in language without paying attention to the foreign flavor. Thus domestication is more accessible and can be obtained as much as possible.<br /> <br /> Documentary translation refers to the translation that is the medium to represent authentic communicative activities in the source language culture for the target readers(Zhou Min 2007,63). Documentary translation is suitable for translating the original expression where the specific language of the speaker or writer is as important as the content. It is often used in fictional texts like literature. Mainly concerning the mental field and imaginary things, this kind of text contains rich cultural connotations, and reflects the social thoughts and customs (Zhou Min 2007,63).So,in the documentary translation, the foreignization strategy is preferable. <br /> <br /> From the above analysis, we could have a conclusion that different strategies should be adopted according to different types of the source text. For example, when translators translate political, historical or philosophical texts,the method of foreignization is often adopted because the aim of these texts is to introduce and reveal the source cultures. On the other hand, when translators translate texts of practical styles, such as notices, news reports, advertisements and popular literature, domestication tends to be the general guideline because the purpose for these texts is to achieve wider readers and better readability (Zhou Min 2007, 64).<br /> <br /> In summary, understanding these factors can help a translator to choose an appropriate translation strategy. <br /> <br /> =='''Conclusion'''==<br /> <br /> In a word, in the cross-cultural perspective, domestication and foreignization have their own advantages, and have a profound impact on translation. In different contexts, they should be reasonably selected, which puts forward higher requirements for the translator’s cultural literacy. In the process of translation, translators should adopt more appropriate translation methods according to specific problems and specific conditions, so that domestication and foreignization complement each other to achieve the ultimate goal of promoting cultural exchanges and communication. If one-sided emphasis on domestication or the pursuit of foreignization will lead to a very short translation work. Therefore,it is necessary to combine the two methods scientifically and grasp the degree to improve the translation effect.<br /> <br /> =='''Bibliography'''==<br /> <br /> [1] Chen Fu. (2004). ''Domestication and Foreignization''. Zhejiang University.<br /> <br /> [2] Christiane Nord(1997). ''Translating as a Purposeful Activity-Functional Theories Explained''. Manchester: St. Jerome Publishing.<br /> <br /> [3] Jingjing Cui. (2018). ''A Study on the Relativity of Foreignization and Domestication in Translation Based on Date Comparison''. 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(1995). ''The Translator’s Invisibility: A History of Translation''. London and New York: Routledge.<br /> <br /> [12] Cao Xueqin ＆ Gao E 曹雪芹＆高鹗.(2005). ''红楼梦''[''Hong Lou Meng'']. Shanghai:Shanghai Literature and Art Publishing House上海: 上海文艺出版社.<br /> <br /> [13] Guo Jianzhong 郭建中.(1992).翻译中的文化因素:异化与归化[Cultural factors in translation: Foreignization and Domestication]. Foreign Language 外国语 (02):12-18.<br /> <br /> [14] Hou Yanan 侯雅楠. (2004).翻译的归化和异化研究及应用[Research and Application of Domestication and Foreignization in Translation].Dalian:Liaoning Normal University大连:辽宁师范大学.<br /> <br /> [15] Ke Ping 柯平. (1993). 释义, 归化和回译-三谈变通和补偿手段[Interpretation,Domestication and Retranslation - Three Means of Adaptation and Compensation]. Chinese Translation中国翻译,(01),23-25.<br /> <br /> [16] Liu Yingkai 刘英凯. (1987).归化-翻译的岐路[Domestication - Translation Divergence].Modern Foreign Language 现代外语 (2):15-17.<br /> <br /> [17] Luo Xinzhang 罗新璋(编).(1984).''翻译论集''[''Translation Collections'']. Beijing:The Commercial Press北京:商务印书馆.<br /> <br /> [18] 秦洪武,李海青 Qin Hongwu ＆ Li Haiqing .(1997).论归化的可行性[On the Feasibility of Domestication]. Foreign Language and Translation 外语与翻译,(02),16-18.<br /> <br /> [19] 孙丽 Sun Li.(2016).以跨文化交际为基准观察翻译中的异化及归化[To Observe Foreignization and Domestication in Translation Based on Cross-cultural Communication].Wuzhou:Journal of Wuzhou College 梧州：梧州学院学报(07):93-95.<br /> <br /> [20] 王静 Wng Jing. (2018).''跨文化视角下的英语翻译理论与实践探究''[''A Study of English Translation Theory and Practice from a Cross-cultural Perspective'']. Changchun:Jilin People's Publishing House 长春：吉林人民出版社.<br /> <br /> [21] 许钧 Xu Jun. (2001).''文学翻译的理论与实践:翻译对话录''[''Theory and Practice in Literary Translation: A Dialogue on Translation''].Nanjing:Yilin Press 南京:译林出版社.<br /> <br /> [22] 许渊冲 Xun Yuanchong. (2000).''翻译的艺术''[''The Art of Translation'']. Beijing:China National Translation and Publishing Company北京:中国对外翻译出版公司.<br /> <br /> [23] 严智千 Yan zhiqian. (2007).''归化还是异化？''[''Domestication or foreignization''?].Shanghai:Shanghai Jiao Tong University 上海：上海交通大学.<br /> <br /> [24] 周蕗 Zhou Lu. (2015).基于跨文化视野的归化与异化翻译研究[Research on Domestication and Foreignization Based on a Cross-cultural Perspective].Suzhou:Journal of Suzhou Institute of Education 宿州:宿州教育学院学报（2）:55-57.<br /> <br /> [25] 周敏 Zhou Min. (2007).文化视角下的归化异化研究[Research on Domestication and Foreignization from the Perspective of Culture].Beijing:China University Of Petroleum 北京:中国石油大学.<br /> <br /> ==Cultural Differences in Interpreting and Corresponding 吴琼 Wu Qiong==<br /> &lt;center&gt; 吴琼 Wu Qiong 英语口译 MTI ( interpreter ) 202070080644 &lt;/center&gt;<br /> <br /> ===Abstract===<br /> Language and culture are very closely related. It is language that allows culture to be recorded, transmitted and perpetuated. With rapid development of globalization, the demands for interpreting between languages are also increasing. <br /> However, cultural differences hinder the smooth expression of interpretation. As Mr. Wang Zuoliang said, &quot;What is the greatest difficulty in translation? It is the difference between two cultures.Something can be told without words in one culture, but in the other culture, interpreters might take a great deal of effort in explaining it.&quot; （姜怡.浅谈在口译中如何弥补中英文化的差异[J].海外英语,2014(13)). The same applies to interpretation. This paper will mainly study on the cultural differences analysis, cultural differences in interpreting and corresponding, and corresponding strategies to cope with the cultural differences in interpreting. And hoping it can provide some references for the study of English interpretation.<br /> <br /> ===Keywords===<br /> Cultural differences; Interpreting; Corresponding Strategies<br /> <br /> ===题目===<br /> 口译及相关领域的文化差异研究<br /> <br /> ===摘要===<br /> 语言和文化之间的关系十分紧密。正是因为语言，文化才得以记载、传播和延续。随着全球化进程的加快，不同语言间的口译需求也日益增加。然而在口译时，不同语言间的文化差异阻碍了口译的顺利进行。就像王佐良先生所言：“翻译最大的困难是什么？就是两种文化的不同，在一种文化里头不言而喻的东西，在另一种文化里头却要浪费很大力气加以解释。”（姜怡.浅谈在口译中如何弥补中英文化的差异[J].海外英语,2014(13)）这句话对口译同样适用。本文将就文化差异的分析、口译及相关活动的文化差异以及其应对策略三个方面对口译及其相关活动的文化差异进行研究，希望能为英语口译的研究提供一定的参考。<br /> <br /> ===关键词===<br /> 文化差异；口译；应对策略<br /> <br /> ===I. Cultural Differences Analysis===<br /> Due to the differences in cultural backgrounds and ways of thinking, English and Chinese often have completely different expressions for many similar concepts. After analysis, the reason can be reflected mainly in three aspects.<br /> <br /> '''I.I. Different Perceptions'''<br /> <br /> Both English and Chinese languages have a time-honored history and connotation. Due to many differences, Chinese and Western perceptions are also very different. <br /> For instance, when foreigners talk about &quot;Black Friday&quot;, if it is only translated as &quot;黑色星期五&quot; literally in Chinese(target language), the target language receiver may not know the true meaning.Therefore, when interpreters do this kind of translation, regardless of whether it is an &quot;unlucky&quot; day or a &quot;shopping day&quot;. The interpretation should be made according to the context. <br /> Another example is &quot;touch the wood&quot;, which is believed in the West to ward off evil spirits or find protection.<br /> Since the origin of the phrase is somewhat related to religious beliefs or superstitions, in addition, there is no similar phrase in China. So in the process of interpreting, we should also pay attention to explaining the meaning of the phrase.<br /> <br /> In the West, it is impolite to discuss on a man's salary or a woman's age. It is not even allowed to ask how much are the furniture in their homes.<br /> In Chinese, for example, when people praise an old person's good health, they usually say, &quot;您老身子骨很硬朗啊！“ But in English-speaking countries, if you interpret it directly as &quot;Although you are so old, you still look very healthy&quot; will make the other disguised. The reason is that in their view, mentioning age, especially while noticing the word &quot;old&quot; will indicate others'age. So the correct translation would be&quot;You look great or amazing. &quot;<br /> <br /> '''I.II. Vocabulary Absence'''<br /> <br /> &quot;Due to the difference of language and culture, a few vocabulary can not be found in the other language sometimes, and if this happened in the process of interpretation, it can easily lead to information is lost or mistranslated.&quot; （范雄杰.浅析文化差异对翻译的影响[J].校园英语,2014(26))<br /> For example, for those foods which are full of Chinese characteristics, i.e. &quot;dumplings&quot; and &quot;doughnuts&quot;, they don't have corresponding vocabulary in English, as in English-speaking countries, those foods can hardly be seen or eaten. So in this circumstance, it is very difficult to describe them clearly unless the person concerned sees or tastes them in his own eyes. Therefore, when interpreters encounter such words, they can choose to translate them phonetically, i.e. &quot;Zongzi&quot; and &quot;Youtiao&quot;, then explain the words. The full translated sentence should be &quot;Zongzi, a kind of traditional Chinese rice - pudding&quot; and &quot;Youtiao, a kind of deep-fried dough sticks&quot;. <br /> <br /> Furthermore, the Chinese language is very profound. It has phonetic, direct, and meaningful translations, as well as passages words, multiple meanings, and so on. In contrast, the English language is more direct. For example, in the Analects of Confucius, there is a sentence that reads, &quot;Isn't it a pleasure to study and practice what you have learnt?&quot; In this sentence, the Chinese word &quot;说&quot; is pronounced as &quot;悦&quot;, which means pleasant. But in colloquial language, the two are pronounced the same. If the sentence is translated backwards into Chinese, it becomes &quot; It is not a pleasure to learn with perseverance and utilization?&quot; Although the translation conveys the meaning expressed in the original text, the meaning of the original text, the rhythm of the original text is lost due to the absence of the corresponding expressions. In this kind of translation, there is no way to compensate for the cultural differences, but we can only minimize the lack of meaning and try to accurately convey the connotation expressed in the original text as much as possible.<br /> <br /> '''I.III. Different Linguistic Customs'''<br /> <br /> Under the different cultural background and due to different linguistic customs, greetings or other communicative terms are different as well. <br /> For example, when Chinese people greet guests, they usually would say, &quot;欢迎各位，一路辛苦了！&quot; In this case, the interpreters can not translate it literally in the Chinese thinking mode&quot;Welcome, everyone! You must be very tired in the long journey&quot;. Actually for native English speakers, on such occasions, they should express their concerns rather than greetings. Therefore, according to the English thinking habit, the interpreter can translate it as &quot;How about your flight?&quot; or &quot;You've had a long trip.&quot;<br /> <br /> China is a country of ceremonies, and Chinese people take modesty as a virtue. When Chinese and foreigners negotiating, the Chinese people used to saying, &quot;请多提宝贵意见。&quot; At that time, if the interpreter translates it as &quot;Please give us your valuable comments.&quot;,then it will easily cause misunderstanding. Because English speakers will be puzzled that they are forced to give valuable comments, or you should not mention it. Such a translation is obviously impolite, so it should be translated as &quot;We appreciate your comments.&quot; or &quot;Please offer Your comments.&quot;<br /> <br /> ===II. Cultural Differences in Interpreting and Corresponding===<br /> <br /> With the continuous improvement of China's international status, China has more dialogues and business with other countries. We can see foreign affairs interpretation and business interpretation play pivotal roles in these perspectives. And in such interpretation processes, we also see many cultural differences. There are different domains in interpretation, such as escort interpreters, traveling interpreters, business interpreters, foreign fairs interpreters.etc. We will definitely encounter cultural differences in different scopes of interpretation. And here we mainly discuss about foreign fairs interpretation and business interpretation.<br /> <br /> '''II.I. Cultural Differences in Foreign Fairs Interpretation'''<br /> <br /> Foreign affairs are diplomatic affairs between states, and foreign relations are primarily military and diplomatic, with the executive branch of the national government being the main participant in the various &quot;foreign affairs&quot; is a broad term that refers not only to relations, but also to &quot;fairs&quot;. &quot;It includes issues, events, relationships, and legal rights granted by the Constitution. Foreign affairs are matters relating to foreign countries, not domestic matters, especially those involving national and foreign interests. Foreign affairs interpreting is the oral translation of activities dealing with international affairs. The quality of foreign affairs interpretation directly affects the interests and honor of the country. Foreign affairs interpretation is not only a kind of Language behavior is more a kind of cultural behavior. <br /> <br /> Foreign interpreters have to play different roles such as interpreters, receptionists, advocates and tour guides. For this reason, foreign interpreters should try to reduce the communication barriers caused by cultural differences so that communication can proceed smoothly. In political or commercial negotiations between countries, proverbs, idioms and allusions that are closely related to national cultures can cause difficulties in understanding. For example, in a business negotiation, we used the phrase &quot;鹬蚌相争&quot; to express that in a fierce competition, the third party wins, which is simply translated as &quot;the mussels between the snipe and oyster&quot;. That is difficult for foreigners to understand the essence and connotation of the term, which needs to be further explained as &quot;Please be more considerate, and do not only pay attention to the very close interests, we must take the long run to avoid the third competitor's attack.&quot; <br /> <br /> When an interpreter is accompanying a foreign guest as a host, there may be more barriers to understand something caused by cultural differences. The interpreter should make the necessary adjustments in order to make the name of the dish better understood by the listener. For instance, &quot;童子鸡&quot; is a very popular dish in China, and it is difficult to understand and absurd to translate it directly as &quot;virgin chicken&quot;. If it is translated as &quot;spring chicken&quot; or &quot;baby chicken&quot;, foreigners can easily understand that the dish is made of chickens and not &quot;unmarried chickens&quot;. <br /> <br /> &quot;Interpreters should also be aware of the cultural differences between China and the West when introducing our profound culture to Westerners. For example, in Liu Yuxi's poem &quot;东边日出西边雨，道是无情却有情&quot;, the interpreters should further interpreted the connotation of the Chinese &quot;日出&quot; and &quot;晴&quot;. Xu Yuanchong translated as &quot;The west is veiled in rain, the east enjoyed sunshine; my dear one is as deep in love as day if fine.&quot; Westerners do not understand puns and rhymes, especially when combined with the profound culture of China.<br /> <br /> '''II.II. Cultural Differences in Business Interpretation'''<br /> <br /> The Belt and Road Initiative has led to large quantity of business activities both at home and abroad, and the practice of business negotiation interpretation has continued to heat up. Interpreters should take the responsibility to be proficient in business interpretation and of course should be familiar with the cultural differences in the business field.<br /> <br /> In the process of business negotiation, interpreters are not only involved in business negotiation, but also in reception activities in some cases. Interpreters should not only have sufficient foreign language and business knowledge, but also need to understand the differences between Chinese and Western ways of thinking. For example, when greeting an elderly foreigner at the airport, the Chinese interpreter says, &quot;Since you are old, let me help you with your luggage.&quot;<br /> But the foreigner said. &quot;I'm not old.&quot; This is a misunderstanding caused by the difference between Chinese and Western ways of thinking. Respecting and loving the elderly is a traditional Chinese virtue, and China has always attached importance to social ethics, but in the West, offering help to the elderly seems to say that the elderly are incompetent, which is offensive to foreigners.<br /> <br /> The Chinese emphasize ethics and the Westerners emphasize perception. When greeting foreign guests, there is a lot of etiquette of presenting flowers. In business activities, any details need to be considered culturally. For example, lilies are seen as auspicious flowers in China, but in the UK, white lilies are used for funerals and it is taboo to use this flower for congratulations or gifts. The different meanings of the same plant in different cultures reflect the different perceptions of the Chinese and British people, and are essentially a reflection of the differences between Chinese and Western ways of thinking. If you don't understand the cultural differences, you will lay the groundwork for the failure of the negotiation even before the business negotiation begins.<br /> <br /> The Han Chinese way of thinking is heavy on harmony. This also confirms the difference between Chinese and Western ways of thinking of dissimilarity. At the same time, Westerners are more logical and precise, while the Chinese are more intuitive and vague. Language is the code of culture and the medium of cultural transmission. The differences in thinking styles are an important reflection of cultural differences, and the differences are inevitably reflected in language.<br /> <br /> Some business negotiation activities include not only the negotiating process, but also the dining and banqueting process. When interpreters escorting, they should pay attention to the various cultural taboos of foreigners. These cultural taboos are reflected in almost all aspects of life, and the cultural taboos also reflect the differences between Chinese and Western ways of thinking. For example, Chinese people prefer the number six, but &quot;666&quot; represents the devil in the Bible; and in Christian countries, everything in the shape of a cross is taboo, which is not so obvious in China. (Flaskerud. Cultural Differences in Interpreting Behavior: Staring and Spitting[J]. Issues in Mental Health Nursing,2013,34(12).)<br /> <br /> ===III. Corresponding Strategies to Cope With Cultural Differences===<br /> <br /> The most important feature of interpretation is immediacy, and the use of dissimilation strategy can quickly translate the source language directly into the target language, but it may cause difficulties for the audience to understand. In foreign interpretation, it is not allowed to make further interpretation after dissimilation. If the domestication strategy is adopted, the interpreter directly converts the source language into the target language, which is familiar to the audience, saving time and achieving instantaneous effect. Interpreters should use both strategies alternately according to their characteristics and other factors. In addition to naturalization and dissimilation, direct translation, meaning translation, word enhancement and substitution can also be used. Foreign interpreters should choose appropriate strategies according to the situation, and these strategies can also be used together to achieve the desired purpose.<br /> <br /> Many famous theorists have put forward various criteria to judge the quality of translation, but the principle of &quot;faithfulness, expressiveness and elegance&quot; proposed by Yan Fu is most accepted by the Chinese people. Interpretation is a kind of translation, and its criteria are similar to those of translation. Interpretation has its distinctive characteristics, among which, time constraint is the most significant feature. Interpreters do not have enough time to strictly comply with &quot;faithfulness, expressiveness and elegance&quot;, so &quot;interpreters&quot; will believe in the principles of &quot;accuracy, immediacy and fluency&quot;. <br /> <br /> '''III.I. Accuracy'''<br /> <br /> Accuracy is considered by interpreters and interpreting theorists to be the most basic and important criterion. The interpreter's duty is to translate the source language into the target language with accuracy in terms of subject matter, argument, style, wording, number, expression, speed, tone and intonation.<br /> <br /> '''III.II. Immediacy'''<br /> <br /> Immediacy is a unique criterion determined by the distinctive characteristics of interpretation, where the interpreter needs to get the message to the listener quickly without much time to reorganize the sentence. In consecutive interpreting, the interpreter is required to interpret two to three seconds after the speaker finishes, and simultaneous interpreting places greater demands on the interpreter.<br /> <br /> '''III.III. Fluency'''<br /> <br /> Fluency is another criterion that interpreters need to adhere to. The communicative nature of interpretation requires the interpreter to deliver the message quickly and fluently to the audience with as few interruptions as possible. Fluency includes the speed at which the interpreter perceives the source language, the speed of encoding, decoding, and expression. (杨秀芳.外事口译中文化差异问题的应对策[J].湖北函授大学学报,2014,27(14):141-142.)<br /> <br /> Due to cultural differences, there are occasions when the two languages are not interpretable. Cultural differences, we should acknowledge that interpretation is not always possible, but only within certain limits. It is only possible within a certain range and limit. Thankfully, interpretation does not require as much accuracy as translation. The author believes that cultural differences certainly exist in the process of interpretation, but as long as they can be &quot;faithful and accurate,&quot; the author will be able to make the interpretation process more accurate. However, as long as the two criteria of &quot;faithfulness and fluency&quot; can be achieved, i.e., on the one hand, there is no tampering with the meaning expressed by the speaker, and on the other hand, there is no tampering with the meaning expressed by the speaker.<br /> <br /> This reflects the importance of the interpreter's daily study and only by understanding the similarities and differences between Chinese and Western languages and cultures as deeply as possible can the interpreter reduce errors in the process of interpretation and effectively and play the role of a bridge between Chinese and Western languages and cultures. This shows the importance of daily study and accumulation of interpreters. （陈永智.浅谈口译过程中的文化差异及应对策略[J].国际公关,2019(09):279.）<br /> <br /> ===IV. Discussion===<br /> <br /> In order to accurately interpret the connotation of the source language, it is necessary to let the interlocutor fully grasp the connotation expressed by the other party. In the context of China's &quot; Belt and Road Initiative&quot; economic development, global interaction is getting closer, which makes the extension of communication between countries deeper, and in such an environment, in order to build a good cooperation relationship and reach a consistent economic development strategy, it is necessary to complete the corresponding communication for several times in order to achieve mutual development goals. In the process of communication, most of them are face-to-face communication, and both sides communicate and exchange with each other with the assistance of interpreters. So how did those cultural obstacles happened in the process of communication? Here are analysis of the factors leading to the emergence of cultural barriers in interpretation.<br /> <br /> '''IV.I. Interpreters have less basic knowledge of the source language and the translated language.'''<br /> <br /> In the process of interpreting the source language, the interpreters may not be able to translate accurately due to the cultural barriers, and the translation may even be odd. In view of this problem, this paper considers that the interpreters' basic knowledge of the language is one of the most important factors that cause the interpreters to be unable to translate the source language better due to cultural barriers. In the process of interpreters' translation of foreign language contents, they will be affected by cultural barriers because they know less about some basic knowledge, and they cannot translate the corresponding contents accurately. This is due to the fact that after the implementation of China's economic reform and opening-up strategy, the frequency of business and trade with the British and American countries is greater, which makes many translators in China know more about the basic knowledge of the language contents of the British and American countries, but for the translation of the foreign language contents of some small languages, they do not have enough basic knowledge as a guarantee in the process of translation, so the phenomenon of inaccurate interpretation content will naturally occur.<br /> <br /> Interpretation is the foundation of cross-cultural communication activities, and it is difficult to communicate across cultures because of the commonality and individuality of cultures, and different languages carry different cultures. Therefore, as interpreters, in the process of foreign communication, in order to better improve the spoken language, they should consolidate the foundation of the source language and the translated language, and learn the basic linguistic knowledge of the translated language in depth and be familiar with the characteristics of the syntax and grammar of the source language, so that they can accurately complete the translation of the language in the process of translation. We should study the structure of the translation language carefully and in detail, so that in the process of translating some source languages, we can complete the translation of the contents through all the languages of the translation language. Especially when focusing on the translation of some small foreign languages, we must choose to pay attention to the learning of the basic knowledge of the corresponding language, and pay attention to the learning of the basic knowledge of our language, only by paying attention to the cultural basis of both languages can we better improve the translation level of interpreters.<br /> <br /> '''IV.II. Less knowledge of the cultural history of the source language.'''<br /> <br /> The factors that lead to cultural barriers in interpretation are not only a low level of basic knowledge but also a low level of knowledge of the cultural history of the source language, which can lead to inaccurate translations. The language of a country is closely related to the history and development of that country's language. In China's trade activities with other countries or in the process of cooperation in other fields, there will be times to ease the atmosphere of cooperation negotiations, and during this period, some proverbs will be used to join the communication, and if some interpreters know less about the cultural history of the source language, they naturally cannot accurately translate the corresponding content, and this phenomenon mainly exists in non-political communication. This phenomenon is mainly found in the non-political communication. In economic trade, tourism, education, medical treatment, science and technology, and construction cooperation, some unofficial languages are often used for communication, and the frequency of proverbs or special vocabulary used in this process is high, so if we cannot grasp the cultural history of the source language, we cannot understand the meaning of the language spoken by the other party in communication. From this perspective, it can be understood that if the interpreters do not know the cultural history of the source language, it will naturally lead to cultural barriers in the process of translation.<br /> <br /> As different countries are influenced by history, culture and society in terms of language application, different languages will show different meanings, especially in some countries with deep cultural traditions, some words in proverbs have richer meanings, and if interpreters fail to pay attention to the in-depth study of the source language culture in the process of interpretation, the phenomenon of oops translation may occur. If the interpreters do not pay attention to the in-depth study of the source language and culture in the process of translation, the phenomenon of oops translation may occur. Therefore, in the process of transnational cultural exchange translation, interpreters should master the cultural history of the source language, especially the proverbs and traditional culture of the country, and master the meaning of different language applications in different contexts and word combinations, so as to better improve the translation level and avoid some sensitive problems in the process of communication between the two sides, and interpreters should pay attention to In the process of communication between the two sides, interpreters should pay attention to the comparison of cultural differences and master some sensitive words in the language of both cultures so that they can have the ability to translate foreign languages accurately.<br /> <br /> '''IV.III. Lack of practice in interpreting.'''<br /> <br /> Among the factors influencing cultural barriers in the interpretation process, the lack of practical experience of interpreters may also lead to inaccurate translation of foreign languages. The practical experience of foreign communication in any situation can improve the working ability of interpreters to a great extent, and only through continuous practice can interpreters understand the language characteristics and considerations of the source language countries. In China's contemporary economic development, after the implementation of the &quot;Belt and Road Initiative&quot; economic reform and opening-up strategy, China's trade and other cooperation with other countries have become more frequent, which makes the demand for foreign-related interpreters in China greater. In such a situation, fresh graduates who are involved in the work of foreign-related communication translators have less working experience and do not have enough practical experience, which leads to the phenomenon of cultural barriers affecting the translation content more frequently. Therefore, from this perspective, it is clear that the lack of practical experience of interpreters also hinders them from translating accurately the content of the source language.'' （孙明慧.口译中的文化障碍问题研究[J].产业与科技论坛,2019,18(20):166-167.）<br /> <br /> After the interpreter has consolidated the cultural foundation of the source language and the translated language and mastered the cultural history of the source language, he or she should focus on actively participating in the practice of interpreting, constantly summarizing the experience of interpreting in practice, and reflecting on some problems that have arisen, so that he or she can have the awareness of intercultural communication and learn some strategies of intercultural translation work, and discover the shortcomings through continuous practice, Likewise, a large amount of knowledge must be applied in practice to achieve the goal of accurate translation and improve the level of communication, and interpreting practitioners should reasonably handle and organize some corresponding skills and special cultural potential factors, and form their own guiding principles of translation, and through continuous practice, they can have high intercultural communication translation ability, which is important for the development of current social activities. This is an important contribution to the development of social activities. Especially for some fresh graduates, they must learn more about the translation characteristics of the language they are translating in some foreign-related communication occasions through continuous study, so as to better improve their own interpretation experience and enrich their interpretation ability. (Simona Simon,Lavinia Suciu. Raising Cultural Awareness in Interpreting Students[J]. Procedia - Social and Behavioral Sciences,2015,197.)<br /> <br /> ===V. Conclusion===<br /> <br /> Through the whole paper, we've gotten an overview of the reason of the emergence of cultural differences in interpreting and corresponding, and also the strategies to cope with it. For interpreters, it is necessary to absorb more knowledge and experiences to broaden our horizon and improve our professional skills. At the end of the paper, the writer wants to recommend some suggestion to readers for further improvement, hope more interpreters could learn something from it. In this regard, this paper points out the necessity of improving the cross-cultural barrier of interpretation, so as to accurately translate the connotation of the source language on the one hand, so that the interlocutor can fully grasp the connotation expressed by the other party. On the other hand, improving the level of interpreters can show the respect of our country to the other party, which can also play a certain role in facilitating the cooperation between them. It is also pointed out that the strategies to improve the spoken language across cultural barriers are to strengthen the foundation of the source language and the translated language, to master the cultural history of the source language and to increase the practice of interpreters.<br /> <br /> This paper discusses the cultural differences in interpreting and corresponding in the aspects of Cultural differences analysis, cultural differences in interpreting and corresponding, e.g. foreign affairs interpretation and business interpretation, and corresponding strategies to cope with cultural differences, thus in order to help improve interpreters' capability. The existence of cultural differences places higher demands on the ability of translators and raises higher expectations on the mode of training translators. The translators themselves should strengthen their knowledge of different cultural backgrounds and learn more about the relevant contents to enrich their accumulation. When preparing work before translation, they should collect relevant information well. Due to the immediate and on-site nature of interpretation, the learning of cultural background knowledge should be put in the usual way. For the translation master training institutions, they need to make up for the lesson of cultural differences in the curriculum, especially for the institutions offering business English, they should be more specific and detailed in cultural differences, and they can understand the cultural differences of different countries and regions by regions, not limited to the cultural differences between China and Britain, but also detailed to the cultural differences in different aspects of business activities, and they can simulate business activities in class, so that Students can simulate business activities in class, so that they can deeply experience the necessity of understanding cultural differences under the context of teaching.<br /> <br /> ===References===<br /> <br /> [1]刘洋.文化差异对英语口译的影响与应对[J].智库时代,2019(17):198-199.<br /> <br /> [2]洪小丽.以“联络口译”为抓手的新时代口译教学探究——评《联络口译》[J].当代教育科学,2020(09):97.<br /> <br /> [3]姜怡.浅谈在口译中如何弥补中英文化的差异[J].海外英语,2014(13)<br /> <br /> [4]范雄杰.浅析文化差异对翻译的影响[J].校园英语,2014(26)<br /> <br /> [5]杨秀芳.外事口译中文化差异问题的应对策[J].湖北函授大学学报,2014,27(14):141-142.<br /> <br /> [6]陈永智.浅谈口译过程中的文化差异及应对策略[J].国际公关,2019(09):279.<br /> <br /> [7]孙明慧.口译中的文化障碍问题研究[J].产业与科技论坛,2019,18(20):166-167.<br /> <br /> [8]MALINI MURALI. Interpreting the Other: Intellectual History and Cultural Difference[J]. The Journal of Indian and Asian Studies,2020,01(02).<br /> <br /> [9]Simona Simon,Lavinia Suciu. Raising Cultural Awareness in Interpreting Students[J]. Procedia - Social and Behavioral Sciences,2015,197.<br /> <br /> [10]Flaskerud. Cultural Differences in Interpreting Behavior: Staring and Spitting[J]. Issues in Mental Health Nursing,2013,34(12).<br /> <br /> ==The Translation of Cultural Elements in Tourism Promotional Materials Under Skopos Theory 杨子泠==<br /> <br /> 杨子泠 Yang Ziling 202070080647<br /> <br /> ==Abstract==<br /> <br /> As China has become an increasingly large inbound tourism country, efforts are put in the promotion of supporting facilities, among which promotion service, especially Tourism Promotional Materials (TMP), is the main way to introduce to not only Chinese tourists themselves but also the great number of foreign travelers, China’s scenic spots, natural resources and culture, and thereby arouse their interest in the landscapes and ancient cultural relics. Therefore, the translation of TMP is of vital importance in the publicity. Based on Skopostheory, this paper first introduces TPMs, then compares cultural differences in TPM translation. Finally it concludes some strategies and techniques used in TPM translation under the framework of Skopostheory. The author deems it that TPM translation should stand on the side of foreigners, meanwhile revealing the main idea of Chinese original sources.<br /> <br /> ==Key Words== <br /> <br /> TPM translation cultural differences Skopostheory<br /> <br /> ==摘要==<br /> <br /> 中国已经成为了一个旅游大国，政府开始大力完善旅游配套设施，其中旅游宣传服务，特别是旅游宣传资料是向中外游客介绍中国旅游景点，自然资源以及文化的最主要方式，从而激起他们对自然风光和古文物的兴趣。因此，旅游宣传资料对宣传工作十分重要。文章从目的论的角度出发，首先介绍了旅游宣传资料，然后对比了宣传资料中中西方的文化差异。最后基于目的论，文章总结出几种实际可行的翻译策略和技巧。作者认为旅游宣传资料的翻译应该站在外国游客的立场来传达中文素材的主要信息。<br /> <br /> ==关键词==<br /> <br /> 旅游宣传资料翻译 文化差异 目的论<br /> <br /> ==I. Introduction==<br /> <br /> Economic globalization boasts the rapid development of tourism industry around the world and the interaction between people (Yang, 2014, 3). Tourism has become increasingly more an entertainment enriching people’s spiritual life. Serving as promotional materials and advertisements, Tourism Promotional Material (hereafter referred to as TPM) play increasingly important role in introducing China’s specialty to the world. With the development, more and more TPMs have been translated into English in recent years. Indeed, some good translation materials leave a strong impression on travelers to China, especially those from English speaking countries. It is truly a better way to attract more visitors across the world, to introduce famous scenic spots, tourist attractions and food specialties and to promote the development of international tourism and cultural communication.<br /> <br /> TPM, to a certain degree, is a trademark and an external promotion work of tourism destinations, revealing the first image of the tourist attractions, landscapes and the surrounding environments. A good translation is of great significance in the first impression it leaves on potential visitors. (Wu, 2008, 319)<br /> <br /> Since TPM has a strong effect on the image of tourist attractions in domestic tourism industry, the study of it is of great importance. Mr. Liu Fagong (2012, 70) once said, “some translation errors seem to be very slight, but it can reflect the international communicative competence of a certain area or a certain enterprise”. Inappropriate translation will not only lead to cultural misunderstanding, but also result in barriers in the development of international tourism as a whole.<br /> <br /> This thesis focuses on the possible strategies to improve the quality of TMP by comparing Chinese and western cultural differences. To guide the practice of Chinese TPM translation, various theories have been adopted and used, among which Skopostheory is going to be testified. The merits of it and the awareness of cultural differences are to be revealed. Therefore, it first introduces the definition and features of TPM. Then it reveals the difficulties in the translation of TPM caused by cultural differences. After that, the framework of Skopostheory is introduced and the methods and strategies of cultural translation in TPM is discussed under the framework of Skopostheory.<br /> <br /> ==II. Literature Review==<br /> <br /> 2.1 Tourism Promotional Materials (TPM)<br /> <br /> 2.1.1 Definition of Tourism Promotional Materials<br /> In order to define tourism promotional materials, the definition of promotional materials should first be made clear. Mr. Duan Liancheng (1990, 97) has put TPM into two separate categories: the general type and the official type. The former refers to general reports and region guiding brochures, mainly introducing China’s current issues to the public, including introduction of economy, politics, society, culture, people’s living situation and historical heritage. The latter refers to official documents, diplomatic conference and legal instruments, etc. Written in a special form, TPM covers many fields and areas. (Ding, 2008,14)<br /> <br /> TPM in this article is the general type, dealing with the tourism industry and resources in tourism cities, which aims at foreign readers. TPM has various types, including books, brochures, maps, paintings, videos, TV documents,newspapers, periodicals and tourism-guided websites as well. TPM serves to depict China’s scenic spots, culture and historical heritages, broadening viewers’ sight, arousing interests among them and finally making them eager to pay a visit. (Yang, 2014, 3)<br /> <br /> 2.1.2 Characteristics of Tourism Promotional Materials<br /> <br /> As an informative type of material with certain purposes, tourism promotional materials are very distinct from other type of text, for example news, document, reports etc. They are equipped with features as follow:<br /> <br /> Firstly, informative as they are, abundant messages covering all parts of social life are included. Since tourism, nowadays, not simply embraces scenery and transportation, but is a concept including experiencing different culture convention, food distinction and language confliction. Therefore, tourism publicity materials should convey a wide range of ideas that may be involved in tourism activities. (Ding, 2008,1)<br /> <br /> Secondly, tourism publicity materials mainly boost deep cultural connotation. They aim at tourists all over the world who come from different cultural backgrounds, who share distinct religions and who have various thinking modes and patterns. To make TPM understood and accepted by all, cultural connotation is to be expressed with the aid of aspects of laws, politics, economics and so on. (Ding, 2008,16)<br /> <br /> 2.1.3 Function of Tourism Promotional Materials<br /> <br /> Intended for the potential tourists, tourism publicity materials provide basic information about destinations, including its cultural background, local people and services. With the assistance of such materials, people’s overview about the target destinations is formed; their interests of visitation are aroused. It aims at convincing tourists, say target readers, of the beauties of destinations. Taken this intention into consideration, TPM contain functions as follows:<br /> <br /> First, TPMs are informative and serve informative function. Generally speaking, TPM passes the first images of tourist attractions, cities or provinces on to target readers. Tourism materials such as brochures, photo albums and leaflets impress people at first. TPM carry basic information not only about culture, history but also always nature and ethnic relics as well. (Cheng, 2015,203)<br /> <br /> Second, TPMs are attractive, intending to attract people when they see them at the first sight. In order to make it a success, only to provide information is far from enough. A successful promotional material needs to be equally informative and attractive, making the content easy to remember. Rather through their bright colors and magnificent landscapes, TPM are attractive in the way they depict and express. Therefore, often a series of writing techniques are required and used to achieve this effect. (Wu, 2008,319)<br /> <br /> Third, apart from being informative and attractive, TPM should be persuasive as well. Actually speaking, persuasive function is the most important of the three functions, as through it visitors’ interests and final minds are to be stimulated. As a promotion function, it is always significant to appeal to target readers.(Cheng, 2015,204)<br /> <br /> Consequently, the translation of TPM should also take these three functions into consideration in order to achieve final goal of TPM.<br /> <br /> ==III. Difficulties in The Translation of TPM Caused by Cultural Differences==<br /> <br /> The so-called cultural difference is what people form in different ecological and natural environment, such as various language, knowledge, belief, outlook on life, values, ways of thinking, ethics, customs and other aspects of social life. In their own living environment, distinct ethnic groups create their own unique cultural system, shaping their own culture. The difference of culture, especially between Eastern and Western countries, leads to people's different understanding and interpretation on the same thing or even causes misunderstanding (Yu, 2000,58). <br /> <br /> 3.1 Differences in Food Culture<br /> <br /> Chinese pay close attention to diet, and have formed a rich diet culture, emphasizing color, smell, taste of each dish. However, some foods, such as traditional salted production, are not good for the body with some auxiliary materials due to the pursuit of taste. In the process of cooking, Chinese fry the dishes in many ways. To name the dishes, menu also expresses the people's pursuit of beauty, such as Sixi Wanzi, glutinous Rice Balls etc. They have all been granted special meanings. Nevertheless, people in western countries focus on nutrition. They pay attention to the quantity of protein, Calorie, and raw materials in each food. So American &quot;KFC&quot; -- Kentucky Fried Chicken -- is a simple combination of production process and the raw material. So in the translation of diet culture, translators should also take into account the differences between Chinese and western people.(Cheng, 2015,232)<br /> <br /> 3.2 Differences in Customs<br /> <br /> Every nation has its own unique folk customs. Many foreign tourists are very interested in Chinese people's way of life, especially the origin of some festivals and the way local people celebrate them. For example, during Chinese lunar spring festival, people make dumplings and eat them. During Chinese Lantern Festival, people boil sweet dumplings and hang up lanterns. Tomb-sweeping Day is not only a solar term, but also a day for people to worship ancestors. Dragon-Boat Festival and Mid-Autumn Festival have customs respectively. <br /> <br /> In western countries, they have Halloweens and Christmas, carrying distinct cultures as well. People in China bow to Heaven and Earth as part of a wedding ceremony while westerners go to churches. Westerners have Valentine's Day and China Double Seven Day. Although the origins are different, they have evolved into special days for lovers to exchange passion between each other. Increasingly more young westerners know The Legend of Love in China. Therefore, apart from distinctions, culture also has something in common, which makes it translatable and understandable. (Wu, 2008, 328)<br /> <br /> 3.3 Differences in Religions<br /> <br /> The majority of westerners believe in Chris, and Chinese people have more religious belief include: Buddhism, Taoism, Islam, Catholicism and Protestantism. They are having far-reaching influence on people's ideology in China. These places have also become the tourist hot spots. Temples, Buddha, Buddhist scriptures in many attractions have attracted a large number of foreign tourists across the world. (Cheng, 2015,38)<br /> <br /> ==IV. Tourism Text Sources Translation Under Skopos Rules==<br /> <br /> 4.1 A Functionalist Theoretical Framework: The Skopostheory<br /> The functionalist approach to translation came into being in the late 1970 in Germany. After its emergence, it had become a prominent strategy and one of the dominant theories used in translation studies. A German scholar Hans J. Vermeer (Vermeer, 1879,208) first proposed Skopostheory which is widely applied in translating various projects. Skopostheory is to be the functionalist theoretical framework of this research.<br /> <br /> 4.1.1 An Overview of the Functionalist Approach<br /> <br /> According to Bassnett (Bassnett, 2002,43-44), the purpose of translation theory is to achieve an understanding in the course of translation behavior. The act of translation was purely a linguistic activity then. Because of the limitations of linguistic theories, translation theorists started to approach the act of translation in a different point of view in the 1970s. Therefore, the functionalist approach to translation began to emerge. <br /> <br /> According to Nida, “translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and second in terms of style” (Nida &amp; Taber, 1983,12). Later, Nida proposed dynamic/functional equivalence theory, which breaks the stereotype of the traditional linguistic approach and then leads the way of further studies. This theory is very practical in TPM translation because it achieves functional equivalence while sharing the same purpose of TPM translation.<br /> <br /> 4.1.2 Development of Skopostheory<br /> <br /> In Paul Kussmaul’s (Kussmaul, 2005,37) point of view, the functional approach is closely related to Skopostheory. To translate the source text into a new language, target readers’ culture characteristics, religion relics and historical backgrounds are to be considered, which determines whether the source texts are to be preserved, modified, or even changed. As TPM is highly practical and pragmatic, its function value is not to be ignored. <br /> <br /> In Nord’s (Nord, 2005,10) words, “in the translation of practical texts (such as advertisement, instructions), instead of literary works, theorists adhering to equivalence are more likely to adopt the method of non-word-for-word translation. They choose translation methods followed by identifying different or even contrary standards in accordance with different types of texts and genres of discourses, which makes them more on fused by equivalent theory”. Some scholars agreed with Nord’s view and made functional approaches more practical in translation, which makes the theory more useful in TPM translation. Consequently, the Skopostheory developed with the main study of the four theorists: Katharina Reiss, Hans J. Vermeer, Justa Holz-Manttari and Christiane Nord. <br /> <br /> Katharina Reiss (Reiss, 2004,32) first put forward the concept of text topology, denying the proposal that any target sources not equivalent to the original ones are considered as “non-translation”. Reiss pointed out comprehensive communicative translation, which made the ideas equivalent to the corresponding sources rather than individual words. His contribution laid the foundation for the development of Skopostheory. Katharina Reiss’s view better serves the function purpose of TPM translation, making Chinese traditional culture features well revealed in a foreign way.<br /> <br /> Vermeer was the first one who proposed Skopostheory. According to his theory (Vermeer, 2000,228), “translation is a type of human action”, and “any action has its own purpose (skopos)”, thus “translation is an intentional and purposeful behavior”. It can be concluded that translation is a purposeful action aiming at target readers, so the target text should bear fully their culture, religion and background to be better appropriate.<br /> <br /> Then Skopostheory was improved by Justa Holz-Manttari (Manttari, 2001,35) with his translation action method. Translation is defined as “a complex action designed to achieve a particular purpose or function”(Nord, 2005,16), and according to Holz-Manttari, it should be regarded as the “translation action” instead of “translation”. Her theory highlighted oriented outcome and driven purpose. Moreover, the commissioner is concerned. The translation action proposed by Holz-Manttari is later widely used in TPM translation due to its practical features.<br /> <br /> Christiane Nord (Nord, 2001,197) finally refined Skopostheory by proposing her own functional practice “function plus loyalty”. She added the concept of “loyalty” to the framework of functional approaches. In her theory, “Function refers to the factors that make a target text work in the intended way in the target situation” (Nord, 2001,125), which is basically in accordance with Vermeer’s view.<br /> <br /> 4.2 Skopos Rules (Wu, 2008,28)<br /> <br /> Skopos rule itself is above all in three rules. There are many purposes in the field of translation, but skopos refer to the purpose of target text. According to it, what determines the process of translation is not source text itself or the effect it has on target readers, but the expected function of the target source. Therefore it is regarded as results determining methods.<br /> <br /> Second one is the coherence rule. As a target source, the translation is for target readers who share different cultural backgrounds or religion relics and who are going to find the parts that interest them. In this regard, translators should bear in mind their distinct backgrounds and cultural situations, making the translation reasonably understandable and acceptable.<br /> <br /> The third rule is the loyalty rule. Since target text is originated from the source text, they are related to each other. However, the relationship is depended upon the skopos and explanation of the translator.<br /> <br /> According to Skopostheory, the skopos rule is above all to follow, then the coherence rule and then the loyal rule.<br /> <br /> 4.3 The Translation of Cultural Elements in TPM Under Skopostheory<br /> <br /> Translation of TPM aims at ordinary foreign tourists, introducing Chinese tourism industry and various natural resources, not including monographs for experts traveling in China(Cheng, 2008,30). Tourism promotional materials are practical, which arouse interests among tourists. As a result, TPM translation should first follow the basic rule of Skopostheory.<br /> <br /> The purpose of the target text-oriented principles are concerned about the target text itself and the tastes of readers. The majority of the source text is written to attract tourists at home, so it will not have the same effect on foreigners. If the source text is created for translation, the translator is also short of indispensable target culture. The translator should be aware that he is translating one culture to another and that he needs to pick out useful information from source text. Furthermore, the source text is one kind of all messages. It does not necessarily be the primary standard. Translation should aim at tourists, so translators should translate to attract them and arouse their interest. This is the final goal of TPM translation (Yang, 2014,5). TPM can be various in style and form. As for a translator, cultural elements are huge challenges. However, under Skopostheory, it is to pass cultural messages on to potential foreign visitors.<br /> <br /> What is more, those who travel distances to China are not only for bird viewing landscapes, but also for exotic culture and lifestyles. Therefore, culture translation should include as many Chinese cultural messages as possible, to a certain degree, following the third rule – loyalty rule. (Yang, 2014, 5)<br /> <br /> ==V. The Translation of Cultural Elements in TPM Under Skopostheory==<br /> <br /> Skopostheory<br /> <br /> Traveling is not only for landscapes but cultural differences as well. The translation of TPM is intended to attract visitors to come and consume. Consequently, cultural translation is a matter of primary importance. (Wu, 2008, 328)<br /> <br /> Susan Bassnett (Bassnett, 2002,59), the famous Britain translation theorist, pointed out four specific concepts in Cultural Translation Theory. Firstly, translation should be based on the culture rather than text itself. Secondly, translation is not simply to decode restructuring, but a communication process. Thirdly, target text should not be restricted to source text, and should focus on functional equivalence in two cultures. Last but not least, there are difference norms and standards for translation in different period, each meeting distinct needs. The translation of cultural elements in TPM is to meet the need of people experiencing Chinese local culture. There are various cultural elements in TPM, such as food culture, custom, religion, poetry and landscape architecture etc. Under the framework of Skopostheory, the translation strategies of cultural elements can be concluded into transliteration, literal translation and free translation.<br /> <br /> 5.1 Transliteration with Explanation<br /> Transliteration is often adopted when translating Chinese words that do not exit in English. However, only transliteration may lead to misunderstanding sometimes, therefore, it is usually followed by explanations. Explanations always well express the meaning, enabling target readers better understand the different culture it embraces.<br /> <br /> Example 1. 党参 dangshen (Codono pilosola)<br /> 厚朴 houpu (Magnolia of ficinalis)<br /> 天麻 tianma (Gastrodiae elata)<br /> 枣 Chinese date ( jujube)<br /> 当归 Chinese angelica (Angelica sinenses) (Jin, 2006, P265-266)<br /> <br /> Examples of transliteration are often found in food translation. Chinese traditional foods are short in Chinese and rarely seen in western countries as well. Therefore, only using transliteration is hard to explain clearly what the main source of the foods are and how they come into being, as these elements are highlighted by western countries. So transliteration is followed by explanation in such translation. (Jin, 2006, 264)<br /> <br /> Example 2. 土家族建筑的独特之处在于，在正屋左右两端建有吊脚楼。吊脚楼分上下两层，楼上有伸出的悬空走廊，下面有雕刻而成的柱脚。走廊外沿两边，檐角翘起，雄伟壮观。<br /> <br /> The special feature of the Tujia architecture – Diao Jiao Lou is represented by the house with an extending corridor supported by wooden pillars on both side of the main room. There are two stories in the house, the upper floor of which has an extending corridor seemingly suspended in the air while the lower one has sculpted pillars on the ground. Grand are the eave points tilting up on both ends of the corridor edge. (Xu, 2007,133)<br /> <br /> People take granted for “吊脚楼” in Chinese, because the name suggests the appearance of the building. However, when translated into English, Diao Jiao Lou is followed by explanations – “the house with an extending corridor supported by wooden pillars”. If it is literally translated, the sound effect of revealing a picturesque image will not be achieved. (Xu, 2007: 133)<br /> <br /> Example 3. 西湖犹如西子，无论晴雨，无论四季更迭，都有着美丽的容颜。正如苏东坡所写：“欲把西湖比西子，淡妆浓抹总相宜。”<br /> West Lake is often likened to Xizi, one of the four ancient beauties in China. No matter whether it is sunny or rainy, or no matter in great Northern Song poet, wrote, &quot;West Lake may be compared to Beauty Xizi at her best, / it becomes her to be richly adorned or plainly dressed.&quot; (Wu, 2008, 324)<br /> <br /> In this example, if translation stops by transliteration, target readers will not get the full picture of the history behind the West Lake. The impression made on them will not that deep so it may not achieve the effect of attracting them to visit. Therefore, explanation is indispensable in such special words that merely exist in Chinese. (Wu, 2008, 324)<br /> <br /> 5.2 Literal Translation<br /> <br /> Literal translation refers to the faithful translation that is loyal to original sources. The translators do not need to make any adjustment in addition to the sentence structure due to the essential information and not much special cultural contents provided in original sources. This translation method is often used in the introduction of the area, location, development and entertainment. The examples are as follow:<br /> <br /> Example 4. 酸辣汤 Hot and Sour Soup<br /> 老醋蜇头 Jellyfish with Black Vinegar <br /> 砂锅排骨Stewed Spare Ribs in Casserole<br /> 三鲜海参 See Cucumber with Three Delicacies (Cheng, 2015,234)<br /> <br /> In this menu, literal translation is used because essential information has been given and there is not much special culture contents. Under this circumstance, literal translation will not lead to misunderstanding among target readers. (Cheng, 2015:234)<br /> <br /> Example 5. 桂林位于广西壮族自治区的北部，面积565平方公里，人口100多万，是国内外旅游胜地之一。<br /> Located in the north of Guangxi Zhuang Autonomous Region, Guilin is one of the tourism attractions famous both at home and abroad, with an area of 565 square kilometers and a population of more than 1 million. (Yang, 2014, 56)<br /> <br /> In this example, the English expressions of places and numbers are kept the same as those in Chinese. However, when translated into English, this sentenced in re-sequenced in order so as to make it more coherent in English. Chinese emphasizes on parataxis while English stresses hypotaxis. This is what should be paid attention to when we translate sentences. (Yang, 2014, 56)<br /> <br /> Literal translation is practical for TPM that does not contain specific substantive cultural content. It is not necessarily to adopt various methods to translate. (Yang, 2014, 53)<br /> <br /> <br /> 5.3 Free Translation<br /> Considering that not every original text can be literally translated because of the differences of sentence structures or words. Free translation is to express the original meaning in a complete English way, not word for word or sentence for sentence translation, which focuses more on the content of sentences. Translators should pay more attention to the whole meaning rather than single words.<br /> <br /> Example 6. 白云凤爪 chicken leg（鸡脚）<br /> 四包豆腐羹 steam tofu soup（蒸豆腐汤）<br /> 炒素丁 vegetable roll（菜卷）<br /> 鸳鸯馒头 Shanghai buns（上海馒头）<br /> 百年好合 red bean fresh lily bulb（红豆百合茎）<br /> 鱼香肉丝 fried shredded pork with sweet and sour sauce <br /> <br /> <br /> There are many original dish names with no sources in them because they always have stories behind and are often well-known among Chinese, however, with which foreigners will be frightened. These examples often contain exaggerated elements. If translated literally, it will not express the original idea or the true features of the dishes which foreigners value most. (Yang, 2014, 60)<br /> <br /> Example 7. 梁山伯与祝英台的故事，是西湖爱情的又一不朽之作。(Wu, 2008,342) <br /> <br /> Translation 1. The love story of Liang Shanbo and Zhu Yingtai is another imperishable work of the West Lake Romance.<br /> <br /> Translation 2. Butterflies Romance, known as a Chinese Romeo and Juliet, is another heartbreaking love story engendered by the West Lake.<br /> <br /> The first version is noticeably literal translation, without the explanation of the two names. In China, the names are well-known to all. However, it is not the same story with westerners. After reading the first version, they are not deeply impressed. Therefore, here merely transliteration cannot work. In comparison, the second translation takes free translation, omitting the names and adding “known as a Chinese Romeo and Juliet”. In this way, they immediately know what has happened by the West Lake, because they are quite familiar with the love story between Romeo and Juliet. (Wu, 2008, 342)<br /> <br /> Example 8. 南京的风俗：但凡新媳妇进门，三日就要到厨房收拾一样菜，发个利市。这菜一定是鱼，取“富贵有徐”的意思。 (Wu, 1958,285)<br /> <br /> The custom in Nanjing is for all brides to invite good luck by going to the kitchen on the third day and cooking a fish, which stands for fortune. (杨宪益、戴乃迭译) (Bao, 2001,340)<br /> <br /> In this sentence, it is “收拾” in Chinese and “cooking” in English. In Chinese “收拾” has many meanings such as tidy(the room), clear away(the kitchen), and even repair(a bike). However, these are not related to the dishes. So Mr. Yang and Mr. Dai used free translation and put it into “cooking”. Then the idea is clearly delivered. (Bao, 2001: 340)<br /> <br /> Free translation is widely used in TPM translation when much special cultural content is included and literal translation is not practical. Free translation can better maintain cultural features of original sources while expressed in a foreign way. (Yang, 2014,56)<br /> <br /> ==VI. Conclusion==<br /> <br /> Tourism promotional materials translation plays an important role in the development of tourism. Translators should not translate word by word or sentence by sentence, but they should translate under a certain theoretical guidance, adopting some translating methods and strategies and taking into account the differences between Chinese and Western cultures. Only in this way can translation be possibly understood and accepted.<br /> <br /> Tourism promotional materials are practical, aiming at attracting potential visitors to come and visit China after reading them. In this regard, they should be translated under the framework of Skopostheory. Based on translation practice, this paper studies the method of translation from several cultural points under the guidance of Skopostheory. <br /> <br /> Part one gives a brief introduction of this paper. Part two discusses the definition and the main features of TPM and the importance of a better translation. Then it analyzes the difficulties in translation caused by cultural differences and the framework of Skopostheory. Finally, under this framework, translation strategies and methods are discussed.<br /> <br /> There are many other aspects in the field of cultural differences in tourism promotional materials, such as poetry, landscapes and architecture etc. Due to the limited length of the paper and my own knowledge, other parts cannot be fully illustrated. To conclude, it is worthwhile to study TPM translation from the perspective of cultural differences.<br /> <br /> <br /> ==References==<br /> Bassnett, S. Translation Studies [M]. 3rd ed. (2002). London &amp; New York: Routledge<br /> <br /> Nida E. A. &amp; Taber. The Theory and Practice of Translation. (1983) Shanghai: Shanghai Foreign Language Education Press 上海外语教育出版社.<br /> <br /> Nord C. Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis [M]. (2005) Beijing: Foreign Language Teaching and Research Press 外语教学与研究出版社.<br /> <br /> Nord C. Translating as a Purposeful Activity — Functionalist Approaches Explained [M]. (2001) Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.<br /> <br /> Reiss K. Translation Criticism----The Potentials and Limitation [M]. (2004) Shanghai: Shanghai Foreign Language Education Press 上海外语教育出版社<br /> <br /> Vermeer H. J. A Framework for a General Theory of Translating[M]. (1897) Heidelberg: Heidelberg University 海德堡大学<br /> <br /> Vermeer H. J. Skopos and Commission in Translational Action [A]. Tr. Andrew Chesterman, in The Translation Studies Reader [C], Ed. 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(2006). 《跨文化旅游翻译》. 中国对外翻译出版社<br /> <br /> ='''Functional Equivalence'''=<br /> <br /> <br /> ==On the study and analysis of three kinds of beauty and transformation in the mid autumn festival prelude to water melody under the guidance of functional equivalence 林敏 Lin Min==<br /> <br /> ==Research on C-E Translation of Corporate Publicity Texts from the Perspective of Functional Equivalence 彭锐宏 Peng Ruihong Student Number 202070080641 ==<br /> <br /> ===Abstract===<br /> With the further deepening of global economic integration, more and more Chinese enterprises are going to the global market and the English translation of enterprise publicity text becomes the bridge between domestic enterprises and foreign customers. The English translation of the publicity texts of Chinese enterprises includes a large number of excellent translations; But at the same time, there are many enterprises publicity English translation with bad quality. In the practice of translation of publicity texts of enterprises, Nida’s functional equivalence theory can well guide the translation of publicity materials of enterprises. Therefore, this paper compares China’s corporate publicity texts with foreign corporate publicity texts and makes deep discussion and exploration in C-E translation of corporate publicity texts.<br /> <br /> ===Key Words===<br /> corporate promotional materials; Functional equivalence; translation methods<br /> <br /> ===题目===<br /> 功能对等视角下企业外宣文本英译研究<br /> <br /> ===摘 要===<br /> 随着全球经济一体化进程的不断发展，越来越多的中国企业开始走向全球市场，企业外宣文本的英译文本成为了国内企业与国外客户联系的桥梁。查阅我国企业外宣文本的英译本，其中不乏大量优秀译作；但同时,也有不少企业外宣英译文本的质量有待提高。在翻译企业外宣文本实践中，奈达的功能对等理论能够很好地指导企业外宣资料的翻译。因此本文将中外外宣文本进行对比，并对中外企业外宣文本的英译做深入的分析探讨。<br /> <br /> ===关键词===<br /> 功能对等理论；企业外宣文本；翻译方法<br /> <br /> ===I. Introduction===<br /> Nowadays, with the development of economic globalization, corporate publicity texts are used frequently across the world. Corporate publicity texts constitute an important part of corporate international publicity. The translation of corporate publicity texts has become a significant bridge and connection between different countries in the world in the exchange of trade and culture, which poses a brand new challenge to translators across the world. Corporate publicity texts translation is different from other types of translation because of its unique vocabulary and syntactic features. The study of domestic corporate publicity texts translation mainly focuses on stylistics, registration or functional grammar. The study of corporate publicity texts translation started late. Fortunately, Chinese scholars have recently strengthened research in this area, including language features, translation standards and translation strategies for corporate publicity texts translation. However, the results of Chinese corporate publicity texts translation research are relatively limited. There is a lack of systematic theoretical research and lack of comprehensive articles on the description of some translation examples. At present, domestic research on this aspect is mostly empirical and decentralized. How to systematize existing theories, how to develop in depth, and to propose a clear methodology are important topics for each researcher. This paper studies the translation of commercial contracts based on Nida’s functional equivalence theory. This paper first reviews the current research status of corporate publicity texts translation, and points out the application value of functional equivalence theory in corporate publicity texts translation. Then the linguistic features of corporate publicity texts are analyzed and elaborated from two aspects: vocabulary and sentence structure. On this basis, the linguistic features of corporate publicity texts are analyzed through examples. This article focuses on the translation of corporate publicity texts. Based on the functional equivalence theory, this paper explores and studies the translation of corporate publicity texts, which is expected to enrich the application of translation theory and research. In addition, it helps to draft and translate corporate publicity texts for companies outside China for reference and guidance. （Li Quandong,2013)<br /> <br /> ===II. Brief Introduction to Functional Equivalence Theory===<br /> The functional equivalence theory exerts a significant influence on translation in the world. Nida is one of the founders of the western linguistic translation theory. One of his greatest contribution to the translation theory is to put forward the functional equivalence theory, a theory that is different from most of the early theories that focus on the verbal comparison between the SL and TL. Nida attempts to provide a new way to generate equivalents that take into account the relationship between receptors and text. It is believed that “the relationship between the target language receptor and the target language text should be roughly equivalent to the relationship between the original receptor and the original text.” The basic ideas of Nida’s functional equivalence theory are mainly reflected in the following three aspects.(Nida,1993)<br /> <br /> ====2.1 The Concept of Equivalence====<br /> One way to defining functional equivalence in translation is to describe it as “the natural equivalent of the source language information” .There are three basic terms in this definition that deserve our attention: closest, natural, and equivalent. “equivalent” here should not be understood as the meaning of “identity”, but should only be understood as “close”. Functional equivalence translation focuses on the equivalence of receptor “response” rather than the equivalence of linguistic forms. Using the term “equivalent”, Nida recommends to bring the response of the target language receptor as close as possible to the response of the source language receptor.(Nida,1964)<br /> In terms of language, the term “natural” means that the presentation must be readable (related to the linguistic form) and understandable (related to the content) to the target recipient, as different languages have different grammatical features and vocabulary. As far as culture is concerned, functional equivalence is considered to be rendering.<br /> Translators should be familiar with the cultural patterns familiar to the target receptors, and translators should domesticate those foreign cultural patterns. It is allowable to make some adjustments in the form and even in the content to achieve a functionally equivalent effect.(Nida,1993)<br /> Nida uses the term “closest” to describe the proximity between the source language and the target language. Functional equivalence requires the highest degree of proximity. Personally, the author believes that the word “closest” should be analyzed in two different ways: linguistic form and meaning discourse. The ideal situation is to make the version of the form and meaning “closest” to the original message. No aspect should be sacrificed at the expense of the other, but in fact, in translation practice, problems between linguistic forms and discourse meanings always occur, especially when it comes to culturally loaded words or expressions. The transferred information directly determines the response of the target receptor, so in most cases, the linguistic form is forced to give way to the transferred information in order to obtain the closest response between the receptors in two different cultures.(Nida,1964)<br /> <br /> ====2.2 The Concept of Receptor Response====<br /> It is essential that functional equivalence be stated primarily in terms of a comparison of the way in which the original receptors understood and appreciated the text and the way in which receptors of translated text understand and appreciate the translated text. From this point of view, we can see that Nida emphasizes the response of different receptors ‘source language and target language, i.e, language function, instead of language form.<br /> Functional-equivalent translation is receptor-directed and places great emphasis on the response of target receptors. In judging the version, Nida put the receptor in a very important position. Traditionally, translation has always been judged by the comparison between the original text and the translated text. Compared to formal equivalent translation, functional equivalence translation focuses more on the response of the receptor and the naturalness of the target language rather than the linguistic form.(Nida,1993)<br /> <br /> ====2.3 The Concept of Diversity====<br /> Functional equivalence theory provides varying degrees of sufficiency for the minimum translation to the largest qualified translation, rather than a fixed standard. In the case of given the minimum and maximum levels, all translations between the two levels are considered acceptable. Nida pointed out many different factors that the adequacy of translation depends on“the reliability of the text itself, the discourse type, the intended audience, the manner in which the translated text is to be used, and the purpose for which the translation has been made.” All of these factors can produce enough translations. In fact, a series of different degrees of equivalence are understandable and reasonable.<br /> Therefore, functional equivalence theory provides translators with more freedom to deal with specific situations. (Nida,1993)<br /> Compared with many other translation theories that attempt to develop a single standard, functional equivalence theory not only establishes an ideal definition of translation, but also has the lowest standards, and allows for a wide variety of translations.<br /> As mentioned above, according to the theory of functional equivalence, the response of the target reader to the translation should be basically consistent with the response of the original reader to the original text. To this end, Nida emphasizes that the translation should faithfully convey the original information. As a propaganda text, the corporate text is reflected in the recommendation of enterprises and the promotion of corporate products. The translation should faithfully conveys the original information, so that the target reader can obtain the same amount of information as the original reader, understand the enterprise, produce a response consistent with the original reader, and then recommend the enterprise among the target readers, so that the reader can recognize the business philosophy of the enterprise and have confidence in the company’s products. The similar response of readers is what Nida’s functional equivalence theory emphasizes. Therefore, equivalence theory can be used to guide the translation of corporate texts.<br /> At the same time, Nida also emphasized that the translation should conform to the expression habits of the translated words. The corporate publicity text of the company represents the image of the company in the eyes of the reader. The original text of the company’s external materials is in line with the reading habits of the source language readers. The translation cannot be bound by the structure of the original text in the text. Moreover, the translation should conform to the reading habits of the target language reader. Functional equivalence proposes the lowest level of equivalence and the highest level of equivalence, and translations within both limits are acceptable, but the quality of the translation is different. When translating a company’s external propaganda text, the translator can use the functional equivalence theory as a guide and adopt appropriate translation methods to make the translation conform to the reading habits of the target readers, and to achieve the highest degree of equivalence of the translations as much as possible. Therefore, functional equivalence at the specific translation operation level can also guide the translation of the corporate publicity text.(Nida,1969)<br /> Based on the above two points of analysis, it is feasible that functional equivalence theory guides the translation practice of corporate publicity texts.<br /> <br /> ===III. Features of Corporate Publicity Texts===<br /> With the vigorous development of Chinese enterprises, more and more enterprises are turning their eyes to foreign countries in order to open up a larger and broader market and development space. Of course, the quality of their products is significant. In addition, the quality of the corporate publicity texts translation is also a very important part. To produce high-quality translation, translators need to grasp the characteristics of Chinese and western corporate publicity texts, compare them, find differences, and translate them with the guidance of functional equivalence theory.(Li Quandong,2013)<br /> Corporate publicity texts have their own unique characteristics. The two main functions of corporate publicity texts are information function and imperative function, and communication are its characteristics. There are four basic elements in the process of foreign exchange: communicators, translators, communication channels and foreign audiences.<br /> Chinese corporate publicity texts have obvious Chinese expression characteristics: pursuing the glory word and abusing the “flowers of speech”; using empty phrases, slogans, and official language. In the process of translation, the language, culture, politics, economy and ideology in the primitive and translated language society play a significant role in macro or micro. In order to achieve effective translation of foreign materials, it is necessary to understand the translation principles (information prominence, summoning and simplicity), the content of translation, and specific purposes on the basis of understanding the characteristics of the text itself. At the same time, the factors of the target language, reader response and translation culture should be taken into account. In the process of translation, we should follow the style of the target language, focus on the reader, pay attention to the reader’s reaction, respect the culture of the target language, and moderately control the value information between the source language and the detailed language to ensure the realization of intercultural communication.<br /> In contrast, foreign corporate publicity texts highlights the delivery of practical information for the company, so that customers can have a very clear understanding of the company’s products and service and the company can obtain a favorable position in the customer’s mind. Therefore, it focuses on the history, performance and future development of the company, rather than the ideological and political belonging of the company.(Li Quandong,2013)<br /> <br /> ====3.1 Features of Chinese Corporate Publicity Texts====<br /> The Chinese corporate publicity text offers readers a view of beautiful language and strong momentum; while the text provides corporate information, it also allows readers to gain aesthetic enjoyment in reading. Specifically, Chinese corporate publicity texts have the following main features:<br /> <br /> =====3.1.1 Four-character Structure=====<br /> The corporate publicity text presents the soft power of enterprise competition, and its function is to promote the enterprise, recommend products and services. In order to attract readers and realize the function of corporate publicity texts, Chinese corporate publicity texts often have a four-character structure. The four-character structure has rich and concise forms. It is a unique structural form of Chinese and an expression favored by Chinese readers. The proper application of the four-character structure in the corporate publicity text can not only enhances the cultural connotation of the enterprise, but also enables the text to be neat, rhythmic and musical, so that the corporate text is more aesthetically pleasing than the general text. Moreover, corporate publicity texts satisfy the aesthetic psychological need, enhance the appeal of the text and leave a good impression in the minds of customers. <br /> E.g: “The core concept of a company’ s culture is ‘至诚无息,博厚悠远’ .” <br /> “至诚无息,博厚悠远”源自《中庸》,原文是“故至诚无息。不息则久,久则征。征则悠远。悠远则博厚,博厚则高明。博厚,所以载物也；高明,所以覆物也；悠久,所以成物也。博厚配地,高明配天,悠久无疆”Qiao Junchen, Du Yuzhu, 2007) Combined with the actual situation of the company, this company has integrated and summarized this famous saying. It has condensed the “sincere and uninteresting, profound and far-reaching”. These two four-character structures illustrate its corporate culture, and make the readers add a sense of trust to the company, which makes the company take an advantage in the market competition.<br /> In another example, in 2013, China Petroleum &amp; Chemical Corporation ranked first in the top 500 Chinese companies. The company also likes to use the four-character structure in its text. On the basis of full investigation, they formulated and promulgated the outline of China’s petrochemical enterprise culture construction, and announced the outline to the public, leaving a deep and good impression on the people. The outline puts forward the corporate tenet of “发展企业,贡献国家,回报股东,服务社会,造福员工” and reaffirm the enterprise spirit of “爱我中华,振兴石化”. Moreover, the outline also clarify the fine style of “精细严谨,务实创新” and establish the business philosophy of “诚信规范,合作共赢”, and comprehensively promoted the development of company’s corporate culture.<br /> The above examples show that the four-character structure is a feature of the domestic corporate propaganda text. Appropriate use of the four-character structure can increase the vividness and attractiveness of the text, and is conducive to the propaganda function of the corporate propaganda.(Wang qin,2010)<br /> <br /> =====3.1.2 Curve Thinking=====<br /> When expressing in Chinese, the Chinese are accustomed to knocking out sideways, turning around, explaining the external environment, and then speaking the main purpose, reflecting the characteristics of curved thinking. This feature is also reflected in the corporate publicity texts. The corporate publicity texts often list the excellent achievements of the company in various aspects, and then the central idea of the bright future of the enterprise. To this end, the corporate publicity texts firstly give the facts, draw conclusions, and then use the inductive method which is in line with the curve thinking to introduce the enterprise and the products of the enterprise to our customers. For example, Aucma wrote in his external text:<br /> “澳柯玛拥有员工7000多人,具备年产冷柜300万台、冰箱300万台、生活家电500万台、洗衣机400万台、电动车100万辆、自动售货机1万台的生产能力,营销网络覆盖全球五大洲100个国家和地区,呈现出蓬勃向上的发展态势。”<br /> The text first enumerates the number of employees, annual production capacity, and broad product sales channels, and finally proposes the main purpose of Aucma’s development prospects. The method of first dividing and then concluding is in line with the thinking and reading habits of the Chinese people, which helps the company to win the reader’s goodwill.<br /> The corporate publicity texts written by the curve thinking is in line with the reading expectations of domestic readers. Such text helps to promote the enterprise. At the same time, the Chinese corporate publicity texts also focus on the second-person perspective to recommend companies. <br /> <br /> =====3.1.3 The Third-person Perspective=====<br /> The Chinese corporate publicity texts often adopt the third-person perspective, and regard the enterprise as the narrative theme, highlighting the subjectivity of the enterprise. This kind of perspective makes the reader feel that the facts stated in the text are objective, without personal feelings, exaggeration, and then trust the enterprise. The following example sentences are taken from Zoomlion’s official website:<br /> “中联重科股份有限公司创立于1992年,主要从事建筑工程、能源工程、环境工程、交通工程等基础设施建设所需重大高新技术装备的研发制造,是一家持续创新的全球化企业。<br /> 中联重科成立20年来,年均复合增长率超过65%,为全球增长最为迅速的工程机械企业。<br /> 中联重科是中国工程机械首家A+H股上市公司。<br /> 中联重科开创了中国工程机械行业整合海外资源的先河……”<br /> When introducing a company, Zoomlion’s publicity texts often refer to the enterprise as the company name. Using a third-person perspective, the name of the company can continually stimulate the minds of customers and leave a deep impression on the minds of customers; at the same time, it makes the texts of the propaganda objective and authoritative.(Li Quandong,2013)<br /> <br /> =====3.1.4 With Political Color=====<br /> China’s socialist economic system determines the dominant position of state-owned enterprises in the Chinese economy. At the same time, private and individual enterprises are also an important part of the socialist economy and make positive contributions to the development of socialist construction. Party organizations in state-owned enterprises, private enterprises and individual enterprises play a guiding role in China’s economic development. Therefore, Chinese companies have an ideology with a strong political color. When discussing the nature of the enterprise, the corporate publicity texts emphasize the care and support of the Chinese Communist Party. Domestic customers believe that the party branch of the company reflects the recognition and attention of the state to the enterprise. Therefore, in the corporate publicity texts, domestic enterprises have focused on highlighting the work of their party construction departments, enhancing the soft power of enterprise competition, and winning the trust of customers.<br /> The official website of Sinopec Group has a column of “Party Construction” advocates the activities organized by the company in the implementation of the party’s guidelines, which shows that the company has always supported the party’s leadership. Domestic readers believe that their development prospects are worth looking forward to with the trust and support of the party. Therefore, this part of the content has important publicity value in the external propaganda text for domestic customers.<br /> It can be seen from the above analysis that the Chinese corporate publicity texts have formed four characteristics of this type of text in order to better recommend the enterprise. These characteristics are in line with the reading habits of domestic readers and can be accepted well by readers, thus effectively realizing the function of corporate texts.(Li Quandong,2013)<br /> <br /> ====3.2 Features of English Corporate Publicity Texts====<br /> The purpose of Chinese and western corporate publicity texts is to recommend corporate products and services to customers. The functions and purposes of the two are the same, but their direct readers are different, and their styles are naturally different, showing their different characteristics. To be specific, western corporate publicity texts have the following characteristics. (Lin Qingyang&amp;Shi Chunrang,2011)<br /> <br /> =====3.2.1 Use Common Vocabulary=====<br /> The western corporate publicity texts advocate the beauty of simplicity, use everyday vocabulary, and are easy to read, which can meets the needs of customers at all levels of reading, and achieve the effect of the enterprise propaganda. These everyday vocabularies help to build a bridge of communication between readers and businesses, making it easy for companies to reach their customers.<br /> Wal-Mart, Chevron and GM’s corporate publicity texts frequently use everyday vocabulary. For example, Wal-Mart’s slogan “Have money, Live better”. It not only reflects Wal-Mart’s business philosophy, and draws closer to the customer’s psychological distance, bringing customers a sense of intimacy. Moreover, it also makes Wal-Mart leave a good impression in the hearts of customers.<br /> There is such a sentence in Chevron’s official website:<br /> “We also care about the environment and are proud of the many ways in which our employees work to safeguard it.”<br /> The “care about and are proud of” in the sentence explain the company’s efforts in fulfilling its environmental responsibilities, and familiar words make customers feel more intimate. The sentence also adds a sense of closeness and trust of the company.<br /> An example in the official website of the automobile giant GM is:<br /> “Our culture, one which represents diversity, inclusion, mutual respect, responsibility and understanding, welcomes fresh perspectives and varied experiences.”<br /> The familiar vocabularies of “mutual”, “fresh” and “varied” in the sentence embody the closeness of the enterprise. Among them, “fresh” and “varied” highlight the company’s continuous innovation and introduction of various talents when providing high-quality products to customers, so that the products can meet the needs of customers to the greatest extent.<br /> Western companies have a large number of everyday vocabularies, which not only make the text easy to read, but also have a sense of intimacy. In the meanwhile, the everyday vocabularies can eliminate the strangeness of customers to the company.(Li Quandong,2013)<br /> <br /> =====3.2.2 Linear Thinking=====<br /> Westerners follow linear thinking. When communicating, westerns often get to the point, unlike the Chinese who are mealy-mouthed. This linear way of thinking is also reflected in the text of western corporate publicity texts. In narrative, westerners are accustomed to first explaining the main points and then interpreting them. The layout of the articles follows the principle of from general to concrete, from general to example, and from whole to individual. The linear thinking in the western corporate publicity texts: using the deductive method, the important information is placed at the beginning of the paragraph, and then the cases is used for argumentation. This is in line with the reading habits of western readers and is conducive to propagandizing the company. For example, when GM introduced the development process of the company, it has the following text:<br /> In fact, there are a lot of exciting things to share about our company. This text is straightforward to show that GM has a gratifying performance, allowing readers to quickly get the meaning of the text, and then use specific examples to prove.<br /> The western corporation publicity texts influenced by linear thinking use deductive method of writing, which can help readers quickly find the center of the text. At the same time, the author also found that western corporate publicity texts often introduce enterprises in the first-person perspective.(Li Quandong,2013)<br /> <br /> =====3.2.3 The First-person Perspective=====<br /> The function of the corporate publicity texts is to propagandize the enterprise. In order to better perform this function of the text, one can give the text the emotional color. The corporate publicity texts often use the first-person writing when introducing companies. Adopting the first person perspective can give the company vitality, let the company and customers communicate close the distance between the company and the customer, which is beneficial to recommending the company to the customer.<br /> For example, Chevron wrote in its corporate profile:<br /> “Chevron is one of the world’s leading integrated energy companies. Our success is driven by our people and their commitment to get results the right way.... We explore for, produce and transport crude oil and natural gas; refine, market and distribute transportation fuels and lubricants; manufacture and sell petrochemical products”<br /> The example uses “us”, “we” to call the enterprise, letting the reader feel that it is a face-to-face conversation with the company. In this way, the sentence closes the psychological distance between the company and the customer, which is conducive to recommending the enterprise.<br /> The first-person perspective of writing has given the company the emotional color. This kind of feeling encourages readers to get in touch with the company.(Lin Qingyang&amp;Shi Chunrang,2011)<br /> <br /> =====3.2.4 Focus on the Transmission of Practical Information=====<br /> The western corporate publicity texts highlight the delivery of practical information of the company, so that customers can have a very clear understanding of the company’s products and services and the company can win a favorable position in the customer’s mind. Therefore, it focus on the history, the performance and future development trend of the company, rather than the ideology and political belonging of the company.<br /> Reading Wal-Mart, Chevron and GM’s corporate publicity texts, we can easily find that western companies’ introduction focuses on introducing the history of the company, propagandizing the scale of the business, and explaining the social responsibilities, development prospects, and enterprises of the company. The practical information is what readers care most about, and it is also the most convincing.(Lin Qingyang&amp;Shi Chunrang,2011)<br /> For example, in its corporate text, GM first focused on the company’s excellent design, quality products and caring services, then introduced the history of the company, its achievements and development prospects, and finally focused on how the company provides its customers with high-end products and high-quality enjoyment. The information such as “safety and Quality” and “Create Lifelong Customers” appearing in the text will leave a deep impression on the customer’s mind and make the customer feel good about the company. In this way, the corporate publicity texts can achieve the functions of recommending the company and products.<br /> Through the analysis of the characteristics of the Chinese and western corporate publicity, we can see that the Chinese and western corporate publicity texts have their own characteristics. These characteristics are consistent with the reading habits of the respective text readers, so they can play a very good publicity role in their respective fields. The characteristics and differences of Chinese and western corporate publicity texts require translators to appropriately transform the text structure into the target language structure when translating the Chinese corporate publicity texts. In this way, the translations can have the characteristics of western corporate publicity texts, which are in line with western readers’ reading habit.(Lin Qingyang&amp;Shi Chunrang,2011)<br /> <br /> ===IV. C-E Translation Methods in the Guidance of Functional Equivalence Theory===<br /> Combining the theory of functional equivalence, the classification of textual functions, and the theory of translation function, the author believes that foreign translation should follow the principle of functional equivalence and functional translation. Translators should adopt interpretive translation, omission and re-creation methods, and use the strategy of domestication and foreignization .(Ning Hailin&amp;Xu Jianzhong,2008)<br /> <br /> ====4.1 Explanatory Translation====<br /> Cultural omission is the biggest obstacle of readers in a cross-cultural environment. If the translator ignores the cultural omission or avoids the translation, it will result in the omission and absence of the important information of the original text, which will affect the understanding of the target reader. The translator must create the fullest contextual effect for the target readers and narrow the cultural information, such as:<br /> “863计划” “The Match 1986” “Program to stimulate the development of high technologies”<br /> “三讲” “the Three Stresses-the stresses of studying ,raising political awareness and ensuring honesty and integrity”<br /> <br /> ====4.2 Omission in Translation====<br /> Translators who translate foreign propaganda must cut down some low-value information, try to reduce the reading and thinking burden of the target readers and convey the meaning of the original text. For example:<br /> “昆明物华天宝,人杰地灵,曾孕育和涌现出郑和,兰茂,徐霞客,聂耳等许多风流人物,留下了许多历史文物。”<br /> “As a place of excellent products and outstanding people, Kunming has numerous historical relics with time passing by.”<br /> <br /> ====4.3 Re-creation Translation====<br /> Re-creation translation is not simply a “check-in seat”. It must be multi-level and multi-angled. It must be “designed and meticulously constructed”. It must first adjust, sort, summarize, refine, adjust and then carry on the interpretation. Such as:<br /> “把国家电网公司建设成为“电网坚强、资产优良、服务优质、业绩优秀”的现代公司。”<br /> “To build a modernized power grid company with a strong grid, excellent assets, service and performance. ”<br /> “我厂轴承产品多次荣获国家金奖、国家质量金奖杯,并获重大科研成果奖。”<br /> These products are finely machined and highly meet the specifications of relevant standards. Choosing them , you are choosing the best,<br /> <br /> ====4.4 Domestication and Foreignization====<br /> In the translation of the corporate publicity texts, in order to make the target readers better understand, it is recommended to adopt the domestication strategy, with the target language culture and readers as the center, and use the easy-to-accept expression method of the target language to make the translation easy to understand. Such as “金鸡奖” translated as “JinJi Award”或 “the Golden Rooster Award”, The effect is not good, but it is naturalized as “China’s Oscar”. The effect is obviously improved. For some languages with Chinese characteristics, the alienation strategy can better preserve its exotic atmosphere, which can let the Chinese culture affects the world. 10 domestication and 10 alienation complement each other, such as: “鸳鸯”, “lovebird” , “龙舟”, “dragon boat” , “公积金”, “public accumulation fund” , “梁祝”, “China’s Romeo and Juliet” , “七彩云南”, “7-Colored Yunnan”, “汉文化”, “the Han Culture”, “中原”, “Zhongyuan”, “the central plains” , and “鱼米之乡”, “a land of rice and fish or a land of milk and honey”等.<br /> Foreign translation, aiming to introduce China objectively and truthfully to foreign readers, is a strategic issue. All sectors of society should give more attention and support to quality control, academic control, administrative control, media monitoring, and work together to improve the quality of translation.<br /> Foreign translators must have a deep understanding of the corporate publicity texts translation work and have a highly responsible attitude. Translators should take the word seriously and accurately understand the meaning. Translators should pay attention to the cultivation of language skills, expand the knowledge, enhance cross-cultural communication awareness, be familiar with Chinese and English, and strive to become an expert of Chinese and English language and culture. The translation of the corporate publicity texts is “to let other countries and people in the world understand China”, and its translators should uphold cultural conscious and cultural self-confidence and actively deal with the specific words of the original text. <br /> In short, the translation of the corporate publicity texts is not a corresponding copy of the machine, but the use of the linguistic advantage of the translation under the guidance of functional equivalence. To achieve effective cross-cultural communication, foreign translations must have sufficient audience awareness and strive to achieve cultural self-awareness and demonstrate cultural self-confidence.(Ning Hailin&amp;Xu Jianzhong,2008)<br /> <br /> ===V. Conclusion===<br /> To sum up, corporate publicity texts put forward more stringent requirements for the accuracy of the translation. As a translator, one should constantly accumulate professional knowledge and improve professional literacy, which should be combined with specific context. Also, one should be good at making use of grammatical rules and strengthening cultural cultivation to enhance the ability to transform different cultural connotations and enrich the experience of improving the accuracy of translation of corporate publicity texts from practice, in order to promote the smooth development of international communication in the world. <br /> <br /> ===References===<br /> *Nida, E. A. Towards a Science of Translating[M]. Leiden: E.J.Brill, 1964. <br /> *Nida, E. A. Language, Culture, and Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 1993.<br /> *Nida, E. A. &amp; Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J.Brill, 1969.<br /> *李权东.Li Quandong 中文企业简介英译研究[D].[Research on English Translation of Chinese Corporate Profiles] [D]. 上海外国语大学,2013. [Shanghai International Studies University, 2013.]<br /> *林庆扬,石春让.Lin Qingyang,Shi Chunjan. 基于语料库的企业简介文体分析及英译启示[J]. [A Corpus-based Analysis of Corporate Profile Style and English Translation Insights][J]. 长春师范学院学报,2011,(1):107-111.[Journal of Changchun Normal University,2011,(1):107-111.]<br /> *宁海霖,许建忠.Ning, Hailin, Xu, Jianzhong. 知“异”方可“异”——谈企业简介的汉译英[J].[The Chinese Translation of Enterprise Profiles into English] 中国科技翻译,2008,(4):21-23.[China Science and Technology Translation, 2008,(4):21-23.]<br /> *王青. Wang Qing 论外宣资料的编译 [J]. [On the Compilation of Foreign Propaganda Materials] [J]. 淮海工学院学报:社会科学报,2010,(4):86-88. [Journal of Huaihai University of Technology: Journal of Social Sciences, 2010,(4):86-88.] <br /> <br /> <br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 03:18, 8 December 2020 (UTC)<br /> <br /> ==A study of Functional Equivalence in Translating the Prose——A Case Study on Cong Cong 汤伊然 Tang Yiran==<br /> <br /> ===Abstract===<br /> <br /> Zhu Ziqing's masterpiece ''Cong Cong'' is highly popular in the translation community, and several English translations have been published. However, the study on English versions of ''Cong Cong'' started late in China and focuses on a few domestic translators. While researches on translations by foreign translators or [[those]] based on functional equivalence [[are]] rather limited and need further in-depth explorations. Therefore, this paper analyzed the translations of Ge Haowen, [[Howard Goldblatt]], the foremost translator of modern and contemporary Chinese literature [[from America]], and the young Chinese translator Peter, Jingcheng Xu from the perspective of Eugene Nida's functional equivalence in meaning and style, so as to discuss the guiding significance of this theory to prose translation.<br /> <br /> ===Key words===<br /> ''Cong Cong''; Translation comparison; Functional equivalence; Ge Haowan; Peter Jingcheng Xu<br /> <br /> ===题目===<br /> 基于功能对等视角下的散文翻译——以《匆匆》为例<br /> <br /> ===摘要===<br /> 朱自清的代表作《匆匆》在翻译界备受青睐，目前有多个英译本刊行。但国内对其英译本的研究起步较晚，且重点关注译者国内少数译者，对国外译者译文研究严重不足；同时基于功能对等视角下的研究较少，有待进一步深入研究。因此，本文选取素有&quot;中国文学首席翻译家&quot;之称的葛浩文和翻译后起之秀许景城的译文，基于尤金·奈达的功能对等视角，从意义和风格两个层面进行分析，探讨该理论对散文类文学文本翻译的指导意义。<br /> <br /> ===关键词===<br /> 《匆匆》；译文对比；功能对等；葛浩文；许景城<br /> <br /> ===I. Introduction===<br /> <br /> This paper probes into the applicability of Nida's functional equivalence theory in prose translation via comparing two English versions of ''Cong Cong'' translated by a foreign and domestic translator respectively. The whole paper centers on two main aspects of Nida's functional equivalence theory: meaning equivalence and stylistic equivalence. <br /> The paper consists of five chapters. Chapter One gives a brief outline of this paper. Chapter Two serves as the theoretical framework in which two main aspects of functional equivalence theory are elaborated in detail. Chapter Three has a glimpse of the studies on the English translations of &quot;Cong Cong&quot; from the perspective of functional equivalence theory both at home and abroad. Chapter Four firstly provides an in-depth appreciation of ''Cong Cong'' by paragraphs and then an introduction of the two translators Ge Haowen (Howard Goldblatt) and Peter Jingcheng Xu. Chapter Five offers a detailed case analysis of the two translations from the perspective of meaning and stylistic equivalence, trying to confirm the guiding significance of Nida's theory in prose translation. And the last Chapter is an overall summary of the whole paper.<br /> <br /> ===II. Theoretical framework===<br /> <br /> ====2.1 The Development of Nida's Functional Equivalence Theory====<br /> In 1959, in the article &quot;Principles of Translation as Exemplified by Bible Translating&quot;, Nida characterized his new concept of translation: &quot;Translating consists in reproducing in the receptor language the closest natural equivalent of the source message, first in terms of meaning and second in terms of style.&quot; It was in this article that Nida first mentioned the idea of dynamic equivalence. Later in 1964, in his &quot;Towards a Science of Translating&quot;, Nida put forward the principle of dynamic equivalence in explicit terms. (Nida, 2001)<br /> <br /> In 1969, Nida worked with Charles R. Taber on The Theory and Practice of Translation, in which he developed the contents of Towards a Science of Translation. Nida further clarified the definition of dynamic equivalence and shifted the focus of translation from the message itself to the response of the receptor, which created an epoch-making brand-new perspective of studying translation. In 1986, Nida replaced the term &quot;dynamic equivalence&quot; with &quot;functional equivalence&quot; in his From One Language to Another so as to avoid misunderstandings of the word &quot;dynamic&quot;. But the essence of the theory is the same. (Nida &amp; Taber, C.R. 2004)<br /> <br /> In the 1990s, Nida improved his Functional Equivalence. In his revised theory, there are two levels of equivalence, minimal equivalence and maximal equivalence. Minimal equivalence means that the readers in the target language text should be able to understand content to the degree that they can imagine how the source language text readers must have understood the content, while maximal equivalence is defined that audiences in the target language should be able to understand the content in basically the same style as the source language audience did (Nida, 1993).<br /> <br /> ====2.2 Key Aspects of Functional Equivalence Theory====<br /> <br /> =====2.2.1 Meaning Equivalence===== <br /> Nida states that functional equivalence should be stated primarily in terms of a comparison of the degree to which the original receptors understand and appreciate the text and the target receptors do. From Nida's point of view, translation is aimed at the target language readers. That is to say, the readers of the target language should have the same reaction as those of the source language. Because of linguistic and cultural differences in literary translation, a translator should not only pursue structural equivalence, but also value the reproduction of meaning, which is in line with the theory of functional equivalence. (Hong Chen, Kaimeng Zhao, 2016)<br /> <br /> =====2.2.2 Stylistic Equivalence=====<br /> In light of his definition of translation, Nida points out that though style is secondary to content, it is nevertheless important. Therefore, Nida makes exceptions of rules for some literary translations, poetry, for example. From Nida's point of view, the style itself is indeed a part of the message, especially in literary translation, which cannot be totally separated from content. Stylistic equivalence is also an important way to achieve functional equivalence. (Hong Chen, Kaimeng Zhao, 2016)<br /> <br /> ===III. Research on the English Translation of &quot;Cong Cong&quot; from the Perspective of Functional Equivalence Theory===<br /> The earliest study on English versions of &quot;Cong Cong&quot; began in 2003 and draw many scholar's attention since then. There are 29 papers related on China Knowledge Net, with translations by Zhu Chunshen and Zhang Peiji as the core. Moreover, major breakthroughs are made in the research perspectives that are being more diverse and refined. However, there are very few papers from each perspective. For example, only three papers were searched in the full-text database of China Knowledge Net using &quot;匆匆&quot; and &quot;功能对等&quot; as the subject, keywords, title or abstract. (Zhai Zihui, Liu Lingling, 2015). <br /> <br /> In terms of the contents, these three papers mainly focused on the comparative analysis of different English translations of &quot;Cong Cong&quot; in vocabulary, syntax, and chapters. (Zhai Zihui, Liu Lingling, 2015). <br /> <br /> Concerning the research perspectives, Yang Fan analyzed the English translation of ''Rush'' by Zhang Peiji based on the functional equivalence theory and proved that this theory is a helper to the discovery of a better literary translation technique (Yang Fan, 2017). <br /> <br /> Cen Junhao entered on the flexibility and rationality of Nida's ''Dynamic Equivalence'' theory via analyzing three methods—corresponding, paralleling, and substitution of transforming words and sentences, as well as their application in &quot;Rush&quot; translated by Zhu Chunshen's, from Chinese to English (Cen Junhao, 2015). <br /> <br /> Zhai Zihui and Liu Lingling compared the similarities and differences in the rhetoric of ''Cong Cong'' and its translation by Zhu Chunshen, such as parallelism, rhetorical questions, similes, and personification, based on the theory of functional equivalence, and confirm that Zhu's translation is faithful to the original text and reproduces its rhetorical features (Zhai Zihui, Liu Lingling, 2015).<br /> <br /> Here is the summary: First, the studies on ''Cong Cong'' in English were mainly conducted on Zhang Peiji's translation, followed by Zhu Chunshen's and Zhang Mengjing's, only one on that of foreign translators. Second, among the existent researches from the perspective of Eugene Nida's functional equivalence theory, analysis confines to a single English version either by Zhu Chunshen or Zhang Peiji, and foreign translators are excluded. (Yi Hongbo, Xu Shanshan, 2020)<br /> <br /> Given this, this paper will take the English translations of Ge Haowen (Howard Goldblatt) and Peter Jingcheng Xu, and do a comparison based on meaning and stylistic equivalence, trying to prove the guiding importance of functional equivalence in prose translation. (Yi Hongbo, Xu Shanshan, 2020)<br /> <br /> ===IV. Appreciation of ''Cong Cong'' and Introduction of the Translators=== <br /> <br /> ====4.1 Zhu Ziqing and his prose ''Cong Cong''====<br /> Zhu Ziqing, a well-renowned master in prose-writing, made a very important contribution to modern Chinese literature. His works were designed to reflect his inner feelings about the objective world, and were characterized by simplicity, naturalness, meticulousness, freshness in language, and sincerity in emotion. Zhu advocated the &quot;conversational style&quot; of writing, attempting to make the literary works colloquial while attaching great importance to the beauty of language and sound. (Zhang Jing, 2006)<br /> <br /> ''Cong Cong'' was written in 1922, during the ebbing of the May Fourth Movement. It was a time of silence and turmoil, of disappointment and hope. This article shows the despondency and bewilderment of ambitious young people who were disappointed with reality. Zhu Ziqing, in his lamentation of the rapid passage of time, expressed his thinking of cherishing time and making progress. At this time, Zhu was gradually shifting from poetry to prose, so &quot;Cong Cong&quot; combines the characteristics of both of them, with rich emotion, imagery and philosophy. (Zhang Jing, 2006)<br /> <br /> At the beginning of &quot;Cong Cong&quot;, a set of neatly worded sentences of consistent length and contrast depicts a scene of changing natural landscape, followed by a set of interrogative sentences of varying length and colloquial expressions. While lamenting the passage of time, the author shows his helplessness. (Yi Hongbo, Xu Shanshan, 2020) <br /> <br /> In the second paragraph, through metaphors, personification, and other rhetorical devices, the author describes the disappearance of more than eight thousand days without &quot;声&quot; or &quot;影&quot; so that he can't help &quot;禁头涔涔而泪潸潸,&quot; displaying his frustration and anxiety with the traceless, fleeting time. (Yi Hongbo, Xu Shanshan, 2020) <br /> <br /> In the third paragraph, via a series of daily life scenes, the author uses repetition and anthropomorphism to describe how the days pass when &quot;洗手&quot;, &quot;吃饭&quot;，&quot;默默&quot;. This deepens his anxiety about the loss of time. The fourth paragraph climaxes the author's worries about the vanishing days through six questions, thus leading to the question of life with indignation and discontent: &quot;为什么要白白走一遭啊？&quot;.(Yi Hongbo, Xu Shanshan, 2020)<br /> <br /> The fifth paragraph restates the first question of the text: &quot;我们的日子为什么一去不复返呢?&quot; which reiterates the theme and implies that time is irreversible and that it is important to cherish it. The text has a variety of sentence patterns scattered in an orderly fashion, both long and short, regular and variant, making the whole structure of the text evolve in a well-organized manner, with a rising and falling tone. (Yi Hongbo, Xu Shanshan, 2020)<br /> <br /> ====4.2 Introduction of the Two Translators：Ge Haowen(Howard Goldblatt) and Peter Jingcheng Xu ====<br /> As one of America's most prolific and influential translators of any language, Howard Goldblatt, whose Chinese name is Ge Haowen, has introduced generations of English readers to a wide spectrum of contemporary Chinese-language literature and brought translated Chinese literature from the confines of academia into the mainstream. He is the only official English-language translator of novelist Mo Yan, who won the Nobel Prize in literature.(''Howard Goldblatt Collection'', 2019). <br /> <br /> With nearly 50 translations of novels, memoirs, and a major anthology of poetry, he is also hailed as the foremost translator of modern and contemporary Chinese literature in the West. (''Howard Goldblatt Collection'', 2019). <br /> <br /> PeterJingcheng Xu is a Chinese poet and translator. He has translated into Chinese context many contemporary British poets, such as ''Gillian Clarke'', ''Jason Walford Davies'', ''Ian Gregson'', ''Robert Minhinnick'' and ''Emily Critchley'', and into English a wide spectrum of Chinese literary texts (both ancient and contemporary). His translation works and reviews are published in some key journals, such as Foreign Literature and Art, The World of English, and Journal of World Chinese Studies. (Poetry Hall, 2019)<br /> <br /> One is the most prestigious foreign translator of Chinese literature, and the other is a young Chinese translator with a good English education, how would the two present different tactics to the translation of ''Cong Cong''?<br /> <br /> ===V. Case Analysis===<br /> <br /> ====5.1 Functional Equivalence in Meaning====<br /> Example one：但是，'''聪明的，你'''告诉我，我们的日子为什么一去不复返呢？<br /> <br /> Ge：'''You who are wiser than I''', tell me, then: why is it that the days, once gone, never again return?<br /> <br /> Xu：Now, '''you my sage''' would you please tell me, why should our days roll by, never to return?<br /> <br /> Analysis: <br /> <br /> In example one, the author put forward the question—“我们的日子为什么一去不复返呢?”. Obviously, here, it is not a philosophical question calling for the answers like Marx’s time and space view, but just a lamentation of the passing time.<br /> <br /> Xu translated “聪明的，你” into “You my sage”, which refers to a very wise person. It showcases humility, also a sense of detachment. Maybe even the sage has no idea since the question remained unsolved [[till]] at the end of the source text. In this way, it reflects the smallness of human beings in front of immortal time. Ge used a comparison, “you who are wiser than I”, creating a sense of intimacy. The two versions reproduced the original meaning while having their own distinctive highlights. <br /> <br /> <br /> Example two：我掩着面叹息。但是'''新来的日子的影儿'''又开始在叹息里闪过了。 <br /> <br /> Ge：But '''the shadow of the new day''' begins darting by, even in the midst of my sighing.<br /> <br /> Xu：Burying my face in my hands, I heave a sigh, and '''the new day''' begins thrilling through it.<br /> <br /> Analysis:<br /> <br /> In example two, Xu adopted omission and translated “新来的日子的影儿” in a straight-forward manner, while Ge applied literal translation and preserved “shadow”. Time in nature is colorless and invisible, but light and shadow can project its trajectory. Hence, it is the “shadow” that fully manifests how fast the time goes by, uncovering stronger disappointment of the author. Ge’s version achieved meaning equivalence very well. <br /> <br /> <br /> Example three：'''过去的日子'''如轻烟，被微风吹散了，如薄雾，被初阳'''蒸融'''了； <br /> <br /> Ge：The days that are gone are like smoke that has been dissipated by a breeze, like thin mists that have been burned off under the onslaught of the morning sun.<br /> <br /> Xu：The bygone days like wisps of smoke, have been blown away by breezes and like clusters of thin mist, have been evaporated by the rising sun.<br /> <br /> Analysis: <br /> <br /> In example three, the two metaphors not only paint a beautiful picture of the rainy south of the Yangtze River but also make us feel that time passes quickly and without a trace. <br /> “过去的日子” was translated by Xu as “The bygone days” and Ge, “The days that are gone”. From the [[perspective]] of accuracy, Ge’s version is more inclusive because it covers [[all]] moments in the past while “bygone” means happening or existing a long time ago. <br /> <br /> Another distinction falls on the translation of “蒸融”. Ge used “burn off” and Xu “evaporate”, both of which [[connote]] “vanish” and thus depict the fleeting time vividly. Besides, Ge applied addition with “the onslaught of the morning sun”. However, “初阳” indicates that the sunlight is generally not intensive, so the word “onslaught” is not suitable here. In conclusion, Xu’s translation is more meaning-equivalent. <br /> <br /> <br /> Example four：'''燕子去了，有再来的时候；杨柳枯了，有再青的时候；桃花谢了，有再开的时候。'''<br /> <br /> Ge：'''The swallows may go, but they will return another day; the willows may whither, but they will turn green again; the peach blossoms may fade and fall, but they will bloom again.'''<br /> <br /> Xu：'''Gone are swallows, but they may come back again; withered are willows, but they may turn green again; fading away are peach blossoms, but they may flower again.'''<br /> <br /> Analysis:<br /> <br /> In example four, both Xu and Ge chose the plural form of the noun for “燕子”, “杨柳” and “桃花”, with the exception that the latter is preceded by a definite article. The original wording of “Cong Cong” is highly colloquial, so here “燕子”, “杨柳” and “桃花” should refer to [[specific]] things we see in the real world, [[rather than]] imagery with profound connotation. Thus, “the swallows” “the willows” “the peach blossoms”, in which definite articles were added, are more accurate. <br /> <br /> In respect of the tense, Ge used “may do” while Xu “are” in the first simple sentence. The general tense better indicates that “燕子去了” “杨柳枯了” “桃花谢了” are natural phenomena. Another difference lies in the following &quot;but&quot; clause. Ge picked the future sense &quot;they will&quot; while Xu kept &quot;they may&quot;. The former &quot;will&quot;, to some extent, further strengthen the cycle of nature. Overall, meaning equivalence is better accomplished by Ge's version. <br /> <br /> <br /> Example five：'''默默时，便从凝然的双眼前过去。'''<br /> <br /> Ge：'''When I am standing still and quiet, my eyes carefully follow its progress past me.'''<br /> <br /> Xu：'''When I am in contemplation, my gazing eyes feel the day passing by.'''<br /> <br /> Analysis:<br /> <br /> In example five, firstly the two translators chose a different expression for “默默”. Compared with Xu’s “in contemplation”, Ge’s “standing still and quiet” is more vivid and touching, creating a picture that attracts the readers’ empathy. Secondly, apart from taking “my eyes” as the subject, one translated “凝然” into an adjective “gazing”, the other an adverb “carefully”. In this case, Ge’s “carefully”, together with the verb “follow” reproduced the scene in the source text more specifically and [[convincingly]]. <br /> <br /> <br /> Example six：'''在逃去如飞的日子里，在千门万户的世界里的我能做些什么呢？只有徘徊罢了，只有匆匆罢了；''' <br /> <br /> Ge：'''During these fleeting days what can I, only one among so many, accomplish? Nothing more than to pace irresolutely, nothing more than to hurry along.<br /> '''<br /> <br /> Xu：'''Amid the fleeting days, what could I do in the world of hustle and bustle, but roaming and sighing the flight of time?'''<br /> <br /> Analysis:<br /> <br /> In example six, for “千门万户的世界”，Xu’s “the world of hustle and bustle” not only contain Ge’s “so many” people, but also the fast-pace of the world. Besides, their treatment of “徘徊” and “匆匆&quot; saw a big difference. Ge used &quot;pace irresolutely&quot; and &quot;hurry along&quot; while Xu &quot;roaming and sighing the flight of time&quot;. Obviously, Ge adopted the literal translation and Xu, free translation.<br /> <br /> Here, given the context, &quot;徘徊” “匆匆” is no way just point to the exact action. To sum up[[,]] Xu’s version is more consistent with the meaning of the original.<br /> <br /> ====5.2 Functional Equivalence in Style====<br /> Example one：'''《匆匆》'''<br /> <br /> Ge：'''Haste'''<br /> <br /> Xu：'''The Fight of Time'''<br /> <br /> Analysis: <br /> <br /> In example one, “匆匆” in the source text varies in part of speech. For example, “匆匆” in “去来的中间，又怎样地匆匆呢？” “我觉察他去的匆匆了&quot; is an adverb, in &quot;只有徘徊罢了，只有匆匆罢了” is a noun. Here both Ge and Xu translated it into a [[form of]] noun , which conforms to the title-style. Ge’s “Haste”, compared with Xu’s “The Flight of Time”, is more concise and consistent in form.<br /> <br /> Moreover, “Haste” pronounces with only one syllable and ends in a combination of fricative and blast, which sounds like a sigh and is more in line with the emotional tone of the source text. Therefore, Ge’s version reproduces the original style in a better way. <br /> <br /> <br /> Example two：我不禁'''头涔涔而泪潸潸'''了。<br /> <br /> Ge：Uncontrollably, my '''sweat and tears stream down'''.<br /> <br /> Xu：Aware of this, I feel '''sweats exuding from my forehead, and tears brimming in my eyes'''.<br /> <br /> Analysis:<br /> <br /> In example two, Xu translated it into two simple sentences, with diversity in the use of words such as “exude” “brim”. Nevertheless, Ge’s “stream down” is more precise, and condensed as same as the style of the original. <br /> <br /> <br /> Example three：'''你聪明的，告诉我，我们的日子为什么一去不复返呢？'''<br /> <br /> Ge：'''You who are wiser than I, please tell me why it is that once gone, our days never return.'''<br /> <br /> Xu：'''You my sage, please tell me, why should our days roll by, never to return?<br /> '''<br /> Analysis:<br /> <br /> In example three, here the sentence is the last paragraph, and repetition is applied. From the two versions, we can tell that both Xu and Ge maintained this rhetorical, wording, and tone. One thing worth mentioning is that Ge emphasized “the days” for the first time and the second “once gone”. Besides, he transformed this question into a definite sentence.<br /> <br /> In an overview, the first “你聪明的，告诉我，我们的日子为什么一去不复返呢？” provokes the reader to think. After elaboration, the question appears again at the end of the text, which is a finishing touch but implies a certainty: our days are gone. Ge’s translation reproduces the repetitive rhetoric of the original text, and more skillfully reflects the different connotations in line with the sequence of the two questions by emphasizing different words.<br /> <br /> The treatment of the last sentence into a definite sentence is even more exquisite, serving both as the answer and conclusion for the whole text: the past cannot be repeated, only time can be cherished. <br /> <br /> <br /> Example four：'''燕子去了，有再来的时候；杨柳枯了，有再青的时候；桃花谢了，有再开的时候。''' <br /> <br /> Ge：'''The swallows may go, but they will return another day; the willows may whither, but they will turn green again; the peach blossoms may fade and fall, but they will bloom again.'''<br /> <br /> <br /> Xu：'''Gone are swallows, but they may come back again; withered are willows, but they may turn green again; fading away are peach blossoms, but they may flower again.'''<br /> <br /> Analysis:<br /> <br /> In example four, both Ge and Xu preserved the sentence structure of the source text. Differing from Ge’s version which strictly abided by the original wording, Xu adopted inversion. He underlined the verb of “去” “枯” “谢”, attempting to stress the changes brought by time: as spring goes by and autumn comes, flowers bloom and fall, but only time remains unchanged and keeps moving forward. Yet from the point of retaining the style and melody beauty, Ge’s version is more fluent and catchier. <br /> <br /> <br /> Example five：'''是有人偷了他们罢：那是谁？又藏在何处呢？是他们自己逃走了罢：现在又到了哪里呢？ '''<br /> <br /> Ge：'''Are they stolen by someone? Then, by whom? And where are they hidden? Or do they run away by themselves? Then, where are they now?'''<br /> <br /> Xu：'''Are they stolen by someone? If so, who could it be, and where could they be hidden? If they run away by themselves, where are they now?'''<br /> <br /> Analysis:<br /> <br /> In example five, three questions and two declarative sentences [[are]] combined. Xu copied this pattern in his translation while Ge turned the two declarative sentences implying guesses and doubts—“是有人偷了他们罢”, “是他们自己逃走了罢” into questions. By enhancing the questioning tone, Ge’s version effectively fulfills the purpose of guiding the readers along with the author to explore the answer, as well as the style equivalence in translation. <br /> <br /> <br /> Example six：早上我起来的时候，小屋里射进两三方斜斜的太阳。'''太阳他有脚啊'''，轻轻悄悄地挪移了；我也茫茫然跟着旋转。<br /> <br /> Ge：In the morning when I get up, there are two or three rays of sunlight slanting into my small room. '''The sun, does it have feet?''' Stealthily it moves along, as I too, unknowingly, follow its progress.<br /> <br /> Xu：When I get up in the morning, the sunshine the slanting sun sheds beams into my room, edging away gently and quietly, '''as if he is footed.''' Without awareness, I feel myself already echoing his revolution.<br /> <br /> Analysis:<br /> <br /> In example six, personification [[is used as]] “太阳他有脚啊”, [[which]] illustrates that time flies like a shuttle. Xu used the adjective &quot;footed&quot; and related it as a clause led by “as if”. Ge, in another way, translated it into a question—“The sun, does it have feet?”. He put “The sun” at the beginning of the sentence and used the pronoun “it” to emphasize the temporal symbolism of the sun. Ge’s version, with a stronger questioning tone, reinforced the author's helplessness about the passage of time. Does the sun have feet? How else could time pass so quickly? <br /> <br /> <br /> Example seven：'''过去的日子如轻烟，被微风吹散了，如薄雾，被初阳蒸融了；''' <br /> <br /> Ge：'''The days that are gone are like smoke that has been dissipated by a breeze, like thin mists that have been burned off under the onslaught of the morning sun.'''<br /> <br /> Xu：'''The bygone days like wisps of smoke, have been blown away by breezes and like clusters of thin mist, have been evaporated by the rising sun.'''<br /> <br /> Analysis:<br /> <br /> In example seven, Ge and Xu both used the preposition &quot;like&quot; and the perfect tense &quot;have/has been&quot;. Given the sentence pattern, the two translators paused at a different beat. Xu cut it as the same as the source text, and flows more smoothly, structured in neat style with &quot;wisps&quot; and &quot;clusters&quot;, &quot;blow away&quot; and &quot;evaporate&quot;. To conclude, Xu observed the style equivalence. <br /> <br /> <br /> Example eight：'''于是——洗手的时候，日子从水盆里过去；吃饭的时候，日子从饭碗里过去；''' <br /> <br /> Ge：'''Then as I wash up, the day passes through my washbasin, and at breakfast through my rice bowl.'''<br /> <br /> Xu：'''Thus, when I wash my hands, the sink washes away the day. When I have a meal, the bowl vanishes the day.'''<br /> <br /> Analysis:<br /> <br /> In example eight, although Xu’s translation is consistent with the original text in terms of syntax, and shows his innovation [[of]] not using “the day”, namely, “time” as the subject, which restored the scene and created a sense of being in it. The materialization of time, that is, the use of tangible things to replace the invisible time to show the dynamics of its passing. Compared with Ge’s translation, Xu's seems slightly abstruse, but it cannot efface its shining points.<br /> <br /> ===VI. Conclusion===<br /> The motion of this paper derives from the gap of research on foreigner’s translations of ''Cong Cong'', especially from the perspective of Nida’s functional equivalence theory. Moreover, this paves the way for further analysis of this theory’s significance and applicability in prose translation. In this process, based on translations of Ge Haowen and Peter Jingcheng Xu, cases are listed and exemplified to discuss how does Nida’s functional equivalence in meaning and style be achieved in Cong Cong, a typical literary work with distinctive colloquial and sound style. <br /> <br /> In general, both Ge and Xu have their own strengths and characteristics. By comparison, Ge’s translation is better in light of the correspondence of the theory and features of prose translation. Ge better preserved the language style and emotional tone of the source text, reproduced the beauty of its meaning, and achieved a perfect combination of “translation” and “expressiveness”. <br /> <br /> What’s more, Peter Jingcheng Xu, a promising young translator, also left a great impression with his translation. His succession of three exclamations—“Alas” “Nothing” “Nay, not even…” sends the readers into a shock both visually and mentally; His “the sink washes away the day” and “the bowl vanishes the day” open a new perspective for readers to taste [[the prose]] ''Cong Cong''.<br /> <br /> To conclude, the functional equivalence initiated by Nida is of great and profound significance in prose translation which is worthy of being paid more attention to. (importance, which has the same meaning as significance, is deleted) --[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 13:01, 18 December 2020 (UTC)Zhang Weihong<br /> <br /> ===VII. References===<br /> <br /> * GOLDBLATT, H. Haste. In J.S.M LAU&amp;H. GOLDBLATT (eds.) The Columbia Anthology of Modern Chinese Literature[C]. New York: The Columbia University Press, 1955.<br /> <br /> * Ge Haowen (2011) ‘A Mi Manera: Howard Goldblatt at home A self-interview’, Chinese Literature Today, 2(1): 97-104.<br /> <br /> * Hongping Chen, Kaimeng Zhao. On the Functional Equivalence in Literary Translation[C]. Information Engineering Research Institute, USA. Proceedings of 2016 3rd International Conference on Psychology, Management and Social Science (PMSS 2016). Information Engineering Research Institute, USA:智能信息技术应用学会, 2016: 139-143.<br /> <br /> * ''Howard Goldblatt Collection'', Chinese Literature Translation Archive, University of Oklahoma (USA).<br /> <br /> * Nida, Eugene A. ''Language and Culture: Contexts in Translating''[M]. Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> <br /> * Nida, Eugene A. &amp; Taber, C. R. ''The Theory and Practice of Translation''[M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> <br /> * Tan Zaixi. ''On Nida’s Translation Theories''[M]. Beijing: China Translation &amp; Publishing Corporation, 1999.<br /> <br /> * 蔡丹, 陈文安．从音律美的角度分析叠词的英译——以《匆匆》的两个英译本为例[J]．现代语文（语言研究版），2014(9): 159-160．<br /> <br /> * 郭建中. 当代美国翻译理论[M].武汉:湖北教育出版社, 1999: 65.<br /> <br /> * 李现勇, 逄强. 秉原文之形，传原文之神——《匆匆》朱纯深译本审美赏析[J]. 青春岁月, 2012(08).<br /> <br /> * 闵西鸿. 《匆匆》两译本修辞翻译风格对比研究[J]．牡丹江师范学院学报（哲学社会科学版）, 2013(4).<br /> <br /> * 易红波, 许姗姗. 修辞视角下《匆匆》英译赏析——以朱纯深与葛浩文译文为例[J]. 四川民族学院学报, 2020, 29(04): 69-73.<br /> <br /> * 尤金·A·奈达. 翻译科学探索[M]. 上海外语出版社, 2004.<br /> <br /> * 叶乃芳. 朱自清名篇散文的诗意[J]. 语文教学与研究, 2008 (08).<br /> <br /> * 张静. 试论朱自清前期散文的抒情特色[J]. 现代语文(文学研究版), 2006(04). English Versions missing--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 11:59, 18 December 2020 (UTC)Zhang Weihong<br /> <br /> ==Semantic Translation and Communicative Translation 阳慧 Yang Hui 202070080646,英语口译==<br /> Yang Hui 阳慧 202070080646<br /> <br /> <br /> === '''Abstract''' ===<br /> <br /> In the early 80 's of the 20th century, Peter Newmark, a famous translation theorist, put forward a profound theory of semantic translation and communicative translation. It is considered that there are both differences and links between the two. Under the guidance of semantic translation and communicative translation, the translator uses corresponding translation strategies according to the type of source text and the characteristics of target language readers. From the perspective of semantic translation and communicative translation, this paper discusses the translation strategies under the <br /> guidance of this theory to demonstrate the application of Newmark's translation theory in translation practice.<br /> <br /> <br /> ==='''Key words'''=== <br /> <br /> semantic translation; communicative translation; application<br /> <br /> ==='''题目'''===<br /> 语义翻译与交际翻译<br /> <br /> <br /> ==='''摘要'''===<br />  20世纪80年代初期，著名翻译理论学家彼得·纽马克提出了影响深远的语义翻译和交际翻译理论。认为这两者之间既存在差异又存在联系。在语义翻译和交际翻译的指导下，译者根据源文本的类型和目的语读者的特点，使用对应的翻译策略。本文将从语义翻译和交际翻译视域出发，通过具体翻译案例的展示，探讨这一理论指导下的翻译策略论证纽马克翻译理论在翻译实践中的应用。<br /> <br /> <br /> ==='''关键字'''===<br /> 语义翻译；交际翻译；应用<br /> <br /> ==='''Introduction'''===<br /> At present, when we discuss the western schools of modern translation theory, we always refer to Eugene a . Nida, a prominent representative in his field of research. Nida's translation theories, such as those on &quot; dynamic equivalence &quot;, are particularly popular among domestic translators. By contrast, peter Newmark, another prominent translation theorist, has little influence. In fact, Newmark's translation theory in the Western modern translation theory schools can also be called unique. In this paper, the author divides translation into two methods of &quot; communicative translation and semantic translation &quot; . From the two aspects of language form and content, the author discusses the translation methods of achieving different &quot; equivalence &quot; and provides new ideas and approaches for translation practice.<br /> <br /> === '''Development of Semantic translation and Communicative Translation''' ===<br /> Semantic translation and communicative translation are important translation theories put forward by British translation theorist Peter Newmark. On the basis of summing up the previous translation theories and his own translation experience, he put forward these two important translation concepts. In the development of translation theory, it has made outstanding contributions. The essential difference between them is that semantic translation emphasizes retaining the style of the original text, while communicative translation focuses on communicative function, which makes it easy for the readers of the target language to understand(Tang Jie 2016,19). literal translation and free translation are inextricable topics when translation is discussed in the field of translation. It is under this kind of <br /> thinking that the target text rarely considers the factors such as reader reflection, the category of the text and the purpose of translation (Ye Zinan 2001, 17). <br /> <br /> At present, when we discuss the Western modern translation theories, we frequently refer to Eugene Nida, who is the most prominent representative in this research field. Nida's translation theories, such as those on &quot;dynamic equivalence&quot;, are particularly popular among scholars of translation studies in China. By contrast, Peter Newmark, another prominent translation theorist, has relatively little influence. In fact, Newmark's translation theory within the Western modern translation theory schools can also be called unique. (Please indicate the source!)--[[User:Root|Root]] ([[User talk:Root|talk]]) 10:11, 14 December 2020 (UTC)<br /> <br /> In this paper, the author divides translation into the two strategies of &quot;communicative&quot; translation and &quot;semantic&quot; translation. From the two aspects of language, form and content, the author discusses the translation methods of achieving different &quot;equivalences&quot; and provides new ideas and approaches for translation practice. Nida once remarked on the theory of Newmark: &quot;...&quot; (The quote and its source is missing.)--[[User:Root|Root]] ([[User talk:Root|talk]]) 10:11, 14 December 2020 (UTC)<br /> <br /> Semantic translation and communicative translation are important translation strategies put forward by British translation theorist Peter Newmark. On the basis of summing up the previous translation theories and his own translation experience, he put forward these two important translation concepts. Within the development of translation theories, they are an important part. (Please indicate the source!)--[[User:Root|Root]] ([[User talk:Root|talk]]) 10:11, 14 December 2020 (UTC)<br /> <br /> The essential difference between them is that semantic translation emphasizes retaining the style of the original text, while communicative translation focuses on the communicative function, which makes it easy for the readers of the target language to understand (please indicate the object). (Tang Jie 2016, 19).--[[User:Root|Root]] ([[User talk:Root|talk]]) 10:11, 14 December 2020 (UTC)<br /> <br /> Literal translation and free translation are inextricable topics, when translation is discussed. If we follow this kind of thinking, we rarely consider factors such as reader reflection, the category of the text and the purpose of translation in regards to the target text. (Ye Zinan 2001, 17).--[[User:Root|Root]] ([[User talk:Root|talk]]) 10:11, 14 December 2020 (UTC)<br /> <br /> At present, when we discuss the Western modern translation theories, we frequently refer to Eugene Nida, who is the most prominent representative in this research field. Nida's translation theories, such as those on &quot;dynamic equivalence&quot;, are particularly popular among scholars of translation studies in China. By contrast, Peter Newmark, another prominent translation theorist, has relatively little influence. In fact, Newmark's translation theory within the Western modern translation theory schools can also be called unique. (Please indicate the source!)--[[User:Root|Root]] ([[User talk:Root|talk]]) 10:08, 14 December 2020 (UTC)<br /> <br /> In this paper, the author divides translation into the two strategies of &quot;communicative&quot; translation and &quot;semantic&quot; translation. From the two aspects of language, form and content, the author discusses the translation methods of achieving different &quot;equivalences&quot; and provides new ideas and approaches for translation practice. Nida once remarked on the theory of Newmark: &quot;...&quot; (The quote and its source is missing.)--[[User:Root|Root]] ([[User talk:Root|talk]]) 10:08, 14 December 2020 (UTC)<br /> <br /> Semantic translation and communicative translation are important translation strategies put forward by British translation theorist Peter Newmark. On the basis of summing up the previous translation theories and his own translation experience, he put forward these two important translation concepts. Within the development of translation theories, they are an important part. (Please indicate the source!)--[[User:Root|Root]] ([[User talk:Root|talk]]) 10:08, 14 December 2020 (UTC)<br /> <br /> The essential difference between them is that semantic translation emphasizes retaining the style of the original text, while communicative translation focuses on the communicative function, which makes it easy for the readers of the target language to understand (please indicate the object). (Tang Jie 2016, 19).--[[User:Root|Root]] ([[User talk:Root|talk]]) 10:08, 14 December 2020 (UTC)<br /> <br /> Literal translation and free translation are inextricable topics, when translation is discussed. If we follow this kind of thinking, we rarely consider factors such as reader reflection, the category of the text and the purpose of translation in regards to the target text. (Ye Zinan 2001, 17).--[[User:Root|Root]] ([[User talk:Root|talk]]) 10:08, 14 December 2020 (UTC)<br /> <br /> ==='''3.Comparison Between Semantic Translation and Communicative Translation'''===<br /> Newmark regards language as a &quot;tool for thinking and self-expression&quot;, which means that individual thinking differences determine the differences in style characteristics. In view of the extensive differences in texts, Newmark makes a detailed analysis of semantic translation and communicative translation in his book About Translation (1991).<br /> Liao Qiyi (2004) gives a more detailed explanation of semantic translation and communicative translation based on the summary given by Newmark. And according to Liao's explanation, it is summarized as follows:<br /> <br /> ===='''3.1 Objectivity and Subjectivity'''====<br /> First, semantic translation is objective, precise and subject to the culture of the source language and the original author. When translating the semantic meaning of the source text, it should be interpreted only when the connotation of the source text constitutes the biggest obstacle to understanding. In order to reproduce the thought process of the source text, semantic translation strives to keep the language features and unique semantic expressions of the source text, and gives full play to the expression function of the language. Communicative translation, on the other hand, is subjective, and the core lies in the transmission of information, making the reader think, feel and act, giving full play to the function of language to express information (informative)and producing effects (vocative), concentrating only on the response of the target language readers, making the source language yield to the target language and the culture of the target language. Therefore, when using communicative translation strategies, the translator has some freedom to modify the source text, but this does not mean that the translator cannot respect the source text.<br /> <br /> ===='''3.2 Forms of Expression'''====<br /> Second, there are differences between semantic translation and communicative translation in the form of expression. Semantic translation makes the form of the target text closer to that of the source text, and tries to retain the sound effect of the source text. Communicative translation focuses more on the response of the target language readers to easy reading, reorganizes syntax, utilizes more general words and collocations, and strives for a straightaway translation Semantic translation focuses on the transmission of textual meaning. Communicative translation, on the other hand, focuses on the transmission of textual context Semantic translation is still centered on the source language. Communicative translation, whereas, centers on the reader of the target language. mean that the translator cannot respect the source text.<br /> <br /> ===='''3.3 Highlights on Contents '''====<br /> Third, semantic translation and communicative translation have diverse highlights when the content and effect of information are contradictory. Semantic translation emphasizes content over effect, while communicative translation emphasizes effect over content.<br /> <br /> ===='''3.4 Language Style'''====<br /> Fourth, compared with communicative translation, semantic translation is more technical, intricate, arcane even unintelligible. It does not lay emphasis on reproducing the intention, but focuses on reproducing the thinking process of the author of the source text. It tends to over translate, choosing more professional specific words than the source text to express the subtle differences of meaning. Communicative translation, on the other hand, is more unobstructed, simple, clear and direct, which is more in line with the language habits of the target language readers.<br /> <br /> ===='''3.5 Length'''====<br /> Fifth, the translation with semantic translation generally has no explanatory words to help readers comprehend, so the translation of communicative translation is usually longer than that of semantic translation. In addition, semantic translation takes smaller words, phrases or clauses as translation units, while communicative translation tends to take sentences and paragraphs as translation units.<br /> <br /> ===='''3.6 Inferiority and Superiority '''====<br /> Sixth, semantic translation is an art, which is more than one person's responsibility, there can be no inaccurate translation, and the translation is generally inferior to the original, but communicative translation is a skill, which can be undertaken by many people. The translated text is generally superior to the source text because of its emphasis on effect, concise and straightforward language, and appropriate polishing to make up for some missing meanings in semantic translation. <br /> <br /> Although there are many differences between semantic translation and communicative translation, they are closely related and cannot be separated completely. emphasis text only has a function alone, plays a single guiding role or only reflect a kind of method strategy, just for a variety of functions, methods, strategy , When semantic translation and communicative translation overlap in translation practice, no matter which strategy is adopted and guidance is reflected, the target text should subject to the basic grammatical structure and some fixed stylistic features of the target language while reflecting the ideological content of the source text.<br /> <br /> ===Relation Between Semantic and Communicative Translation===<br /> Previously, Karl Buhler, a German linguist, proposes the model of &quot;Language tools&quot; to study Language in his book Theory of Language (1990. According to Buhler, there are four elements in )daily communication the speaker, the receiver, the symbol and the context, so in the process of language in communication, it should be at least three basic functions, that is, expressive function, informative function and vocative function; Then, the linguist R. Jakobson thinks that there should be six important factors in the process of intersection: that is, mode, context, receiver, sender, contact channel and message itself. On the basis of the theory of language function, Newmark divides the source text into three types: that is, expressive texts, informative texts and vocative texts.<br /> According to Newmark, translation is the translation of the text, the study of translation cannot be separated from the text. And according to Newmark's point of view, the core of the expressive function of language lies in the thought of the speaker. The typical expressive texts mainly include: First, literary works such as poetry, novels, plays and ancient books; Second, authoritative works such as philosophical works, legal documents and political speeches; Third, autobiography, essays and literary works are included. The core of the expressive text is the author-centered, and the author's status is sacred. When translating expressive texts, the translator should reproduce the features of the source language expression form in the target language to reflect a more complete aesthetic effect. Therefore, the translator should reproduce some figures of speech in the source language when translating this text. On the contrary, in some special expressive texts, the expressive function of the language, which requires the translator to be able to distinguish the emphasis when translating expressive texts, is higher than its aesthetic function.<br /> As for the informative function of language, Newmark believes that the core of the informative function of language hinges on the external situation context, the authenticity of topics and the objective world beyond the language. Therefore, the core of informative text lies in the objective authenticity of the information content. In the process of translating informative texts, the translator should present the authenticity and accuracy of the information content of the source text in the target language as completely as possible. Therefore, the translator should take the target language as the orientation and pay attention to the effectiveness and accuracy of communication. However, it should be noted that the success of the translation of informative texts largely depend on the linguistic features and stylistic features of the texts themselves. In addition, for example, in the translation of informative texts, the greater the cultural differences between the source culture and the target culture, the more difficult it is to achieve equivalence between the translated text and the source text.<br /> The third type of text proposed by Newmark is the vocative text. He believes that the vocative function of language lies in the reader or the language receiver. The so-called &quot;vocative&quot; is that the author appeals to the reader or the receiver to act, think or feel something based on the emotional level, specifically, the author makes some response according to the intention of the reader. Therefore, when translating vocative texts, the translator should be guided by the target language rules and culture, and reproduce the vocative effect that is relative to the original author and the vocative elements that are faithful to the original author.<br /> <br /> ===Application Between Semantic Translation and Communicative Translation===<br /> These three text types cannot be completely separated. Very few texts are pure fragmentary expressive, informative and evocative texts, but usually three or two texts have both functions, but with some emphasis. The formation of text type theory opens up a new perspective for translators to do translation work. In this way, before translation, translators should carefully study the text content and linguistic style after selecting the translated text, and determine the appropriate perspective of text type according to Newmark's analysis of text type. Given the above, the ultimate goal of text type classification is to provide the most appropriate translation method, strategy and guidance for translated works. In succession, Newmark proposes the effective translation strategies and he thinks that semantic translation and communicative translation are the most convenient and extensive applications. As mentioned above, semantic translation lay emphasis on the thinking process of the original author, while communicative translation pays more attention to how the language itself achieves proper effect. Therefore, semantic translation is applicable to expressive texts, while communicative translation is applicable to the latter two types of texts. He puts forward: materials suitable for semantic translation include texts that are as important to the specific language as the content of the speaker or author, whether it is philosophy, religion, political science, technology or literature. Materials appropriate for communicative translation include: news, informative writing, non-personal communication, propaganda, announcements, standardized writings and popular fictions&quot; In a word, the English version of Jingui Yaolue (Synopsis of Prescriptions of the Golden Chamber) is a type of text with both expressive and informative. According to Newmark(Peter Newmark, 2001, 44). The knowledge to readers. Based upon the connotation of semantics and communicative translation theory and their discrepancies, the translator gives a general overview of the roles they play in practical application. <br /> On the score of transforming the content of the original text and author 's intention well and truly, the translator retains the linguistic characteristics and unique expressions of theorists when illustrating their theoretical notions and insights. When the translator translated certain words with cultural background, era background, and historical background, such as academic vocabulary and proper nouns in diversified subject domains, the translated names cannot be obtained based on her own assumptions and judgments. Instead, the translator should confirm whether her translation is a generic term recognized within the academia. The author abides by this rule firmly ,,ring the translation process. Besides, sometimes, if the objective things are described in chronological order, causal order, logical order, or in the same primary and secondary order, the two languages have basically the same way of writing, it can be translated by linear translation method according to the specific situation, maintaining the consistency of voice and tense. Semantic translation can better reflect the author 's thinking process and the expression of opinions so that the target readers can read it without obstacles. The communicative translation provides the translator with more freedom. In translation, the translator must consider the target reader 's feelings and strive to guard linear translation method according to the specific situation, maintaining the consistency of voice and tense. English and Chinese have different thinking modes, language habits and means of expression. When translating, it is sometimes the case that certain words and phrases should be added, so that the translation can achieve the same effect as the original text in terms of content, spirit and style (Cheng Mei, 1993,58). Additional translation is to add words that are not in the original text but actually have certain meanings. In a word, through additional translation, firstly, it can ensure the integrity of the grammatical structure of the target text, and secondly, it can make certain that the meaning of the text is explicit and consistent with Chinese expression habits.<br /> Example 1: <br /> <br /> Source text: The mother inclines over the child and both verticality and horizontality cease to be operative.<br /> <br /> Target text:母亲的情感向孩子倾斜，纵向思维与横向思维都不再奏效。<br /> <br /> It mentioned the inter-subjectivity theory earlier before this sentence. the author inquired relevant materials and found that this theory is the discussion of emotional cognition. Therefore, the word &quot;t !&quot; should be added to complete the content that is not clearly explained but gives a hint, so as to facilitate readers' understanding.<br /> Inter-subjectivity theory is concerned with the horizontal expansion and vertical extension of thinking. Horizontal thinking, as the name implies, refers to the person's thinking has its characteristics of lateral, broad development. People with this kind of thinking are good at drawing inferences from one example. Vertical thinking refers to the thinking form that is carried out in a sequential, predictable and stylized direction within a kind of structure. It is a clear and logical thinking mode that is consistent with the development direction of things and human cognition habits. In Example 1, the author indicates that because parents love their children so much, they will easily lose their sense of reason when they encounter problems with their children. This is realistic and commonplace phenomenon. Verticality and horizontality denote &quot;垂直性&quot;和&quot; 横向性 &quot; respectively, they are both abstract words. English expressions are sometimes abstract, while Chinese express abstract contents in concrete images. Literal translation will cause confusion. In this case, appropriate word likes &quot; 思维&quot; should be added according to the context to make the meaning concrete.<br /> The four-character structure is the crystallization of the wisdom of the Chinese nation. It has a compact and flexible structure, gives the essentials in compendious language, and is easy to read. It is a major component of Chinese expressions, a terse language material.<br /> Example 1:<br /> Source text: This dissemination, however, has also been a kind of domestication(perhaps inevitable), as anyone who lived through the heady days of the late 1970s and the 1980s of line-in-the-sand warring factions - Marxists versus post structuralists, feminists versus Marxists, psychoanalytic theorists versus all three.<br /> <br /> Target text:然而，这种传播也是一- 种归化(或许是不可避免的)，就像任何经历过20世纪70年代末和80年代那些令人兴奋的，界限分明的交战派别一样一马克思主义者与后结构主义者、 女权主义者与马克思主义者、精神分析理论家与以上三者，这些派别的对抗。<br /> <br /> “Line-in-the-sand&quot; has the definition of dividing the demarcation line. As can be seen from the context, what is said here is the fighting status of various theoretical factions. These factions resisted each other. If the translation is rendered directly, the translation will be too plain, and it will not manifest the intense and tangle some circumstances. Thereby, based on her accumulation of Chinese traditional civilization, the translator adopted a vivid four-character idiom to describe such a situation, displaying the linguistic characteristics and particular qualities of Chinese, and giving the article an affinity.<br /> <br /> ===Conclusion===<br /> As Newmark said, it is impossible to use a single theory to support any work, nor can it use a single technique, nor can semantic translation and communicative translation. The ultimate goal of semantic translation and communicative translation is different. The semantic translation is the original author's service, which follows the way of thinking and text genre characteristics are all original text ;The ultimate goal of communicative translation, unlike semantic translation, is to make the reader better understand the translation, let the reader think and feel. Therefore, the translator needs to translate the main content of the original text, pay more attention to the social value of the translation, and conform to the target language of speech. In the study of semantic translation strategies and communicative translation strategies, we should note that the distinction between semantic translation and communicative translation is relative, not absolute, and is often complementary and complementary. Liao Qiyi, a Chinese scholar, argues that there is a common ground between semantic translation and communicative translation, and that there is a strong connection between semantic translation and communicative translation. Secondly, both must faithfully reflect the main content of the original text ;Finally, these two translation strategies can be combined when the readers of the translation are consistent with the readers' interests and knowledge level of the original text, which means that the author and the reader of the translation are truly realized. German linguist Karl Buhler proposed that language has three functions: information function, expression function and infection function. On the basis of his theory, Newmark sums up three types of text.Informative text, expressive text and call active text. Informative text is an objective summary of events. Newmark's translation theory emphasizes semantic translation and communicative translation as a whole, because they are two different and complementary translation methods. Context, time and city are the necessary factors in the process of translation . What kind of translation strategies are adopted, and specific problems need to be analyzed. If semantic translation is adopted, the translator aims to follow the content and form of the original text, but in order to make the translation more popular and natural, avoid the language obscurity caused by the great differences between Chinese and English, sometimes it is necessary to combine the two methods, which combines the faithfulness of the author with the faithfulness of the reader, that is to promote the normal communication even in the translation of a sentence, at the same time two methods can be used to ensure the smooth communication and attract more readers.<br /> <br /> ===Reference===<br /> Peter Newmark. (2001).Approaches to Translation. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> Peter Newmark. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> Peter Newmark. (2006). About Translation. Shanghai Foreign Language Education Press <br /> <br /> Cheng Mei 成梅. (1993). “翻译理论探秘，反思及应用——纽马克译论精选”[Exploration, Reflection and Application of Translation Theory--Selected Version of Newmark Translation Theory]. Shanghai: Shanghai Science and Technology Translation 上海科技翻译.<br /> <br /> Liao Qiyi 廖七一.(2004）.“当代英国翻译理论”[Contemporary British Translation Theory]. Wu hai: Wuhai Education Press 武汉教育出版社.<br /> <br /> Tang Jie 唐洁. (2016).“语义翻译与交际翻译的区别与应用”[Differences and Applications Between Semantic Translation and Communicative Translation].Hu Nan: Hu Nan Press 湖南出版社.<br /> <br /> Ye Zinan 叶子南.(2001). “高级英汉翻译理论”[Advanced English-Chinese Translation Theory]. Beijing: Tsinghua University Press 清华大学出版社.<br /> <br /> ==A Study of Functional Equivalence in Translating Children's Literature---A Case Study on ''The Lion King'' 刘智伟 Liu Zhiwei 202020080622==<br /> <br /> &lt;center&gt;刘智伟 Liu Zhiwei, 202020080622 &lt;/center&gt;<br /> <br /> ===Abstract=== <br /> Childhood is the most important stage of life development, and the influence of children's literature on children's education is in the first place. Children's literature is particularly required to be vivid and easy to understand, which requires that translation strategies should be adjusted according to the characteristics of children's psychological development and on the basis of functional equivalence translation theory. Based on the characteristics of children and children's literature, and combined with the translation strategies and methods of ''The Lion King'', this chapter makes a more profound analysis of translation equivalence theory.<br /> <br /> ===Key Words=== <br /> Children's Characters, Children's Literature, Functional Equivalence Theory --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 01:59, 1 November 2020 (UTC)<br /> <br /> ===题 目===<br /> 功能对等理论在儿童文学翻译中的使用---以《狮子王》为例<br /> <br /> ===摘 要=== <br /> 儿童期是人生发育最重要的阶段，而儿童文学对于儿童的教育影响处于前位且是第一性的。儿童文学特别要求通俗易懂，生动活泼，这也就要求儿童文学翻译作品应根据儿童心理发展特点、基于功能对等翻译理调整翻译策略。本文主要是通过儿童特点、儿童文学特点，同时结合《狮子王》翻译策略与方法，对翻译对等理论进行更加深刻的解析。<br /> <br /> ===关键词=== <br /> 儿童特点，儿童文学，功能对等理论<br /> <br /> ===Introduction===<br /> Children’s literature contains different kinds of genres such as children’s prose, children’s novels, fairy tales and so on, in which fairy tales are the most special one and the most popular one for there are strange plots, vivid expressions and interesting characters helping children form theirs values towards the world. To make English literature suitable for Chinese kids, translators should think about the cultural backgrounds, psychological features and linguistic features of the readers of the works based on the theory of equivalence.<br /> <br /> <br /> <br /> Children’s literature contains different kinds of genres such as children’s prose, children’s novels, fairy tales and so on, in which fairy tales are the most special one and the most popular one for there are strange plots, vivid expressions and interesting characters helping children form theirs values towards the world. To make English literature suitable for Chinese kids, translators should think about cultural backgrounds, psychological features and linguistic features of the readers based on the theory of equivalence.--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 08:21, 17 December 2020 (UTC)<br /> <br /> ===The Introduction of the Theory of Equivalence===<br /> Functional equivalence is a translation theory put forward by Eugene Nida, which consists of dynamic equivalence and formal equivalence making great contributions to translation theory. In his book Toward a Science of Translating (1964), he put forward and distinguished what he called dynamic equivalence and formal equivalence for the first time. Later, he expounded dynamic equivalence in his book The Theory and Practice of Translation (1969).<br /> Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. (Nida, 1969) To avoid being misunderstood and provide a clearer meaning, Nida used “functional equivalence” to replace “dynamic equivalence” in From One Language to Another (1986). According to Nida, the best version of translation should never look like a translation. To avoid such feeling of translation, certain fundamental sets of precedence in translating should be established, such as the precedence of contextual consistency, the precedence of dynamic equivalence and precedence of forms that are acceptable to the readers. At the same time, translation should not be isolated and cultural background should be considered and try to make translations with original features and without cultural differences. While there is no possibility to balance between significance and culture, one must abandon the formal equivalence. Furthermore, it is better to recreate when the changes of form cannot show the original meanings of the text. <br /> According to the functional equivalence theory, testing the quality of translation does not consist in a comparison of corresponding lexical meaning, grammatical classes, and rhetorical devices to see the extent of verbal consistency, but in the response the readers act after reading the translation. To sum up, the functional equivalence theory focuses on reader’s response, which calls for the response of the original receptors to original text (Jia Xiuhai 2008).<br /> <br /> Functional equivalence is a translation theory put forward by Eugene Nida, which consists of dynamic equivalence and formal equivalence making great contributions to translation theory. In his book ''Toward a Science of Translating'' (1964), he put forward and distinguished what he called dynamic equivalence and formal equivalence for the first time. Later, he expounded dynamic equivalence in his book ''The Theory and Practice of Translation'' (1969).<br /> Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. (Nida, 1969) To avoid being misunderstood and provide a clearer meaning, Nida used “functional equivalence” to replace “dynamic equivalence” in From One Language to Another (1986). According to Nida, the best version of translation should never look like a translation. To avoid such feeling of translation, certain fundamental sets of precedence in translating should be established, such as the precedence of contextual consistency, the precedence of dynamic equivalence and precedence of forms that are acceptable to the readers. At the same time, translation should not be isolated and cultural background should be considered and try to make translations with original features and without cultural differences. While there is no possibility to balance between significance and culture, one must abandon the formal equivalence. Furthermore, it is better to recreate when the changes of form cannot show the original meanings of the text. <br /> According to the functional equivalence theory, testing the quality of translation does not consist in a comparison of corresponding lexical meaning, grammatical classes, and rhetorical devices to see the extent of verbal consistency, but in the response the readers act after reading the translation. To sum up, the functional equivalence theory focuses on reader’s response, which calls for the response of the original receptors to original text (Jia Xiuhai 2008).--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:08, 17 December 2020 (UTC)<br /> <br /> ===The Salient Features of Children’s Literature===<br /> Children’s literature formed in the mid-18th century with the publishment of Émile, ou De l'éducation, a book of Rousseau. The advent of Hans Christian Andersen fairytale marked the beginning of the boom period of world children’s literature. After 20th century, a large amount of excellent works came out all over the world pushing it into another boom period. There was no specific literary works for children in the early period of China until the “New Culture Movement” period when children’s literature occurred to be an independent status. (Hua Xiaofen 2020, 91)<br /> Children’s literature, as a way of enlightenment, is required to be serious but as a kind of reading material for children it is required to be simple and interesting. At the same time, children’s linguistic features, cognitive features and psychological features should be considered in order to meet the needs of children. On the contrary, a lot of authors try very hard to write children’s literature so as to make them “de-adultification”.(Zhang Yanling 2019, 248)<br /> The beginning of literature is from imitation so that a large amount of translation works of children’s literature come out. The difference between English and Chinese is clear but to make language interesting with translating it in proper way is not an easy thing.(Tang Huaying2017, 133)<br /> <br /> The beginning of literature is from imitation so that a large amount of translation works of children’s literature come out to learn foreign works of children's literature. The difference between English and Chinese is clear but to make language interesting with translating it in proper way is not an easy thing.(Tang Huaying2017, 133)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:27, 17 December 2020 (UTC)<br /> ====Distinct Themes in Children’s Literature====<br /> Childhood is the developing period of a man which means it is the most important stage in one’s life and children in this time have a sensitive sense to learn new things. From simpleness to complexity, children have formed a complete system of perception and their understandings change to be deeper from the surface understanding. As a kind of enlightenment, children’s literature provides a way for children to learn simple lessons so that it contains simple but distinct themes, clear but positive themes with educational meanings. Furthermore, children’s literature in foreign countries, especially in British and America, emphasizes on maternal love that is often reflected in girls’ childhood. And in children’s literature, it also shows a world in imagination with a sharp contrast with the real world in order to open children’s mind. Children could recognize truth from bad things, beauty from colorful things and kindness form cruel things. At the same time, culture of religion cannot be avoided in literary works. To infuse correct religious ideas properly is what we need to think deeper in case that the literary works should get in the way for children to know the world.(Wang Yali 2020, 74)<br /> <br /> Childhood is the developing period of a man which means it is the most important stage in one’s life and children in this time have a sensitive sense to learn new things. From simpleness to complexity, children have formed a complete system of perception and their understandings change to be deeper from the surface understanding. As a kind of enlightenment, children’s literature provides a way for children to learn simple lessons so that it contains simple but distinct themes, clear but positive themes with educational meanings. Furthermore, children’s literature in foreign countries, especially in British and America, emphasizes on maternal love that is often reflected in girls’ childhood. And in children’s literature, it also shows a world in imagination with a sharp contrast with the real world in order to open children’s eyes. Children could recognize truth from bad things, beauty from colorful things and kindness form cruel things. At the same time, culture of religion cannot be avoided in literary works. To infuse correct religious ideas properly is what we need to think deeper in case that the literary works should get in the way for children to know the world.(Wang Yali 2020, 74)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:27, 17 December 2020 (UTC)<br /> <br /> To be an excellent translator of children’s literature, one should grasp the distinct theme in each work, paying much more attention to the values that the work wants to show about, for all the literary works for children must have a positive effect on children. In other words, a translator should take the responsibility of choosing best works and translating them from the perspective of a child. Just as Chen Bochui, an author of children’s literature, says that only if an author writes his works through the perspective of a child, hearing by the ears of a child, seeing by the eyes of a child, and feeling by the heart of a child, can he have literary works understood and appreciated by children. It is the same for a translator because translating is like recreating following the footprints of the original works.(Hua Xiaofen2020, 91)<br /> <br /> To be an excellent translator of children’s literature, one should grasp the distinct theme in each work, paying much more attention to the values that the work wants to show about, for all the literary works for children must have a positive effect on children. In other words, a translator should take the responsibility of choosing best works and translating them from the perspective of a child. Just as Chen Bochui, an author of children’s literature, says that only if an author writes his works through the perspective of a child, hearing by the ears of a child, seeing by the eyes of a child, and feeling by the heart of a child, can he have literary works understood and appreciated by children. It is the same for a translator because translating is like following the footprints of the original works.(Hua Xiaofen2020, 91)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:27, 17 December 2020 (UTC)<br /> ====Various of Genres of Children’s Literature====<br /> Various of genres can be found in children’s literature which consists of poem, novel, fairy tale and allegory and so on. Different genres may show different aspects of the world and different genres may provide different ways to know the world pushing children form a complex but colorful cognitive system. Poem is the most beautiful genre containing impressing rhythm, catchy words, and simple content, which provides an easier way for children to learn to use language in a graceful manner. Novel is usually a long story that consists of a complete system like family or society, through which children could get an overview of the world. Fairy tale is usually different from the real world but reflects the real world in some ways. Children are very fond of this kind of genre for it enriches children’s experience and has an impressive influence on their thinking. Different genre gives different possibilities but rationality and normality should be put in the first place.(Hua Xiaofen2020, 91)<br /> <br /> Various of genres can be found in children’s literature which consists of poem, novel, fairy tale and allegory and so on. Different genres may show different aspects of the world and different genres may provide different ways to know the world pushing children form a complex but colorful cognitive system. Poem is the most beautiful genre containing impressing rhythm, catchy words, and simple content, which provides an easier way for children to learn to use language in a graceful manner. Novel is usually a long story that contains a complete system like family or society, through which children could get an overview of the world. Fairy tale is usually different from the real world but reflects the real world in some ways. Children are very fond of this kind of genre for it enriches children’s experience and has an impressive influence on their thinking. Different genre gives different possibilities but rationality and normality should be put in the first place.(Hua Xiaofen2020, 91)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:27, 17 December 2020 (UTC)<br /> <br /> To become an excellent translator of children’s literature, one must get to know the essence of different genres in order that a translator can transfer his styles easily in different genres. Translation is a complex process that consists of many steps. Zhang Meifang (1999) once pointed out that “In the process of translation, a translator is the recipient of the source text and the producer of the target text either. In this way, he must have text analysis in both of the two processes and compare the results to finish the translation task properly.” Newmark come up with the three steps of translation: firstly, understand and analyze the source text; secondly, conceive a mind map of translating about the choice of words and sentences; thirdly, reproduce the text according to author’s intention, readers’ expectation, and proper regulation. Choosing proper translation strategies through text analysis is necessary.(Zhou Xuanfeng2004, 102) <br /> ====Vivid Expressions in Children’s Literature====<br /> In the period of childhood, language system is not mature enough to accept all the linguistic phenomenon. And children cannot focus on the same thing for a long time so that abstract and complex languages cannot arise their attention. To make sure that children of different ages can understand the expression easily, vivid expressions are acceptable. In 1865, the publication of Alice's Adventures in Wonderland caused a stir and it fully showed the vivid expressions of children’s literature. It is a story about the real experience in wonderland of the sweet girl, Alice. The reason why it is still popular in the world is that it tells an interesting story with simple words and the translation even uses allusions in Journey to the West to stimulate children’s interests. (Hua Xiaofen2020, 91)<br /> <br /> In the period of childhood, language system is not mature enough to accept all the linguistic phenomenon. And children cannot focus on the same thing for a long time so that abstract and complex languages cannot arise their attention. To make sure that children of different ages can understand the expression easily, vivid expressions are acceptable. In 1865, the publication of ''Alice's Adventures in Wonderland'' caused a stir and it fully showed the vivid expressions of children’s literature. It is a story about the real experience in wonderland of the sweet girl, Alice. The reason why it is still popular in the world is that it tells an interesting story with simple words and the translation even uses allusions in ''Journey to the West'' to stimulate children’s interests. (Hua Xiaofen2020, 91)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:31, 17 December 2020 (UTC)<br /> <br /> To be a good translator of children’s literature, one must learn children’s psychological and linguistic features in order to translate the literary works in a proper manner. Different from adults, the linguistic competence of children is not as perfect as that of adults. According to a research about linguistic features of children, children acquire intonation of Chinese first and then pronunciation. The acquisition of vowel is much earlier than that of consonants. It is reported that a kid aged three years old making mistakes in speaking language is very normal. Language acquisition in the early age of childhood must go through a specific process and children in this stage don’t have a mature system for language and their cognitive ability is limited so that translators should try to use simple but vivid words to make children of different ages understand texts easily.(Cao Li2018, 437)<br /> <br /> To be a good translator of children’s literature, one must learn children’s psychological and linguistic features in order to translate the literary works in a proper manner. Different from adults, the linguistic competence of children is not as perfect as that of adults. According to a research about linguistic features of children, children acquire intonation of Chinese first and then pronunciation. The acquisition of vowels is much earlier than that of consonants. It is reported that a kid aged three years old making mistakes in speaking language is very normal. Language acquisition in the early age of childhood must go through a specific process and children in this stage don’t have a mature system for language and their cognitive ability is limited so that translators should try to use simple but vivid words to make children of different ages understand texts easily.(Cao Li2018, 437)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:31, 17 December 2020 (UTC)<br /> <br /> ====Cultural Infusion in Children’s Literature====<br /> Cultural confidence is a core point in today’s development in all aspects. Culture is the soul of a nation and it pushes the development of a nation in some ways. It is like an invisible weapon which influences people’s mind and value towards the world. Nowadays, more and more literary works concern more about cultural infusion through which Chinese culture can be spread to the whole world and foreign cultures can come into China either. In this way, literary works are regarded as an important tool to transmit cultures so that assessing literary works can be an essential point. And as a way of enlightenment for children, children’s literature plays an essential role in developing Chinese culture. (Liu Xiaoqing 2020, 91) <br /> <br /> Cultural confidence is a core point in today’s development of all aspects. Culture is the soul of a nation and it pushes the development of a nation in some ways. It is like an invisible weapon which influences people’s mind and value towards the world. Nowadays, more and more literary works concern more about cultural infusion,through which Chinese culture can be spread to the whole world and foreign cultures can come into China either. In this way, literary works are regarded as an important tool to transmit cultures so that assessing literary works can be an essential point. And as a way of enlightenment for children, children’s literature plays an essential role in developing Chinese culture. (Liu Xiaoqing 2020, 91) --[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:34, 17 December 2020 (UTC)<br /> To be a translator taking the responsibility of exchanging different cultures, one must know the east and know the west. There’s difference in social conventions affected by geographical and historical factors. There’s difference in thinking patterns and authors in the western countries take sentence stricture for granted such as Shakespeare. There’ s difference in etiquette and Chinese culture has been influenced by Confucius. To combine the two kind of different cultures and to make it easy to understand become the key point for translators.(Wang Yali2020, 74)<br /> <br /> ===A Case Study: E-C Translation of ''The Lion King'' under the Guidance of Functional Equivalence Theory===<br /> ''The Lion King'' is story written by The Walt Disney Company inspired by Shakespeare’s Hamlet. It has been made into a movie in 1944 when it caused a stir to the whole world. Simba is the little prince of Pride Land, and his father Mufasa is the majestic king. However, his uncle Scar has designs on Mufasa's throne for a long time. In order to take the throne, Scar must eliminate the little prince for Simba will be the next king of Pride Land. Therefore, he has been wrestling to try every means to make Simba go outside of the land where there is no Mufasa protecting Simba, and then waits for the opportunity to kill him with the help of those hungry hyenas who are the army of Pride Land. It is when Simba cannot fight that Mufasa comes to rescue him in time. Later, Mufasa is murdered by Scar who has tried every means to scheme against the real king of the land. After Mufasa’s death, Scar had ulterior motives to make Simba to leave and at the same time, he sent some hyenas to kill him, but Simba escaped to other place with his wit. Simba went through the very hot and dry dessert and encountered a meerkat named Timon and a kind warthog named Pumbaa who witnessed Simba grow into a powerful lion. Not long afterward Simba met Nana, his playmate when he was in his childhood. Nana told Simba that Pride Land had suffered a disaster and she encouraged him to return to the land but Simba was unwilling to get back to the place anymore. Later, Simba met with his father's spirit and decided to restore the country with the guidance of mage Rafiki. In the following struggle to restore Pride Land and save the people, Simba understood the true meaning of responsibility and got victory with the help of his friends and relatives. (Zhang Liya2020, 20)<br /> <br /> ''The Lion King'' is story written by The Walt Disney Company inspired by Shakespeare’s Hamlet. It has been made into a movie in 1944 when it caused a stir to the whole world. Simba is the little prince of Pride Land, and his father Mufasa is the majestic king. However, his uncle Scar has designs on Mufasa's throne for a long time. In order to take the throne, Scar must eliminate the little prince for Simba will be the next king of Pride Land. Therefore, he has been wrestling to try every means to make Simba go outside of the land where there is no Mufasa protecting him, and then waits for the right opportunity to kill him with the help of those hungry hyenas who is the army of Pride Land. It is when Simba cannot fight that Mufasa comes to rescue him in time. Later, Mufasa is murdered by Scar who has tried every means to scheme against the real king of the land. After Mufasa’s death, Scar had ulterior motives to make Simba to leave and at the same time, he sent some hyenas to kill him, but Simba escaped to other place with his wit. Simba went through the very hot and dry dessert and encountered a meerkat named Timon and a kind warthog named Pumbaa who witnessed Simba grow into a powerful lion. Not long afterward Simba met Nana, his playmate when he was in his childhood. Nana told Simba that Pride Land had suffered a disaster and she encouraged him to return to the land but Simba was unwilling to get back to the place anymore. Later, Simba met with his father's spirit and decided to restore the country with the guidance of mage Rafiki. In the following struggle to restore Pride Land and save the people, Simba understood the true meaning of responsibility and got victory with the help of his friends and relatives. (Zhang Liya2020, 20)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:52, 17 December 2020 (UTC)<br /> <br /> ''The Lion King'' is a glorious animation that praise justice and love, castigates evil and conspiracy, and it shows respect to the principle of the circle of life, and discloses a philosophy of the whole life. According to Nida’s theory, the translation work must represent the original meaning of the source text with proper words and structure. And to make the target text attract children’s attention, the translation work must find the best way to cater their interests. Due to the popularity of the movie version of The Lion King, the translation version is fewer. The translation version of The Lion King is translated by Song Ruixue and published by National Open University Press. (Zhang Liya2020, 20)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:52, 17 December 2020 (UTC)<br /> ====Functional Equivalence at Lexical Level====<br /> The use of simple words is the basic feature of children’s literature, through which the translators choose lucid and suitable words for children readers. Just as Nida mentioned that “Translation is the representation of the source text with the closest and most natural words, so the first equivalence is in semantics and the second is in literary genres.”(Xiong Ziwei2018, 9) <br /> =====The Use of Reduplication=====<br /> From the perspective of linguistic features, the use of reduplication in Chinese gives readers the beauty of rhyme, expression, and form so that it will arise children readers’ interests no matter in the aspect of reading or listening. On the other hand, the intonation will be stressed with the use of reduplication that will strengthen the emotional expression which makes the character more prominent and the translation work more readable.(Xiong Ziwei2018, 9) <br /> <br /> From the perspective of linguistic features, the use of reduplication in Chinese gives readers the beauty of rhyme, expression, and form so that it will arise children readers’ interests no matter in the aspect of reading or listening. On the other hand, the intonation will be stressed with the use of reduplication that will strengthen the emotional expressions which makes the character more prominent and the translation work more readable.(Xiong Ziwei2018, 9) --[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:52, 17 December 2020 (UTC)<br /> <br /> <br /> <br /> Reduplication is to reuse the same word so that it gives readers catchy rhythm which makes the ordinary words special and gives more power to language itself. For example, the use of reduplication combining with the sound shows the mental activity of the character and children readers will easily get the image. (Xiong Ziwei2018, 9)<br /> <br /> Reduplication is to reuse the same word so that it gives readers catchy rhythm which makes the ordinary words special and gives more power to language itself. In this way, the use of reduplication combining with the sound shows the mental activity of the character and children readers will easily get the image. (Xiong Ziwei2018, 9)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:52, 17 December 2020 (UTC)<br /> <br /> Example 1: The three scared bullies ran away as Scar looked from shadows.<br /> <br /> Translation: 三只鬣狗吓破了胆，灰溜溜地逃跑了。刀疤躲在阴影里，看见了这一切。<br /> <br /> The first example is taken from the part that Mufasa went to resecure Simba when he was in trouble. Mufasa’s majestic looking was showed up with the sharp contrast with bullies’ coward reactions. The translator doesn’t have a literal translation but adds an adverb in the replication form in which it makes the sentence beautiful in rhyme. Furthermore, the three bullies were scared and regretful at the same time so that “灰溜溜地” represents their psychological activity in a proper way. The coward characters seem to leap off the page, from which children will understand the character better and get the kindness from the bullies. (Song Ruixue2020,18) <br /> <br /> Example 2: Simba saw his father fall. He ran calling Mufasa’s name but the king was already dead.<br /> <br /> Translation: 辛巴眼睁睁地看着自己的父亲掉落深谷，他痛苦地呼唤着父亲的名字，然而木法沙再也无法回应他了。<br /> <br /> The second example is taken from the part when Mufasa was murdered by Scar, and Simba could do nothing to help his father so that he just saw the death of Mufasa and felt devastated and self-condemned. For Simba, it is because of his inability that makes his father die who has loved him so much. For children readers, they may regard themselves as Simba who felt depressed and the word “眼睁睁地” causes a feeling of useless, through which children may get to understand the importance of responsibility. In this way, it makes a contrast between the helpless Simba and brave Simba who conquered Pride Land, through which children get a more impressive image of Simba.(Song Ruixue2020,24) <br /> <br /> Example 3: Scar could not run away. Simba hit him with a powerful blow.<br /> <br /> Translation: 刀疤再也逃不掉了。辛巴重重一击……<br /> <br /> The third example is taken from the part when Simba began to fight with Scar and he hit him in the last second. The translator translates “with a powerful blow” to “重重地” making the sentence more easy to understand for a child and showing Simba’s power and anger. The use of reduplication not only makes the image impressive but also strengthen the emotion of Simba. It is in this part that Simba revenged for his father. Different from Shakespeare’s Hamlet, Simba didn’t have hesitations but on the contrary, he fought against Scar in a very quick and powerful manner. There is clear boundary between truth and evil so that Simba’s decisive actions show that one must not hesitate to make choice or the evil will go on making troubles. (Song Ruixue2020,47)<br /> <br /> The third example is taken from the part when Simba began to fight with Scar and he hit him in the last second. The translator translates “with a powerful blow” to “重重地” making the sentence more easy to understand for a child and showing Simba’s power and anger. The use of reduplication not only makes the image impressive but also strengthens the emotion of Simba. It is in this part that Simba revenged for his father. Different from Shakespeare’s Hamlet, Simba didn’t have hesitations but on the contrary, he fought against Scar in a very quick and powerful manner. There is a clear boundary between truth and evil so that Simba’s decisive actions show that one must not hesitate to make choice or the evil will go on making troubles. (Song Ruixue2020,47)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:52, 17 December 2020 (UTC)<br /> <br /> <br /> The background of a story is difficult for a writer to explain to children readers for they don’t have a mature cognitive system to accept all the social and history background. However, the lexical choices of a writer or a translator can be a best way to show the deeper meaning of a simple story. Firstly, the use of republication makes every sentence in the story vivid and clear. Like a poem, the republication in each sentence gives readers beautiful rhythm that helps children form the sense of pace in language. At the same time, it is easy for them to accept this kind of beautiful expressions rather than those straightforward and dull words. Secondly, the use of republication makes each sentence in the story filled with the psychological activities of characters so that the complex changes of a character is showed up through very simple sentences. It is reported that children in the early age when they begin to learn language are very sensitive to every word they heard. And the use of reduplication helps them to use simple words to show their own feelings. The form of reduplication itself is a kind of beauty which will fulfill children’s need of appreciation of beauty. To summarize, the use of republication makes the whole text rhythmic, makes the whole story more vivid, makes all characters impressive and interesting.(Guo Zimeng2020, 94)<br /> <br /> The background of a story is difficult for a writer to explain to children readers for they don’t have a mature cognitive system to accept all the social and history background. However, the lexical choices of a writer or a translator can be a best way to show the deeper meaning of a simple story. Firstly, the use of republication makes every sentence in the story vivid and clear. Like a poem, the republication in each sentence gives readers beautiful rhythm that helps children form the sense of pace in language. At the same time, it is easy for them to accept this kind of beautiful expressions rather than those straightforward and dull words. Secondly, the use of republication makes each sentence in the story filled with the psychological activities of characters so that the complex changes of a character is showed up through very simple sentences. It is reported that children in the early age when they begin to learn language are very sensitive to every word they heard. And the use of reduplication helps them to use simple words to show their own feelings. The form of reduplication itself is a kind of beauty which will fulfill children’s need of appreciation of beauty. To summarize, the use of reduplication makes the whole text rhythmic, makes the whole story more vivid, makes all characters impressive and interesting.(Guo Zimeng2020, 94)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:52, 17 December 2020 (UTC)<br /> <br /> =====The Use of Adverbs=====<br /> The use of adverbs in English is very common no matter in literary works or daily life. Whereas, we may hardly find adverbs in Chinese adults’ daily life. On the contrary, the use of adverbs in children’s literature makes the whole text filled with cute and clear expressions. The acquisition of Children’s emotion is the reflection of psychological states and social environment. According to Donald Olding Hebb, a Canadian psychologist, pioneer of cognitive psychophysiology, children’s emotion and cognition are inseparable. The expression of emotion relies on cognition in some way. In other word, understanding is prior to emotion and emotion is the production of cognition. In some literary works, the use of adverbs gives readers a chance to percept the emotions of characters in order to improve the ability to feel emotion and express emotions in a correct way.(Xiong Ziwei2020, 9)<br /> <br /> The use of adverbs in English is very common no matter in literary works or daily life. Whereas, we may hardly find adverbs in Chinese adults’ daily life. On the contrary, the use of adverbs in children’s literature makes the whole text filled with cute and clear expressions. The acquisition of Children’s emotion is the reflection of psychological states and social environment. According to Donald Olding Hebb, a Canadian psychologist, pioneer of cognitive psychophysiology, children’s emotion and cognition are inseparable. The expression of emotion relies on cognition in some way. In other word, understanding is prior to emotion and emotion is the production of cognition. In some literary works, the use of adverbs gives readers a chance to perceive the emotions of characters in order to improve the ability to feel emotion and express emotions in a correct way.(Xiong Ziwei2020, 9)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:52, 17 December 2020 (UTC)<br /> <br /> <br /> Example 4: All the animals were quiet and bowed in respect to Simba the little lion cub.<br /> <br /> Translation: 动物们保持安静，他们心怀敬意地跪拜着小狮子辛巴。<br /> <br /> Example 4 is taken from the part when Rafiki ceremoniously marked Simba’s forehead and lift him into the air for all to see. The translator uses the adverb to show the respect of all the animals in Pride Land. The meaning of “bow” is strange for a child to understand for children don’t have any ideas about social conventions and historical background. But the use of this adverbs shows the meaning of it which is a kind of behavior with respect. The social position of little Simba is represented in this way, through which children may understand the etiquette in a social group especially in family. The contrast between the respectable Simba and the Simba chased out by Scar is produced so that the changing features of a character are clear to understand.(Song Ruixue2020,4)<br /> <br /> Example 4 is taken from the part when Rafiki ceremoniously marked Simba’s forehead and lift him into the air for all to see. The translator uses the adverb to show the respect of all the animals in Pride Land. The meaning of “bow” is strange for a child to understand for children don’t have any ideas about social conventions and historical background. But the use of this adverbs shows the meaning of it which is a kind of behavior with respect. The social position of little Simba is represented in this way, through which children may understand the etiquette in a social group especially in family. The contrast between the respectable Simba and the Simba chased out by Scar is produced so that the changing features of a character are clear to be understood.(Song Ruixue2020,4)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:52, 17 December 2020 (UTC)<br /> <br /> Example 5: Simba told Scar his dad had just showed him the kingdom which he was going to rule.<br /> <br /> Translation: 辛巴高兴地告诉刀疤，父亲带他参观了整个王国。这里所有的土地都将是他的。<br /> <br /> Example 5 is taken from the part when Mufasa takes Simba to visit the whole land except the place under the shadow. The translator adds “高兴地” to show Simba’s excitement in order that children readers can feel Simba’s pure kindness that children will find themselves in this story. Comparing with Scar’s evil, Simba’s innocent character has a more impressive effect resulting in reader’s preference towards Simba.(Song Ruixue2020,13)<br /> <br /> Example 6: “Being brave doesn’t mean you go looking for trouble.” Mufasa explained gently.<br /> <br /> Translation: 木法沙温柔地回答：“儿子， 勇敢并不代表你要到处闯祸。”<br /> <br /> Example 6 is taken from the part when Mufasa rescued Simba from the hyenas and he taught him a lesson but in a very gentle way. The image of a father is usually strict and great, and the character of Mufasa makes it gentler which will make children have more admiration towards their father. At the same time, Simba’s mistake doesn’t get serious criticism because he tells the truth to his father. So in this part, children may learn to be a calm person and tell the truth no matter in what kind of situation. (Song Ruixue2020,20)<br /> <br /> Example 6 is taken from the part when Mufasa rescued Simba from the hyenas and he taught him a lesson but in a very gentle way. The image of a father is usually strict and great, and the character of Mufasa makes it gentler which will make children have more admiration towards their father. At the same time, Simba’s mistake doesn’t get serious criticism because he tells the truth to his father. So in this part, children may learn to be a calm person and tell the truth no matter in what kind of situations. (Song Ruixue2020,20)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:52, 17 December 2020 (UTC)<br /> <br /> Example 7: “I can’t go back,” Simba replied.<br /> <br /> Translation: “我回不去了。”辛巴绝望地说。<br /> <br /> Example 7 is taken from the part when all of Simba’s partners come to persuade him to go back to Pride Land. The translator adds a adverb to describe his mental activity at the moment which makes the character round with guilty and desperation. But the word “绝望地” may be very strange for a child within 6 years old to understand because it is a word taught in the primary school so that it is necessary to explain about it. Regardless of this point, the use of this adverb will help children to feel the emotion of Simba who has guilty in his mind but wants to go back to his homeland hopelessly.(Song Ruixue2020,35) <br /> <br /> Example 7 is taken from the part when all of Simba’s partners come to persuade him to go back to Pride Land. The translator adds a adverb to describe his mental activity at that moment which makes the character round with guilty and desperation. But the word “绝望地” may be very strange for a child within 6 years old to understand because it is a word taught in the primary school so that it is necessary to explain about it. Regardless of this point, the use of this adverb will help children to feel the emotion of Simba who has guilty in his mind but wants to go back to his homeland hopelessly.(Song Ruixue2020,35) --[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:52, 17 December 2020 (UTC)<br /> <br /> To explain about a complex mental activity of the character is a great challenge for a writer or a translator of children’s literature, but the use of adverbs may solve this problem. And the use of adverbs in this story helps children to express their own feelings and expressing one’s own feeling is always a compulsory for a person at all ages. (Zhu Xiaotong2020, 95)<br /> <br /> =====The Use of Four-Character Idioms=====<br /> One of the features in Chinese literary works is the use of four-character idioms and it is a way for readers to learn Chinese culture in this way. However, the use of four-character idioms in Children’s literature must be chosen according to children’s cognitive feature and knowledge background.(Zhou Wenjuan2018, 81)<br /> <br /> One of the features in Chinese literary works is the use of four-character idioms and it is a way for readers to learn Chinese culture. However, the use of four-character idioms in Children’s literature must be chosen according to children’s cognitive feature and knowledge background.(Zhou Wenjuan2018, 81)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 10:02, 17 December 2020 (UTC)<br /> <br /> Example 8: Mufasa asked why Scar had not come for the celebrations. Scar said he forgot.<br /> <br /> Translation: 当木法沙询问他为什么没有来参加庆典的时候，刀疤漫不经心地说自己忘记了。<br /> <br /> Example 9: Simba went through the very hot, dry desert until he could not go on and he collapsed.<br /> <br /> Translation: 辛巴走在一片炙热干涸的土地上，最后精疲力竭地倒下了。<br /> <br /> There are only two examples of four-character idioms used in this story. Both examples are talking about the two characters’ mental activities to highlight their mental changes. Due to children’s lack of knowledge storage, the use of four-character idioms gives a chance for them to learn in a pragmatic way.(Song Ruixue2020,7)<br /> <br /> ====Functional Equivalence at Syntactical Level====<br /> The difference between children’s literature and literature for adults lies in the sense of direction, rhyme, and description. In syntactical level, it represents in the aspects of simple sentences and oral expressions. Children lack of ability to understand written language and they don’t have a mature cognitive system. To make all the content simple to understand, direct expressions should be put in the first place. At the same time, the use of simple sentences and oral expressions strengthen emotions of characters and add more interests for children readers. (Zhou Wenjuan2018, 81)<br /> <br /> =====The Use of Simple Sentences=====<br /> The use of simple sentence in children’s literature is the most common way to make it readable for children. The simple sentences that consist of fewer words and simple structures are allowed in order to accommodate children’s reading ability. Even though a few complex sentences are used, they are mostly the parallelism of simple sentences with loose structures. Furthermore, simple sentences make it easy to express naïve content like children’s childish instinct. (Lu Huaying 2017, 134)<br /> <br /> The use of simple sentence in children’s literature is the most common way to make it readable for children. The simple sentences that consist of fewer words and simple structures are allowed in order to accommodate children’s reading ability. Even though a few complex sentences are used, they are mostly the parallelism of simple sentences with loose structures. Furthermore, simple sentences make it easy to express naïve content to meet children’s childish instinct. (Lu Huaying 2017, 134)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 10:10, 17 December 2020 (UTC)<br /> <br /> Example 10: Simba begged his father to let him join, but Mufasa simply commanded Zazu to take Simba home as he sped off to protect the kingdom.<br /> <br /> Translation: 辛巴央求父亲带他一起去，可是木法沙命令沙祖带辛巴回家，接着就迅速地离开了，他要保卫他的王国！<br /> <br /> Example 10 is taken from the part when Mufasa goes to fight and orders Zazu takes Simba to go back home. All the actions happen at once so that the source text uses a complex sentence without a stop. Different from English, a long sentence in Chinese may be so difficult to understand for a child, so the translator divided it into four simple sentences with conjunctions like “接着” making it coherent and loose. (Song Ruixue2020,10) <br /> <br /> Example 11: Under Simba’s rule, there was a lot of food and all the animals returned.<br /> <br /> Translation：在辛巴英明的统治下，荣耀国食物充足，动物回归。<br /> <br /> Example 11 is taken from the ending part that is the same as the start of the story representing a circle of life. The use of the three simple sentences produce a peaceful ending with relaxing tone. (Song Ruixue2020,48)<br /> <br /> =====The Use of Oral Expressions=====<br /> Oral expressions have differences in words, sentence structures and figures of speech comparing with formal expressions through which the literary work becomes native and naïve. On the contrary, it has the same meaning as the formal expressions but it represents the content in different tone, style and emotion which is suitable for different situations. And the choice of oral expressions depends on context in the text and social background. (Lu Huaying 2017, 134)<br /> <br /> Oral expressions have differences in words, sentence structures and figures of speech comparing with formal expressions through which the literary work becomes native and naïve. On the contrary, it has the same meaning as the formal expressions but it represents the content in different tone, style and emotion which is suitable for different situations. And the choice of oral expressions depends on context and social background of the text. (Lu Huaying 2017, 134)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 10:14, 17 December 2020 (UTC)<br /> <br /> Example 12: Scared, the cubs ran for their lives.<br /> <br /> Translation: 两个小家伙拼命逃跑，他们被吓坏了！<br /> <br /> Example 12 is taken from the part that Simba and Nana ran away from the danger in a hurry. However, the expression of example 12 is flat and it doesn’t represent their fear. Whereas, the translator divides the sentence into two and makes it tense giving readers a feeling of hurry. Children readers may feel their fear through the sentence “他们被吓坏了” which is more vivid than a word and earlier to understand. (Song Ruixue2020,18)<br /> <br /> Example 13: Timon told Simba to forget about the past and enjoy the new life.<br /> <br /> Translation: 丁满告诉辛巴把过去抛在脑后，享受新的生活。<br /> <br /> Example is taken from the part that Simba escapes from Pride Land and meets his new friends to start a different and new life. The use of “抛在脑后” makes children readers to think about the real meaning of it but it produces a more vivid result than a single word “forget”. (Song Ruixue2020,31)<br /> <br /> The psychological features and cognitive features make us believe that only interesting things can arise children’s curiosity and children like to read interesting stories and play interesting game at the same time. So, it is necessary to make children’s literature simple but interesting, short but colorful. (Tian Hua2008, 77)<br /> <br /> The psychological features and cognitive features make us believe that only interesting things can arise children’s curiosity and children like to read interesting stories and play interesting games at the same time. So, it is necessary to make children’s literature simple but interesting, short but colorful. (Tian Hua2008, 77)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 10:14, 17 December 2020 (UTC)<br /> <br /> ===Conclusion===<br /> Golgi once said that “children’s literature is a kind of happy literature” so that to make children’s literary works easier to accept by children readers, one must focus on language used in the works. To summarize, the translation of children’s literature is simple but vivid focusing on representing character’s mental activities and helping children learn to express themselves with correct words. To focus on reader’s response, functional equivalence theory in translation of children’s literature is widely used. Functional equivalence theory solves the long-standing discussion over literal translation and free translation. Both literal translation and free translation are desirable in certain translating practice so that the translation of children’s literature should be flexible according to children’s psychological and cognitive features. (Liu Xiaoqing2020, 91)<br /> <br /> Golgi once said that “children’s literature is a kind of happy literature” so that to make children’s literary works easier to accept by children readers, one must focus on language used in the works. To summarize, the translation of children’s literature is simple but vivid focusing on representing character’s mental activities and helping children learn to express themselves with correct words. To focus on reader’s response, functional equivalence theory in translation of children’s literature is widely used. Functional equivalence theory solves the long-standing discussion over &quot;literal translation and free translation&quot; problem. Both literal translation and free translation are desirable in certain translating practice so that the translation of children’s literature should be flexible according to children’s psychological and cognitive features. (Liu Xiaoqing2020, 91)--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 10:16, 17 December 2020 (UTC)<br /> <br /> ===References===<br /> Xiong Ziwei 熊子威. (2018). 儿童文学作品的句式特点 [The Syntactic Features of Children’s Literature]. ''文学教育'' Literary Education(9) 9.<br /> <br /> Bo Lina 薄利娜. (2017). 浅析儿童文学翻译特点及影响因素 [On Translation Features of Children Literature ＆ Influential Factors]. ''太原师范学院学报( 社会科学版)'' Journal of Taiyuan <br /> Normal University ( Social Science Edition) (6) 85-87.<br /> <br /> Zhao Lei 赵蕾. (2013). 从儿童文学翻译角度看翻译心理学的表现特点 [On the Characteristics of Translation Psychology from the Perspective of Children's Literature Translation]. ''湖北科技学院学报'' Journal of Hubei University of Science and Technology (4) 41-42.<br /> <br /> Zhang Liya 张丽娅. (2020). 浅析翻译目的论在儿童文学翻译中的应用 [On the Application of Skopos Theory in Children's Literature Translation]. ''文教资料'' Data of Culture and Education (19) 20-21.<br /> <br /> Xue Yang, 2014. The Analysis of Nida's Functional Equivalence Theory, Overseas English (10) 260-261.<br /> <br /> Cao Li 曹丽. (2018). 儿童早期语言发育中的特点分析 [Analysis of The Characteristics of Children's Early Language Development]. ''中国儿童保健杂志'' Chinese Journal of Child Health Care (4) 437-439.<br /> <br /> Chu Jinjin 楚金金. (2014). 从目的论视角看儿童文学翻译 [On Children's Literature Translation from the Perspective of Skopos Theory]. ''产业与科技论坛'' Estate and Science Tribune (6) 193-194.<br /> <br /> Hua Xiaofen 华小芬. (2020). 儿童文学的特点及翻译——以《阿丽思漫游奇境记》为例 [The Characteristics and Translation of Children's Literature--- Take Alice's Adventures in Wonderland as an example]. ''文化综合'' Cultural Synthesis (19) 91-92.<br /> <br /> Zhang Wenjuan 张文娟. (2020). 目的论视角下的儿童文学翻译——以任溶溶汉译《吹小号的天鹅》为例 [On Children's Literature Translation from the Perspective of Skopos Theory--- Take Ren Rongrong's translation of The Trumpet of the Swan]. ''海外英语'' Overseas English (15) 194-195.<br /> <br /> Gong Qin 龚勤. (2011). 早期儿童语音习得的若干特点探析 [Research on the Characteristics of the Child’s Early Pronunciation Acquisition]. ''黄石理工学院学报（人文社会科学版）''Jorney of Huangshi Institute of Technology (Humanities and Social Science) (5) 48-52.<br /> <br /> Xilin Tuya 锡林图雅. (2019). 英美儿童文学作品的写作特点及翻译研究 [On the Writing Features and Translation of Children's Literature in Britain and America]. ''校园英语''English on Campus (25) 249.<br /> <br /> Zhou Xuanfeng 周宣丰. (2004). 体裁分析与翻译策略 [Genre Analysis and Translation Strategies]. ''湘潭师范学院学报(社会科学版)'' Journal of Xiangtan Normal University(Social Science Edition) (5) 102-103.<br /> <br /> Wang Yali 王亚丽. (2020). 文化差异下的英美文学作品翻译研究 [On the Translation of British and American Literary Works Based on Cultural Differences]. ''遵义师范学院学报'' Journal of Zunyi Normal University (5) 74-77.<br /> <br /> Liu Xiaoqing 刘晓庆. (2020). 基于功能对等理论下的英文电影片名翻译 [Translation of English Film Titles Based on Functional Equivalence Theory]. ''北京印刷学院学报'' Journal of Beijing Institute of Graphic Communication (8) 91-94.<br /> <br /> Guo Zimeng 郭梓萌. (2019). 叠词在儿童文学翻译中的应用解析 [A Study of the Application of Reduplication in Children's Literature Translation]. ''文化创新比较研究'' Cultural Innovation and Comparative Study (26) 94-95. <br /> Zhou Wenjuan 周文娟. (2018). 基于目的论的儿童文学翻译报告 [A Translation Report of Children's Literature Based on Skopos Theory]. ''语言研究'' Study in Language and Linguistics (1) 81-82.<br /> <br /> Tang Huaying 唐华颖. (2017). 目的论视域下的儿童文学英汉翻译研究 [On the Translation of Children's Literature from the Perspective of Skopos Theory]. ''教育观察'' Survey of Education (24) 133-135.<br /> <br /> Zhang Yanling 张燕玲. (2019). 探析中国儿童文学的语言特点及其发展[On the Language Features and Development of Chinese children's Literature]. ''文艺评论'' Literature and Art Criticism (11) 248-249.<br /> <br /> Tian Hua 田华. (2008). 儿童文学作品的句式特点 [The Characteristics of Sentence Patterns in Children's Literature]. ''淮南师范学院学报'' Journey of Huainan Normal University (4) 77-80.</div>

Qu Miao https://bou.de/u/index.php?title=File:Zun1.left.jpg&diff=114626 2020-12-18T12:05:53Z

<p>Qu Miao: Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc.</p> <hr /> <div>Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc.</div>

Qu Miao https://bou.de/u/index.php?title=File:Zun.left.jpg&diff=114606 2020-12-18T11:56:44Z

<p>Qu Miao: </p> <hr /> <div></div>

Qu Miao https://bou.de/u/index.php?title=20201215_cultexam_2&diff=114599 2020-12-18T11:53:11Z

<p>Qu Miao: /* The Liquor Culture of China 瞿淼 Student No.202070080604 */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 English Interpreting==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance(&lt;span style=&quot;color:red&quot;&gt;advanced&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:15, 18 December 2020 (UTC) culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic(&lt;span style=&quot;color:red&quot;&gt;historical&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and(&lt;span style=&quot;color:red&quot;&gt;the&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of(&lt;span style=&quot;color:red&quot;&gt;the&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of (&lt;span style=&quot;color:red&quot;&gt;the&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of (&lt;span style=&quot;color:red&quot;&gt;the&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, (&lt;span style=&quot;color:red&quot;&gt;the&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate(&lt;span style=&quot;color:red&quot;&gt;the&lt;/span&gt;)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013.(Zou Jingyi , Zhang Yimei 2018,131)<br /> <br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered（改） in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. 空格 (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:16, 18 December 2020 (UTC)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1.Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi - Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.(Kang Yuming, Li Jinfeng2020,281)<br /> <br /> 1.(点号后空格)Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi - Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. 这句话意思不太理解。During the Ming and Qing dynasties, the government controlled（改） tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. 空格 (Kang Yuming, Li Jinfeng2020,281) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:28, 18 December 2020 (UTC)<br /> <br /> <br /> 3.The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD .It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.<br /> 4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, .(Kang Yuming, Li Jinfeng2020,282)<br /> <br /> 3. (点号后空格)The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. (句点空格) It is in the south of Yunnan's main tea producing area. It is an important trade channel between ancient China and South Asia.<br /> 4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers(逗号删掉).(Kang Yuming, Li Jinfeng2020,282) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:28, 18 December 2020 (UTC)<br /> <br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route （改） pass through Chengdu, and their development is closely related to the tea-horse trade. (句点后空格) (Kang Yuming,Li Jinfeng2020,283) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:28, 18 December 2020 (UTC)<br /> <br /> ===Historical Values===<br /> 1.The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.<br /> <br /> 1. 点号后空格 The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation and exclusive resources and is unparalleled in the world. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Ji Jing2016,354)<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. 句点后空格 (Ji Jing2016,354)--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> <br /> 3.Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.<br /> <br /> 3. 点号后空格 Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> <br /> 4. The Path of National Spirituality<br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Ji Jing2016,355)<br /> <br /> 4. The Path of National Spirituality<br /> We can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and becomes a part of the Chinese national spirit. 句点后空格 (Ji Jing2016,355)--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> <br /> 5.The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.<br /> <br /> 5. 点号后空格 The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> <br /> 6.The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.<br /> <br /> 6. 空格 The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributes to the stability and consolidation of China's southwest frontier. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> <br /> 7.The road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:25, 18 December 2020 (UTC)<br /> <br /> 7. 空格 The road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. 空格 (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:25, 18 December 2020 (UTC) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 1.What is 多了个空格 the ancient tea horse road ? --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:37, 18 December 2020 (UTC)<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 2.How many main routes 多了个空格 does the ancient tea-horse road include? --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:37, 18 December 2020 (UTC)<br /> <br /> 3.What is the historical value?<br /> <br /> 3.What is the historical value of the ancient tea-horse road? --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:37, 18 December 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> <br /> Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].<br /> ''北京规划建设 BeiJing Planning Review''(04)131-140.<br /> <br /> Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技Rural Economy and Science'' 31(11)281-283.<br /> <br /> Li Gang, Li Wei李刚,李薇.(2011).论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History].''西北大学学报Journal of Northwestern University'' 41(04):113-117.<br /> <br /> Ji Ji纪静.(2016.)茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ].''福建茶叶 Tea In Fujian'' 38(07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:23, 18 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> *[1]https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> *[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012<br /> *[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012<br /> *[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012<br /> *[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012<br /> *[6]四大谴责小说政治批判手法研究[J].李辉东,2017<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Play - Li Lili 李丽丽==<br /> ===Shadow Play Li Lili No.202070080594 MTI===<br /> 大标题+小标题+名字拼音+汉字+学号+专业，大标题应该涵盖小标题，比如文学，《红楼梦》...(可以直接在最上面一栏写哦，不必再写一栏）--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 15:00, 17 December 2020 (UTC)<br /> <br /> ====The Origin of Shadow Play====<br /> Shadow play has a long history from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning for her was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid，so he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13) <br /> <br /> Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he could not put down for a long time. This love story is considered to be the earliest origin of shadow play.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:29, 18 December 2020 (UTC)<br /> <br /> There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development is closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)<br /> <br /> There are also some views that shadow play originated in Xi'an during the Tang Dynasty. However, it is worth discussing that although there were various operas in the Tang Dynasty, there is no record of any shadow plays in the Tang Dynasty. Up to now, the earliest record of shadow play that we can see is in Song Dynasty. Its rise and development were closely related to the superior geographical environment, the development of commodity trade and good commercial transportation at that time in Bianjing (the capital of the Northern Song Dynasty).--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:29, 18 December 2020 (UTC)<br /> <br /> ====Introduction====<br /> 可以复制别人图片的格式，修改名字和来源即可--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)<br /> [[File:shadow play.jpg|300px|thumb|right|]]<br /> <br /> In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)<br /> <br /> In ancient Chinese society, the Chinese people began to perform with puppets against a luminous screen. This was &quot;shadow puppets&quot;, also known as &quot;light and shadow play&quot;. It is considered the “predecessor of movie” because it was the earliest physical moving part in the world to be dubbed with human voices. In the play, puppeteers hide behind a white screen and move puppets while narrating the story, usually through singing. The performances are accompanied by musicians playing percussion and stringed instruments. Shadow puppets can perform actions such as “serving wine”, “waving a sword and dancing a spear,” and even “smoking” by the puppeteer holding and moving joysticks on its body.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)<br /> <br /> Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)<br /> <br /> Typically, a shadow play has three poles, and some may have five or seven. It can create a rich variety of designs, for example shadow puppets, animals and stage props such as buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It incorporates traditional Chinese modeling and performing arts as well as the arts of painting, paper-cutting, local opera, and ventriloquism. Besides, it has absorbed the essence of local operas and folk songs and formed many genres. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play, etc.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)<br /> <br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)<br /> <br /> So how do you make a puppet? Firstly, draw a picture of each part of the shadow puppet; secondly, finish the carving with a knife and put the hard board underneath the designed pattern; thirdly, color the puppet with watercolor pens; fourthly, paint the body parts with a brush dipped in oil paint. It can make the puppet transparent and better reflect colors under the light; fifthly, connect the joint sections with the cotton thread; sixthly, make the joysticks; finally, attach the joysticks to the shadow puppet with cotton thread. Due to the different movements of the joysticks, the shadow puppet has a life and can express joy, anger, sorrow and happiness.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people are short beard, but the elderly men are long beard. (Wang Yexia 2012,10-11)<br /> <br /> The eyes and the eyebrows of the shadow puppet’s five facial features represent different personalities. A good and upright person is typically benevolent and kind with nice-looking eyebrows and eyes, while a villain or general is ferocious and evil-looking with sharp eyebrows and almond-shaped eyes. And the former tends to hide their teeth and the latter show their teeth. The middle-aged people have short beards, while the elderly men have long beards.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)<br /> <br /> The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and are often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)<br /> <br /> The decorative patterns on the shadow puppets are so important that they must match the social status of characters. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenixes, while male characters are often decorated with patterns such as dragons, tigers, water and clouds. The shadows puppets look colorful under the light. To achieve a better visual effect, translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. Red is a symbol of heroic and upright character and the representative is Guan Yu. Black indicates a fair, honest and selfless character and the representative is Zhang Fei. Yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic powers.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）<br /> <br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of scripts, the painting and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, with the exception of a few places, lasted until 1976.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:40, 18 December 2020 (UTC)<br /> <br /> After the end of the &quot;Cultural Revolution&quot;, shadow puppet art revived rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> <br /> After the end of the &quot;Cultural Revolution&quot;, the art of shadow puppet was rapidly revived. However, as economic development was placed at the forefront of social activities with the popularity of television and the enrichment of art forms, shadow play is declining with an irresistible trend, because the art of shadow play are unable to keep pace with the times and be appreciated by the audience. As a result, the future of shadow play is becoming increasingly bleak.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:52, 18 December 2020 (UTC)<br /> <br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.（baidubaike）引用不规范--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:53, 18 December 2020 (UTC)<br /> <br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the &quot;Representative List of Intangible Cultural Heritage of Humanity&quot;.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:52, 18 December 2020 (UTC)<br /> <br /> ===References===<br /> *Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House] <br /> *Wei Liqun 魏力群.(2018). 《小书大传承-皮影》[&quot;Small Book, Big Heritage - Shadow Play&quot;] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]<br /> *Zhu Hengfu 朱恒夫.(2020) 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]<br /> *https://baike.baidu.com/item/%E7%9A%AE%E5%BD%B1%E6%88%8F/23224?fr=aladdin<br /> <br /> ===Words and Expressions===<br /> *shadow puppet皮影戏 <br /> *paper cutting 剪纸<br /> *ventriloquism 口技<br /> *manipulating rod 操纵杆<br /> *five facial features 五官<br /> *sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> *Cultural Revolution 文化大革命<br /> *intangible cultural heritage 非物质文化遗产<br /> <br /> ===Questions===<br /> *1.When is the earliest shadow puppet’s record? <br /> *2.What art of forms do shadow play use?<br /> *3. What does a red head stand for in a play?<br /> *4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> ===Answers===<br /> *1.Song dynasty.<br /> *2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> *3.The red is symbol of a heroic and upstanding character.<br /> *4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI ==<br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) <br /> <br /> After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> After more than 2,000 years of development and evolution, Confucian culture has built up a complete ideological system, covering politics, education, morality and ethics, codes of conduct, life skills and many other aspects.It has long nurtured the wisdom and mind of the Chinese people and formed a fixed modes of thinking, psychology and survival, which are deeply rooted in the nation.--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 03:49, 18 December 2020 (UTC)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) <br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as the dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education, and '''being educated and sensible''' became a basic requirement. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19)--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 03:59, 18 December 2020 (UTC)<br /> <br /> For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.<br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)<br /> <br /> In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is the fundamental reason why Confucianism was so popular with the feudal rulers, <br /> Instead of promoting social equality, it worked to maintain an unequal and slavish feudal hierarchy. Indeed, after a long period of feudal rule, the sense of hierarchy would enslave the national psyche. With the progress of times and civilization, Confucianism's view of the Mandate of Heaven and the ruling ideology of social order have becme a psychological yoke that enslaved the people.--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:33, 18 December 2020 (UTC)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)<br /> <br /> Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) <br /> <br /> Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) <br /> <br /> Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)<br /> <br /> The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)<br /> <br /> The concept '''has not only served''' as theoretical basis for reformers in the past, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, '''by promoting the &quot;innovative&quot; spirit of Confucianism''', we can greatly enhance the reform consciousness of the Chinese people; externally, by using the influence of Confucianism in the world, we can help promote opening up to the outside world.(Li Chengzong 2002, 67)--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 06:42, 18 December 2020 (UTC)<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) <br /> <br /> Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)<br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) <br /> <br /> In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) <br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral '''qualities in order to play an exemplary and leading role'''. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) --[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:40, 18 December 2020 (UTC)<br /> <br /> In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)<br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> As China's international status continues to rise and international contacts become more widespread, Chinese culture is gaining more and more attention overseas. The demand for Chinese language learning and understanding of Chinese culture has grown dramatically around the world. The Confucius Institute project, founded in 2004, emerges in this context. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30)--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:43, 18 December 2020 (UTC) <br /> <br /> Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)<br /> <br /> At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) <br /> <br /> Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ====Answers====<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ====References====<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. '''[The pages are not given]'''<br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. '''[The pages are not given]'''<br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.'''[The pages are not given]'''<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. '''[The pages are not given]'''<br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. '''[The pages are not given]'''<br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. '''[The pages are not given]'''<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. '''[The pages are not given]'''<br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C． '''[The pages are not given]'''<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. '''[The pages are not given]'''--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:34, 18 December 2020 (UTC)<br /> <br /> ==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:00, 13 December 2020 (UTC)--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧， 202070080597，MTI==<br /> 大标题+小标题+名字拼音+汉字+学号+专业--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> '''相声 Crosstalk'''<br /> <br /> ===The Development of Crosstalk===<br /> <br /> Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)<br /> <br /> Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)夹注应在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) <br /> <br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)<br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people 这句话语法错误--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) . The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata 这句话关联词不完整， spread主谓注意一致，注意逗号的使用以及夹注在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:01)<br /> <br /> ===Four Basic Skills in Crosstalk===<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194)作者？--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation 不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). By learning all kinds of sounds to gain the ability to imitate不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:11)<br /> <br /> ===Characteristics of Crosstalk===<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)参考格式(Liu Miqing 2010, 17) --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties 没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> <br /> “Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)<br /> <br /> Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)<br /> <br /> ===Famous Artists of CrossTalk===<br /> <br /> In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )<br /> <br /> ===Terms and Expressions===<br /> <br /> speaking, imitating, teasing and singing 说学逗唱<br /> <br /> Taiping lyrics 太平歌词<br /> <br /> Baofu 包袱<br /> <br /> Drama Talks 《戏剧杂谈》<br /> <br /> Drunkenness 《醉酒》<br /> <br /> Selling Tickets 《卖挂票》<br /> <br /> ===Questions===<br /> <br /> 1.When did crosstalk form its format?<br /> <br /> 2.What is Taiping lyrics?<br /> <br /> 3.Who was regarded as the “ancestor”of crosstalk art ?<br /> <br /> 4.What are the four basic skills of crosstalk?<br /> <br /> ===Answers===<br /> <br /> 1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.<br /> <br /> 2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.<br /> <br /> 3.Zhu Shaowen.<br /> <br /> 4.They are speaking, imitating, teasing and singing.<br /> <br /> ===References===<br /> <br /> 1.Hou Baolin，Xue Baokun，1982，《相声溯源》，People's Education Press<br /> <br /> 2.https://cul.sohu.com/20090619/n264630449.shtml<br /> <br /> 3.https://baike.so.com/doc/1925383-2037001.html<br /> <br /> 4.https://baijiahao.baidu.com/s?id=1590742532351773378<br /> <br /> 注意参考文献格式：<br /> Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO - Liu Yi 刘艺 202070080640 MTI===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2]<br /> <br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4]<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> ==Liu Yiyu 刘怡瑜,202070080598 MTI--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==<br /> <br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> <br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. <br /> <br /> At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. <br /> <br /> Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. <br /> <br /> He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. <br /> <br /> Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. <br /> <br /> Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.<br /> <br /> His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.<br /> <br /> 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”<br /> <br /> History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. <br /> <br /> It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:33, 18 December 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 英语笔译==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170) <br /> <br /> Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178) <br /> <br /> By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) <br /> <br /> During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) <br /> <br /> The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)<br /> <br /> In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) <br /> <br /> In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175) <br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)<br /> <br /> The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong ofTang Dynasty 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.<br /> <br /> MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==<br /> <br /> ===Four State-level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.<br /> <br /> ====Simuwu Ding====<br /> <br /> [[File:Simuwu Ding.left.jpg|300px|thumb|left]]<br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).<br /> <br /> Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015). <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015). <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020). <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016). <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu &amp; Zhao Jing, 2019).<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu &amp; Zhao Jing, 2019). <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).<br /> <br /> ===Terms and Expressions===<br /> <br /> Houmuwu Ding 后母戊鼎<br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> Anna 安娜.(2015).中国人的鼎文化. 科学大观园(15),72-73.<br /> <br /> Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟. 中华文化论坛(11),2.<br /> <br /> Li Xiaohu &amp; Zhao Jing 李小虎 &amp; 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读. 艺术教育(09),170-171.<br /> <br /> Li Weiming李维明(2015-06-19).司母戊鼎研究历程初览(上).中国文物报,006.<br /> <br /> Li Weiming李维明(2015-07-03).司母戊鼎研究历程初览(中).中国文物报,006.<br /> <br /> Li Weiming李维明(2015-07-31).司母戊鼎研究历程初览(下).中国文物报,006.<br /> <br /> Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 .文物鉴定与鉴赏 (03):38-39.<br /> <br /> Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[M]. 北京:商务印书馆.<br /> <br /> Wang Jing 王静.(2008).汉代玉衣研究(硕士学位论文,河北师范大学).<br /> <br /> Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究.艺术品鉴, (26):10-11.<br /> <br /> Wan Quanwen 万全文.(2020).曾侯乙编钟.文史知识 (11):1-2.<br /> <br /> Zhou Yi 周仪.(2016).“八音合鸣 乐舞齐容”——大型乐舞作品《编钟乐舞》述评. 戏剧之家(19),66-67+79.<br /> <br /> == Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 英语笔译 ==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panaroma view of the Forbidden City.jpg|300px|thumb|left|A Panaroma view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602 &lt;span style=&quot;color:red&quot;&gt;【专业 is missing】&lt;/span&gt;==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents. <br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents. &lt;span style=&quot;color:red&quot;&gt;【quotation is missing】&lt;/span&gt;<br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refersthat if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers&lt;span style=&quot;color:red&quot;&gt;【refers to a practice that..】&lt;/span&gt; that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks, phoenix&lt;span style=&quot;color:red&quot;&gt;【？】&lt;/span&gt; and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask&lt;span style=&quot;color:red&quot;&gt;【asks】&lt;/span&gt; the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the&lt;span style=&quot;color:red&quot;&gt;【可删】&lt;/span&gt; one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential&lt;span style=&quot;color:red&quot;&gt;【prospective】&lt;/span&gt; bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to &lt;span style=&quot;color:red&quot;&gt;【inform sb of sth 】&lt;/span&gt;the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, &lt;span style=&quot;color:red&quot;&gt;【 connective is missing】&lt;/span&gt;many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride &lt;span style=&quot;color:red&quot;&gt;【before or during？】&lt;/span&gt;. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls&lt;span style=&quot;color:red&quot;&gt;【addresses】&lt;/span&gt; the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:49, 16 December 2020 (UTC) a unique Chinese characteristics.<br /> <br /> As time goes by, there are many reforms about marriage right now&lt;span style=&quot;color:red&quot;&gt;【nowadays】&lt;/span&gt;. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now&lt;span style=&quot;color:red&quot;&gt;【the present day】&lt;/span&gt;. There still exist betrothal gifts and dowry&lt;span style=&quot;color:red&quot;&gt;【dowries】&lt;/span&gt;, and many couples choose to wear red costumes. The groom should &lt;span style=&quot;color:red&quot;&gt;【？】&lt;/span&gt;go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep&lt;span style=&quot;color:red&quot;&gt;【deeply】&lt;/span&gt; rooted in the hearts of Chinese people and shows&lt;span style=&quot;color:red&quot;&gt;【show】&lt;/span&gt;--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:49, 16 December 2020 (UTC) a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603专业 is missing--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 08:16, 14 December 2020 (UTC)Mo Ling==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> 2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have(&lt;span style=&quot;color:red&quot;&gt;has&lt;/span&gt;) been engraved in every Chinese people. --[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling<br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence.(&lt;span style=&quot;color:red&quot;&gt;there are various opinions,however,many of them are presented without sufficient evidences&lt;/span&gt;) There are many myths explaining these animal signs and their arrangement. Among them the most enduring(&lt;span style=&quot;color:red&quot;&gt;time-honored&lt;/span&gt;) one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who (&lt;span style=&quot;color:red&quot;&gt;that&lt;/span&gt;)made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research(&lt;span style=&quot;color:red&quot;&gt;researches&lt;/span&gt;) on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling<br /> <br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The zodiac sign not only can (&lt;span style=&quot;color:red&quot;&gt;can not only&lt;/span&gt;)reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. (&lt;span style=&quot;color:red&quot;&gt;quotation is missing&lt;/span&gt;) --[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling<br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic(&lt;span style=&quot;color:red&quot;&gt;zodiac&lt;/span&gt;) sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures(&lt;span style=&quot;color:red&quot;&gt;creature&lt;/span&gt;) , the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is(&lt;span style=&quot;color:red&quot;&gt;are&lt;/span&gt;) born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight(&lt;span style=&quot;color:red&quot;&gt;fight against&lt;/span&gt;) each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have(&lt;span style=&quot;color:red&quot;&gt;has&lt;/span&gt;) developed a profound connotation and implications through generation(&lt;span style=&quot;color:red&quot;&gt;generations&lt;/span&gt;). Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 06:20, 17 December 2020 (UTC)Mo Ling<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> The Lisu ethnic group is the Tibeto-Burman ethnic group whose people live in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames came from their own hunter work in primitive times. And later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture does. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic group in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, the traditions were once lost in Nujiang Prefecture and were recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the ministry of war, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the &quot;Going up to the mountain of swords and going down to the sea of ​​fire&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> Going up to the mountain of swords and going down to the sea of ​​fire is one of the the main custom performances of the Taozhen Festival, which came from the life experience of people living in mountainous areas as they climb the mountains with the hard spirit and skills of climbing.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> Pine trees were used as tool poles, with iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. Before people going up the mountain and down the fire, they play cowhide drum, gong , hairpin , Suo na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals of pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Settings, knife pole, vertical pole, sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the player grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When he reaches the top through the three scissors, he opens the lock of heaven, takes out the grains and flowers, spreads them out into the lively crowd, and then places the red ribbon on the colored door, sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth. All of these show the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and make various difficult performances at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the Lisu people to perform their stunts.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major - Comparative Literature and Cross-cultural Studies. <br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> ==The Aesthetic Performance of Design. Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that&quot;the upper part should be short, the below part should be long&quot;; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the &quot;long upper part,short below part&quot;ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)<br /> <br /> ==The Aesthetic Performance of colors. Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusj, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color .People advocate yellow but don't prohibit yellow.(Jiangsu, 2016,page-6)<br /> <br /> In Chinese traditional clothing colors red has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)<br /> <br /> ==Conclusion==<br /> Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.<br /> <br /> <br /> 2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604==<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12) <br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore, drinking vessels as part of the liquor culture also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. <br /> [[File:zun.left.jpg|300px|thumb|left]]<br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康<br /> <br /> 2.Chinese Dionysus 中国酒神<br /> <br /> 3.husked sorghum rice 秫米饭<br /> <br /> 4.Baishui 白水县（陕西渭南市辖县）<br /> <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县）<br /> <br /> 6.fermented wine 发酵酒<br /> <br /> 7.Distilled liquor 蒸馏酒<br /> <br /> 8.Yellow rice wine 黄酒<br /> <br /> 9.Shaoxing Wine 绍兴酒 <br /> <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> <br /> 11.Mellow Wine 醇香酒 <br /> <br /> 12.Dongwu Rice Wine 东吴老酒<br /> <br /> 13.Liquor and Spirits 白酒 <br /> <br /> 14.Kweichow Moutai 贵州茅台<br /> <br /> 15.sauce-flavor type 酱香型 <br /> <br /> 16.light flavor type 清香型 <br /> <br /> 17.strong flavor type 浓香型 <br /> <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> <br /> 19.the Peiligang culture period裴李岗文化时期 <br /> <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> <br /> 21.Zun 樽 <br /> <br /> 22.injection vessel and bowl 注子和注碗<br /> <br /> 23.drinking order 行酒令<br /> <br /> ====Questions====<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> == China Railway High-Speed ​​(CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> Introduction <br /> <br /> High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot;[[[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]]]<br /> <br /> Definition and terminology <br /> <br /> High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高 铁; Gāotiě; &quot;High-speed rail&quot;) are commonly used trains E In class D trains (动 车; Dòngchē; &quot;Electrical multiple unit&quot;) are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[[https://ru.qaz.wiki/wiki/China_Railway_High-speed]]<br /> <br /> Influence on airlines<br /> <br /> The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a<br /> Technologies <br /> Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐 号; Traditional Chinese: 和 諧 號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[[https://en.m.wikipedia.org/wiki/Wayback_Machine ]]<br /> <br /> 4 + 4 HSR network <br /> <br /> The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[[http://www.railjournal.com/A/xfeature2.html]]<br /> <br /> Advantages <br /> <br /> HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [[https://ru.qaz.wiki/wiki/China_Railway_High-speed]]<br /> <br /> Wenzhou accident <br /> <br /> On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]]<br /> <br /> Terms and expressions<br /> <br /> 高 铁 - High-speed rail<br /> 动 车 - Electrical multiple unit<br /> 和 諧 號 – Harmony<br /> 復興號 - Rejuvenation<br /> <br /> Questions <br /> <br /> 1. What does the World Bank research say?<br /> 2. What forced China's domestic airlines to cut airfares and cancel regional flights?<br /> 3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?<br /> 4. What caused the accident?<br /> 5. What are the benefits of HSR?<br /> <br /> Answers<br /> <br /> 1. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot; <br /> 2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.<br /> 3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. <br /> 4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.<br /> 5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.<br /> <br /> References <br /> <br /> http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf<br /> https://ru.qaz.wiki/wiki/China_Railway_High-speed<br /> https://en.m.wikipedia.org/wiki/Wayback_Machine <br /> http://www.railjournal.com/A/xfeature2.html<br /> https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between these dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019, 124)<br /> <br /> China is a very big country with a large population, multi-ethnic nationalities, and multi-language. Each ethnic groups may have its own lingo, or dialects, which sounds completely different from each other because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, worse still, this situation may lead to embarrassment and misunderstanding. Therefore, the Chinese people communicate with each other in standard Chinese, Putonghua, also known as Mandarin in Western countries. (Cheng Aimin, 2019, 124)--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 16:54, 17 December 2020 (UTC)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusion.== <br /> Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> <br /> Lingo: 林戈<br /> <br /> Lingo: 行话，语言<br /> <br /> Putonghua: 普通话<br /> <br /> Await student:等待学生<br /> <br /> Pinyin: 等待学生<br /> <br /> Pinyin: 拼音<br /> <br /> Lofty: 崇高<br /> <br /> Vernacular: 白话<br /> <br /> Swine: 猪<br /> <br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

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<p>Qu Miao: /* The Liquor Culture of China 瞿淼 Student No.202070080604 */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 English Interpreting==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==Landscape, The Ancient Tea Horse Road - Lei Fangyuan 雷方圆==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.(Zou Jingyi 2018,131)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.<br /> 3. The ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.<br /> 4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.<br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. <br /> Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.(Kang Yuming2020,281-283)<br /> <br /> Shanxi- Tibet tea horse road (wade ancient road), was formed in the Han dynasty through the efforts of the Shanxi merchants and the ancient southwest border tea and horse. During the Ming and Qing dynasties, the government controlled tea traffickin along the tea trafficking sub-region, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:02, 7 December 2020 (UTC)Li Lili<br /> <br /> ====Historical Value====<br /> The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.(Li Gang 2011,113-117)<br /> <br /> 1.The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.<br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.<br /> 3.Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.<br /> 4.Religious Propagation Road<br /> With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.<br /> 5. The Path of National Spirituality<br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.<br /> 6.The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.<br /> 7.The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.<br /> 8.The road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Ji Jing2016,354-355)<br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?<br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> [1]邹怡情,张依玫.作为文化线路的茶马古道遗产保护研究[J].北京规划建设,2018(04):131-140.<br /> <br /> [2]康昱明,李金峰.甘肃茶马古道文化线路遗产探究[J].农村经济与科技,2020,31(11):281-283.<br /> <br /> [3]李刚,李薇.论历史上三条茶马古道的联系及历史地位[J].西北大学学报(哲学社会科学版),2011,41(04):113-117.<br /> <br /> [4]纪静.茶马古道的兴起及其价值研究[J].福建茶叶,2016,38(07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 09:06, 14 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> *[1]https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> *[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012<br /> *[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012<br /> *[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012<br /> *[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012<br /> *[6]四大谴责小说政治批判手法研究[J].李辉东,2017<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Play - Li Lili 李丽丽==<br /> ===Shadow Play Li Lili No.202070080594 MTI===<br /> 大标题+小标题+名字拼音+汉字+学号+专业，大标题应该涵盖小标题，比如文学，《红楼梦》...(可以直接在最上面一栏写哦，不必再写一栏）--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 15:00, 17 December 2020 (UTC)<br /> <br /> ====The Origin of Shadow Play====<br /> Shadow play has a long history from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning for her was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid，so he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13) <br /> <br /> There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development is closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)<br /> <br /> ====Introduction====<br /> [[File:shadow play.jpg]]<br /> In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)<br /> <br /> Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)<br /> <br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people are short beard, but the elderly men are long beard. (Wang Yexia 2012,10-11)<br /> <br /> The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and are often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. <br /> (Zhu Hengfu 2020,36）<br /> <br /> After the end of the &quot;Cultural Revolution&quot;, shadow puppet art revived rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> <br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.（baidubaike）<br /> <br /> ===References：===<br /> Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House] <br /> <br /> Wei Liqun 魏力群.(2018). 《小书大传承-皮影》[&quot;Small Book, Big Heritage - Shadow Play&quot;] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]<br /> <br /> Zhu Hengfu 朱恒夫.(2020) 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]<br /> <br /> https://baike.baidu.com/item/%E7%9A%AE%E5%BD%B1%E6%88%8F/23224?fr=aladdin<br /> <br /> <br /> ===Words and Expressions===<br /> shadow puppet皮影戏 <br /> paper cutting 剪纸<br /> ventriloquism 口技<br /> manipulating rod 操纵杆<br /> five facial features 五官<br /> sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> Cultural Revolution 文化大革命<br /> intangible cultural heritage 非物质文化遗产<br /> <br /> <br /> ===Questions===<br /> 1.When is the earliest shadow puppet’s record?<br /> <br /> 2.What art of forms do shadow play use?<br /> <br /> 3. What does a red head stand for in a play?<br /> <br /> 4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> <br /> ===Answers===<br /> 1.Song dynasty.<br /> <br /> 2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> <br /> 3.The red is symbol of a heroic and upstanding character.<br /> <br /> 4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI ==<br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) <br /> <br /> After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) <br /> <br /> For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. <br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)<br /> <br /> In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)<br /> <br /> Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) <br /> <br /> Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) <br /> <br /> Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)<br /> <br /> The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) <br /> <br /> Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)<br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) <br /> <br /> In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) <br /> <br /> In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83) <br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30) <br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)<br /> <br /> At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) <br /> <br /> Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ====Answers====<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ====References====<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. <br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. <br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. <br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. <br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. <br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House.<br /> <br /> ==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:00, 13 December 2020 (UTC)--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧， 202070080597，MTI==<br /> <br /> '''相声 Crosstalk'''<br /> <br /> ===The Development of Crosstalk===<br /> <br /> Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)<br /> <br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)<br /> <br /> ===Four Basic Skills in Crosstalk===<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)<br /> <br /> ===Characteristics of Crosstalk===<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements”. This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> <br /> “Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)<br /> <br /> Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)<br /> <br /> ===Famous Artists of CrossTalk===<br /> <br /> In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )<br /> <br /> ===Terms and Expressions===<br /> <br /> speaking, imitating, teasing and singing 说学逗唱<br /> <br /> Taiping lyrics 太平歌词<br /> <br /> Baofu 包袱<br /> <br /> Drama Talks 《戏剧杂谈》<br /> <br /> Drunkenness 《醉酒》<br /> <br /> Selling Tickets 《卖挂票》<br /> <br /> ===Questions===<br /> <br /> 1.When did crosstalk form its format?<br /> <br /> 2.What is Taiping lyrics?<br /> <br /> 3.Who was regarded as the “ancestor”of crosstalk art ?<br /> <br /> 4.What are the four basic skills of crosstalk?<br /> <br /> ===Answers===<br /> <br /> 1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.<br /> <br /> 2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.<br /> <br /> 3.Zhu Shaowen.<br /> <br /> 4.They are speaking, imitating, teasing and singing.<br /> <br /> ===References===<br /> <br /> 1.Hou Baolin，Xue Baokun，1982，《相声溯源》，People's Education Press<br /> 2.https://cul.sohu.com/20090619/n264630449.shtml<br /> 3.https://baike.so.com/doc/1925383-2037001.html<br /> 4.https://baijiahao.baidu.com/s?id=1590742532351773378<br /> <br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO - Liu Yi 刘艺 202070080640 MTI===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2]<br /> <br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4]<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> ==Liu Yiyu 刘怡瑜,202070080598 MTI--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==<br /> <br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. <br /> At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. <br /> Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. <br /> He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. <br /> Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. <br /> Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.<br /> His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.<br /> 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”<br /> History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. <br /> It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 英语笔译==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. (Fan Jinshi 2010，170)The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175) <br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong ofTang Dynasty 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.<br /> <br /> MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-level Cultural Relics Luo Weijia罗维嘉 Student No.202070080600==<br /> <br /> ===Four State-level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.<br /> <br /> ====Houmuwu Ding====<br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority. For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment.<br /> <br /> Simuwu Ding,or Houmuwu Ding, was a very precious cultural relic, found in 1937 in Anyang of Henan Province (Zhang Peng:86-89).It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing. <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices. <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Zhang Peng:86-89).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties.<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound.<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum(Gao Nan:29). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg (Gao Nan:29). It is extremely rare tosee a set with so many bells of such weight and size. <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen:1-2). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music. <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”.<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread.<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen:38-39). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen:38-39). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure.<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian:10-11). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers. <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum.<br /> <br /> ===Terms and Expressions===<br /> <br /> Houmuwu Ding 后母戊鼎<br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> [1]Zhang Peng 张鹏.(2020).青铜大师杜廼松:“司母戊鼎”名称不容置疑[No Doubt about the Name of Simuwu Ding].中国民族博览 (09):86-89.<br /> <br /> [2]Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi].文史知识 (11):1-2.<br /> <br /> [3]Gao Nan 高楠.(2020).音乐中的国家宝藏——曾侯乙编钟[National Treasure in Music].琴童 (01):29.<br /> <br /> [4]Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 [The Study of Jade Suit with Gold Thread Unearthed in Mancheng].文物鉴定与鉴赏 (03):38-39.<br /> <br /> [5]Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Sculpture ——the Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> == Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 英语笔译 ==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panaroma view of the Forbidden City.jpg|300px|thumb|left|A Panaroma view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602 &lt;span style=&quot;color:red&quot;&gt;【专业 is missing】&lt;/span&gt;==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents. <br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents. &lt;span style=&quot;color:red&quot;&gt;【quotation is missing】&lt;/span&gt;<br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refersthat if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers&lt;span style=&quot;color:red&quot;&gt;【refers to a practice that..】&lt;/span&gt; that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks, phoenix&lt;span style=&quot;color:red&quot;&gt;【？】&lt;/span&gt; and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask&lt;span style=&quot;color:red&quot;&gt;【asks】&lt;/span&gt; the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the&lt;span style=&quot;color:red&quot;&gt;【可删】&lt;/span&gt; one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential&lt;span style=&quot;color:red&quot;&gt;【prospective】&lt;/span&gt; bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to &lt;span style=&quot;color:red&quot;&gt;【inform sb of sth 】&lt;/span&gt;the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, &lt;span style=&quot;color:red&quot;&gt;【 connective is missing】&lt;/span&gt;many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride &lt;span style=&quot;color:red&quot;&gt;【before or during？】&lt;/span&gt;. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls&lt;span style=&quot;color:red&quot;&gt;【addresses】&lt;/span&gt; the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:49, 16 December 2020 (UTC) a unique Chinese characteristics.<br /> <br /> As time goes by, there are many reforms about marriage right now&lt;span style=&quot;color:red&quot;&gt;【nowadays】&lt;/span&gt;. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now&lt;span style=&quot;color:red&quot;&gt;【the present day】&lt;/span&gt;. There still exist betrothal gifts and dowry&lt;span style=&quot;color:red&quot;&gt;【dowries】&lt;/span&gt;, and many couples choose to wear red costumes. The groom should &lt;span style=&quot;color:red&quot;&gt;【？】&lt;/span&gt;go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep&lt;span style=&quot;color:red&quot;&gt;【deeply】&lt;/span&gt; rooted in the hearts of Chinese people and shows&lt;span style=&quot;color:red&quot;&gt;【show】&lt;/span&gt;--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:49, 16 December 2020 (UTC) a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603专业 is missing--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 08:16, 14 December 2020 (UTC)Mo Ling==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> 2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have(&lt;span style=&quot;color:red&quot;&gt;has&lt;/span&gt;) been engraved in every Chinese people. --[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling<br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence.(&lt;span style=&quot;color:red&quot;&gt;there are various opinions,however,many of them are presented without sufficient evidences&lt;/span&gt;) There are many myths explaining these animal signs and their arrangement. Among them the most enduring(&lt;span style=&quot;color:red&quot;&gt;time-honored&lt;/span&gt;) one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who (&lt;span style=&quot;color:red&quot;&gt;that&lt;/span&gt;)made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research(&lt;span style=&quot;color:red&quot;&gt;researches&lt;/span&gt;) on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling<br /> <br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The zodiac sign not only can (&lt;span style=&quot;color:red&quot;&gt;can not only&lt;/span&gt;)reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. (&lt;span style=&quot;color:red&quot;&gt;quotation is missing&lt;/span&gt;) --[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling<br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic(&lt;span style=&quot;color:red&quot;&gt;zodiac&lt;/span&gt;) sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures(&lt;span style=&quot;color:red&quot;&gt;creature&lt;/span&gt;) , the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is(&lt;span style=&quot;color:red&quot;&gt;are&lt;/span&gt;) born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight(&lt;span style=&quot;color:red&quot;&gt;fight against&lt;/span&gt;) each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have(&lt;span style=&quot;color:red&quot;&gt;has&lt;/span&gt;) developed a profound connotation and implications through generation(&lt;span style=&quot;color:red&quot;&gt;generations&lt;/span&gt;). Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 06:20, 17 December 2020 (UTC)Mo Ling<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> The Lisu ethnic group is the Tibeto-Burman ethnic group whose people live in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames came from their own hunter work in primitive times. And later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture does. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic group in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, the traditions were once lost in Nujiang Prefecture and were recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the ministry of war, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the &quot;Going up to the mountain of swords and going down to the sea of ​​fire&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> Going up to the mountain of swords and going down to the sea of ​​fire is one of the the main custom performances of the Taozhen Festival, which came from the life experience of people living in mountainous areas as they climb the mountains with the hard spirit and skills of climbing.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> Pine trees were used as tool poles, with iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. Before people going up the mountain and down the fire, they play cowhide drum, gong , hairpin , Suo na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals of pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Settings, knife pole, vertical pole, sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the player grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When he reaches the top through the three scissors, he opens the lock of heaven, takes out the grains and flowers, spreads them out into the lively crowd, and then places the red ribbon on the colored door, sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth. All of these show the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and make various difficult performances at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the Lisu people to perform their stunts.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major - Comparative Literature and Cross-cultural Studies. <br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> ==The Aesthetic Performance of Design. Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that&quot;the upper part should be short, the below part should be long&quot;; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the &quot;long upper part,short below part&quot;ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)<br /> <br /> ==The Aesthetic Performance of colors. Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusj, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color .People advocate yellow but don't prohibit yellow.(Jiangsu, 2016,page-6)<br /> <br /> In Chinese traditional clothing colors red has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.<br /> Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)<br /> <br /> ==Conclusion==<br /> Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.<br /> <br /> <br /> 2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604==<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12) <br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore, drinking vessels as part of the liquor culture also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. <br /> In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康<br /> <br /> 2.Chinese Dionysus 中国酒神<br /> <br /> 3.husked sorghum rice 秫米饭<br /> <br /> 4.Baishui 白水县（陕西渭南市辖县）<br /> <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县）<br /> <br /> 6.fermented wine 发酵酒<br /> <br /> 7.Distilled liquor 蒸馏酒<br /> <br /> 8.Yellow rice wine 黄酒<br /> <br /> 9.Shaoxing Wine 绍兴酒 <br /> <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> <br /> 11.Mellow Wine 醇香酒 <br /> <br /> 12.Dongwu Rice Wine 东吴老酒<br /> <br /> 13.Liquor and Spirits 白酒 <br /> <br /> 14.Kweichow Moutai 贵州茅台<br /> <br /> 15.sauce-flavor type 酱香型 <br /> <br /> 16.light flavor type 清香型 <br /> <br /> 17.strong flavor type 浓香型 <br /> <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> <br /> 19.the Peiligang culture period裴李岗文化时期 <br /> <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> <br /> 21.Zun 樽 <br /> <br /> 22.injection vessel and bowl 注子和注碗<br /> <br /> 23.drinking order 行酒令<br /> <br /> ====Questions====<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> == China Railway High-Speed ​​(CRH) - Rajabov, Anushervon student NO. 201921080005==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> Introduction <br /> <br /> High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot; where the sources are coming from?<br /> <br /> <br /> [[https://ru.qaz.wiki/wiki/China_Railway_High-speed]]<br /> <br /> Definition and terminology <br /> <br /> High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高 铁; Gāotiě; &quot;High-speed rail&quot;) are commonly used trains E In class D trains (动 车; Dòngchē; &quot;Electrical multiple unit&quot;) are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains. where the sources are coming from ?<br /> <br /> Influence on airlines<br /> <br /> The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a<br /> Technologies <br /> Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐 号; Traditional Chinese: 和 諧 號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies. where are coming from?<br /> <br /> 4 + 4 HSR network <br /> <br /> The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines. where the sources are coming from ?<br /> <br /> Advantages <br /> <br /> HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. where the sources are coming from ?<br /> <br /> Wenzhou accident <br /> <br /> On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment. where the source are coming from?<br /> <br /> Terms and expressions<br /> <br /> 高 铁 - High-speed rail<br /> 动 车 - Electrical multiple unit<br /> 和 諧 號 – Harmony<br /> 復興號 - Rejuvenation<br /> <br /> Questions <br /> <br /> 1. What does the World Bank research say?<br /> 2. What forced China's domestic airlines to cut airfares and cancel regional flights?<br /> 3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?<br /> 4. What caused the accident?<br /> 5. What are the benefits of HSR?<br /> <br /> Answers<br /> <br /> 1. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot; <br /> 2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.<br /> 3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. <br /> 4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.<br /> 5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.<br /> <br /> References misssing<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between these dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019, 124)<br /> <br /> China is a very big country with a large population, multi-ethnic nationalities, and multi-language. Each ethnic groups may have its own lingo, or dialects, which sounds completely different from each other because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, worse still, this situation may lead to embarrassment and misunderstanding. Therefore, the Chinese people communicate with each other in standard Chinese, Putonghua, also known as Mandarin in Western countries. (Cheng Aimin, 2019, 124)--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 16:54, 17 December 2020 (UTC)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusion.== <br /> Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> <br /> Lingo: 林戈<br /> <br /> Lingo: 行话，语言<br /> <br /> Putonghua: 普通话<br /> <br /> Await student:等待学生<br /> <br /> Pinyin: 等待学生<br /> <br /> Pinyin: 拼音<br /> <br /> Lofty: 崇高<br /> <br /> Vernacular: 白话<br /> <br /> Swine: 猪<br /> <br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

Qu Miao https://bou.de/u/index.php?title=History_of_Translation_Studies_6&diff=113975 2020-12-17T17:27:57Z

<p>Qu Miao: /* How to Keep &quot;Chineseness&quot; in Idiom Translation from Chinese to English 瞿淼 202070080604 Qu Miao */</p> <hr /> <div>这里是《翻译学史》的书稿第六部分(Part 6)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> *Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> *Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]<br /> *Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].<br /> <br /> ='''Foreignization and Domestication'''=<br /> <br /> <br /> ==Domestication and Foreignization in Translation from the Perspective of Functionalist Approaches 汤蓓 Tang Bei==<br /> &lt;center&gt; 汤蓓 Tang Bei, 202070080607.&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> Translation is purposeful and trans-cultural communication. And domestication and foreignization are two strategies to cope with cultural differences in translation. This thesis attempts to explain the choice of demestication and foreignization in translation by case studies from the perspective of functionalist approaches.<br /> <br /> ==='''Key words'''===<br /> domestication; foreignization;functionalist approaches<br /> <br /> ==='''摘要'''===<br /> 翻译是一种有目的的跨文化交际，处理翻译的文化差异可以使用两种方法：归化和异化。本文从德国功能派翻译理论出发，利用该理论的主要观点，从翻译功能的角度分析译者在翻译过程中对翻译的两大策略——归化与异化的选择做出解释。<br /> <br /> ==='''关键词'''===<br /> 归化；异化；功能派理论<br /> <br /> ==='''Introduction'''===<br /> Translation, bridging the world of different cultures together, is a cross-cultural activity to the essence as well as an important medium to promote cultural communication. However, due to the differences between materials, customs, religions, thoughts, living environments and language systems, cultural gaps, independent of man’s will, exist objectively, which cause the main difficulties in cultural communication. Only by adopting proper translation strategies can translators reduce cultural conflicts and effectively achieve cultural communication. There are arguments in translation circles on which translation strategy is the better one to remove cultural confusion and promote cultural communication. Domestication and foreignization are two points at issue. Some are for domestication, and some are for foreignization.<br /> <br /> In 1970s, the German functionalist approaches emerged. “Functionalist” means focusing on the function or functions of texts and translations. Functionalism is a broad term for various theories that approach translation in this way. Although Skopostheory has played a major role in the development of this trend. For the functionalist, translation is a purposeful activity, Nord had mentioned that a complex action designed to achieve a particular purpose.(Nord,1997) .The top-ranking rule for any translation is thus the “Skopos rule”, that is “the end justifies the means” (Nord 1997:29). Plus Holz-Manttari’s theory of tranlational action, Reiss’s text typology, the functionalism is intended to solve the eternal dilemma of many issues in translation studies, and the strategies of domestication and foreignization are without exception.<br /> <br /> From the perspective of functionalist approaches, the choice of translation strategies depends on the functions of the texts, the Skopos. To achieve the prospective purposes, the translator has the freedom to choose the method he needs domestication or foreignization, or both. The functionalist approaches provided a perspective of translation studies.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:24, 11 December 2020 (UTC)<br /> <br /> ===Chapter1: Brief Introduction of Domestication and Foreignization===<br /> ====Definition of Domestication and Foreignization====<br /> Domestication and foreignization, two different yet functionally related strategies, the two terms were formally put forward by Laurence Venuti, aiming at explaining two kinds of translation strategies in The Translator’s Invisibility in 1995. Venuti claimed that he traced the root of the terms back to Friedrich Schleiermacher’s famous notion about translation. Schleiermacher, a German theologian and philosopher, said in a lecture in 1813 on the different methods of translation, which stated that “There are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him” (Venuti 1995:37).<br /> <br /> According to Venuti, “domestication means bringing the foreign culture closely to the reader in the target culture, making the text recognizable and familiar. Foreignization, on the other hand, means taking the reader over to the foreign culture and making him or her see the differences” (Venuti 1995:148).<br /> <br /> Mark Schuttleworth and Moria Cowie defined domestication and foreignization in the following way: “Domesticating translation is a term used by Venuti to describe the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL readers”, while “Foreignizing translation is a term used by Venuti to designate the type of translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original”. (Schaffner 1995:21)<br /> <br /> To sum up above, the conclusion can be drawn like this: domestication refers to a reader-oriented translation which makes use of acceptable expressions in the target culture to make the target text easy to understand and suitable for the target text readers. Foreignization translation is a culture-oriented translation, which tries to retain the charm of the original text as much as possible in order to preserve the flavour of the original text.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:26, 11 December 2020 (UTC)<br /> <br /> ====Supporter of Domestication and Foreignization====<br /> Eugene. A. Nida, a famous American translation theorist dedicated to the communicative function of translation, is widely considered to be the most important supporter for domestication. Nida understands the concepts of domestication and foreignization as “dynamic or functional equivalence” and “formal equivalence” or “formal correspondence”. Dynamic equivalence is a principle of translation. According to this principle, the translators translate the original text with the purpose of making the impact of target language wording on the target culture readers. (Nida&amp;Taber, 1969:200). He argues that, “Under normal circumstances, translators always change the form of the original text ,but as long as the conversion rules change the consistency of transfer in the context of the source language to follow the rules and follow the anti-conversion target language, then the information is retained, and translation is faithful”. (Nida, 1964:118) Nida divides equivalence into two levels : the lowest level and the highest level of equivalence. The lowest level on the translation is of important and basic requirements; while the highest level on the translation is the ideal, and is therefore difficult to achieve. If the translator is unable to achieve the lowest level of equivalence, it is not enough. He also states that: “The purpose of dynamic equivalence in the translation is to achieve natural expression and to link the receptor and relevant behavior patterns within receptor’s cultural context.” (Nida, 1964:165) The natural expression indicates fluency is very important to this translation theory. Apparently, domestication in Nida’s works is involved in this fluency. Nida and other proponents of domestication have their own reasons: First, it is not only unrealistic, but also dangerous for translators to try to impose the linguistic and cultural norms of the source text on the target text. Language barriers and cultural barriers should be overcome in a good translation. Second, since translation is an important and necessary medium in both cross-linguistic and cross-cultural communication, the behavior patterns of the target culture should absorb some parts of the source culture in translation. Third, the language of the translated text should be natural, authentic and understandable, which is one of the requirements of translation. This requirement aims to avoid the misunderstanding caused by the target audience because of the language barriers. Domestication is considered to be the most important from the perspective of “natural expression” in Nida translations.<br /> <br /> While Venuti, who is the famous representative of the foreignization school questioned Nida’s translation strategy, and proposed his own “resistant strategy” against the dominant fluency. He argues that “cultural differences will be contained in fluent translation strategy, which in fact is a practice of cultural imperialism” (Venuti, 1995:20). Venuti points out that foreignizing strategy of resistance is a pressure on those values to show the linguistic and cultural differences between the original and the translated text. By resisting the dominant cultural values, the role of resistant strategy in questioning, changing and destroying the native cultural norms is positive. With the destruction of the cultural norms of the target language, foreignization translation maintains foreignness and culture unique. Venuti sees domestication as a way for a strong culture to exert cultural hegemony over a weak culture. Considering the cultural inequality, domestication has more significance. Thus, “the foreignization translation in English can be a form which is based on the interests of democratic geopolitical relations. Venuti’s foreignizating strategy of resistance has a positive impact on studies about translation. He focuses translation not only on the language level, nor only view domestication and foreignization as translation strategies.Venuti and other proponents of foreignization argue reasons as following: First of all, “cultural authenticity” which embodies the characteristics of a foreign culture is one of the basic principles of foreignization translation. Only through the destruction of cultural norms of the target language, can foreignization maintain foreignness and cultural characteristics of foreign text. The supporters for foreignization hold that the target readers want to feel exoticism of the translated text. The translators should present a new cultural identity to the readers, because that is the purpose of the reader to read translated works. Thus readers may know the real outside world through translated works. The translators should have confidence in the readers’ intelligence and imagination to appreciate cultural differences. Third, the exchange and dissemination of culture should be one of the main purposes of the translation. The introduction of authentic exotic culture promotes cultural exchanges. Only when translation can transfer the source linguistic phenomenon and cultural phenomenon, can it be seen as faithful translation. Cultural communication can improve the development and prosperity of the local culture by means of foreignization translation. The local culture can be greatly enriched by absorbing nutritious heterogeneous culture. The culture of a nation will become energetic and influential through an open and receptive attitude towards foreignness.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:28, 11 December 2020 (UTC)<br /> <br /> ====My Understanding on Domestication and Foreignization====<br /> As it is known that the argument about domestication and foreignization has a long period history. In these arguments, the translators always focus on one while ignores the another. In fact, domestication and foreignization have both its advantages and disadvantages. Actually, we should learn these two kinds of strategies from the perspective of a neutral standpoint. From above mentioned, it can be concluded that domestication can effectively avoid the misunderstanding of the original text by cultural differences. Translation is a kind of cultural exchange, and the main task of the translator is to establish effective communication between different cultures by eliminating cultural conflicts. Such communication may be effective in the source culture, but may not be effective in the target culture. The target audience can easily interpret the translated text in terms of their familiar cultural norms. If the information in the translation is within the understanding of the target audience, this translation can better convey the message. If not, the message may be misunderstood. While in foreignization, it can be concluded that the target readers want to experience a foreign culture. In other words, it is usually presumed that understanding foreign culture is one of the main purposes of the target readers in reading translated works. Generally speaking, foreignization is relatively smoother, simpler, clearer and more conventional, and can entertain ordinary readers and achieve a lively effect because the expression and style of such translation are familiar to the target readers. Foreignization is somewhat clumsy, unnatural and unfamiliar, and can be used to introduce foreign culture, history and philosophy, and let readers feel the exotic culture and customs. However, foreign cultural images and language features may cause information overload for readers. In a word, both domestication and foreignization have its advantages and disadvantages so it is hard to say which one is better. So we need a theoretical framework to guide us how to choose the translation strategy.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:29, 11 December 2020 (UTC)<br /> <br /> ===Chapter2:Brief Introduction of Functionalist Approaches===<br /> ====Skopos Theory====<br /> Skopos theory was developed by Hans Vermeer in the late of 1970s. In the translation of non-literary text types such as scientific and academic papers, instructions for use, tourist guides, contracts etc, Vermeer came to realize that the contextual factors surrounding the translation cannot be ignored. These factors include the culture of the intended of the target text and of the client who has commissioned it, and, in particular, the function which the text is to perform in that culture for those readers. Later Vermeer and his followers continue to complete the theory and prove that it also can be applied to literary translation. Within the framework of Skopos theory, translation is not regarded as a process of transcoding, but as a specific form of human action. Like any other human action, translation has a purpose, and the word Skopos is used as a technical term for the purpose of a translation.<br /> <br /> The general and primary rule of Skopos theory is the skopos rule. Vermeer assumes that as a general rule it must be the intended purpose of the text that determines translation methods and strategies. Translation is determined by its purpose. It all depends on the Skopos of translation whether to employ domesticating or foreignizing strategy. The second general rule is the coherence rule. This rule stipulates that the target text must be sufficiently coherent to allow the intended users to comprehend it, given their assumed background knowledge and situational circumstances. The third general rule is the fidelity rule. The rule concerns intertextual coherence between translation, the outcome of translational action, and source text. It stipulates only that some relationship must remain between the two once the overriding principle of the first two rules have been satisfied. Among the three rules, the skopos rule plays the most important role while the other two should subject to it. In the Skopos theory, another important term is “translation brief” which specifies what kind of translation is needed. In the ideal situation, translator can decide what strategy to use by the translation brief given by the initiator.<br /> <br /> According to Skopos theory, a text is viewed as an “offer of information”(Reiss &amp;Vermeer 1984: 139) made by a producer to a recipient. Translation is a secondary offer of information, imitating a primary offer of information. Translation is the production of a functionally appropriate target text based on an existing source text, and the relationship between the two texts is specified according to the Skopos of the translation. It is up to the translator to decide what role a source text is to play in the translation action. The decisive factor is the specified Skopos. As a result, the status of the source text is much lower in Skopos theory than in equivalence-based theories.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:34, 11 December 2020 (UTC)<br /> <br /> ====Theory of Translational Action====<br /> The theory of translational action was developed by Holz-Manttari in1980s. The theory is based on the principles of action theory put forward by Wright and Rehbein and is designed to cover all forms of intercultural transfer. In her model, translational action is “the process of producing a message transmitter of a certain kind, designed to be employed in superordinate action systems in order to coordinate actional and communicative cooperation” or “a complex action designed to achieve a particular purpose” (Nord, 1997).The primary purpose of translational action is to enable cooperative, functionally adequate communication to take place across cultural barriers. Holz-Manttan pays special attention to the actional aspects of the translation process and she analyzes the roles of the participants (such as initiator,translator, user, message receiver) and the situational conditions (time, place, medium) in which their activities take place. In her model, the source text is viewed as a mere tool for the realization of communicative functions. It is a text to which a translation initiator, a client, has assigned the function of serving as source material for translational action. It is totally subordinate to its purpose and is afforded no intrinsic value, thus it may undergo radical modification in the interest of the targeted reader.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:36, 11 December 2020 (UTC)<br /> <br /> ====Text Typology====<br /> The text typology of functionalist approaches was developed by Reiss in the book cooperating with Vermeer in 1984. The theory is based on the “origin model” of language functions proposed by the German psychologist Karl Buhler in 1934. The three functions of his theory refer to the representation of objects and phenomena, the attitude of the text producer towards such phenomena, and the appeal to the text receiver that correspond broadly to Jackobson’s Reprecentational, Expressive and Conative functions. It is on this basis that Reiss distinguishes among the informative text, the expressive text and the operative text, each calling for particular sets of skills and strategies on the part of the translator. <br /> Reiss distinguishes between two forms of text categorization, which are located on different levels of abstraction: on one hand, text types are classified according to the dominant communicative function (basically informative, expressive or operative mentioned above); on the other hand, text genres or varieties are classified according to linguistic characteristics or conventions (like those of reference books, lectures, satires or advertisements). (Nord, 1997)--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:37, 11 December 2020 (UTC)<br /> <br /> ===Chapter3:The Choice of Domestication and Foreignization in Translation from the Perspective of Functionalist Approaches===<br /> ====From the Perspective of Skopoos Theory====<br /> The Skopos theory gets its name from the Greek word “Skopos” which means “purpose”. This approach to translation stresses the purpose of the translation, which determines the translation strategies to be adopted. A translatum i.e. the translated text is determined by its Skopos. Knowing why a text is to be translated and what its function is going to be in the target culture is important in this approach. Like the summary Nord made in 1997, Skopos theory seemed to be exactly the translational model that was needed since it was pragmatic, culture-oriented, consistent, practical, normative, comprehensive and expert. The main point of this functional approach is the following: it is not the source text as such, or its effects on the source-text recipient, or the function assigned to it by the author, that determines the translation process, as is postulated by equivalence-based translation theories, but the prospective function or Skopos of the target-text as determined by the initiator’s, i.e. client’s, needs. Consequently, the Skopos is largely constrained by the target text user and his situation and cultural background.<br /> <br /> There are some examples showing the function of Skopos rule. Translators’ choices of translation strategies are often decided by their purposes. Both Yang Xianyi and David Hawkes translated Hongloumeng, one of the four Chinese classical masterpieces. However, the two translators adopted totally different strategies. Yang tends to employ foreignizing translation while Hawkes domesticating translation. The translation of the title of Hongloumeng shows the difference. Yang translated the title into “A Dream of Red Mansions” while Hawkes chosen another name of the masterpiece, “The Story of the Stone”. For Hawkes, the Chinese traditional, noble red color won’t raise the same imagination in the westerners. Contrarily, it will be connected with blood, violence and so on. Therefore, he avoided translating the character literally and resorted to another English word “green” that has more pleasant meaning in English language. As a result, “怡红院” was translated as “the house of green delights” and “怡红公子”as “green boy” . Another domesticating example is the translation of “鸳鸯” , the mandarin duck which is the symbol of true love. He used “lovebird” to replaced the specific Chinese word. In order to make the translated text easier to understand, and “谋事在人，成事在天”were rendered as “Man proposes, God disposes”. The Chinese Buddhist “heaven” becomes the western Christian “God”. Hawkes’ purpose is to entertain his English readers and he adopted those easy-understood words and phrases in English culture in spite of sacrificing the original cultural connotation. Contrarily, Yang’s purpose is to introduce the luxuriant Chinese culture to the western world. That’s why so many words and phrases with culture-specification were maintained and translated literally. His expected readers are those who are willing to know Chinese culture and to absorb new expressions. Consequently he adopted a rather foreignizing method, attempting to maintain the exotic cultural factors of source text. Examples were seen as following:<br /> 1.俗语说的好：“一龙九种，种种个别。”未免人多了就有鱼龙混杂，下流人物在内。(第九回)<br /> “A dragon begets nice offspring, each one different.” And inevitably among so many boys there low types too, snakes mixed up with dragons.(Yang 202)<br /> “There are nice kinds of dragon and no two kinds are alike”. Where many are gathered together the wheat is sure to contain a certain amount of chaff; and this school was no exception in numbering some very ill-bred persons among its pupils.(Hawkes 206)<br /> 2.真是天有不测风云，人有旦夕祸福。(第十一回)<br /> “Truly, ‘Storms gather without warning in nature, and nature, and bad luck befalls men overnight’”.(Yang 291)<br /> “I know ‘the weather and human life are both unpredictable’.”(Hawkes 294)<br /> 3.俗话说得好：“杀人不过头点地。”(第十二回)<br /> Remeber the proverb “A murder can only lose his head.”(Yang 318)<br /> “You know what the proverb says: He who checks a moment’s rage, shall calm and carefree end his days.”(Hawkes 322)<br /> <br /> It is can concluded that cultural gaps between the source language and the target language is always a hard nut for a translator to crack. Every language has its own specific cultural connotation, and sometimes the contained meanings are very difficult to convey by another language in the process of translation. The famous Chinese anesthetist, translator Zhu Guangqian pointed out: “Because of the different cultural situation and living status, words refer to the same thing sometimes can bring about different imagination and esthetics. For instance, the English words fire, sea, Roland, castle, sport, shepherd, nightingale, race will different psychological reaction between the English and the Chinese people. For English people, have abundant cultural factors. On the other hand, the Chinese characters and words like风，月，江，湖，梅，菊，燕，碑，笛，僧，隐逸，礼，and阴阳can evoke special association of ideas among Chinese people which may not be comprehended easily by the English people.”(Zhu Guangqian 1984:335) Consequently, the translating strategies translators choose must be determined by the Skopos of translation. Based on this Skopos, translators can select either foreignization, oriented towards the SL culture or domestication, oriented towards the TL culture, or both.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:39, 11 December 2020 (UTC)<br /> <br /> ====From the Perspective of Translational Action====<br /> Translational action views translation as purpose-driven, outcome-oriented human interaction and it focuses on the process of translation as message-transmitter compounds involving intercultural transfer. Holz-Manttari says that translation is not only about translating words, sentences or texts but is in every case about guiding the intended co-operation over cultural barriers enabling functionally oriented communication. For her, translating is a form translational, intentional and interpersonal interaction. <br /> <br /> As a form of communicative action, translating is a form of translational interaction. Translational interaction takes place in situations that are limited in time and space. This means every situation has historical and cultural dimensions that condition the agents’ behavior, their knowledge and expectations of each other, their appraisal of the situation, and the standpoint from which they look at each other and at the world. As a result, translators, who enable communication to take place between members of different culture communities, are conditioned by these factors too. Their decision of translating strategy is without exception. In addition, translation is an intentional interaction. For translators, there is a choice to act one war or another.<br /> In Manttari’s model inter-linguistic translation is seen as a communicative process with a series of roles and players. The roles and players are: The initiator, the person, group or institution that starts off the translation process and determines its course by defining the purpose for which the target text is needed. (Nord,1997:20 )The commissioner, is the person who asks the translator to produce a target text for a particular purpose and addressee. Sometimes he may influence the very production of the target text by demanding a particular text format or terminology.The ST producer, the person who writes the ST;the TT producer, who is the translator;the TT user, who is the person who uses the TT; the TT receiver, who is the final recipient of the TT.<br /> These roles and players are interconnected through a complex network of mutual relation. Among these roles, the initiator and the translator are the most significant since it is the initiator who gives out the translation brief and thus determines translator's translation strategy. Sometimes the roles and players can be overlapped, one person playing the roles of several agents at the same time. For example, translator can be the initiator and TT producer at the same time if he is the person who wants to translate the source text into target culture, Yan Fu and Lin Shu are of this kind. In this situation, the translator can determine the translation strategy subjectively according to the purpose he wants to attain. They initiated the translation action themselves and had their prospective TT receivers in mind. Thus the intentions of the translators, the initiators and the aesthetical expectation of TT receivers together determined the translators to choose the strategy of domestication.<br /> Lin Yutang, a famous Chinese writer and translator, candidate of Nobel Prize for literature, once asked his friend Yu Dafu to translate his masterpiece A Moment in Peking that had achieved a great success in the English world. He sent him a detail explanation of the idioms and quotations from Chinese culture in detail. Unfortunately, the deal turned out to be unaccomplished. (Later,some translators translated it into Chinese. However, Lin felt unsatisfied with all these translated versions.) In this case, Lin is the source text producer and the initiator, he gave out the translation brief and largely determined the translating strategy. Lin’s other works, such as The Importance of Living, My Country and My People, are originally written in English and later translated into Chinese. Compared the English and the Chinese versions, we can find great differences, especially those concerning Chinese specific cultural phenomena. Then what led to these differences? What are the purposes of the initiator? The reasons probably lie in this: creating a work that can satisfy both English and Chinese readers. Since the English readers are not familiar with the Chinese culture, Lin described it in great details; while in its Chinese version, these details were omitted. In Lin’s translation of Chinese classics, such as Laozi and Zhuangzi’s Taoism, he also adopted the same routine and won a large number of readers. In another translated work The Six Chapters of a Floating Life《浮生六记》, he adopted both domesticating and foreignizing strategies. The examples are in the following:<br /> 余笑曰：“卿非解人，摸索在有意无意间耳，拥而狂探，田舍郎之所为也。”<br /> Beauty of caressing lies in doing naturally and half unconsciously. Only a country bumpkin will hug and caress a woman roughly. (Quoted in Meng Jiangang, 2002)<br /> 惠来以番饼二圆授余，即以赠曹。曹力却，受一圆而去。<br /> Hueilai gave me two Mexican dollars which 1 gave to Ts’ao, but Ts’ao would not take them, only after my insistence did he receive one dollar before going away.(Quoted in Meng Jiangang, 2002)<br /> <br /> In the two examples quoted above, Lin employed domesticating translation. The Chinese classics was translated into modern English and the cultural images were replaced, such as “田舍郎，番饼二圆”. The translation became fluent and transparent as if the translator was invisible. However, in order to introduce the profound Chinese culture, he also adopted foreignizing translation in the same text. The example is in the following:<br /> 其形削肩长颈，瘦不漏骨，眉弯目秀，顾盼神飞，惟两齿微露，似非佳相。<br /> Of a slender figure, she had drooping shoulders and a rather long neck, slim but not to the point of being skinny. Her eyebrows were arched and in her eyes there was a look of quick intelligence and soft refinement. The only defect was that her two font teeth slightly inclined forward, which was not a mark of good woman.(Quoted in Meng Jiangang, 2002)<br /> <br /> The lines described the appearance of a Chinese woman. However, the traditional Chinese beauty may not be beautiful in western culture; and it is difficult for the westerners to understand that “两齿微露” is a premonition of disaster. Lin made no explanation here since he believed western reader would interpret the cultural connotation according to the context. There is no doubt that he succeeds.The secret of his success is to focus on the function of the target text. Since translation is an intercultural action, different cultures can communicate smoothly by this means. In Lin’s case, he played the roles of source text producer, initiator and translator. Initiators can be a group or an institution. In order to achieve some kind of political purpose, government sometimes initiates a series of translation action and determines the translating strategies for translators. In addition, in order to get more benefit, publisher, the initiator, sometimes will set a translation brief for translators, and asks them to act accordingly. These phenomena are not uncommon in modern society. For example, many foreign romances are translated into Chinese in recent years. Some are domesticating while others are foreignizing. The reasons behind them probably lie in the publishers’ intention to satisfy their perspective readers. Translatorial action produces a TT that is functionally communicative and functionally suitable in the target culture. It places translation in its socio-cultural context, which includes the interplay between the translator and the institution that initiated it and stresses functionality.<br /> <br /> ====From the Perspective of Text Typology====<br /> Among the advocates of functional approaches to translation is Reiss who works on text types which determine translation. Reiss’s approach considers the text rather than the word or the sentence as the translation unit and hence the level at which equivalence is to be sought. The contents of Reiss’s text typology are in the following:<br /> The first one is the “informative” text where the content is the main focus. These texts do plain communication of facts, information, knowledge, opinions etc. The logical or referential dimension of language is what is involved. The second one is the “expressive” text where the focus is on creative composition and aesthetics. Both the author (the sender) and the message are what are foregrounded. Imaginative creative literature exemplifies these texts and the third one is the “operative” text where the focus is “appellative” by which what is meant is that the text appeals to the reader to act in a certain way, persuading, dissuading, requesting, and cajoling him. The form of language is dialogic.(Reiss, 1971:25)<br /> Correspondingly Reiss advocates specific translation methods for these text types. The target text of an informative text should be in plain prose with explication where required, the aim being to transmit the referential content of the text. The text styles concern philosophy, news reports, science and so on that aim at introducing foreign culture, history and custom. This text type focuses on the convey of specific culture. Together with the function of Skopos theory, a foreignizing translation should be advocated. The target text of an expressive text should use the “identifying” method, the translator having to look at it from the ST author’s standpoint. The text type of this kind mainly is literature that concerns various linguistic, cultural factors with the functions of cognition, expression, moralism, aesthetics and so on. Since it connects closely to culture, the choice of translation strategy seems more complex. Generally speaking, we can make the decision according to its function and purpose. For those works rich in cultural connotation, if the purpose is to introduce the source text culture to the target one, we should take foreignizing translation, such as Yang Xianyi’s A Dream of Red Mansions. Since the classic is a representation of Chinese culture and conventional moral, we should convey these information to foreign readers and avoid misreading or misunderstanding. On the contrary, if the translator’s intention is to entertain the readers and provide the plot of the story, he can adopt the domesticating translation as Hawkes did in his The Story of the Stone. More examples can be seen at Su Mashu and Chen Duxiu’s 《悲惨世界》, all headings of the original novel were domesticated into typical Chinese traditional parallel sentences. For example, “The Close of A Day’s March” and “Prudence Recommended to Wisdom” were translated into “第一回 迪涅城行人落魄，苦巴馆店主无情” and “第二回 感穷途华贱伤心，遇贫客渔夫设计” respectively. Both content and form of an operative text are subordinate to the extra linguistic effect that the text is designed to achieve. “The translation of an operative text has to employ the ‘adaptive’ method, trying to create the same effect on the readers, as the ST. The translation of operative texts into operative texts should be guided by the overall aim of bringing about the same reaction in the audience, although this might involve changing the content and/or stylistic features of the original.” (Nord, 1997:38) This functions well in the translation of documental texts. The examples can be found in the translation of advertisement. For instance, the famous trade mark “Coca Cola” was translated into “可口可乐” and reached a totally success. “Coca” is the plant the Indians view as saint and from which people abstract cocaine. If it is translated directly into“古柯” it probably cannot raise the nice flavor of the drink in Chinese customers. Then “Coca” was domesticated into “可口” while “Cola” maintained its foreigness. Therefore, for an operative text, since communicative function is prior to everything else, we tend to employ domesticating translation. <br /> Reiss also mentioned evaluating criteria, which vary according to text types. Thus while the translation of any content-oriented text has to aim at semantic equivalence, and a popular science piece will have to preserve the ST style, there is greater need to retain a metaphor in an expressive text than in an informative target text. Reiss thinks one could gauge the adequacy of a TT by intra-linguistic criteria like semantic, grammatical and stylistic features and extra-linguistic criteria like situation, subject field, time, place, receiver sender and implications like humor, irony, emotion, etc.<br /> Reiss’s text typology is a useful but it is clear that texts are often not as hermetically sealed as Reiss has once believed. A biography or an editorial could have informative as well as appellative content. A personal letter could well be informative, expressive and appellative as can be an advertisement. As a result, translators should take other factors into account, such as functions, Skopos and so on and make judgement accordingly.<br /> <br /> ==='''Conclusion'''===<br /> Domestication is reader-centered and TL culture-oriented, and foreignization is author-centered and SL culture-oriented. However, which of the two translating strategies should be chosen evokes a heated and endless debate at home and abroad, since scholars of these two opposite schools can't convince each other. Many scholars regard these two strategies as oil and vinegar, and believe that they can never coexist harmoniously in translation. People who advocate foreignization believe that, as a means of cultural communication, translation should introduce foreign culture and exoticness to target reader, meanwhile taking in new expressions. On the contrary, people who prefer domestication argue that translation should help to overcome not only language barrier but also cultural conflict. For them, the task of translator is to avoid cultural conflict, and domesticating translation can help readers understand the source text better and finally reach the goal of cultural communication. <br /> From the perspective of functionalist theory, as a communicative, intercultural action, translation is viewed as an intentional, interpersonal interaction. From the angle of Skopos of translation, together with action theory and text typology theory, funetionalist approaches provide us a perspective. Skopos rule is the principal rule determining any translation process in the purpose of the overall translational action. Plus loyalty rule put forward by Nord, functionalist approaches put translation into the framework of action theory and cross-culture communication theory. And adequacy rather than equivalence should be the criterion of judging the quality of a translation. By analyzing the purposes of different parties involved in the translation action(such as initiator, translator, and reader)，guided by translation brief given by the initiator, a translator can determine which translation strategy should be chosen. If the purpose of translation is to introduce domestic culture, history, philosophy to foreign readers, then foreignization should be employed. On the other hand, if the purpose of translation is to entertain the target reader, domestication can add more readability and get better function. Besides, text typology can help translator to figure out the function of a source text and make wiser decision about translation strategy. In one word, from the viewpoint of functionalist, domestication and foreignization have different functions in target language culture. Translator can adopt either or both of them in order to achieve the prospective functions. They are not, and should not be regarded as contradictory, but complementary, and can be employed simultaneously in translation. <br /> In a word, translation can realized cultural communication and transplantation goal under the guidance of the functionalist approaches.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 12:46, 13 December 2020 (UTC)<br /> <br /> ==='''References'''===<br /> <br /> 1.Bassnett, Susan&amp;Andre Lefevere. (2001). ''Constructing cultures: Essays on Literary Translation.'' Shanghai: Foreign Language Education Press.<br /> <br /> 2.Hawkes, David. (1982). ''The Story of the Stone.'' New York: Penguin Books.<br /> <br /> 3.Nida, E. A.&amp;Chr. R. Taber. (1969). ''The Theory and Practice of Translation.'' Leiden: E. J. Brill.<br /> <br /> 4.Nida, E. A. (1964). ''Toward a Science of Translating.'' Leiden: E. J. Bril1.<br /> <br /> 5.Nord, Christiane. (1997).''Translating as a Purposeful Activity: Functionalist ApproachesExplained.'' Manchester:St. Jerome Publishing.<br /> <br /> 6.Reiss, K. (1971). ''Possibilities and Limitations of Translation Criticism.'' Munich: Hueber.<br /> <br /> 7.Schaffner, (1995). Christina. ''“Editorial.” Cultural Functions of Translation.'' Clevedon: Multilingual Matters LTD.<br /> <br /> 8.Schleiermacher, A. (1992) On the Different Methods of Translating [A]. ''Theories of Translation: An Anthology of Essays from Dryden to Derrida''[C]. Schulte, R&amp;Biguenet, J. Chicago and London: The University of Chicago Press,36-54.<br /> <br /> 9.Venuti, L.(1995). ''The Translator’s Invisibility.''[M]. London: Routledge.<br /> <br /> 10.Venuti, L.(1998). ''The Scandal of Translation.''[M]. London:Routledge.<br /> <br /> 11.Yang, Xianyi&amp;Yang Gladys.(1994) ''A Dream of Red Mansions.'' Beijing: Foreign Language Press.<br /> <br /> 12.Cai Ping 蔡平.(2002).翻译方法应以归化为主[Domestication should be the Main Strategy in Literary Translation]. 中国翻译 Chinese Translators Journal(5):39-41.<br /> <br /> 13.Cao Xueqin&amp;Gao E曹雪芹&amp;高鹗.(1992)''红楼梦''[Hongloumeng].Beijing:People's Literature Publishing Press 人民文学出版社.<br /> <br /> 14.Guo Jianzhong 郭建中. (2000).''文化与翻译''[Culture and Translation].Beijing:China Translation and Publishing Co.中国对外翻译出版公司.<br /> <br /> 15.Guo Jianzhong 郭建中. (1999)''当代美国翻译理论''[Contemporary American translation theory]. Wuhan: Hubei Education Press 湖北教育出版社.<br /> <br /> 16.Meng Jiangang 孟建刚. (2002).''关于翻译原则二重性的最佳关联性解释''[Accounting for the Duality of the Translating Principles of Foreignization and Domestication with the Notion of Optimal Relevance]. 中国翻译 Chinese Translators Journal (5):27-31.<br /> <br /> 17.Tang Zaixi 谭载喜. (1991). ''西方翻译简史'' [A Short Translation History in the West].Beijing:The Commercial Press 商务印书馆.<br /> <br /> 18.Tang Zaixi 谭载喜. (1999). ''新编奈达论翻译'' [A new edition of Nida’s theory of translation].Beijing:China Translation and Publishing Co. 中国对外翻译出版社公司.<br /> <br /> 19.Zhu Guangqian朱光潜.(1984). ''谈翻译:翻译论文研究集''[On Translation: A collection of research papers on translation].Beijing: Foreign Language Teaching and Research Press 外语教学与研究出版社<br /> <br /> ==The Application of Domestication and Foreignization in Howard Goldblatt’s Translation of Mo Yan’s Works 欧蓉 Ou Rong==<br /> &lt;center&gt; 欧蓉 Ou Rong, 202020080629.&lt;/center&gt;<br /> ===Abstract===<br /> For a long time, owing to the unique style, Chinese literature has attracted much attention among world literature. In the process of flowing overseas, translation has become a bridge of cross-cultural communication and a medium of transmission. Mo Yan is a well-known representative Chinese writer, who won the Nobel Prize in Literature in 2012. And the study abroad on his works in translation has never stopped. Howard Goldblatt is a famous American translator specializing in contemporary Chinese literature, and all English versions of Mo Yan's works are from him. Through analyzing the domestication and foreignization that reflect in the translated version of Mo Yan's works by Howard Goldblatt, the thesis aims to point out merits and and demerits of this application and consider the matters that should be paid attention to when translating Chinese literary works into English. It can help strengthen the understanding and improve the fluency of the exchange between different cultures and promote Chinese literature goes ahead with the world.<br /> ===Key words===<br /> domestication; foreignization; Howard Goldblatt; Mo Yan’s works<br /> <br /> ===题目===<br /> 葛浩文英译莫言作品中的归化和异化之应用<br /> <br /> ===摘要===<br /> 一直以来，中国文学的独特风格在世界文学中备受瞩目，在流向海外的过程中，翻译成为了跨文化沟通的桥梁与传播的媒介。莫言是中国著名作家，外国对其作品的翻译研究从未断过，2012年他获得诺贝尔文学奖。葛浩文是美国著名中国当代文学翻译家，莫言所有作品的英译本都来自于他。本文旨在通过分析葛浩文在翻译莫言作品过程中体现的归化和异化，从而指出其优点与缺点，从而思考中国文学作品被英译时应注意的事项，加强与提高不同文化之间交流的理解度与流畅度，帮助中国文学走出国门，面向世界。<br /> <br /> ===关键词===<br /> 翻译；归化；异化；葛浩文；莫言的作品<br /> <br /> ===Chapter1 Introduction===<br /> From ancient to present, despite of its unique style, Chinese literature only has its own several classic works as famous among the world, such as Four Great Classical Novels---Water Margin, Journey to the West, Romance of the Three Kingdoms and Dream of the Red Chamber. Also, few literature works created in modern history have theirs own statues in the international. With the establishment of People’s Republic of China and Reform and Opening, there are a handful of modern and contemporary works that are well-known abroad(Lv Minhong, 2011:6).<br /> <br /> Some Chinese literary works are published abroad and squeeze into bookshelves fill with English native books. The prominent Chinese writers in and out include Lu Xun, Mo Yan, Yu Hua, Lao She, Shen Congwen, Zhang Ailing and so on. Until 2012, the time that Mo Yan was awarded Nobel Prize, people’s interest in Chinese literature reached a climax(Sun Huijun,2014:86). In the process of flowing overseas, translator plays a crucial role in cultural transmission. The American sinologist Howard Goldblatt is the typical example, who made great contributions for the output of Chinese Culture(Ge Haowen,2014).<br /> <br /> He can be called the mirror of Mo Yan in America, even the critic Updike said,the translation of contemporary Chinese novels in the United States seems to be the lonely career of Professor Howard Goldblatt(2005:37). Until now, his translation works of Mo Yan include Red Sorghum, Big Breasts and Wide Hips, Life and Death Are Wearing Me Out, The Garlic Ballads, The Republic Wine, Sandalwood Death and so on. His superb translation for Mo Yan in certain sense helps a lot for Mo’s position in world literature. <br /> <br /> Mo Yan said: ''without the outstanding work of Professor Howard Goldblatt, the translator of my novels, my novels could have been translated into English and published in the United States by others, but there is absolutely no such perfect translation as today. Many friends who are proficient in both English and Chinese said to me, Professor Howard Goldblatt’s translation perfectly matches with my original work. But I prefer to believe that his translation adds great luster to my original work''(2000:170).<br /> ====1.1. Literature Review====<br /> Howard Goldblatt, who is well-known as a translator, sinologist and writer, translated many works of Chinese writers. During his 30-year translation career, he has translated more than 50 modern and contemporary Chinese literary works, making an inestimable contribution to the spread and influence of Chinese literature overseas(Jia,Yanqin,2012:62). However, as Howard mentioned in the interview, ''Americans don’t pay much attention to translated text. Because they are always suspicious to translation''(2009:50). Although translator plays a key role in literary dissemination and communication, the work of translators has not received the attention they deserve. And the researches on translation abroad also mainly focus on translation theorists rather than translators.<br /> <br /> Therefore, the study about Howard Goldblatt’s translation is also not paid attention intensely outside. In 2011, the journal &quot;Chinese Literature Today&quot; was jointly organized by the University of Oklahoma and Beijing Normal University as an important platform for Chinese literature dissemination and research overseas, in which Howard, as the special guest, was introduced in details. In this journal, Christopher Lupke(2011)introduces Howard’s career of translation and studying, assesses his style of translation and discusses his faithful translation strategies .<br /> <br /> Also, after three years, the journal “Chinese Literature Today” invited Howard again. Stalling Jonathan(2014)gives an original interview about Howard Goldblatt. The new point is the mention of opera of Yuan dynasty, which helps a lot for Howard’s translation of the work Life and Death Are Wearing Me Out.<br /> <br /> Although there are few response to Howard Goldblatt’s translation abroad, many scholars in domestic regard him as a hot research object. Ji Jin(2009) conducts an interview on the situation of contemporary Chinese literary works overseas, Howard Goldblatt's criteria for choosing text, Howard Goldblatt's views and evaluations of contemporary Chinese writers, and his prospects for the development of contemporary Chinese literature in the future. This kind of study aims to find the problems Chinese literary works encountering with outside and to think about the solution. <br /> <br /> Some scholars are interested in Howard Goldblatt’s view, principles and specific strategies on translation. Zhang Yaoping(2005)collects all Chinese works translated by Howard Goldblatt and figures out his views and style of translation. Then, Wen Jun, Wang Xiaochuan and Lai Tian(2007)summarize Howard Goldblatt’s four principles on translation. From the interview to Howard, Yan Yixun(2014) gets his ideas that “Elegance” is more important than “Faithfulness” and “Expressiveness” and that “Faithfulness” cannot be neglected by “Elegance”. <br /> <br /> Nevertheless, the most common is the research on the text of translated version by Howard Goldblatt. Shao Lu(2013), through analyzing Howard’s Life and Death Are Wearing Me Out, finds Howard’s “fidelity” and “infidelity” in translating. Shi Guoqiang(2013)points out Howard’s “Creative treason” on translation from his Big Breasts and Wide Hips. Yin Lingwei and Shen Xiangyu(2020)discuss Howard’s “fidelity” and “treason” in his translation of the work Frog. Many other works, such as Tales of Hulan River, Turbulence, Six Chapters From My Life Downunder, Red Sorghum and so on, also are studied by many scholars. <br /> <br /> In this way, most scholars only reach a conclusion by analyzing a novel translated by Howard Goldblatt. Although the most studied is the translated texts of Mo Yan’s works, it lacks a systematic study of Howard’s translation strategies in a writer’s several works. Shao Lu(2011)has studied Howard’s translation of Mo Yan’s whole works, but her focus is translator’s decisive effect to promote the output of the original author’s works. <br /> <br /> Therefore, the paper aims to analyze the domestication and foreignization in Howard Goldblatt's translation of Mo Yan's novels, find pivotal obstacles, and think about practical measures to promote Chinese culture to the world.<br /> <br /> ===Chapter 2 Howard Goldblatt and Mo Yan===<br /> Mo Yan, one of Chinese contemporary writers, born in Gaomi of Shandong province, creates plenty of novels in which the story happened in his hometown, Red Sorghum, Big Breasts and Wide Hips contained. His novel draws on the artistic guidelines of modernist novels such as magical realism, surrealism, symbolism, and stream of consciousness. He uses metaphors, symbols, exaggerations, and irony to express the profundity of the society, history, culture and the beauty of thousands of styles of regional culture in China.(Lv Minhong,2011:102) <br /> <br /> Notwithstanding there is another feature in Mo Yan’s works---neutral and objective portrayal to the characters from different parties. For example, in Red Sorghum, when it comes to theme of history, to reconstruct history by overturning the dualistic opposition in the creation of traditional anti-Japanese novels, he presents the vague horizon between past and present, death and life, good and evil(Shao Lu,2011:51). <br /> <br /> Combining the living description and impersonal history sense, Mo Yan’s work receives much attention from readers over the world. However, Mo Yan’s unique writing style with dialects and local color is difficult to translate into another language. It is Howard Goldblatt who translates his novels into English that speeds up the spreading overseas.<br /> <br /> Howard Goldblatt, although with American descent, is interested in Chinese culture very much. He once studied and taught in Taiwan for many years, which provides him much experience to absorb Chinese culture. He once said Taiwan is his another home. When he came back to America, he was matriculated by San Francisco State University to study Chinese language literature. After several years, he went to Indiana University of Pennsylvania for further study under the guidance of the Professor Liu Wuji who is a well-known expert in Chinese literature(Lv Minhong,2011:29). <br /> <br /> What drive Howard to choose Mo Yan continually and frequently can probably be several causes following. Firstly, Howard himself is interested in Chinese culture, which can be seen from his long-term study in China and his further study with the help of the Professor Liu Wuji. Here Mo Yan is a convinced writer representing Chinese literature(Lv Minhong,2011:29). <br /> <br /> Secondly, Mo Yan’s work meets the taste of Americans. After his translated work Red Sorghum was published in America, the volume pressed and sale is impressive. Howard explained that American readers prefer two or three kinds of novels---those more about sex and politics or the detective novels(2009:46). Obviously, the former two elements can be shown in Mo Yan’s work. <br /> <br /> Finally, there is a great relationship established between Howard Goldblatt and Mo Yan. They would communicate with each other frequently. Each Mo Yan’s new book, Howard said, he would read it and admit the value of Mo’s works(2009:54). Just occasionally, Mo Yan once praised Howard’s rigorous spirit in translation and expressed his gratification to the cooperation(2000:170).<br /> <br /> So much connection with China and accumulation of Chinese culture fosters his profound knowledge about Chinese literature. From 1970s Howard began to translate Chinese literary works. Among the works he had translated, the number of Mo Yan’s works is the most. And the version translated by Howard is the most accepted.<br /> <br /> ===Chapter 3 Embodiment of Demestication and Foreignization===<br /> Domestication and foreignization are frequently used in the process of translation. The two terms were first brought forward by Venuti, an Italian. According to Venuti, domestication is to &quot;bring the original author into the target language culture&quot;, while foreignization is to &quot;accept the language and cultural differences of the foreign language text and bring the reader into the foreign context&quot;(2004:20). <br /> <br /> It implies that domestication requires the translator to get closer to the readers of the target language. The translator must speak like the native author. If the original author wants to have a direct dialogue with the reader, the translation must become an authentic native language. On the contrary, foreignization accepts the language characteristics of foreign cultures in translation and absorbs foreign language expressions. It requires translators to move closer to the original author, adopt the source language expression corresponding to the author's use to convey the content of the original text, that is, the source language culture is the destination(Venuti,2004:25). <br /> <br /> In Howard Goldblatt’s translated works of Mo Yan’s, the application of domestication and foreignization are ubiquitous. <br /> ====3.1. Domestication====<br /> To convey the information more fluently and naturally, providing convenience to readers to understand, Howard applies domestication a lot in his translated works. Annotation, addition, omission and substitution, which are methods of domestication, can be seen in the Howard Goldblatt’s translated works.<br /> ====3.1.1. Annotation====<br /> In Mo Yan’s work, there are many unique elements that exist in Chinese culture. To avoid obstacles for foreign readers, Howard makes some explanations based on the original meaning. There are several examples following:<br /> <br /> E.g: Original text: 她回头对上官吕氏说：“上官家的，你跟我进来。”(Mo Yan,2012:10)<br /> <br /> Translated text: She stopped, turned and said to Shangguan Lv:“Lady Shangguan, come with me.”(Howard Goldblatt,2011:17)<br /> <br /> In China, especially in the northern regions, when addressing a person’s wife, the word “的” is usually added to the man’s last name. “上官家的” refers to Shangguan Fulu’s wife. It is a kind of dialect, showing the local color of Gaomi town. Here Howard uses “lady” to explain “的”, for the former is commonly used in English expression to greet a married woman. American readers could keep pace with the plots without culture gap, avoiding the obstacle for understanding.<br /> <br /> There are some special expressions only in Chinese local culture, which are even able to be understood by the local. Howard also adds some annotations following:<br /> <br /> E.g: Original text: 八竿子拨拉不着的个表姨。(Mo Yan,2012:328)<br /> <br /> Translated text: You’re such a distant aunt.(Howard Goldblatt,2011:363)<br /> <br /> “八竿子拨拉不着” is equivalent to the meaning of “Eight poles can’t be struck”, describing the relationship between the two being alienated or unrelated. The original description of the person killed by the little lion is a whole number when counted on the table. Howard adopts the strategy of domestication, only expressing the distance between the two, without literally translating &quot;Baganzi&quot;. <br /> <br /> The translator is responsible for the original work and also for the target readers, paying attention to reader’s acceptance and to the fluency of the translation. Therefore, Howard puts the content and form of the translation within the knowledge range of the target language readers, helping them to better understand the translation with their own cultural concepts.<br /> <br /> ====3.1.2. Addition====<br /> It is known that addition can be used as a method of domestication to explain the concealed information.<br /> <br /> E.g: Original text:---信马由缰式的---(Wen Jun,2007:79)<br /> <br /> Translated text: Prepared to go with the flow---that was how he lived his life---he followed the man inside.(Wen Jun,2007:79)<br /> <br /> Xu Yuanchong believes that the four-character idiom of Chinese is an advantage that the West does not have, and only China has. Peole cannot find a perfect expression in another language. There is not an absolutely identical expression matches the meaning of certain an idiom. The idiom of Chinese The idiom “信马由缰”means to wander aimlessly on a horse. Howard Goldblatt not only translated the literal meaning of the idiom, but also explained the meaning of the idiom in specific situations based on the meaning in the text(Xu Yuanchong,1993:87).<br /> <br /> ====3.1.3. Omission====<br /> There are some elements in original text that are difficult to understand for foreign readers. Therefore, Howard makes some omissions when translating. <br /> <br /> E.g:Original text: 谢谢审判长的提醒，我马上进入实质性辩护。近几年来，农民的负担越来越重。我父亲所在村庄，种一亩蒜薹，要交纳农业税九元八角。要向乡政府交纳提留税二十元，要向村委会交纳提留三十元，要交纳县城建设税五元（按人头计算），卖蒜薹时，还要交纳市场管理税、计量器检查税、交通管理税、环境保护税，还有种种名目的罚款！(Cao Shunying,2015:127)<br /> <br /> Translated text: Thank you for reminding me, Your Honor. I’ll get right to the point. In recent years the peasants have been called upon to shoulder ever heavier burdens: fees, taxes, fines, and inflated prices for just about everything they need.(Cao Shunying,2015:127)<br /> <br /> Compared with the original work, some details of Chinese legal policies are obviously omitted here, because foreign readers basically do not understand Chinese legal policies, which are too difficult and boring to understand. If the translator makes too many descriptions of these details, foreign readers will lose interest in this work. It is also an embodiment of domestication. By the way, in the end of The Garlic Ballads, Howard makes a great change that he deletes some problematic plot and turns the imperfect ending into a satisfying ending. This action, certainly proved, is correct(Yan Yixun,2014:197).<br /> <br /> ====3.1.4. Substitution====<br /> Sometimes, the meaning of words or expression is not equal to the literal meaning. Perhaps, it is the contrary or unrelated meaning, which requires translators make a closing reading and recognize the real meaning the original author want to express. This time, translators should find a more accurate native expression to substitute the original expression. There is an typical example following:<br /> <br /> E.g: Original text: 余占鳌在火辣辣的痛楚中，忽然感到一阵酥酥麻麻的快乐，这快乐冲到喉咙，启动牙齿，化作一连串胡言乱语：“亲娘亲娘亲娘……亲娘……亲娘……”(Mo Yan,2007:158)<br /> <br /> Translated text: Stung by the pain, he experienced a sense of numbing ecstasy, and when it reached his throat it activated his teeth moving and emerged as a stream of gibberish:“Mistress Mistress Mistress...”(Howard Goldblatt,1994:165)<br /> <br /> The Chinese “亲娘” and “亲妈” are not only called as the biological mother, but also often people’s blurting when sighing. For example, if people are shocked by something, they will say: “哦，我的妈呀！” Here, the author uses the word “亲娘” five times to express the confusion and excitement in Yu Zhanao's heart. <br /> <br /> Grandmother scolded Yu Zhanao as a punishment for him breaking into her room, but Yu Zhanao admired her grandmother, so he regarded her grandma's behavior as a flirtation, so he was happy. If the translator literally translates “亲娘” as “mother”, this will not only make readers feel very confused about the relationship and plot, but also the original flirting feeling will be indifferent. Howard Goldblatt uses the strategy of domestication to replace it with “mistress”. It not only eliminates the differences between language and culture, but also makes translation more fluent, natural and smooth.<br /> <br /> ====3.2. Foreignization====<br /> To close the distance with the original text and try at most to transmit the authentic culture of original text, translators apply foreignization as a translation method. This kind of method usually does not change the style and order of the characters in original text, keeping the exotic tinge of original culture in the target language. Transliteration and literal translation, as the methods of foreignization, are the most frequently used by Howard Goldblatt.<br /> <br /> ====3.2.1. Transliteration====<br /> In most cases, transliteration is the best translation method for names without special meaning. When translating a name, transliteration is a very important way. The translator can translate the name according to its pinyin without changing the Chinese order. Howard Goldblatt uses a lot of transliteration when there is no special meaning in the translation of Red Sorghum. For example, “戴凤莲” was translated as “Dai Fenglian”, “豆官” was “Douguan”, and “单庭秀” was “Shan Tingxiu”. “王文义” means “Wang Wenyi”(Howard Goldblatt,1994).<br /> <br /> It can be seen from the above that Howard extremely respects the original author in the translation of such names. He not only uses pinyin completely, but also follows the order of Chinese names, that is, the surname is first and the first name is last, respecting and obeying Chinese traditional cultural customs.<br /> <br /> However, when translating some characters’ nicknames and names with special meanings, transliteration is not applicable. The translator needs to find out the specific implicit meaning, and then choose the most suitable translation, such as “刘罗汉”, which is translated into “Arhat Liu”. Because 刘罗汉 was a loyal, firm and honest helper. He passed away in order to protect the property of his host. His spirit is consistent with the meaning of “Araht”, so Howard’s translation of it is very symbolic(Howard Goldblatt,1994).<br /> <br /> There is another transliteration that appears with some annotations, which can enlarge reader’s insight and make the plot more logically:<br /> <br /> E.g: Original text: 直到春暖花开的清明节。(Mo Yan,2012:110)<br /> <br /> Translated text: Qingming, the day of ancestral worship in the warmth of spring, when flowers were in full bloom. (Howard Goldblatt,2011:140)<br /> <br /> “清明节” is a traditional Chinese festival. It is a festival to worship ancestors. The traditional activity is tomb sweeping. Using transliteration and short explanations, readers can have a basic understanding of this object, and can remind readers of its uniqueness.<br /> <br /> ====3.2.2. Literal Translation====<br /> In the translation of some idioms and culturally loaded words, Howard Goldblatt also adopts the literal translation method to maintain the characteristics of the source language, so that people of different nationalities can share some common points in cognition. <br /> <br /> E.g: Original text: 母亲咬着牙齿说：“姓沙的，你癞蛤蟆想吃天鹅肉，做梦去吧！”(Mo Yan,2012:85)<br /> <br /> Translated text: Mother clenched her teeth. “You there, Sha”, She said, “Like the toad who want to feast on a swan, you can just dream on!”(Howard Goldblatt,2011:113)<br /> <br /> In this sentence, “癞蛤蟆想吃天鹅肉” is a common Chinese idiom, which means that without self-knowledge, one wants to obtain something impossible. For American readers, they may not be able to fully understand the relationship between Toad and Swan in Chinese. But in this way, they can understand what the author wants to express based on their own experience and context.<br /> <br /> In this way, Howard has neither changed the lively image of the original text nor has it lost the connotative meaning of the original text. He once said:''If I can find appropriate slangy or regional or slightly archaic or unusual words that carry that sense, I’ll certainly use them. If I can’t I won’t.''(2014:8)<br /> <br /> ===Chapter4 Enlightenment for Translation===<br /> Howard Goldbaltt puts faithfulness to the original text in the first place, reproduces the original content and ideas and retains the original writing style and language characteristics. It reflects the translator’s ethics of being faithful to the original text; secondly. To consider the target language reader's reading ability and translation the translator adopts domestication strategies to overcome language and cultural barriers, appropriately reduces the cultural information of the original text, and provides a naturally familiar target language for readers of the target language(Chen Jiayu,2019:20). <br /> <br /> In order to promote cultural exchanges and realize cross-cultural communication, translators adopt foreignization strategies to preserve the cultural and national characteristics of the original text as much as possible. This not only allows target language readers to understand foreign cultures and customs, but also promotes cultural exchanges and dissemination and makes outstanding contributions to promoting Chinese literature to overseas.<br /> <br /> The purpose of Howard Goldbaltt’s translation is to complete a translation that is readable for Americans and highly accepted by the market. And about Howard’s translation of domestication and foreignization, there are many some arguments. Most scholars confirm to that Howard Goldblatt’s translation is applied domestication more frequently, while foreignization is minor(Yin Ting,2014:150). <br /> <br /> However, in studying the translated text Big Breasts and Wide Hips, Shi Guoqiang(2013:80) thinks that foreignization is the main methods of Howard’s translation, domestication minor. He comes up with several aspects that Howard use foreignization in his translation, such as some idoims, special nouns and two-part allegorical saying and so on. Despite of the arguments, Howard’s excellent translation cannot be denied, which help a lot for the going abroad of Chinese literature.<br /> <br /> Analyzing the Howard’s translated works of Mo Yan’s, although his translation is the best version of Mo Yan’s novels until now, as for the output of Chinese litertature even Chinese culture, we still can get some enlightenment. <br /> <br /> Firstly, when translating Chinese literature into other languages, the translator himself is important. Usually, the translators who translate Chinese into another language are our Chinese. They translate their mother language into another language, in a sense, not as well-master as the people of target language. It causes a problem that the readers of target language cannot read and understand the translated version naturally and easily by Chinese translators. And the Chinese translators, most of them, are living in China, lack of the context of target language(Hu Anjiang,2010:11). <br /> <br /> Also, the Chinese translators who specialize in two languages and cultures are rare. What is more, the foreign translators familiar with Chinese culture is less. Therefore, according to Xu Jianping and Zhang Rongxi, the most effective way for Chinese-English translation is the cooperation of the original author and foreign translator of target language(2002:38). Howard Goldblatt and MoYan is the best example. And Howard himself also expresses the similar view(2014:201). <br /> <br /> Secondly, the translation strategy is also crucial. Chinese literature is the “weak literature”(Yin Lingwei,2020:109), so Xu Jianping thinks that foreignization should not be widely used in Chinese-English translation, because foreign readers’ understanding of China and its language and culture is far less than Chinese readers' understanding of foreign language and culture(2002:38). <br /> <br /> However, from the 1870s to the 1970s, for a hundred years, Chinese literary translation was roughly based on domestication; during the two decades of reform and opening up, inspired by Western translation theories, the Chinese translation community rethought foreignization and domestication, and the two methods have gradually become balanced in China. Therefore, Sun Zhili believes that the translation of Chinese literature in the 21st century will be dominated by foreignization(2002:40). <br /> <br /> Actually, it is not suitable to regard domestication and foreignization by dichotomy. Combining the two ways, the starting point should be to bring Chinese literary translations closer to Western readers through the domestication translation method, so as to enter the mainstream Western culture. Let Western readers first understand our cultural routines and ways of thinking, and then talk about further transformation and influence on the West Follow-up issues such as literary creation mode(Hu Anjiang,2010: 15). <br /> <br /> Finally, the responsibility of publishers and editors is also heavy. When Chinese literature goes out, the most in short supply of talents are intermediary talents, that is, intermediary agencies that can understand Chinese contemporary literary works, and at the same time understand the international market, and have a good background of cooperation with international publishing institutions...(Li Yun,2007) <br /> <br /> There is “the third readers” in the world. They usually don't pay much attention to the content when reading, because they are more in love with the readability or text style of the work. Also, they do not compare the translations with the original works, but only compare these translations with original English works or those literary translations translated from other languages into English. Paying more attention to such “fair readers” who pursue pure literary feeling and pure aesthetic experience will be an important guarantee for literary translations to gain the literary market, commercial profits and even the status of translated literary classics(Medougall,2007:23)<br /> <br /> ===Chapter5 Conclusion===<br /> For any responsible translator, every choice made in the translation process is not random or blind, but has a clear consciousness and clear goals, and they strive to resolve various contradictions encountered in translation to achieve the value of translation(Liu Yunhong, 2014). Through analyzing the application of domestication and foreignization Howard Goldblatt’s translation of Mo Yan’s works, some enlightenment can be concluded. The translators, the translation strategies and the publisher and editor can be taken as the crucial aspects. <br /> <br /> Citing the words of Nida, for a truly successful translation, bilingual proficiency in culture is more important than in language, because words have meaning only in the culture in which they function(1993:83). This shows that in the process of translation, translators should not stick to a single domestication or foreignization translation strategy. They should comprehensively consider various factors such as language, culture, and readers’ comprehension, and adopt appropriate strategies to arrive at a degree of integration and adaptation for the highest translation.<br /> <br /> The needs of the target language culture have changed with the development of society and the changes of the times, and the target language readers' acceptance and understanding of Chinese culture have also increased with the increase of China's international influence. Many things that tended to be domesticated in the past are now or in the future using foreignized translations that are completely acceptable to the target language readers, and even look forward to them. Translating Chinese literary works with increasingly alienated strategies, allowing the world to read Chinese stories and understand Chinese culture is the only way for Chinese culture to “go out”.<br /> <br /> ===References===<br /> *Goldblatt, Howard(2011). ''Big Breasts and Wide Hips'' [M]. New York: Arcade Publishing.<br /> <br /> *Goldblatt, Howard(1994). ''Red Sorghum'' [M]. New York: Viking Penguin.<br /> <br /> *Jonathan, Stalling(2014). ''The Voice of the Translator: An Interview with Howard Goldblatt'' [J]. Translation Review (1):1-12.<br /> <br /> *Lupke, Christopher(2011). ''Hankering after Sovereign Images'' [J]. Chinese Literature Today (1):48-56. <br /> <br /> *Medougall, Bonnie(2007). ''Literary Translation: The Pleasure Principle'' [J]. Chinese Translation(5):22-29. <br /> <br /> *Eugene, Nida(1993). ''Language,Culture and Translating'' [M]. Shanghai: Shanghai Foreign Language Education Press. <br /> <br /> *Venuti, Lawrence(2004). ''The Translator’s Invisibility: A History of Translation'' [M]. Shanghai: Shanghai Foreign Language Education Press. <br /> <br /> *Cao Shunying&amp;Wang Miaomiao曹顺应，王苗苗.(2015).翻译与变异--与葛浩文教授的交谈关于翻译与变异的思考[J].[Translation and Variation--Conversation with Professor Howard Goldblatt on Translation and Variation].清华大学学报（哲学社会科学版）Journal of Tsinghua University(Social Science Edition) (1):124-128,183. <br /> <br /> *Updike,季进,林源(译).(2005).苦竹：两部中国小说[J].[Bitter Bamboo:Two Chinese Novels].当代作家评论Contemporary Writer Review (6):45-56.<br /> <br /> *Hu Anjiang胡安江.(2010).中国文学“走出去”之译者模式及翻译策略研究---以美国汉学家葛浩文为例[J].[Translator Model, Translating Strategy, and the “Going Out” Project to Promote Chinese Literature Abroad: With American Sinologist Howard Goldblatt as an Exemplar].中国翻译Chinese Translators Journal (6):10-16,92.<br /> <br /> *Ji Jin季进.(2009).我译故我在---葛浩文访谈录[J].[I Translate, Therefore I Am--An Interview with Howard Goldblatt].当代作家评论Contemporary Writer Review (6):45-56.<br /> <br /> *Jia Yanqin贾燕芹.(2012).翻译家葛浩文研究述评[J].[A Review of the Studies of Translator Howard Goldblatt].楚雄师范学院学报Journal of Chuxiong Normal University (8):62-67. <br /> <br /> *Li Xiaoqin李晓琴.(2020).葛浩文英译莫言小说翻译策略初探[J].[On Howard Goldblatt’s English Translation of Mo Yan's Novel Translation Strategies].英语广场English Square (23):20-22. <br /> <br /> *Li Yun李芸.(2007).中国文学走出去，翻译是道坎[N].[When Chinese literature goes out, translation is a barrier].科学时报Science Times. <br /> <br /> *Liu Yunhong&amp;Xu Jun刘云虹,许钧.(2014).文学翻译模式与中国文学对外译介---关于葛浩文的翻译[J].[Literary Translation Models and the Introduction and Translation of Chinese Literature---On Howard Goldblatt’s Translation].外国语(上海外国语大学学报)Foreign Languages (Journal of Shanghai International Studies University) (3):6-17. <br /> <br /> *Lv Minhong吕敏宏.(2011).葛浩文小说翻译叙事研究[M].[A Study on Howard Goldblatt’s Novel Translation Narration].北京:中国社会科学出版社Beijing:China Social Sciences Press.<br /> <br /> *Mo Yan莫言.(2012).丰乳肥臀[M].[Big Breasts and Wide Hips].北京:作家出版社Beijing:Writers Publishing House. <br /> <br /> *Mo Yan莫言.(2007).红高粱家族[M].[Red Sorghum].北京:人民文学出版社Beijing:People's Literature Publishing House. <br /> <br /> *Mo Yan莫言.(2000).我在美国出版的三本书[J].[Three books I published in the U.S.].小说界Fiction (5):170-173. <br /> <br /> *Shao Lu邵璐.(2011).莫言小说英译研究[J].[A Study on English Translation of Mo Yan's Novels].中国比较文学Chinese Comparative Literature (1):45-56. <br /> <br /> *Shao Lu邵璐.(2013).莫言英译者葛浩文翻译中的“忠实”与“伪忠实”[J].[“Faithfulness” and “False Faithfulness” in the English Translation of Mo Yan by Howard Goldblatt ].中国翻译Chinese Translators Journal (3):62-67. <br /> <br /> *Shi Guoqiang史国强.(2013).葛浩文的“隐”与“不隐”---读英译《丰乳肥臀》[J].[Howard Goldblatt’s “Hidden” and “Not Hidden”--An English Translation of ''Big Breasts and Wide Hips'' ].当代作家评论Contemporary Writer Review (1):76-80. <br /> <br /> *Sun Zhili孙致礼.(2002).中国的文学翻译：从归化趋向异化[J].[Chinese Literary Translation: From Domestication to Foreignization].中国翻译Chinese Translators Journal (1):40-44. <br /> <br /> *Wen Jun&amp;Wang Xiaochuan&amp;Lai Tian文军,王小川,赖甜.(2007).葛浩文翻译观探究[J].[On Howard Goldblatt’s Translation View].外语教学Foreign Language Teaching (6):78-80.<br /> <br /> *Xu Jianping&amp;Zhang Rongxi许建平,张荣熙.(2002).跨文化翻译中的异化与归化问题[J].[Foreignization and Domestication in Cross-cultural Translation].中国翻译Chinese Translators Journal (5):36-39. <br /> <br /> *Xu Yuanchong许渊冲.(2012).再谈中国学派的文学翻译理论[J].[On the Literary Translation Theory of the Chinese School].中国翻译Chinese Translators Journal (4):83-90,127. <br /> <br /> *Yan Yixun&amp;Howard Goldblatt闫怡恂,葛浩文.(2014).文学翻译：过程与标准---葛浩文访谈录[J].[Literary Translation: Process and Standards---Interview with Howard Goldblatt].当代作家评论Contemporary Writers Review (1):193-203. <br /> <br /> *Yin Lingwei&amp;Shen Xiangyu殷凌薇,沈翔宇.(2020).论葛浩文《蛙》英译本的忠实与背叛[J].[On the Faithfulness and Betrayal of Howard Goldblatt’s English Version of ''Frog''].北方工业大学学报Journal of North China University of Technology (3):108-113. <br /> <br /> *Zhang Yaoping张耀平.(2005).拿汉语读，用英文写——说说葛浩文的翻译[J].[Read in Chinese, Write in English——A Talk about Howard Goldblatt’s Translation].中国翻译Chinese Translators Journal (2):75-77.<br /> <br /> ==Domestication and Foreignization in the Course of Translation Under the Direction of Skopos TheorY 谭星越 Tan Xingyue==<br /> &lt;center&gt; 谭星越 Tan Xingyue,202020080642.&lt;/center&gt;<br /> ===Abstract===<br /> Domestication and foreignization were put forward by Lawrence Venuti, a famous translation theorist in America, in his book The Translator’s Invisibility: A History of Translation in 1995. Domesticating translation places emphasis on the target culture, which makes the original text more easily understood by the target-language readers, while foreignizing translation aims to produce the foreignness and cultural characteristics in the source text as much as possible.<br /> Skopos theory was proposed by Reiss and Vermeer in the 1970s, which held that the purpose of translation determines the translation strategy. This thesis takes Skopos Theory as the basis of theoretical research, and analyzes the application and practice of domestication and foreignization in the course of translation.<br /> <br /> ===Key Words===<br /> Skopos Theory, domestication, foreignization<br /> <br /> ===题目===<br /> 目的论视角下归化和异化在翻译过程中的应用<br /> <br /> ===摘要===<br /> 归化和异化这对翻译术语是由美国著名翻译理论学家劳伦斯韦努蒂（Lawrence Venuti）于1995年在《译者的隐身》中提出来的。归化翻译是一种倾向于译入语文化的翻译方法，使原文文本更加容易被目的语读者所接受。异化翻译则旨在尽可能地传递原文文本的异质性和文化特色。翻译目的论由赖斯和弗米尔于20世纪70年代提出，该理论认为翻译目的决定翻译策略。本文将以目的论作为理论研究的依据，分析归化和异化在翻译过程中的应用和实践。<br /> <br /> ===关键词===<br /> 目的论，归化，异化<br /> <br /> ===Introduction===<br /> In the context of economic globalization, cultural exchanges are becoming increasingly frequent among countries. Translation, turning an original or “source” text into a text in another language, is an effective way of cultural communication. As a bridge communicating between cultures, translation plays an implacable role in the interaction. Since translation requires constant language choosing according to different context of culture, different translation theories have been proposed. Traditional translation theories focused on the equivalence of meaning and form of language, and literal translation and free translation were the main approaches. In the 1990s, there was a “cultural turn” in translation. The study of translation was no longer limited to the linguistic level, which has greatly widened the theoretical scope of translation. Lawrence Venuti, an American translation theorist, proposed two translation strategies: Domestication and foreignization.<br /> In contemporary translation studies, Skopos Theory proposed by Vermeer is the landmark of functional approaches to translation, which is relatively accepted by the public. Vermeer (1987:26) held that translation is a kind of transformation behavior based on the original text and translation behavior is an intentional and purposeful behavior in a specific context.<br /> The thesis is comprised of five sections. The first part presents an introduction of this thesis. The second part discusses the origination and formulation of Skopos Theory and three rules of Skopos Theory, including skopos rule, coherence rule and fidelity rule. The third part gives a brief interpretation of the two translation methods: domestication and foreignization. The fourth part analyzes the application and practice of the two methods in the course of translation under the direction of Skopos Theory. The last part draws a conclusion for this thesis.<br /> <br /> ===Chapter 1 Skopos Theory===<br /> According to Gentlzer(1993:18), before the 1960s, translation was regarded as a kind of code-switching, reorganization and meaning equivalence of two languages. Under these circumstances, translation was listed as a branch of linguistics. For a long time, linguists devoted themselves to studying the translation methods, principles and standards in the linguistic range of research, without concerning the factors of external language, such as the author and reader, or the speaker and hearer. With going deep into the research work, a new theory based on the premise that linguistics is only a tool of translation study but not the object has been proposed. Proposers considered translation as a kind of communicative activity between human beings, in this case, pragmatic level should be given priority to translation study, and background knowledge such as the conventions, norms and habits of different cultures should not be ignored. This chapter will focus on the introduction to this new theory of translation study—Skopos Theory.<br /> ====1.1 Origination and formulation of Skopos Theory====<br /> The formulation and development of Skopos Theory has undergone four stages. The representative of the first stage was Katharina Reiss, who was one of the founders of Functional Approaches to translation. The early theories of Katharina Reiss were based on the concept of equivalence. Reiss(1984:21) advocated that the equivalence between translation had to shift its focus from word and sentence level to textual level and that translators should take translation strategies, language functions, discourse types and text genres into account in the process of translation. Based on the three characteristics of linguistic functions, Reiss divided texts into three types: informative type, expressive type and operative type. These three different types of texts respectively served the communication between content, the communication between artistically organized content and the communication between content with a persuasive character, as a result, translation strategies for different text types were proposed. But in later studies, she realized that equivalence between translation was an impossible-to-be-realized, therefore, Reiss revised her theory of Text Typology, and the analysis of text types was no longer the main reference of translation strategies. She held that the translator should give priority to the functional characteristics of the target text rather than the principle of equivalence, and in the whole process of translation, the communicative functions that the target language was expected to achieve should be of great significance in the cultural environment of the target language. Thus it can be seen that Reiss’s theory laid the foundation for the formulation of Skopos Theory of translation. <br /> <br /> In the second stage, Vermeer (1987:27) broke through the limitations of equivalence theory, and took textual purpose as the primary criterion for the translation process. He developed functional skopos theory and made outstanding contributions to functionalist translation theory. He tried to build a bridge between practice and theory, considering that translation was a transformation of language, and also a kind of human behavior. As we all know, any action has its goal or purpose, and leads to a result, a new situation or event. This was why Vermeer named his theory as “Skopos Theory”, which was proposed in the 1970s in German. “Skopos” was a word in Greek, which meant “aim”, “purpose”, “intention” or “function”. Generally, &quot;Skopos&quot; referred to the communicative purpose of the translation. According to Vermeer’s Theory, the text’s purpose must remain a high priority, which will directly affect all aspects of the translation process. According to Vermeer, there were three purposes of translation: the translator's purpose, the purpose of dissemination of the translation, and the specific purpose of the special translation strategy. It was the initiator of the translation act that determined the purpose of the translation. But the translator did not passively accept everything. He can also act as the initiator, directly participating in determining the purpose of the translation (Zhang Jinlan, 2004:35). Moreover, Skopos Theory claimed that the intended purpose of the translation determined the methods and strategies of translation and that three rules of translation should be observed: skopos rule, coherence rule and fidelity rule.<br /> <br /> Translation Action based on the communication theory and action theory was elaborated by Justa Holtz Manttari in the third stage of the development of Skopos Theory, which has expanded the scope of functional translation theory. She regarded translation as a person-to-person, purpose-driven and result-oriented interaction activity. Manttari conducted a detailed analysis of the participants and behavior in the translation processes, mainly including the initiator / client, the commissioner, the ST producer, the TT producer, the TT user and the TT receiver. (Manttarri,1984: 398)Translation was the transfer of complex information including texts, pictures, sounds and languages between different cultures. The purpose of translation action was to overcome cultural and language barriers, so as to achieve cultural communication. She insisted that adaptations, compilations, edits and information inquiries were of essentiality in the process of translation activities, and she even included editing, consulting, and other activities related to foreign cultures into the translation action. The translator produced &quot;message transmitter&quot; that met the specific needs of the recipient's cultural background according to the client's requirements. As long as the target text can be produced to meet the client's needs, the task of translation was complete. In other words, the translation needed not be equivalent to the original, which contrived the theory of Translation Action to be an extreme functional theory.<br /> <br /> In the fourth stage, Christian Nord (2001：12)proposed two kinds of translation strategies, in response to the fact that Manttari completely ignored the original text: (1)Documentary translation: it referred to record the information contained in the original text in the communication of target language; it emphasized the direct production of the original text regardless of the context of the target.(2) Instrumental translation: it referred to the translation that achieved different functions for the certain purposes in the target language culture. Nord's contribution to translation studies was many-sided, and she proposed the theory of Function plus Loyalty. Function referred to the factors that made the translation work in a predetermined way in the target language environment, while loyalty referred to the interpersonal relationship among the translator, the original author, the recipient of the translation, and the initiator of the translation. In Nord’s view, loyalty was a kind of concept that translators should be loyal to both the original text and the target of the translation, and that was different from the concept of fidelity or faithfulness which only focused on the relationship between the original and the translation.<br /> <br /> It can be seen from the above that the landmark theories of the German functionalist approach were: Katharina Reiss’ Text Typology, Hans Josef Vermeer’ Skopos Theory, Justa Holtz Manttari’ Theory of Translation Action and Nord's Function plus Loyalty.<br /> <br /> ====1.2 Three rules of the Skopos Theory====<br /> The Skopos Theory proposed by Vermeer is the most important theory of functional approaches to translation. There were three ways to understand this word &quot;skopos&quot;: the purpose of the translator; the communicative purpose of the text; the purpose to be achieved by using a special translation strategies. Usually, &quot;skopos&quot; referred to the communicative purpose of the text. (Zhang Jinlan, 2004:36). First, under an ideal situation, the initiator of the translation will give details of the elements in the process of translation, such as the recipient of the translation, the environment in which the translation was used, and the functions that the translation should achieve. According to Skopos Theory, the primary rule followed by all translators was the “skopos rule”: The translation purpose determined the translation methods and strategies. Second, coherence rule pointed that the translation must meet the criteria of intra-textual coherence and that translated text must be sufficiently coherent to allow the intended addressees to comprehend it, given that their assumed background knowledge and situation circumstances. Third, fidelity rule meant that the translated text should bear some relationship with the corresponding source text, and there should be intra-textual coherence between the original text and the translation. Intra-textual coherence was similar to what was commonly referred to as fidelity to the original, and the degree and form of fidelity were determined by the purpose of the translation and the translator's understanding of the original.<br /> <br /> ===Chapter 2 Domestication and Foreignization===<br /> As we all know, translation has shifted its emphasis from language conversion to cultural transformation. Translation is no longer only regarded as the transformation of language symbols, but a mode of cultural transformation. Since translation is closely related to culture, a problem naturally arises: how to deal with the cultural factors in the text, especially the text with great cultural differences between the source language and the target language. It is on the issue of how to deal with cultural differences in translation that there exist disagreements in the field of translation. Generally speaking, it can be divided into two opposite opinions, namely, domestication and foreignization.<br /> ====2.1 Domestication====<br /> Domestication is an important term in cultural criticism, cultural translation theory and cultural exchange. Due to the differences in geographical environment and social history, the differences between eastern and western cultures exist objectively. In other words, not every person in the west can understand the cultural symbols of the east. When dealing with various oriental materials, the oriental scholars in the west can only make some transformation based on some methods such as domestication or foreignization.<br /> <br /> Lawrence Venuti, a famous American translator, was the first person to introduce the term “domestication” in his book The Translator's Invisibility: A History of Translation. He proposed that domestication is an approach that the translator &quot;leaves the reader in peace, as much as possible, and moves the author towards him&quot; and that domesticating translation should abide by the current mainstream values of the target language and culture, openly adopt conservative assimilation methods to the translation of the original text, and cater to local canon, publishing trend and political needs. (Venuti, 2001:19)<br /> <br /> Schuttleworth and Cowie in their book Dictionary of Translation Studies defined “domestication” as “a term used to describe the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL readers. . .it is identified with a policy common in dominant cultures which are aggressively monolingual, unreceptive to the foreign, and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with [target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other”.(Schuttleworth &amp; Cowie, 2004:59)<br /> <br /> Douglass Robinson, a Canadian translator who discussed domestication and foreignization from the perspective of postcolonial theory, defined domestication as a term used by translators who were strident advocates of foreignizing translation to describe the worst translation. This kind of translation adopts the way of domesticating the original text into the target culture and language values. Traditionally, this concept is often referred to as “free translation”. (Robinson, 1997:114)<br /> <br /> Domesticating translation, which emerged in the 17th century when the translation activities mainly focused on the introduction of religious classics, classical literary works and the dissemination of Enlightenment thoughts, has been playing a dominant role in British for a long time. There were lots of scholars who firmly advocated the domesticating translation. For example, one of the representatives Eugene Nida has put forward the famous dynamic equivalence and the theory of reader’s response. He proposed that translation should achieve dynamic equivalence, not only in the form of expression, but also in accordance with the norms of the target language. He believed that the cultural category of the target readers should be taken into consideration in terms of expression, choice of words and sentences, and writing style, which should conform to the reading habits and reading psychology of the target readers (Nida, 2003:159). Meanwhile, in the United States, domesticating translation occupied the dominant position in the field of translation in a very long period of time. At that time, the critics in the United States strongly criticized those poems that tried to faithfully convey the exotic flavor of the original text, and publishers also strongly rejected this kind of foreignizing translation, which made it hard to get the chance of publication. They thought that only domesticating translation is the authentic translation, and in this way the translation can be read as if it is created in the target language. The translators completely vanish in the kind of fluent, domesticating translation that has erased every trace of exoticism.<br /> <br /> In some sense, domestication aims to transform the cultural identity of “the other” into the identity of “I”, so that the thoughts, values and behaviors of “the other” conform to “my” standards. As a result, cultural standardization eliminates and replaces cultural differences, leading to the emergence of cultural supremacy or ethnocentrism which refer to the tendency of all countries and nationalities to regard their own way of life, beliefs, values and codes of conduct as superior to others. Homi Bhabha ever claimed that with the global expansionism of the strong culture of Europe and America, non-western countries have been placed in a narrow narrative of progress and development and their civilization described as decadent and autocratic (An Feng, 2004: 15). Under this circumstance, Vetinu proposed the foreignizing translation in order to achieve the deconstruction of ethnocentrism.<br /> <br /> ====2.2 Foreignization====<br /> Based on a thorough study of the history of translation in the West from the 17th century to the present, Venuti (2001:23) found that the adoption of domesticating translation strategies was the dominant practice in the history of western translation. Such a translation tradition implies the fact that translators take the western ideology as the standard and foreign texts are shaped by the values of western nationalism and imperialism. Venuti has challenged this kind of translation tradition and firmly advocated foreignizing translation.<br /> <br /> Venuti studied translation from the perspective of society and culture. His theory was directly derived from the German tradition of emphasizing foreignization, the influence of French thinker Derrida and the school of cultural studies. In the mid-18th century, German translators and writers have put other languages in the same position as German, and respect for foreign languages has become a guiding principle in the course of translation, from which people learn to adjust themselves to the heterogeneous elements in foreign texts. In the 19th and 20th century, attention to the foreignness of the original text has become an undercurrent in the study of German translation theory. During this period, the theorists were cautious and avoided the words of &quot;literal translation&quot; and &quot;free translation&quot;. They no longer focus on the unit of translation, but turn to the issue of the interpretation of cross-cultural text. For example, German scholar Schleiermacher ever stated:<br /> <br /> <br /> &quot;An inner necessity, in which a peculiar calling of our people [the Germans] express itself clearly enough, has driven us to translating en masse; we cannot go back and we must go on. Just as our soil itself has no doubt become richer and richer fertile and our climate milder and more pleasant only after much transplantations of foreign flora, just so we sense that our language, because we exercise it less owing to our Nordic sluggishness, can thrive in all its freshness and completely develop its own power only through the most many-sided contacts with what is foreign.&quot;(Schleiermacher, 2004:62)<br /> <br /> <br /> The German tradition of emphasizing “foreignness” (especially Schleiermacher's argument) provided the theorical basis and direction for Venuti's thoughts, then Derrida's &quot;Deconstruction&quot; philosophy provided a “strategy” for Venuti's translation theory. Derrida challenged all the traditional translation theories and practices with the concept of “differance” in his writing activity and deconstruction strategy. “Differance” is the source of uncertainty and difference. And the meaning of text is always be influenced by the temporization and spacing of the difference; therefore, meaning cannot be completely determined and the absolute translation of original text is always impossible (Graham, 1986:146). Deconstructive translation theory deconstructs the authority of the original text, and puts the translation on an equal and complementary position with the original, thus giving the translator more autonomy. Meanwhile, deconstructive translation theory emphasizes “difference”, and aims to achieve a deeper and more accurate understanding of the differences between languages through translation.<br /> <br /> On the basis of previous scholars' theories, combined with American modernist translation theory, Venuti developed the connotation of foreignizing translation at least from the following aspects(Zhang Jinghua，2009:68): (1) The &quot;heterogeneity&quot; of modernist foreignization comes not only from foreign languages and cultures, but also from those excluded and marginalized discourses in local discourses. (2) The modernist text in foreignizing translation develops the idea of &quot;translation autonomy&quot; and enriches the connotation of foreignization translation in ethical sense, which also conforms to the Frankfurt School's thought of &quot;artistic autonomy&quot; in translation literature.(3) The foreignization of modernism advocates to promote the renewal of the target-language system with the help of marginal languages such as new words and ancient words. (4) In the discourse strategy, foreignizing translation endows translators with more freedom, highlights the subjectivity of the translator, and no longer relies solely on the literal translation.<br /> <br /> ===Chapter 3 Translation Method under the Direction of Skopos Theory===<br /> Translation is not only a process of language conversion, but also a behavior of cross-cultural communication. Translation is the bridge of cultural integration. The negation and exclusion of foreign cultures are incompatible with the role of translation as a cultural bridge; however, the overall acceptance of foreign language will also lead the original language to lose its &quot;social identity&quot;. XIE(Xie Yao,2017:360) stated that the translation work inevitably bears its cultural imprint, and domestication and foreignization are main ways to lessen the conflict between source language culture and target language culture. Foreignization does a good job in keeping the culture and images for the source language, while domestication means removing all strangeness and foreignness of the source text and making the translation clearly readable. <br /> ====3.1 Target reader-oriented approach — domestication====<br /> If translators aim to produce equivalent translation, especially pragmatic equivalent translation to achieve communicative effect with fully understanding the semantic meaning and pragmatic meaning, and considering the acceptance and response of readers, the domesticating translation should be given priority. Therefore, one of the responsibilities of translators is to avoid cultural conflicts, which can lead to various forms of misunderstanding. When transplanting a text into another culture, the translator should carefully weigh the connotation of ideology in the culture. Therefore, we should try our best to transform the source language culture into the target language culture. At the same time, the translator is also a disseminator. In cross-cultural communication, he/she should eliminate barriers and deliver the meaning of the source culture to the readers of the target culture. Then, I will analyze the practice of domesticating translation combined with some examples.<br /> <br /> <br /> “煮茶非漫浪,要须其人与茶品相得。故其法每传于高流隐逸、有烟霞泉石磊磈于胸次间者。<br /> The art of tea brewing is not for roman' s sake. The moral state of the brewer should match well with the quality of the tea. That explains why the techniques of tea brewing are usually handed down only to eremitic wisdoms with lofty characters and peaceful mind.&quot; <br /> (Jiang &amp; Jiang，2009:36)<br /> <br /> <br /> “The art of tea brewing is not for roman' s sake”, the sentence pattern of this translation is obviously derived from “art for art's sake”, which reminds people of the aesthetic movement that appeared in the late 19th century in the field of British Art and Literature. “Art for art’s sake”, a slogan translated from the French “l’art pour l’art”, which was coined in the early 19th century by the French philosopher Victor Cousin. It expressed the belief held by many writers and artists, especially those associated with Aestheticism, that art needed no justification, and that it served no political, didactic, or other purposes. This form of expression has already been in the public eye for a long term. Therefore, the translator resorted to the domesticating method according to the cultural standards and traditions of the target language so that the information can be easily understood and accepted by the receptors. <br /> <br /> Then, I take the translation of “角楼”, an ancient architecture in China, as another example. The word “角楼” has a long history, which first appeared in the book History of the Three Kingdoms · Wei Shu. It was built on the corner rampart. Because the horizon from the “角楼” is very wide and the enemy's situation can be observed clearly. Therefore, “角楼” was used as an important facility of the defense project in ancient times. At present, there are four “角楼” in the Palace Museum in Beijing. The most common translation of “角楼” is “turret”. The word &quot;turret&quot; originates from the Latin word &quot;turris&quot;, which means a small tower that projects vertically from the wall of a building such as a medieval castle and is used to provide a projecting defensive position allowing covering fire to the adjacent wall. It can be seen that the meaning of the word is very similar to that of the “角楼”. Here, the translator adopts the domesticating strategy to try to find the equivalent words of the image “角楼” in the western culture. Many more examples could be mentioned. For instance, “肉夹馍” is a famous snack in Xi’an and has been listed as a cultural heritage, which is one of the delicacies for foreign tourists to taste in Xi'an. The official translation of “肉夹馍” in Xi'an is “Rougamo”. However, the more well-known or widely spread translations are &quot;Chinese hamburger&quot; and &quot;Chinese sandwich&quot;, because foreign tourists think that “肉夹馍”is a popular Chinese &quot;meat burger&quot; or &quot;meat sandwich&quot;, and the translation here adopts the domestication strategy.<br /> <br /> ====3.2 The purpose of source culture dissemination—foreignization====<br /> For the sake of spreading the source language culture, translator should adopt foreignization so as to promulgate the culture of the original language to the target readers to the largest degree, stimulate the readers to learn the unknown source culture, help to overcome the obstacles in cross-cultural communication, and finally facilitate cultural integration. Then, I will analyze the practice of foreignizing translation combined with some examples.<br /> <br /> <br /> “凡采茶,在二月、三月、四月之间。<br /> The second, third, fourth months of the lunar year are a proper time for almost all sorts of tea to get harvested.&quot; <br /> (Jiang &amp; Jiang, 2009:48)<br /> <br /> <br /> During the Tang Dynasty, there was no strict time requirements for tea plucking. In the Classics of Tea, Lu Yu said that the optimum time for tea plucking was between February and April in the lunar calendar, that is to say, it is between March and May according to the current solar calendar. In this sentence, the translator supplemented the cultural element “the lunar year” for accurate time expression. The lunar calendar was established in ancient China based on the operating cycle of the moon, which has been used for thousands of years, guiding the Chinese nation's spring planting, autumn harvest, daily life, containing the wisdom of harmonious coexistence between the Chinese people and nature, and inheriting the continuous national life culture. With the western learning introduced into China, the solar calendar has gradually become a common social calendar, and the lunar calendar is to a large extent an expression of life customs and the inheritance of folk customs. The translator used communicative translation strategies to explain the precise season of tea-picking to the target readers. From the perspective of cultural communication and the expectations of the target readers, the translator tried his best to make the target readers appreciate the exotic and unique cultural information of the source text in the process of compensating for cultural defaults. For publicity translation, the original text can be regarded as a collection of languages, and also a mirror of national history and culture. It can be said that any text is always loaded with certain cultural information to show its unique national cultural temperament. In order to achieve cultural exchange, translators convey the cultural information in the original text accurately and faithfully. This is a good example of foreignizing translation.<br /> <br /> Then, I take the translation of “谋事在人，成事在天”, an ancient proverb in The Dream of Red Mansions, as another example. David Hawkes translated it into “Man proposes, God disposes”. He quoted Western proverbs to express the central idea of the original sentence. However, his translation of “天” into “god” was based on his western mode of thinking. Hawkes' translation ignored the differences of religious and cultural information and failed to convey the cultural elements of the original text. However, Yang Xianyi translated this proverb into “Man proposes, Heaven disposes”. Besides, “阿弥陀佛” appeared many times in the novel, and Hawkes translated into “my Lord” or “my God” while Yang Xianyi translated into “Amida Buddha”, which showed the character's Buddhist belief. We can clearly see that Yang Xianyi employed the foreignizing translation. In the course of translation, foreignization is more favorable to show the cultural differences to the readers, and enable them to understand the Chinese religious and other cultural backgrounds more accurately.<br /> <br /> ===Conclusion===<br /> Based on Skopos Theory, combined with the prop criterions of skopos rule, this thesis studies the domestication and foreignization in the course of translation. It should be said that the two strategies, domestication and foreignization, are not opposite or even contradictory, but complementary in translation. Cultural transplantation would be successfully achieved with a variety of methods and models. With Skopos theory applied to make a comprehensive analysis of various factors involved in translation, we can conclude that translators can adopt the principles and methods of both domestication and foreignization. (Guo Jianzhong,1998:5)As for to what extent source culture must be preserved in the translation, how to preserve it, and to what extent source culture must be adjusted to adapt to the target culture, we have to make a choice based on our correct understanding of the nature and the purpose of translation and the demands of target readers. Therefore, it is important for translators to have a deep cultural awareness in the process of translation, and to be sensitive to the similarities and differences between the two cultures. In addition, once one kind of translation method has been employed in a particular text during the process of translation, the translator better keep this basic tendency as far as possible.<br /> <br /> ===References===<br /> *Gentzler, Edwin.(1993). ''Contemporary Translation Theories'' [M]. London: Routledge.<br /> <br /> *Graham, Joseph.(1986). ''Difference in Translation''[M]. Ithaca: Cornell University Press.<br /> <br /> *Justa Holz-Manttari.(1984). ''Translatorisches Handeln, Theorie und Methode''[M]. Distributor, Akateeminen Kirjakauppa.<br /> <br /> *Nida, Eugene. A. (2003). ''Toward a Science of Translating''[M]. Brill Academic Publishers.<br /> <br /> *Nord, Christiane.(2001). ''Translating as a Purposeful Activity: Functional Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Reiss, Katharine. &amp;Vermeer, Hans. J. (1984). ''Towards a General Theory of Translational Action: Skopos Theory Explained'' [M]. London: Routledge.<br /> <br /> *Robinson, Douglass. (1997). ''Translation and Empire: Postcolonial Theory Explained''[M]. Manchester: St Jerome.<br /> <br /> *Schleiermacher, Friedrich. (2004). ''On the Different Methods of Translating''[A]. In Lawrence Venuti ed. The Translation Studies Reader[C]. London: Routledge.<br /> <br /> *Schuttleworth, Mark. &amp; Cowie, Moria. (1997). ''Dictionary of Translation Studies''[C]. Manehester: St Jerome. <br /> <br /> *Vermeer, Hans. J. (1987). ''What does it Mean to Translate'' [J]. Indian Journal of Applied Linguistics (2):25-33.<br /> <br /> *Venuti, Lawrence.(2001). ''The Translator’s Invisibility: History of Translation''[M]. London and New York: Routledge.<br /> <br /> *An Feng安锋.(2004). 霍米·巴巴“后殖民理论研究”[D].[ Homi Bhabha’s Study on Postcolonial Theory ]. 北京语言大学Beijing Language and Culture University.<br /> <br /> *Guo Jianzhong郭建中.(1998).翻译中的文化因素:异化与归化[J].[Cultural Factors in Translation:Foreignization and Domestication].上海外国语大学学报Journal of Shanghai International Studies University (2):3-5.<br /> <br /> *Jiang Xin&amp;Jiang Yi（唐）陆羽，姜欣, 姜怡（译）. (2009).大中华文库·茶经[M]．[The Classics of Tea].湖南：湖南人民出版社Hunan People's Press．<br /> <br /> *Xie Yao 谢瑶.(2017).“一带一路”背景下中国茶文学作品的归化翻译与异化翻译[J].[Domesticating and Foreignizing Translation of Chinese Tea Literature in the Context of Belt and Road].福建茶叶Fujian Tea(2) :360-361．<br /> <br /> *Zhang Jinghua 张景华.(2009). 翻译伦理：韦努蒂翻译思想研究[M].[Ethics of Translation: A Study of Venuti's Thought on Translation]. 上海交通大学出版社Shanghai Jiao Tong University Press. <br /> <br /> *Zhang Jinlan张锦兰. (2004).目的论与翻译方法[J].[The Skopos Theory and Translation Method]. 中国科技翻译 Technology Translation in China(1):35-37.<br /> <br /> ==Study of domestication and foreignization in cross cultural translation 周罗平 Zhou Luoping==<br /> &lt;center&gt; 周罗平 Zhou Luoping,202020080670.&lt;/center&gt;<br /> <br /> ===Abstract===<br /> Language is the carrier of culture and the medium of communication between cultures. Language and culture are closely connected. Nowadays, cultural exchanges are becoming increasingly frequent; hence, it’s particularly important to use translation to convey information between different cultures. Translation is a process not only about transforming one language into another, but also about noticing the history and cultural tradition behind languages. Therefore, in cross-cultural translation, translators should master two strategies to deal with culture: domestication and foreignization. This article will introduce domestication and foreignization and explore how to use them in cross-cultural translation.<br /> <br /> ===Key words===<br /> Domestication Foreignization Cross-cultural Translation<br /> <br /> ===题目===<br /> 跨文化翻译中归化和异化研究<br /> <br /> ===摘要===<br /> 语言是文化的载体，是文化间传播和交流的媒介。语言和文化之间密不可分。在文化交流日益频繁的今天，用翻译去传递不同文化之间的信息就显得格外重要。翻译不仅仅是将一种语言转化为另一种语言，更要关注不同语言背后所承载的历史背景和文化传统，故在跨文化翻译中，译者应掌握处理文化的两种翻译方法：归化和异化。本文将系统地介绍归化和异化这两种翻译策略，并探究在跨文化翻译中如何选择使用这两种翻译策略。<br /> <br /> ===关键词===<br /> 归化 异化 跨文化翻译<br /> <br /> ===Introduction===<br /> Influenced by different geographical environment, historical development and other factors, different nations and countries form their unique culture. Translation plays an important role in cross-cultural communication. The translator as the main body of translation activities should convey the culture of one language in another language. In this process, the translator is faced with how and to what extent to show the cultural connotation of source language; therefore, the translator is bound to face the choice between domestication and foreignization.<br /> <br /> Domestication, oriented by the target language culture, aims to eliminate the strangeness brought about by the source text, but it also reduces the opportunities for the target readers to contact with foreign cultures. While foreignization, oriented by the source language culture, aims to retain the unique style and cultural characteristics of the source language, but it will increase the reading difficulty. The best way is to combine domestication with foreignization. Therefore, the translator should fully consider the type of the text and the readers of the translation and then choose the translation strategies and methods reasonably.<br /> <br /> This paper will be divided into five parts. The first part is the introduction of this paper. The second part is the introduction of domestication and foreignization, as well as a brief introduction of the representatives of domestication and foreignization. The third part is an analysis of the factors that influence the choice of domestication and foreignization. The fourth part introduces the translation methods under domestication and foreignization. The fifth part is the conclusion.<br /> <br /> ===Chapter 1 Domestication and Foreignization===<br /> The terms domestication and foreignization were first put forward by Lawrence Venuti in his work The Translator’s Invisibility. The two concepts of foreignization and domestication are defined by Venuti based on Schleiermacher’s distinction between the two different translation orientations. Schleiermacher clearly pointed out that there can be only two ways of Translating. Either by keeping the author as still as possible, so as to lead the reader to the author; the other is to keep the reader as still as possible, thereby guiding the author to approach the reader. Venuti, on the basis of Schleiermacher’s distinction, called the former foreignization and the latter domestication (Jiang 2016，146-147).<br /> <br /> ====1.1 Introduction of Domestication====<br /> According to Venuti, domestication is actually an ethnocentric practice, bringing foreign texts into the cultural values of the target language and thus bringing the author back home (Venuti 2009, 20).Therefore, in the process of translation, the translator follows the target language culture and adopts conservative methods to assimilate the original text so as to meet the needs of the target language readers. <br /> <br /> In this sense, the biggest advantage of the domestication is that it makes the translated works more easily accepted by the target language readers and that readers can better understand the connotation of the source text. In addition, domestication well reflects the coexistence of different cultures in the process of communication, and shows that translators seek common ground when facing culture differences and conflicts. Of course, every coin has two sides. Domestication translation also has its shortcomings. When translators adopt domestication, they tend to assimilate part of the original content with different language style or unique national culture, which makes the translation lose the characteristics of the original text, thus affecting the communication and spread of different cultures and hinders readers’ understanding of foreign culture.<br /> <br /> Eugene Nida is the representative figure advocating domestication. Nida’s functional equivalence theory or dynamic equivalence theory shows that he is a supporter of domesticating translation. His dynamic equivalence theory shows that he pursues the most natural equivalence translation. He once said that “dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language” (Nida &amp; Taber 2004, 24). In other words, dynamic equivalence means that the reader’s response to the translation is consistent with that of the original. Nida’s dynamic equivalence theory fully considers the reader’s language culture and the reader’s ability to appreciate the translation. Therefore, in the course of translating, the translator should take the completely natural and smooth language expression as the goal. In order to make the translation natural and smooth, the translator must make some adjustments to the original text. Some heterogeneous cultures which are not accepted by readers should be eliminated as much as possible. Nida’s dynamic equivalence theory takes the reader into full consideration. It aims to eliminate the readers’ strangeness to the original content and let readers better understand the thought and meaning of the original text, which precisely reflects the characteristics of domesticating translation.<br /> <br /> ====1.2 Introduction of Foreignization====<br /> Foreignization is an ethnodeviant practice, keeping language and cultural differences of the original texts as far as possible and thus sending the reader abroad (Venuti 2009, 20). In other words, in order to show the cultural characteristics of the source work, translators use foreignising translation to retain the characteristics of the source text and try to keep the writing techniques used by the author of the source language. Hence, for the readers of the target language, the translation is exotic and unfamiliar. <br /> <br /> Same to the domestication, foreignization also has its advantages and disadvantages. Foreignization, by transplanting the culture of the source language into the culture of the target language, enriches the culture of the target language to a great extent. For example, the Chinese phrase “武装到牙齿” is translated as “armed to the teeth”, which greatly spreads Chinese culture and enriches the English and Chinese language culture. Of course, foreignization also has its limitations. Some cultural differences and language differences are difficult to overcome. If foreignization is adopted blindly in the process of translation, there will produce some translations that readers cannot understand and accept, and translation will also lose its function of cultural communication.<br /> <br /> Schleiermacher and Venuti are strong supporters of foreignization. Schleiermacher’s preferred strategy is to accommodate the reader to the author. He claims that translations need not be same as the original author writes in the source language. The translation does not conform to the general expression habits of the target language. He believes that a translator who knows the target language can help target readers who are not proficient in the foreign language but have a strong understanding of the original text. In order to achieve this goal, the translator must adopt the foreignization translation, emphasize the value of heterogeneous culture, and ensure the faithfulness to the original text by subordinating the words in the target text to the source language (Jiang 2016, 147). In this way, the translation can be faithful to the meaning of the original text and can introduce heterogeneous cultures and concepts to readers of target language.<br /> <br /> In his book The Translator’s Invisibility, Venuti expresses his understanding and support for foreignization translation in detail. He believes that foreignization translation is a kind of translation strategy that preserves and highlights the heterogeneity of the original text in the translation. Firstly, he believes that foreignization is reflected in the selection of translation materials. He mainly aims at the classic translation of literature and culture of the target language instead of scientific translation (Venuti 2009, 42). In the process of foreignising translation, the translator chooses a foreign text which is different from the mainstream culture of the target language, which can change the cultural composition of the target language. Secondly, foreignization translation is reflected in the language used by the translator. This means that in the process of translation, the closer the language style of the translation is to the language style of the original, the more heterogeneous the readers will feel. Moreover, Venuti advocates that in the process of translation, the translator should use words that are not commonly used and non-standard. Translators should mix slang, neologism or archaic words to achieve heterogeneous effects(Venuti 2009, 35). In this way, the foreignization style of translation highlights the heterogeneity of foreign texts and challenges and resists the mainstream culture of the target language. Thirdly, foreignization translation is embodied in cultural alienation. By highlighting the cultural differences caused by language differences, foreignization translation promotes the development of cultural diversity, helps to resist the hegemony of European and American culture, and helps to promote the development of culture and language of weak and small nations (Venuti 2009, 21). Fourthly, foreignising translation highlights and enhances the status of the translator, which changes the phenomenon that the smooth translation makes the translator invisible in the past, thus promoting translation research to gradually move to the academic center (Venuti 2009, 17). Venuti elaborates that smooth translation has long occupied the mainstream position in the history of western translation, and the fluency of translation has become the standard to judge whether a translation is good or not. Venuti challenges and questions this phenomenon. The smooth translation covers up the translator’s intervention and interpretation of the original text, and covered up the language and cultural differences of the original work. Therefore, he puts forward the concept of resistant translation to expound his translation thoughts. Resistant translation refers to a translation strategy that preserves some heterogeneity in literary translation. The object of resistance is the prevailing translation thought in British and American culture, that is, fluent translation is acceptable translation. Venuti challenges the dominant position of British and American culture and introduces the idea of weak culture by advocating resistant translation. Translation is not only a process of seeking similarities between languages and cultures, but also a process of facing the differences between languages and cultures. Translators cannot completely and thoroughly eliminate these differences. Therefore, a good translation must be the blending and collision of different cultures, from which the readers can better understand and perceive cultural diversity (Jiang 2016, 169-170).<br /> <br /> ====1.3 Literal translation, free translation, domestication, and foreignization====<br /> There are a lot of discussions on the translation strategies of domestication and foreignization, and literal translation and free translation. Many people think that domestication is equal to free translation, while foreignization is equal to literal translation. I don’t think so. In this section, I will make a comparison and distinction between the two groups of translation concepts. <br /> <br /> Literal translation refers to the translation that maintains the content and style of the original text while following the norms of the target language. Literal translation starts with word to word translation (Shuttleworth &amp; Moira 2005, 129). However, due to the need to be consistent with the grammar of the target language, the final target text may also present the equivalence of phrase to phrase or clause to clause. Free translation, as opposed to literal translation, refers to the translation that reads naturally, rather than the type of translation that completely retains the wording of the source text. Free translation is usually oriented to the target language (Shuttleworth &amp; Moira 2005, 84).<br /> <br /> As mentioned before, domesticating translation covers up the differences between different cultures and weakens the strangeness of the original. The translation produced by domestication is very fluent and natural so that readers are able to read and understand the translation according to their own language expressions. Foreignising translation requires the translation to show the heterogeneity of the original text and convey the foreign cultural characteristics of the original text as far as possible so that the reader will feel a strange feeling when reading the translated text and sometimes they will have some misunderstanding or questions that are caused by exotic culture. <br /> <br /> Literal translation and free translation emphasize whether the translation is consistent with the original text in terms of language form and language style. Domestication and foreignization not only emphasizes the language level, but also pays attention to whether the values and cultural traditions conform to the expression habits of the target language countries. Additionally, it is worth mentioning that literal translation and free translation are static opposites. Whether the translation is faithful to the original is mainly seen from the linguistic unit. Domestication and foreignization is a pair of dynamic opposites (Lu 2018, 57). With the increasing frequency of cultural exchanges and the passage of time, the original foreignization will become domestication. Therefore, we cannot easily equate literal translation with foreignization, nor can we equate free translation with domestication.<br /> <br /> ===Chapter 2 Factors influencing the choice of domestication and foreignization===<br /> In cross-cultural translation, translators are always faced with the choice of domestication and foreignization. Then, how does the translator make a choice? This chapter will explore some factors that influence the choice of translation strategies of domestication and foreignization, and then discuss when to domesticate and when to foreignize the text.<br /> <br /> ====2.1 The type of the text==== <br /> Different text has its own function. When dealing with different kinds of texts, translators should choose different translation strategies to translate text and to better show the function of the text. Newmark, a famous translator, divides text into three types according to its content and style: expressive function, informational function, and vocative function.<br /> <br /> Expressive text mainly has literary value or shows the author’s unique writing style, including some serious literary works, such as some serious imaginative literature, authoritative statements and some literary works like personal letters, autobiography, and essay (Newmark 2001, 39). Expressive text emphasizes the expressive function of language. This kind of the text takes the authority of the original author into consideration and pays less attention to readers’ responses. Compared with other types of texts, expressive texts use artistic and beautiful language, with the purpose of creating artistic images, so that readers can be inspired and moved by the language in the process of reading (Wang 2008, 138). The characteristics of expressive texts require translators to translate not only meaning, but also the emotion in the process of translation, so as to reproduce the artistic characteristics of the original text to the greatest extent and make readers feel the artistic charm of the source text when reading the translated text. Therefore, the linguistic features and purposes of expressive texts require translators to use foreignization as much as possible to reflect the exotic flavor of the source language and reproduce the artistic features of the source text.<br /> <br /> Informative text is mainly to convey the original information to readers truthfully and smoothly, mainly including technical reports, articles in newspapers or periodical, general teaching materials, product descriptions and other text whose content is more important than form (Newmark 2001, 40). This kind of text is created without author’s personal emotion and its main function is to lead readers to know and understand information. These characteristics require translators to focus on the content of the text and uses simple or clear expression as far as possible to convey the content so that readers can fully accept the meaning; therefore, it’s better to use domestication as much as possible to reproduce the content of the original text instead of sticking to the language styles. <br /> <br /> Vocative text is mainly to call readers to take action, to think, and to make reaction, including notice, instruction, and advertisement. This type of text emphasizes the infective function of the language and it takes readers as center (Newmark 2001, 41). Vocative text emphasizes the readability of the text and the acceptability of the reader (Wang 2008, 139). It is necessary to put the readers of the target language in the first place and take their culture and receptivity into consideration, so that they can clearly get the information; therefore, when translating such texts, translators should grasp the cultural differences between different languages and put the cultural habits of target readers in the first place. Only in this way can readers truly think, feel, and act. Additionally, in the course of translation, translators should give full play to the linguistic advantages of the target language and should not be limited to the expression of the original text, so as to achieve the same effect as the original language as far as possible.<br /> <br /> According to Newmark, the division of text is not absolute, and most texts have all three functions at the same time with one or two of them dominate (Newmark 2001, 42). Hence, in the actual translation, domestication and foreignization should be combined. Domestication and foreignization are not always antithetical; on the contrary, they complement each other. When choosing foreignising translation strategy, the translator should pay attention to the smoothness and understandability of the target text. When choosing the domestication translation strategy, the translator should also pay attention not to lose the flavor and style of the original text. During translating, to a certain extent, the translator has freedom so the translator should give full play to the advantages of the two translation strategies. The translator can adopt domesticating translation to familiarize language expression and use foreignising translation to keep cultural elements.<br /> <br /> ====2.2 Readers of the target language====<br /> The translator choosing which translation strategy is not only influenced by the type of text, but also by the target readers. Reader is an important factor influencing the choice of domestication and foreignization so translator should take readers’ age, gender and educational level in the consideration in the course of translation. <br /> <br /> The translation under the domestication strategy is smooth and natural and it’s easier to be accepted by readers. Therefore, if the target readers of the translated text are young children or readers with low education level, the translator can use the domestication strategy more when translating, so that the readers can understand and accept the information of the translated text. However, the translation under the foreignization strategy aims at revealing the heterogeneity of the source culture, spreading foreign culture, and preserving the unique expression and original flavor of the original text. Such a translation may be awkward and difficult to understand. If the readers of the target text are highly educated, highly receptive, or have a certain understanding and cognition of the culture of the source language, the translator can use the foreignization strategy to show the style of the source text, so that the readers can better understand the foreign culture and broaden their horizon (Zhang &amp; Wang 2007, 147).<br /> <br /> Generally speaking, most works have a specific audience for reading. Different groups of readers have their own characteristics and different levels of comprehension; therefore, translators should take the factor of readers into consideration to choose domestication strategy or foreignization strategy in the actual translation. <br /> <br /> ===Chapter 3 The application of translation methods in domestication and foreignization===<br /> In cross-cultural translation, translating culturally-loaded expressions is difficult. Choosing appropriate ways to translate culturally-loaded expressions will not only keep the original favor, but also make readers of target language understand so in this part I will introduce some methods to translate culturally-loaded expressions under the domestication and foreignization strategy.<br /> <br /> ====3.1 Introduction of culturally-loaded expressions====<br /> Culturally-loaded words refer to words with certain cultural background or profound cultural implication, including proverbs, allusions, special characters’ names and current idioms and idioms that have been deposited in a certain historical stage (Fang 2011, 297). As culturally-loaded words have their own uniqueness, the following principles should be followed in the translation of culture-loaded words. According to Wang Zhenqi, first, the key implied meaning of the expression in the source text should be converted into non-implied meaning in translation. Second, the representation of the lexical meaning of the source language should be given priority to the representation of the form. Third, the context of the source words should be taken into full consideration in the choice of translation (Wang 2014, 97). Then, in the translation of such words, the translator takes cultural exchange as the purpose, evaluates the readers’ cultural reception and perceptivity, and adopts flexible and appropriate translation methods, so as to ensure that the translated text not only retains the cultural information and cultural color of the original text, but also has readability. There are different ways of translating culturally-loaded words because of their different forms and cultural meanings.<br /> <br /> ====3.2 Translation methods under the domestication strategy====<br /> Under the domestication translation strategy, there are three main methods to translate culturally-loaded expressions, namely: free translation, cultural substitution, and simplification.<br /> <br /> Free translation is a common way in translating culturally-loaded words. Free translation is to translate the cultural information in the source text as much as possible. If the translator only conveys literal meanings of the words that are rich in cultural information, sometimes they will confuse and even misunderstand readers. In order to better convey the meaning of the original text, the translator adopts free translation method to translate the real connotation of culturally-loaded words, fill the gap in the readers’ culture, and let readers understand the text more naturally and smoothly (Wang 2014, 98). For example, some color words in Chinese have lots of different symbolic meanings. The color purple in Chinese culture represents the spirit of saints and emperors, which is maybe unfamiliar to readers of other cultures. Hence, when translating the term “紫禁城”，in order to eliminate misunderstanding, the translator tends to adopt free translation to translate it as “the forbidden city” which shows its cultural meaning. <br /> <br /> In cross-cultural translation, the translator may face such difficulty that there is no corresponding word in the target language equaling to the culturally-loaded word in the source language. In this case, cultural substitution is a good choice. Cultural substitution, put forward by Beekman and Callow, is a method of dealing with things that exist in the source language but do not exist in the target language. It is defined as using things in target language to replace the things in source language culture that is unknown to readers of target language. In order to maintain the functional meanings, both things have the same function. There are three points to note when using. Firstly, do not replace history with didactic words; secondly, choose the one that suits best and not just the one with the most obvious function; thirdly, avoid functional conflicts between source language and target language(Fang 2011,104). For example, in order to let readers of target language better feel and understand the love of Romeo and Juliet, we will use cultural substitution methods and translate it into the love between Liang Shanbo and Zhu Yingtai, which eliminates the unfamiliarity of the cultural image in the source language and is the representation of domestication. Using the cultural images in the target culture, the translator enables the target readers to understand the foreign culture on the basis of their own culture, thus strengthening the understanding between different cultures.<br /> <br /> Simplication is also a good way to deal with culturally-loaded expressions translation. According to Wang, simplified translation is to translate the core meaning of culture-loaded words in the source language into a simple and clear target language. In cross-cultural translation, the translator may encounter such a situation when the long-winded concept of the original text can be simply expressed in the target language, such as using idiom, and such a translation is more acceptable to the target language readers. Therefore, it is very effective to use simplified translation which not only preserves the core concept of the original text, but also makes the translation acceptable (Wang 2014, 98).<br /> <br /> Free translation, cultural substitution and simplication are all translation methods to eliminate the strangeness caused by culturally-loaded words in the source language text and avoid readers’ confusion or misunderstanding. These domesticated text translation methods facilitate readers’ reading, better ensure that readers correctly understand the content of the source language text and experience the emotion of the source language text.<br /> <br /> ====3.3 Translation methods under the foreignization strategy====<br /> Under the foreignization translation strategy, there are five main methods to translate culturally-loaded words, namely: literal translation, literal translation plus annotation, transliteration, transliteration plus annotation, and cultural borrowing.<br /> <br /> Literal translation is loyal to the meaning and structure of the source text, directly translating the source language into the target language (Fang 2011, 104). With the increasingly frequent cultural exchanges, some loaded words and expressions have gradually become familiar to people. For example, the proverb “All roads lead to Rome” is directly translated as “条条大路通罗马” . “A near friend is better than a far-dwelling kinsman” is translated as “远亲不如近邻”. These culturally-loaded expressions are directly translated into the target language and Chinese readers can clearly understand the meanings.<br /> <br /> However, when literal translation can’t fully convey the original cultural information and readers have difficulty perceiving the meaning, the translator can add some annotation to explain the meaning of the culturally-loaded words on the basis of the literal translation (Wang 2014, 98). Annotations can be used to supplement background information, cultural traditions and other information for readers to understand. For example, the sentence “Now he was his valet, his dog, his man Friday” is translated as “如今他便成了他的听差，他的狗，他的忠仆星期五（星期五Friday是《鲁滨逊漂流记》中Robinson Crusoe的忠实奴仆）” . By adding the supplementary information, readers will know the meaning of this sentence clearly. Hence, for one thing, the translation preserves the original culture and promotes the communication between different cultures as well; for another, the readers of target language can better understand the cultural connotation and broaden their knowledge.<br /> <br /> Transliteration is a good and common way to translate culturally-loaded expressions. It uses letter symbols to represent letter symbols in another language system. When there is a big difference between the source language and the target language and there is a semantic gap, it is impossible to translate the semantic meaning (Fang 2011, 105). In this case, transliteration is the main translation method. The objects of transliteration are the names of people, places and newly generated terms. For instance, a city of America “Mount Pleasant” is translated as “芒特普莱森特” in Chinese. The Chinese Taoist thought “阴”and “阳” are translated as “Yin” and “Yang.” Through transliteration, readers of the target language can not only gain some understanding of the cultural knowledge of the source language, but also introduce new cultural concepts into the culture of the target language.<br /> <br /> Transliteration plus annotation is also often used in the translation of specific cultural words. The translator can add some annotation that can be in-text annotation or extra-text annotation to explain the meaning of the culturally-loaded words on the basis of the transliteration(Fang 2011, 105), so as to achieve the purpose of cultural information transmission. For example, the sentence “Like a son of Bacchus, he can drink up two battles of whisky at a breath” is translated as “他简直像巴克斯（巴克斯是古希腊神话中的酒神）的儿子，能一口气喝光两瓶威士忌”. The annotation gives a clear explanation of the connotation of culturally-loaded words. <br /> <br /> Cultural borrowing refers to some words in the source language, which can only be transferred into the target language word by word according to the literal meaning because no appropriate corresponding language can be found in the target language. The borrowed words may be unchanged or slightly altered, but their meaning must be clear and unmistakable in the target language text (Fang 2011, 304). For example, “as timid as a rabbit” can be translated as “胆小如兔”in Chinese. By cultural borrowing, this translation preserves the emotional image and cultural connotation of source language and the readers of target language can figure out the meaning of this expression. Therefore, when using cultural borrowing, the translator should not only keep the cultural image in source text but also let the reader of target language understand the image with exotic connotation.<br /> <br /> On the basis of preserving the culture and keeping the flavor of the original text, these five translation methods try their best to make readers understand the culture of the source language so as to let readers perceive the beauty of foreign culture and to introduce new expressions into target language.<br /> <br /> ===Conclusion=== <br /> Translation is an activity of communication between different languages and cultures. Different nations and countries have different ways of language expression because of their different cultures. In cross-cultural translation, translators should not only take on the responsibility of transmitting the source language culture and promoting the communication between different cultures, but also take the responsibility of making the target readers understand the connotation of the text, so as to make the translation readable and acceptable. This requires the translator to master the two translation strategies of domestication and foreignization, and grasp the balance between them.<br /> <br /> Domestication is helpful for the target language readers to understand the original text and avoid the obstacles caused by cultural differences; however, the translation approach to the readers’ language and culture will inevitably lose language features and cultural customs of the original text. Foreignization translation retains the expression habits and cultural characteristics of the source language, but is easy to increase the understanding difficulty of the target language readers, and may even cause misreading of the target language readers. With the frequent cultural exchanges, to some degree, people around the world are relatively familiar with each other’s cultural customs; therefore, on the premise that the target readers have no misunderstanding of the original text, the foreignization translation strategy can be appropriately adopted, which can enrich the target language culture and broaden the horizon of the target readers. <br /> <br /> Hence, in cross-cultural translation, translators had to deal with the problems of domestication and foreignization. Translators should consider some factors that influence the choice and choose appropriate translation methods to make domestication and foreignization complement each other, and retain the original flavor of the original text while ensuring the understanding of the target readers.<br /> <br /> ===References===<br /> *Fang Mengzhi方梦之.(2011)中国译学大辞典[A Dictionary of Translation Studies in China]. 上海外语教育出版社Shanghai Foreign Language Education Press.<br /> *Jiang Tong蒋童.(2016).韦努蒂翻译理论的谱系学研究[Genealogical study on Lawrence Venuti’s translation theory].商务印书馆The Commercial Press.<br /> *Lu Xiaojun 陆晓君. (2018) 归化和异化与直译和意译的比较[A Comparison between domestication and foreignization and literal translation and free translation]. 齐齐哈尔师范高等专科学校学报[Journal of Qiqihar Junior Teachers’ College](05) 55-57.<br /> *Newmark, P. (2011) A Textbook of Translation. Shanghai Foreign Language Education Press.<br /> *Nida, E.A. &amp; Taber C.R. (2004) The Theory and Practice of Translation. Shanghai Foreign Language Education Press.<br /> *Shuttleworth, M. &amp; Moira, C. (2005) Dictionary of Translation Studies.谭载喜译Translated by Tan Zaixi. Foreign Language Teaching and Research Press.<br /> *Venuti, L. (2009) The Translator’s Invisibility. 张景华译Translated by Zhang Jinghua. 外语教育与研究出版社Foreign Language Teaching and Research Press.<br /> *Wang Chan王婵.(2008). 纽马克翻译理论在不同文本类型中的体现[The Embodiment of Newmark’s translation in different text types].湖北师范学院学报（哲学社会科学版）Journal of Hubei Normal University(Philosophy and Social Science) (02) 138-140.<br /> *Wang Zhenqi王溱琪.(2014).文化负载词翻译方法浅议[A brief discussion on culturally-loaded word translation method ].长江大学学报(社科版)Journal of Yangtze University (Social Science) (01) 97-98.<br /> *Zhang Siyong &amp;Wang Huimin张思永,王慧敏. (2007). 归化还是异化——谈影响翻译策略选择的若干因素 [Domestication or foreignization-an analysis of factors influencing the choice of translation strategy].广西社会科学 Guangxi Social Science (10):145-148.<br /> <br /> ==The Application of Domestication and Foreignization in the Translation of Chinese Xiehouyu 龚钰冕 Gong Yumian==<br /> &lt;center&gt; 龚钰冕 Gong Yumian,202020080601.&lt;/center&gt; <br /> <br /> ==='''Abstract'''=== <br /> Chinese Xiehouyu is a unique part of Chinese folk culture, and people are familiar with it. The translation of Chinese Xiehouyu is a kind of cross-cultural communication activity that spreads the Chinese national language and culture to the English world. In depth study of the connotation and translation methods of Chinese Xiehouyu has played a significant role in promoting and improving the Chinese-English translation and cross-cultural communication between Chinese and English. Based on the theory of domestication and foreignization, this paper attempts to analyze the types and components of Chinese Xiehouyu, and to explore their translation strategies.<br /> <br /> ==='''摘要'''===<br /> 汉语歇后语是中国民俗文化特有的一部分，人们耳熟能详。汉英歇后语翻译是一种将中华民族语言文化传播到英语世界的跨文化交流活动，深入学习研究汉语歇后语的内涵和翻译方法，对汉英语言的互译和跨文化交际都起到了很好的促进和提高作用。本文试图用归化和异化理论出发，分析汉语歇后语的类型及其构成，探讨汉语歇后语的翻译策略。<br /> <br /> ==='''Key words'''=== <br /> Chinese Xiehouyu, domestication and foreignization, translation strategy<br /> <br /> ==='''关键词'''===<br /> 汉语歇后语；归化和异化；翻译策略<br /> <br /> ==='''Introduction'''===<br /> Chinese Xiehouyu is a unique language form in Chinese idioms, which is full of cultural connotation and has a special structural form. It has the characteristics of vivid and humorous language, rich in philosophy and enlightenment, which is widely spread and loved by the Chinese people. Chinese Xiehouyu is not only widely used in spoken language of all social strata, but also can be seen everywhere in classical and modern literary works and articles. However, as a unique language form in Chinese, it is difficult to find the corresponding expression in other languages. Therefore, it has become a difficulty in the translation of Chinese idioms, which is undoubtedly a great challenge to the translator. <br /> <br /> The strategies of domestication and foreignization play an important role in translation. Besides, the correct application of domestication and foreignization in translating Chinese Xiehouyu will appropriately and vividly introduce China's history and culture to foreign people to promote cultural exchanges. Therefore, this paper attempts to analyze the types and components of Chinese Xiehouyu, analyze the connotations of domestication and foreignization, and explore the translation methods of Chinese Xiehouyu with many examples.<br /> <br /> ===Chapter 1 The Definition of Chinese Xiehouyu===<br /> <br /> ====1.1 The Origin of Chinese Xiehouyu====<br /> Chinese Xiehouyu is also called allegorical saying, witticism, abbreviation, quotation and so on. When it comes to Xiehouyu, Chinese people are familiar with it, because it is a form of expression that Chinese people have learned since childhood. When studying the origin of Chinese Xiehouyu, some linguists and linguistic works also mentioned other related names. For example, Chen Wangdao (1932) included Xiehouyu in the section of &quot;Cutting and Shortening Words&quot; in his ''The Main Ideas of The Rhetoric''.<br /> <br /> Guo Shaoyu (1925) pointed out that Xiehouyu originated from &quot;shefu&quot; (a form similar to guessing riddles) in his book ''A Study of Proverbs''; and names such as &quot;riddle&quot;, &quot;proverb&quot;, &quot;abbreviation&quot;, &quot;idiom&quot;, &quot;witticism&quot; were listed in other books. By comparison, most of them reveal some similarities and differences. Let's briefly review the origin of the name &quot;Xiehouyu&quot;.<br /> <br /> The name &quot;xiehou&quot; was first found in the biography of Zheng fan in Tang Dynasty, and it is mentioned in the book that &quot;the style of Zheng Wu Xiehou&quot; (a kind of poem with the style of &quot;xiehou&quot;). The word &quot;Xiehouyu&quot; has appeared for a long time, but what the ancients said refers to the ppoetry or a word game about Xiehouyu. The Xiehouyu, which we are talking about today, was called &quot;Qiaoyu&quot;, &quot;Fangyu&quot; and &quot;Shiyu&quot; by the ancients and were more commonly known as &quot;Yaoyan&quot;. （Miregu Aimaiti, 2014, 5）<br /> <br /> At the beginning of the 20th century, Bai Qiming took Xiehouyu as a kind of folk literature and art after the publication of his article &quot;''Xiehouyu Which Should Be Included in The Collection of Songs'' &quot;. He pointed out that Xiehouyu, also known as &quot;argot&quot;, was called &quot; wind typeface &quot; in Tang Dynasty and &quot;Kaner&quot; or &quot;Kanzi&quot; in custom. However, he did not explain why he called it &quot;Xiehouyu&quot; in his article.<br /> <br /> In the 1930s, Chen Wangdao pointed out in his book &quot; ''The Main Ideas of The Rhetoric''&quot; that Xiehouyu has two meanings: one is &quot;Xiehouyu&quot; used by the ancients, also known as &quot;cutting and shortening words of Xiehouyu&quot;; the other is &quot;Xiehouyu&quot; that people use today, also referred as “Pijieyu”, that is, the Xiehouyu composed of interpretation.<br /> <br /> In the 1950s, Mao Dun pointed out that in order to distinguish it from the &quot;original or formal xiehouyu&quot;, a different name should be given to the Xiehouyu that people use today, but he did not specify what name to use instead. In the 1980s, from the perspective of academic research, Wen Duanzheng thought that the academic name should reflect the essential characteristics of the things referred to, agreed with Mao Dun's opinion, and concluded that Xiehouyu did not express the meaning of &quot;xiehou&quot; in Chinese through a large number of examples. Therefore, he suggested that the Xiehouyu should be renamed as &quot;quotations&quot; according to the relationship between the former and latter parts of the Xiehouyu. <br /> <br /> However, most scholars believe that the name of Xiehouyu has been accepted by people and it is difficult to change it. Therefore, they advocate that the name &quot;Xiehouyu&quot; should still be used without any change. （Miregu Aimaiti, 2014, 6）<br /> <br /> ====1.2 The Structure of Chinese Xiehouyu====<br /> Chinese Xiehouyu can be literally translated into &quot;rest ending sayings&quot; or &quot;post-pause expressions&quot;. According to its structure, it is also translated as &quot;example-explanation-sayings&quot;. In 1986, Professor Luo Shenghao, a linguistic professor at the University of Illinois at Chicago, translated the Chinese Xiehouyu into &quot;enigmatic folk similes&quot; in his book ''A Dictionary of Chinese Xiehouyu''. <br /> <br /> According to professor Luo, &quot;Similes&quot; refers to the Chinese Xiehouyu which is generally composed of vehicle and tenor. The vehicle are figurative metaphors. The tenor is the explanation of the vehicle to show its essential significance. For example, “粪坑里的石头——又臭又硬” (The stone in the cesspit —— smelly and hard.). &quot;Folk&quot; indicates that the Xiehouyu is originated from the folk and is used more frequently in daily spoken language. &quot;Enigmatic&quot; indicates that this kind of expression has the nature and characteristics of riddles which also have two parts: the tenor and the vehicle. Therefore, &quot;enigmatic Folk Similes&quot; basically reflects the special structure and essential characteristics of Chinese Xiehouyu. (Qi Dehui, 2011, 110)<br /> <br /> ====1.3 The Definition of Chinese Xiehouyu====<br /> Xiehouyu has very distinct characteristics, and its external structure is composed of two parts. The former part is the image and descriptive language, which tells a thing, a modality, an object, a scene and so on, while the latter part is a summary and abstract language, which is the explanation of the former part. The combination of the former part and the latter part produces a sense of witty and humor to express meaning. Therefore, the fixed phrase is called Xiehouyu. (Bao Huinan &amp; Bao Ang, 2000, 64)<br /> <br /> In the dictionary, the explanation of Xiehouyu is that a sentence composed of two parts: the former part is like the riddle, the latter part is like the answer of riddle, and the original meaning is from the latter part. For example, “泥菩萨过江——自身难保”(like a clay idol fording a river, hardly able to save oneself(let alone anyone else)). Therefore, Xiehouyu is a kind of idiom with relatively fixed structure and oral characteristics, which is composed of two parts with the relationship of citation and annotation. （Miregu Aimaiti, 2014, 5）<br /> <br /> ''An Unabridged, Comprehensive Dictionary''defines Xiehouyu as follows: Xiehouyu is a kind of idiom, which is humorous and vivid sentences that are familiar to the masses. When used, it can omit the latter part, and the former part can show the meaning, such as &quot;丢了西瓜捡芝麻&quot; (lose the watermelon and pick up the sesame) can mean &quot;因小失大&quot; (keep the tail from wagging the dog); the former and latter part can also be juxtaposed, such as &quot;芝麻开花—节节高&quot; (A sesame stalk puts forth blossoms notch by notch, higher and higher – rising steadily). (Liu Na, 2016, 18)<br /> <br /> The definition points out the nature and components of Xiehouyu. In the branches of linguistics, Xiehouyu belongs to the National Cultural Connotation (NCC), which is composed of the former part and the latter part. The former part often explains and describes a kind of life phenomenon, and the latter part makes comments and analysis on this phenomenon. （Miregu Aimaiti, 2014, 6）<br /> <br /> In the section of language and characters in the ''Chinese Encyclopedia'', Xiehouyu refers to the humorous utterance formed by deliberately missing one word or half sentence of a commonly used word when speaking. There are usually two kind of Xiehouyu. The first one is the original meaning of Xiehouyu, referred to the omission of the last word of an idiom, which is also called &quot;abbreviation&quot;. （Miregu Aimaiti, 2014, 6）<br /> <br /> The second one is allegorical sayings that are expanded its meaning. The two-part allegorical sayings in Beijing are called witticism, which means that the last half of a sentence can be omitted. For example, &quot;竹篮打水（Ladling water with a wicker backet）&quot; omits the latter part &quot;一场空（all is empty）&quot;. Sometimes homonyms are used. Such as &quot;外甥打灯笼一一照旧（舅）(Things seemed to be the same as before)&quot;. In this sentence, “旧” and “舅” are homophones in China. (Yang Peigen &amp; Li Yanlin，2006，93)<br /> <br /> In short, Xiehouyu is a special language form created by the Chinese people in their daily life. It is a short, funny and vivid sentence and composed of two parts: the former part plays the role of introduction, like a riddle, and the latter part plays the role of supplement, like the answer of riddle, which is very natural and appropriate. In a certain language environment, one usually says the former part and omit the latter part, the other can understand and guess its original meaning, so this language form is called Xiehouyu.（Miregu Aimaiti, 2014, 7）<br /> <br /> ====1.4 The Importance of Chinese Xiehouyu Translation====<br /> Xiehouyu is a kind of Chinese idioms, which reflects people's daily life and experience, and is a concise summary and warning of people's experience in life. It has rich ideological connotation and unique cultural characteristics. However, from the perspective of translation, as a unique language phenomenon in Chinese, it is difficult to find the corresponding expression in other languages. Therefore, it has become a difficulty in the translation of Chinese Xiehouyu, which is undoubtedly a great challenge to the translator. (Xu Yanan &amp; Zeng Xianmo, 2020, 249)<br /> <br /> There are similar forms of Chinese Xiehouyu in English, but so far, there is no official definition corresponding to Chinese Xiehouyu. How to reproduce the language style of Xiehouyu and convey its rich cultural connotation is a subject worthy of discussion and research. At the same time, the translation of Xiehouyu helps the world to understand China and Chinese culture, which is conducive to the wide spread of Chinese culture. (Xu Yanan &amp; Zeng Xianmo, 2020, 249)<br /> <br /> From the perspective of linguistics, the most differences are that Chinese is a parataxis language while English hypotaxis. Chinese belongs to the Chinese-Tibet language, while English belongs to the Indo-European language; Chinese is a parataxis language while English hypotaxis. In English, the arranging of clauses one after the other without connectives showing the relation between them, for example, the rain fell; the river flooded; the house washed away. In Chinese, the dependent or subordinate construction or relationship of clauses with connectives, for example, I shall despair if you don’t come. (Lian Shuneng, 1993，48-49)<br /> <br /> Therefore, interlingual conversion occurs in the process of translation, which it is of great value in translation. In the process of translating Chinese Xiehouyu into English, it is necessary to faithfully reproduce the meaning of the source language by integrating language, cognition, culture, communication and other factors. The form and meaning of Chinese idioms are not completely coincident, which is fully reflected in the literal meaning and implied meaning of Xiehouyu. For foreigners, being familiar with and understanding Xiehouyu can strengthen their mastery of Chinese and deepen their understanding of Chinese culture and civilization. (Liu Na, 2016, 18)<br /> <br /> ===Chapter 2 Types of Chinese Xiehouyu===<br /> According to the connection between the two parts of the Chinese Xiehouyu, it can be roughly divided into two types: metaphorical Xiehouyu and paronomasia Xiehouyu. (Qi Dehui,2011,110)<br /> <br /> ====2.1 Metaphorical Xiehouyu====<br /> There are numerous metaphorical Xiehouyu. The former part implies a metaphorical meaning and the latter part original meaning. Their internal connections are very clear and logical.<br /> <br /> For example, <br /> （1）那个宝玉是个丈八的灯台——照见人家，照不见自己的，只知嫌人家脏。这是他的房子，由着你们糟蹋。 (As for Baoyu, he is like a ten-foot lamp-stand that sheds light on others but none on it-self. He complains that other people are dirty, yet leaves you to turn his own rooms topsy-turvy.)<br /> <br /> It can be seen that in the first example, the vehicle is literally translated, while the tenor is translated with interpretation, explaining the former part. Literal translation with interpretation not only retains the figurative image of the original language, but also effectively conveys its cultural connotation, which is clear to the target readers.(Qi Dehui,2011,110)<br /> <br /> ====2.2 Paronomasia Xiehouyu====<br /> The paronomasia Xiehouyu has a great proportion in Chinese Xiehouyu. The latter part of the paronomasia Xiehouyu is a pun, which has both the surface meaning of the vehicle and other deep meaning. In other words, the literal meaning is to explain the former part, but its deep meaning expresses a completely different meaning from the whole context. (Jin Huikang, 2004, 132)<br /> <br /> For example,<br /> (2)一根筷子吃藕——挑眼(Eating lily root with only one chopstick——picking it up by the holes.) <br /> In the second example, “pick holes” means to find one’s faults, while the meaning of its vehicle is to pick the whole in lotus root slices with a chopstick.(Ling Li, 2004, 452)<br /> <br /> (3) 三九天的萝卜——冻了心（动了心）(A mid-winter turnip（in the third period of nine days after the winter solstice）—— the heart is frozen（affected in heart）.)<br /> In the third example, the surface meaning of “the heart is frozen” is that the turnip in a mind winter is completely frozen from the root, and the root is a symbol of heart. Moreover, “冻了心”and“动了心”in Chinese are homophones, which becomes a pun.(Qi Dehui,2011,111)<br /> <br /> ===Chapter 3 Domestication and Foreignization===<br /> <br /> ====3.1 Definition Of Domestication and Foreignization====<br /> The terms of domestication and foreignization were first put forward by German philosopher Friedrich Daniel Ernst Schleiermacher. He proposed his famous notion of the translation which “leaves the reader in peace, as much as possible, and moves the author towards him” (Venuti, 1995,19-20). Later, this term was introduced into the field of translation by Lawrence Venuti, an American translation theorist. He referred to the first method proposed by Schleiermacher as &quot;domestication&quot;, and the second method as &quot;foreignization&quot;. In a word, domestication is s term used by Venuti (1995) to designate the type of translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. （Mark Shuttleworth &amp; Moira Cowie, 2004, 43-44）<br /> <br /> Then, foreignization is a term used by Venuti (1995) to designate the type of translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (Mark Shuttleworth &amp; Moira Cowie, 2004, 59）Eugene A. Nida, the advocator of the theory, put forward in his linguistic theory of functional equivalence that &quot;cultural equivalence can be achieved by excluding linguistic differences.&quot;<br /> <br /> Qian Zhongshu, a famous writer and translator in China, once put forward the theory of &quot;sublimation&quot; in ''The Translation of Linshu'', which means that the translation should not only accord with language expression custom of the target language, but also keep the style of the original work. Substantially, theory of sublimation requires translators to comprehensive the meaning of the original work and to consider the factors of semantic relation, style, cultural differences and information transfer effect etc., and then translators should translate selectively. <br /> <br /> On the contrary, &quot;foreignization&quot; requires the translator to approach the author and express the meaning of the original text with the expressions commonly used by people. During the period of the New Culture Movement in China, Lu Xun, the advocator of the theory, once put forward the translation method of &quot;domestication&quot;, which brought a western style to the works. (Liu Xiaocen, 2017, 99)<br /> <br /> In conclusion, domestication is to localize the source language, take the target language or the target language readers as the destination, and adopt the expression methods that the target language readers are used to convey the content of the original text. Domestication requires the translator to approach the target language readers, and the translator must speak like the native author. If the original author wants to have a direct dialogue with the readers, the translated text must become a native language. Domestication translation helps readers understand the translation better and enhance the readability and appreciation of the translation. (Nie Xiaohua, 2002, 3)<br /> <br /> On the contrary, Foreignization means that the translator should try his best not to disturb the author and let the readers approach the author. In translation, it is to accommodate the language characteristics of foreign culture, absorb foreign language expression, and require the translator to approach the author and adopt the source language expression corresponding to the author to convey the content of the original text, that is, to take the target culture as the destination. The purpose of using foreignization strategy is to consider the differences of national culture, preserve and reflect the characteristics of foreign nationality and language style, and to retain the exotic sentiment for the target readers. (Nie Xiaohua, 2002, 3)<br /> <br /> ====3.2 Dialectical Analysis of Domestication and Foreignization====<br /> Domestication and foreignization have a great difference which is the former requires that the text is close to the reader, while the latter requires that the text is close to the author. Some scholars believe that domestication and foreignization, no matter which one is adopted, must be applied in the whole translation text, and cannot be confused. However, in the actual practice of translation, we can't really do that. Translation requires us to faithfully reproduce the thoughts and styles of the author of the original text, which are full of strong foreign style, so it is necessary to adopt the method of foreignization. (Xu Yanan &amp; Zeng Xianmo, 2020, 249)<br /> <br /> However, at the same time, the translation should also take into account the readers' understanding and the fluency of the original text, so it is necessary to adopt the method domestication. It is not advisable to choose one strategy and completely exclude the other. Each of them has its own advantages and disadvantages, so it cannot achieve the ultimate goal of translation with only one of them. (Xiao Luan &amp; Feng Xuehua, 2011，65)<br /> <br /> In translation, we are always faced with the choice of foreignization and domestication, so that the translation can find a middle point between being close to the reader and being close to the author, but the &quot;middle point&quot; is not fixed. Sometimes the translated text is closer to the author and sometimes closer to the reader. However, no matter which side it is close to, it should follow a principle: when being close to the author, the translation should not be too far away from the reader; when being close to the reader, it should not be too far away from the author. (Xiao Luan &amp; Feng Xuehua, 2011，66)<br /> <br /> In other words, foreignization should not hinder the smoothness and understandability of the translated text, and domestication does not lose the style of the original text. At the same time, we should adhere to the domestication strategy for the language form, while foreignization for cultural factors in the original text. In this way, the translated text can combine the advantages of the two strategies and avoid their disadvantages, so that they can achieve common development. Therefore, during the actual translation process, domestication and foreignization should complement each other and the more appropriate translated text can be produced. (Liu Xiaocen，2017，99)<br /> <br /> ===Chapter 4 The Application of Domestication and Foreignization in the Translation of Chinese Xiehouyu===<br /> There are always contradictions and disputes between foreignization and domestication in the translation of Chinese xiehouyu. There is a great deal of debate in the field of translation about whether to use foreignization to take the culture of source language as the destination and retain the characteristics of the foreign text, or to use domestication to take the culture of target language as the destination and conform to the characteristics of the target language.（Qi Dehui,2011,110）<br /> <br /> For example, “ 三 个 臭 皮 匠 —— 顶一 个 诸 葛 亮 ”. Some translate it into “Two heads are better than one.” Others translate it into “Three cobblers with their wits combined together equal Zhuge Liang， the master mind.” The first translation is obviously to adopt a domesticated strategy, which conforms to the English expression. It is easy for native English speakers to understand and accept, and it is easy to read. However, the disadvantage is that one (head) in the sentence is not exactly referred as Zhuge Liang in the Chinese Xiehouyu. In Chinese culture, Zhuge Liang was an intelligent man, while one (head) was just an ordinary person. （Qi Dehui,2011,111）<br /> <br /> The second translation version adopts foreignization, which retains the characteristics of Chinese, so that readers from English-speaking countries can understand the connotation of Chinese culture from the translation and promote cultural exchanges. But how do readers in English speaking countries feel when they read such articles? how can cultural exchanges be promoted if it is difficult for readers to understand and lose interest in reading? And when readers see the translation, they can't understand that it is an idiom in Chinese which is humorous, catchy and well-known, and the meaning of the Chinese source language is lost. （Qi Dehui,2011,111）<br /> <br /> For example,<br /> （4）那胡正卿心头 “十五个吊桶打水——七上八下” Hu Chengching was very much upset by this and his heart was beating like fifteen buckets being hurriedly lowered into a well for water——eight going down while seven coming up. <br /> （5）他这一阵，心头如同十五个吊桶打水——七上八下，老是宁静不下来。His mind was in turmoil these days and he was quite unable to think straight. <br /> <br /> The fourth example uses foreignization to retain the two images of &quot;fifteen buckets&quot; and &quot;seven up and eight down&quot;; the fifth example uses domestication, abandons the image of the original text, and directly translates it into a more native phrase &quot;in turmoil&quot;. Should foreignization or domestication be adopted in the translation of Chinese Xiehouyu? When do translators use foreignization and when do they use domestication? It depends on the purpose of translation, the characteristics of the translated works and the readers the works are facing with. &quot;If the purpose is to convey culture and let English readers understand and learn Chinese culture, foreignization should be adopted&quot; (Huan Yahui, 2004, 118).<br /> <br /> For example, the Chinese English Dictionary of Xiehouyu compiled by Guo Zhuzhang and Luo Shenghao, and 100 Xiehouyu translated by Jia Cen are designed to let English readers understand and learn Chinese culture, so they mostly adopt the strategy of foreignization. Foreignization can also be used if the features and images of the source language are retained in translation, which will not affect the communication of information and conform to the language usage of the target language (Huan Yahui, 2004, 119).<br /> <br /> For example,<br /> （6）咱们俩的事，一条绳上拴着两只蚂蚱——谁也跑不了！We're like two grasshoppers tied to one cord，neither can get away! <br /> （7）去设埋伏我们都没有信心，想必他一定在昨天晚上就早溜了，今天去也是瞎子点灯——白费蜡。We had no confidence in today's ambush because we were sure he had escaped last night. It seemed as useless as a blind man lighting a candle.<br /> <br /> In the process of translation, the translator retains the unique language form of the original text, which not only will not affect the communication of information, but also can promote the exchange of culture and thought, giving the target readers a similar aesthetic enjoyment. Because those vivid metaphors in the original text are the products of human common thinking and they can be understood and accepted by readers in other countries. (Zhou Ningqi, 2008，152)<br /> <br /> However, if a literary work is translated and the readers of the translated text are only for the sake of appreciating the work or even for entertainment, domestication should be adopted. (Zhou Ningqi, 2008，152)<br /> <br /> For example:<br /> （8）你别狗咬吕洞宾——不识好人心。我是好心好意劝你，倒粘到我身上来了。Don't snarp and snarl at me when I’m trying to do my best for you. I give you my advice with the best will in the world and you turn round and lay the blame on me.<br /> <br /> This example refers to a character in Chinese mythology. If it is translated literally for the purpose of preserving the cultural information of the original text, it is necessary not only to annotate who Lu Dongbin is, but also to explain to foreign readers the allusion that Lu Dongbin is willing to do good deeds. (Yang Hongwei &amp; Li Yadan,2004,84)<br /> <br /> In fact, the origin of the Chinese Xiehouyu is not important here. It is better to discard its cultural background knowledge and translate it directly into &quot;don't snarp and snarl at me&quot;, which ensures the effective transmission of key information and makes the translation concise and fluent. Although the cultural reference of &quot;狗咬吕洞宾&quot; is not reflected in the translation of this saying, the translator uses the verbs &quot;snarp&quot; and &quot;snarl&quot; to vividly depict the dog biting and barking, which, to some extent, reproduces the vivid and figurative rhetorical effect achieved by the use of Xiehouyu in the original text. (Yang Hongwei &amp; Li Yadan,2004,84)<br /> <br /> （9）我们有些同志喜欢写文章但是没有什么内容，真是“懒婆娘的裹脚——又长又臭”。 Some comrades love to write long articles，but such articles are exactly like the foot-bandages of a slut（the cloth used for women’s foot in ancient China），Long and smelly（implies the articles are long and dull）.<br /> <br /> A translation is full of long, boring words and obscure annotations that can be daunting to the reader. It can be better to translate the sentence into “these articles are dull and overelaborate”. Through a lot of translation practice, the translation strategies of foreignization and domestication in the translation of Chinese Xiehouyu can be summarized as follows. (Qi Dehui, 2011, 111)<br /> <br /> ====4.1 The Application of Domestication and Foreignization in the Translation of Chinese Xiehouyu====<br /> <br /> ====4.1.1 Literal Translation====<br /> Most Xiehouyu use vivid metaphors, whose metaphorical meaning is referred as general things or common sense. When the metaphorical relationship is clear, literal translation is generally adopted as long as it does not affect the understanding of the target language readers, that is to say, literal translation is adopted without too much extension and explanation, so as to retain both the content and the form of the source language. It is not only faithful to the original text, but also vivid and easy for the target language readers to read and appreciate. (Qi Dehui, 2011, 111)<br /> <br /> For example,<br /> （10）瘫子掉在井里——捞起也是坐。（Even if a paralytic falls into a well，he can be no worse off than before.）(Yang Xianyi &amp; Dai Naidie,1986)<br /> （11）竹篮打水——一场空。（Drawing water from a bamboo basket——all in vain. ）<br /> （12）哑巴梦见妈——说不出来的苦。（Like a dumb man dreaming of his mother，he could not express his despair! ）<br /> <br /> The above three cases are translated by Yang Xianyi. The translator adopts literal translation to keep the original style of the source language and strive to meet the expectations of the target language readers for heterogeneity. (Qi Dehui, 2011, 112)<br /> <br /> ====4.1.2 Literal Translation with Notes====<br /> In Chinese, idioms with a dog are generally derogatory, such as &quot;狼心狗肺、狗腿子、狗仗人势、狗头军师&quot;, and so on. However, in English, the words and sentences about dog are often positive, such as &quot;every dog has its day.&quot; Western readers may not understand the differences between the two languages and cultures. Therefore, in the translation with foreignization, literal translation with notes should be adopted to fully express the original meaning and metaphorical meaning of Chinese Xiehouyu. For example, &quot;狗戴帽子——装人&quot; is a taunt. It can be translated as &quot; A dog is wearing a cap —— pretending to be a human being （an insult）.&quot; In this way, the English reader would not be misunderstood. (Zhou Ningqi, 2008，153)<br /> <br /> In addition, some Xiehouyu with allusions are often literally translated with notes, so as not to make English readers feel puzzled.<br /> <br /> For example,<br /> （13）周瑜打黄盖——一个愿打，一个愿挨。 <br /> Box on the ear was skillfully given by a Chou Yu and gladly taken by a Huang Kai.（A fourteenth century novel based on events which took place in the third century A.D. Chou Yu of the Kingdom Wu had Huang Kai，another of Wu general，cruelly beaten，and then sent him to the enemy camp in order to deceive the enemy.）<br /> <br /> ====4.2 Domestication in the translation of Chinese Xiehouyu====<br /> <br /> ====4.2.1 Free Translation====<br /> Free translation mainly refers to grasping the content and metaphorical meaning in translation, combining with the context, and flexibly conveying the meaning. (Guo Jianzhong, 1996, 13)<br /> <br /> For example,<br /> （14）我这个人你也知道。说话向来是袖筒里入槌——直出直入。(You know me——I speak frankly and to the point.)<br /> <br /> （15）他必审问我，我给他个“徐庶入曹营”——一言不发。(He sure to ask questions but I'll hold my tongue to begin with.)<br /> <br /> （16）穷棒子闹翻身，是八仙过海，各显神通。(When we pass from the old society to the new one，each of us shows his true worth.)<br /> <br /> （17）我们校队近年来可是“孔夫子搬家——净是（输）书。”(Our school team has kept losing in the recent years.)<br /> <br /> ====4.2.2 Combination of literal and free translation====<br /> While literal translation is adopted to retain the metaphorical image of the original text, free translation is also used, sometimes with some appropriate supplement, so that the translation can convey the meaning of the original text more clearly. Chinese Xiehouyu often carries a deep historical and cultural implication. It is very difficult to transfer the loaded cultural information in Chinese Xiehouyu into English. (Gao Yun &amp; Yu Jie, 2004, 126)<br /> <br /> Some Xiehouyu with strong national cultural features lie in the image and style, and the translation should be based on the premise of being faithful to the meaning expressed in the original text. Literal translation should be followed by free translation to show its metaphorical meaning &quot;. The combination of literal translation and free translation is undoubtedly one of the effective means of cultural compensation, which not only keeps the metaphorical image of the source language, but also maintains the integrity of the cultural content. (Qi Dehui, 2011, 112)<br /> <br /> For example,<br /> （18）我说二三百两银子，你就说二三十两，戴着斗笠亲嘴——差着一帽子。 (When I say two or three hundred taels，you say twenty or thirty! It's like kissing in straw helmets——the lips are far apart!)<br /> （19）兔子的尾巴——长不了（Guo Jiangzhong, 1996, 12）(The tail of a rabbit can't be long——won't last long.)<br /> <br /> ====4.2.3 Equivalent Translation====<br /> Some English idioms and some Chinese Xiehouyu use the same or similar metaphors to express the same or similar metaphorical meanings, in this case, may as well borrow English synonym idioms to translate them. That is to change the original image of the vehicle in translation and translate it with a metaphor familiar to English readers. That is to say, the target text and the original text adopt different vehicles to create the same image, convey the same spirit and achieve the same effect. (Qi Dehui, 2011, 112)<br /> <br /> For example,<br /> （20）冰冻三尺——非一日之寒。 (Rome was not built in a day.)<br /> （21）肉包子打狗——一去不回头。（A dog given a bone that doesn't come back for more.）<br /> （22）脱裤子放屁——多此一举。(To carry coals to Newcastle.)<br /> <br /> When using English idioms to translate Chinese Xiehouyu, we should pay attention to the rhetorical features. If the rhetorical feature of two languages is different, we cannot apply it. For example, &quot;老王卖瓜——自卖自夸&quot; must be translated into “No man cries stinky Fish”, because the former has a positive meaning, while the latter does not. （Ling Li,2004,59）<br /> <br /> ====4.2.4 Omission====<br /> Omission refers to the deletion of certain words from the original text, not to delete the original text, but to leave out the words that are self-evident in the translation, or to leave out words that are too cumbersome or not suitable for English expression. This method is especially suitable for the translation of some Chinese Xiehouyu. (Zhou Ningqi, 2008，152)<br /> <br /> For example,<br /> （23）癞蛤蟆想吃天鹅肉——痴心妄想。 (You are like a toad trying to swallow a swan.)<br /> （24）赔了夫人又折兵——双重损失。 (You’ve lost the campaign and your wife into the bargain.)<br /> <br /> The metaphorical meanings of the above two examples are quite obvious. The target language readers can infer the figurative meaning directly from the image of the vehicle or from the context of Chinese Xiehouyu, so only the metaphorical part can be translated.(Yang &amp; Dai,1986)<br /> <br /> To sum up, in the translation of Chinese Xiehouyu, attention should be paid to the similarity of form and spirit, so that the surface and deep meanings can be expressed accurately, clearly and vividly. Therefore, we should flexibly adopt the methods of straightness and explanation (free translation and annotation) to truly show the stylistic and pragmatic characteristics of Chinese Xiehouyu. Moreover, the translation of Chinese Xiehouyu must take into account its unique language form and distinct cultural background, and try to translate its metaphorical meaning of as accurately and appropriately as possible, which is the key to the good translation of Xiehouyu. (Liu Na, 2016,19)<br /> <br /> ==='''Conclusion'''===<br /> In the cultural perspective translation is a communicating process, in which the choosing of translation strategies is of vitality. In the communication of western and Chinese culture, we should absorb the quintessence and abolish what is old and establish in its place the new order of things. When we learn from the languages and cultures of different nationalities, we should also be openminded and inclusive. <br /> <br /> In the translation field, literary translation has always occupied an important position, and the research on literary translation is the most active and developed at all times and in all countries. The translation of Chinese Xiehouyu can lay a theoretical foundation for better learning other languages. The translation of Chinese Xiehouyu is not only the conversion between two languages, but also the interlingual activity of cultural exchange between the two nations. Starting from the two languages, we should not only learn our own language, but also have a deep and profound understanding of our own culture. Thus, we can be easier to translate Chinese Xiehouyu into English by narrowing cultural gap and eliminate the obstacles of language.<br /> <br /> The translation of Xiehouyu is flexible，which needs surmount double barriers to language and culture and adopt different translation methods according to different situations. In order to convey Chinese culture and let English readers understand and learn Chinese culture, foreignization should be adopted. Moreover, those which is vivid and easy to understand should retain their original content and form, and foreignization can also be adopted for literal translation. <br /> <br /> However, domestication should be adopted when translating literary works. For example, due to the cultural and linguistic differences, some Xiehouyu can be translated with the strategy of domestication, which is easier to be accepted by the target language readers; for metaphorical Xiehouyu and paronomasia Xiehouyu with strong national characteristics, literal and free translation can be used with the strategy of foreignization.<br /> <br /> In a word, as far as the structure of the target language are concerned, the phrases and sentences are all in line with the translation standards. Chinese Xiehouyu not only carries the wisdom of Chinese predecessors, but also reflects the profound culture, history and thinking mode of the Chinese nation from different perspective. In the process of translation, the translator should try to keep the style of the original work, focus on the target language readers, and translate the Chinese Xiehouyu appropriately to avoid wrong translation, overtranslation or undertranslation. <br /> <br /> Therefore, the translation of Chinese Xiehouyu must take into account its unique language form and distinct cultural background, and try to translate its metaphorical meaning as accurately and appropriately as possible, which is the key to the good translation of Chinese Xiehouyu.<br /> <br /> ==='''Reference'''===<br /> <br /> Yan Xiaohua 晏小花.(2002). 翻译中的异化和归化. [Foreignization and Domestication in Translation]. 湖南医科大学学报[Journal of <br /> Social Science of Human Medical University]25-27.<br /> <br /> Wang Yijun 王义军.(2009). 从归化和异化看文化与翻译.[ Culture and Translation from the Perspective of Domestication and Foreignization] 安徽文学 [Anhui Literature] 216-217.<br /> <br /> Miregu.Aimaiti米热姑·艾买提.(2014). 汉语歇后语在维吾尔语中的翻译研究[Studying on Translating Chinese Two-Part Allegorical Sayings into Uyghur].甘肃：西北民族大学[Gansu：Northwest Minzu University] 5-8.<br /> <br /> Wen Duanzheng 温端政. (2002).中国歇后语大词典.[Chinese Xiehouyu dictionary]. 上海：上海辞书出版社[Shanghai: Shanghai Lexicographic Publishing House] 20-21<br /> <br /> Lian Shuneng 连淑能. (1993). 英汉对比研究.[ Contrastive Studies Of English And Chinese]. 北京：高等教育出版社[Beijing:Higher Education Press]<br /> <br /> Bao Huinan &amp; Bao Ang 包惠南，包昂. (2000). 实用文化翻译学[Studies of Practical Cultural Translation] . 上海：上海科学普及出版社[Shanghai: Shanghai Science Popularization Press]<br /> <br /> ==A Brief Analysis of Domestication and Foreignization in the Translation of Chinese Idioms Zou Xinyu 邹鑫雨==<br /> <br /> &lt;center&gt; 邹鑫雨 Zou Xinyu, No.202070080633.&lt;/center&gt;--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 13:19, 10 December 2020 (UTC)Zou Xinyu<br /> <br /> ===Abstract===<br /> The translation of Chinese idioms has something to do with cultural differences of English and Chinese. To appositely adjust cultural differences between English and Chinese, a large number of translators use two translation strategies: domestication and foreignization, when translating Chinese idioms. <br /> <br /> Domestication and foreignization are two kinds of translation strategies which are culture-oriented. This paper will make an introduction of domestication and foreignization in the first part, and then will introduce the definition and cultural connotations of Chinese idioms. Then, it will discuss the application of these two translation strategies to Chinese idioms by taking some examples so that the author of this paper can make a brief analysis of the relativity of these two translation strategies, domestication and foreignization, and learn how to select proper translation strategies to translate Chinese idioms. <br /> <br /> The study of the translation of Chinese idioms is conducive to the development of language, which will promote international exchanges and cooperation as well as the innovation of translation methods, thus deepening the organic integration of two translation strategies of domestication and foreignization in the translation of idioms and promoting the research and development of the dualism of translation.<br /> <br /> ===Key Words===<br /> Domestication; Foreignization; Chinese Idioms; Translation<br /> <br /> ===题目===<br /> 浅析汉语习语翻译的归化异化<br /> <br /> ===摘要===<br /> 汉语习语的翻译涉及到英汉文化差异。为了适当地调和英汉文化之间的差异，许多译者采用了归化和异化的翻译策略。<br /> <br /> 归化和异化是两种以文化为导向的翻译策略，本文第一部分先介绍归化异化两种策略，紧接着在第二部分从含义、文化内涵方面对汉语习语进行了介绍，然后通过举例来探讨这两种翻译策略在汉语习语翻译中的运用，从而分析出这两种翻译策略的相关性以及如何选取合适的翻译策略来翻译汉语习语。<br /> <br /> 对汉语习语翻译的研究有利于语言的发展，促进国际间的交流与合作，推进翻译方法的革新，加深归化异化两种翻译策略在习语翻译中的有机融合，推动翻译二元论的研究与发展。<br /> <br /> ===关键词===<br /> 归化；异化；汉语习语；翻译<br /> <br /> ===Chapter1 Domestication and Foreignization===<br /> Domestication and foreignization are two different translation strategies, they are commonly used in the translation of Chinese idioms. In this chapter, the author will introduce the definition of domestication and foreignization, and then will present the debates on these two translation strategies.<br /> <br /> ====The Definition of Domestication and Foreignization====<br /> Domestication is a term used by Lawrence Venuti, American translation theorist, to describe the translation strategy in which a transparent, fluent style is adopted to minimize the strangeness of the foreign text for readers of target language (Venuti 1995, 19-20). Venuti believes domestication originated from Friedrich Schleiermacher's famous notion of the translation which &quot;leaves the reader in peace, as much as possible, and moves the author towards him&quot; (Schleiermacher 1838/1963, 47; 1838/1977, 74). <br /> <br /> From Venuti's perspective, domestication has negative connotations as it's regarded as a policy common in dominant cultures which are &quot;aggressively monolingual, unreceptive to the foreign&quot;, and which he describes as being &quot;accustomed to fluent translation that invisibly inscribe foreign texts with values of target language and provide readers with the narcissistic experience of recognizing their own culture in a culture order&quot; (Venuti 1995, 15). <br /> <br /> According to Venuti, domestication is the predominant translation strategy in Anglo-American culture, and he argues that this is consistent with the unbalanced relation between Anglo-American culture and other cultures. He further points out that domestication has widely served domestic affairs, therefore it's necessary to adopt other translation strategies to challenge the domination of domestication (Venuti 1995, 15). <br /> <br /> Foreignization is a term used by Lawrence Venuti to describe the translation strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the origin text (Venuti 1995, 19-20). Venuti asserts foreignization is derived from the translation type, stated by Schleiermacher, in which &quot;the translator leaves the author in peace, as much as possible, and moves the reader towards him&quot; (Schleiermacher 1838/1963, 47; 1838/1977, 74).<br /> <br /> As far as Venuti is concerned, he describes foreignization as an &quot;ethnodeviant pressure&quot; (Venuti 1995, 20), and thus considers it can &quot;register the linguistic and cultural difference of the foreign text, sending the reader abroad&quot; (Venuti 1995, 20). In specific terms foreignization means not only the freedom from the absolute restriction of target language and texts, but the selection of an non-fluent, opaque style in some appropriate situations and the deliberate accumulation of &quot;Realia&quot; of source language or &quot;Archaisms&quot; of target language, which would provide readers of target language with an &quot;alien reading experience&quot; (Venuti 1995, 20).<br /> <br /> ====The Debates on Domestication and Foreignization====<br /> There has been a long-standing debate about how to deal with cultural differences in translation. There are many scholars, such as John Dryden, Alexander Tytler, Denham, Lefevere, Frere, who approved of domestication. Domestication has been in the dominant position for a long time. To begin with, translation theorists like Cicero, Saint Jeromi and Quintilian raised some ideas about word-for-word translation and sense-for-sense transaltion. Considered from the theories they put forward, they favored free translation (Schulte &amp; Biguenet ‚1992, 13).<br /> <br /> As is well-known, Eugene A. Nida proposed the concept of functional equivalence. From his perspectives, translation is communication, in which what really matters is what people get when they listen, speak and read the translated text. Translation shouldn't be judged by the comparison of the corresponding lexical meanings, grammatical categories and rhetorical devices, but by the extent to which the recipient correctly understands and appreciates the translated text. The purpose of Nida's functional equivalence theory is that the expression of the translated text should be completely natural, so that the readers can better understand the original text through domestication translation, thus avoiding cultural conflicts, eliminating the gap, and finally achieving the purpose of cultural exchange (Nida ‚1993, 118). <br /> <br /> The supporters of domestication hold the view that the translator should take readers into consideration, and if the content of the translation is not within the reader's understanding, the effect of translation and communication will not be achieved, and secondly the translator should try to avoid cultural conflicts, and in the process of translation, the translator should constantly get closer to the target reader, so that the target reader can read the translation with the same effect as the reader of the original text. Thirdly, each language has its own cultural connotation, so if there is a cultural gap between the two languages, foreignization will not only result in a non-fluent translation, but also in the reader's unacceptability of the translation. Last but not least, it cannot be realized to find the completely equivalent word in another language, so to avoid producing opaque translations, it's no doubt that domestication is a better choice (Chan 2004, 171).<br /> <br /> Foreignization started later than domestication, and gained much popularity in the 20th century. Many scholars' translations embody this translation strategy, including many of Ezra Pound's translations and Nabokov's famous literal translation of Pushkin's Eugene Onegin (Mark Shuttleworth &amp; Moira Cowie 2004, 59).<br /> <br /> Lawrence Venuti firstly defined foreignization and was a representative of foreignization. Venuti described foreignization in his book ''The Translator's Invisibility'' as &quot;a form of resistance, which is against ethnocentrism, racism, cultural narcissism and imperialism, in the interests of democratic geopolitical relations&quot; (Venuti 1995, 20). He proposed a translation theory and practice that opposes translation fluency and aims not to eliminate linguistic and cultural differences in translation, but to express such linguistic and cultural differences in translation. This is also one of the basic ideas of deconstructionist translation thought. It's said by Venuti that &quot;the aim of opposing domestication and advocating foreignization is to develop a translation theory and practice that resists the predominance of cultural values of the target language, thus expressing the linguistic and cultural differences of foreign texts&quot; (Venuti 1995, 20). Foreignization is premised on the belief that cultures differ from each other and that communication is complicated by cultural differences between and within linguistic communities. Foreignization is to recognize and tolerate the differences and to express the cultural differences in the target language. <br /> <br /> People who favor of foreignization hold the following reasons. Firstly, the translator should make every effort to be faithful to the original work in the translation, and the content of the original work should be reproduced to the maximum extent. If the translator fails to reach this, then the translation will be considered as faithful. Secondly, adding the expression of source language into target language will enrich the target language. Thirdly, the purpose of readers' reading translations is to learn about foreign cultures, which foreignization can help to realize. Foreignization attempts to keep the characteristics of the source language (孙致礼 2002, 40-44). The debate between domestication and foreignization has still continued until the 21st century.<br /> <br /> ===Chapter2 The Definition and Cultural Connotations of Chinese Idioms=== <br /> It is of great importance to have an understanding of Chinese idioms before analyzing domestication and foreignization in the translation of Chinese idioms. Chinese idioms are closely related to various Chinese cultures. Domestication and foreignization are commonly used by translators in dealing with cultural factors in translation. Therefore, in this chapter, the author will introduce the definition and cultural connotations of Chinese idioms.<br /> <br /> ====The Definition of Chinese Idioms====<br /> According to ''Modern Chinese Dictionary'', Chinese idioms are &quot;concise and meaningful phrases or short sentences that have been in long public usage&quot; (Dictionary Editorial Office, Institute of Linguistics, Chinese Academy of Social Sciences 2002, 248). <br /> <br /> In ''The New Oxford Dictionary of English'', idiom is &quot;a group of words established by usage as having a meaning not deducible from those of the individual words; a form of expression natural to a language, a person, or group of people&quot; (Hanks 2001, 908). <br /> <br /> As is defined in ''Webster's New World Dictionary of the American'' (1972), idiom means &quot;an accepted phrase, construction, or expression contrary to the usual patterns of the language or having a meaning different from the literal&quot;. <br /> <br /> These definitions all mention that idioms are formed in the long process that people use languages, and they cannot be understood from their literal words because they are closely related to the culture. Thus, the cultural characteristics must be taken into consideration.<br /> <br /> ====The Cultural Connotations of Chinese Idioms====<br /> In this section, the author will divide the cultural connotation of Chinese idioms into four groups: geographical culture, conventional culture, historical culture and religious culture. <br /> <br /> For Chinese idioms reflecting geographical culture, they are created in China's particular geographical environment. China has been a big country dominated by agriculture since ancient times, and the agricultural population accounts for a large proportion. Therefore, a large part of Chinese idioms is related to agriculture. They are the crystallization of the extremely rich wisdom accumulated by the working people in the productive labor for generations. For example, those who engage in agriculture will say: &quot;靠山吃山，靠水吃水&quot; (One has to make use of whatever resources available.), &quot;种瓜得瓜，种豆得豆&quot; (What goes around comes around.), &quot;一日之计在于晨&quot; (An hour in the morning is worth two in the evening.) (Qiu Nengsheng, Qiu Xiaoqin 2019, 52). <br /> <br /> For Chinese idioms reflecting conventional culture, they derive from Chinese national customs in the social life. Chinese people are made of fifty-six ethnic groups, and each group has its own customs. Just in Han, there are many types of customs such as marriage customs, drinking customs, funeral customs, etc. Among these different aspects of customs, people create abundant Chinese idioms. For an instance, &quot;红运当头&quot; which means one has a good fortune, &quot;开门红&quot; which means to make a good start (Qiu Jixin 2002, 45).<br /> <br /> For Chinese idioms reflecting historical culture, they originate from Chinese long-run national history and culture. An important element of Chinese idioms reflecting historical culture is the historical allusions and fables. They are treasures of Chinese national history and culture, with strong national colors and distinctive cultural personalities, containing rich historical and cultural information, and reflecting the characteristics of historical cultures. Many idioms of this type come from historical allusions and fables. For an instance, &quot;万事俱备，只欠东风&quot; comes from the Battle of the Red Cliff, &quot;八仙过海，各显神通&quot; reflects the content of Chinese traditional myths and legends (Zhang Ning 1999, 24). <br /> <br /> For Chinese idioms reflecting religious culture, they mainly come from Buddhism and Taoism. Confucius and Mencius are considered as saints by Chinese people. Many Chinese idioms reflecting religious culture contain &quot;佛&quot; (Buddha), &quot;庙&quot; (temple) and &quot;和尚&quot; (monk or bonze). For example, &quot;临时抱佛脚&quot; (embrace Buddha's feet in one's hour of need) which means seeking help at the last moment, &quot;放下屠刀，立地成佛&quot; (drop one's cleaver and become a Buddha) which means achieving salvation as soon as one give up evil (Wang Fang 2001, 35).<br /> <br /> ===Chapter3 The Application of Domestication and Foreignization in Chinese Idioms' Translation===<br /> In the translation of Chinese idioms, Foreignization and domestication are not mutually exclusive translation strategies. Instead, they can work together to help to produce better translations. In this chapter, the author will present specific examples of the application of these two translation strategies in Chinese idioms’ translation.<br /> <br /> ====The Application of Domestication in Chinese Idioms Translation====<br /> 我要有个[三长两短]，你给玉山捎个话！(杜鹏程《保卫延安》)<br /> <br /> Translation: If [anything should happen] to me, let Yushan know!<br /> <br /> The meaning of &quot;三长两短&quot; cannot be understood from its literal words. If the idiom is translated into &quot;three long and two short things&quot;, the target readers will feel confused. Therefore, it's more appropriate to use domestication in the translation. Though the national feature may not be expressed in the translation, domestication makes the translation more fluent and comprehensive. <br /> <br /> 她怕[碰一鼻子灰]，话到嘴边，她又把它吞了下去。(茅盾《子夜》)<br /> <br /> Translation: She was afraid of [being snubbed], so she swallowed the words that came to her lips.<br /> <br /> The image of &quot;碰一鼻子灰&quot; is to have one's nose rubbed in the dirt, which is difficult for the target reader to understand what it means, so it's necessary to abandon the original image and to express its meaning to the target reader. <br /> <br /> 运涛好久不来信了，一家子[盼了星星盼月亮]。(梁斌《红旗谱》)<br /> <br /> Translation: For many months no letter came from Yuntao till his whole family [worried over him day and night].<br /> <br /> The translation gives up seeking a consistent form with the original text, instead it chooses to find a functionally similar expression to convey the emotion of the original sentence, giving the target reader the same feeling as the readers of the original text have.<br /> <br /> 等他们赶来营救时，已是[正月十五贴门神——晚了半月]啦。<br /> <br /> Translation: But they were too late for a rescue.<br /> <br /> Two-part allegorical sayings (xiehouyu) is unique to the Chinese language, and is a unique structural form with strong national characteristics. Because of the double barriers of language form and culture, translators sometimes have to abandon the unique structural form and national characteristics of two-part allegorical sayings and adopt the translation strategy of domestication, which is to only translate its meaning, and abandon the metaphor and metonymy of it.<br /> <br /> 一剑剁去随手而倒。霎时觉来，乃[南柯一梦]，口中犹骂，操贼不止。(罗贯中《三国演义》)<br /> <br /> Translation: Dong Cheng cried to Cao, chopping at him with his blade. Cao crumbled in the wake of the blow, as Cheng repeated the words &quot;traitor, traitor&quot; until he had awoken from [the empty dream].<br /> <br /> This idiom mainly talks about that Chun Yufen had a dream of becoming a sheriff of Nanke County and living a wealthy life. However, when he woke up, he found out that it was just a dream. Later, people use &quot;南柯一梦&quot; to refer to a dream, or a metaphor for a happy air. The target reader who has no knowledge of the background of this idiom will have difficulty acquiring the meaning. Under this circumstances, it's a better choice to adopt domestication. <br /> <br /> The translation strategy of domestication is to grasp the important aspect of the content and metaphor of idioms. When using doestication, the translator sometimes has to sacrifice the image and needs to combine the context to convey metaphors flexibly. One of the responsibilities of the translator is to avoid cultural conflicts leading to misunderstanding of the translation. When translating a text into another culture, the translator must carefully weigh the connotation of ideology in the culture. If the content and form expressed in the translation are within the knowledge range of the target reader's understanding of the real world, it will be easier for the reader to understand them (许建平 2004, 8).<br /> <br /> English and Chinese idioms belong to different languages ​​and are produced under different cultural backgrounds. If the foreignization translation method is overemphasized, it will increase the reader's unfamiliarity with the translation, increase the difficulty of readers' acceptance, and hinder the mutual communication and penetration between different countries and nations. Therefore, according to the national psychology of the target language, if the foreignization cannot be expressed clearly, the domestication translation strategy can be adopted so that the reader can appreciate and grasp the meaning of the original text (Chan 2004, 104).<br /> <br /> ====The Application of Foreignization in Chinese Idioms Translation====<br /> “他一家子在这，他的房子、地在这儿，他跑？[跑了和尚跑不了庙]。”(周立波《暴风骤雨》)<br /> <br /> Translation: &quot;Escape? But his home and property can't escape. The monk may run away, but the temple can't run with him&quot;.<br /> <br /> 咳，这一来，[竹篮子打水一场空了]！(梁斌《红旗谱》)<br /> <br /> Translation: Ah! We were drawing water in a baboo basket.<br /> <br /> 特别是她那时的“密司林佩瑶”，禀受了父亲的名士气质，曾经[架起了多少的空中楼阁]…… (茅盾《子夜》) <br /> <br /> Translation: She herself, Miss Lin Pei-yao, endowed with her scholarly father's idealistic temperament, was especially fond of [building castles in the air]...<br /> <br /> Because people's feelings, perceptions of objective things and social experiences have many similarities, there are a small number of idioms that are identical or similar in English and Chinese idioms. These idioms have the same or similar figurative meaning, and the same implied meaning, which means that the literal and figurative meanings of these idioms convey the same cultural information and can be translated into each other. The translation of &quot;跑了和尚跑不了庙&quot;, &quot;竹篮子打水一场空&quot; and &quot;架起了多少的空中楼阁&quot; convey the same meaning as their Chinese meaning, and the it's not difficult for foreign readers to get the information. Therefore, foreignization which is used in these three translations not only expresses the the meaning, but preserves the national and cultural characteristics of the idioms. <br /> <br /> 匡超人听了这话，慌忙作揖，磕下头去，说道：“晚生真乃‘[有眼不识泰山]’。”(吴敬梓《儒林外史》)<br /> <br /> Translation: When Kuang Chao-jen heard this, he made haste to bow. &quot;Although I have eyes,&quot; he exclaimed, &quot;I [have failed to see Mount Tai]!&quot; (Translated by Yang Xianyi)<br /> <br /> In this translation, the translator preserves the image and national characteristics, directly expressing the literal meaning of &quot;有眼不识泰山&quot;. As China has developed rapidly, Mount Tai has been known by more and more foreigners as a famous scenic spot of China. Foreigners who get the knowledge of the mountain will not misunderstand the idiom. Thus, Using foreignization makes the translation both understandable and vivid. <br /> <br /> 主公仰慕将军，欲求令爱为儿妇，永结[秦晋之好]。(罗贯中《三国演义》)<br /> <br /> Translation: My master, long your admirer, seeks your treasured daughter's hand in behalf of his son to [band the two houses in marriage as the states of Qin and Jin did in ancient times].<br /> <br /> For idioms with strong national color or allusive nature, the translator can translate them with foreignization on the basis of context, and some explanations can be added in the translation to express the original meaning more clearly. The Chinese historical idiom &quot;秦晋之好&quot; comes from a historical allusion. When this idiom first appeared in the novel, the translator translated the names of the two vassal states by transliteration, thus retaining the differences of cultures. In order to make readers better understand the idiom, the translator also interpreted the idioms so that the meaning hidden behind the Chinese characters was much clear. Now that the English translation of the sentence is an experiment, the result of deleting &quot;band the two houses in marriage&quot; can be called a faithful translation, but at most it is only the faithfulness of the language form. If the former part is deleted, it will be &quot;as the states of Qin and Jin did in ancient times&quot;. The translation seems to convey the main meaning of the idiom, but at least in form, the extraordinary meaning of the original idiom is gone. It is a pity that &quot;秦晋之好&quot; lost its own meaning. On this basis we should add some annotations. <br /> <br /> Foreignization conveys information from one culture and language to another in a way that maintains its original nature, bringing not only a new component to the target language, but also an influx of such a component that will lead to various aggregation and fission reactions within the target language, which will eventually lead to its fundamental transformation. As a result, the integration of nations and peoples is greatly facilitated. The use of heterogeneous translations of idioms is conducive to the mutual exchange and penetration of two heterogeneous cultures and languages, and promotes the integration between them. Therefore, the metaphors, images and national and local colors of the original idioms are preserved in the translation as much as possible without violating the linguistic norms of the translation and without causing false associations (Liao Qiyi 2001, 58).<br /> <br /> ====The Application of the Combination of Domestication and Foreignization in Chinese Idioms Translation====<br /> (张飞) 瞠目大叱曰: “我哥哥是[金枝玉叶]，你是何等人 ……”(罗贯中《三国演义》) <br /> <br /> Translation: The moment Zhang Fei heard this, his eyes widened and he shouted, &quot;Our brother is a prince of the blood, [a jade leaf on a golden branch]. Who are you to …&quot;<br /> <br /> 梁虔等曰: “夏侯驸马乃[金枝玉叶]，倘有疏虞，难逃坐视之罪。”(罗贯中《三国演义》)<br /> <br /> Translation: Liang Qian, as well as others argued, &quot;Imperial Son－in－Law Xiahou Mao is [part of the royal family], the slightest negligence will be punished as willful indifference to his fate&quot;.<br /> <br /> 耀骂曰: “曹都督乃[金枝玉叶]，安肯与反贼相见耶! ”(罗贯中《三国演义》) <br /> <br /> Translation: Fei Yao taunted him:&quot; Field Marshal Cao [belongs to the royal family]. He would not lower himself to meet a traitor&quot;. <br /> <br /> The interpretation of &quot;金枝玉叶&quot; in the Chinese dictionary is: The golden jade metaphor the royal family and the noble people. It can be seen from the translation of this idiom in ''The Romance of the Three Kingdoms'' that the translator uses the combination of foreignization and domestication. If you completely use the method of foreignization, readers will think that Chinese people are the same in their thinking mode. If the method of foreignization is completely adopted, the reader will understand each word. But they do not understand the overall meaning, because there is no relationship between the two images of &quot;金枝&quot; and &quot;玉叶&quot;. They may speculate on the linguistic expression of these two images, because they are suppressed by the difference in the strange world, and this kind of speculation may hinder the understanding of the whole sentence. On the other hand, the more important the difference in the language culture of the original language is, the more it should be reproduced. In order to highlight the Chinese emphasis on &quot;Gold&quot; and &quot;Jade&quot;, the idiom should be completely alienated, which resulted in different translations of the three sentences of this idiom..<br /> <br /> 蒙曰: “兵有利钝，战无必胜。如猝然遇敌，步骑相促，人尚不暇及水，何能入船乎?”权曰: “[人无远虑，必有近忧]。子明之见深远。”(《论语》)<br /> <br /> Translation: Lu Meng responded:&quot; The fortunes of war are never constant; victory is never sure. In an abrupt confrontation, with infantry and cavalry jostling together, our men may not have time to reach the water much less board the boats&quot;. Sun Quan commented, &quot;[Improvidence invites danger]. Lu Meng wisely looks ahead&quot;.<br /> <br /> 子邓忠劝曰: “[小不忍则乱大谋]，父亲若与他不睦，必误国家大事。” (《论语》)<br /> <br /> Translation: Ai's son, Deng Zhong, urged him to forbear, saying, &quot;[Intolerance for trifles ruins great plans]. Father, if you fall out with him, you will fail the dynasty&quot;.<br /> <br /> The above two famous idioms are all from the ''Analects of Confucius''. In the different translations versions, the translations of &quot;人无远虑，必有近忧&quot; and &quot;小不忍则乱大谋&quot; are also different. The word-by-word interpretation conveys the literal meaning of the idioms and is used in dialogue. The author's situation is always like this, he cannot express all aspects of the original text, and choosing one side means giving up other aspects. Observing the translations, the number of words is originally quite a lot, and the meaning is also expressed clearly enough, and there is no longer a need for domestication interpretation. To be fair, both translations are consistent with the language style of the translated text. The foreignization and domestication are balanced in the translation.<br /> <br /> In translation, even if every word in the original text can be translated with its &quot;equivalence&quot; in the translation, it is not always guaranteed that the translation will have the same or similar effect on the readers of the translated text as the original text, because readers often use their own cultural concepts to understand the content of the translated text. In some idioms, the cultural color of the original language is preserved by foreignization, but it causes linguistic errors and difficulties for readers to understand, and if we adopt domestication, we will lose the cultural color of the original language and cannot let the readers fully understand the meaning of the original. Therefore, we can adopt a combination of domestication and foreignization to translate the literal meaning and then point out the implied meaning, so that the translation can be imaginative and vivid, reflecting the style and flavor of the original language and being fully accepted by the readers (Guo Jianzhong 1998, 17).<br /> <br /> ===Conclusion===<br /> In translation practice, it is impossible to adopt only one translation strategy, especially the idiom with strong cultural color. If the language expression habits of the target language are taken into account, the cultural connotation in the source language is inevitably affected, and vice versa. From the perspective of cultural facsimile, excessive domestication or foreignization translation strategy is not conducive to the transmission of idioms' meaning, and needs to be used interactively according to the actual situation. <br /> <br /> (1)Choosing a translation strategy according to the purpose <br /> <br /> In order to ease language and cultural contradictions and to make the translation both fluent and easy to understand, it is recommended to use the domestication strategy. At the same time, there are also many Chinese idioms that introduce English vocabulary through foreignization translation strategy. For example, &quot;lose one's face&quot; comes from &quot;丢面子&quot;. Many idioms can be translated using two strategies. The key depends on the translator’ s attitude and choice, and what needs to be achieved. The translation of Chinese historical idioms in the famous book ''Dream of the Red Chamber'' such as &quot;巧妇难为无米之炊&quot;, which the famous Chinese translator Yang Xianyi translated like this:&quot; Even the cleverest housewife can’t cook a meal without rice&quot;. And the British sinologist David Hawks translated it as &quot;Even the cleverest housewife can't make bread without flour&quot;. Mr. Yang uses a foreignization strategy to introduce eastern culture to the west while Hawkes uses domestication strategy to enhance western readers' comprehension. <br /> <br /> (2)Choosing a translation strategy based on content <br /> <br /> Translation is a cultural exchange. Translators need to be culturally conscious, that is, to introduce the language and culture of one nation to another. If you can find the equivalent expression or the similar expression that you can directly apply, choose the foreignization translation. For example, &quot;熟能生巧&quot; can be directly translated as &quot;Practice makes perfect&quot;. When the original text and the translation cannot be translated according to cultural differences, it is necessary to replace the &quot;culture of source language&quot; with the &quot;culture of target language&quot;, and to transform the meaning to be conveyed in the source language into the cultural image familiar to the target language, such as &quot;吃不了兜着走&quot;. Its corresponding expression in English cannot be found, so it has to be translated as &quot;be in serious trouble&quot; according to its original meaning. <br /> <br /> (3)Combining the two strategies for translation in translation practice <br /> <br /> It is not enough to use just one translation strategy to retain the cultural characteristics of the idioms, but also to convey the meaning. If the translation also wants to be accepted by readers of the target language, it is not enough to use a certain translation strategy. The translator needs to combine two strategies to do the translation. For example, &quot;三十六计，走为上策&quot;. If translators only uses the foreignization translation strategy to translate it, the translation of this idiom will be like &quot;Of the thirty-six strategies, the best is running away&quot;. Although the culture in the original text is retained and the literal meaning is also expressed, its implicit meaning is not reflected. At this time, it is necessary to supplement the domestication translation like &quot;as you have no better choice&quot;. Only in this way can the translation be more complete.<br /> <br /> ===References===<br /> *Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London: Routledge.<br /> <br /> *Schleiermacher, Fredrich. (1838/1963). &quot;Ueber die verschiedenen Methoden des Uebersezens&quot;, in Hans Joachim Störig (1963) ''Das Problem des Übersetzens'', Darmstadt: Wissenschaftliche Buchgesellschaft [Wege der Forschuung Band VIII], 38-70.<br /> <br /> *Schleiermacher, Fredrich. (1838/1977). &quot;On the Different Methods of Translating&quot;, in André Lefevere (ed. &amp; trans.) (1977) ''Translating Literature: The German Tradition from Luther to Rosenzweig'', Assen &amp; Amsterdam: Van Gorcum, 66-89. [Translation of Schleiermacher 1838/1963].<br /> <br /> *Schulte, Rainer &amp; Biguenet, John‚. (1992). ''Theories of Translation''. Chicago: The University of Chicago Press.<br /> <br /> *‚Nida, Eugene. A. (1993). ''Language, Culture, ‚and Transla‚ing''. Shanghai: Shanghai Foreign Language Education Press‚.<br /> <br /> *Chan, Leo Tak-hung. (2004). ''Twentieth-Century Chinese Translation Theory''. Amsterdam: John Benjamins Publishing Co.<br /> <br /> *Shuttleworth, Mark &amp; Cowie, Moira. (2004). ''Dictionary of Translation Studies''. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Sun Zhili 孙致礼. (2002). 中国的文学翻译：从归化趋向异化 [Literary Translation in China: From Domestication to Foreignization]. ''中国翻译''‚‚ Chinese Translators Journal ‚(01) 40-44.<br /> <br /> *Hanks, Patrick.(ed.). (2001). ''The New Oxford Dictionary of English''. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Dictionary Editorial Office, Institute of Linguistics, Chinese Academy of Social Sciences 中国社会科学院语言研究所词典编辑室. (2002). ''现代汉语词典'' [Modern Chinese Dictionary]. Beijing: The Commercial Press 商务印书馆.<br /> <br /> *Qiu Nengsheng, Qiu Xiaoqin 邱能生, 邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation]. ''上海翻译'' Shanghai Journal of Translators (01) 51-56.<br /> <br /> *Qiu Jixin 裘姬新. (2002). 论习语翻译中的异化与归化 [On Foreignization and Domestication in the Translation of Idioms]. ''语言与翻译'' Language and Translation (02) 42-45.<br /> <br /> *Zhang Ning 张宁. (1999). 英汉习语的文化差异及翻译 [Cultural differences and Translations between English and Chinese idioms]. ''中国翻译''‚‚ Chinese Translators Journal ‚(03) 03-05.<br /> <br /> *Wang Fang 王芳. (2001). 中英习语翻译文化特色的处理 [The Treatment of Cultural Features in Chinese-English Idiomatic Translations]. ''中国科技翻译'' Chinese Science &amp; Technology Translators Journal (01) 34-36.<br /> <br /> *Xu Jianping 许建平. (2004). ''英汉互译实践与技巧'' [A Practical Course of English-Chinese and Chinese-English Translation]. Beijing: Tsinghua University Press 清华大学出版社.<br /> <br /> *Liao Qiyi 廖七一. (2001). ''当代英国翻译理论'' [Contemporary Translation Studies in UK]. Wuhan: Hubei Education Press 湖北教育出版社.<br /> <br /> *Guo Jianzhong 郭健中. (1998). 翻译中的文化因素：异化与归化 [Cultural Factors in Translation: Foreignization and Domestication]. ''外国语（上海外国语大学学报）'' Journal of Foreign Languages (02) 12-18.<br /> <br /> = '''Title Translation''' =<br /> <br /> <br /> ==A Study on the Translation of Movie Titles 陈惠 Chen Hui==<br /> 陈惠 Chen Hui No.202020080592--[[User:Chen Hui|Chen Hui]] ([[User talk:Chen Hui|talk]]) 03:52, 15 December 2020 (UTC)Chen Hui<br /> <br /> ===Abstract===<br /> Film is a comprehensive art integrating vision and hearing, which has made great contributions to the transnational communication and integration of culture. The title is an important factor in a movie's appeal to the public. Therefore, the translation of movie titles is of vital importance. The translation should not only fit the film content but also cross cultural differences. Moreover, it has strict word count control, which makes it difficult to translate literary works with relative freedom and high requirements. This paper will analyze the current situation of film title translation, try to summarize the features and functions of film title translation, put forward the criteria and principles of film title translation, and briefly discuss the strategies of film title translation.<br /> <br /> ===Key words===<br /> Features of film titles. Translation criteria, translation principles, translation strategies.<br /> <br /> ===摘要===<br /> 电影是一门集视觉和听觉为一体的综合性艺术，为文化的跨国传播和融合做出了巨大的贡献。电影标题正是电影吸引大众眼球的重要因素。因此电影标题的翻译就显得至关重要。其译文既需贴合电影内容又要跨越文化差异，并且有严格的字数控制，难以像文学作品翻译那样相对自由，要求极高。本文将分析目前电影名翻译的现状，试图总结电影片名的特点和功能，提出电影片名翻译的标准及原则并浅谈电影标题翻译的策略。<br /> <br /> ===关键词===<br /> 电影片名特点，翻译标准，翻译原则，翻译策略。<br /> ===Chapter1 Introduction===<br /> As one of the eight major arts, film is an important carrier of world cultural exchange, bearing specific cultural symbols. The translated names of films reflect different ways of dealing with foreign cultures and convey different cultural values. This paper released in mainland China and Hong Kong and Taiwan area's English movie, for example, from the political system, economic environment and language habits, this paper analyzes the reasons of different film title translation, points out that the different cultural values, dubbing staff of different translation strategies, and in order to meet the requirement of the local culture market, cross-cultural differences should be important factors should be taken into consideration when the translation practice. With the increasingly close cultural exchanges between China and foreign countries, English films, as an important cultural form, have gradually entered the Stage of Chinese films, which inevitably involves English-Chinese translation. In English-Chinese film translation, film title translation plays a very important role. Han Su said that “A good title translation can not only add to the film, but also help Chinese and Western films to go out and bring in better, and promote cultural exchanges and communication.” (Han,2018,P95).In order to translate high-quality film titles into Chinese, it is necessary to have an accurate understanding of the characteristics, translation principles and translation strategies of film titles.<br /> <br /> ===Chapter2 Movie: A kind of Art===<br /> <br /> ====2.1 The Introduction of Movie====<br /> Film is a comprehensive art integrating vision and hearing, which has made great contributions to the transnational communication and integration of culture. Yang Shu said that :“Different from other art categories, film is an emerging art form formed with modern technology and has its own ontological characteristics.”(Yang Shu, 2017, P78)).The title of the film is an important factor in its appeal to the public. Therefore, the translation of movie titles is of vital importance. The translation should not only fit the film content but also cross cultural differences. Moreover, it has strict word count control, which makes it difficult to translate literary works with relative freedom and high requirements. This paper will analyze the current situation of film title translation, try to summarize the characteristics of film title translation and the principle of film title translation, and to talk about the strategies of film title translation.Film, a continuous image developed by the combination of mobile photography and slide show, is a visual and auditory modern art, but also a complex of modern technology and art that can accommodate drama, photography, painting, music, dance, writing, sculpture, architecture and other arts. Cinema is a visual art that simulates the experience of communicating ideas, stories, perceptions, sensations, beauty, or atmosphere through recorded or programmed moving images and other sensory stimuli. The term cinematography is short for cinematography, usually used to refer to filmmaking and the film industry, as well as the art form that emerges from it. Films are cultural relics created by a particular culture. They reflect these cultures and influence them. Film is regarded as an important art form, a source of popular entertainment and a powerful medium for educating citizens. The visual basis of a film gives it universal power of transmission. The film has its own characteristics. In terms of artistic expression, it not only has the characteristics of all kinds of other arts, but also has the means of expression beyond all other arts because it can use the artistic montage of the film grouping skills. With the development of modern society, movies have penetrated into every aspect of human social life and become an indispensable part of People's Daily life. Film is an art whose time and course of growth are known by human beings. It is a media with rapid development and great influence since the 20th century. It is also a creative industry integrating politics, economy and culture. Since the end of the 19th century, France, the United States and other parts of the film inventors have invented can mimic a person's eyes and ears of photoacoustic records and reduction technology and machine, the film technology, from the birth, were entrepreneurs become film business, by politicians become ideology, by artists become film art, researchers developed into film theory. The history of a film is also the history of filmmakers exploring the laws of film. Film is a kind of modern art which uses modern scientific and technological achievements as tools and materials, and uses the means of expression to create visual images and the combination of shots. In the space and time of the screen, it shapes the specific images that are moving, sound and painting combined, and lifelike, to reflect social life. The film can accurately &quot;restore&quot; the real world, &quot;show&quot; the virtual world, giving people a sense of authenticity, a sense of intimacy, just like being on the scene. This feature of film can satisfy people's desire to experience life in a broader and more real way. Movies can be divided into action movies, fantasy movies, comedy movies, horror movies, science fiction movies and so on.<br /> <br /> ====2.2 Features of English Film Title====<br /> On the one hand, a film title is an art form, reflecting the literary value of a film; on the other hand, it is linked with the box office, reflecting the commercial value of a film. Therefore, a film title directly affects the success of a film. English movie titles have the following characteristics.<br /> (1) The title is easy to understand and arouses the audience's interest. This is contrary to the characteristics of Chinese movie titles. Some Chinese movie names are not introduced by media, which makes it difficult for the audience to have a clear understanding of the movie in advance, such as The Promise and Infernal Affairs. Movie titles in English are often simple, but they have a profound effect on the audience's enthusiasm. For example, True Lies, the movie's title tells you that the movie is about a lie, but what kind of a lie is a &quot;True lie&quot;? When the audience sees the name of the movie, they will first have such doubts in their minds, and then watch the movie with doubts and curiosity. There are plenty of similar movies, such as Back to the Future.(2) The title contains slang to enhance the appeal of the film.The title of the film incorporates slang, on the one hand, to make the audience feel friendly, on the other hand, to achieve the desired ironic effect of the film. One Flew over the Cuckoo's Nest, and at that very moment, the Cuckoo's Nest Flew very slowly. &quot;Slumdog,&quot; for example, is a slur for someone who lives in a Slumdog. The other way around is to be sarcastic. The other way around is to be sarcastic.(3)The title of the film is named after the name, which is clear at a glance.Names of people, places, objects and places often appear in the titles of European and American films, such as Pearl Harbor. As long as you have some historical knowledge, it is not difficult to know the content of the film, which is obviously related to the Pearl Harbor incident during the Second World War. In addition, there are also Casablanca, Roman Holiday, Waterloo Bridge(Waterloo Bridge) and other famous films with place names as film titles. People like Forrest Gump, which is clearly the main story in the film, but also Emma, Jane Eyre, etc. It's about a Perfume genius who's obsessed with Perfume and becomes a psychopath. It's also about The Piano and The Net. In addition, there are one case, is to add in the title of the character (place or items) characteristics. For example, Edward Scissorhands, Schindler's List, The Mask of Zorro, etc.(4) The title contains numbers to indicate the plot.Numbers appear frequently in English movies, and they are real rather than imaginary. In this kind of naming, the numbers in the title will appear in the play, either directly spoken by the characters, or the numbers-almand-or explained gradually through the plot. This may be related to the fact that westerners pay more attention to objectivity and practicality, and think more straight lines. The famous film with numbers included in the title has Seven Deadly Sins(&quot; Seven Sins &quot;). According to the title, it can be associated with the Seven Deadly Sins of the Bishop. The mysterious serial murders in the film are one of these Seven Sins, so the title gives a good hint to the audience. Eleven tells the story of Eleven skilled dodgers.Heart completes a breathtaking mission story; Six Days and Seven Nights a man crashes in a plane and lands on a desert island for Six Days and Seven Nights. In addition, there are also Twelve Angry Men, The Six Sense, Eight LeggedFreaks and so on.<br /> These are the characteristics of British and American film titles, we can see that they value simplicity. Due to cultural differences, most Chinese film titles have deep meanings and reveal rich cultural heritage, such as Farewell My Concubine, A Thousand Miles Away, Curse of the Golden Flower and so on. Therefore, foreign films should attach importance to the translation of film titles in order to enter the Chinese market. How to arouse the resonance of Chinese audience's aesthetic appreciation requires the translator to pay attention to aesthetic factors in the translation of movie names.(Lin Wen, 2015)<br /> <br /> ====2.3 Functions of English Film Title====<br /> The British translation theorist Newmark believes that language has six functions: the function of expression, the function of information, the function of demanding, the function of beauty, the function of responding, and the function of meta-language. Among them, the first four are the main ones. The title of a film is a proper noun, which is the product of the screenwriter's careful conception. It can not only highly summarize the theme or content of the film, but also strongly stimulate the reader's desire to watch it. Therefore, it mainly has information function, imperative function and aesthetic function. In film title translation, BaoHui south thinks &quot;should not only conform to the language specification, but also full of artistic charm, as well as the content of the faithful to the original title, and to reflect the language characteristics of formerly, strive to achieve the art to create&quot;, wants be particular about &quot;mass, popularization, colloquial and artistic quality&quot;, &quot;to be able to have very good guide depending on and promotion effect&quot;. The author believes that the film title has five functions: 1) Suit the content of the original film, reflect the theme of the original film, help the audience better understand the original film, highlight the style of the original film; 2) Concise and comprehensive, easy to remember; 3) Set the emotional tone of the film, and infect the audience with strong lyric, thrilling or dramatic atmosphere; 4) It conforms to the language norms of Chinese and is suitable for the appreciation habits of Chinese audiences; 5) Attract audience and increase box office income. Therefore, the theoretical support for film title translation is not the traditional translation theory centered on &quot;faithfulness to the original author or the original text&quot;, but the unified equivalence with the original title in language, cultural information and functional characteristics.(Newmark,1958).<br /> <br /> ===Chapter3 Analysis on Movie Title Translation===<br /> <br /> ====3.1 Current Study of Movie Title Translation====<br /> With the rapid development of China's society and the improvement of the openness of the country at all levels, more and more foreign films have entered China, giving Chinese audiences different visual and spiritual cultural feast. At times, however, the translation of movie titles has left audiences baffled. Due to the vast territory of China, the same English movies are sometimes translated differently under the cultural background of the mainland, Taiwan and the three places, making it difficult for people to judge the same movie from the name of the translated movie. For example, Gone with the Wind is translated in Mainland China, while Gone with the Wind is translated in Hong Kong and Taiwan. For example, in Cantonese, &quot;slam-dunk&quot; is called &quot;Thun&quot;, while in Mandarin it is &quot;slam-dunk&quot;. Therefore, the movie Space Jam has been translated into &quot;Thun in Space&quot; and &quot;Slam-Dunk in the Air&quot;. Due to different pronunciations, the translation of movie names will also be different. For example, the classic film Titanic was translated into the Hong Kong version of &quot;Titanic&quot; and &quot;Titanic&quot;, but the latter is better known. (3) Influence of commercial interests More and more films are driven by commercial investment. In order to win high box office, eye-catching words are often added to the title of the film in translation to make the audience shine. For example, in the film Leon, merchants translate it into Leon in order to pursue a better box office. In fact, it is also possible to translate it into Leon, but it lacks the thriller of the former, so it cannot better attract the audience. There's another movie, The Mask, for example. The Mainland version is The Mask, while The Taiwan version is The Modern Saint. The former is more convincing and mysterious, and The translation is better.(5) Random translation is quite common in Hong Kong. The so-called random translation refers to the translation of the name without the content of the film, imaginary, unrestrained, full of exaggerations, suspense, with only one purpose, is to attract audiences. For example, &quot;Fair Came&quot; was translated into Chinese by Hong Kong and translated into Chinese as &quot;Fair game&quot;. The film tells the story of Kitty, who was originally a lawyer in miami-famous family firm, who woke up and suddenly became a target of Soviet spies, facing death threats all the time. It was hard to see how Kitty could be called a witch from beginning to end. Hong Kong translations (1995) and mainland Chinese translations of &quot;Shawshank Redemption&quot;. The story takes place at the beginning of 1947, banker Andy is wronged and imprisoned. Facing the unfair fate, Andy can show not pleased by external gains, not saddened by personal losses and silently construct his own future. It is not clear where 1995 came from in the Hong Kong translation, and the word &quot;stimulus&quot; does not match the content of the film. From the perspective of translation, translation has made big fear of translation standards, even the most basic of faithful to the original works and &quot;letter&quot; to the cause for the current more than a translation, the chaotic translation for the current situation, in addition to our regional factors mentioned above, a local translation characteristics, the mass media have unshirkable responsibility. As a mass media, newspapers, magazines, films, radio and television do not pay attention to the use of standardized translation of the name, which leads to the further deterioration of the phenomenon of film translation one translation. In addition, in order to pursue business profits, translator and even from The film content, subjective themselves, exaggerated exaggerated, use some stimulus, poignant words to attract audience attention, no bridge &quot;, and &quot;candle&quot; two characters, The tragic fate of The film, The heroine, consider translation of &quot;faithfulness, expressiveness and elegance&quot;, such as Hong Kong and Taiwan to Hemingway's masterpiece The Sun Also Rises &quot;The Sun Also Rises&quot; translation &quot;concubine is chaoyang and zhao jun, and formerly known as and simply goes and The original content.(Song Yanlan, 2017)<br /> <br /> ====3.2 Standarding Movie Title Translation====<br /> <br /> =====3.2.1 Ways to Standard=====<br /> Facing the current situation of film title translation, how should we regulate the translation of film title? I think there are several ways to look at it. From the perspective of the translator, the translator should accurately grasp the original content, want to reaction and its creation and works reflect the major theme of background, this can help the translator vividly grasp accurately the original content, understand the formerly known as connotation, translation with the original content, to maximize the reappearance of formerly known as information, make the translation really play a guide role. Such as film, A Walk in the Clouds, title literally &quot;go&quot; in the cloud, which describes A youth couple of vine flowers in the loving touching love story, also the garden it is translated into &quot;to Walk through the Clouds,&quot;, reflects both the original meaning, and full of poetic, leave the audience with fragrant vineyard, fascinating intoxicating refreshing romantic breath. The translator should also be in accordance with the original, pay attention to the using a variety of translation method is flexible, should not only respect the formerly known as film, also considering the cultural differences, adopt the appropriate expression, proper free translation of some of the titles, appropriately express the original information, should not only to retain the original western style, and to consider domestic audience's comprehension and language habits, considering the cultural differences. Some titles can be translated literally, simply and clearly to convey the information of original titles, such as Sindler's List translated into Schindler's List,Back to the Future translated into Back to the Future, etc. Some titles require free translation. For example, the novel Cone Wih the Wind is translated as &quot;Gone with the Wind&quot; with literal translation, but the film's translation of &quot;Gone with the Wind&quot; is more attractive. &quot;Troubled times&quot; tells the background of the story, &quot;Beautiful Woman&quot; points out the heroine of the film, which -- the translated title vividly shows the heroine Scarlett's rough experience in the war years, which can fully attract the audience's attention. Waterloo Bridge, literal translation is &quot;Waterloo Bridge&quot;, see the translation, the audience will first think of the battle of Waterloo, napoleon, but the film describes not smoke of the battlefield, but sad love story, the symbol of the combination of Chinese folk story &quot;the blue Bridge&quot;, the translator skillfully as a &quot;blue use some stimulus, poignant words to attract audience attention, no Bridge&quot;, and &quot;candle&quot; two characters, the film highlighted the tragic fate of the heroine.(Yao Dongyu, 2016)<br /> <br /> =====3.2.2 The Criteria for Movie Title Translation=====<br /> As for the criteria of translation,Yan Fu, a famous modern translator, put forward the criteria of &quot;faithfulness, expressiveness and elegance&quot;. Letter “is for the original text, requires the translator to correctly understand the original text, faithful expression of the original thought, style, inside” is for the translation, and requires to use fluent and easy to understand the speech, but on the elegant &quot;, but there is no consensus. King explained the concept from three aspects: receiver concept, effect concept and equivalence concept. As for the concept of effect, he pointed out that, after clarifying the effect of information on the receiver, it should be emphasized that it should include the full effect of information, namely the thorough understanding and feeling obtained by the receiver. Includes main spirit, concrete fact, artistic conception atmosphere three main elements. In the translation practice of the film title, Jin Ti said that because of different language changes are bound to cause changes in the language effect, so only from the effect of the translation, to determine whether the language is appropriate. Taking this as the standard, the translated name should try to achieve the equivalence of spirit, fact and artistic conception in sound, shape and meaning, that is, the relationship between the recipient and the translated message should be basically the same as that between the recipient and the original message &quot;(Nida, CF King: 1998).<br /> <br /> ====3.3 The Principles of Movie Title Translation====<br /> Although the translation of film titles has its particularity, it is not distinct from the translation of other genres, but has something in common. In terms of its translation process and results, the author believes that it should be mainly reflected in the following two principles :1. Principle of Economic Benefit Liu Miqing (1999,P49) pointed out that since the content contained in the original language is worthy of translation (i.e., it has social benefits), the conversion should be realized by the target language that is acceptable to the society, instead of being restricted by the readability of the original language. It is also said that social benefits are the yardstick by which the meaning of translation, the quality of translation and the value of translation are tested &quot;(1999,P48). He puts forward three principles, among which the readability principle of the target language plays a guiding role in title translation. When the readability of the source language is very good, it can convert all the formal meaning and stylistic meaning of the source language into the target language correspondingly...&quot;. In Hong Kong, for example, Saund ofMusic has been translated as &quot;floating in the sky&quot; and in Taiwan as &quot;truth, goodness and beauty&quot;, which leaves the audience puzzled. Since then, the film has been widely accepted as &quot;the sound of music&quot; by Chinese mainland translators. 2. Principles of Cultural Characteristics Translation with cultural characteristics is considered to be one of the most difficult to translate. &quot;As for culture-specific&quot;, translation theorist Baker(2000, p64) said that the words of the target language may express a concept that is completely unknown to the culture of the target language, which may be abstract or concrete and may be related to religious beliefs, social customs or even certain things. This shows the difficulty of cultural translation. The film is the director's reflection of the real or virtual life, and the title that reflects the content of the film also naturally contains many cultural factors, making it difficult to translate. There are various ways to embody cultural connotation, such as cultural words and idioms. &quot;First Blood” for example, is an idiom meaning &quot;first to win a battle&quot;, but always translated as &quot;the first drop of blood&quot;.<br /> <br /> ===Chapter4 Ways of Movie Title Translation===<br /> <br /> ====4.1 Literal Translation====<br /> literal translation - simple and clear, to the literal translation is carried out in accordance with the literal meaning to translation, translation is not to add or increase or decrease, achieve unity, so as to convey sincerity buy primitive thoughts, reflects the primitive expression of the style of work, even done very well, otherwise the translation will lose the essence of the original. Nowadays, more and more audiences like original films. Excellent film translations retain their own unique labels while promoting films. Although there is no gorgeous translation of words, they are insipid yet mysterious. For example, a film about psychology, Beautiful Mind, which the translator translated directly into &quot;A Beautiful Mind&quot;, without adding any other elements, makes people have a calm and mysterious feeling towards this film. There is also a film about the Sniper in Iraq war, American Sniper, which the translator directly translated into American Sniper. When people see the title, they can clearly know what subject this film is about. There is no gorgeous language, but it goes straight to the theme without losing the original meaning.(Zhou Baoxue, 2013)<br /> <br /> ====4.2 Free Translation====<br /> Free translation -- in a similar situation, free translation with cultural characteristics is translated in accordance with the general idea of the original text, instead of word for word translation, which can be applied in the context of huge cultural differences between the original language and the target language. There is a classic work by Nicolas Cage called &quot;Face Off&quot;. Some translators have translated it into &quot;Face Off&quot; or &quot;Face Off&quot;. Both translations are free translation, not literal translation. The advantage of this is that it not only expresses the meaning of the English title, but also conveys the content of the film. When English films encounter Chinese culture, they need to be adjusted appropriately, so that the film name can quickly enter people's lives and let people quickly understand the general content of the film on the basis of highlighting the theme and with local cultural characteristics. Such as a movie starring Tom Hanks was called Catch Me If You Can, translation version did not directly translated into &quot;If You Can Catch Me, but according to the four words idioms in Chinese habit and common cultural features translated into&quot; cat and mouse game &quot;or&quot; free &quot;, the two translation versions are make good use of the four words idioms, injected with Chinese cultural characteristics, and highlight the theme, let the people You'll never forget.(Yang Huhong, 2006)<br /> <br /> ====4.3 Transliteration====<br /> Transliteration means to translate according to the English pronunciation and find the corresponding Chinese words, which is more intuitive and lets people remember the name of the movie. Even if English is not well spoken, foreigners can still understand it through the corresponding Chinese translation, which promotes cultural exchange. Milk, for example, translates directly into Milk. There are Avatars, Juno and so on, which keep the original flavor of the original films.(He Ying, 2001)<br /> <br /> ====4.4 Amplification and Omission====<br /> Amplification and provincial translation -- to highlight the features of the film and keep close to the theme, amplification or provincial translation refers to adding or reducing the corresponding information on the original basis to achieve the function of better information transmission, so as to make the name of the film more representative and play the role of advertising. So for example, the movie, instead of making it literally Interstellar, you make it into Interstellar, you make it into Interstellar, so that you have a better way of talking about what the movie is about. -Two. There's also How to Train Your Dragon. Instead of being translated into how to tame your dragon, the translator reduced it to How to Train Your Dragon.(Jin Ti, 1997)<br /> <br /> ====4.5 Naturalization====<br /> Domestication method is adopted in the translation of English film titles to avoid literal translation, which would make the Chinese translation of film titles impossible for Chinese audiences to understand the theme and cultural connotation of the film. This translation strategy aims to make the translated title conform to the cultural psychology and aesthetic standards of Chinese audiences, adapt to the difficulty of public understanding, give the audience an intuitive and preliminary understanding of the film content, and stimulate their interest in watching the film. Cleopatra Cleopatra was the last queen of the Ptolemaic Dynasty of Egypt, one of the first sovereigns of Alexander the Great after his conquest of Egypt. Legend has it that Cleopatra was beautiful and intelligent. She was close to Caesar and Antony, politically adept, involved in the politics of the end of the Roman Republic, ambitious, and a legendary Egyptian queen. There is no doubt that Cleopatra was a central figure in ancient Egypt, and her anecdotes about Her relationships with Caesar and Antony made her a famous figure in literature and art. This is the story of Cleopatra, the 52-year-old Caesar who came to Egypt as a Roman governor to settle a royal contest between Cleopatra, the Ptolemaic dynasty, and her half brother Ptolemy XIII. Cleopatra quickly conquered Caesar with her charm of courage and political skill, gaining control not only of the Ptolemies in Egypt, but of Rome as well. The son of Cleopatra and Caesar was made heir, but Antony and Octavian were not satisfied. After Caesar's assassination, Antony took over the REINS of Rome and was also conquered by Cleopatra. If the title of the English movie is literally translated into Chinese as Cleopatra, Chinese audiences who are not familiar with Egyptian history will lose interest in watching it. Compared with the literal translation of Cleopatra, the domestication strategy can be used to translate Cleopatra to achieve the commercial purpose of attracting audiences' interest, and at the same time, the audience can understand the theme of the film more intuitively, so as to achieve the purpose of promoting the cultural transmission.(Wu Shuang, 2005)<br /> <br /> ====4.6 Foreignization====<br /> In the translation of English film titles, foreignization should try to keep the expression habits and cultural characteristics of the original titles, bring the audience into the English language and culture, let the audience experience an unprecedented exotic amorous feelings, and maximize the dissemination of English language and culture. Zeng Qinyu thought domestication and foreignization can be regarded as the extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation. The Hollywood film Titanic tells the touching love story between rose, a rich girl, and Jack, a poor boy painter, when the luxury liner Titanic collided with an iceberg and sank. On April 15, 1912,Titanic set sail from Southampton, England, carrying more than 1,000 passengers and more than 800 crew members, bound for New York. But unfortunately it collided with an iceberg and sank. When the wreck was found on the bottom of the sea in 1985, there was a portrait of a teenage girl on the cabin wall, and Rose, who was 102 at the time, claimed to be the girl. The original Rose because her fiance Carl is a snob and do not want to marry him, when ready to throw himself into the sea, was Bohemian poor painter Jack save. Rose fell in love with jack, a cheerful character. As a witness of love, Jack drew a portrait for Rose. Not long after that, the ship hit an iceberg and began to sink. In the critical moment of life and death, Jack left the chance of life to Rose, he was frozen to death in the cold sea. In the translation of the film title, alienation strategy was adopted, literally translated as Titanic. This translation strategy was consistent with the understanding and acceptance level of Chinese audiences, loyal to the social and cultural life of English-speaking countries, and retained the form and content of the original English title to the greatest extent.(Zeng Qinyu，2020)<br /> <br /> ===Chapter5 Conclusion===<br /> Film is a comprehensive art. The translation of film titles should not only follow certain principles and methods of translation, but also have rich cultural knowledge and solid language skills. The title translation is not a simple and mechanical arrangement. It needs to consider the similarities and differences between Eastern and Western cultures and the acceptability of translation according to the content of the film, so that it not only conveys the message of the film, but also is full of beauty. Therefore, translators should not only be familiar with the ways of language expression and conversion, but also have a profound cultural awareness. On the basis of in-depth understanding of the cultural information conveyed by the title, translators should understand the content and style of the film, try to understand the wording and try to accurately grasp the surface meaning and associative meaning of the source language and the target language. &quot;I was a standup, I was at the tenth month of October&quot;, I translated the title of the film with a rigorous attitude, and only by carving and chiselling can I achieve a classic translation that enjoys universal popularity.(Yang Shu, 2017)<br /> <br /> ===References===<br /> [1]Eugene A. Nida. Toward a Science of Translating. Shanghai Foreign Language Education Press, 2004.<br /> <br /> [2]Jin Ti. Equivalent Translation Exploration. Beijing: China International Translation and Publishing Company, 1997.<br /> <br /> [3]Han Su. Comparison between English and Chinese Version in Film Title Translation. Journal of Chifeng University.2019(03):101-103<br /> <br /> [4]He Ying. Theory and method of Film Title Translation. Foreign language Teaching, 2001 ,(01):56-60.<br /> <br /> [5]Lin Wen. Cultural Identity and Translation of English Film Titles. Guizhou Normal University,2016.<br /> <br /> [6]Liu Miqing. Contemporary Translation Theory. Beijing: China International Translation and Publishing Company, 1999.<br /> <br /> [7]Lu Hui. Brief analysis of English Film Title Translation. Huashang. 2008(06):68.<br /> <br /> [8]Song Yanlan. Common Chinese Cultural Factors in English Film Title Translation -- Take 50 films for example. Liberal arts navigation. 2017(04):22-24.<br /> <br /> [9]Yao Dongyu. Journal of Liao Ning Institute of Science and Technology,2016.<br /> <br /> [10]Yang Hu Hong. On several Translation Methods of Film Title Translation. Anhui Literature, 2006.<br /> <br /> [11]Yang Shu. Narrative Studies of Mainland Chinese Films Since the New Era. Shandong Normal University. 2017.<br /> <br /> [12]Zen Qingyu. A Brief analysis of domestication and Foreignization of English Film Title Translation. Science and Education Guide. 2020(05):25-26.<br /> <br /> [13]Zhou Baoxue. A Brief Analysis of the Principles and Methods of English Film Title Translation. Science and Education Literature Review. 2013(08):149-150.<br /> <br /> == A Study on Movie Titles Translation from the Perspective of Skopos Theory 罗雨晴 Luo Yuqing ==<br /> <br /> &lt;center&gt;罗雨晴 Luo Yuqing No.202070080601&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> <br /> With the continuous advancement of globalization, more and more foreign films are introduced into China continuously. China's film market is huge and Watching films has become a popular way of entertainment for Chinese. Various kinds of films emerge in endlessly so that film titles are particularly important. The film title is the eye of the film, the highlight and essence of a film. A good film title can successfully attract people's attention, stimulate the desire to watch, and bring them into the cinema, which is the purpose of English film title translation. From the perspective of Skopos Theory, this paper will analyze the characteristics and functions of film titles, all kinds of existing translations, and puts forward some translation methods of English film titles, hoping to be helpful to the translation of film title translation.<br /> <br /> ==='''Key words'''===<br /> <br />  English film title translation; Skopos Theory; translation methods<br /> <br /> ==='''摘要'''===<br /> <br /> 随着全球化进程的不断推进，越来越多的外国电影源源不断地涌入中国，中国电影市场巨大，看电影已成为一种广受欢迎的娱乐消遣方式，各种电影层出不穷，因此电影片名就显得尤为的重要。电影片名是电影的眼睛，是一部电影的亮点与精华所在。一个好的电影名可以成功吸引人的眼球，激发大众观看欲望，将大众带入电影院。而英语电影片名的翻译目的就在此。本文主要将从目的论的视角出发，分析电影片名的特点与作用，对各种现有译名的进行分析，就此提出一些英文电影片名的翻译方法，希望能对电影片名的翻译工作有所帮助。<br /> <br /> ==='''关键词'''===<br /> <br /> 英语电影片名翻译； 目的论; 翻译方法<br /> <br /> ==='''Chapter1 Introduction'''===<br /> <br /> A film is like a book with pictures and sound. When reading books, we will imagine the scenes described in the books, while words in book will be presented in the form of images and sound in film. Most of films last about two hours. In these two hours, we can get in touch with something we are not familiar with in a relaxed way. Film brings us a variety of visual, auditory and other sensory pleasure. It is not only a way of entertainment, but also an important medium to spread culture. With the rapid development of economy, people pay more and more attention to the quality of life and cultural exchanges between different countries are closer than before. A large number of foreign films are pouring into China, trying to get a share of the Chinese market. Although there are close cultural exchanges, there are still cultural differences between China and the West. Therefore, the translation of film titles after the introduction of foreign films into China is very important. Although the translation of film titles seems to be a small project, it is not so easy to translate them well and to the point to let people can't wait to see the whole film. It is self-evident that the film title is the essence of a film. It not good enough to accurately summarizes the contents of the film, to attract the audience. The quality of the film title directly affects its dissemination in China, and its importance is self-evident. <br /> <br /> This paper proposes a Skopos Theory approach to the translation of film titles. The ultimate goal of film title translation is to attract attention as much as possible on the premise of accurately conveying the content of the film. Skopos Theory can provide a reasonable explanation for those film titles that are not translated according to the traditional translation theory. The Skopos Theory put forward by Hans Vermeer is the core theory of functional translation theory. Compared with some previous translation theories, this theory has some breakthroughs. The purpose of translation carries through the whole process of translation, and the purpose determining method is its biggest feature, which gives the translator a lot of space to adopt the translation method that he thinks is suitable.<br /> <br /> This thesis is composed of five chapters. Chapter one serves as an introduction, presenting the importance of the translation of English film title translation, the adaptability of the Skopos Theory and the structure of the thesis.Chapter two is a general analysis of English film title translation, including film genres and features and functions of English film title translation. Chapter three is a general introduction of Skopos Theory, consisting of its development, concept and three basic principle. Chapter four analyzes the existing film title translation from the perspective of Skopos Theory, and comes to the methods of film title translation. Chapter five draws a conclusion finally.<br /> <br /> ==='''Chapter2 A General Introduction of English Film Title'''===<br /> <br /> ====2.1 Film Genres ====<br /> According to He Ying in her article &quot;Theory and Method Guiding Film Title Translation&quot;, films are normally divided into three categories: science and educational film, documentary film, and feature film. Educational film spread scientific and technological knowledge. (He Ying 2001, 57)Documentary film is a kind of film or TV art form that takes real life as the creation material, takes real people as the object of expression, and processes and displays it artistically. It takes showing the truth as the essence and arouses people's thinking with reality. Feature film is a kind of film work which uses image and sound as means to narrate. Any film which is played by actors, has a certain plot and expresses a certain theme can be called a feature film. Feature films are often more easily accepted by all and have a large audience,so that this thesis confines its tentative study to the titles and the corresponding translations of English feature films. As for feature films, Tim Dirks categorized the main genres such as action films, adventure films comedy films, crime&amp;gangster films, drama films, epics or historical films, horror films, musical (dance）films, science fiction films, war (anti-war) films, and Westerns. Actually, a genre is always a vague term with no fixed boundaries and the referred types may overlap each other. Genres can be combined to form hybrid genres,(Tim Dirks,2003,3.19) such as ''Inglourious Basterds'' 《无耻混蛋》 which melts the genre of action and war，so does ''Saving Private Ryan''《拯救大兵瑞恩》. <br /> <br /> ====2.2 Features of English Film Title====<br /> <br /> ===== 2.2.1 Linguistic Features===== <br /> Foreign film titles are usually translated into Chinese with four characters and The translated titles are usually concise. It is not convenient for the audience to grasp the key points when they meet with long title and a short title can also contain many meanings. With the fierce competition in the film market, most of the audience just want to relax so that they prefer to watch films with accurate and concise expression of film titles. In addition, the use of four characters may be related to Chinese language habits that there are four character idioms in China. For example, ''Transformers'' 《变形金刚》, ''Captain America''《美国队长》, ''Escape Plan'' 《金蝉脱壳》, ''The Hunger Games'' 《饥饿游戏》, ''Once Upon a Time in America''《美国往事》.The translated titles of these foreign films are very concise and to the point, and the emphasis is on simplicity. They use vivid words to arouse the audience's interest. For example, the film Escape Plan is literally translated into Chinese as《金蝉脱壳》. The translator combines a Chinese idiom, golden cicada out of shell, which comes from the Xie Tianxiang written by Guan Hanqing. This idiom means when a cicada turns into an adult, one should take off a layer of shell, which draws an metaphor between people and cicada.(Baidu Encyclopaedia, golden cicada out of shell） And the film is about a prison designer who is locked into a high-pressure prison designed by himself and is ready to escape with other accomplices. The meaning the film and the idiom want to express is just the same, and the translated title is more vivid.<br /> <br /> =====2.2.2 Aesthetic Features ===== <br /> In fact, the translation of film titles is also a kind of literature. When foreign films are introduced into China, the translation of translated titles is equivalent to giving the film a life again. film titles can also be appreciated as the paintings do. The aesthetic translation of film titles will create a kind of artistic conception with a strong artistic quality. The translator will use a lot of rhetorical devices, such as metaphor, contrast, repetition, contradiction, exaggeration, parody, symbol and so on. Take film ''Hilary and Jackie''《她比烟花寂寞》 for example, the film mainly shows us a cello genius Jacqueline dupley's brilliant and extremely short life like fireworks, which reflects the extreme gorgeous beauty, the loneliness behind the streamer. The word &quot;fireworks&quot; is used symbolically. At first, some people may think this translation is kind of affected, but in fact it is quite consistent with this film’s content and touching. There are other wonderful examples, such as ''The Hours''《时时刻刻》, ''Sommersby''《似是故人来》, ''The Shape of Water''《水形物语》, ''Flipped''《怦然心动》, ''The Bridges of Madison County''《廊桥遗梦》, which are fabulous.<br /> <br /> =====2.2.3 Commercial Features=====<br /> Whether the translation of the film is concise or aesthetic, it is aim to attract the public to buy tickets. Film is the combination of art and commerce. A cinema film will not only express art or just for commercial purposes, It better to say that commercial films may pay more attention to box office, while literary and artistic films will pay more attention to artistic expression. A film is the painstaking efforts of all the workers. If no one appreciates it, it would be a pity. Therefore, attraction is indispensable in the translation of film titles. For example, there are some animated feature films made by Pixar. ''Finding Nemo''《海底总动员》,''Toy Story''《玩具总动员》,''The Incredibles''《超人总动员》,''Cars''《汽车总动员》. They all used the form《XX总动员》,which is a manifestation of business characteristics. Toy story, as an animated film, created a box office miracle and had a wide influence in China. Naturally, the audience was deeply impressed by this translation. Therefore, considering its popularity and attractiveness, the distributor will try to translate similar cartoons in this way. However, with more and more such translated titles, the public has already experienced aesthetic fatigue. This kind of translation may lose its original function, so it will be replaced by other translations later.<br /> <br /> ====2.3 Functions of English Film Title====<br /> <br /> =====2.3.1 Informative Function ===== <br /> The informative function is the basic function that any film title should possess.representative of a film, it is agreed that the film title should be of high-information value. A title without any informative value can be said meaningless.to enable the audience to get a thorough understanding of the film content. According to Newmark, the core of the informative function of language is external situation, the facts of a topic, reality outside language, including reported ideas or theories.(Newmark 2001, 40) In this thesis, the interpretation of the informative function is two-fold. A film tile should highly summarize the content of a film, which conveys a lot of information, such as the genre of film. Many film viewers tend to watch a certain type of film. When she chooses which film to watch in the cinema, the translation title of the film plays a very important role, such as ''Triangle'' 《恐怖游轮》,a psychological suspense film. The heroine experiences repeated asmsaras interacted with each other. The film shows the same people appearing in the same place and even chasing each other, which provides a variety of understanding for the play. The director said that the film has three endings, but they all lead to the same end point, that is, the final scene of the car accident, leaving Melissa in this endless cycle. The original translation is triangle in Chinese, which is actually about the closed reincarnation of a triangle. It can be said that the translation does not fully grasp the inner essence of the film. By contrast, 《迷失三角洲》 expresses this film’s theme more accurately, but the title 《恐怖游轮》 is more attractive. It makes the genre of the film more easy to get to. People will know that it is a thriller and suspense film at the sight of the title. Film title can not only let the audience know the type of the film, but also let the audience quickly know the relevant information of the film, such as time, place, character, what’s going on with characters. For example, Rise of the Planet of ''the Apes''《猩球崛起》，from the title , we can know that the film is telling stories about orangutans. ''12 Angry Men''《十二怒汉》, this title tells us that the main characters of the story are twelve men. ''Homeless to Harvard: the Liz Murray story'' 《风雨哈佛路》，this title let us know know that it tells the story of the protagonist's struggle at Harvard. ''Sleepless in Seattle''《西雅图夜未眠》, and from this title, we are ware of that the location of the story is mainly in Seattle.<br /> <br /> =====2.3.2 Aesthetic Function===== <br /> Peter Newmark once wrote: This is the language designed to please the senses, firstly through its actual or imagined sound and secondly through its metaphors. The rhythm, balance and contrasts of sentences, clauses and words also play their part. Their sound-effects consist of onomatopoeia, alliteration, assonance, rhythm, meter, intonation, stress.These rhetorical devices make the form of film title diverse, rich in connotation, expand the meaning of the film space, enhance the aesthetic effect.Chinese and English are two different languages. Chinese pays attention to refining words, which is very consistent with the requirements of film title translation.Word refining pays attention to vivid, using language to render an atmosphere or artistic conception, and transmit this feeling to the Chinese audience.如''The Remains of the Day''《长日将尽》 This film is adapted from the novel of the same title British novelist of Japanese origin Kazuo Ishiguro, the film is an elegy about the decline of the aristocracy in the British Empire. The protagonist of the story recalls his life in the form of a diary. The most important thing is the relationship between him and his former colleague, the housekeeper Miss Ken Dunn. He was a loyal housekeeper in the noble family. He saw the vicissitudes of prosperity and tried to perfect his work. However, he always suppressed his feelings and saw miss Kendeng, who was waiting for no result, to marry away from home. This translation has successfully created a melancholy atmosphere. What’s more, a carefully designed film title can well perform the aesthetic function, creating such beauty as phonetic beauty and imaginational beauty. For example, ''Breathe''《一呼一吸》, this translation sounds rhythmic, if we just translate it into 《呼吸》，then it will lose the beauty of sound, in addition, four characters looks more neat visually. And there are other wonderful examples, such as ''Like Sunday, Like Rain''《如晴天，似雨天》, The Words《妙笔生花》.<br /> <br /> =====2.3.3 Vocative Function ===== <br /> A film title can show the audience with the relevant information about the film, and it can create an imaginative atmosphere for the audience and entertain them aesthetically. However, its vocative function is more important. That is to call upon the audience to buy tickets. According to Newmark, &quot;the core of the vocative function of language is the readership, the addressee&quot;(Newmark 2001, 41). According to Wei Jianhua, when the definition is applied to film titles, the addressees here refer to audiences. The vocative function of film titles is to draw the attention of audiences, make them psychologically interested and buy tickets. (Wei Jianhua2008, 121-122) Both informative and aesthetic functions serve the vocative function, since the prime and ultimate aim of film production is to win the hearts of audiences and be financially rewarded. Few titles are purely informative aesthetic or vocative. The three major functions are often integrated, with emphasis on one of them. Some translations of film titles are very eye-catching, such as ''Frozen''《冰雪奇缘》, if it is translated literally, it will become 《冰冻》, which is not vivid at all. However, 《冰雪奇缘》is full of sense of fairy tale, which gives people a lively and wonderful feeling, that is, realizes the value of information transmission, and also improves the publicity effect of the film. There are far more examples, such as ''Man on Fire''《怒火救援》, ''The Bourne Identity''《谍影重重》, ''The Matrix'' 《黑客帝国》, ''V for Vendetta''《V字仇杀队》.<br /> <br /> ==='''Chapter3 A General Introduction of Skopos Theory'''===<br /> ====3.1 The Development of Skopos Theory====<br /> Skopos Theory, originally written as Skopostheorie in German, is a major translation approach of German Functionalist School. &quot;Skopos&quot; means “ purpose ”or “ goal ” in Greek. “The 1970s and 1980s saw a move away from the static linguistic typologies of translation shifts and the emergence and flourishing in Germany of a functionalist and communicative to the analysis of translation (Munday 2016, 73) .” The Skopos Theory is one of the achievements of its development and the most important one.The development of the Skopos Theory experienced following four stages.<br /> Firstly,in the book “ Possibility and Limitations in Translation Criticism” , Katherine Rice first proposed functional translation theory. She believes that translators should put functional features first rather than information equivalence.<br /> Secondly, Hans Vermeer, a student of Reiss, broke away from the equivalence-based theories and set up the theoretical framework for &quot;Functional School&quot;: Skopos Theory. situation&quot;. In the framework of Vermeer's theory, every translation is directed at an intended audience, since to translate means “ to produce a text in a target setting for a target purpose and target addressees in target circumstances” (Vermeer 1987, 29). <br /> Thirdly, On the basic of Vermeer's research, Justa Holz Manttari further developed the<br /> functional theory. “ Manttari's theory is based on the principles of action theory and is cover all forms of intercultural transfer ” (Nord1991, 12-13). “ Manttari places special emphasis on the action aspect of the translation process, analyzing the roles of the participants (initiator, translator, user and message receiver) and the situational conditions (time, place and medium) in which their activities take place ” (Nord 1991, 13). Skopos Theory views translation as a complex activity intended to realize a specific purpose.<br /> Fourthly，Christina Nord summed up and perfected the theory of functionalism. She systematically expounds in English the internal and external factors to be considered in text analysis in translation and how to formulate translation strategies suitable for translation purposes on the basis of the functions of the original text. Christina Nord sorts out the functionalist theories and proposes that translators should follow the guiding principle of “ Function Plus Loyalty ” , thus perfecting the theory.<br /> <br /> =====3.2 Three Basic Rules of Skopos Theory=====<br /> The top-ranking rule for any translation is thus the “ skopos rule”, what Reiss and Vermeer described as “ the end justifies the means ” (Reiss &amp;Vermeer1984, 101). There are three possible kinds of purposes in the field of translation: (1) the translator's general purpose in the translation process (perhaps to earn a living); (2) the communicative purpose aimed at by the target text in the target situation (perhaps to instruct the reader); (3) the purpose aimed at by a particular translation strategy or procedure (for example, to translate literally in order to show the structural particularities of the source language). (Baidu Encyclopaedia , Skopos Theory)The skopos rule is summed up by Vermeer as “ the end justifies the means ”. He explains the skopos rule in the following way: Each text is produced.for a given purpose and should serve this purpose. The rule thus reads as follows: translate/ interpret/ speak/ write in a way that enables your text/translation to. function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.(Nord 2001, 29)<br /> Another important rule of Skopos Theory is the coherence rule, which means that &quot;a translation should be acceptable in a sense that it is coherent with the receivers situation&quot;. Focusing on the target readership and target culture, functionalists regard intra-textual coherence than inter-textual coherence, just as Nord put it, &quot;inter-textual coherence is considered subordinate to intra-textual coherence, and both are subordinated to the skopos rule.<br /> The third rule of Skopos Theory is fidelity rule. Fidelity rule means that there should be inter -textual coherence between the original text and the target text. This is equivalent to the so-called faithfulness to the original text in other translation theories, but the degree and form of faithfulness to the original text depends on the purpose of the translation and the translator's understanding of the original text.<br /> <br /> =====3.3 Function Plus Loyalty=====<br /> As mentioned above, the primary rule in Skopos Theory is the skopos rule, which defines that the translators can make changes of the word, style or form of the source text in the accordance with translation purpose. While the inter-textual coherence rule holds that the translated version should be loya1 to the source text. However, when the aim of the author is contrary to the aim of the translator, the inter-textual coherence rule should be abide by the skopos rule. As a result, there may appear the situation that there is no restriction for the change of source text. In order to improve the functionalism studies, Nord proposes the loyalty rule, which insists that the translator should be loyal to the author and audience: “ The audiences have the right to know what the translator has done for the original text and what kind of work produced by the translator. Translators cannot simply translate in a non-literal way without telling the target audience what they have done and why (Nord 2001, 125) ”.<br /> Function refers to the factors that make a target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship between the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients.<br /> All in all, This theory enriched Vermeer’s Skopos Theory, avoids sour-text sovereign and perfects radical functionalist.<br /> <br /> ====Chapter4 The Application of Skopos Theory in Film Title Translation====<br /> <br /> =====4.1 Skopos Theory's Guiding Role in English Film Title Translation=====<br /> A careful look at theory may show that it is significant in that it is different from traditional theories. It helps to free translators from the bondage of traditional theories by providing them a new way of thinking, broadens the scope of translation studies by increasing the range of possible translation strategies, and establishes a profound foundation, helping people to penetrate deeper into cultural and translation phenomena.Traditional translation theories tend to classify the translation of film titles into general literature translation. Equivalence theory plays an important role in traditional translation theories. However, the author believes that it is difficult to achieve the commercial effect required by the film title simply by emphasizing the equivalence between the original text and the translation. Therefore, it will be more appropriate to regard it as an advertisement translation. Since it is an advertisement translation, of course, the first thing to emphasize is the publicity effect. （Zheng Yuqi &amp; Wang Xiaodong，2006）For example, the Chinese translation of film titles is to make the Chinese translation attract the interest of Chinese readers in the Chinese market. In this way, Skopos Theory naturally plays a guiding role. Therefore, the first rule of Skopos Theory is skopos rule. The translation of film titles emphasizes the commercial nature, that is to say, it should be attractive enough. Therefore, we should not stay in the translation itself when translating film titles. The traditional equivalent translation theory can not be fully applied to the translation of film titles, so more effective translation theories are needed to guide it. Therefore, it has to be associated with the German functionalist translation theory with Skopos as its core. The most direct purpose of film title translation is the transmission of information. A good translation can highlight the content of the original film and make the audience better understand the theme information expressed and transmitted by the original film.If the translator could not produce a satisfactory version only on the base of the original title, he should consult the plot of the film.<br /> Let's look at an example in order to make this point clear. The film Thelma and Louise,Louise is a waitress in a cafe. She is busy all day and wants to travel. Her good friend Selma has been unhappy since she married a car salesman Daryl. She stayed at home all day, lonely and bored. One weekend, Persuaded by Louise again and again, she agreed to go on a pleasant trip with her. They parked their car in a bar in Arkansas for the night. The bar is full of young customers. The drunken Harun took a fancy to Selma and asked her to dance. Selma didn't listen to Louise's advice. She danced and drank with Harlan, and was taken outside to the parking lot. Harlan tried to harass her. After being rejected, Harun becomes violent and tries to force Selma to submit to him with violence. Louise came to the parking lot, found Selma in a critical condition, took out the pistol that Selma had brought in the luggage bag, and forced Harlem to let Selma go. Harlan began to curse and insult them. In his anger, Louis shot and killed him. In a flash, the two female partners on a vacation journey, embarked on a journey of despair that can not be turned back.In the Grand Canyon, Selma and Louise are determined to fight to the end and never give in. They smile and clasp hands,driving towards the cliff. Actually, this film mainly describe what happened to this two women and their growth process.''Thelma and Louise'', When translated into《末路狂花》, the audience can predict the stimulating effect that the film wants to express and convey the message of the film. If translated literally into 《塞尔玛与露易斯》, it will inevitably make people confused, unable to grasp the main meaning of the film, only two names can be known. Therefore, Skopos Theory plays an important role in the translation of film titles. There are many examples, ''Erin Brockovich'' 《永不妥协》, ''Fast &amp; Furious''《速度与激情》 ''Blade Runner''《银翼杀手》, ''Lord of Ring'' 《魔戒》, ''Inception''《盗梦空间》,''Top Gun''《壮志凌云》, These titles are not only translated from the source language into the target language, but also for the purpose of film sales, taking into account the information, aesthetic and other factors to form an attractive translation. <br /> <br /> ====4.2 Methods for Film Title Translation====<br /> <br /> =====4.2.1Transliteration=====<br /> Transliteration means to seek phonetic correspondence in terms of the translation to describe the English syllables through the corresponding Chinese characters carrying similar sounds. It relates to the conversion of different alphabets in different language system. Transliteration is usually applied this situations, when they are the name of persons and places and historical events. This method is often adopted in the film title translation because it has the obviously features in keeping the phonetic fluency of original film titles which express its strong exoticism, which can arouse the audience's curiosity to see the film. With the development of global communication, people become more and more interested in knowing other country’s culture, this method is becoming increasingly popular. For example，''Jane Eyre'' 《简爱》，''Dunkirk''《敦刻尔克》，''Hamlet''《哈姆雷特》, ''Emma''《爱玛》, ''Mulan''《木兰花》, ''Brooklyn''《布鲁克林》,''Manhattan''《曼哈顿》.Transliteration can enable the target audience to know more about the original history and culture. On the contrary, if they are translated in other ways, the viewers may take it as an ordinary film and may feel no interest in it, which will in turn do great harm to the box-office value of the film. However, this does not mean that transliteration should be adopted for any title which can be transliterated. If the original title can only provide little information and the audience can only contact with a foreign word, then transliteration can not achieve the effect that translation of film title should have.<br /> <br /> =====4.2.2 Literal Translation =====<br /> Functionalism does not exclude equivalence so long as it is adequate to &quot;a Skopos that requires that the target text serve the same communicative function or functions as the source text.&quot;（Nord 2004, 36). The merits of this method lie in its fidelity to the original meaning and cultural flavor of the original.The original title of many films is a high generalization of the content of the film, which can better realize its information function, aesthetic function and market function. It is necessary to be faithful to the theoretical basis of the original text. At this time, the literal translation of the title often inherits the simplicity and clarity of the original title, with large amount of information and easy to arouse the audience's curiosity. In the process of actual translation, the degree of overlap between Chinese and English in many film titles is astonishing, which can almost achieve word-for-word translation. For example, ''Blue Valentine''《蓝色情人节》,''Eat Pray Love''《美食、祈祷和恋爱》,''Darkest Hour''《至暗时刻》,''Hideen Figures''《隐藏人物》, ''Primal Fear''《一级恐惧》, ''Four Wedding and a Funeral''《四个婚礼和一个葬礼》, ''Pearl Harbor''《珍珠港》, ''Atonement''《赎罪》, ''Leap Year''《闰年》, ''Detachment''《超脱》. Besides, there are other way to use this method by changing the parts of the speech or adjusting the word order, for example, ''10 Things I Hate About You''《我恨你的十件事》''12 Years a Slave''《为奴十二年》, ''Life as We Know It''《我们所知道的生活》,to make it more specific, I will use this example ''A Star Is Born''《一个明星的诞生》，in the original title, the “born” is a verb, but when it is translated in to the Chinese title, the verb is changed into a noun to make this title look more balance. And in this example,''The Boy in the Striped Pajamas''《穿条纹睡衣的男孩》, the translator changed the original order to cater to the grammar of Chinese . What’s more, sometimes, the article like a or the will be deleted when translated into Chinese because it is not so important to viewer to catch the information about a certain film in some circumstances and by doing this, the title will look more concise, such as ''The Imitation Game''《模仿游戏》, ''A Beautiful Mind'' 《美丽心灵》, ''A Perfect World''《完美的世界》, ''The Social Network'' 《社交网络》.<br /> <br /> =====4.2.3 Liberal Translation=====<br /> Any translator with common sense of translation will not expect to find equivalent expressions in the target language all the time. Given this, translators may often adopt free translation. Free translation is an alternative approach that is used mainly to convey the meaning and the spirit of the original title without sticking to the form. (Feng qinhua2000, 36-44) Liberal translation preserve the content of the original title as much as possible at the cost of changing the form of the film title. In the specific operation, translators often use some techniques, such as addition, conversion and extension in particular so as to deeply convey the content of the original film and enhance the appeal of the title.（He Ying 2001, 57） A List of examples belong to this group, such as ''Coherence''《彗星来的那一夜》, ''The Secret Life of Walter Mitty''《白日梦想家》, ''Welcome''《非法入境》, ''Agro''《逃离德黑兰》, ''Silver Linings Playbook''《乌云背后的幸福线》, ''A Lot Like Love''《相见恨早》, ''If Only''《爱再来一次》, ''Temple Grandin''《自闭历程》, ''La La Land'' 《爱乐之城》,''Eternal Sunshine of the Spotless Mind''《暖暖内含光》,''Hacksaw Ridge''《血战钢锯岭》.<br /> <br /> =====4.2.4Combination of Transliteration and Literal Translation=====<br /> In addition to literal translation and transliteration, there is another way, that is, to combine literal translation and transliteration. This method is usually applicable to the original title containing the name of a person or place. Of course, this is not a perfunctory translation method, the title can still summarize the information of the whole film after being translated. For example, ''Becoming Jane''《成为简奥斯丁》, ''The Life of David Gale''《大卫·戈尔的一生》, ''Manchester by the Sea''《海边的曼彻斯特》, ''Notting Hill'' 《诺丁山》, ''A Rainy Day in New York''《纽约的一个雨天》, ''Maid in Manhattan''《曼哈顿女佣》,''Citizen Kane''《公民凯恩》, ''The Shawshank Redemption'' 《肖申克的救赎》, ''Schindler’List''《辛德勒的名单》.<br /> <br /> =====4.2.5 Combination of Literal Translation and Liberal Translation=====<br /> The combination of literal translation and liberal translation can be faithful to the original text to the greatest extent and attract the audience. Due to various reasons, the original titles of some English films only realize the information function of translated titles. In order to realize the various functions of translation, the translator sometimes retains the reasonable part of the original name, and then combines the need of the audience to complete the relevant information as far as possible. (He Aixiang2020, 103-107) There are some examples, such as ''Wonder''《奇迹男孩》, ''Whiplash''《爆裂鼓手》, ''Sully''《萨利机长》, ''I, Tonya''《我，花样女王》, ''Love Actually''《真爱至上》, ''Changeling''《换子疑云》, ''The Bucket List''《遗愿清单》, ''Before Sunrise''《爱在黎明破晓前》, ''Before Sunset''《爱在日落黄昏时》, ''Before Midnight''《爱在午夜降临前》, ''The Martian'' 《火星救援》.<br /> <br /> =====4.2.6 Re-creative Translation=====<br /> As mentioned above, re-creative translation is the last resort so far as the translation of English film titles is concerned. Sometimes, some titles are obscure and neither nor fowl after translation while others are very ordinary without attraction and this method aims not only transferring the informative value, but also reproducing the aesthetic and appellative value of the film. (Ma Yuanyuan 2010, 28-29)The following are good examples, such as ''North Country''《永不让步》, ''Rudy''《追梦赤子心》, ''Definitely，Maybe''《爱情三选一》, ''Up''《飞屋环游记》, ''Coco''《寻梦环游记》.<br /> <br /> ==='''Chapter5 Conclusion'''===<br /> This paper studies the translation of film titles from the perspective of Skopos Theory. Firstly, it analyzes the genres of films, the characteristics and functions of film titles translation. Secondly, it mainly introduces the development and rules of Skopos Theory. Finally, it analyzes the translation of film names under the Skopos Theory and puts forward some translation methods of film titles. Skopos Theory holds that the skopos rule is the primary rule, therefore, when translating film titles, translators have more initiative and they can use more diversified methods, which makes the film titles more commercial. However, there are still many shortcomings in this paper. For example, when analyzing the characteristics and functions of film titles, the aspect of cultural exchange is not taken into account. In the final translation method part, the summary is not in place, and the proposed method is not novel enough. I hope that in the further study, I can put forward a more applicable model of film title translation, and the last point is the lack of film data, the main purpose of film title translation is to attract more audience to buy tickets. If I can analyze the data of box office well, I can further evaluate whether the purpose of film title translation has been achieved. This paper is only limited to the author's understanding of the translation, thus some conclusions and analysis are still not profound enough. The author hopes that there will be more research results in the future, which can provide more abundant theories and methods to guide the translation of film titles.<br /> <br /> ==='''References'''=== <br /> He Yuan贺莺. (2001) 电影片名的翻译理论和方法 [Theories and Methods of Film Title Translation].外语教学Foreign Language Education (01) 56-60.<br /> <br /> Tim, Dirks.(2003) [Main Film Genres]. https://www.filmsite.org/genres.html<br /> <br /> Baidu Encyclopaedia 百度百科 金蝉脱壳 https://baike.baidu.com/item/金蝉脱壳/83303?fr=aladdin<br /> <br /> Newmark, Peter. (2001). [A Textbook of Translation]. Shanghai Foreign Language Education Press 41-44.<br /> <br /> Wei Jianhua韦建华. (2008). 英语电影片名翻译原则与方法探讨[On the Principles and Methods of English Film Title Translation].电影文学Movie Literature (03) 121-122.<br /> <br /> Munday, Jeremy .(2016). [Introducing Translation Studies:Theories and Application]. London and New York: Routledge 73.<br /> <br /> Vermeer, H. J.(1987). [What Does It Mean to Translate?]. Indian Journal of Applied Linguistics 13 (2) 25-33. <br /> <br /> Nord, C. (1991). [Translation as a Purposeful Activity--Functionalist Approaches Explained] .Shanghai Foreign Language Education Press 12-36&amp;129.<br /> <br /> Baidu Encyclopaedia 百度百科 翻译目的论https://baike.baidu.com/item/翻译目的论<br /> <br /> Reiss, K. &amp; Hans J. Vermeer, H. (1984). [Groundwork for a General Theory of Translation].Tubingen: Niemeyer 101.<br /> <br /> Zheng Yunqi &amp; WangXiaodong. 郑玉琪,王晓冬. (2006) 小议电影片名的英汉翻译原则[On the English-Chinese Translation of Movie Titles].中国翻译Chinese Translators Journal 27(02) 66-68.<br /> <br /> Feng Qinghua冯庆华. (2000). 实用翻译教程[A Practical Course Book on Translation].上海译文出版社Shanghai Translation Press.<br /> <br /> He Aixiang何爱香. ( 2020). 中国电影片名的新修辞翻译策略探究[Translation Strategies for Chinese Movie Titles --A Rhetoric Perspective]江南大学学报(人文社会版), Journal of Jiannan University (Humanities&amp;Social Sciences) 19(02) 103-107.<br /> <br /> Ma Yuanyuan马媛媛. (2010). 翻译目的论视角下的英文电影片名的汉译 [Translation of English Film Titles from the Perspective of Skopos Theory]. 黑龙江大学Heilongjiang University 28-29.<br /> <br /> Douban Movie website 豆瓣电影网 https://movie.douban.com/<br /> <br /> ==The Study of Brand Name Translation 谭鑫洁 Tan Xinjie==<br /> &lt;center&gt;谭鑫洁 Tan Xinjie，202020080641.&lt;/center&gt;<br /> <br /> ===Abstract===<br /> With acceleration of economic globalization, more enterprises have been active in the global market. Brand name translation plays a significant role in the international trade. A successful brand name is the direct element to attract the customers’ attention and evoke their desire to buy the products, is gravely important to the sales volume of commodities. Based on many convincing examples, this paper introduces the definition and functions of brand names, states the principles of the brand names translation, offers the available and useful methods for the translation of brand names.<br /> <br /> ===key words===<br /> Brand name translation; Principle; Methods<br /> <br /> ===商标翻译研究===<br /> <br /> ===摘要===<br /> 随着经济全球化进程的加快，越来越多的企业活跃在全球市场中。商标翻译在国际贸易中起着举足轻重的作用。一个好的译名是吸引顾客注意，并唤起他们购买商品欲望的直接因素，对商品的销售量有着极其重要的影响。本文结合许多令人信服的例子，介绍商标的定义和功能，阐述商标翻译的原则，提供有用的商标翻译方法。<br /> <br /> ===关键字===<br /> 商标翻译；原则；方法<br /> <br /> ===1. Introduction===<br /> In the development of human society, the emergence of commodities gives rise to the birth of brand name. The contemporary Chinese dictionary defines the brand name as “it is the mark, sign (words like drawing and patterning) which are printed on the cover of the product or the packaging”, A brand name is the most prominent mark of a commodity, and can leave deep impression upon the mind of shoppers and arouse their desires to buy the related commodity. (Lu Wenchan 2018,2)<br /> <br /> In the development of human society, the emergence of commodities gives rise to the birth of brand name. The contemporary Chinese dictionary defines the brand name as “it is the mark, sign (words like drawing and patterning) which are printed on the cover of the product or the packaging”, A brand name is the most prominent mark of a commodity, and can leave deep impression upon the mind of shoppers and arouse their desires to buy the related commodity. (Lu Wenchan 2018,2)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 08:13, 17 December 2020 (UTC)<br /> <br /> <br /> The import and export of commodities gives rise to the birth of brand name translation. A good brand name translation may bring an enterprise huge wealth, whereas a bad one may let an enterprise suffer great loss. Therefore, an enterprise's future is closely linked with brand name translation, and it is valuable to have a research on how to translate brand names properly. At the same time, brand name translation can widen the linguistic research field, enrich the connotation of linguistics, and accelerate the combination of linguistic theoretic research and its practical application. <br /> <br /> In this paper, first part is introduction of this paper. The value of this research is mainly introduced in first part. Second part introduces the definition and functions of brand name and brand name translation. Third part gives concrete examples to analyze five principles brand name translation (the principle of following the target customers' culture, the principle of using concise words, the principle of grasping the characteristics of commodities, the principle of considering the target consumers’ aesthetic preference, &quot;Three Principles of Beauty&quot;). Fourth part gives examples about brand name to introduce five methods in brand name translation (transliteration, literal translation, free translation, combinative translation, non-translation). The last part of this paper is conclusion emphasizing the theme of this research. <br /> <br /> ====1.1 Brand and Its Name====<br /> According to the European Community Trademark Regulation, “the brand is a name, symbol, sign, design, number or some combination of these elements used to identify commodities or services of the enterprise.”Brand is a kind of soft power and a part of the core competitiveness of an enterprise. A good brand can not only reflect the value of products, but also represent the corporate image. What’s more, it will attract consumers’ attention and promote the sales of the goods. (Jing Yang 2018,1) <br /> <br /> Bhimrao M. Ghodeswar(2008:4-12) remarks, “Branding is a set of marketing and communication methods that help to distinguish a company or products from competitors, aimed at creating a lasting impression in the minds of customers. The key components that form a brand's tool box include a brand’s identity, brand communication, brand awareness, brand loyalty, and various branding strategies.” Therefore, a good brand name is especially important to the enterprise. (Lu Wenchan 2018,2)<br /> <br /> ====1.2 Brand Name Translation====<br /> With the development of the global economy, China has become the most potential markets around world. More and more foreign products to enter the Chinese market and got the attention of the Chinese. At the same time, to compete with foreign products, many Chinese products have entered into the international market. <br /> <br /> To participate in international competition, a good brand translation is extremely important. However, brand translation is not a simple conversion process from Source Language to Target Language, but an interlingual and intercultural communication, and often reflects culture, customs, economy, politics, religions and cultural aesthetics. In order to accurately translate the brand, the translators are required not only to have good language skills, but also to possess comprehensive knowledge of interlanguage and intercultural communication.<br /> <br /> ===2. The Principles of Brand Name Translation===<br /> The purpose of brand name is to give publicity to commodities, stimulate consumption and boost the celebrity of the brand of the goods. Brand name translation is not a simple translation from one language to another language, it should reflect the commodities' information and embody enterprises' intelligence. But the same brand has different cultural connotations in different languages and cultures due to the cultural differences of different countries. Therefore, In order to promote the sales of the products, the translation of brand names should abide by the following principles. (Fade Wang 2012,3)<br /> <br /> ====2.1 The Principle of Following the Target Customers' Culture====<br /> In China people pursues auspicious and peaceful culture and like the characters that mean happiness, prosperity and auspiciousness, such as &quot;金&quot;, &quot;美&quot;, &quot;福&quot; and &quot;佳 &quot;. In order to conform to the aesthetic culture of Chinese consumers, when translating the brand names of products, translators consciously choose characters that Chinese consumers like, such as “Marlboro”(万宝路), “Carrefour”(家乐福), “Ford”(福特). (Liu Haiyan 2013,11)<br /> <br /> Different countries and areas have great differences in culture. Translators should pay more attention to cultural differences, avoiding misapprehension and antipathy. For example, many brand names in China contain the characters &quot;dragon&quot;, &quot;phoenix&quot;, &quot;magpie&quot;, &quot;petrel&quot; and so on, because in Chinese culture, dragon is the symbol of imperial power and nobility, magpie is a lucky bird, Petrel is the symbol of courage and strength. But in English culture dragon is an evil imaginary animal, and it arouse terror and aversion in people’s mind, magpie means &quot;someone who chatters&quot;, petrel is the symbol of disaster. (Liu Haiyan 2020,4)<br /> <br /> People with different cultural backgrounds have different ideas about the same things because of the different moral criteria, religions, beliefs, and modes of thinking. For example, a clock brand name “金鸡牌闹钟”, which is originated from the Chinese saying “雄鸡报晓” meaning that cock heralds the break of a day, was once translated as “Golden Cock Alarming Clock”. However,“cock” in English also refers to male reproductive organ and is regarded as a taboo word. (Fade Wang,2012,2)<br /> <br /> ====2.2 The Principle of Using Concise Words====<br /> As commodities are to be sold to consumers, their brand names should be common, popular, concise and easy to understand and remember. Generally, English trademarks are not usually translated into Chinese more than four Chinese characters. (Feng Wang 2012,3).<br /> <br /> For example, “Budweiser”, an American beer, is not translated as “百德威瑟”, but as “百威”, which makes people feel energetic and powerful after drinking it. “Bausch &amp;Lomb”, an American eyewear brand, is translated into “博士伦”, which combines sound and meaning, as if wearing the glasses can be as knowledgeable as the doctor. “Hewlett-packard” is the world's largest electronic apparatus and notebook computer company, named after its founders, William Hewlett and David Packard. &quot;Hewlett packard&quot; was transliterated as “休利特-帕卡德公司”, but it was finally replaced by other brief translation “惠普”, which is both concise and easy to remember.Other examples are as follows: Marlboro (cigarette) —&quot;马尔波罗&quot;—&quot;万宝路&quot;、Mercedes-Benz (car) —&quot;默赛德斯·本茨&quot;—&quot;奔驰&quot;. The Chinese are familiar with “百威”, “万宝路”, “奔驰”, but few know what “百德威瑟”, “马尔波罗”, “默赛德斯·本茨” are referring to. The reason is that the original translation is long and difficult for Chinese. (Chen Yang,Wang Xiufeng 2018,2); (Zhang Lulu 2011,2)<br /> <br /> ====2.3 The Principle of Grasping the Characteristics of Commodities====<br /> Brand is a reflection of commodity and an important advertisement. Therefore, if the translation of brand name can represent the commodity’s characteristics and functions, it will make consumers impressed. <br /> <br /> For example: The toothpaste brand “Colgate” was named after the company founder, William Colgate. Its Chinese name “高露洁” (Gao Lu Jie) might not sound like a perfect transliteration, but its meaning is unrivalled: “revealing superior cleanliness”. “Jie” indicates the type of the product (cleaning). “五粮液”(literally means the “essence of five grains”) makes people think of the wine that is brewed from grain; while “蒙牛”(literally means “Mongolian cows”) can be associated with the milk from Inner Mongolia. Brand names implies regional flavor. The Chinese famous brand &quot;维维豆奶&quot; is translated as &quot;Soybean&quot;, in which &quot;Bean&quot; refers to the soybean, and it reflects the attributes of the product.(Fade Wang 2012,2); (Jing Yang 2018,4)<br /> <br /> Some commodities’ brand names bear the marks of the regions in which they are produced so as to raise the celebrity of the concerned places. For example, the two famous beer brand names implying the manufacturing places in China are “青岛啤酒”(Tsing Tao Beer) and “燕京啤酒”(Yangjing Beer)(Fade Wang 2012,2).<br /> <br /> ====2.4 The Principle of Considering the Target Consumers’ Aesthetic Preference====<br /> Chinese translation of the American cosmetic brand “Revlon” is so beautiful (Lu Hua Nong 露华浓). On the one hand, &quot;Lu Hua Nong&quot; serves as a sound transcription of &quot;Revlon&quot;, On the other hand, the translation of these three syllables provides an apt meaning for the brand name. These three characters come from the celebrated quatrain by the Tang poet Li Bai &quot;云想衣裳花想容，春风拂槛露华浓&quot;, which originally describes the elegant female beauty of Yang Guifei. Translators skillfully combine the aesthetic connotation of Chinese culture with the pronunciation of the original trademark so as to create a trademark translation with Chinese characteristics. Bayerisch Motoren Werke(BMW) is translated into “宝马”, which quotes from an old saying “人中吕布，马中赤兔；宝马予英雄，鲜花赠美人”, Since ancient times, a good horse has been a symbol of wealth. Modern people pursue a good car just as ancient people crave a good horse. Therefore, the translated name is perfect in pronunciation, meaning and product characteristics. There are more examples such as “Make up for ever”- “浮生若梦”(from Li Bai “浮生若梦，为欢几何”), “Innisfree”- “悦诗风吟”(from Ye Zhi “The Lake Isle of Innisfree”), “Lexus”- “凌志”(from Mao Zedong “久有凌云志，重上井冈山”), “IKEA”- “宜家”,(from the Book of Songs: &quot;桃之夭夭，灼灼其华。之子于归，宜其室家&quot;, which perfectly implies the good attributes of &quot;home&quot;)(Victor Mair 2019);(Ogilvy Ao Mei 2017);(Liu Haiyan 2020,3); (Li Jianzi 2018).<br /> <br /> ====2.5 “Three Principles of Beauty”====<br /> Professor Xu Yuanchong put forward the &quot;Three Principles of Beauty&quot; for poetry translation: including beauty in sense, that is, the beauty of language use and the beauty of words meaning; beauty in sound, that is, the beauty of rhythm; beauty in form, that is, the beauty of language form. However, the standard also applies to brand name translation. (Duan Wenpo, Guo Ru 2018,1)<br /> <br /> =====2.5.1 The Beauty in Sense=====<br /> Through the characteristics of the product, as well as the experience and perception it can bring to consumers to translate the brand name of the product, so as to make the translation of the brand closer to its own meaning, the meaning of the brand name easy to understand, and make the translation more vivid and flexible. For example, “NIKE”(耐克) is the goddess of victory in Greek mythology, symbolizing victory and light. It gives people a sence of confidence. In the process of translation, the translator should fully grasp the characteristics of the goods, so that consumers can understand the goods. (Zhang Wenfei 2020,3)<br /> <br /> =====2.5.2 Beauty in Sound=====<br /> The translated brand is loud in pronunciation, clear in rhythm and full of musical sense, giving people the enjoyment of auditory beauty. For example, “Nokia”(诺基亚), “Samsung”(三星), “Nestle”(雀巢), “HP&quot;(惠普), “Della”(戴尔), “SONY”(索尼) and so on . In this way, the translation don’t lose the beauty in sound of the brand and sounds beautiful and concise, thus reflecting the characteristics of the product. When a Chinese brand is translated into an English brand, it is usually translated directly in pinyin. This method not only retains the phonetic beauty of the brand, but also shows the exotic feelings and characteristics of the product. (Zhang Wenfei 2020,3)<br /> <br /> =====2.5.3 Beauty in Form=====<br /> Brand name should be short in shape and easy to remember, which can leave a deep impression on consumers. Non-translation can be used to convey the beauty of the form. The method means to express the meaning of the source language without any equivalent word of the target language, that is to say, without any conversion between the two languages. For example, “SK-II”, “LG”, “IBM” (Wang Hengen, 2009,3).<br /> <br /> ===3.The methods of brand name translation===<br /> <br /> ====3.1 Transliteration====<br /> Transliteration is a translation method that transcribes the same or similar pronunciation between the original and target language to translate the name of the product. Though transliteration is simple, it can not only retain the original rhyme, but also well reflect the brand's cultural connotation. (Lu Wenchan 2018,4)<br /> <br /> Transliteration is quite common in the process of translating foreign trademark names into Chinese. Taking some products for example, the Germanic auto “Benz” was translated as “朋驰” or “本茨” in Taiwan, although this version is homophonic to the original name “Benz”, it sounds dull and lack of implied meaning. The present version of it in the mainland is “奔驰”, which is not only similar to the original pronunciation, but also give customers the impression that the car can run very fast, thus impressing the buyers with the excellent performance of such cars. A medicine called &quot;Quick&quot;, is translated to &quot;Kuai Ke&quot; in Chinese, which is reminiscent to the fact that the medicine will quickly overcome disease. The brand name of food “Subway” is translated into“Sai Bai Wei”，the last characters “Bai Wei” mean “100 flavours”— a hint on showing what the brand offers to its customers, somewhere that provides everyone with their own favourite flavours. There are also some brand names which only conveys the pronunciation and do not have any meaning or function. Such as ,“Kodak”(Keda), “Intel”(Yingteer), &quot;Puma&quot;(Biao Ma), &quot;Parker&quot;(Pai Ke), &quot;Lincoln&quot;（Lin Ken), &quot;Canon&quot; (Jia Neng). Chinese consumers, seeing these transliterated brand names, would probably have the first impression that the merchandise is made in foreign countries. It would arouse the psychological demand of some consumers and encourage them to purchase greatly. (Fade Wang 2012,2); (Jing Yang 2018,4); )(Jing Yang 2018,4)<br /> <br /> It is common for Chinese brand names to use “Hanyu Pinyin” for translation. Hanyu means the Chinese language, pin means &quot;spell&quot; and yin means &quot;sound&quot;. In Chinese pronunciation, transliteration is mainly applicable to our country's names, merchandises with ethnic style. For example, “Haier” is transliterated from “海尔” and is homophonous with “higher”. This translated brand name is easily associated with the advertisement of “Haier”: “Haier, higher and higher”. The well-known drink brand “娃哈哈” is simply translated as “Wahaha”. (Fade Wang 2012,3)<br /> <br /> ====3.2 Literal Translation====<br /> The literal translation means that using the corresponding target words directly according to the original brand name meaning. When we use the literal translation, it is usually the brand name which has a precise meaning, good cultural implication and the function is equivalent. Excellent literal translation not only keeps the original content, but also keeps the original form, especially the original metaphor, image and national, local characteristics. (Lu Wenchan 2018,4)<br /> <br /> A great number of brand names are translated into another language by using literal translation. Only if there are correspondent words in the target language, literal translation can be applied. Taking a red wine brand &quot;Dynasty&quot; as an example, it is translated into “Wangchao”. In Chinese, “Wangchao”means power and wealth. It gives the customers an illusion that if they drink the red wine “Wangchao”, their status and taste will improve accordingly. It stimulates the customers to buy the product inadvertently. The car brand name “Bluebird” is translated into “Lanniao” (Bluebird). The brand name “Bluebird” originates from the pantomime “Bluebird” which is created by the Belgian author. In the pantomime, the “Bluebird” is the symbol of “the future happiness”. In China, it represents the object which can be the bailment of our “lovesickness”. Other examples such as Playboy (men’s wear) “花花公子”, Wild Turkey (whiskey) “野火鸡” , Blue Ribbon beer “蓝带” 啤酒, Redbull (drink) “红牛”, all of these translated brand names are very suitable for their goods. (Lu Wenchan 2018,4); (Lu Wenchan 2018,4); (Zhang Shu 2018,4)<br /> <br /> In the above examples, they have the same referential meaning and cultural implication in the target language and source language which can associate the customers with the same feelings of China and western countries. However, there are also some circumstances that we cannot use the literal translation accounting of the different cultural message. For example, “紫罗兰”, a man’s clothing company, is translated into “Pansy”, but the definition of the word in the dictionary: an offensive word for homosexual man. So sales of the brand is poor. Other examples such as “Bianfu”(bat) , “Baixiang”(white elephant) , “Jinji”(Golden Cock), all are failure translation because of the different cultural implication. Therefore, it is important for us to pay more attention to the connotation and association of the brand name in the process of translation to avoid the cultural clashes. Translators should think deeply to find out what these English expressions really mean in authoritative reference books to minimize the mistakes in literal translation. (Zhang Jin 2019,2); (Lu Wenchan 2018,4)<br /> <br /> ====3.3 Free translation====<br /> When both sounds and meaning can’t show the value of the product, it is a best choice to use the free translation. The free translation is also called “paraphrasing translation”, namely using similar and related words to translate brand name in the target language pronunciation. Free translation has the features of being vivid and impressive, which retains the original meaning. What's more, free translation is able to deliver the aesthetic and value orientation of the products. (Lu Wenchan 2018,4)<br /> <br /> Here are some instances such as &quot;Rejoice&quot;, its translation is &quot;Piao Rou&quot;. Rejoice means joy and happiness, and the brand name translation indicates hair will become smooth after using the shampoo. So translators fully explore its connotations of the brand name. A soap called “Safeguard” is translated into “Shu Fu Jia”, “Shu” gives a refreshing and comfortable feel; “Fu” means “skin”, which shows the commodity's function; “Jia”expresses the using effect. The translation of many brand names named adopts free translation method, for instance, “葵花” (Sunflower), “百灵” (Lark), “Pioneer” (先锋), “Skinice”(肤美灵). (Jing Yang 2018,5); (Jing Yang 2018, 4)<br /> <br /> However, owing to the different cultural system, some words have the same referential meaning with different associative meaning, sometimes; even the referential meaning is different. For example, If “芳草” is transliterated as “Fangcao”, it would bring antipathy to target readers, because “fang” in English means venomous tooth of a snake and “cao” sounds like “chaos.”, so “Fragrance Grass” should be a better translation for this brand name.(Fade Wang 2012,4).<br /> <br /> ====3.4 Combinative Translation====<br /> Combinative Translation is a combination of transliteration, literal Translation and liberal translation. This method is a bit more difficult for translators to master and challenges their creative ability. It requires that its meaning can indicate the characteristic and function of the product. Consumers can have nice association from the pronunciation and meaning of the translated brand name.<br /> <br /> “Coca-Cola” is translated as “可口可乐”. The translator by using free translation method translate it as “可口” which means “very pleasant to people’s taste”, because as for beverage, people would attach importance to the feeling of the taste. The second part is transliterated as “可乐”. The version “可口可乐” sufficiently implies the characteristic and function of the beverage: it sure can give you nice flavor and pleasure. The &quot;Goldlion&quot; is translated into &quot;Jin Li Lai&quot;, which is a good translation. As we all know, &quot;lion&quot; means &quot;Shi Zi&quot;&quot; in Chinese, but the pronunciation of &quot;Lion&quot; is similar to the Chinese &quot;Shi&quot;, and &quot;Shi&quot; means &quot;Lose&quot; in Chinese, then the businessmen will think &quot;lose&quot; unlucky. When it is translated as &quot;Jin Li Lai&quot;, it means wealth and good luck, and the consumers' psychology is met satisfyingly. Other examples of this type are as follows: “Nike”(耐克), “Unilever”(联合利华), “Uniqlo”(优衣库), “Revlon”(露华浓), “Volkswagen”(大众) and so on. (Fade Wang 2012,4); (Jing Yang 2018,5)<br /> <br /> ====3.5 Non-translation====<br /> Due to the differences in Chinese and English, there are also some exceptions, when some brands enter a foreign culture, they choose to remain their original brand name, and this situation is called “non-translation” (Jing Yang,2018,5). <br /> <br /> On many occasions, some brands are made up of letters, numbers, or combination of the two, after entering a foreign market with their original forms, for eye-catching and they are usually easy to be remembered. For example, we are all familiar with the &quot;999&quot;medicines, &quot;IBM&quot; computers, &quot;TCL&quot; electronic products, &quot;LG&quot; Electronics, “iphone”, “ipad” and so on. Non-translation avoids using the equivalences in the target language and leave the original ones untranslated. There are some brand names unifying intercultural communications by short forms which have great stability and maintain the original and profound meaning at any time. (Zhang Jin 2019,2)<br /> <br /> ===4.Conclusion===<br /> In the age of economic globalization, in order to occupy the international market and attract customers, brand name and its translation are very important. Brand name translation is not only a simple replacement between two languages, but also a cultural combination in two different languages. <br /> <br /> From this thesis, the following conclusions can be reached: <br /> <br /> First, brand name translation should follow the five principles mentioned in this paper. If the brand name translation follows the principle of following the target customers' culture, it will be easier for customers to understand the product and buy it. If the brand name translation follows the principle of using concise words and the princple of grasping the characteristic of commodities, it will make consumers impressed. If the brand name translation follows the principle of considering the target consumers’ aesthetic preference and &quot;Three Principles of Beauty&quot;, product sales will increase.<br /> <br /> Second, brand name translation can use the five methods: transliteration, literal translation, free translation, combinative translation, non-translation.<br /> <br /> Brand name relates to the image of the enterprise and business opportunities, which is vital for the source countries to further explore the international market. Brand name translation is one of intercultural translations. Translators need to stand on a level of intercultural translations and have observant awareness of cross culture. At the same time, they need to respect every ethnic customs and use correct methods and skills of translation to make brand name into customers hearts. Thereby, manufacturers can promote consumption and improve the interests of enterprises.<br /> <br /> ===References===<br /> [1]Chen Yang, Wang Xiufeng. Translation of Chinese-English Trademark Names and their Cultural Connotations [J]. Comparative Research on Cultural Innovation, 2012,2(17):68-70.<br /> <br /> [2]Duan Wenpo, Guo Ru. Reappearance of &quot;Three Beauty&quot; in Trademark Translation and Analysis of Translation Methods [J]. Innovation and Entrepreneurship Theory Research and Practice, 2012,1(14):110-112.<br /> <br /> [3]Fade Wang. An Approach to the Translation of Brand Names[J]. Theory and Practice in Language Studies,2012,2(9). <br /> <br /> [4]Jing Yang. Study on Brand Name Translation from the Perspective of Cultural Difference[A]. Research Institute of Management Science and Industrial Engineering.Proceedings of 2018 International Conference on Arts, Linguistics, Literature and Humanities (ICALLH 2018)[C].Research Institute of Management Science and Industrial Engineering: Computer Science and Electronic Technology International Society,2018:6.<br /> <br /> [5]Liu Haiyan. Analysis of Chinese Translation Skills of English Trademark Names [J]. English Square (Academic Research),2013(09):8-11.<br /> <br /> [6]Lu Wenchan. Studies on Chinese-English Brand Name Translation from the Perspective of Cross-cultural Communication[A]. Research Institute of Management Science and Industrial Engineering.Proceedings of 2018 2nd International Conference on Social Sciences, Arts and Humanities (SSAH 2018)[C].Research Institute of Management Science and Industrial Engineering: Computer Science and Electronic Technology International Society,2018:6.<br /> <br /> [7]Wang Hengen. &quot;Three Beauty&quot; theory and Trademark Translation Analysis [J]. Success (Education),2009(03):274-275.<br /> <br /> [8]Xuechuan He. The Study of Chinese-English Trademark Translation[J]. Theory and Practice in Language Studies,2018,8(5).<br /> <br /> [9]Zhang Shu. Study on E-C translation of Brand names from the perspective of Skopos Theory[A]. Institute of Management Science and Industrial Engineering.Proceedings of 2018 5th International Conference on Education,Management and Computing Technology(ICEMCT 2018)[C].Institute of Management Science and Industrial Engineering: Computer Science and Electronic Technology International Society,2018:5.<br /> <br /> [10]Zhang Jin. Principles and Methods of Translating Chinese and English Trademark Names [J]. Campus English,2019(10):225-226.<br /> <br /> [11]Zhang Wenfei. Further Discussion on Trademark Translation Strategies under Sanmei theory [J]. Campus English,2020(30):249-250.<br /> <br /> [12]Li Jianzi (2018.7.11). Chinese translated names are popular! &quot;Make up for Ever&quot; arouses hot discussion. https://www.cbo.cn/article/id/45823.html<br /> <br /> [13]Ogilvy Ao Mei (2017.5.2). Why should a good copywriter earn $100,000 a month? Look at these awesome translations. https://m.digitaling.com/articles/36896.html<br /> <br /> [14]Victor Mair (2019.10.19). &quot;Revlon&quot; in Chinese. https://languagelog.ldc.upenn.edu/nll/?p=44732<br /> <br /> ='''Translation of Cultural Words'''=<br /> <br /> <br /> ==Translation of Culture-Loaded Words in Li Qingzhao's Ci-Poetry Based on Scopos Theory 周思庆 Zhou Siqing==<br /> &lt;center&gt;周思庆 Zhou Siqing 202020080673 &lt;/center&gt;<br /> ===Abstract===<br /> This paper attempts to illustrate the influence of Skopos theory on translation strategies and the influence of translation strategies on translation effect by analyzing the different translations of culture-loaded words in Li Qingzhao’s Ci-Poetry based on Scopos Theory according to Nida’s classification of culture-loaded words. This research is of great significance to refresh blood into the study of Li Qingzhao’s Ci Poems and promote excellent Chinese traditional culture to go abroad.<br /> <br /> ===Key word===<br /> culture-loaded word, Li Qingzhao, Scopos Theory<br /> <br /> ===题目===<br /> 从目的论看李清照词中的文化负载词英译<br /> <br /> ===摘要===<br /> 本文主要以目的论为指导，以奈达对文化负载词的分类为依据，从对不同英译版本的李清照词中文化负载词的翻译进行分析，说明目的论对翻译策略的影响以及翻译策略对译文效果的影响，旨在为李清照词的英译研究注入新鲜血液，推动中国优秀传统文化走向世界。<br /> <br /> ===关键词===<br /> 文化负载词， 李清照， 目的论<br /> <br /> ===Introduction===<br /> Li Qingzhao, is the representative of the graceful and restrained school well-known for her elegant, fresh and refined language as well as rich and vivid images. Her poetry is an unparalleled cultural treasure in the history of Chinese literature. Culture-loaded words are those words rich in cultural connotations.(Fu Guiying, 2013：3) Nida divided culture-loaded words into five categories, namely ecological, material, social, religious and linguistic culture-loaded words.(Nida, Eugene A, 1993:25) As the representative of the “German school”, Hans J. Vermeer proposed the Scopos Theory and continued the functionalist tradition. Analyzing the culture-loaded words in different translations of Li Qingzhao's Ci Poems according to Scopos theory is conducive for the readers to grasp the elegant style of Li Qingzhao's, to figure out the proper translation strategies, and to encourage more creation of excellent translation works.(Reiss and Vermeer, 1984:196)<br /> <br /> ===Chapter 1 Introduction of Li Qingzhao and her Ci-Poetry===<br /> ====1.1 Brief introduction of Li Qingzhao====<br /> Li Qingzhao, a well-known poetess in Song Dynasty, is the only woman who is generally compared with the most outstanding poets. As a female writer, she suffered a lot in that unstable age full of oppression and discrimination, but still kept a resolute and resistant attitude toward life no matter how much turns and twists in the process of struggle. Li Qingzhao was born in a rich and cultured family in 1083. Thanks to her father Li Gefei, the Minister of Rites, and her well-educated mother, she had a peaceful and favorable circumstance in her childhood and received a good education, which paved the path for her literary career. Unlike most ignorant women in that age, she had great talent in many aspects, such as painting and music, especially writing. She was a versatile writer whose Ci Poems and prose are both excellent. Her contribution in literature earned great fame for herself.(Fu Guiying, 2013：3)<br /> <br /> She married to Zhao Mingcheng, the son of a vice-president of the Board of Rides when she was eighteen years old. The marriage life was happy and idyllic in the early years. They collected and appreciated rare books, paintings and antiques together. However, their peaceful and harmonious life was ruined by the invasion of the Jurchens in 1127. They were forced to fled to the southern areas and separated with each other. The bulk of precious collections, including the ancient paintings, vessels, and books, lost during the fugitive way. Her husband was dispatched to a new official post in Zhe Jiang province and died on the way. Since then, Li Qingzhao lived lonely and homelessly in endless sorrow. The miserable and painful life experience didn't destroy her poetry proposition but deepened the theme of her literary works. The concern for the fate of the masses and country showed her great integrity and patriotic passion.(Fu Guiying, 2013：3)<br /> <br /> ====1.2 Development and characteristics of Li Qingzhao's Ci-Poetry====<br /> <br /> As a literary form, Song Ci, also called Ci Poems or long-short lines, emerged in Tang Dynasty and popularized in Song Dynasty. Ci Poems revolved from a kind of folk music used for expressing the emotions through its original melody. Li Qingzhao is regarded as the representative of the graceful and restrained party. Generally, Li Qingzhao's proposition of Ci Poems can be divided into two periods according to the critical historical events in Song Dynasty and her personal life experience. The former period works most depicted her delightful life as a young girl. The theme includes the praise of nature and beauty, her pure love to her husband, and the memories of the innocent childhood, such as Rumengling( 如 梦 令 ), Dian Jiangchun( 点 绛 唇 ), Jianzimulanhua( 减 字 木 兰 花 ) ， Cai Sangzi( 采 桑 子 ), Zuihuayin(醉花阴), Yijianmei(一剪梅) and so on. As for the latter period, her works changed dramatically because of the downfall of the Northern Song Dynasty as well as the death of her husband. The theme of her poems turned to homesickness, the grief for the instability of the nation and the melancholy meditation of the miserable life. She transmitted her feelings in the images implicitly rather than cry out her sorrow directly. The poems written in this period include Spring in Wulin(武陵春), Shengshengman(声声慢), Yongyule(永遇乐) and so on.(Fu Guiying, 2013：4)<br /> <br /> To conclude, her elegant and pure language and sensitive emotion were demonstrated in both of her literary period. Her Ci Poems are full of accurate and vivid images, leaving the readers a wide imagery space. No other poetess in Song Dynasty can replace her position in the Chinese history of literature.(Fu Guiying, 2013：4)<br /> <br /> ===Chapter 2 Introduction of Scopos theory===<br /> ====2.1 Historical development of Scopos theory====<br /> <br /> Functional approaches emerged in 1970s and developed through three stages: (1)Katharina Reiss introduced the functional category of translation criticism; (2) Hans J. Vermeer proposed Scopos theory; (3) Justa Holz-Manttari put forward the theory of translation action.(Zhang Chenxiang, 2007:32)<br /> <br /> In the first stage, Katharina Reiss proposed the text function and translation strategy, which paves the way for the Scopos theory. The theory foundation of Reiss’s theory is the functional equivalence theory, which aims to establish a model of translation criticicm based on the functional relationship between source text and target text (Zhang Chenxiang, 2007:32). Katharina Reiss divided text into three categories: expressive text, informative text and vocative text. The proposal of functional translation theory signifies that translation study gradually get rid of static linguistic typologies.(Zhang Chenxiang, 2007:32)<br /> <br /> In the second stage, Hans J. Vermeer established the initial theory of functional group, Scopos theory, further developing the functional translation theory. He pointed out that translation is a human activity and a kind of transformation. Every human activity has its purpose and will create certain consequence , a new situation or event or a new thing (Zhang Chenxiang, 2007:34). This is the origin of Scopos theory. Reiss mentioned that, “the source text can be assigned to a text type and a genre, and in making this assignment, the transoat0r can decide on the hierarchy of postulates which has to be observed during target-text production”. Vermeer thinks that translators needn’t be restrained to certain translation method, instead, the translators should consider the purpose of translation and the psychology of the target audience and use the translation strategies flexibly. In the process of translation, the translator can adapt literal translation or free translation according to the situation to make sure the expected effect can be realized. (Reiss and Vermeer, 1984:196)<br /> <br /> In the third stage, Justa Holz-Manttari developed Vermeer’s theory and proposed the theory of translation action 1n 1984. She avoid using the term “translation” and focus on the process of translation which concludes traditional translation and other text building activity. In Holz-Manttari’s model, translation is defined in a broader sense as “a complex action designed to achieve a particular purpose”, or an intercultural communication whose product is the target text which achieves appropriate function in a particular cultural context. According to the functional approach, all participants have certain functions or roles in the interaction. The TT addressees are crucial in specification of the purposes of translation(Nord, 2001:20).<br /> <br /> ====2.2 Basic rules of Scopos theory====<br /> <br /> In the Scopos theory, there are three basic rules, namely skopos theory, coherence rule and fidelity rule. Among the three rules, scopos rule is the most significant one. “Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precissely in the way they want it to function.” This rule can help solve the contradiction between literal translation and free translation. It means that the choosing of translation strategies depends on translation purpose. When the scopos focuses on the original language, as long as the features of the original culture is well expressed, literal translation or even word for word translation can be adopted.(Reiss and Vermeer, 1984: 98)<br /> <br /> The coherence rule is also named intra-textual coherence by functionalists. It requires that the translated text should make sense on the communicative situation in which it is received. It specifies that a translation should be acceptable in a sense that it is coherent with the receivers’ situation (Reiss and Vermeer, 1984: 100) Being coherent means being “part of the receiver’s situation”, so the cultural aspects should be taken into consideration. Besides, the target readers’ culture-specific world-knowledge, expectations and communicative needs are also important factors which may affect the way of handing a text, translators ought analyze these factors carefully. (Li Zhao, 2011:24)<br /> <br /> Since the source text is the offer of information , it should also be taken into account. Fidelity rule is also named “intertextual coherence”. This coherence balance the source text and the target text and the form and degree of such intertextual coherence are determined by the translator’s interpretation of the source text and the translation skopos. However, intertextual coherence is subordinate to intra-textual, and both of the two are subordinate to the skopos rule.(Li Zhao, 2011:28)<br /> <br /> ===Chapter 3 Introduction of culture-loaded words===<br /> ====3.1 Definition of culture-loaded words====<br /> <br /> Since Bassnett and Lefervere put forward the concept of “cultural turn” in 1990, the interaction between translation and culture has been drawn more attention. During the five thousand years’ civilization, China has accumulated its unique culture due to the unique geographical locations, living environments, historical background, etc. Many scholars has made different definitions to cultural loaded words. J. F Aixel gives these words another name “cultural-specific items” and defined them as: “some items appearing in the source text do not have equivalent items in the target reader’s cultural systems” (J. F Aixel, 1996:58). Later, Mona Baker defined culture-loaded words as: “The source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as ‘cultural-specific’.” This paper studies the translation of culture-loaded words according to Nida’s classification of cultural elements. Nida divided culture into five categories: ecological culture, material culture, social culture, religious culture and linguistic culture. This paper will analyze the culture-loaded words according to the five categories. (Baker, 2004:21)<br /> <br /> ====3.2 Classification of culture-loaded words====<br /> <br /> =====3.2.1 Ecological culture-loaded words=====<br /> <br /> Culture develops in certain ecological environment, so different region has different culture. Ecological culture-loaded words refer to those words that reflect the distinctive geographical conditions, the natural surroundings, feature of the climate, plants and animals, etc. in a language. Even the connotations of the same thing in western and eastern culture are different or even opposite. (Liao Huihua, 2010:9)<br /> <br /> For example, the “west wind” in China is totally different from that in western countries. Because China lies in the Eastern Hemisphere, with mountains to the west and oceans to the east. This location makes it dry and cold in autumn and winter when the west wind blows. Therefore, the west wind in Chinese culture often refers to the cold wind in autumn an winter, which is often used to describe the desolate, cold, and sometimes also compared to the decadent force of the fall of the sun with a derogatory meaning. Such as “古道西风瘦马” in Ma Zhiyyuan’s 《天净沙·秋思》. On the contrary, Britain is located in the western hemisphere, the west Atlantic island, and the east is the continent of Europe. When the west wind blows from the Atlantic Ocean, Britain is in the season of revival. Therefore, in English culture, the west wind is the symbol of hope and strength. For example, the Ode to the West Wind, a famous British poem, reflects this meaning. Obviously, through the above analysis, we know that “西风” and the west wind have the same conceptual meaning but have very different associative meaning due to different ecological environment. (Liao Huihua, 2010:9)<br /> <br /> =====3.2.2 Material culture-loaded words=====<br /> <br /> Material culture-loaded words include the words related to the economic life, daily supplies, commodities, food, transportation, etc. Different nations have different living habits, so the material products are quite different. For example: “旗袍”(qi pao), “麻将”(ma jiang),”馄饨”(Wonton), etc. (Liao Huihua, 2010:10)<br /> <br /> =====3.2.3 Social culture-loaded words=====<br /> <br /> The tradition, custom, living habit, social activity, etc. All belong to the category of social culture. Due to different historical background, political feature, tradition and custom, the social culture-loaded words formed and developed. For instance, “重阳节”(chong yang jie) is a traditional Chinese festival to give the blessings to the old people, which is familiar to Chinese but unfamiliar to foreigners.(Han Zhouwen, 2014:18)<br /> <br /> =====3.2.4 Religious culture-loaded words=====<br /> <br /> Religious culture is composed by the religious faith and and ideology under the different nation’s cultural background, which demonstrate in the difference in psychology and language behavior. Chinese people advocate Confucianism, Buddhism and Taoism whereas western people mainly believe in God. Therefore, the cross-cultural communication barriers and language translation barriers emerged. Religious culture-loaded words reflects the characteristics of religious beliefs, so it is quite difficult for the foreigners to understand the Chinese religious culture-loaded words. For example, western people believe in God while Chinese people believe in “天”(tian), “菩萨”(pu sa), “佛”(fo). (Han Zhouwen, 2014:23)<br /> <br /> =====3.2.5 Linguistic culture-loaded words=====<br /> <br /> Language as one part of culture also produces translation problems. Since the two languages belong to two different language systems, their different language features will be involved in translation. These particularities may be reflected in phonetics, morphemes, vocabulary and syntax. For example, reduplicative words and four-character words and expressions are frequently seen in Chinese but are rarely seen in English.(Han Zhouwen, 2014:24)<br /> <br /> ===Chapter 4 The application of Scopos theory in the translation of culture-loaded words===<br /> <br /> Chinese culture and western culture are so different due to different geographical location and historical background. And these differences also reflect in the two language systems, which is also known as cultural gap. In the process of translating Li Qingzhao’s Ci-Poetry, the translator may face all kinds of problems due to the cultural gap. In this chapter, the focus is on analyzing the suitable translation strategies from the perspective of Scopos theory.(Fu Guiying, 2013:56)<br /> <br /> ====4.1 Translation of ecological culture-loaded words====<br /> <br /> (1)梨花欲谢恐难禁。(《浣溪沙》）<br /> <br /> I am afraid pear blossoms cannot bear at all<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:25)<br /> <br /> O bright pods/ Of the pepper plant, you do not/ Need to bow and beg pardon./ I know you cannot hold back/ The passing day.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:66)<br /> <br /> Some plants and flowers have certain connotation in Chinese, which leaves the gap of further imagination. Snow is often compared to pear-blossom, which is a common metaphor in Chinese poetry, for example: “忽如一夜春风来，千树万树梨花开” is used to describe the beautiful snow-covered landscape. Here, Xu Yuanchong translated “梨花”into “pear blossoms”directly is to reproduce this often-used metaphor. Both the basic meaning and the cultural content have been well transmitted. Xu Yuanchong adopted literal translation to realize foreignization. In contrast, Kenneth Rexroth adopted demestication and free translation and translate “梨花” as “the pepper plant” to achieve the skopos of translation. Here, “the pepper plant” is used to serve as a substitution because it is a New Year decoration which shows the passion of spring. This passionate image can contrast the depressed mood of Li Qingzhao for the fleeting time.(Liao Huihua, 2010:40)<br /> <br /> (2)试问卷帘人，却道海棠依旧？（《如梦令》）<br /> <br /> I ask the maid rolling up the screen./ “The same crab-apple tree,”she says, “is seen”<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:34)<br /> <br /> I asked my maid as she rolled up the curtains,/ “Are the begonias still the same?”<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:44)<br /> <br /> In Chinese culture, “海棠” usually symbolizes bitter love. When people encounters twists and turns in love, they often use it to express the sad feeling of parting. Xu Yuanchong adopted literal translation and translated “海棠” into “crab-apple tree”, which maintain the traditional Chinese culture by employing foreignization. However, Kenneth Rexroth translated it into”begonias” by demestication, which makes this image more familiar to the target readers. The aim of Xu Yuanchong is to introduce Chinese culture to foreigners whereas the purpose of Kenneth Rexroth is to make the text be accepted by the taget readers, therefore, , sothe former uses foreignization but the latter uses demestication.(Liao Huihua, 2010:41)<br /> <br /> ====4.2 Translation of material culture-loaded words====<br /> <br /> (3)常记溪亭日暮 (《如梦令》)<br /> <br /> I oft remember what a happy day/ We passed in creekside arbour when it glooming.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:38)<br /> <br /> I remember in Hsi T’ing/ All the many times/ We got lost in the sunset.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:21)<br /> <br /> The meaning of “溪亭” can be interpreted as the name of a place in Ji’nan, Shandong Province or a pavilion by the river side. Therefore, different versions of this word appears according to the different understanding of this word. Xu Yuanchong translated it as “creekside arbour” by employing literal translation whereas Kenneth Rexroth translated it into “Hsi T’ing” according to its sound by using transliteration. The version “creekside arbour” is more acceptable by Chinese readers because it shows the basic meaning of this word. But the version “Hsi T’ing” is more understandable for foreigners because it’s just a name of a place.(Liao Huihua, 2010:48)<br /> <br /> (4)轻解罗裳，独上兰舟。(《一剪梅》)<br /> <br /> My silk robe doffed, I float/ Alone in orchid boat<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:49)<br /> <br /> I open/ My silk dress and float alone/ On the orchid boat.<br /> <br /> —translated by Kenneth Rexroth &amp; Chung Ling (Kenneth Rexroth,&amp; Chung Ling,1979:56)<br /> <br /> Generally speaking, “兰舟” refers to a small boat which is made of the trunk of a magnolia tree. <br /> However, both Xu Yuanchong and Kenneth Rexroth translated “兰舟” into “orchid boat” in order to reproduce the poetic language of the original text. If they translate it according to the literal meaning, the beautiful poetic language cannot be reproduced in the target language. So, they associated the boat with orchid, a kind of beautiful flower to achieve “literariness”, making poetry as poetic as possible.(Zheng Yanhong. 2001:129)<br /> <br /> ====4.3 Translation of social culture-loaded words====<br /> <br /> (5)海燕未来人斗草。(《浣溪沙》)<br /> <br /> The swallows not yet come, a game of grass we play.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:55)<br /> <br /> People are gathering wild flowers and herbs in the meadow.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:93)<br /> <br /> Viewed literally, “斗草” is mostly interpreted as “to fight with grass”. But actually, it refers to a particular custom on the Dragon Boat Festival according to the notes in various anthologies of Li Qingzhao. On the Dragon Boat Festival (the fifth day of May), people usually participate a kind of game in which every one need to gather flowers and plants to be the winner. Xu Yuanchong knows that “斗草” is a traditional game, so he adopted literal translation as “a game of grass we play”, which is direct and correct. While Kenneth Rexroth adopted amplification and translated it as”gathering wild flowers and herbs in the meadow” in order to create concrete scene for the target reader. Generally speaking, both the two versions realized the skopos of translating the cultural connotation of “斗草” by adopting different translation strategies.(Liao Huihua, 2010:49)<br /> <br /> (6)佳节又重阳(《醉花阴》)<br /> <br /> The Double Ninth comes now again.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:54)<br /> <br /> Again it is the Ninth of the Ninth Month.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:47)<br /> <br /> “重阳” is a traditional Chinese festival on the ninth day of the ninth lunar month. People would always miss their families and relatives on this day every year. Here, when this festival is coming around, the poetess feel sad and lonely because of the separation from her husband, Zhao Mingcheng. In Xu Yuanchong’s version, he translated it literally as The Double Ninth and made a annotation to explain the cultural meaning of this festival to make target readers know the background information about this term. The unique feature of the ST is fully conveyed in the TT through foreignization. The skopos of Xu Yuanchong is to maintain the original feature of Chinese culture as much as possible, so he adopted foreignization to achieve this goal. In contrast, Kenneth Rexroth translated it into “the Ninth of the Ninth Month”. Although the time of the event is translated, but the connotation of this festival is lost. Sometimes literal translation for words with rich connotation can cause cultural loss. Here, Rexroth omitted the cultural meaning because he thinks it is not necessary to add the burden of understanding the text. In this way, the target reader can easily understand the TT within their own knowledge.(Liao Huihua, 2010:49)<br /> <br /> ====4.4 Translation of religious culture-loaded words====<br /> <br /> (7)仿佛梦魂归帝所 (《渔家傲》)<br /> <br /> In leaf-like boat my soul to God’s abode would fly.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:62)<br /> <br /> I am rapt away to the place of the Supreme/ And hear the words of Heaven.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:33)<br /> <br /> As we all known, Chinese culture is much influenced by Taoism whereas western culture is much affected by Christianity. Here, “帝所” refers to the place of the Jade Emperor. Because western people are not familiar with the myths of Taoist culture, here “God” is be the substitution of “帝” in Xu Yuanchong’s version by literal translation. In contrast, Kenneth Rexroth translated it as “the place of the Supreme”, which means the Sovereign. We can see the religious devotion of the ST is neglected. To conclude, Xu Yuanchong’s version is more faithful to the original text because he aims to introduce Chinese culture to foreigners. Kenneth Rexroth translated it without Taoist culture because he aims to remove cultural barriers and make target readers easier to understand the meaning of the text.(Li Qing, 2005:148)<br /> <br /> (8)造化可能偏有意，故叫明月玲珑地。(《渔家傲》)<br /> <br /> You find a special favor in Creator’s eye,<br /> <br /> The moon caresses you with pure beams from on high.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:76)<br /> <br /> Making the bright moon shine splendid on your curving flesh.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:45)<br /> <br /> In Xu Yuanchong’s version, “造化” is translated directly into “Creator” but in Kenneth Rexroth’s version, this image is deleted. In China, “上天”（heaven）is the governor of the universe under the influence of Taoism and Buddhism. “造化” is a unique concept in Taoist culture. Xu Yuanchong aims to maintain the Taoist culture and introduce it to foreigners. However, in western countries, Christianity is the mainstream of religious belief. Therefore, Kenneth Rexroth neglected this image to make the TT more acceptable western people who believes in Christianity. In summary, Xu Yuanchong focused more on the culture of the ST whereas Kenneth Rexroth payed more attention on the acceptability of the target reader.(Liao Huihua, 2010:45)<br /> <br /> ====4.5 Translation of linguistic culture-loaded words====<br /> <br /> (9) 寻寻觅觅，冷冷清清， 凄凄惨惨戚戚。(《声声慢》)<br /> <br /> I look for what I miss;<br /> <br /> I know not what it is.<br /> <br /> I feel so sad, so drear,<br /> <br /> So lonely, without cheer.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:81)<br /> <br /> Search. Search. Seek. Seek.<br /> <br /> Cold. Cold. Clear. Clear.<br /> <br /> Sorrow. Sorrow. Pain. Pain.<br /> <br /> —translated by Kenneth Rexroth &amp; Chung Ling (Kenneth Rexroth,1979:78)<br /> <br /> Tune: Slow, Slow, Song is recognized as the representative of reduplication. The use of seven sequential reduplicative words add the powerfulness of the miserable tone. we can find some similarities between these reduplicative words such as “清清”, “凄凄” and “戚戚” sound quite similar or even the same, really strengthen the melodious effect of the language. Xu Yuanchong adopted free translation in order to reproduce the beautiful artistic conception in the ST. The form of reduplication is neglected but the sad atmosphere that the reduplicarive words create is reproduced. Rexroth use the literal translation to imitate the original reduplicative words. The repetition of the same word reproduces the sound of reduplication in ST, and words with one syllable are also very similar to Chinese character. But the sense is not well conveyed. The target readers fail to experience the painful atmosphere and the great sadness of the poetess in the TT.(Li Qing, 2005:149) <br /> <br /> (10) 小风疏雨萧萧地 (《孤雁儿》)<br /> <br /> A grizzling wind and drizzling rain<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:90)<br /> <br /> Small wind, fine rain, hsiao, Hsiao<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:56)<br /> <br /> In the ST, “萧萧” is a reduplicative word in order to foil the depressed and sad atmosphere. It is difficult to reproduce this unique structure in the TT. We can see in Xu Yuanchong’s version, he omitted the original form and tried to reproduce the beautiful sound and sense. The rhymes of “grizzling” and “drizzling” are the same. This internal rhyme can make compensation for the loss of reduplication. And the strong sad mood is fully conveyed. Here, foreignization is employed. Kenneth Rexroth focused on the reproduction of the form, so he adopted transliteration to maintain the form of reduplicative word. Although the sound and form are beautiful, in this way, the sad cultural conception may lose at the same time.(Li Qing, 2005:75)<br /> <br /> ===Conclusion===<br /> In this paper, the present author studies the translation of cultural-loaded words in Li Qingzhao’s Ci-Poetry from the perspective of Scopos theory. By contrast analysis, we can find that Xu Yuanchong and Kenneth Rexroth adopted different translation strategies: the former adopted foreignization whereas the latter adopted domestication because of their different translation skopos. Xu Yuanchong devoted himself to introduce excellent Chinese culture to foreigners and Kenneth Rexroth aimed to make target reader better understand the TT. This study still has some shortcomings. Although this paper can shed some light on the study of culture-loaded word, ti still has some limitations. If more samples of culture-loaded word are taken for the analysis, the study could be more comprehensive and systematic. Thus, the English translation of the culture-loaded words of her Ci poetry based on Skopos theory deserves further study. The author believes that wider cases will be involved in this study.((Liao Huihua, 2010:64)<br /> <br /> ===References===<br /> *Nida, Eugene A. (1993). ''Language, Culture and Translating''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nord, Christiane. (2001). ''Translating as a Purposeful Activity: Functionalist Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Reiss, Katharina. (1971). ''Translation Criticism: The Potentials and Limitations: Categories and Criteria for Translation Quality Assessment''[M]. Manchester: St. Jerome Publishing.<br /> <br /> *Reiss, Katharina and Vermeer, Hans J. (1984). ''Groundwork for a General Theory of Translation''[M]. 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[M].北京:中国对外翻译出版社.<br /> <br /> *许渊冲. (2003). 文学与翻译[Literature and Translation]. [M].北京:北京大学出版社.<br /> <br /> *杨健. (2000). 李清照词英译研究[English Translation Studies on Li Qingzhao's Ci-Poetry]. [D].南宁:广西大学.<br /> <br /> *张沉香. (2007). 功能目的理论与应用翻译研究[Scopos Theory and Applied Translation Studies]. [M].长沙:湖南师范大学出版社.<br /> <br /> *郑燕虹. (2001). 风筝之线——评王公红、钟玲翻译的李清照诗词[The String of the Kite -Comments on Kenneth Rexroth and Chung Ling's Translation of Li Qingzhao's Ci-Poetry]. [J].外语学刊,160(3):125-129.<br /> <br /> ==A Study on Culture-loaded Words in ''Six Chapters of a Floating Life'' Translated by Lin Yutang from the Perspective of Domestication and Foreignization 蒋淇玮 Jiang Qiwei 202070080592 英语笔译==<br /> <br /> ===Abstract===<br /> <br /> ''Six Chapters of a Floating Life'' is an autobiographical prose written by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines.<br /> Among the current English versions of this book, Lin Yutang's ''Six Chapters of a Floating Life'' is written first and the closest with the original version in style, which enables lots of foreign readers to catch a glimpse of the life of an obscure Chinese scholar.<br /> Six Chapters of a Floating Life is written in classical Chinese and has a long history, which both make the translation more difficult, especially the translation of its culture-loaded words.<br /> Culture-loaded words refer to words, phrases and idioms that demonstrate specific things in a culture. As we all know, China has a centuries-old history and rich civilization, possessing plenty of unique cultural phenomena, not to mention numerous culture-loaded words. In Six Chapters of a Floating Life, there are many culture-loaded words that are worthy of study.<br /> By consulting relevant materials, I find that there are only a few works analyzing cultural-loaded words in Six Chapters of a Floating Life from the perspective of domestication and foreignization.<br /> This pair of translation terms was put forward by Lawrence Venuti, a famous American translation theorist, in The Translator's Invisibility in 1995. As a matter of fact, domestication and foreignization are a unity of opposites and complement each other. Neither absolute domestication nor foreignization exists. There are different degrees of domestication and foreignization in all translation activities and works. Therefore, it is reasonable, scientific and feasible to analyze Mr. Lin’s translation from this perspective, which can fill certain research vacancy and benefit future studies in this field.<br /> Thus, in this thesis, the author will subdivide domestication and foreignization into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words.<br /> <br /> ===Key Words===<br /> <br /> domestication; foreignization; ''Six Chapters of a Floating Life''; Lin Yutang; culture-loaded words<br /> <br /> ===摘要===<br /> <br /> 《浮生六记》是清代文人沈复于1808年所著的自传体散文，以真言诉真情，为历代读者所推崇。目前流传较广的《浮生六记》英译本中，林语堂先生的Six Chapters of a Floating Life成文最早且与沈复原文风格最为接近，让不少外国读者得以一窥中国一无名文人的若梦浮生。<br /> 沈复此书以文言文著就，加上距今年代较为久远，译者的翻译之路可谓困难重重，这其中文化负载词的处理更是值得反复推敲。文化负载词是标志某种文化中特有事物的词、词组和习语。众所周知，中华民族的历史文明源远流长，独有的文化现象数不胜数，应运而生的文化负载词自然不在少数。《浮生六记》一书中就有相当数目的文化负载词具有研究价值。<br /> 通过查阅相关资料，本人发现从归化和异化角度来解读林译中文化负载词的研究还少之又少。归化和异化这对翻译术语是由美国著名翻译理论学家劳伦斯·韦努蒂（Lawrence Venuti）于1995年在《译者的隐身》中提出的。作为两种翻译策略，归化和异化是对立统一、相辅相成的，绝对的归化和绝对的异化都是不存在的。所有的翻译活动及作品都存在不同程度的归化和异化现象，故而，从这一角度来分析林译具有合理性、科学性和可行性，且能填补一定的研究空缺，为之后的相关研究提供可参考的思路与借鉴。<br /> 因此，本文作者将聚焦这一文学经典，将归化与异化这两种翻译策略细分为不同的翻译方法，对林译中有代表性的文化负载词进行分析解读，以小见大，从词见章，进而证明归化与异化的翻译策略的指导性，找出林译在国内外成功的原因，指出其在中国文化“走出去”中所起的积极作用，并为文化负载词的翻译难题提供解题思路及开口，引起大众对于文化翻译的重视与思考。<br /> <br /> ===关键词===<br /> <br /> 归化，异化，《浮生六记》，林语堂，文化负载词<br /> <br /> ===Chapter One Introduction===<br /> <br /> With globalization surging ahead, cultural communication and exchange have become rising tides that no one can fight against. Chinese and English, as the language with the largest number of users and the language most widely used in this globe, are both crucial languages, which work as vital bridges in cultural world.<br /> However, as is known to all, China is a nation of age-old history and rich civilization. On her vast earth, there grows plenty of unique cultural phenomena. As a result, quite a number of culture-loaded words have been emerging. For culture-loaded words have their specific cultural connotations, it is hard to render them so that foreign readers could understand, which is a real and tough task for translators.<br /> Six Chapters of a Floating Life is an autobiographical prose written in classical Chinese by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines. In this book, there are many culture-loaded words, which are worth studying.<br /> Among the current English versions of it, Lin Yutang's Six Chapters of a Floating Life is written first and the closest with the original version in style, which enables lots of foreign readers to take a look at the life of an obscure Chinese scholar.<br /> Thus, in this thesis, under the guidance of translation strategies, domestication and foreignization, the author will subdivide them into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words. (Shen Fu 2019)<br /> <br /> ===Chapter Two Literature Review===<br /> <br /> ====2.1 A Study on ''Six Chapters of a Floating Life''====<br /> For the sake of carrying on this study, we must have a basic understanding of both our original and translated text sources: Six Chapters of a Floating Life. Hence we will have a brief review of its original version and English version translated by Mr. Lin in the following paragraphs. (Shen Fu 2019)<br /> <br /> =====2.1.1 A Brief Review of Its Original Version=====<br /> Six Chapters of a Floating Life is an autobiographical prose written by Shen Fu, who was an unknown scholar in Qing dynasty, in the 13th year of Jiaqing (AD 1808). It includes six chapters, of which only four remain, recording Shen Fu’s wedded bliss, pleasures of life, ups and downs, travel experiences, experiences in Formosa and the way of life. The phrase in this book’s title &quot;floating life&quot; derives from a passage in Li Po's poem, “ Our floating life is like a dream; how often can one enjoy oneself ?”<br /> Shen Fu, whose courtesy name is Sanbai, and alternative name Meiyi, was born in Suzhou, Jiangsu province in China in the 28th year of Qianlong (AD 1763). He was a man of letters, who was once an assistant to ranking officials and a merchant.<br /> The remaining four chapters of ''Six Chapters of a Floating Life'' was accidentally found on the stall in Suzhou by a man called Yang Yinchuan. Yang passed it on to Wang Tao, his brother-in-law, who then published it with movable type in 1877. Subsequently, this book gradually established itself on the literary field.<br /> This book is a pure and fair record of Shen Fu's ordinary but difficult life, which is still full of unforgettable and beautiful moments. It is incredibly touching, for Mr. Shen wrote down his real experiences and sincere feelings in plain words naturally, without traces of sham.<br /> Nowadays, Six Chapters of a Floating Life has become a classic and owned a mass of readers. Many people even called it “little A Dream in Red Mansions” for its description of the conflicts in the feudal family and society, which highly affirms its literary value and achievements. (Shen Fu 2019)<br /> <br /> =====2.1.2 A Brief Review of Its English Version Translated by Lin Yutang=====<br /> In the spring and summer time of 1935, Lin Yutang successively translated Six Chapters of a Floating Life into English and serialized them in the English magazines T'ien Hsia Monthly and Hsi Feng published in Shanghai. For the sake of better work, Mr. Lin has modified his translation no less than ten times. Now, his translation version has been acknowledged as the most popular one for it is the closest to the original text in terms of writing style.<br /> Lin Yutang once highly praised Shen Fu’s wife Yün, “Yün, I think, is one of the loveliest women in Chinese literature.” Mr. Lin said he translated the work for two reasons, one is to let the world know Yün by her name, and the other is that he has found lots of things in the simple life of this couple, the pursuit of beauty, the experience of ups and downs, and unswerving love for carefreeness.<br /> In February of 1999, Foreign Language Teaching and Research Press reprinted Six Chapters of a Floating Life with Mr. Lin’s translation in the form of picture book. Its introductory notes claim that the reprinting is first due to Mr. Lin’s translation work, which has contributed a lot in the promotion of Chinese culture, secondly Mr. Lin’s superb artistic attainments and extraordinary cultural accomplishments, and lastly his beautiful and skilled use of English language. It demonstrates that Mr. Lin's translation has a far-reaching influence. (Shen Fu 2019)<br /> <br /> ====2.2 An Introduction of Culture-loaded Words====<br /> Here we will focus on another important item in this study: culture-loaded words. This introduction covers three aspects, including definition, categorization and previous studies on them in Six Chapters of a Floating Life, which enable us to distinguish, select and analyse culture-loaded words in future steps. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.1 Definition of Culture-loaded Words=====<br /> There are many definitions for culture-loaded words, and I have presented three different versions below.<br /> First, Mona Baker claims that &quot;the source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as `culture-specific' &quot; (2000:21). This definition mentions three fields, namely religion, custom and food, which are now recognized to be among the main sources of culture-loaded words. Second, it means that the cultural information words carry in the source language finds no equivalent in the target language (包慧南，2001：10). In this version, the focus is “no equivalent”, which reveals why it is significant to study the translation of culture-loaded words. For in numerous cases, there is no equivalent in the target language. Third, J.F. Aixelá, a Spanish translator and translation theorist, defines them as &quot;culture-specific items&quot; and states in his book Culture-specific Item in Translation that &quot;Some items appeared in the source text do not have equivalent items in the target readers' cultural system or these items have different textual status with those in the target readers' cultural system, thus leading to translation difficulty while transferring the function and meaning of the source text to the target text&quot; (张南峰，2004：19). From this definition, we are able to get a new perspective. Besides “no equivalent”, it makes a point that culture-loaded words can exist in the target cultural system but with different function and meaning.<br /> To sum up, as barriers to translation, culture-loaded words have no equivalent in other cultural systems and are marks and mirrors of a nation’s distinct environment, which are often seen in fields like religion, custom, food etc. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.2 Categorization of Culture-loaded Words===== <br /> Eugene Nida considers that &quot;if translators want to do a good job in cross-cultural translation, there are five types of cultural factors: 1) ecological culture; 2) material culture; 3) social culture; 4) religious culture; and 5) linguistic culture&quot;(胡壮麟、姜望琪，2002). In line with Nida's categorization of cultural factors, culture-loaded words can also be classified into five types accordingly, namely ecological culture-loaded words, religious culture-loaded words, material culture-loaded words, social culture-loaded words and linguistic culture-loaded words. (Eugene, A. Nida. 2001)<br /> This thesis will analyze Lin Yutang’s translation of culture-loaded words in Six Chapters of a Floating Life on the basis of Nida's categorization. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.3 Previous Studies on Translation of Culture-loaded Words in Six Chapters of a Floating Life=====<br /> Among those studies of the English versions of Shen Fu’s Six Chapters of a Floating Life, the studies of Mr. Lin’s account for a large proportion of it. In Quan Shulian’s article “Translator’s Cultural Orientation: Comparative Study of Translation of Culture-loaded Words in Six Chapters of a Floating Life”, she compares the translation of culture-loaded words done by Mr. Lin and Shirley Black and then claims that Shirley Black tends to use domestication while Mr. Lin applies foreignization more frequently. With a different focus, Li Yi, who has studied the culture-loaded words in Six Chapters of a Floating Life translated by Lin Yutang, analyzes the translation of culture-loaded words in three aspects: wording, Chinese idioms and the looks of women, and concludes that it is the purpose of translation determines which translation strategies to use and domestication and foreignization are a unity of opposites which should not be discussed apart. (Eugene, A. Nida. 2001)<br /> <br /> ===Chapter Three An Analysis of Translation Strategies Based on ''Six Chapters of a Floating Life''===<br /> <br /> ====3.1 Translation Strategy of Domestication====<br /> Domestication, as opposed to foreignization, refers to a translation strategy, which aims to translate the source text into target language in a transparent, fluent and natural style so as to minimize the strangeness for target readers.<br /> As free translation is the most widely used translation method pertaining to domestication, we will discuss it and its two branches paraphrase and idiomatic translation. (Xiong Bing 2014,82-88)<br /> <br /> =====3.1.1 Free Translation===== <br /> Free translation refers to a translation method that reproduces the transferred meaning of the source text, which can be further divided into paraphrase and idiomatic translation. (Xiong Bing 2014,82-88)<br /> <br /> =====3.1.1.1 Paraphrase===== <br /> When applying paraphrase, the translator translates the source text explanatorily, without application of collocations and idioms in the target language as replacement of those parts in the source text. (Xiong Bing 2014,82-88)<br /> <br /> 1a. 合卺后，并肩夜膳，……（沈复，2018：7）<br /> 1b. After the drinking of the customary twin cups between bride and groom, we sat down together at dinner… (Lin Yutang, 2019: 35)<br /> <br /> The Chinese phrase “合卺” refers to a characteristic part of ancient Chinese wedding ceremonies that the newlyweds drink cross-cupped wine in their wedding room. Foreign readers would have difficulty comprehending this phrase as there is no such a rite in their countries. Thus, Lin Yutang applies the translation method of paraphrase, explaining exactly what the custom is, which enables foreign readers to understand this special activity.<br /> <br /> 3.1.1.2 Idiomatic Translation<br /> Idiomatic translation is an explanatory method of translation as well, with application of collocations and idioms in the target language as replacement of the parts in the source text. (Xiong Bing 2014,82-88)<br /> <br /> 2a. 井井然未尝稍失。（沈复，2018：9）<br /> 2b. Whatever she did was done well, and it was difficult to find fault with her. (Lin Yutang, 2019: 40-41)<br /> <br /> “未尝稍失”means that someone handles things incredibly well, without anything wrong. And we can translate this Chinese phrase just in such an explanatory way, for it is clear and correct in meaning. But it is comparatively lengthy. That’s why here Mr. Lin adopts the English phrase “find fault with”, which is quite familiar to English users. For it conveys the meaning of the source text precisely and concisely, and improves the smoothness of foreign readers’ reading activity.<br /> <br /> ====3.2 Translation Strategy of Foreignization====<br /> Compared to domestication, foreignization refers to a translation strategy that retains the original expressions and differences between source and target languages to a larger extent. This translation strategy can offer foreign readers more exotic information if they are willing to explore, but the reading process is less natural and efficient. (Xiong Bing 2014,82-88)<br /> And foreignization consists of three translation methods, namely transliteration, word-for-word translation and literal translation, which will be presented below. (Xiong Bing 2014,82-88)<br /> <br /> =====3.2.1 Transliteration===== <br /> Transliteration refers to the rendering of alphabets, words or phrases in one language with symbols of similar or even the same pronunciations in another language. (Xiong Bing 2014,82-88)<br /> <br /> 3a. 服余衣，长一寸又半；于腰间折而缝之，外加马褂。（沈复，2018：31）<br /> 3b. As my gown was found to be an inch and a half too long, she tucked it round the waist and put on a makua on top. (Lin Yutang, 2019: 108)<br /> <br /> The Chinese phrase “马褂” refers to the mandarin jacket worn over a gown, which is a kind of special costume of Chinese characteristics. It is popular in Qing dynasty and the Republic of China. Originally, it’s worn by the Chinese Manchu people on horseback. “马” means “horse” in English. “褂” means a short gown. And that is the reason why this costume is called “马褂”in Chinese. Though foreign readers barely know this kind of clothes and its origin, Mr. Lin translates it as “makua” tersely according to its Chinese pronunciation, which offers foreign readers an opportunity to get a clue of the new item “makua” and shows his confidence of Chinese history and culture.<br /> <br /> =====3.2.2 Word-for-word Translation=====<br /> Word-for-word translation is the rendering of text in which a word is used to replace another in the source text without considering the differences between the two languages in morphology, syntax and semantics, so as to translate a word in accordance with the paraphrasing method. (Xiong Bing 2014,82-88)<br /> <br /> 4a. 一场，主考得香钱百文。（沈复，2018：57）<br /> 4b. The official examiner would get one hundred cash “incense money”. (Lin Yutang, 2019: 253)<br /> <br /> “Incense” translated into Chinese is “香”, while the English equivalent of “钱” is “money”. From this we can find that “incense money” is a word-for-word correspondence with “香钱”. There are much fewer people in English-speaking countries who are Buddhists, compared with China. So the concept of “incense money” may be strange to them. Here, Mr. Lin translates this phrase literally without transforming or considering morphological differences in two languages, which shows a brand-new concept to plentiful foreign readers. And it might arouse their interest to figure out what this phrase implies and what’s the culture connotation behind it.<br /> <br /> =====3.2.3 Literal Translation=====<br /> Literal translation, or directed translation, is the rendering of text in which a word is used to replace another word in the original text correspondingly, with consideration of the differences between the two languages in morphology, syntax and semantics, so as to enable the translation to conform to the lexical and syntactic norms of the target language. (Xiong Bing 2014,82-88)<br /> <br /> 5a. 急人之难，成人之事，嫁人之女，抚人之儿，指不胜屈，挥金如土，多为他人。（沈复，2018：63）<br /> 5b. He used to help people in trouble, bring up other people's sons and marry off other people's daughters in innumerable instances, spending money like dirt, all for the sake of other people. (Lin Yutang, 2019: 299)<br /> <br /> “挥金如土” in Chinese means to throw one’s money about. There is a set expression in English both in meaning and construction, which is “spending money like water”. But instead of the image “water”, which is more common and well-accepted among English people, Mr. Lin keeps the original image “dirt” in his translation. That’s because the image “dirt” is more acknowledged by Chinese people, who have been rooted in agriculture civilization and dealt with dirt all the time. Hence, the literal translation of “dirt” into English is able to let readers of different culture background grasp more of the source text and aware of the culture differences.<br /> <br /> ====3.3 A Brief Conclusion on the Translation Strategies==== <br /> In this Chapter, we have mainly discussed five translation methods based on Six Chapters of a Floating Life. Among them, two belong to the translation strategy of domestication while three the translation strategy of foreignization. (Xiong Bing 2014,82-88)<br /> The former instances from the book have proved that the application of the translation methods under domestication enables foreign readers to comprehend and accept literary works in a closer and more natural way, while the translation methods under foreignization provides them with a choice to feel the cultural differences and find out more valuable information. There is no absolute domestication or foreignization and no perfect choice of translation strategies. It is the purposes of translation that determine which translation strategy or methods to use. As to Mr. Lin, he has combined the usage of both the two superior strategies and their translation methods in his translation of Six Chapters of a Floating Life. (Xiong Bing 2014,82-88)<br /> <br /> ===Chapter Four An Analysis of the Translation of Culture-loaded Words in ''Six Chapters of a Floating Life''===<br /> <br /> ====4.1 Domestication Applied in Culture-loaded Words====<br /> In this part, we will center upon some culture-loaded words in Six Chapters of a Floating Life that are translated by Mr. Lin with the adoption of domestication. (Xiong Bing 2014,82-88)<br /> <br /> =====4.1.1 Free Translation of Culture-loaded Words=====<br /> As we have mentioned before, free translation is the most commonly used translation method pertaining to domestication and it includes paraphrase and idiomatic translation. Therefore, we will discuss them with examples of culture-loaded words in the book. (Xiong Bing 2014,82-88)<br /> <br /> ======4.1.1.1 Paraphrase of Culture-loaded Words======<br /> The following two examples are able to demonstrate the brilliant use of paraphrase by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 6a. 自此耳鬓相磨，亲同形影。（沈复，2018：9）<br /> 6b. And so every day we rubbed shoulders together and clung to each other like an object and its shadow… (Lin Yutang, 2019: 42)<br /> <br /> The Chinese phrase “耳鬓相磨” is culture-loaded, which just derives from this book of Shen Fu. It literally means the rubbing of people’s ears and sideburns, whose extended meaning refers to the close relationship among people. Here Mr. Lin applies the new image of shoulders instead of the original images of ears and sideburns, for it would be hard for foreign audience to grasp the connection between ears and sideburns and the intimacy within them. Meanwhile, rubbing shoulders can accurately express the meaning of closeness in English. So he uses the phrase “rubbed shoulders” to convey the original meaning in an explanatory way.<br /> <br /> 7a. 粉颈 （沈复，2018：8）<br /> 7b. Beautiful white neck (Lin Yutang, 2019: 38)<br /> <br /> In China, scholars conventionally adopt the word “粉”, which is “pink” in English, to modify one’s face, neck, etc. to show that one’s skin is white touched with red. However, if translating the Chinese term “粉颈” literally, we will get the phrase “pink neck”. There is no doubt that it will be odd for foreign audience. Therefore, Mr. Lin uses “beautiful white” rather than “pink” to modify “neck”, which expresses the meaning of “粉” briefly and precisely without causing troubles to readers and makes their reading activities more natural and pleasant.<br /> <br /> ======4.1.1.2 Idiomatic Translation of Culture-loaded Words======<br /> The following example is able to demonstrate the fine use of idiomatic translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 8a. 大醉而卧（沈复，2018：7）<br /> 8b. I fell asleep drunk like a fish. (Lin Yutang, 2019: 37)<br /> <br /> This four-character Chinese phrase means one is lying in a state of terrible drunkenness. In the processing of this phrase, Mr. Lin uses a set English phrase “drunk like a fish”, which describes that one is terribly drunk. The adoption of this ready-made phrase in translation does convey the meaning of the source text correctly and vividly, which makes it easy for foreign readers to catch on and picture the scene. From this we can see that wise use of idiomatic translation may yield twice the result with half the effort.<br /> <br /> ====4.2 Foreignization Applied in Culture-loaded Words====<br /> In this part, we will center on some culture-loaded words in Six Chapters of a Floating Life that are translated by Mr. Lin with the adoption of foreignization. (Xiong Bing 2014,82-88)<br /> <br /> =====4.2.1 Transliteration of Culture-loaded Words=====<br /> The following two examples are able to show the use of transliteration by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 9a. 故上下呼芸为“三娘”。后忽呼为“三太太”……（沈复，2018：63）<br /> 9b. hence they used to call Yün “san niang” at home, but this was later suddenly changed into “san t'ai t'ai”. (Lin Yutang, 2019: 301)<br /> <br /> “San” refers to “number three” in Chinese. “Niang” generally means a young married woman in a big household, while “t’ai t’ai” suggests the mistress of an independent home. “Niang” and “t’ai t’ai” are two of those unique terms of addressing people in ancient Chinese society, so there are no equivalents in English. That’s why Mr. Lin chooses to introduce their Chinese sounds to foreign audience, which leaves them a hint to learn two interesting addresses with era characteristics and know the distinct Chinese system of addressing.<br /> <br /> 10a. 余则从之学画，写草篆，镌图章…… （沈复，2018：56）<br /> 10b. They would then either write “grass-script”, or “chüan-script” or carve seals… (Lin Yutang, 2019: 247)<br /> <br /> “篆书” refers to a style in Chinese calligraphy, often used on seals. If we translate the Chinese character “篆” literally into English it would be “seal”. However, Mr. Lin abandons the easy translation of “seal- script” and renders this calligraphy style as “chüan-script” according to its Chinese pronunciation, which exhibits an individual kind of Chinese writing style to foreign readers. There will be problems that most people who know little about China will feel difficult to understand this ancient “script”. And if they desire to figure it out, they need to do extra work beyond reading this book. Nevertheless, in this way, they have chances to know much more about China, which is an efficient way of spreading Chinese culture and driving cross-cultural communication.<br /> <br /> =====4.2.2 Word-for-word Translation of Culture-loaded Words=====<br /> The following example is able to show the masterly use of word-for-word translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 11a. 芸笑曰：“白字有缘，将来恐白字连篇耳。”（沈复，2018：13）<br /> 11b. “It is all right,” Yün smiled and replied. “to have one's life bound up with the Po's, only I am afraid I shall be writing Po characters all my life.” (Lin Yutang, 2019: 54-55)<br /> <br /> The so-called Po characters are words written wrong. This kind of words indeed exists in Chinese writing system, but they are used in a wrong way by people for they are of similar pronunciations and forms while in different meanings. In translation of this sentence, Mr. Lin renders “白字”, which means misspelt words, as “Po characters” word for word. “Po” is close to the pronunciation of Chinese character “白”, while “character” literally means “字” in Chinese. Mr. Lin translates the culture-loaded phrase like this to demonstrate a new term to foreign readers, instead of “misspelt word” which is easy to grasp but lack of Chinese charm. In this way, foreign readers can be more conscious of the original cultural genes lie behind those English words.<br /> <br /> =====4.2.3 Literal Translation of Culture-loaded Words=====<br /> The last two examples will show the tactful use of literal translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 12a. 但李诗宛如姑射仙子，有一种落花流水之趣，令人可爱。 <br /> （沈复，2018：12）<br /> 12b. but Li Po’s poems have the wayward charm of nymph. His lines come naturally like dropping petals and flowing waters, and are so much lovelier for their spontaneity. (Lin Yutang, 2019: 53)<br /> <br /> In Chinese, “落花流水” is an idiom, which usually refers to the beauty of the scenes is waning in the late spring or one is defeated utterly. But this phrase is used here to compliment Li Po’s poems’ fluency and naturalness. Even though this expression is full of Chinese features, it is not too hard for foreign readers to get its implication from the images of “dropping petals” and “flowing waters”. For we have a common sense about these two natural scenery that they are both in the state of harmony and fluency. So Mr. Lin’s adoption of the method of literal translation is quite appropriate here and leaves some space for readers to imagine and taste by themselves.<br /> <br /> 13a. 芸曰：“世传月下老人专司人间婚姻事……” （沈复，2018：27）<br /> 13b. “It is said that the Old Man under the Moon is in charge of matrimony,” said Yün. (Lin Yutang, 2019: 92)<br /> <br /> “月下老人” is the god of marriage who is in charge of human love relationships in Chinese mythology. This image is peculiar to China, so it stands to reason that there is no equivalent expression in other countries. When rendering this culture-loaded phrase, Mr. Lin chooses the method of literal translation with words of capitalized initial letters, which enables readers to feel that it is obviously a new culture symbol for them and the Old Man may be a Chinese god. Then it is up to the readers themselves if they want to search for some more information about this “Old Man under the Moon” or not. In this way, the translation becomes briefer and it rests with the readers concerning how much information they will get beyond the lines.<br /> <br /> ===Chapter Five Conclusion===<br /> <br /> Concerning the current fact that different cultural systems around the world are becoming increasingly connected, translation activities have been literally taking place at every moment. However, the cultural differences in different counties have made it an arduous task. In view of the tremendous differences between China and English-speaking countries, the translation works are no easy tasks as well.<br /> As symbols which carry lots of cultural information, culture-loaded words are obstacles in translation, for they have no equivalents in other languages. So when translating these words, translators need to be alert and adopt the most proper translation strategies and methods so as to achieve the translation purposes to the deepest extent.<br /> In this thesis, guided by domestication and foreignization, the author has discussed several culture-loaded words in Six Chapters of a Floating Life, which translated by Lin Yutang. Different from other theses focusing on this issue, the author probes it in five detailed translation methods under the two translation strategies we have mentioned before.<br /> Through the analysis of former examples, we can come to the point that domestication and foreignization are the unity of opposites. There is no standard answer that which translation strategy should be used in which circumstances. It is the purposes of translation that determine our choice. In the translation of Six Chapters of a Floating Life, Lin Yutang has proved this to us by using different translation methods in accordance with his purposes, which contributes to his translation success both at home and abroad and the cultural exchanges between China and other countries.<br /> In total, this thesis has basically fulfilled its tasks to prove the instructiveness of the translation strategies of domestication and foreignization, and find out the reasons why Lin Yutang’s translation version turns out to be a huge success and receives warm responses. At the same time, it points out that this translation has played an active role when Chinese culture steps out to the global stage, and provides reference for the translation of culture-loaded words. (Li Yi 2013, 43-44)<br /> <br /> ===Bibliography===<br /> <br /> Lawrence, Venuti. (2004). The Translator’s Invisibility [M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> Eugene, A. Nida. (2001). Language and Culture: Contexts in Translating [M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> Eugene, A. Nida. (2004). Toward a Science of Translating [M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> Mona, Baker. (2000). In Other Words: A Coursebook on Translation [M]. Beijing: Foreign Language Teaching and Research Press.<br /> <br /> Bao Huinan 包惠南. (2001). 文化语境与语言翻译[M]. 北京：中国对外翻译出版公司.<br /> <br /> Feng Li 冯丽. [2013(3)：116-117]. 浅析文化视角下的林语堂译本《浮生六记》[J]. 漯河职业技术学院学报.<br /> <br /> Hu Zhuanglin, Jiang Wangqi 胡壮麟，姜望琪. (2002). 语言学高级教程[M]. 北京：北京大学出版社.<br /> <br /> Liu Aili 刘艾莉. (2015). 认知翻译观视角下《围城》中文化负载词的翻译研究[MA]. 广东外语外贸大学硕士学位论文.<br /> <br /> Liang Linxin, Xu Mingwu 梁林歆，许明武. [2017(4)：53-59]. 国内外《浮生六记》英译研究：回顾与展望[J]. 外语教育研究.<br /> <br /> Li Yi 李懿. [2013(11)：43-44]. 从归化和异化论林语堂《浮生六记》译本中文化词的翻译[J]. 英语广场·学术研究.<br /> <br /> Shen Fu 沈复. (2019). 《浮生六记》（双语版）[M]. 湖南：湖南文艺出版社.<br /> <br /> Shen Fu 沈复. (2018). 《浮生六记》[M]. 浙江：浙江工商大学出版社.<br /> <br /> Wu Hualing 吴华玲. [2010(3)：113-116]. 林语堂中庸观在其译作中的审美再现——以林译《浮生六记》为例[J]. 云梦学刊.<br /> <br /> Wang Weiwei 王维维. [2012(10)：46-47]. 从形合与意合角度分析林语堂《浮生六记》译本[J]. 英语广场·学术研究.<br /> <br /> Xiong Bing 熊兵. [2014(3)：82-88]. 翻译研究中的概念混淆[J]. 中国翻译.<br /> <br /> Zhang Nanfeng 张南峰. (2004). 艾克拉西的文化专有项翻译策略评介[J]. 中国翻译.<br /> <br /> Zhu Yitian 朱怡天. (2013). 《浮生六记》林语堂英译本中文化负载词的翻译[MA]. 上海外国语大学硕士学位论文.<br /> <br /> 翻译理论与翻译技巧论文集[C]. (1983). 北京：中国对外翻译出版公司选编.<br /> <br /> ==How to Keep &quot;Chineseness&quot; in Idiom Translation from Chinese to English 瞿淼 202070080604 Qu Miao==<br /> <br /> ===Abstract===<br /> Idiom is a form of expression natural to a language, person, or group of people. With rich cultural information, Chinese idioms carry the characteristics of Chinese language and culture. In the translation of idoms from Chinese to English, &quot;Chineseness&quot; in idioms is often lost in the translation, since Chinese and English belong to different language systems so there exist great cultural differences between them. (Wang Tao, 2018, 32)<br /> <br /> This article, from the perspective of domestication and foreignization, compares the different effects of the text translated repectively by domestication and foreignization method and discusses the way to keep &quot;Chineseness&quot; in idiom translation form Chinese to English. And the article ends with the conclusion that in idiom translation from Chinese to English, it is advisable to translators should, according to the needs of a specific context, find a balance between foreignization and domestication, so that &quot;Chineseness&quot; in the original text is kept in translated text as much as possible. <br /> <br /> ===Key Words===<br /> idiom translation; cultural deficiency; cultural differences; foregnizing; domestication<br /> <br /> ===汉语习语英译如何保持&quot;中国性&quot;===<br /> <br /> ===摘要===<br /> 俗语是流传在人民群众口头上的，结构相对稳定的通俗语句，一般包括谚语、歇后语、惯用语和俗成语。汉语俗语承载着中国语言文化特色，蕴含着丰富的文化信息。在汉英俗语翻译中，因为汉语和英语属于不同的语言系统，并且文化差异较大，所以常常出现译文丢失了中国特色的情况。（王涛，2018，32）<br /> <br /> 本文从归化和异化的角度，对比了分别使用归化和异化翻译方法的译文的效果，讨论汉英俗语翻译保持中国特色的方法，得出结论，在中文习语的翻译过程中，译者应该根据特定语境的需要，在异化和归化之间找到一个平衡点，以此来最大限度地保持俗语的中国特色。<br /> <br /> ===关键词===<br /> 习语翻译；文化缺失；文化差异；异化；归化<br /> <br /> === Introduction===<br /> An idiom is a set phrase of two or more words that means something different from the literal meaning of the individual words．Generally speaking, idioms include colloquialisms, allegorical sayings, proverbs, slang, jargon and so on. The composition and semantics of idioms are very conventional, which is inseparable from the social and cultural background of idioms. Language is the carrier of culture, and idioms are an essential part of language. Idioms are deeply rooted in the social and cultural background where they are produced, and fully reflect the geographical environment, customs, religious beliefs and social, political, economic, and cultural systems in this background. Therefore, idioms are very national and cultural. (Wang Tao, 2018, 32)<br /> <br /> As an effective means to promote cross-cultural communication, translation is a bridge connecting different languages and can enhance communication between different cultures. As the essence of national culture, the translation of idioms plays an increasing important role in promoting cultural exchanges, and the biggest difficulty in translation is how to deal with the cultural conventions of source idioms. For translators, idiom translation must not only be fluent and express meaning, but also realize the transfer of cultural connotations implied by idioms. (Jiang Lei, 2003, 54)<br /> <br /> Idioms in Chinese are the carriers that convey the rich connotations of the Chinese language. They have the characteristics of concise language, brilliant meaning, typical connotation, and wide range of uses. Since idioms are the most quintessential and typical part of Chinese culture and the shining pearl in Chinese culture, idiom translation is of great significance for achieving the most perfect state of communication between China and the West. Due to the differences between Chinese and Western cultures, there exist cultural deficiencies in the translation of Chinese idioms, which makes it difficult for people of different cultural backgrounds to establish coherent and unobstructed semantics when communicating. (Liu Ning, 2016, 81)<br /> <br /> The first chapter of this article is an overview of Chinese idiom translation, analyzing the problems of Chinese idioms translation and the importance of keeping &quot;Chineseness&quot; in idiom translation. In the second chapter, this article discusses the reasons for cultural deficiency in Chinese idiom translation form four aspects: different emotional orientation, historical and cultural background, religious beliefs and ways of thinking. The third chapter is a comparative analysis of foreignization and domestication translation in idiom translation. This chapter begins with a brief introduction of foreignization and domestication translation method, and then compares the application of the two methods in idiom translation. At last, this article ends with the conclusion that translators should, according to the needs of a specific context, find a balance between foreignization and domestication.<br /> <br /> ===Chapter One An Overview of the Idiom Translation form Chinese to English===<br /> Chinese idioms are mainly created by the folk and widely circulate. From the expression content of Chinese idioms, it has a large connotation, rich and profound content, hence it is surely informative with a good expression effect. As for language structure, it is usually characterized by popularity and colloquialism. In view of the current situation of the translation of Chinese idioms, the cultural connotation is obviously missing due to the influence of cultural forms. Idiom is a window for foreigners to understand Chinese culture. Therefore, it is of significance to keep Chinese characteristics in the translation of Chinese idioms as much as possible to spread Chinese culture. (Jia Yunpeng, 2015, 65)<br /> <br /> ====1.1 The Problems of Idiom Translation form Chinese to English ====<br /> Chinese idioms involve many contents and cover a wide range of knowledge. There is no doubt that this colloquial language has the characteristics of popularity, reflecting common and commonly used factors in daily life, so that the meaning of Chinese idioms can be fully expressed.Chinese idiom is a kind of inheritance of folk culture. In the process of translation, it is affected by its own cultural form and historical factors, and there is a certain cultural deficiency, or &quot;loss of Chineseness&quot;, in the translation of Chinese colloquial language. (Liu Ning, 2016, 81)<br /> <br /> The manifestation of cultural deficiency in the translation of Chinese idioms is mainly due to the errors in the interpretation of the inherent meanings conveyed by the Chinese idioms, and the discrepancy in the intrinsic values between the translator and the original Chinese idioms after translation. As a result, the inheritance and development of culture are hindered, and there is a lack of comprehensive understanding in the process of foreign translation. (Guo Jianzhong, 2000, 65)<br /> <br /> The emergence of this phenomenon is a manifestation of cultural deficiency, and the contradiction of cultural mechanism orientation between readers and translators leads to the emergence of cultural deficiency.On the basis of the semantic meaning of the original text, the translation of Chinese colloquial language is in accordance with the linguistic environment and the operational environment of grammar. The translation process emphasizes the cultural inheritance and the expression of intrinsic value.It is precisely the collision between different cultures that causes the phenomenon of culture loss. (Liu Ning, 2016, 82)<br /> <br /> ====1.2 The Importance of Keeping &quot;Chineseness&quot; in Chinese Idiom Translation to English====<br /> Idioms are the condensed and quintessence of human language. As the treasures of national culture, they carry the cultural information such as geography, history, religion and living habits of a country or a nation. Translation is a kind of cross-cultural communication activity, which conveys cultural characteristics. If it is separated from the culture of a nation, translation would miss its due role. (Wang Tao, 2018, 33)<br /> Since the 1980s and 1990s, translation studies have ushered in a new stage, namely the shift of translation. Susan Bassnett is a representative of the school of &quot;cultural translation&quot;. Her view of cultural translation emphasizes the special status of culture in translation -- as language and culture are closely related, culture, rather than text, should be regarded as the basic unit of translation. In short, translation is by no means an act of pure language. It is deeply rooted in the culture in which the language is located. Translation is the communication within and between cultures, and translation equivalence is the cultural function equivalence between the source language and the target language. In a word, it is significant to keep Chinese characteristics in Chinese Idiom Translation to English as much as possible to spread Chinese culture. (Jiang Lei, 2003, 53)<br /> <br /> === Chapter Two The Reasons for the Loss of &quot;Chineseness&quot; in Idiom Translation from Chinese to English===<br /> Chinese and English have completely different cultural backgrounds. The cultural differences between the two are huge, which makes the Chinese and Western people have huge understanding barriers in language exchanges, especially idioms in traditional Chinese culture. Since idioms contains rich and profound cultural background knowledge, translators will inevitably encounter the problem of cultural deficiency in the process of idiom translation, transplanting one culture to another. The problem of cultural deficiency in idiom translation occurs frequently. The reasons for the Loss of &quot;Chineseness&quot; in Idiom Translation from Chinese to English are mainly reflected in the following four aspects. (Qiu Nengsheng, 2019, 51)<br /> <br /> ====2.1 Different Emotional Orientation====<br /> Although there are many words that refer to the same thing in Chinese and English, the word may mean differently in different language contexts, for the same word may bear different associative meanings. (Jia Yunpeng, 2015, 65)<br /> <br /> For example, Chinese people and Westerns often have different understanding to color words. The semantic associations of the word &quot;yellow&quot; are different in English and Chinese cultures. In Chinese culture, yellow is the symbol of imperial power and status, so it plays an important role.For example, &quot;黄袍加身&quot;（the yellow robe adds the body） refers to being an emperor.However, in modern Chinese, the word &quot;黄&quot; often has a derogatory meaning, which means lewdness and depravity. It forms many new words with other words and is widely used.For example: &quot;黄色影片&quot;, &quot;黄色书籍&quot; and so on, most of them are related to the concept of sex. Nevertheless, yellow represents justice, wisdom and glory in Western culture.In Western art St. Peter is dressed in yellow.Of course, yellow also has a bad symbolic meaning. It reminds people of the color of the clothes worn by Judas, who betrayed Jesus. Therefore, yellow can be used to express &quot;timid, unreliable, jealous, sensationalist, low-level sensationalism&quot; and other derodic meanings. But in English the word &quot;yellow&quot; doesn't have an obscene meaning. (Jia Yunpeng, 2015, 66)<br /> <br /> Chinese people has regarded the &quot;dragon&quot; as the symbol of the nation since ancient times, and the Chinese nation called themselves the &quot;descendant of the dragon&quot;. However, in western culture, &quot;dragon&quot; is a lizard with scales, wings and tails, an can breathe fire. It is a symbol of evil and cruelty. Therefore, if the Chinese idiom &quot;望子成龙&quot; was translated into &quot;hope one’s children to become a dragon&quot;, it would lead to great misunderstanding. But we translate it into &quot;hope one’s children will have a bright future&quot;, foreigners may not get the metaphoric meaning of the word &quot;龙&quot;. This is what we said the loss of &quot;Chineseness&quot;, namely, cultural deficiency. (Qiu Nengsheng, 2019, 52)<br /> <br /> ====2.2 Different Historical and Cultural Background====<br /> Chinese culture has a long history and bears a profound and sophisticated cultural nature. As the essence of Chinese culture, Chinese idioms often contain many historical allusions. And idioms originated from literary quotation or historical events should not be conceived literally because they have deeper meanings. Without cultural background knowledge, it is not easy to understand this kind of idioms, not mention to translate them. (Wang Tao, 2018, 114)<br /> <br /> For instance, the Chinese idiom &quot;三顾茅庐&quot;, which means repeatedly requesting somebody to take up a responsible post, derives from a historical story of Zhuge Liang. At the end of the Eastern Han Dynasty, Zhuge Liang lived in a thatched cottage in Longzhong. Xu Shu, a counsellor, recommended zhuge Liang to Liu Bei and said, zhuge Liang was a genius. In order to ask Zhuge Liang to help him conquer the war, Liu Bei went with Guan Yu and Zhang Fei to ask him to leave the mountain. However, Zhuge Liang was not at home, so Liu Bei had to leave his name and went back unhappy. A few days later, Liu Bei learned that Zhuge Liang had returned and went with Guan Yu and Zhang Fei against the wind and snow.But Zhuge Liang went out again, and Liu Bei and his men left again. Liu Bei went to Longzhong for the third time and finally met Zhuge Liang.In the conversation, Zhuge Liang made a very incisive analysis of the situation, which impressed Liu Bei. Liu Bei visited the thatched cottage three times, which greatly moved Zhuge Liang and he promised to go out to help him. Zhuge Liang helped Liu Bei win many victories and laid the foundation of the state of the Han dynasty for him. (Qiu Jixin, 2002, 43)<br /> <br /> From this story comes the idiom. If we just translate &quot;三顾茅庐&quot; into &quot;repeatedly to request somebody to take up a responsible post” or &quot;have visited the cottage thrice in succession to call on somebody repeatedly&quot;, foreigners would not get the allusion of it, hence the Chinese characteristics is lost somehow. (Qiu Jixin, 2002, 43)<br /> <br /> Likewise, the idioms like &quot;班门弄斧&quot; and &quot;卧薪尝胆&quot; are all relevant to some historical figures, who are known by all Chinese people but unfamiliar to foreigners. Only when they have learned something about Zhuge Liang, Lu Ban, and Gou Jian can they get the meaning of these idioms. And it is the profound historical and cultural backgrounds that make the Chinese idioms hard to translate. (Qiu Jixin, 2002, 43)<br /> <br /> ====2.3 Different religious beliefs====<br /> As a special form of human culture, religion is produced and developed almost synchronously with human culture, and all ethnic groups have their own religious beliefs and cultures. Religion not only exerts a certain influence on people's values and ways of thinking, but also influences language expression. (Jia Yunpeng, 2015, 65)<br /> <br /> In the late Western Han Dynasty, Buddhism was introduced into China, and it has a history of more than one thousand years in China. Accompanied with the introduction of Buddhism came some idioms from Buddhism or related to Buddhism, such as &quot;放下屠刀，立地成佛&quot;, &quot;苦海无边，回头是岸&quot;, and &quot;醍醐灌顶&quot;. Most Chinese people believe in Buddhism and Taoism, while most Westerners believe in Christianity. In the context of two different religious cultures, translators often meet translation difficulties. (Jia Yunpeng, 2015, 65)<br /> <br /> Take &quot;放下屠刀，立地成佛&quot; as an example. The idiom &quot;放下屠刀&quot; (lay down the butcher's knife) does not refer to the butcher's knife that actually kills. The &quot;butcher's knife&quot; here refers to malice, evil deeds and all delusions, delusions, confusion, differentiation and persistence. The sentence &quot;放下屠刀，立地成佛&quot; (Put down the butcher's knife and become a Buddha on the spot) means: the one who put down delusion, distinction, persistence, is the Buddha! The essence of &quot;butcher knife&quot; is &quot;man's confusion to himself&quot;. Many translation versions of this idiom are given, like &quot;A killer becomes a Buddha at the moment he drops the knife to kill.&quot; and &quot;A wrongdoer may become a man of virtue once he does good.&quot;; however, these versions both neglect the original Buddhist factors. If the cultural connotation is not expressed in translation, westerners would feel confused while reading. (Jia Yunpeng, 2015, 65)<br /> <br /> <br /> ====2.4 Different Ways of Thinking====<br /> As for the characteristics of the deep structure of Chinese culture, from Hager to Derrida, the western academic circle has formed a prejudice that China has no rationality and no philosophy. Previous Chinese scholars have found some similarities and differences between Chinese and Western cultures in material, institutional and ideological aspects, but they have neglected the role of rationality in the Chinese and Western cultures. (Jiang Lei, 2003, 54)<br /> <br /> Reason has different contents and categories. Different categories of reason make up different rational structures. Although the outbreak of rationality is the common characteristic of Chinese and Western civilizations in the axial age, their rational structure is not the same.The rational structure of the ancient West includes logical reason, natural reason, practical reason, and aesthetic reason, but it lacks historical reason. Its rational structure is dominated by pure reason, while logical reason occupies a dominant position. (Jiang Lei, 2003, 54)<br /> The rational structure of China includes historical reason, natural reason and moral reason. It has logical thought, but it has not developed logical reason, among which historical reason occupies a dominant position. Logical reason dominates western thinking, while historical reason leads Chinese thinking. This difference in rational structure is the fundamental reason for the difference in Chinese and Western thinking. (Guo Jianzhong, 2000, 66)<br /> <br /> The difference between Chinese civilization and Western civilization lies in the difference of rational structure. The difference between the western civilization and the Chinese civilization lies in the difference of dichotomy.Some of the differences between Chinese and Western dichotomies can be traced back to the differences between Chinese and Western languages. Different language features are the source of the differences between Chinese and Western cultures. (Jia Yunpeng, 2015, 66)<br /> <br /> ===Chapter Three Comparative Analysis of foreignization and domestication Translation in Idiom Translation===<br /> As a literary form, Chinese idioms have many inherent and connotative meanings. In the process of translation, the phenomenon of loss of Chinese characteristics is quite serious. In order to induce the loss of Chinese characteristics in translation to minimum, we should choose the appropriate translation method. (Guo Jianzhong, 2000, 65)<br /> <br /> Domestication and foreignization translation have always been the focus of debate in the field of translation. The essence of the contradiction lies in the proposition that the expression form of the original language introduced into the target language or the idiomatic expression in the target language. This article, from the perspective of domestication and foreignization, compares the different effects of the text translated repectively by domestication and foreignization method and discusses the way to keep &quot;Chineseness&quot; in idiom translation form Chinese to English. (Guo Jianzhong, 2000, 65)<br /> <br /> ====3.1 A Brief Introduction of foreignization and domestication Translation====<br /> Foreignization and domestication Translation are systematically put forward by Lawrence Venuti in his book Translator's Invisibility: A History of Translation (1995). <br /> <br /> Domestication translation is to transform the foreign element in one culture into something familiar in another culture.It puts aside the sentence and image of the original text, but grasps its pragmatic meaning. From the target language and the original text of the pragmatic meaning of the same way of expression.Strictly speaking, domestication is a revision of the culture of the target language. However, it reduces the difficulty of the readers to accept the translation text at the expense of the large culture contained information as well as the appreciation and understanding of the meaning of heterogeneous culture to some extent. (Jiang Lei, 2003, 53)<br /> <br /> On the contrary, foreignization is to transform the information from one culture and language to another culture and language in a way that remains almost as it is. It endows the target language with new linguistic elements and also novel and unique forms of expression, which is conducive to the mutual communication and penetration of two heterogeneous cultures and languages, so as to promote their mutual integration. (Jiang Lei, 2003, 53)<br /> <br /> In his book, Venuti makes a critical study of western translation from the early 17th century to the present, and reveals that the strategy of &quot;smooth translation&quot; has always been dominant in the history of Western translation. The fundamental reason is to form a norm of foreign literature in English based on the western ideology. Venuti puts it bluntly that his purpose writing this book was to go against tradition, namely, to advocate the visibility of translators. Venuti opposed domestication and advocated foreignization in tradition. This translation strategy, he says, can be called &quot;resistance&quot;. (Venuti, 1995,105) <br /> <br /> Such translation not only avoids smooth translation, but also challenges the culture of the target language, because smooth translation tamper with the foreign text with the ethnocentrism of the culture of the target language. &quot;Resistance&quot; means resistance to the ethnocentrism of the target language culture, so that the translator is no longer invisible in translation. (Jiang Lei, 2003, 53)<br /> <br /> Nida is the representative of the domestication translation. He put forward the concept of functional equivalence, &quot;The relationship between the target receptor and the target text should be equivalent to that between the source language receptor and the source text&quot;, in order to eliminate the differences in language and culture in the translation. (Nida, 1993)<br /> <br /> ====3.2 The Application of domestication Translation in Idiom Translation====<br /> The ideal of Nida's domestication translation is the closest natural equivalent. Domestication translation maximizes the dominant position of the target language and makes the target language close to readers. It tries to overcome cultural differences to realize the equivalent translation. Due to the cultural differences between different languages, translators are required to have a keen sense of culture and ability to fully and accurately interpret the national psychology and cognitive mode of the source culture, so that they can reproduce the profound cultural connotations of the source language. (Qiu Jixin, 2002, 42)<br /> <br /> Generally speaking, idioms are words with rich cultural connotations. Undoubtedly, the choice of foreignization and domestication method will produce different results: whether the culture of the source language can be preserved, and to what extent can be preserved. If we choose domestication method, we should realize that there are two premises to distinguish it: one is the domestication under the principle of fidelity, which is prescriptive and centered on the source language; another is domestication under the premise of non-faithfulness, which is descriptive and oriented by the translation into Chinese. (Qiu Jixin, 2002, 42)<br /> <br /> That is to say, domestication translation can be divided two way. One is a faithful principle under domestication, we can refer it as equivalent translation. While using this method to translate idioms, translators try to look for expressions from target language which has the same semantic effect as that of the source language, thus to make the translation natural, direct and vivid, improving the readability and acceptability of the translation. (Qiu Jixin, 2002, 42)<br /> <br /> For example, the Chinese idiom &quot;时间就是金钱&quot; is translated as &quot;Time is money&quot;, and &quot;事实胜于雄辩&quot; as &quot;Facts speak louder than words&quot;. The other is a loyal premise of domestication, which is similar to free translation. When the cultural characteristics of source language idioms expressed cannot be transformed through literal translation, translators should adopt free translation, not only to convey the deep meaning of the source language, but also to reflect characteristics of the target language, realizing the harmonious development of the two different languages. For instance, &quot;胆小如鼠&quot; is translated into &quot;as timid as a hare&quot; instead of &quot;as timid as a mouse&quot;. (Jiang Lei, 2003, 54)<br /> <br /> Another example of the application of domestication is the translation version of the famous Chinese novel 《红楼梦》 by David Hawkes. There are a large number of idioms in the novel, and Hawkes generally translated them by using the method of domestication. For the sentence &quot;癞蛤蟆想天鹅吃。&quot;(曹雪芹 165) , Hawkes translated it into &quot; The toad on the ground wanting to eat the goose in the sky&quot; [Hawkes, 2012, 242]. Here, Hawkes replaced &quot;swan&quot;(天鹅) with &quot;goose&quot;(鹅), since the associative meanings of &quot;swan&quot; and &quot;goose&quot; are completely different in western culture. (He Fang, 2019, 171)<br /> <br /> ====3.3 The Application of foreignization Translation in Idiom Translation====<br /> Foreignization translation means that, under the pressure of cultural value deviationism, the reader is brought into the context of the translation, accepts the language and cultural differences of the foreign language text. It takes the source language culture as the destination, adopting the source language expression methods that correspond to the original author, approaching the source language text author, and conveying the original content most truthfully. (Qiu Jixin, 2002, 43) <br /> <br /> For example, if &quot;一箭双雕&quot; is translated as &quot;kill two hawks with one arrow&quot; instead of &quot;kill two birds with one stone&quot;, the cultural information of the source language would be preserved to the greatest extent, so that the different cultural connotations can be truly presented to readers. The differences in the culture of the source language are reflected, allowing readers to experience foreign cultures through their own cultural cultivation. The foreignization translation method reflects a trend of cultural integration, allowing the strong culture and the weak culture to develop in the collision, and finally achieve equal dialogue in the continuous exchange. It not only promotes cultural exchanges, but also contributes to the enrichment and development of the target language culture. (Jiang Lei, 2003, 54)<br /> <br /> Moreover, another example of the application of foreignization is the translation version of the famous Chinese novel 《红楼梦》 by Yang Xianyi(杨宪益). Contrary to Hawkes’s translation, Yang adopted the method of foreignization while confronting with cultural factors in translating. As for &quot;癞蛤蟆想天鹅吃&quot;[曹雪芹, 1791, 165], Yang translated it into &quot;A toad hankering for a tatste of swan&quot;(Yang Xianyi, 1978). Here, Yang keeps the &quot;Chineseness&quot; in source language through literal translation. (He Fang, 2019, 172)<br /> <br /> Choosing domestication or foreignization is not a question of black and white, but a question of grasping &quot;degree&quot;, or finding a balance. Translation involves the pragmatic rules of two different languages and is a cross-linguistic and cross-cultural communicative activity. Foreignization and domestication shouldn’t be treated simply separately. In many cases, the use of the two methods is restricted by the pragmatic environment and must be combined. It is impossible for a translator to choose only one method to translate a work and use it to the end. The key to the translation of idioms is to grasp a balance point between domestication and foreignization. If we simply emphasize the readability of the translated version, we may ignore the cultural characteristics of the source language, leading to excessive domestication and loss of the culture of the source language. (Qiu Nengsheng, 2019, 56)<br /> <br /> However, if we only focus on the transmission of the cultural information of the source language, it may damage the readability of the translated text and lead to excessive foreignization. The loss of readability of the translated text will eventually lead to the failure of the translator's efforts. The selection method of foreignization and domestication should be a dynamic mechanism, flexible and changing with the change of corresponding influencing factors. Due to the need of specific context, the same idiom may be translated in different ways. In the process of idiom translation, whether to adopt domestication or foreignization, communicative purpose and pragmatic environment all affect the choice of methods. (Qiu Nengsheng, 2019, 56)<br /> <br /> For example, the primary purpose of Yang’s translation of Dream in Red Chamber is to spread Chinese culture; therefore, he mainly adopted the method of foreignization in idiom translation, so that the &quot;Chineseness&quot; in idioms could be kept as much as possible. And Hawkes mainly used domestication in his translation, because he wanted to reduce the difficulties of reading, making it easier for western readers to accept the novel. So we can see, different communicative purposes lead to different chooses of translation methods. (He Fang, 2019, 172)<br />  <br /> ===Conclusion===<br /> Fomestication and foreignization have always been the focus of controversy in translation circles. The essence of the contradiction is to advocate the introduction of the original expression in the target language or the authentic expression of the target language. The article believes that the contradiction between the two is not irreconcilable under normal circumstances. In fact, mere foreignization or domestication cannot appear alone in translation. The balance between the two should be sought as much as possible on the premise of loyalty to translation duties. (Guo Jianzhong, 2000, 65)<br /> <br /> One of the purposes of translation is to spread the source language culture, promoting cultural exchange and integration as well as the diversified development of the world. The foreignization translation method can reserve enough space for readers to appreciate and analyze foreign cultures. (Qiu Nengsheng, 2019, 56)<br /> <br /> The translator should have enough confidence in readers when adopting foreignization strategies, and believe that readers can give full play to their imagination to understand foreign countries on the basis of comparing their own and foreign culture. The ultimate goal of translation is to promote cross-cultural communication. It is necessary to consciously retain relevant cultural factors in the translation process. Simply using domestication translation will inevitably hide or even distort the cultural connotation of the source language. In order to preserve and spread the source language culture, the use of foreignization translation methods should be emphasized when translating idioms rich in cultural meaning. (Guo Jianzhong, 2000, 12) <br /> <br /> However, the foreignization strategy has its limits. Regardless of whether for interpretation or translation, it does not mean that all idioms containing cultural factors should be preserved. Information transmission and cultural transmission are equally important in the translation process. One cannot lose sight of the other. Idioms convey a country’s culture brilliantly. (Qiu Jixin, 2002, 45)<br /> <br /> In the process of idiom translation, the expression of cultural factors cannot be ignored. The retention of unique cultural images can attract readers of the target language. The actual acceptance ability of the target language readers cannot be ignored, otherwise it may cause poor communication. In the translation process, the translator must adhere to the principle of the inter-growth of different languages and cultures, and must pay attention to the fact that the translation must achieve communication, coordination and docking with the world, and at the same time, it must not be inappropriately eliminated in order to comply with the needs of the target country. The source language and the target language are inherent in language and culture. (Qiu Jixin, 2002, 45)<br /> <br /> ===Bibliography===<br /> *Guo Jianzhong 郭建中. (2000). 韦努蒂及其解构主义的翻译策略 [Venuti and his deconstructionist translation strategy]. 中国翻译 [Chinese translation].<br /> <br /> *He Fang 贺 芳. (2019). 异化翻译与文化传播——以杨宪益《红楼梦》歇后语翻译为个案 [Alienation Translation and Cultural Communication-- A Case Study of Yang Xianyi's Idiom Translation in A Dream of Red Mansions]<br /> <br /> *Jia Yunpeng 贾云鹏. (2015). 汉语四字成语翻译中的文化补偿与缺失 [Cultural Compensation and Deficiency in the Translation of Chinese Four-character Idioms]. 语文建设 [China Academic Journal].<br /> <br /> *Jiang Lei 蒋 磊. (2003). 英汉文化差异与习语翻译的归化和异化 [E -C Cultural Differences and Foreignization &amp;Domestication in Idioms Translation]. 武汉: 武汉大学出版社 [Wuhan: Wuhan University Press].<br /> <br /> *Qiu Jixin 裘姬新. (2002). 论习语翻译中的异化与归化 [On Alienation and Adaptation in Idiom Translation]. 语言与翻译 [Language and Translation].<br /> <br /> *Wang Tao 王 涛. (2018). 英汉习语翻译中的文化缺失与补偿 [Cultural Deficiency and Compensation in Translation of English and Chinese Idioms]. 三峡大学 [China Three Gorges University].<br /> <br /> *Qiu Nengsheng 邱能生. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization and Domestication in Translation of English and Chinese Idioms under the Background of Cultural Differences]. 上海翻译 [Shanghai Journal of Translators].<br /> <br /> *Yang Xianyi 杨宪益. (1978). 红楼梦 [A Dream of Red Mansions]. 外文出版社 [Foreign Language Press].<br /> <br /> *David Hawkes. (2012). The Story of The Stone. Shanghai Foreign Language Education Press.<br /> <br /> *Venuti,L.The Translator′s Invisibility [M].London &amp; New York:Routledge,1995:20<br /> <br /> *Nida, Eugene. A.(1993). Language, Culture and Translating. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nida, Eugene A. &amp; Charles R. Taber. (1969). The Theory and Practice of Translation. Leiden: E. J. Brill.<br /> <br /> ==Translation of English Proverbs from the Perspective of Culture 韩海洋 202020080602 Han Haiyang==<br /> <br /> ===Abstract===<br /> As close communication between eastern and western countries,nowadays cultural influence is increasingly becoming more and more importance than before in language exchanging. As for translation of English proverbs, proper translation strategies should be considered in order to better understand their meanings and characters. By looking up thesis and documents, some translation strategies need to be concluded. In terms of cultural influence and social communication, foreignization and domestication are chosen in which the former is used more frequently than the latter. It arrives the conclusion that foreignization applied for translation of English proverbs is on the increase.<br /> <br /> As close communication between eastern and western countries, nowadays cultural influence is increasingly becoming more and more importance than ever before, which is benefited from language exchanging. For translation of English proverbs, proper translation strategies should be seriously considered in order to better understand their meanings and characters. By looking up thesis and documents, some translation strategies are concluded. In terms of cultural influence and social communication, foreignization and domestication are selected in which the former is used more frequently that the latter. Thus, it is said that more and more translators apply foreignization to translate English proverbs. --[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 11:58, 16 December 2020 (UTC)<br /> <br /> ===Key Words===<br /> proverbs; culture; translation strategies<br /> <br /> ===从文化视角来看英语谚语的翻译===<br /> <br /> ===摘要===<br /> 由于文化因素在不同语言之间的交流具有一定的影响，特别在中西方交往日益密切的背景下。为了更好的翻译英语谚语，使其达到应有预期效果，适当的翻译策略可以在翻译过程中更好地了解谚语的含义与特色。通过查阅资料和文献，总结出合适的翻译方法。根据现在的社会背景和文化影响，对于归化和异化两种方法，异化的选择得到了更多的倾向。在翻译的过程中，将文化因素考虑进去对于语言翻译上面，异化的趋势将会逐渐增大。<br /> <br /> ===关键词===<br /> 谚语; 文化; 翻译方法 <br /> <br /> ===1. Introduction===<br /> With the advent of 21th century, society has been changed in a wide scope, and shed light on the unparalleled interaction of culture and economy as most exemplified phenomenon happening everywhere. Translation is thereby a way to transfer from one culture to another, in which the effect of cultural background is behind language the essence of best fruit of translation. The history of translation has been lasted for a long time, for example when it comes to English proverbs, which can be traced to centuries ago, like Bible and works of Shakespeare. It is not rare to see that each country has its own unique culture, and under the cover abundant resources mirroring a country can be exploited. English proverbs as a product of culture the bridge for cultural exchange is been studied since centuries ago. The strategies of proverbs translation also have been experimentally discussed from time to time as the rapid development of culture and economy. Translation plays a key role in promoting a country’s own culture, because that is the way of importing and exporting knowledge of culture to another country. Proverbs is the product of culture that cannot be understood directly without any effort to digest it. So translation is needed, which could impose exotic flavors to new conception or understanding, but the premise is that translation is properly chosen in regard to nowadays strongly cultural promotion awareness.<br /> <br /> Usually proverbs are concise, concrete and pithy words which are rhythmed and organized for the sake of being simple to remember and spread to people. Proverbs are summarized by certain people from all walks of life in a specialized area, including eating habits, farming, belief, customs and so many. Proverbs composed of words the exact symbol of language, are named as the crystal of culture in a easily understandable way. Culture awareness is highly appreciated whatever it is developed country or developing country. For the fulfillment of translation of English proverbs, therefore this thesis aims to translate English proverbs with appropriate translation strategies-mainly foreignization and domestication from the perspective culture.<br /> <br /> ===2. Chapter 1 General Introduction to English proverbs===<br /> <br /> ====1.1 Definition of Proverbs====<br /> As far as history is concerned, proverbs can be dated back to the times that language is produced. According to Dictionary of Proverbs, proverbs are “a succinct and memorable statement that contains advice, a warning or a prediction, or an analytical observation”. Maybe the first definition is given by Socrates that a proverb is noted as brevity, philosophical tone, and common usage. In the 15th century, Michael Apostolius of Byzantium wrote, “A proverb is a statement which conceals the clear in the unclear, or which through concrete images indicates intellectual concepts, or which makes clear the truth in furtive fashion”.(Honeck 1997,12)<br /> <br /> Champion (1966:xi) has claimed his idea “a proverb in my opinion is a racial aphorism which has been, or still is, in common use, conveying advice or counsel, invariably camouflaged figuratively, disguised in metaphor or allegory.” According to Mieder (1993), “A proverb is a short generally known sentence of the folk which contains wisdom, truth, morals, and traditional views in a metaphorical, fixed and memorable form and which is handed down from generation to generation”. Although definition is definitely different from one to another, one thing is for sure is that proverbs have been proved to exist for a long time. From all the above have been talked, proverbs can be boiled down to a simple, culture-loaded, and wide-circled saying enjoying great popularity throughout the whole country. Considering it that a majority of elements are included in proverbs, especially when it comes to perspective of culture, some feasible measures should be properly taken to handle it.(Champion 1966,15)<br /> <br /> 1.1.1 Origin of Proverbs from Abroad<br /> Proverbs are not come out from nowhere, and the amount and meaning of them do not stay the same eternally. As a rule, comparison between at home and abroad is always been found. From abroad, English proverbs could be seen in Bible, and works from Shakespeare and other fables. Part of old proverbs are stemmed from Bible, which largely related to God and so many fairy tales, or in other word like “God” or any related implication are sometimes recorded in proverbs. Like the famous one said: “man proposes, God disposes”, it shows that in western country people faithfully believe in God who is enshrined in most western religions, especially Christianity. <br /> <br /> Except from Bible, in the times of Renaissance Shakespeare’s works can be found in which some proverbs are known from that time. For example, in Romeo and Juliet there is one sentence “a rose by any other means would smell as sweet”. It means that irrespective of how things’ names are changed, the essence embedded in them would still intact. Shakespeare is as one of the most brilliant play writers just on the behalf of renaissance period. There are still amounts of proverbs created by other scholars like Francis Bacon, John Milton and so on.(Li Keshi 2009,35-38)<br /> <br /> 1.1.2 Origin of Proverbs at home<br /> <br /> In china, proverbs can be traced to Spring and Autumn periods. At that time, people mostly work at farm, so there are a lot of proverbs related to farming or country life. with Zuo’s Commentary( 左 传 ) deserves the first.In it, the Chinese proverb “山有木，工则度之；宾有礼，主则择之”has its track, and most of the proverbs mentioned in Zuo’s Commentary are from Zhou Dynasty as “Zhou proverbs”(周谚). Besides, terms like “Xia proverbs(夏谚)” can also be found in Mencius(孟子). Like the proverb “吾王不游，吾何以休？吾王不豫，吾何以助？一游一豫，为诸侯度”from Mencius, though have not been handed down, it is regarded as the earliest proverb that have been recorded (ibid,2003). <br /> <br /> Xia is an extremely ancient dynasty in Chinese history, as far as over 4,000years from today. So maybe proverbs are not as popular as today, they are definitely has records and can shed light on Chinese history.Proverbs in China are said to date back to as early as before the words came into being. People at that time did not pass down their knowledge and experience by writing, while they made it by speaking and saying in a simple and memorable way. With time moving forward, proverbs are gradually been regarded as important as written words which play a great role in future generation in dealing with culture and heritage. No matter what kind of proverbs are produced, from the historical evidence it can be observed that proverbs can across ocean and land, moving to another country, another culture domain.(ibid 2003,31) <br /> <br /> ====1.2 Characteristics of Proverbs====<br /> Proverbs are memorable, vivid words which are succinct and simple in form summarized by people from all walks of life. Both Chinese and English are bountiful in considering the thousands of proverbs have been recorded and there are still more proverbs to be created as time goes on. For the record, proverbs are not spoken at random and created at one’s free will. Some rules can be depended on, such as the lifestyle, living environment, education, social value, and so on. Take environment for example, the British lived near to ocean or sea, and therefore it is common to see proverbs related to sea spoken by English people “In a clam sea, every man is a pilot.”<br /> <br /> 1.2.1 Cultural Characteristics of Proverbs<br /> <br /> Broadly speaking, culture contains all the aspects of the society and gives its people ability viewing the world. Meanwhile, culture also can be regarded as a deciding element on distinguishing the difference from each country. It is no exaggeration to say that a country’s most standing heritage is its culture, which keeps changeable in line with the history. Although nowadays similarities of culture are seen more easily than ever before, the reason is under the influence of globalization-culture import and export take place here and there. The logic is culture formed from all walks of life, which means language is included, and proverbs are product of language. <br /> <br /> Therefore, proverbs carry characteristics of culture whatever the country is and how singular its culture is. Social customs is one of the big parts in a cultural society, there are some symbols or people are widely used in proverbs. Jack and Jill usually refer to man and woman in general such as: “every Jack has his Jill”. The counterpart in china is also easy to find. To name a few, there are more could be found in each cultural community. The next indispensable one is religion. It is well acknowledged that western countries like America and the UK, are religious countries, in which the words like: “God, devil, and church” are seen here and there. Like it has been said before, language is the product of culture, which contains every aspect of people’s life from individuality to the whole society. <br /> <br /> What is more, value concept is also included since it reflects how a country embodies its culture to the outside world. Giving respect for the aged in china is a necessary and ethic social value passed on and on for thousands of years. In Chinese, there is proverb saying that: “不听老人言，吃亏在眼前”. It means youth should listen to what the old men told you, or you will pay the price of what you have done. Instead, traditional values favor in masculinity, people think that men are superior to women and they have direct control over them. Ego and individuality in America is felt deeply, because they think that they are going to be successful by themselves from any given chance. They seldom make big achievement by working in group rather than enjoying doing it by their own hands. Proverbs like “near is my shirt, but near is my skin” is emphasizing that someone himself is more important than others.(Li Keshi 2009,35-38)<br /> <br /> 1.2.2 Rhetorical Characteristics of Proverbs<br /> <br /> As proverbs express concrete meaning by only a few words, sometimes it has to apply some kind of rhetorical devices for perfectly presenting the delicacy of proverbs. Some meaningful proverbs are not understood directly by adding each word all together, however, it only can be realized by using proper rhetorical methods to give their deep meaning, in another word, connotative meaning. <br /> <br /> Simile is often seen in proverbs, and it usually compares one thing to another thing, in order to showing its vivid or obscure picture to receptor who may not understand directly from plain words. In sentences with simile, “like” and “as” are widely used for example, “March come in like a lion and goes out like a lamb”, and “time tries friend, as fire tries gold”. The former means that the changes of March is different from how it is coming and ending, and the latter means that friend like gold needs to be tested then you would find who is your real friend. Both of them impressively express the core meaning from unfamiliar thing or abstract thing to specific and easily understandable thing. <br /> <br /> Metaphor is seemingly like simile, but it is more implicitly explaining meaning than simile. Like “brevity is the soul of wit” and “an empty bag cannot stand upright”. The former means brevity is so important to wit like the soul of a person, the latter one translated in Chinese is “人是铁，饭是钢，一顿不吃饿的慌。” Hyperbole is a rhetoric that uses overstatement or obvious exaggeration to emphasize something, such as “Our life is but a span” and “An unfortunate man would drown in teacup”. The former means life lasts in a few times as short as span, which is obviously overstated. The latter means if a person is feeling unlucky at that day, whatever you do will bring bad lucky. Personification is the ability to endow common lifeless things with features of human-being. For instance, “Money is a good servant but a bad master”, and “fortunate knocks once at least at every man’s gate”. The former means money should be rationally handled or it may be a burden for you. The latter means everyone has a chance to be fortunate at least once.(Guo Min 2008,123-127)<br /> <br /> From all above have been discussed, they are just the most common figurative devices formed into proverbs. In terms of the function of rhetorical, proverbs can come into being in a simple, memorable form. It can be inferred that proverbs in a much degree use rhetorical to express refined and concrete meaning. Meanwhile it reflects the problem that when doing translation of proverbs, focus are more than just words themselves needed to be considered, as well as culture, form and connotative meaning. <br /> <br /> ====1.3 Differences Between Proverbs and Maxims, Sayings, Idioms====<br /> <br /> It seems that proverbs are looked the same as maxims, sayings, and idioms one way or another, but in fact there still exists some differences between them. For one thing, the existence of proverbs is across the whole world, therefore, no one can precisely calculate how many of them are recorded, and how many of them are still unknown to us. In terms of the number of proverbs is uncertain, so making a convincing definition is unrealistic, at least not perfect. If referring to it could be found that the definition in the dictionary is also easy to distinguish from each other. Some researchers disagree with each other on the definitions of these similar terms. <br /> <br /> Fergusson (1983) states some proverbs are simple folk sayings. Burton Stevenson (1987)’s idea about proverb is that― “A maxim is the sententious expression of some general truth or rule and it becomes a proverb when it gets its wings by winning popular acceptance.” Some scholars believe that sayings are one stream in the vast ocean of proverbs while others argue that proverbs should be included in the realm of sayings. In one source defining idioms and proverbs, NTC’s American Idioms Dictionary (1987) mention that ― “the idiom ‘a bird in the hand is worth two in the bush’ is a proverb meaning that something you already have is better than something you might get.” (Burton Stevenson 1987,20)<br /> <br /> As for classifying maxims and proverbs, Cordry (1997) suggests that “one defines a maxim as a rule of conduct and a proverb as a comment or observation with regard to the universal experience of life, the distinction is not always clear.” And as given in Concise Oxford English-Chinese Dictionary (2003), saying is defined as “a maxim, proverb, adage, etc.” Even so, there must be some obvious features we could rely on to categorize them in general. It could be concluded that maxim and saying are mostly the expression of principle or behavior of man or the rules that summarized by famous writer or philosopher.(Cordry 1997,26-28)<br /> <br /> Thus maxim and saying are seldom heard or seen except reading in the books and hearing from author himself. As a number of them are in a serious or form expression, there they are not as popular as proverbs which are created from daily experience by common people. In regard to idiom, its meaning is not the each word put together, but by understanding it form local people who made them and made it spread in his surrounding places. Idioms sometimes are not complete sentences but simple phrases. While, proverbs enjoy great popularity and are universally spread because of their concrete, succinct and vivid description.(Fergusson 1983,28-31) <br /> <br /> In conclusion, proverbs are prevalent in the world enjoying widespread social value and abundant sentence structures, but for sayings and maxims they are carrying the color of literature. Idioms have local color that is only understood within the same or similar speech community. With such understanding, it lays the foundation for researcher to better study and distinguish the distinctions form others. <br /> <br /> ===2. Chapter 2 Relation Between Culture and Proverbs Translation===<br /> <br /> ====2.1 Definition of Culture====<br /> <br /> As many scholars have been studied the definition culture, there have been existed sorts of definitions, in which they do not have big difference in one way or another. Culture is a general word that could take language, customs, religion, and others into account. One of the oldest and most quoted definitions of culture, which is frequently mentioned regardless of so many entries of definitions, was formulated by the 19th-century English anthropologist Edward Burnett Tylor in the first paragraph of his Primitive Culture (1871) as “Culture… is that complex whole which includes knowledge, belief, morals, custom, and any other capabilities and habits acquired by man as a member of society. …” . <br /> <br /> While Nida, a famous linguistic and translation theorist, gives his definition of culture as “the totality of beliefs and practices of a society” in the book Language and Culture (2001:139) and as “the way of life and its manifestations that are peculiar to a community that uses a particular language as its means of expression” by New mark given in his book of A Textbook of Translation (2001:94).From the mentioned above, culture includes every aspect of human life such as housing, transporting, communicating with people, recording of history and so on. Therefore, it is no exaggeration to say that proverb, or even language is a part of culture. Some scholar even put that language is the medium of culture, without language there may be no existence of culture. So the importance of culture cannot be ignored in order to better understand the deep meaning when studying proverb, a culture-loaded word, and more attention should be given to perspective of culture.(Katan 2004,16)<br /> <br /> ====2.2 Language and Proverb====<br /> <br /> It is no exaggeration to say that language is the product of culture since culture is culturally transmitted from the view of linguistics. Therefore, proverbs are composed of a set of words, which are selected from a particular language community. Take English and Chinese for example, they both represent their special culture and unique characteristics respectively. More importantly, proverbs are the crystal of language, which can be used as a convenient tool to understand different cultures for language is the bridge leading to culture.<br /> <br /> ====2.3 Value and proverbs====<br /> <br /> Value is associated with sorts of people’s live and is defined by these people living in a specific area. Value of appreciation on people is an obvious example that eastern and western countries have extreme angles on how to appraise a person. Tanned skin and jeans clothes are symbols as to select people whom they like more, but for eastern, white skin and Qipao maybe are thresholds for people to judge a person whether he or she is more stylish. Value of eating is still a big mark to differentiate race or natality. Cooked meal in china and salad in the west make the difference that eating habit is so little sameness on each other. There are still more, living environment and national policy if is related to country. All of them shape all kinds of values which are on behave of its countries or people. Like east or west, home is the best means “金窝，银窝，不如自己的狗窝.” Proverbs are not just created form nowhere but they are existed for ages and still available only if they are still reflecting meaningful viewpoints.(Chen Jinshi 2006,72-77) <br /> <br /> Language is a part of culture and also at the same time a reflection of culture. Taking Chinese and English for example, they belong to different language families, therefore there exist some distinctions between them. Chinese people usually don’t say daring or family name directly, which is so different from western people who call their parents’ name and say sweet words without any concerning of awkwardness or shyness. It works to proverbs, and that is the social custom defining a society what is their core valve. <br /> As far as we know, social value between western country and eastern country are of great differences. In western country, self-awareness and individuality are mostly emphasized, but for eastern, more attention is given to collective wisdom and working in groups. Like Chinese proverbs “ 三个臭皮匠，顶个诸葛亮。”and in English proverbs such as “ God helps those who help themselves.” From above being said that it has a lot benefits to study proverbs to better understand culture and language.(Chen Jinshi 2006,72-77)<br /> <br /> ====2.4 Cultural Similarity on Chinese and English Proverbs====<br /> <br /> Without any effort it can tell that Chinese and English are defined by different language families. Even so, Chinese and English proverbs shared some similarities in various ways, which are performed in different form and speech of proverbs. Because there exist universal truths and life styles, they are more or less understood by people from society to society. Like the truth of the universe in the definition of right and wrong and subjects including philosophy, math, chemistry, they are all developed separately in different areas but shared and summarized by all members form all the world. In this point, proverbs play the role in spreading some common knowledge and experience to the outside world, though forms are created by different society, they are carrying the same meaning or implying one way or another. Examples like “a snow year, a rich year(瑞雪兆丰年), strike while the iron is hot, and a neighbor is better than a distant cousin.” All of them are proved to share universal life experience and truth in the everyday life. Because people live under the same sky, sun, star, they go on making their living by hard working.(Han Jiaoyang 2009,111-117)<br /> <br /> It is no exaggeration to say that cultural exchanges are rapidly happening all over the word, and foreign culture may be assimilated by domestic culture or rejected by its opposite expression of culture. In this sense, we have same expressions in different ways of forms, like “情人眼里出西施” (Beauty is in the eyes of the beholder). They are describing the same thing but with different cultural background, therefore they sometimes have similarities in one way or another.(Han Jiaoyang 2009,111-117)<br /> <br /> ====2.5 Cultural Difference in Chinese and English Proverbs====<br /> <br /> Without a doubt that cultural similarities surely make translation easier in understanding foreign proverbs, but they are not silver bullets to taking all the proverbs into consideration. When it comes to separate boundaries which cut the Earth into serval parts, under this context, local culture will be formed and promoted in its own birth place. One of the most common features of culture is religion in western and eastern country, because western people have belief in God, Chinese people believe in Buddhism, which are of two great differences. That is the reason why in the process of translation, factor of culture has to be reckoned, especially in the new eras. As Nord have ever put forward in Translating as a Purposeful Activity that ―A culture-specific phenomenon is one that is found to exist in a particular form or function in only one of the two cultures being compared‘‘ (Nord,2001:34), therefore culture will be compared at a time when people have different perceptions on things, in which language would be the first. The grammatically sentence structure and the pronunciation for example, have little in common regarding they belong to different language family.(Fu Yanli 2016,91-92)<br /> <br /> Living environment is an element on deciding the formation of proverbs. Traditional Chinese people were busy doing farming, agriculture, so there are proverbs associated with them. Like “ 瓜熟蒂落” means things will be done when they are mature, and “人靠血样，苗考水活”means blood is a necessity for existence of human being as well as water to seedlings.” Moreover, a fruitful harvest is dependent on the weather, producing proverbs such as “三月三，著蓑衣，三月十五冷凄凄”, which means lunar early month has heavy and the middle is heavily cold. But for English proverbs, which are to a large extent related to fishery or marine affairs such as “to sink or swim”, “to keep one’s feet above water” and so many. Therefore both of the proverbs are created surrounding environment. Except for living environment, living customs are also reflected on formation of proverbs. <br /> <br /> In different communities, people have different perception of things like animals. In Chinese proverbs, “杀鸡取卵” which equals to “kill the goose that lays golden eggs”, in which different animals are choose represent local customs. English proverbs would say that “look for a needle in a haystack”, which has a Chinese counterpart as “大海捞针”. It means that doing something is as difficult as finding out a small piece in an immerse container. Dog is also a featured sign that stand for different views in Chinese and English proverbs. In China, although dog is loyal to his master, it always leaves unrespectable impression on people, on the contrary, English love dogs and cherishes them so much sometimes even more than their family.(Fu Yanli 2016,91-92) <br /> <br /> Different cultural heritage and religious beliefs are also play a key role in the formation of proverbs. It is not hard to refer that understanding proverbs on the bases of translation is convenient for study foreign culture. With all the differences and sameness, within the range of translation, culture is a must during translation <br /> <br /> ===3. Chapter 3 Translation Strategies for English Proverbs===<br /> <br /> Translation strategies have long been studied for a long time, during that time, domestication and foreignization have been considered as dominating strategies that were applied by a lot of scholars. Cross-culture exchange has gained great trend, especially in those years global communication between countries develops rapidly. It is true that here exists another method like “functional equivalent” created by famous scholar Eugene Nida who claims that in the process of translation source text and target text are both considered as author and reader are separated by the language or culture. <br /> <br /> The best function of translation is aiming to make source text as readable as reader-oriented text, which is popular in centuries ago in the era of underdeveloped cultural exchanges. In Chinese culture, the history of translation can also be traced to hundreds of years ago, some brilliant point of view like “信，达，雅”by Yan Fu, then it was changed into “信，达，切”by Liu Chongde. It means that translated text in which the flavor of text should be close to its original color of its culture. Taking what translation strategies into consideration should comply with the trend of culture exchange and its development.(Chen Daoen 2015,257-258)<br /> <br /> ====3.1 Domestication and Foreignization====<br /> <br /> Domestication is a target language oriented translation device, which is to change the flavor into reader’s meet. It is compatible with the taste of people who think their country is strong enough to set international standard and in which all other countries will prepare for the transmission of culture. It is the assimilation that causes translator to change resource text into native flavor. But for this phenomenon, the reason is that people’s recognition is limited and their hold self-importance to the most, therefore, everything from outside will be transmitted into domestic flavor. <br /> <br /> As communication of culture and technology grows rapidly and each country would like to strengthen its comprehensive power by take into foreign culture. As for translation strategies, which are still be reckoned which one should be adapted. Foreignization is a source language oriented translation device, which is to change the flavor into author’s meet. The roots of the terms “domestication” and “foreignization” can be traced back to the German philosopher Schleiermacher‘s argument in 1813 in a lecture on the different methods of translation, he found only two methods of affecting the domestic reader‘s understanding of the foreign author, “Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Venuti 2004,19-20).<br /> <br /> In China, some scholars also have put forward their own opinions about the definitions of domestication and foreign. Among them, Lu Xun’s opinion is famous. He claimed that domestication was as “rewriting, changing the foreign story into Chinese story and changing the foreigners into Chinese” , while foreign was “translation is like going abroad traveling, it must reflect the scene and flavor of the foreign country concerned.”(ibid 1984,301) Expect the definition of domestication and foreignization, translator when doing the work of translation should consider the perspective of culture and the intention of the writer as well as reader whether they want to the culture of source text to be originally intact or changed into readers’ culture.(罗新璋 1984,301)<br /> <br /> ====3.2 Foreignization over Domestication for Translation====<br /> <br /> As far as social development is concerned, cultural exchange is more frequent than now or ever. In previous centuries, domestication is always been advocated by Chinese and western translators, as the exchange of economy and culture is not as common as today. Countries blindly think themselves as the leading one, so naturally take translated text as a respect from other countries. In translated works, any trace of alien culture is eliminated, in favor of own country’s culture to be admired and promoted. The awareness of culture is not developed people only unconsciously find that in their mind anything enters into their country is no foreign at all, because every product from aboard will be transferred into familiarly native fruit with sense of closeness. <br /> <br /> In another way, people at that time are barely having the chance to access to education, in particular for poor family most of them are illiterate. It is without saying that no room is left for people in their countries to study culture abroad while native culture still did not gain completely popularity. From the above being mentioned, at an early age, domestication has upper hand indeed. So in choosing translation strategies, it is no doubt that it should be domestication centered.(Ding Min 2014,72-76) <br /> <br /> For another thing, as technology and economy develop from nowhere, cultural exchange between countries has witnessed great changes in the past decades. In highly developed areas, people in their countries universally receive full education in which their counties’ historical culture has been deeply absorbed. So, in the process of translation, foreign culture as novel things fulling with exotic flavor has attracted people a lot to see the differences and experience a foreign journey. The untouchable place of domestication did not enjoy its popularity an anymore for its limitation of spreading of foreign culture. <br /> <br /> Therefore, foreignization became more and more important as translation tool in the view of people’s eye. It not only translated the original foreign text into native character, but also carried the foreign special into domestic text. Take china for example, although as a developing country in the Asian, china has so much say in the stage of the world in the aspect of culture and world peace. Language as the bridge of communication, have to be understood by others in the way of translation. In one way or another, domestication and foreignization can both play the role in the translation, but from the perspective of culture, foreignization seems to weigh more in nowadays choosing translation strategies.(Ding Min 2014,72-76)<br />  <br /> ===4. Conclusion===<br /> <br /> Proverbs are culture-loaded words that has been transmitted and renewed from generation to generation as well as the changes of different eras. As a part of language and the product of culture, it is no exception that proverbs can be a medium, which offer the opportunity to learn language and culture. With the advent of new technology and wide economic communication, translation is playing an indispensable role in this process. <br /> <br /> Proper translation strategies are essential that whether foreign culture should be taken into consideration since it stands as the soft strength of a country. By considering this, foreignization has more superiority when compared with domestication. Foreignization as a trend translation, keeping the original culture intact to target readers, meanwhile can enrich a native country’s culture and expand vocabulary. There is no doubt that domestication is not totally worthless, regarding proverbs has multiple varieties, which cannot be translated simply by foreignization, therefore domestication is worked as supplementary tool assisting foreignization in translation. <br /> <br /> Foreignization leaves the culture of source text untouched, wishing to give target reader exotic environment where readers experience different aspects of culture, like religion, belief, custom and others.<br /> <br /> In the end, as cultural development and social progress is moving forward, foreignization has more advantages than domestication.<br />  <br /> ===5. References===<br /> *Bian Xiaofei, 边晓霏(2013). 从文化视角探究谚语翻译[Exploring proverb translation from a cultural perspective]. ''保定:河北大学''[Baoding:Hebei University] .<br /> *Chen Jinshi,陈金诗(2006). 英汉谚语的特征与翻译[Characteristics and translation of English-Chinese proverbs]. ''武汉:中南民族大学''[uhan: Zhongnan University for Nationalities].<br /> *Dong Jing,董晶,Liu Yalou,刘亚楼(2015).英语谚语的文化内涵与翻译方法[The cultural connotation and translation of English proverbs]. ''河北联合大学学报(社科版)'',(1): p: 100-103.<br /> *Fu Yanli,付艳丽(2016). 跨文化语境下英语谚语翻译的意蕴与特征表达[The Meaning and Characteristics of English Proverbs Translation in Cross-cultural Context]. ''济南职业学院学报''[Journal of Jinan Vocational College],(4): p: 90-91.<br /> *Ding Min,丁敏(2014). 从文化视角看英语谚语的翻译[Translation of English proverbs from a cultural perspectiv]. 西安:西安外国语大学[Xi'an:Xi'an University of Foreign Languages].<br /> *Guo Min,郭敏(2008). 英汉谚语中的文化差异及其翻译[Cultural differences in English and Chinese proverbs and their translation]. 重庆:西南大学[Chongqing: Southwest University].<br /> *Han Jiaoyang,韩娇阳(2009). 从谚语英汉互译中看文化缺省及其补偿策略[Cultural default and its compensation strategy in English-Chinese translation of proverbs]. 长春:吉林大学[Changchun: Jilin University],.<br /> *Lu Daoyen,陆道恩(2015).文化视角下英语谚语的翻译技巧[Translation skills of English proverbs from a cultural perspectiv]. ''高教学刊''[Journal of Higher Education],(24): P:257-258.<br /> *Li Keshi,李克时(2009). 论英语谚语汉译的异化趋势[On the trend of alienation in Chinese translation of English proverbs]. 南京:南京农业大学[Nanjing: Nanjing Agricultural University].<br /> *Liu Weiping,刘卫平(2008). 文化视角下的美国谚语翻译[Translation of American Proverbs in Cultural Perspective]. 桂林:广西师范大学[Guilin: Guangxi Normal University].<br /> *Li, H.(2012) A Study of Film Subtitle Translation from the Perspective of Domestication and Foreignization[MA]. Shenyang: Liaoning University.<br /> *Mo, L, H.(2014) A Study on Chinese and English Proverbs about Marriage from the Perspective of Contrastive Linguistics[MA]. Nanning: Guangxi University.<br /> *Mao, Q.(2017) A Study on the Proverbs in Shakespeare’s Play in Their Chinese Translations in the Perspective of Conceptual Metaphor[MA]. Guilin: Guangxi Normal Univeristy .<br /> *You, X, J.(2009) A Contrastive Study On Hypotaxis and Parataxis in English and Chinese and Its Influence on the Chinese-English Translation of Ancient Fables[D]. Suzhou: Suzhou University.<br /> *Zhao, C, H.(2012) A Study on Proverb Translation from Cross-Cultural Perspective[D].Changchun:Jilin University.<br /> <br /> ==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory 刘金惺琦 liu jinxingqi==<br /> <br /> ==Translation of Chinese Neologisms from the Perspective of Cross-cultural Translation Theory ==<br /> &lt;center&gt;解帆 Xie Fan&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> With the continuous enhancement of China's overall national strength and international influence, Chinese is playing an increasingly important role in communications and exchanges among countries all over the world. An increasing number of Chinese neologisms are used to express and describe the status quo. These neologisms invigorate Chinese culture, however, meanwhile, they make it harder for the world to understand Chinese. <br /> <br /> On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.<br /> <br /> On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.<br /> ==='''Key words'''===<br /> Chinese neologisms; cross-cultural theory; English translation; strategies<br /> <br /> ==='''摘要'''===<br /> 随着我国综合国力和国际影响力不断增强，汉语在世界各国沟通与交流中起到越来越重要的作用，用来表达和描述社会状态的汉语新词也日益增多。这些新词给中国文化带来生命力的同时，也给世界人民理解汉语带来了困难。<br /> <br /> 一方面，语言本身存在着不可译性，每种语言在其组词造句、表达方式上都具有其独特性，现实中并不存在两种完全对等的符号系统。另一方面，不同的民族有着不同的历史传统、宗教信仰、思维方式，这尤其增加了语言理解的难度。因此，跨文化翻译成为中华文化传播过程中的重要一环。通过翻阅相关资料，不难发现由于汉语新词的英译起步较晚，国内外相关翻译研究尚未成熟，因此在英译汉语新词的过程中出现了一些问题。前人已有相关文章指出过这些问题，但没有提出如何才能避免这种问题、提高译文质量。基于前人的相关理论和观点，并结合实例，本文将首先介绍汉语新词分类及其特点，然后说明跨文化翻译理论对于英译汉语新词的意义，最后介绍在跨文化翻译理论下英译汉语新词时的几种方法，希望为后续规范汉语新词英译行为提供必要参考。<br /> <br /> ==='''关键词'''===<br /> 汉语新词；跨文化翻译；英译；策略<br /> <br /> ==='''Introduction'''===<br /> With the growing power of China and the further improvement of the globalization, China's contact with other countries in the world has become closer. And how to maintain Chinese culture’s uniqueness when it is introduced to the world has been the top priority for translators. The development of China has given birth to a large number of Chinese neologisms with its uniqueness. The society changes with each passing day, covering from international affairs to domestic matters. Against this background, neologisms are likely to be derived. These words attract widespread attention and gradually enter people's daily life. Since the implementation of the reform and opening up to the outside world, a great number of Chinese neologisms have appeared. <br /> <br /> Not only do these neologisms with Chinese characteristics vividly show Chinese people’s understanding of their unique phenomena, but also they largely enrich the expression of Chinese. However, at the same time, these words pose serious problems for translators as well. On the one hand, the differences between Chinese culture and western countries’ culture are numerous, which makes it hard to find equivalent of Chinese neologisms in English. On the other hand, with the times going forward, the number of Chinese neologisms is steadily increasing, which results in difficulties in translating Chinese neologisms into English. Therefore, Cross-cultural translation of Chinese neologisms into English becomes prevailing. Cross-cultural translation theory was proposed by Mary Snell Hornby in her well-known representative book Translation Studies: an Integrated Approach. She believes that translation is not a process of decoding or the transformation of language symbols, but also the transformation of cultural patterns. Due to the rapid development of Chinese society in the past decade, more and more translators have turned to Chinese neologisms, making the study of English translation of Chinese neologisms a new focus. Chinese Translators Journal, Lexicographical Studies and other authoritative academic journals have set up columns for translation of Chinese neologism. There are also vocabulary books compiled according to the specific types of Chinese neologisms, such as Chinese-English Expressions of Current Events by Yang Quanhong and English Translation of Buzzwords and Sayings by Chen Dezhang. In addition, the most representative ones include Yang Quanhong's Approaches to Translation of Chinese Words and Expressions into English and Zhang Jian's On Translation of Chinese Press Neologisms into English. In the age of information, it is not hard to find English translation of Chinese neologisms on English learning websites such as https://www.chinadaily.com.cn/, https://www.en84.com/ and so on. These websites have launched platforms for English translation of Chinese neologisms and updated them timely. So far, scholars have studied Chinese neologism from different perspectives. This paper is based on 138 related articles including these key words such as “cross-cultural theory” “Chinese neologisms” and “English translation” on http://kns.cnki.net. Fu Rong narrated the difficulties and methods in The English Translation of Chinese Neologism from a Cross-cultural Perspective. Zhou Hongjie elaborated on the basic principles, methods and key points in The English Translation of Chinese neologisms from a Cross-cultural Perspective. In addition, a majority of articles analyzed the status quo in the English translation of Chinese neologisms from the perspective of cross-cultural translation theory, but few dwell on strategies of solving the problems during the course of translation. This paper introduces Chinese neologisms and its classifications and characteristic in the second section, the significance of cross-translation to Chinese neologisms in the third section and ways of translating in the fourth section. It is based on the previous viewpoints and puts forward practical strategies to be followed in the translation of Chinese neologisms from the perspective of cross-translation theory combining with examples.<br /> <br /> ===Chapter 1 Overview of Chinese Neologisms===<br /> <br /> Neologisms are words new in connotation or form. In other words, they can either be new words created to express new concepts and phenomena in line with times or existing words given new meanings. These words help the further development of language, embody Chinese people's latest understanding of the world with the times going forward, and enrich the expression and promote transmission of Chinese language. (Fu Rong, 2015: 80) To better translate Chinese neologisms into English, we need to have a deeper understanding of Chinese neologisms, including its classifications and characteristics.<br /> <br /> 1.1 Classifications of Chinese Neologisms<br /> <br /> Generally speaking, Chinese neologisms can be classified into four categories, namely, old words endowed with new meanings, Chinese abbreviations, newly generated words and loan words.<br /> <br /> Old words endowed with new meanings, as the name suggests, are existent words that have been endowed with new meanings for reuse even though have been forgotten for a long time. (Li Chunjiang, 2015: 62) Take “备胎(spare tire)”as an example, which refers to an extra tire carried in a motor vehicle for emergencies. It now refers to a back-up, second line, just-in-case, or a B-plan or contingency, in other words, someone who is benched now. Besides, “粉(powder)”originally refers to fine powder used for makeup or paint, while it means having a crush on or adoring a famous celebrity now. With the changing society of China, the essential characteristics of the things or phenomena referred to by the old words have changed as well. Because of the uniqueness pf Chinese words, it may be defective to use substitute words and fail to reflect the pun. Not only does endowing the existing words with new meanings produce connection between old words and new meanings, but also reduces the trouble of creating new words.<br /> <br /> Chinese abbreviations are the result of refining existing words. The process of extracting mainly depends on the importance of each part of the words. Those significant parts are selected to replace the lengthy words. The most common Chinese abbreviations can be divided into three forms. First, extracted initials. Such as “哥哥(brother)--GG”, “笑死我了(It’s so funny that I have a shortness of breathe)” and “漂亮小姐姐(good-looking sister)--PLXJJ”. Second, syllable imitation. Such as “呜呜呜 (onomatopoetic words of cry)--555”, “我爱你一生一世(I love you forever)--5201314” and “不要这样子(don’t do like this)--表酱紫”. Third: reduced words. Such as “很累，感觉不会再爱了(feel so tired that will not fall in love again)--累感不爱” and “躺着也中枪(a lying person can be shot as well)--躺枪”. Chinese abbreviations have their own laws of forming, so it is easy for us to understand as long as we recognize the laws of them. Besides, in the premise of reflecting the principle of simplicity and the purpose of economy frugality, Chinese abbreviations are helpful to ensure goog rationale and high semantic transparency. Nowadays, people are always pursing a simple and peaceful life, which gives rise to the frequent use of abbreviations. Nevertheless, the abbreviations of words should neither be arbitrarily imitated, nor be simply carried out by way of analogy. Instead, the abbreviations with the widest social acceptance should be selected through investigation and evidence collection from multiple aspects.<br /> <br /> Newly generated words can be roughly divided into two types. The first is generated through metaphors, similes and metonymy. For instance, “虎妈(tiger mom) is defined as strict disciplinarian mothers who demand high achievement from their children and maintain control of their activities”, and“猫爸(cat dad)”refers to fathers who take a more softly approach to parenting, preferring to be emotionally sensitive, gentle and relaxed about rules and discipline, and they are in the belief that this kind of parenting will make their offspring self-sufficient and independent. With new things coming in, people need words to describe them but there are no ready expressions at hand. The metaphorical use of some expressions will do the job as it will reflect the same essence of the objects through metaphor. The second type is created with the arrival of new phenomenon. For instance, “APEC蓝” is employed to describe the quality air and the exceptionally blue sky in Beijing during the APEC meeting in 2014. And “蒜你狠”is used to illustrate the price of garlic which soared more than 100 times in 2010, even outstripping meat and eggs. A great number of new phenomena and new concepts spring up, however, it’s hard to describe them with the existing words. Under this circumstance, the vocabulary system needs to produce more new words to meet the requirements of social communication.<br /> <br /> The advancement of globalization, communication and cooperation in some fields among countries are deepening day by day, which inevitably bring changes in language, and that is so-called “Chinese localization”. Loan words are “transformed” into Chinese words in accordance with the rules of pronunciation, semantics, structure and grammatical system of Chinese. In the mid-1970s, Taiwanese used “show--秀” as morphemes to match with &quot;做&quot; and &quot;作&quot;. To the surprise of the editor, these newly created words were so well-received in the entertainment industry that a large number of words such as “歌舞秀、双人秀、真人秀、脱口秀”were produced. Nowadays, the neologism “秀儿” referring to those who like to show off their resources is widely accepted. Similarly, “博客、思客、播客、朋客、创客”appeared one by one. “客” was derived from “黑客(hacker)”, in other words, the word group of “X客” were generated. <br /> <br /> 1.2 Characteristics of Chinese Neologisms<br /> <br /> In order to have better quality of translation of Chinese neologisms, translators need to have a deep insight into its characteristics. Chinese neologisms are characterized by cultural uniqueness, simplicity, vividness and uncertainty.<br /> <br /> Chinese neologisms come from a wide range of sources, but they all have roots in China. Some are based on Chinese culture. For instance, “山寨(mountain fastness)”originated from Water Margin, which used to refer to the place where the poor live. But when used online, the original meaning is transformed to plagiarism, imitation, parody and other popular cultural phenomena. Others are on the basis of customs. Take “红色炸弹(red bomb)” as an example. Since Chinese traditional wedding ornament is red, the word &quot;红色炸弹(red bomb)&quot; is used to describe the overwhelming wedding invitations. <br /> <br /> We are living in a fast-paced era. The speed of generation and transmission of information are accelerating. Under this situation, we crave for cost-effective communication. This status quo requires concise language. Chinese abbreviations exactly exemplify the simplicity. Abbreviations are condensed with rich information content, and effectively reinforce the expressiveness of Chinese vocabulary. Therefore, the number of abbreviations in vocabulary increases rapidly.<br /> <br /> The appearance of Chinese neologisms meets people's needs to describe an object or a phenomenon more vividly. Such as “人艰不拆” means that since life has been so hard, some things should not be exposed. And “酸菜鱼”is used for persons who are jealous, ugly, and redundant to make fun of themselves. “剁手党”refers to the addicted shopping crowd. They buy countless things, but often regret after calming down, even vow to chop off their hands if they don't act rationally next time. The vividness of Chinese neologisms adds humorous effects to the expression.<br /> <br /> With the crazy tempo of life, Chinese neologisms emerge in an endless stream. For one thing, with the increasing influence of network to people's life, online language is a shock to traditional language since many words are not compatible with Chinese language system. For another, neologisms fade away with the end of an event and are quickly replaced by neologisms with the times.<br /> <br /> ===Chapter 2 Cross-cultural Translation Theory and Its Significance===<br /> <br /> As Chinese neologisms are rooted in Chinese culture, translators are supposed to turn to cross-cultural translation theory when translating Chinese neologisms into English. Hence, having a deep insight into it and its significance helps improve the quality of translation.<br /> <br /> 2.1 Hornby’s Cross-cultural Translation Theory<br /> <br /> Cross-cultural translation theory refers to translation across cultural divide and be less influenced by factors such as politics, religions, regions and ideologies. Cross-cultural translation theory was put forward by German translation theorist Mary Snell-Hornby. From her perspective, translation is a kind of cross-cultural communication. In this way, translators should not only have a bilingual ability, but also the cultural backgrounds of the source language and the target language. In reality, there are no two completely equivalent language systems. Each language has its own uniqueness in terms of word formation, sentence construction and expression, which is even more distinctive in translating into the target language with totally different economic, political, social and cultural backgrounds. Therefore, cross-cultural translation becomes a rigid demand. In the process of cross-cultural translation, translators are supposed to strike a balance between Chinese style and maximize the recipients’ understanding and acceptances’ of Chinese culture. Mary Snell-Hornby proposed that translators should skillfully switch the two languages in the process of translation as well as deeply dig into the culture backgrounds behind the two languages. In other words, translation is more bicultural transformation than bilingual transformation. (Wang Weidong, 2011: 78).<br /> <br /> In the process of translation, the cultural deposits have a direct bearing on the expression of words, its connotations and emotions. Hence, translators must take these factors into consideration in translation. Cross-cultural translation theory has the following requirements for translation, which can be divided into three aspects: first, to express the meaning of the source language. Second, to dig out the cultural connotation of the source language. Third, to convey the emotion of the source language. Only when translator meets the three requirements above can the quality of the translation be guaranteed.<br /> <br /> 2.2 Significance of Cross-cultural Translation Theory<br /> <br /> The significance of Cross-cultural Theory to English Translation of Chinese Neologisms can be divided into the following three aspects. The British historian Dr. Toynbee once said, it is not surprising to say that the 21st century belongs to East Asia led by China for China’s control over East Asia is not merely political, but cultural. Though East Asian countries such as Korea and Japan maintain their political independence, they are strongly influenced by Chinese culture.” Therefore, promoting English translation of Chinese neologisms is very important for enriching the world language system, improving China’s soft power and introducing Chinese culture into the world.<br /> <br /> 2.2.1 Learning the Chinese Idiomatic Expression<br /> <br /> Translators can learn the rules of Chinese word-formation and characteristics of Chinese expression in the process of translating from the perspective of cross-cultural translation theory. There are great differences between Chinese and English word-formations. Take the three main forms of Chinese neologisms as example. Subject-predicate forms, such as “私聊” and“群聊”; Verb-object forms, such as: “煞风景”“抬杠”; Complementary forms, such as: “吓尿”and so on. In English vocabulary system, most compound words are in the form of nouns, while Chinese has a variety of parts, such as verbs, nouns and adjectives. Translators can grasp the characteristics of Chinese word-formation through the translation and readers can understand the Chinese idiomatic expression. <br /> <br /> 2.2.2 Spreading Chinese Culture Contained in Chinese Neologisms<br /> <br /> Chinese neologisms are produced in China’s distinctive environment, containing culture with Chinese characteristics. It is an effective way to spread Chinese culture contained in Chinese neologisms through cross-cultural translation. For example, “打虎” and “拍蝇” have become buzzwords in China these years. In fact, both above two neologisms are political terms. The “tigers” refer to corrupt officials at higher level and “flies” at grassroots level. Chinese neologisms are epitomes of China's development in a certain period, carrying much social information. The world can learn about the development of China through Chinese neologisms. Accordingly, determination of Chinese government to take out “tigers” and swat “flies” can be seen through these coinage of new terms such as “打虎” and “拍蝇”. Therefore, cross-cultural translation helps spread Chinese culture contained in Chinese neologisms.<br /> <br /> 2.2.3 Conveying Emotion Expressed by Chinese Neologisms<br /> <br /> Emotional expressions are essential to translation of Chinese neologisms. Translation of Chinese neologisms from the perspective of cross-cultural translation theory helps to convey emotion expressed. For example, it is not proper to translate“和事佬”into“peacemaker”. In Chinese, “和事佬”refers to persons who are unprincipled and blindly promote reconciliations, with derogatory meaning. While in English, “peacemaker” refers to those who create and safeguard peace, with commendatory emotions. Therefore, if the cross-cultural principles are violated in translation, there will be differences in the expression of emotions, which will hinder the expression of real emotions and lead to misunderstanding.<br /> <br /> ===Chapter 3 Methods of Chinese Neologisms Translation===<br /> <br /> To improve the quality of Chinese neologisms translation, translators need to have a full knowledge of problems existing in the process of the translation of Chinese neologisms, and then avoid them by choosing appropriate ways of translating and following principles of cross-cultural translation theory.<br /> The late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. <br /> <br /> Nowadays, it is common to see rigid translation, which leads to failure to convey its true meaning. For example, if “我好方”is translated into “I’m so square”, it will confuse readers. In fact, this neologism refers to people in panic. As its word “方”pronounces similarly to the word “慌”，it is employed to make fun of those who can't distinguish between “f”sound and “h” sound. Similarly, “蓝瘦，香菇” can’t be translated into “blue monsters and shiitake mushrooms” for it refers to “I’m so sad that I’m going to cry”. Hence, rigid translation will result in misunderstanding. Not only should we make translations interesting, but also we need to ensure they are correct.<br /> <br /> Many Chinese neologisms, after being translated into English, can express their meanings accurately, though fairly lengthy. For instance, if“无语”is translated into “have nothing to say”, it seems a little bit lengthy. We can translate it into“speechless”, instead. When translating Chinese neologisms, translators are supposed to use as few words as possible to accurately convey as much information as possible, making readers spend as little time as possible to understand them.<br /> <br /> Till now, many neologisms lack Chinese uniqueness after being translated into English. For example, “杠精”will lose the uniqueness the word“精”carries if it is translated into“argumentative person”. In China, “精”commonly describe demons and ghosts, with derogatory meaning, such as those used in“白骨精”“蜘蛛精”and“蜈蚣精”. In this case, it is not proper to translate“精”into “person”. Therefore, we need to ensure Chinese culture be spread in the process of translation.<br /> <br /> 3.1 Transliteration<br /> <br /> Transliteration is the translation of Chinese neologisms into English which sounds similarly to Chinese. Transliteration of Chinese neologisms into English can fully retain the pronunciation of Chinese and traditional Chinese culture. What’s more, it is more efficient.<br /> <br /> Zeng Lisa once proposed that translators should accurately convey more information with as few words as possible, so that the audience can obtain the clearest and smoothest information with as little time as possible. Transliteration gives priority to efficiency and can meet the requirements of the fast pace of modern society, improve the communicative efficiency of readers, and save space for readers' cognitive ability to play. <br /> <br /> For example, &quot;大妈&quot; is transliterated into &quot;dama&quot; and entered the Oxford dictionary. In addition to this, there are a sea of transliterations of Chinese neologisms in modern English vocabulary, for example: &quot;风水&quot; (fengshui), &quot;八卦&quot; (bagua), &quot;太极&quot; (taichi), &quot;气功&quot; (qigong), and &quot;武术 &quot;(wushu), &quot;功夫&quot; (kungfu), &quot;胡同&quot; (hutong), &quot;麻将&quot; (mahjong), &quot;叩头&quot; (while), and so on. Transliteration makes Chinese neologisms widely spread and its culture behind. However, if translators stick to the literal interpretation or explanatory translation of some words, it may lead to cumbersome words and poor quality. <br /> <br /> 3.2 Literal Translation<br /> <br /> Literal translation is one of the efficient way of translation. Literal translation enables us to directly find equivalent expressions in English in terms of form, style and connotation, which is the perfect embodiment of &quot;commonness&quot; between English and Chinese. Above all, literal translation helps promote Chinese culture.<br /> <br /> Language carries and transmits culture, as it is the heart of the cultural system. Culture influences and even shapes language, which is the foundation of language and the source of innovation. In the current context of cross-cultural communication, translation is not only a process of language conversion, but also a process of cultural transplantation.The transmission between eastern and western cultures is practical in theology, but it is limited in reality. Chinese neologisms are the most active part of Chinese vocabulary, which reflect the way of thinking, values, customs and lifestyles formed by the Chinese people in the new natural and social environment. Therefore, literal translation works for spreading Chinese culture. <br /> <br /> In modern English, examples of literal translation of Chinese neologisms can be found everywhere, such as “一国两制--one country, two systems”, “二孩政策--two-child policy”, “希望工程--Hope Project” and “好久不见long time no see” and so on. Literal translation is straightforward, concise and efficient. Not only can it effectively reduce the boredom caused by the transformation from Chinese to English, enrich the expressiveness of English, but also maximize the retention of Chinese cultural.<br /> <br /> Therefore, it is necessary to interpret or add annotations in the context, otherwise it is difficult to convey its Chinese characteristics and cultural connotation.<br /> <br /> 3.3 Free Translation<br /> <br /> Free translation is another way of translating, which emphasizes the relative independence of both Chinese and English. On the one hand, differences exist in different language systems including grammatical constructions and expressions. On the other hand, there are quite a few distinctions between different cultures including historical traditions, religious beliefs and even ways of thinking, ways of thinking. Therefore, sometimes free translation is required to avoid misunderstanding and disputes.<br /> <br /> Free translation refers to reproduce the matter without the manner, or, the content without form. Put another way, it explains the general idea of Chinese neologisms. For example, “豆腐渣工程” refers to the construction project that collapsed or did not comply with relevant regulations due to cutting corners in the construction process. It is translated into English as “jerry-built project”. “白色污染”, the pollution of the environment by plastic waste that is difficult to degrade, is translated as “plastic pollution”. In a word, although the paraphrased neologisms need not strictly stick to Chinese, it can better reflect the meaning of Chinese.<br /> <br /> ==='''Conclusion'''===<br /> <br /> The emergence of Chinese neologisms demonstrates a new face of China. Neologisms are new in content, form, and content, which are produced to express new concepts and phenomena. However, due to the obvious cultural differences between China and western countries, there are many obstacles in the course of translating Chinese neologisms into English. Neologisms are perhaps the number one problem for non-literary translators and professional translators. Under this circumstance, cross-cultural translation of Chinese neologisms becomes a prevailing trend. Cross-cultural translation refers to translating crossing cultural divide and being less influenced by factors such as politics, religions, regions and ideologies. In a way, translating Chinese neologisms into English from the perspective of cross-cultural translation theory can help to promote understanding of Chinese. In another, it can effectively convey the emotions expressed by neologisms. Moreover, it can help to promote the spread of Chinese culture. In spite of the continuous standardization and improvement of translation, there are still some problems in the process of translating Chinese neologisms into English, such as rigid translation, wordy translation and translation with cultural loss. English translation of Chinese neologisms may be a daunting problem, so we need translators with joint efforts, both stick to effective translation methods, flexible and innovative, and latest changes, in order to improve the overall quality of translation of Chinese neologisms, thus speak up aloud in the international community. In this paper, three main strategies are suggested, and they are transliteration, literal translation, and free translation. To better translate Chinese neologisms from the perspective of cross-cultural translation theory, translators need to adopt compatible ways of translating with different types of Chinese neologisms and target readers. On the one hand, it is necessary to fully grasp Chinese neologisms, which requires translators to have more knowledge of Chinese cultural background and Chinese idiomatic expression. On the other hand, we should find the way of translating which is most accepted by readers. <br /> <br /> Moreover, Chinese neologisms are constantly updated with the development of the society. If we do not keep pace with the times and know the latest meaning of Chinese neologisms, it may lead to misunderstanding. (Tian Longjiao, 2013: 160) Therefore, translators should constantly supplement, update or revise the English translation of those Chinese neologisms without definite translation, which is an important guarantee to keep the English translation of Chinese neologisms accurate. Advancing with the times often requires translators to pay close attention to the post-translation effect. On the other hand, translators should also constantly draw on new English words. Chinese neologisms have strong timeliness, especially with the increase of Internet users, hence, at any one time emerge Chinese neologisms which are closely associated with the society. In short, in the process of translation, translators must pay attention to riding on the trend of the times so as to update the expression of the target language and readily accepted by readers. Update expressions means keeping up with the development of the times and use idiomatic English to illustrate new things, new words and new expressions. <br /> In other words, on the basis of grasping the exact meaning of Chinese neologisms, we should make it understood in English. Translators should not only improve their ability to understand Chinese, enhance their ability to translate Chinese into English, but also be keeping with the times so as to introduce more Chinese neologisms into English and continuously inject more Chinese elements into English. In this way, Chinese culture can be spread and the expression of English can be innovated.<br /> <br /> ==='''References'''===<br /> <br /> [1]Baker Mona. In Other Words: A Coursebook on Translation [M]. London/New York: Routledge, 1992.<br /> [2] Jing Huang. Study on the Influence of Cultural Construction and Cultural Deficiency on English Translation[A].He Nan: Proceedings of 2019 International Conference on Humanities,Cultures,Arts and Design, 2019.<br /> [3] Kata. An introduction for translators, interpreters and mediators. [D].Manchester: St Jerome, 2004.<br /> [4] Min Deng. Cultural Differences between Chinese and English Color Words and Their Translation[A].Hong Kong: Proceedings of 2019 International Linguistics, Education and Literature Conference, 2019.<br /> [5] Newmark Peter. A Textbook of Translation [M].Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> [6] Pym. Translation and text transfer. An essay on the principles of intercultural communication [A].Frankfurt: Peter Lang, 1992.<br /> [7] Snell Hornby, Mary. Translation studies: An Integrated Approach. Amsterdam: John Benjamins, 1995.<br /> [8] 付蓉. 从跨文化的角度探讨汉语新词新语的英译[J]. 北京:语文建设, 2015.<br /> [9] 亢世勇. 《新词语大辞典》的编撰[J].辞书研究, 2003.<br /> [10] 李春江. 汉语网络新词的英译探究[J]. 宁波:宁波工程学院学报, 2015. <br /> [11] 廖颖颖． 论中国主流英语新闻报刊对中国特色词语的英译策略[J]. 长沙:湖南师范大学学报, 2008.<br /> [12] 刘宓庆. 新编当代翻译理论[M]. 北京:中国对外翻译出版公司, 2005.<br /> [13] 刘晓骏. 汉语网络新词英译中的文化因素[J]．内蒙古:语文学刊，2012.<br /> [14] 欧阳因. 朗文中国流行新词语[M]. 北京:北京大学出版社, 2000．<br /> [15] 丘柳珍. 汉语网络新词的英译[J]. 赤峰学院学报:自然科学版, 2014.<br /> [16] 田龙娇. 对外汉语新词新语教学研究[D]. 四川师范大学, 2013.<br /> [17] 王维东. 网络热词汉译英探究[J]. 北京:中国翻译, 2011.<br /> [18］吴秋芬,杨司桂. 汉语新词英译研究十年述评[J]. 燕山大学学报, 2014.<br /> [19] 杨全红. 高级翻译十二讲[M]. 武汉:武汉大学出版社, 2009.<br /> [20] 张健,唐见端. 略谈汉语新词新义的英译[J]. 中国翻译, 1996.<br /> <br /> <br /> ==Translation of Chinese Neologisms from the Perspective of Cross-cultural Translation Theory-解帆 Xie Fan 202070080637 英语口译==<br /> &lt;center&gt;解帆 Xie Fan 202070080637 英语口译&lt;/center&gt;<br /> <br /> ===Abstract===<br /> <br /> With the continuous enhancement of China's overall national strength and international influence, Chinese is playing an increasingly important role in communications and exchanges among countries all over the world. An increasing number of Chinese neologisms are used to express and describe the status quo. These neologisms invigorate Chinese culture, however, meanwhile, they make it harder for the world to understand Chinese. <br /> <br /> On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.<br /> <br /> ===Key Words===<br /> <br /> Chinese neologisms; cross-cultural theory; English translation; strategies<br /> <br /> ===题目===<br /> <br /> 跨文化翻译理论指导下汉语新词英译的研究<br /> <br /> ===摘要===<br /> <br /> 随着我国综合国力和国际影响力不断增强，汉语在世界各国沟通与交流中起到越来越重要的作用，用来表达和描述社会状态的汉语新词也日益增多。这些新词给中国文化带来生命力的同时，也给世界人民理解汉语带来了困难。<br /> <br /> 一方面，语言本身存在着不可译性，每种语言在其组词造句、表达方式上都具有其独特性，现实中并不存在两种完全对等的符号系统。另一方面，不同的民族有着不同的历史传统、宗教信仰、思维方式，这尤其增加了语言理解的难度。因此，跨文化翻译成为中华文化传播过程中的重要一环。通过翻阅相关资料，不难发现由于汉语新词的英译起步较晚，国内外相关翻译研究尚未成熟，因此在英译汉语新词的过程中出现了一些问题。前人已有相关文章指出过这些问题，但没有提出如何才能避免这种问题、提高译文质量。基于前人的相关理论和观点，并结合实例，本文将首先介绍汉语新词分类及其特点，然后说明跨文化翻译理论对于英译汉语新词的意义，最后介绍在跨文化翻译理论下英译汉语新词时的几种方法，希望为后续规范汉语新词英译行为提供必要参考。<br /> <br /> ===关键词===<br /> <br /> 汉语新词；跨文化翻译；英译；策略<br /> <br /> ===Introduction===<br /> <br /> With the growing power of China and the further improvement of the globalization, China's contact with other countries in the world has become closer. And how to maintain Chinese culture’s uniqueness when it is introduced to the world has been the top priority for translators. The development of China has given birth to a large number of Chinese neologisms with its uniqueness. The society changes with each passing day, covering from international affairs to domestic matters. Against this background, neologisms are likely to be derived. These words attract widespread attention and gradually enter people's daily life. Since the implementation of the reform and opening up to the outside world, a great number of Chinese neologisms have appeared. <br /> <br /> Not only do these neologisms with Chinese characteristics vividly show Chinese people’s understanding of their unique phenomena, but also they largely enrich the expression of Chinese. However, at the same time, these words pose serious problems for translators as well. On the one hand, the differences between Chinese culture and western countries’ culture are numerous, which makes it hard to find equivalent of Chinese neologisms in English. On the other hand, with the times going forward, the number of Chinese neologisms is steadily increasing, which results in difficulties in translating Chinese neologisms into English. Therefore, Cross-cultural translation of Chinese neologisms into English becomes prevailing. Cross-cultural translation theory was proposed by Mary Snell Hornby in her well-known representative book Translation Studies: an Integrated Approach. She believes that translation is not a process of decoding or the transformation of language symbols, but also the transformation of cultural patterns. Due to the rapid development of Chinese society in the past decade, more and more translators have turned to Chinese neologisms, making the study of English translation of Chinese neologisms a new focus. Chinese Translators Journal, Lexicographical Studies and other authoritative academic journals have set up columns for translation of Chinese neologism. There are also vocabulary books compiled according to the specific types of Chinese neologisms, such as Chinese-English Expressions of Current Events by Yang Quanhong and English Translation of Buzzwords and Sayings by Chen Dezhang. In addition, the most representative ones include Yang Quanhong's Approaches to Translation of Chinese Words and Expressions into English and Zhang Jian's On Translation of Chinese Press Neologisms into English. In the age of information, it is not hard to find English translation of Chinese neologisms on English learning websites such as https://www.chinadaily.com.cn/, https://www.en84.com/ and so on. These websites have launched platforms for English translation of Chinese neologisms and updated them timely. So far, scholars have studied Chinese neologism from different perspectives. This paper is based on 138 related articles including these key words such as “cross-cultural theory” “Chinese neologisms” and “English translation” on http://kns.cnki.net. Fu Rong narrated the difficulties and methods in The English Translation of Chinese Neologism from a Cross-cultural Perspective. Zhou Hongjie elaborated on the basic principles, methods and key points in The English Translation of Chinese neologisms from a Cross-cultural Perspective. In addition, a majority of articles analyzed the status quo in the English translation of Chinese neologisms from the perspective of cross-cultural translation theory, but few dwell on strategies of solving the problems during the course of translation. This paper introduces Chinese neologisms and its classifications and characteristic in the second section, the significance of cross-translation to Chinese neologisms in the third section and ways of translating in the fourth section. It is based on the previous viewpoints and puts forward practical strategies to be followed in the translation of Chinese neologisms from the perspective of cross-translation theory combining with examples.<br /> <br /> ===Chapter 1 Overview of Chinese Neologisms===<br /> <br /> Neologisms are words new in connotation or form. In other words, they can either be new words created to express new concepts and phenomena in line with times or existing words given new meanings. These words help the further development of language, embody Chinese people's latest understanding of the world with the times going forward, and enrich the expression and promote transmission of Chinese language. (Fu Rong, 2015,79)<br /> <br /> To better translate Chinese neologisms into English, we need to have a deeper understanding of Chinese neologisms, including its classifications and characteristics.Generally speaking, Chinese neologisms can be classified into four categories, namely, old words endowed with new meanings, Chinese abbreviations, newly generated words and loan words. (Fu Rong, 2015,80)<br /> <br /> ====1.1 Classifications of Chinese Neologisms====<br /> <br /> Old words endowed with new meanings, as the name suggests, are existent words that have been endowed with new meanings for reuse even though have been forgotten for a long time. Take “备胎(spare tire)”as an example, which refers to an extra tire carried in a motor vehicle for emergencies. It now refers to a back-up, second line, just-in-case, or a B-plan or contingency, in other words, someone who is benched now. Besides, “粉(powder)”originally refers to fine powder used for makeup or paint, while it means having a crush on or adoring a famous celebrity now. (Li Chunjiang, 2015,59)<br /> <br /> With the changing society of China, the essential characteristics of the things or phenomena referred to by the old words have changed as well. Because of the uniqueness pf Chinese words, it may be defective to use substitute words and fail to reflect the pun. Not only does endowing the existing words with new meanings produce connection between old words and new meanings, but also reduces the trouble of creating new words. (Li Chunjiang, 2015,62)<br /> <br /> Chinese abbreviations are the result of refining existing words. The process of extracting mainly depends on the importance of each part of the words. Those significant parts are selected to replace the lengthy words. The most common Chinese abbreviations can be divided into three forms. (Liao Yingying 2008,66)<br /> <br /> First, extracted initials. Such as “哥哥(brother)--GG”, “笑死我了(It’s so funny that I have a shortness of breathe)” and “漂亮小姐姐(good-looking sister)--PLXJJ”. Second, syllable imitation. Such as “呜呜呜 (onomatopoetic words of cry)--555”, “我爱你一生一世(I love you forever)--5201314” and “不要这样子(don’t do like this)--表酱紫”. Third: reduced words. Such as “很累，感觉不会再爱了(feel so tired that will not fall in love again)--累感不爱” and “躺着也中枪(a lying person can be shot as well)--躺枪”. (Liao Yingying 2008,67)<br /> <br /> Nowadays, people are always pursing a simple and peaceful life, which gives rise to the frequent use of abbreviations. Nevertheless, the abbreviations of words should neither be arbitrarily imitated, nor be simply carried out by way of analogy. Instead, the abbreviations with the widest social acceptance should be selected through investigation and evidence collection from multiple aspects. (Liao Yingying 2008,68)<br /> <br /> Newly generated words can be roughly divided into two types. The first is generated through metaphors, similes and metonymy. For instance, “虎妈(tiger mom) is defined as strict disciplinarian mothers who demand high achievement from their children and maintain control of their activities”, and“猫爸(cat dad)”refers to fathers who take a more softly approach to parenting, preferring to be emotionally sensitive, gentle and relaxed about rules and discipline, and they are in the belief that this kind of parenting will make their offspring self-sufficient and independent. (Ou Yangyin 2000,23)<br /> <br /> With new things coming in, people need words to describe them but there are no ready expressions at hand. The metaphorical use of some expressions will do the job as it will reflect the same essence of the objects through metaphor. The second type is created with the arrival of new phenomenon. For instance, “APEC蓝” is employed to describe the quality air and the exceptionally blue sky in Beijing during the APEC meeting in 2014. And “蒜你狠”is used to illustrate the price of garlic which soared more than 100 times in 2010, even outstripping meat and eggs. (Ou Yangyin 2000,24)<br /> <br /> A great number of new phenomena and new concepts spring up, however, it’s hard to describe them with the existing words. Under this circumstance, the vocabulary system needs to produce more new words to meet the requirements of social communication.(Liu Miqing 2005,45)<br /> <br /> The advancement of globalization, communication and cooperation in some fields among countries are deepening day by day, which inevitably bring changes in language, and that is so-called “Chinese localization”. Loan words are “transformed” into Chinese words in accordance with the rules of pronunciation, semantics, structure and grammatical system of Chinese. (Li Chunjiang, 2015,63)<br /> <br /> In the mid-1970s, Taiwanese used “show--秀” as morphemes to match with &quot;做&quot; and &quot;作&quot;. To the surprise of the editor, these newly created words were so well-received in the entertainment industry that a large number of words such as “歌舞秀、双人秀、真人秀、脱口秀”were produced. Nowadays, the neologism “秀儿” referring to those who like to show off their resources is widely accepted. Similarly, “博客、思客、播客、朋客、创客”appeared one by one. “客” was derived from “黑客(hacker)”, in other words, the word group of “X客” were generated. (Li Chunjiang, 2015,63)<br /> <br /> ====1.2 Characteristics of Chinese Neologisms====<br /> <br /> In order to have better quality of translation of Chinese neologisms, translators need to have a deep insight into its characteristics. Chinese neologisms are characterized by cultural uniqueness, simplicity, vividness and uncertainty. (Kang Shiyong 2003,152)<br /> <br /> Chinese neologisms come from a wide range of sources, but they all have roots in China. Some are based on Chinese culture. For instance, “山寨(mountain fastness)”originated from Water Margin, which used to refer to the place where the poor live. But when used online, the original meaning is transformed to plagiarism, imitation, parody and other popular cultural phenomena. Others are on the basis of customs. Take “红色炸弹(red bomb)” as an example. Since Chinese traditional wedding ornament is red, the word &quot;红色炸弹(red bomb)&quot; is used to describe the overwhelming wedding invitations. (Wang Weidong 2011,347)<br /> <br /> We are living in a fast-paced era. The speed of generation and transmission of information are accelerating. Under this situation, we crave for cost-effective communication. This status quo requires concise language. Chinese abbreviations exactly exemplify the simplicity. Abbreviations are condensed with rich information content, and effectively reinforce the expressiveness of Chinese vocabulary. Therefore, the number of abbreviations in vocabulary increases rapidly.(Wang Weidong 2011,349)<br /> <br /> The appearance of Chinese neologisms meets people's needs to describe an object or a phenomenon more vividly. Such as “人艰不拆” means that since life has been so hard, some things should not be exposed. And “酸菜鱼”is used for persons who are jealous, ugly, and redundant to make fun of themselves. “剁手党”refers to the addicted shopping crowd. They buy countless things, but often regret after calming down, even vow to chop off their hands if they don't act rationally next time. The vividness of Chinese neologisms adds humorous effects to the expression.(Wang Weidong 2011,350)<br /> <br /> With the crazy tempo of life, Chinese neologisms emerge in an endless stream. For one thing, with the increasing influence of network to people's life, online language is a shock to traditional language since many words are not compatible with Chinese language system. For another, neologisms fade away with the end of an event and are quickly replaced by neologisms with the times.(Wang Weidong 2011,351)<br /> <br /> ===Chapter 2 Cross-cultural Translation Theory and Its Significance===<br /> <br /> As Chinese neologisms are rooted in Chinese culture, translators are supposed to turn to cross-cultural translation theory when translating Chinese neologisms into English. Hence, having a deep insight into it and its significance helps improve the quality of translation.(Fu Rong 2015,80）<br /> <br /> ====2.1 Hornby’s Cross-cultural Translation Theory====<br /> <br /> Cross-cultural translation theory refers to translation across cultural divide and be less influenced by factors such as politics, religions, regions and ideologies. Cross-cultural translation theory was put forward by German translation theorist Mary Snell-Hornby. From her perspective, translation is a kind of cross-cultural communication. In this way, translators should not only have a bilingual ability, but also the cultural backgrounds of the source language and the target language. (Snell Hornby 1995,21)<br /> <br /> In reality, there are no two completely equivalent language systems. Each language has its own uniqueness in terms of word formation, sentence construction and expression, which is even more distinctive in translating into the target language with totally different economic, political, social and cultural backgrounds. Therefore, cross-cultural translation becomes a rigid demand. In the process of cross-cultural translation, translators are supposed to strike a balance between Chinese style and maximize the recipients’ understanding and acceptances’ of Chinese culture. (Snell Hornby 1995,24)<br /> <br /> Mary Snell-Hornby proposed that translators should skillfully switch the two languages in the process of translation as well as deeply dig into the culture backgrounds behind the two languages. In other words, translation is more bicultural transformation than bilingual transformation. (Snell Hornby 1995,30)<br /> <br /> In the process of translation, the cultural deposits have a direct bearing on the expression of words, its connotations and emotions. Hence, translators must take these factors into consideration in translation. Cross-cultural translation theory has the following requirements for translation, which can be divided into three aspects: first, to express the meaning of the source language. Second, to dig out the cultural connotation of the source language. Third, to convey the emotion of the source language. Only when translator meets the three requirements above can the quality of the translation be guaranteed.(Jing Huang 2019,433)<br /> <br /> ====2.2 Significance of Cross-cultural Translation Theory====<br /> <br /> The significance of Cross-cultural Theory to English Translation of Chinese Neologisms can be divided into the following three aspects. The British historian Dr. Toynbee once said, it is not surprising to say that the 21st century belongs to East Asia led by China for China’s control over East Asia is not merely political, but cultural. Though East Asian countries such as Korea and Japan maintain their political independence, they are strongly influenced by Chinese culture.” Therefore, promoting English translation of Chinese neologisms is very important for enriching the world language system, improving China’s soft power and introducing Chinese culture into the world.(Snell Hornby 1995,47)<br /> <br /> =====2.2.1 Learning the Chinese Idiomatic Expression=====<br /> <br /> Translators can learn the rules of Chinese word-formation and characteristics of Chinese expression in the process of translating from the perspective of cross-cultural translation theory. There are great differences between Chinese and English word-formations. Take the three main forms of Chinese neologisms as example. Subject-predicate forms, such as “私聊” and“群聊”; Verb-object forms, such as: “煞风景”“抬杠”; Complementary forms, such as: “吓尿”and so on. (Kang Shiyong 2003,178)<br /> <br /> In English vocabulary system, most compound words are in the form of nouns, while Chinese has a variety of parts, such as verbs, nouns and adjectives. Translators can grasp the characteristics of Chinese word-formation through the translation and readers can understand the Chinese idiomatic expression. (Kang Shiyong 2003,179)<br /> <br /> =====2.2.2 Spreading Chinese Culture Contained in Chinese Neologisms=====<br /> <br /> Chinese neologisms are produced in China’s distinctive environment, containing culture with Chinese characteristics. They are epitomes of China's development in a certain period, carrying much social information. The world can learn about the development of China through Chinese neologisms. (Kang Shiyong 2003,181)<br /> <br /> It is an effective way to spread Chinese culture contained in Chinese neologisms through cross-cultural translation. For example, “打虎” and “拍蝇” have become buzzwords in China these years. In fact, both above two neologisms are political terms. The “tigers” refer to corrupt officials at higher level and “flies” at grassroots level. Accordingly, determination of Chinese government to take out “tigers” and swat “flies” can be seen through these coinage of new terms such as “打虎” and “拍蝇”. Therefore, cross-cultural translation helps spread Chinese culture contained in Chinese neologisms. (Kang Shiyong 2003,182)<br /> <br /> =====2.2.3 Conveying Emotion Expressed by Chinese Neologisms=====<br /> <br /> Emotional expressions are essential to translation of Chinese neologisms. Translation of Chinese neologisms from the perspective of cross-cultural translation theory helps to convey emotion expressed. (Kang Shiyong 2003,183)<br /> <br /> For example, it is not proper to translate“和事佬”into“peacemaker”. In Chinese, “和事佬”refers to persons who are unprincipled and blindly promote reconciliations, with derogatory meaning. While in English, “peacemaker” refers to those who create and safeguard peace, with commendatory emotions. Therefore, if the cross-cultural principles are violated in translation, there will be differences in the expression of emotions, which will hinder the expression of real emotions and lead to misunderstanding. (Kang Shiyong 2003,183)<br /> <br /> ===Chapter 3 Methods of Chinese Neologisms Translation===<br /> <br /> To improve the quality of Chinese neologisms translation, translators need to have a full knowledge of problems existing in the process of the translation of Chinese neologisms, and then avoid them by choosing appropriate ways of translating and following principles of cross-cultural translation theory. The late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. (Liu Miqing 2005,77)<br /> <br /> Nowadays, it is common to see rigid translation, which leads to failure to convey its true meaning. For example, if “我好方”is translated into “I’m so square”, it will confuse readers. In fact, this neologism refers to people in panic. As its word “方”pronounces similarly to the word “慌”，it is employed to make fun of those who can't distinguish between “f”sound and “h” sound. Similarly, “蓝瘦，香菇” can’t be translated into “blue monsters and shiitake mushrooms” for it refers to “I’m so sad that I’m going to cry”. Hence, rigid translation will result in misunderstanding. Not only should we make translations interesting, but also we need to ensure they are correct.(Li Chunjiang 2015,63)<br /> <br /> Many Chinese neologisms, after being translated into English, can express their meanings accurately, though fairly lengthy. For instance, if“无语”is translated into “have nothing to say”, it seems a little bit lengthy. We can translate it into“speechless”, instead. When translating Chinese neologisms, translators are supposed to use as few words as possible to accurately convey as much information as possible, making readers spend as little time as possible to understand them.(Li Chunjiang 2015,63)<br /> <br /> Till now, many neologisms lack Chinese uniqueness after being translated into English. For example, “杠精”will lose the uniqueness the word“精”carries if it is translated into“argumentative person”. In China, “精”commonly describe demons and ghosts, with derogatory meaning, such as those used in“白骨精”“蜘蛛精”and“蜈蚣精”. In this case, it is not proper to translate“精”into “person”. Therefore, we need to ensure Chinese culture be spread in the process of translation.(Li Chunjiang 2015,64)<br /> <br /> ====3.1 Transliteration====<br /> <br /> Transliteration is the translation of Chinese neologisms into English which sounds similarly to Chinese. Transliteration of Chinese neologisms into English can fully retain the pronunciation of Chinese and traditional Chinese culture. What’s more, it is more efficient. Zeng Lisa once proposed that translators should accurately convey more information with as few words as possible, so that the audience can obtain the clearest and smoothest information with as little time as possible. Transliteration gives priority to efficiency and can meet the requirements of the fast pace of modern society, improve the communicative efficiency of readers, and save space for readers' cognitive ability to play. (Fu Rong 2015,81)<br /> <br /> For example, &quot;大妈&quot; is transliterated into &quot;dama&quot; and entered the Oxford dictionary. In addition to this, there are a sea of transliterations of Chinese neologisms in modern English vocabulary, for example: &quot;风水&quot; (fengshui), &quot;八卦&quot; (bagua), &quot;太极&quot; (taichi), &quot;气功&quot; (qigong), and &quot;武术 &quot;(wushu), &quot;功夫&quot; (kungfu), &quot;胡同&quot; (hutong), &quot;麻将&quot; (mahjong), &quot;叩头&quot; (while), and so on. Transliteration makes Chinese neologisms widely spread and its culture behind. However, if translators stick to the literal interpretation or explanatory translation of some words, it may lead to cumbersome words and poor quality. (Fu Rong 2015,82)<br /> <br /> ====3.2 Literal Translation====<br /> <br /> Literal translation is one of the efficient way of translation. Literal translation enables us to directly find equivalent expressions in English in terms of form, style and connotation, which is the perfect embodiment of &quot;commonness&quot; between English and Chinese. Above all, literal translation helps promote Chinese culture. Language carries and transmits culture, as it is the heart of the cultural system. Culture influences and even shapes language, which is the foundation of language and the source of innovation. In the current context of cross-cultural communication, translation is not only a process of language conversion, but also a process of cultural transplantation. (Fu Rong 2015,82)<br /> <br /> The transmission between eastern and western cultures is practical in theology, but it is limited in reality. Chinese neologisms are the most active part of Chinese vocabulary, which reflect the way of thinking, values, customs and lifestyles formed by the Chinese people in the new natural and social environment. Therefore, literal translation works for spreading Chinese culture. (Fu Rong 2015,83)<br /> <br /> In modern English, examples of literal translation of Chinese neologisms can be found everywhere, such as “一国两制--one country, two systems”, “二孩政策--two-child policy”, “希望工程--Hope Project” and “好久不见long time no see” and so on. Literal translation is straightforward, concise and efficient. Not only can it effectively reduce the boredom caused by the transformation from Chinese to English, enrich the expressiveness of English, but also maximize the retention of Chinese cultural. Therefore, it is necessary to interpret or add annotations in the context, otherwise it is difficult to convey its Chinese characteristics and cultural connotation. (Fu Rong 2015,83)<br /> <br /> ====3.3 Free Translation====<br /> <br /> Free translation is another way of translating, which emphasizes the relative independence of both Chinese and English. On the one hand, differences exist in different language systems including grammatical constructions and expressions. On the other hand, there are quite a few distinctions between different cultures including historical traditions, religious beliefs and even ways of thinking, ways of thinking. Therefore, sometimes free translation is required to avoid misunderstanding and disputes. Free translation refers to reproduce the matter without the manner, or, the content without form. Put another way, it explains the general idea of Chinese neologisms. (Fu Rong 2015,84)<br /> <br /> For example, “豆腐渣工程” refers to the construction project that collapsed or did not comply with relevant regulations due to cutting corners in the construction process. It is translated into English as “jerry-built project”. “白色污染”, the pollution of the environment by plastic waste that is difficult to degrade, is translated as “plastic pollution”. In a word, although the paraphrased neologisms need not strictly stick to Chinese, it can better reflect the meaning of Chinese. (Fu Rong 2015,84)<br /> <br /> ===Conclusion===<br /> <br /> The emergence of Chinese neologisms demonstrates a new face of China. Neologisms are new in content, form, and content, which are produced to express new concepts and phenomena. However, due to the obvious cultural differences between China and western countries, there are many obstacles in the course of translating Chinese neologisms into English. Neologisms are perhaps the number one problem for non-literary translators and professional translators. Under this circumstance, cross-cultural translation of Chinese neologisms becomes a prevailing trend. Cross-cultural translation refers to translating crossing cultural divide and being less influenced by factors such as politics, religions, regions and ideologies. (Ou Yangyin 2008,88)<br /> <br /> In a way, translating Chinese neologisms into English from the perspective of cross-cultural translation theory can help to promote understanding of Chinese. In another, it can effectively convey the emotions expressed by neologisms. Moreover, it can help to promote the spread of Chinese culture. (Ou Yangyin 2008,91)<br /> <br /> In spite of the continuous standardization and improvement of translation, there are still some problems in the process of translating Chinese neologisms into English, such as rigid translation, wordy translation and translation with cultural loss. English translation of Chinese neologisms may be a daunting problem, so we need translators with joint efforts, both stick to effective translation methods, flexible and innovative, and latest changes, in order to improve the overall quality of translation of Chinese neologisms, thus speak up aloud in the international community. In this paper, three main strategies are suggested, and they are transliteration, literal translation, and free translation. (Ou Yangyin 2008,143)<br /> <br /> To better translate Chinese neologisms from the perspective of cross-cultural translation theory, translators need to adopt compatible ways of translating with different types of Chinese neologisms and target readers. On the one hand, it is necessary to fully grasp Chinese neologisms, which requires translators to have more knowledge of Chinese cultural background and Chinese idiomatic expression. On the other hand, we should find the way of translating which is most accepted by readers. (Ou Yangyin 2008,155)<br /> <br /> Moreover, Chinese neologisms are constantly updated with the development of the society. If we do not keep pace with the times and know the latest meaning of Chinese neologisms, it may lead to misunderstanding. Therefore, translators should constantly supplement, update or revise the English translation of those Chinese neologisms without definite translation, which is an important guarantee to keep the English translation of Chinese neologisms accurate. Advancing with the times often requires translators to pay close attention to the post-translation effect. (Liu Miqing 2005,387)<br /> <br /> Plus, translators should also constantly draw on new English words. Chinese neologisms have strong timeliness, especially with the increase of Internet users, hence, at any one time emerge Chinese neologisms which are closely associated with the society. In short, in the process of translation, translators must pay attention to riding on the trend of the times so as to update the expression of the target language and readily accepted by readers. Update expressions means keeping up with the development of the times and use idiomatic English to illustrate new things, new words and new expressions. (Liu Miqing 2005,389)<br /> <br /> In other words, on the basis of grasping the exact meaning of Chinese neologisms, we should make it understood in English. Translators should not only improve their ability to understand Chinese, enhance their ability to translate Chinese into English, but also be keeping with the times so as to introduce more Chinese neologisms into English and continuously inject more Chinese elements into English. In this way, Chinese culture can be spread and the expression of English can be innovated.(Liu Miqing 2005,391)<br /> <br /> ===References===<br /> <br /> *Baker Mona. In Other Words: A Coursebook on Translation [M]. London/New York: Routledge, 1992.<br /> <br /> *Jing Huang. Study on the Influence of Cultural Construction and Cultural Deficiency on English Translation[A].He Nan: Proceedings of 2019 International Conference on Humanities,Cultures,Arts and Design, 2019.<br /> <br /> *Kata. An introduction for translators, interpreters and mediators. [D].Manchester: St Jerome, 2004.<br /> <br /> *Min Deng. Cultural Differences between Chinese and English Color Words and Their Translation[A].Hong Kong: Proceedings of 2019 International Linguistics, Education and Literature Conference, 2019.<br /> <br /> *Newmark Peter. A Textbook of Translation [M].Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> <br /> *Pym. Translation and text transfer. An essay on the principles of intercultural communication [A].Frankfurt: Peter Lang, 1992.<br /> <br /> *Snell Hornby, Mary. Translation studies: An Integrated Approach. Amsterdam: John Benjamins, 1995.<br /> <br /> *Fu Rong付蓉.(2015).从跨文化的角度探讨汉语新词新语的英译[A Study of English Translation of Chinese Neologisms from a Cross-cultural Perspective].语文建设Language Planning<br /> <br /> *Kang Shiyong亢世勇.(2003).《新词语大辞典》的编撰[The Compiling of Dictionary of Chinese Neologisms].辞书研究Lexicographical Studies<br /> <br /> *Li Chunjiang李春江.(2015).汉语网络新词的英译探究[A Study of Chinese Online Neologisms].宁波工程学院学报Journal of Ningbo University of Technology<br /> <br /> *Liao Yingying廖颖颖．(2008).论中国主流英语新闻报刊对中国特色词语的英译策略[Strategies of English Translation of Words with Chinese Characteristics Used by Chinese Mainstream English Newspapers].湖南师范大学学报Journal of Hunan Normal University<br /> <br /> *Liu Miqing刘宓庆.(2005).''新编当代翻译理论''[''A New Edition of Contemporary Translation Theory''].北京：中国对外翻译出版公司 Beijing:National Translation and Publishing Company of China<br /> <br /> *Ou Yangyin欧阳因.(2000).''朗文中国流行新词语''[''Langwen Chinese Neologisms''].北京：北京大学出版社 Beijing:Peking University Press<br /> <br /> *Wang Weidong王维东.(2011).网络热词汉译英探究[A Study of the English Translation of Chinese Online Neologisms]. 北京:''中国翻译'' Beijing: ''Chinese Translators Journal''<br /> <br /> *Zhang Jian &amp; Tang Jianduan张健,唐见端.(1996).略谈汉语新词新义的英译[A brief Discussion on the English Translation of Chinese Neologisms].北京:''中国翻译''''Chinese Translators Journal''<br /> <br /> ='''Translation of Dish Names'''=<br /> <br /> <br /> ==On the C-E Translation of Chinese Dish Names: From a Functional Equivalence Perspective——刘洋诺Liu Yangnuo==<br /> &lt;center&gt;刘洋诺Liu Yangnuo, 202020080621.&lt;/center&gt;<br /> <br /> === Abstract ===<br /> <br /> With increasing global influence, the task of cultural communication is a formidable project. Translation as a media plays an important role in cultural communication. ''A Bite of China'', a TV program to introduce Chinese dishes, has gained popularity at home and abroad, thus broadcasting Chinese dishes. But difficulties in translating Chinese dishes are evitable considering abundant culture-loaded expressions and complex cooking skills. The chapter discusses theoretical and practical significance of researching Chinese dish names. We summarize some point of views from other scholars. Also, we analyze the difficulties in translating Chinese cuisines from a functional equivalence perspective. We will discuss three strategies for translating Chinese dish names combined with translation examples.(Zhangtingli 2015,1-2)<br /> <br /> With increasing global influence, the task of cultural communication is a formidable project. Translation as a medium plays an important role in cultural communication. ''A Bite of China'', a TV program to introduce Chinese dishes, has gained popularity at home and abroad, thus broadcasting Chinese dishes. But difficulties in translating Chinese dishes are evitable considering abundant culture-loaded expressions and complex cooking skills. The chapter discusses the theoretical and practical significance of researching Chinese dish names. We summarize some points of view from other scholars. Also, we analyze the difficulties in translating Chinese cuisines from a functional equivalence perspective. We will discuss three strategies for translating Chinese dish names combined with translation examples.(Zhangtingli 2015,1-2)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> === Keywords ===<br /> <br /> Chinese-English Translation; Chinese Dish Names; Functional Equivalence<br /> <br /> === 题目 ===<br /> 从功能对等理论浅析中式菜名的英译<br /> <br /> === 摘要 ===<br /> <br /> 中国国际影响力不断提高，文化交流的使命更加艰巨。翻译作为文化交流媒介，其重要性也不容忽视。中国饮食文化节目《舌尖上的中国》在海内外热播也进一步推动了中国特色饮食文化的传播，但是其丰富的文化内涵和多样的烹饪技巧也给译者带来不少困难。本文探讨研究中国菜名翻译的理论和实践意义，总结中国菜名翻译目前的研究成果。从功能对等理论出发，分析中国菜名翻译的困难，同时也结合翻译实例，提出三个中国菜名翻译的策略。<br /> <br /> === 关键词 ===<br /> <br /> 中译英；中国菜名；功能对等<br /> <br /> === Introduction ===<br /> <br /> As the old Chinese saying goes, food is the God of the people. In other words, we regard food as the primary need. Chinese cuisine has a firm connection between our daily life and Chinese culture. But when it comes to Chinese cuisine, there are many aspects left for us to consider, such as the etiquette of dining table, dietary structure or habits, the art of dietary decorations and cultural connotation. In the chapter, we will mainly focus on Chinese dish names. From semantic linguistic point of view, there are two structure in a language. The surface structure is Chinese dish names themselves, but the deep structure is the meaning behind these dish names.(Chu Yiyi 2017, 3-7)<br /> <br /> As the old Chinese saying goes, food is the God of the people. In other words, we regard food as the primary need. Chinese cuisine has a firm connection between our daily life and Chinese culture. But when it comes to Chinese cuisine, there are many aspects left for us to consider, such as the etiquette of a dining table, dietary structure or habits, the art of dietary decorations, and cultural connotation. In the chapter, we will mainly focus on Chinese dish names. From a semantic linguistic point of view, there are two structures in a language. The surface structure is Chinese dish names themselves, but the deep structure is the meaning behind these dish names. (Chu Yiyi 2017, 3-7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> It’s not surprising that we will discuss the relationship between some Chinese dish names and their cultural connotation in the later part of this chapter. Chinese dish names are endowed with Chinese culture through culture-loaded expressions or idioms. When we dive into our research, it’s easy to find out that behind some dish names from historical stories and anecdotes are layer upon layer of meanings. Although the majority of us understand the importance of translating Chinese dish names, good translations still remain in the dark. The reasons abound, ranging from a great variety of Chinese dishes and difficulty in fully understanding of cultural connotation behind Chinese dishes.(Chu Yiyi 2017, 3-7)<br /> <br /> It’s not surprising that we will discuss the relationship between some Chinese dish names and their cultural connotation in the latter part of this chapter. Chinese dish names are endowed with Chinese culture through culture-loaded expressions or idioms. When we dive into our research, it’s easy to find out that behind some dish names from historical stories and anecdotes are layer upon layer of meanings. Although the majority of us understand the importance of translating Chinese dish names, good translations remain in the dark. The reasons abound, ranging from a great variety of Chinese dishes and difficulty in fully understanding of cultural connotation behind Chinese dishes. (Chu Yiyi 2017, 3-7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> The chapter takes functional equivalence coined by Eugene Nida as a theoretical basis. In the first part, we look back on previous studies on the C-E translation of Chinese dish names. In the second part, we try to discuss difficulties in translating Chinese dish names in terms of basic information and cultural backgrounds. In the third part, we review functional equivalence theory. In the last part, we turn to discuss the possibility of applying the theory into translation practice on Chinese dish names in order to improve C-E translation of Chinese cuisine. We consolidate commonly used strategies into three combined with translation examples in reality. (Chu Yiyi 2017, 6)<br /> <br /> The chapter takes functional equivalence coined by Eugene Nida as a theoretical basis. In the first part, we look back on previous studies on the C-E translation of Chinese dish names. In the second part, we try to discuss difficulties in translating Chinese dish names in terms of basic information and cultural backgrounds. In the third part, we review the functional equivalence theory. In the last part, we turn to discuss the possibility of applying the theory into translation practice on Chinese dish names to improve C-E translation of Chinese cuisine. We consolidate commonly used strategies into three combined with translation examples in reality. (Chu Yiyi 2017, 6)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> And then we summarize what we have discussed before and to point out limitations of this chapter. The purpose of our research is to have a better understanding of our own culture and transmitting Chinese culture to foreigners. Apart from cultural aspect, cultural communication interconnects with economic and political aspect, which is one of reasons why China attaching much importance to cross-cultural communication and transmission.(Chu Yiyi 2017, 6)<br /> <br /> And then we summarize what we have discussed before and point out the limitations of this chapter. The purpose of our research is to have a better understanding of our own culture and transmitting Chinese culture to foreigners. Apart from the cultural aspect, cultural communication interconnects with economic and political aspects, which is one of the reasons why China attaching much importance to cross-cultural communication and transmission. (Chu Yiyi 2017, 6)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> === Previous Studies on the C-E Translation of Chinese Dish Names ===<br /> <br /> There are some scholars who have paved the way for our further researches. Among these researches, almost all of scholars share the same Chinese cultural background. Some of them describe strategies for C-E translation of Chinese dish names based on several translation theories. Others analyze the C-E translation of Chinese dish names at restaurants abroad. Zhang Tingli (Zhang Tingli 2015, 1-2) summarized six characteristics of Chinese dish names based on A Bite of China, a popular TV program in China. Below are six characteristics: place names plus ingredients, personal names plus ingredients, main ingredients plus supplementary ingredients, cooking procedures, various flavors and cultural elements. (Zhang Tingli 2015, 1-2)<br /> <br /> Some scholars have paved the way for further researches. Among these researches, almost all scholars share the same Chinese cultural background. Some of them describe strategies for C-E translation of Chinese dish names based on several translation theories. Others analyze the C-E translation of Chinese dish names at restaurants abroad. Zhang Tingli (Zhang Tingli 2015, 1-2) summarized six characteristics of Chinese dish names based on ''A Bite of China'', a popular TV program in China. Below are six characteristics: place names plus ingredients, personal names plus ingredients, main ingredients plus supplementary ingredients, cooking procedures, various flavors, and cultural elements.(Zhang Tingli 2015, 1-2) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> Li Weiwei (Li Weiwei 2017, 1-2) wrote a report on Chinese-English cuisine interpretation under the guidance of Skopos Theory, including the Skopos rule, the coherence rule, the fidelity rule and the loyalty rule. Che Yimo (Che Yimo 2019, 1-2) summarize three principles to analyze the menu translation quality of a Chinese restaurant based on cross-cultural communication theories. The three principles include semantic proximity, cultural communication and aesthetics. Xue Jingnan (Xue Jingnan 2015, 1-2) involves an analysis of the translation of Chineseness by Chinese-Candians in food discourse from a cultural perspective, which providing a glimpse into Chinese culinary identity. (Che Yimo 2019, 1-2)<br /> <br /> Li Weiwei (Li Weiwei 2017, 1-2) wrote a report on Chinese-English cuisine interpretation under the guidance of Skopos Theory, including the Skopos rule, the coherence rule, the fidelity rule, and the loyalty rule. Che Yimo (Che Yimo 2019, 1-2) summarizes three principles to analyze the menu translation quality of a Chinese restaurant based on cross-cultural communication theories. The three principles include semantic proximity, cultural communication, and aesthetics. Xue Jingnan (Xue Jingnan 2015, 1-2) involves an analysis of the translation of Chineseness by Chinese-Canadians in food discourse from a cultural perspective, which provides a glimpse into Chinese culinary identity. (Che Yimo 2019, 1-2)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> Similiarly, Lee Yi Yan (Lee Yi Yan 2016, 1-2) mainly focus on cultural and sociological phenomenon behind Chinese food. His research is based on two types of popular Chinese food narratives: Ang Lee's Eat Drink Man Woman published in 1994 with a televisual documentary series ''A Bite of China'' released in 2012. As the chapter published in International Communication of Chinese Culture (Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp; Radina Mohamad Deli 2018,1-2), four scholars collected from Malaysian Chinese weddings and the lunar new year celebration in order to investigate the concrete and abstract naming of Chinese dishes and to discuss the common cultural considerations underlying them. (Lee Yi Yan 2016, 1-2)<br /> <br /> Similarly, Lee Yi Yan (Lee Yi Yan 2016, 1-2) mainly focus on cultural and sociological phenomenon behind Chinese food. His research is based on two types of popular Chinese food narratives: Ang Lee's Eat Drink Man Woman was published in 1994 with a televisual documentary series ''A Bite of China'' released in 2012. As the chapter published in International Communication of Chinese Culture (Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp; Radina Mohamad Deli 2018,1-2), four scholars collected from Malaysian Chinese weddings and the lunar new year celebration to investigate the concrete and abstract naming of Chinese dishes and to discuss the common cultural considerations underlying them. (Lee Yi Yan 2016, 1-2)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> They found that concrete naming deals with the tangible aspects of a dish by incorporating method of preparation, taste/aroma, appearance of dish, as well as container used. Under the guidance of their chapters, we are able to explore more in this infinite sphere. We pay tributed to great efforts they have paid. While researches on the C-E translation of Chinese dish names have spread into most sectors, researches from a functional equivalence theory are few because previous scholars mainly apply Skopos theory and cross-cultural theory into their researches. In the chapter, we will discuss the C-E translation of Chinese dish names coupled with functional equivalence theory. In the next part, we will turn to existing problems in the C-E translation of Chinese dish names. (Zhang Tingli 2015, 1-2)<br /> <br /> They found that concrete naming deals with the tangible aspects of a dish by incorporating the method of preparation, taste/aroma, the appearance of the dish, as well as container used. Under the guidance of their chapters, we can explore more in this infinite sphere. We pay tribute to the great efforts they have paid. While researches on the C-E translation of Chinese dish names have spread into most sectors, researches from a functional equivalence theory are few because previous scholars mainly apply Skopos theory and cross-cultural theory into their researches. In the chapter, we will discuss the C-E translation of Chinese dish names coupled with functional equivalence theory. In the next part, we will turn to existing problems in the C-E translation of Chinese dish names. (Zhang Tingli 2015, 1-2)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> === Existing Difficulties on the C-E Translation of Chinese Dish Names ===<br /> <br /> (1) Difficulty in Transmitting Basic Information of Chinese Dish Names<br /> <br /> Different translation versions of a Chinese dish always make foreigners confused. For example, there are at least three versions of 炮弹鱼, including Shell fish, bullet mackerel and trigger fish. We often blur the lines between scientific name and general name in our translation. Also, sometimes we seem to ignore distinct difference between two things by using the same name to define them. For example, some translators use bamboo fungus and edible tree fungus to stand for竹笋 and 木耳 respectively, but in reality 竹笋is completely different from 木耳. There are some subtle differences among Chinese dishes. (Mo Chuanxia &amp; Yue Lin 2020,5)<br /> <br /> As Mo Chuanxia and Yue Lin (Mo Chuanxia &amp; Yue Lin 2020,5) mentioned in their chapter, 水米籺is cooked rice pounded into paste with stuffing inside for worship or diet. 籺is a defining food for South China, especially in Guangdong provinces. It is totally different from cake or pastry in Western culture. The best way to translate it is to use explanatory words. Below are some C-E translations related to Chinese dishes: 黄馍馍(yellow steamed bun), 肉夹馍(the marinated meat in baked bun), 榴莲酥(crispy durian cake) and蒿子粑粑(crown daisy rice cake). Everyone who has ever eaten these four kinds of food will have an inkling of knowledge about the different flavor and shape between 黄馍馍and肉夹馍.(Mo Chuanxia &amp; Yue Lin 2020,5)<br /> <br /> As Mo Chuanxia and Yue Lin (Mo Chuanxia &amp; Yue Lin 2020,5) mentioned in their chapter, 水米籺is cooked rice pounded into a paste with stuffing inside for worship or diet. 籺is a defining food for South China, especially in Guangdong provinces. It is different from cake or pastry in Western culture. The best way to translate it is to use explanatory words. Below are some C-E translations related to Chinese dishes: 黄馍馍(yellow steamed bun), 肉夹馍(the marinated meat in a baked bun), 榴莲酥(crispy durian cake) and蒿子粑粑(crown daisy rice cake). Everyone who has ever eaten these four kinds of food will have an inkling of knowledge about the different flavor and shape between 黄馍馍and肉夹馍. (Mo Chuanxia &amp; Yue Lin 2020,5)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) <br /> <br /> Likewise, the word “sausage” is insufficient to translate 血肠, 腊肠 and 香肠. For some well-known Chinese food such as tofu, it’s unnecessary to translate it into bean curd as in 油豆腐(fried bean curd puff). It seems to be nonessential part in translating Chinese dish names because we often are encouraged to create our own translation. But for long-term effects, chaos will lead to negative impact on economic benefits of those Chinese dishes and cross-cultural communication.(Mo Chuanxia &amp; Yue Lin 2020,5)<br /> <br /> Likewise, the word “sausage” is insufficient to translate 血肠, 腊肠, and 香肠. For some well-known Chinese food such as tofu, it’s unnecessary to translate it into bean curd as in 油豆腐(fried bean curd puff). It seems to be a nonessential part of translating Chinese dish names because we often are encouraged to create our translation. But for long-term effects, chaos will lead to a negative impact on the economic benefits of those Chinese dishes and cross-cultural communication. (Mo Chuanxia &amp; Yue Lin 2020,5) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) <br /> <br /> Judging from a great variety of cooking techniques in many Chinese dish names, they bring a lot difficulties in the rendering of Chinese cuisine. In Chinese, there are a lot of verbs to describe how to cook. I list some common verbs below: 炒, 煮, 炖, 炸, 煎, 煲, 蒸, 烧, 焖 and 拌. But when it comes to C-E translation, we translators seem to ignore these verbs and use the same &quot;with&quot; structure to translate all of them as in 莴笋炒火腿(Stir-fried ham with asparagus lettuce), 莲藕炖排骨(Stewed ribs with lotus root) and 虾子焖茭白(Shrimp roe stewed with cane shoots). On top of these commonly used verbs, some verbs are really difficult to understand for native speakers who are unfamiliar with cooking, let alone for foreigners.(Chu Yiyi 2017,13) <br /> <br /> The four words list below is a case in point: 煸, 焙, 焗 and 烩. The reason behind this phenomenon lies in lacking language about cooking techniques. The word list in this paragraph is more about the duration and degree of heating while cooking Chinese cuisine. As a translator, we should not only know general translation skills that can applied to a large number of texts, but also should have the inkling of other fields. Without background knowledge on cooking procedures, they will be stumbling blocks for translators striving for concise and accurate renderings. (Chu Yiyi 2017,13)<br /> <br /> The four words list below is a case in point: 煸, 焙, 焗, and 烩. The reason behind this phenomenon lies in lacking language about cooking techniques. The word list in this paragraph is more about the duration and degree of heating while cooking Chinese cuisine. As a translator, we should not only know general translation skills that can be applied to a large number of texts but also should have the inkling of other fields. Without background knowledge on cooking procedures, they will be stumbling blocks for translators striving for concise and accurate renderings. (Chu Yiyi 2017,13)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> After discussing cooking techniques in Chinese dish names, we will turn to the different flavor of Chinese cuisine. When burying myself into oceans of Chinese dishes, I divide all sorts of flavors into two categories. In the first category, word list includes 酸辣, 三鲜, 川味, 麻辣, 卤味, 家常, 酱香, 五香, 香辣 and 酥. In the second category, 孜然, 铁板, 鼓汁, 姜汁, 泡椒, 糖醋 and 蒜泥 will put in a group because these nouns mainly derived from ingredients and cooking utensils rather than the flavor itself. The main function of these words are not referential but beautifying. The flavor of delicious Chinese cuisine was represented by these beautifying words, thus triggering mouth-watering effect. (Che Yimo 2019, 6)<br /> <br /> After discussing cooking techniques in Chinese dish names, we will turn to the different flavors of Chinese cuisine. When burying myself into oceans of Chinese dishes, I divide all sorts of flavors into two categories. In the first category, the word list includes 酸辣, 三鲜, 川味, 麻辣, 卤味, 家常, 酱香, 五香, 香辣, and 酥. In the second category, 孜然, 铁板, 鼓汁, 姜汁, 泡椒, 糖醋 and 蒜泥 will put in a group because these nouns mainly derived from ingredients and cooking utensils rather than the flavor itself. The main function of these words is not referential but beautifying. The flavor of delicious Chinese cuisine was represented by these beautifying words, thus triggering a mouth-watering effect. (Che Yimo 2019, 6)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> But it's hard for target reader to get the same effect as source reader through translation due to lacking equivalent words and expressions. Likewise, some Chinese words that refer to all sorts of food don't have equivalent one in English such as 什锦, 八宝 and 拼盘. If we translate them into &quot;all sorts of food&quot;, the aesthetic effect weaken. Whereas the translation loss and gain are inevitable, underlying aesthetic effect plays an imporant role in translation process. On top of this, cuisines with Chinese characteristics lead to translation problems. Below are some Chinese dish names: 红豆沙, 撞奶, 龟苓膏, 木瓜雪耳羹 and 蛋白果糖水. Lexical vacancy leads to losing the adding touch that brings a work of art to life.(Che Yimo 2019, 6) <br /> <br /> But it's hard for the target reader to get the same effect as the source reader through translation due to lacking equivalent words and expressions. Likewise, some Chinese words that refer to all sorts of food don't have equivalent ones in English such as 什锦, 八宝, and 拼盘. If we translate them into &quot;all sorts of food&quot;, the aesthetic effect weaken. Whereas translation loss and gain are inevitable, the underlying aesthetic effect plays an important role in the translation process. On top of this, cuisines with Chinese characteristics lead to translation problems. Below are some Chinese dish names: 红豆沙, 撞奶, 龟苓膏, 木瓜雪耳羹, and 蛋白果糖水. Lexical vacancy leads to losing the adding touch that brings a work of art to life. (Che Yimo 2019, 6) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Many translators tend to use word-for-word rendering to translate these Chinese dish names such as 红豆沙(orange flavored red bean paste). Since Chinese dish names not only contains basic information of main ingredients and cooking skills but also mirrors culinary identity and wisdom, translators are supposed to pay considerable attention to convey layers of meaning in Chinese dish names.(Che Yimo 2019, 6)<br /> <br /> Many translators tend to use word-for-word rendering to translate these Chinese dish names such as 红豆沙(orange-flavored red bean paste). Since Chinese dish names not only contains basic information of main ingredients and cooking skills but also mirrors culinary identity and wisdom, translators are supposed to pay considerable attention to convey layers of meaning in Chinese dish names. (Che Yimo 2019, 6)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> (2) Difficulty in Considering Different Cultural Backgrounds<br /> <br /> Diffference between Western culture and Chinese culture leads to problems in culture-loaded Chinese dish names. Chinese dish names are endowed with good omen. 鸳鸯锅(double-flavor hot pot) is a case in point. In Chinese culture, 鸳鸯 is a symbol of beautiful love and perfect marriage. But the beautiful underlying meaning lost in Western culture. Appropriate ways to deal with culture-loaded words or expression become an issue in the C-E translation of Chinese dish names. Though double-flavor hot pot conveys the basic information of this dish, signified meaning still remains in the darkness. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> The difference between Western culture and Chinese culture leads to problems in culture-loaded Chinese dish names. Chinese dish names are endowed with good omen. 鸳鸯锅(double-flavor hot pot) is a case in point. In Chinese culture, 鸳鸯 is a symbol of beautiful love and perfect marriage. But the beautiful underlying meaning is lost in Western culture. Appropriate ways to deal with culture-loaded words or expressions become an issue in the C-E translation of Chinese dish names. Though double-flavor hot pot conveys the basic information of this dish, the signified meaning remains in the darkness. (Mo Chuanxia &amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Likewise, attention-grabbing Chinese dish names combined with Chinese culture background lead to translation problems such as 刀板香(sliced salted pork) and 片儿川(noodles with preserved vegetable) . 刀板香 is a traditional pickled food in Anhui province. Through its dish names, it's difficult to know the main ingredients of this dish. A story lies behind the dish: When a person called Hu Zongxian came by one of his teachers, the wife of his teacher treated him with a delicious dish made by pork slices. Hu Zongxian felt satisfied with the dish and named it as &quot;刀板香&quot;. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> Likewise, attention-grabbing Chinese dish names combined with Chinese culture background lead to translation problems such as 刀板香(sliced salted pork) and 片儿川(noodles with preserved vegetable). 刀板香 is a traditional pickled food in Anhui province. Through its dish names, it's difficult to know the main ingredients of this dish. A story lies behind the dish: When a person called Hu Zongxian came by one of his teachers, the wife of his teacher treated him to a delicious dish made of pork slices. Hu Zongxian felt satisfied with the dish and named it &quot;刀板香&quot;. (Mo Chuanxia &amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> 片儿川 is the most well-known dish in 奎元馆(a famous restaurant in Hangzhou).In the Qing Dynasty, there were many examinees rushing to join a ancient test for selecting officials in Hangzhou, Zhejiang. Examinees from all over the country gathered in Hangzhou. In order to attract them, the shopkeeper supplied noodles made of pour-sweet vegetables, bamboo shoots, and pork slices. Three eggs were added to breakfast noodles, which contained a good omen for examinees. Therefore, a large number of examinees often came to eat noodles because Kuiyuan’s noodles were so cheap. Later, one of the examinees was got number one in a round of test. When he went to the store to thank the owner, he found that the restaurant didn't have a name. So he named it &quot;Kuiyuan Hall&quot;. Since then, 片儿川 in Kuiyuan Hall has become famous and tables in Kuiyuan Hall are in full bloom. All those who come to Hangzhou to take the exam will come here to eat noodles for good luck. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> 片儿川 is the most well-known dish in 奎元馆(a famous restaurant in Hangzhou). In the Qing Dynasty, many examinees were rushing to join an ancient test for selecting officials in Hangzhou, Zhejiang. Examinees from all over the country gathered in Hangzhou. To attract them, the shopkeeper supplied noodles made of pour-sweet vegetables, bamboo shoots, and pork slices. Three eggs were added to breakfast noodles, which contained a good omen for examinees. Therefore, a large number of examinees often came to eat noodles because Kuiyuan’s noodles were so cheap. Later, one of the examinees was got number one in a round of tests. When he went to the store to thank the owner, he found that the restaurant didn't have a name. So he named it &quot;Kuiyuan Hall&quot;. Since then, 片儿川 in Kuiyuan Hall has become famous and tables in Kuiyuan Hall are in full bloom. All those who come to Hangzhou to take the exam will come here to eat noodles for good luck. (Mo Chuanxia &amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> 片儿川 has specially meaning for the person who are going to test. Similarly, foreign foods invade into our daily life with increasing cultural communication. The origin of 罗宋汤(Borscht) is in Ukraine. 罗宋 is the transliteration of Russian and is originated from the early Shanghai Pidgin English. Russian Borscht (Borshch) is another commonly used name. During the October Revolution, a large number of Russians moved to Shanghai. They brought vodka and Russian-style western cuisine. The first western-style cuisine restaurant in Shanghai was opened by the Russians. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> 片儿川 has special meaning for the person who is going to test. Similarly, foreign foods invade our daily life with increasing cultural communication. The origin of 罗宋汤(Borscht) is in Ukraine. 罗宋 is the transliteration of Russian and is originated from the early Shanghai Pidgin English. Russian Borscht (Borshch) is another commonly used name. During the October Revolution, a large number of Russians moved to Shanghai. They brought vodka and Russian-style western cuisine. The first western-style cuisine restaurant in Shanghai was opened by the Russians. (Mo Chuanxia &amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> This soup evolved from the Russian-style red cabbage soup. The Russian-style red cabbage soup is spicy and sour but Shanghai people are not used to it. Later, influenced by local taste, it gradually formed a unique Shanghai-style borscht. In Shanghai-style borscht, we take beets as the main ingredient with supplements such as potatoes and carrots, spinach and beef, cubes and butter. From what we discussed before, we can conclude that Chinese dish names often pay considerable attention to good connotation. Abstract meaning mainly derived from legends, idioms, historical events and auspicious words. When we start to translate Chinese cuisine, cultural considerations are indispensable part to consider. It should be noted that translators take the responsibility to fill the gap between Chinese culture and Western culture. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> This soup evolved from the Russian-style red cabbage soup. The Russian-style red cabbage soup is spicy and sour but Shanghai people are not used to it. Later, influenced by local taste, it gradually formed unique Shanghai-style borscht. In Shanghai-style borscht, we take beets as the main ingredient with supplements such as potatoes and carrots, spinach and beef, cubes, and butter. From what we discussed before, we can conclude that Chinese dish names often pay considerable attention to good connotations. Abstract meaning is mainly derived from legends, idioms, historical events, and auspicious words. When we start to translate Chinese cuisine, cultural considerations are an indispensable part to consider. It should be noted that translators take the responsibility to fill the gap between Chinese culture and Western culture. (Mo Chuanxia &amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Except for source cultural background, target cultural background is also of great importance. When it comes to cultural taboos, 龙(dragon) is the first symbol coming to our mind. Whereas 龙 are often embedded with good connotation in Chinese culture such as good fortune and bright future, 龙 often stands for brutal animal or person as in the well-known epic Beowulf. Below are some Chinese dish names with 龙: 龙抄手 (Easter Bunny Wonton), 龙须面(fine noodles) and 乌龙吐珠 (Sea Cucumber with Quail Eggs). Some translators replace dragon with bunny due to different preference between Chinese culture and Western culture. Others omit word-for-word translation, rather emphasizing the main ingredients of the dish.(Wu Tingting 2017, 4)<br /> <br /> Except for source cultural background, target cultural background is also of great importance. When it comes to cultural taboos, 龙(dragon) is the first symbol coming to our minds. Whereas 龙 are often embedded with good connotations in Chinese cultures such as good fortune and bright future, 龙 often stands for brutal animal or person as in the well-known epic Beowulf. Below are some Chinese dish names with 龙: 龙抄手 (Easter Bunny Wonton), 龙须面(fine noodles), and 乌龙吐珠 (Sea Cucumber with Quail Eggs). Some translators replace dragon with bunny due to different preferences between Chinese culture and Western culture. Others omit word-for-word translation, rather emphasizing the main ingredients of the dish.(Wu Tingting 2017, 4)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) <br /> <br /> In addition, some Chinese dish names with internal organs such as intestines or blood may keep target readers at bay. For example, in 肠粉(Steamed vermicelli roll) and 脑花(brain or brain flower), the former hightlights main ingredients rather than being confined to word-for-word translation, but the latter fails to arouse target reader's appetite. Further explanation and translation skills are involved in these dish names. Other examples include 夫妻肺片(Sliced Beef and Ox Tongue in Chili Sauce) and 撒尿牛丸(juicy beef ball). Word-for-word translation can be confusing or even disgusting for people who are unfamilar with Chinese dishes. (Wu Tingting 2017, 4)<br /> <br /> Also, some Chinese dish names with internal organs such as intestines or blood may keep target readers at bay. For example, in 肠粉(Steamed vermicelli roll) and 脑花(brain or brain flower), the former highlights main ingredients rather than being confined to word-for-word translation, but the latter fails to arouse the target reader's appetite. Further explanation and translation skills are involved in these dish names. Other examples include 夫妻肺片(Sliced Beef and Ox Tongue in Chili Sauce) and 撒尿牛丸(juicy beef ball). Word-for-word translation can be confusing or even disgusting for people who are unfamiliar with Chinese dishes. (Wu Tingting 2017, 4)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> 夫妻肺片 is a well-known dish mainly made by ox tongue, tripe and beef. Guo Chaohua (husband) and Zhang Tianzheng (wife) created the dish. Nowadays, it becomes part of Chuan cuisine. Contrary to the dish name, lungs of different animals are not the main component of the dish because 肺片 is originated from 废片. 废片 is a humourous name for all sorts of sliced internal organs. Likewise, though juicy beef ball conveys the basic information of the dish, it loses its attraction and refreshing impression. Therefore, target readers will have totally different feeling from source readers. The equivalence between SL and TL can be broken. In the next part, we will have a brief review of functional equivalence theory in order to discuss the application of the theory into C-E translation of Chinese dish names.(Wu Tingting 2017, 4)<br /> <br /> 夫妻肺片 is a well-known dish mainly made of ox tongue, tripe, and beef. Guo Chaohua (husband) and Zhang Tianzheng (wife) created the dish. Nowadays, it becomes part of Chuan cuisine. Contrary to the dish name, the lungs of different animals are not the main component of the dish because 肺片 is originated from 废片. 废片 is a humorous name for all sorts of sliced internal organs. Likewise, though juicy beef ball conveys the basic information of the dish, it loses its attraction and refreshing impression. Therefore, target readers will have a totally different feeling from source readers. The equivalence between SL and TL can be broken. In the next part, we will have a brief review of functional equivalence theory to discuss the application of the theory into the C-E translation of Chinese dish names. (Wu Tingting 2017, 4)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> === Functional Equivalence Theory ===<br /> <br /> Functional Equivalence put forward by Eugene. A. Nida, a renowned American linguist and translation theorist. Functional equivalence theory focus on the verbal comparison between the SL and TL. Nida attempts to offer a new way to produce an equivalent, taking the relationship of the receptor to the text into account. Functional equivalence theory developed from dynamic equivalence. He defined dynamic equivalence as &quot;the quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors. (Nida 1993, 127)<br /> <br /> Functional Equivalence put forward by Eugene. A. Nida, a renowned American linguist, and translation theorist. Functional equivalence theory focuses on the verbal comparison between the SL and TL. Nida attempts to offer a new way to produce an equivalent, taking the relationship of the receptor to the text into account. Functional equivalence theory developed from dynamic equivalence. He defined dynamic equivalence as &quot;the quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors.(Nida 1993, 127)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) <br /> <br /> Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida 1969, 200). In the later works, he thought that the adequacy of a translation depended on “the reliability of the text itself, the discourse type, the intended audience, the manner in which the translated text is to be used, and the purpose for which the translation has been made” (Nida 1993, 127). Under the influence of Eugene. A. Nida, other subsequent scholars also put forward their own understanding of functional equivalence. (Nida 1993, 127)<br /> <br /> Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida 1969, 200). In the later works, he thought that the adequacy of a translation depended on “the reliability of the text itself, the discourse type, the intended audience, how the translated text is to be used, and the purpose for which the translation has been made” (Nida 1993, 127). Under the influence of Eugene. A. Nida, other subsequent scholars also put forward their understanding of functional equivalence.(Nida 1993, 127)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> The translator recreates the text in target language by keeping some source-text information or linguistic elements invariant and adapting the rest to the receivers’ background knowledge, expectations and communicative needs or to such factors as medium-restrictions and deixis requirements(Yue Siwei 2013, 61-68). The term the closest natural equivalent implies that the rendering must be readable (related to the language form) and understandable (related to the content) to the target receptors, since different languages have different features of grammar and lexicon.(Nida 1993, 127) <br /> <br /> The translator recreates the text in the target language by keeping some source-text information or linguistic elements invariant and adapting the rest to the receivers’ background knowledge, expectations, and communicative needs or such factors as medium-restrictions and deixis requirements(Yue Siwei 2013, 61-68). The term the closest natural equivalent implies that the rendering must be readable (related to the language form) and understandable (related to the content) to the target receptors, since different languages have different features of grammar and lexicon.(Nida 1993, 127)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Functional-equivalence requires the highest degree of proximity (Zhang Qing &amp; Wang Jiaqi 2010, 880-888). The translation is a reproduction process of source text in target language, observing the target culture. The target language features in terms of contents, sentence structure and lexis should be considered as criteria to adapt the source text before translating. The source text elements that do not fit in target culture should be revised or even neglected in translating so as to transfer the flavor of source text while not violating target culture. (Nida 1993, 127)<br /> <br /> Functional-equivalence requires the highest degree of proximity (Zhang Qing &amp; Wang Jiaqi 2010, 880-888). The translation is a reproduction process of the source text in the target language, observing the target culture. The target language features in terms of contents, sentence structure, and lexis should be considered as criteria to adapt the source text before translating. The source text elements that do not fit in target culture should be revised or even neglected in translating to transfer the flavor of the source text while not violating target culture. (Nida 1993, 127)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> In Nida's view, the success of the translation depends above all on achieving equivalent response. It is one of the four basic requirements of a translation, which are 1. making sense; 2. conveying the spirit and manner of the original; 3. having a natural and easy form of expression; 4. producing a similar response. He pays great attention to equivalence and reader's response. Nida's functional equivalence theory has gone through three stages of development ranging from formal equivalence and dynamic equivalence to functional equivalence. The core of Nida's theoretical framework is mainly functional equivalence. (Jeremy Munday 2016, 126)<br /> <br /> In Nida's view, the success of the translation depends above all on achieving an equivalent response. It is one of the four basic requirements of a translation, which are 1. making sense; 2. conveying the spirit and manner of the original; 3. having a natural and easy form of expression; 4. producing a similar response. He pays great attention to equivalence and the reader's response. Nida's functional equivalence theory has gone through three stages of development ranging from formal equivalence and dynamic equivalence to functional equivalence. The core of Nida's theoretical framework is mainly functional equivalence.(Jeremy Munday 2016, 126)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Functional equivalence is mainly to enable translation and original text to be equivalent in language function, rather than language form correspondence. The reader of the target language should fully understand the customs, social consciousness and habitual expression mentioned in the original context. This receptor-oriented approach considers adaptations of grammar, of lexicon and of cultural references to be essential in order to achieve naturalness. The target language should not show interference from the source language and the foreignness of the source text setting is minimized.(Jeremy Munday 2016, 126)<br /> <br /> Functional equivalence is mainly to enable the translation and original text to be equivalent in language function, rather than language form correspondence. The reader of the target language should fully understand the customs, social consciousness, and habitual expression mentioned in the original context. This receptor-oriented approach considers adaptations of grammar, lexicon, and cultural references to be essential to achieve naturalness. The target language should not show interference from the source language and the foreignness of the source text setting is minimized.(Jeremy Munday 2016, 126)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Except for equivalence, reader's response pays an important role in functional equivalence theory. In contrast with traditional translations views towards the source text and the target text, functional equivalence translation pays considerable attention to the receptor‟s response and the naturalness of the target language rather than language forms as formal equivalence. Though later translation theorists critize Nida's functional equivalence given the impossibility of achieving functional equivalence in translation process, his functional equivalence has still paved the road away from traditional translation views by instilling fresh views into translation studies.(Jeremy Munday 2016, 126) <br /> <br /> Except for equivalence, the reader's response plays an important role in functional equivalence theory. In contrast with traditional translation views towards the source text and the target text, functional equivalence translation pays considerable attention to the receptor‟s response and the naturalness of the target language rather than language forms as formal equivalence. Though later translation theorists criticize Nida's functional equivalence given the impossibility of achieving functional equivalence in the translation process, his functional equivalence has still paved the road away from traditional translation views by instilling fresh views into translation studies.(Jeremy Munday 2016, 126) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Functional equivalence theory provides a glimpse into dealing with the relationship between target text and related cultural expectations. For real and practical translation, functional equivalence set the standard for what good translation is. So in the next part, we will discuss the application of this theory in the C-E translation of Chinese dish names. (Jeremy Munday 2016, 126)<br /> <br /> Functional equivalence theory provides a glimpse into dealing with the relationship between target text and related cultural expectations. For real and practical translation, functional equivalence sets the standard for what good translation is. So in the next part, we will discuss the application of this theory in the C-E translation of Chinese dish names. (Jeremy Munday 2016, 126)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> === Application of Functional Equivalence Theory in the C-E translation of Chinese Cuisine ===<br /> <br /> 4.1Princples of C-E translation of Chinese Cuisine<br /> <br /> Principles on C-E translation abound given different original texts. When it comes to C-E translation of Chinese Cuisine, two principles should be mentioned. What comes first is faithfulness. The translator is supposed to translate the basic information of Chinese cuisine. Sometimes, ingredients and cooking procedures should be included into the translation process. The main purpose of our translation is to inform target readers, especially foreigners who know nothing about Chinese. In Chinese, we often use the number three to represent three kinds of ingredients. (Qing Zhang &amp; Jiaqi Wang 2010, 880)<br /> <br /> Principles on C-E translation abound given different original texts. When it comes to the C-E translation of Chinese Cuisine, two principles should be mentioned. What comes first is faithfulness. The translator is supposed to translate the basic information of Chinese cuisine. Sometimes, ingredients and cooking procedures should be included in the translation process. The main purpose of our translation is to inform target readers, especially foreigners who know nothing about Chinese. In Chinese, we often use the number three to represent three kinds of ingredients. (Qing Zhang &amp; Jiaqi Wang 2010, 880)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Therefore, we translators should list three ingredients clearly in translation process. For example, in 扣三丝,some translators render it into Chicken, mushroom, ham threads in consommé. Though this rendering is in great detail, target readers can catch the point quickly. But for other larger numbers such as five and eight, listing all ingredients will lead to clumsiness. 八宝菠菜(Spinach with Eight Delicacies) is a case in point. This is the living proof for precise and clear translation. Faithfulness is not equal to word-for-word translation. Various translation skills should be involved in translation process in order to arrive at the principle of faithfulness. But the principle of faithfulness is not enough for a good translation. (Qing Zhang &amp; Jiaqi Wang 2010, 880)<br /> <br /> Therefore, we translators should list three ingredients clearly in the translation process. For example, in 扣三丝, some translators render it into Chicken, mushroom, ham threads in consommé. Though this rendering is in great detail, target readers can catch the point quickly. But for other larger numbers such as five and eight, listing all ingredients will lead to clumsiness. 八宝菠菜(Spinach with Eight Delicacies) is a case in point. This is the living proof for precise and clear translation. Faithfulness is not equal to a word-for-word translation. Various translation skills should be involved in the translation process to arrive at the principle of faithfulness. But the principle of faithfulness is not enough for a good translation. (Qing Zhang &amp; Jiaqi Wang 2010, 880)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> It’s noted that distinct cultural difference plays an important role in cultural communication. If a translator fails to delivery cultural connotation in a Chinese cuisine, these cultural-loaded dish names lost their attract towards foreigners. Even though native speakers are able to understand what a Chinese cuisine refers, the functional equivalence is out of balance. The purpose of our study is not only to provide a glimpse into informing foreigners when they barge into a Chinese restaurant, but also to spread Chinese culture behind Chinese cuisine. For example, in 烩南北(Stewed Mushrooms with Winter Bamboo Shoots), target readers fail to get the meaning from original words. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> It’s noted that a distinct cultural difference plays an important role in cultural communication. If a translator fails to deliver cultural connotation in Chinese cuisine, these cultural-loaded dish names lost their attraction towards foreigners. Even though native speakers can understand what Chinese cuisine refers to, the functional equivalence is out of balance. The purpose of our study is not only to provide a glimpse into informing foreigners when they barge into a Chinese restaurant but also to spread Chinese culture behind Chinese cuisine. For example, in 烩南北(Stewed Mushrooms with Winter Bamboo Shoots), target readers fail to get the meaning from original words.(Qing Zhang &amp; Jiaqi Wang 2010, 885-888)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Literal translation doesn’t fit in this Chinese cuisine because ingredients and cooking procedures are difficult to understand unless we dig more information on the Internet. The origin of the dish name lies in two different ingredients. Bamboo shoots are most in the south of China and mushrooms are most in the north of China. The combination of bamboo and mushroom represents the combination of culture in two parts of China. The precious value of Stewed mushrooms with winter bamboo shoots also lies in the combination of two precious ingredients. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> Literal translation doesn’t fit in this Chinese cuisine because ingredients and cooking procedures are difficult to understand unless we dig more information on the Internet. The origin of the dish name lies in two different ingredients. Bamboo shoots are most in the south of China and mushrooms are most in the north of China. The combination of bamboo and mushroom represents the combination of culture in two parts of China. The precious value of Stewed mushrooms with winter bamboo shoots also lies in the combination of two precious ingredients.(Qing Zhang &amp; Jiaqi Wang 2010, 885-888)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> The same goes for榆钱饭(Elm Seeds Meal). 榆钱 is originally an ingredient in Shangxi province. But the dish name also bodes well for well-off or prosperous future. Chinese people attribute their wish of getting more money into the word 钱(money). It sounds vulgar but the true wish is to live a better life. When translating Chinese cuisine, translators should consider the different cultural backgrounds in order to spare no efforts to broadcast Chinese culture. On top of this, some dish names are complicated to render them. For example, 龙, an image with red and gold color, refers to good wishes for prosperous future in China but it’s disgusting in Western culture. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> The same goes for榆钱饭(Elm Seeds Meal). 榆钱 is originally an ingredient in Shangxi province. But the dish name also bodes well for a well-off or prosperous future. Chinese people attribute their wish of getting more money to the word 钱(money). It sounds vulgar but the true wish is to live a better life. When translating Chinese cuisine, translators should consider the different cultural backgrounds to spare no efforts to broadcast Chinese culture. On top of this, some dish names are complicated to render them. For example, 龙, an image with red and gold color, refers to good wishes for a prosperous future in China but it’s disgusting in Western culture. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Therefore, when we translate龙抄手, the word 龙 should be replaced by other words. Some translators try to translate it into Easter Bunny Wonton. Also, the same goes for words referring to internal organ. 肠粉is a case in point. A dish name with intestines will lead to vomiting before eating. What’s more, the main ingredient in肠粉has nothing about intestines. Steamed vermicelli roll is a better translation version. The most scary and well-known Chinese dish name I have heard is 夫妻肺片. But the power of ingenious translation can help foreigners understand this dish and avoid awkwardness ahead of them. While broadcasting Chinese culture, culture taboos in the culture of target readers also need to be taken into our consideration. After we have put forward two principles for C-E translation of Chinese cuisine, the next part will discuss some strategies available for translators in the translation process.(Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> Therefore, when we translate龙抄手, the word 龙 should be replaced by other words. Some translators try to translate it into Easter Bunny Wonton. Also, the same goes for words referring to an internal organ. 肠粉is a case in point. A dish name with intestines will lead to vomiting before eating. What’s more, the main ingredient in肠粉has nothing about intestines. Steamed vermicelli roll is a better translation version. The scariest and well-known Chinese dish name I have heard is 夫妻肺片. But the power of ingenious translation can help foreigners understand this dish and avoid awkwardness ahead of them. While broadcasting Chinese culture, cultural taboos in the culture of target readers also need to be taken into our consideration. After we have put forward two principles for C-E translation of Chinese cuisine, the next part will discuss some strategies available for translators in the translation process. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> 4.2Strategies for C-E translation of Chinese Cuisine<br /> <br /> First and foremost, a large number of Chinese cuisines can apply literal translation in some way. The main cooking procedures, ingredients and skills should be very clear in dish names. Lexical equivalence is the main purpose of literal translation. Also, we can divide the application of literal translation into four parts. The first part is the combination of main ingredient and other supplementary ingredients. For example, in 羊肚包肉, roasted mutton wrapped in lamb tripe can avoid ambiguity. The most special ingredient in the dish is roasted mutton, which delivers some flavors to target readers. We can also render “番茄牛腩” into tomato and beef brisket. (Chu Yiyi 2017, 9)<br /> <br /> First and foremost, a large number of Chinese cuisines can apply literal translation in some way. The main cooking procedures, ingredients, and skills should be very clear in dish names. Lexical equivalence is the main purpose of a literal translation. Also, we can divide the application of literal translation into four parts. The first part is the combination of the main ingredient and other supplementary ingredients. For example, in 羊肚包肉, roasted mutton wrapped in lamb tripe can avoid ambiguity. The most special ingredient in the dish is roasted mutton, which delivers some flavors to target readers. We can also render “番茄牛腩” into tomato and beef brisket.(Chu Yiyi 2017, 9)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> The spicy beef briskets and sour tomatoes arouse different feelings in the heart of target readers. Sometimes, the flavor of a dish makes itself clear in the name of a dish. When we use literal translation, the flavor of a dish such as剁椒 and 家常 cannot be ignored. For example, in剁椒鸭肠(Duck Intestines with Chili) and家常烧蹄筋(Home-Style Braised Beef Tendon), Chili and home-style not only inform foreigners of basic information of this dish, but also arouse a sense of taste in their mouths. The third part of the application of literal translation is the combination of utensils and ingredients such as 砂锅面(Casserole Noodles). In Chinese, 砂锅 is a utensil for cooking.(Chu Yiyi 2017, 9)<br /> <br /> The spicy beef briskets and sour tomatoes arouse different feelings in the heart of target readers. Sometimes, the flavor of a dish makes itself clear in the name of a dish. When we use the literal translation, the flavor of a dish such as剁椒 and 家常 cannot be ignored. For example, in剁椒鸭肠(Duck Intestines with Chili) and家常烧蹄筋(Home-Style Braised Beef Tendon), Chili and home-style not only inform foreigners of basic information of this dish but also arouse a sense of taste in their mouths. The third part of the application of literal translation is the combination of utensils and ingredients such as 砂锅面(Casserole Noodles). In Chinese, 砂锅 is a utensil for cooking. (Chu Yiyi 2017, 9)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) <br /> <br /> But with increasing popularity of noodles cooking by casseroles, casserole noodles have become a Chinese dish. The last part of the application of literal translation lies in the combination of cooking methods, eating methods and ingredients. 手抓饼(Shredded Cake) is a case in point. Opposed to forks in Western culture, Chinese tend to use chopsticks. Therefore, Shredded Cake is a dish without using chopsticks or any other dinner sets. But literal translation is not a sliver bullet for all C-E translation of Chinese cuisine. Sometimes, a dish includes too much ingredients or cooking procedures. If we apply to literal translation in the case, we will sacrifice simplicity in order to maintain faithfulness.(Chu Yiyi 2017, 9)<br /> <br /> But with the increasing popularity of noodles cooking by casseroles, casserole noodles have become a Chinese dish. The last part of the application of literal translation lies in the combination of cooking methods, eating methods, and ingredients. 手抓饼(Shredded Cake) is a case in point. As opposed to forks in Western culture, the Chinese tend to use chopsticks. Therefore, Shredded Cake is a dish without using chopsticks or any other dinner sets. But the literal translation is not a silver bullet for all C-E translation of Chinese cuisine. Sometimes, a dish includes too many ingredients or cooking procedures. If we apply to literal translation in this case, we will sacrifice simplicity to maintain faithfulness.(Chu Yiyi 2017, 9)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Also, some translators applied to literal translation with annotation in order to render dish names clearly. For instance, let’s take “长寿面”, a cuisine name from A Bite of China as an example. The translation provided in “longevity noodles”, followed by the annotation “the noodles are long and slim, and long is homophonic to ‘chang’ and slim to ‘shou’, ‘changshou’ means longevity”. In the case, not only can the foreigners know the basic meaning of the dish, they can also understand its cultural meanings (Chu Yiyi 2017, 9). Another example is螺蛳粉. Some translate it into Snail Rice-flour Noodles, a local snack in Liuzhou. Snail Rice-flour Noodles is very faithful to the Chinese dish name. But the translator added some explanations to emphasize local characteristics. The origin of Snail Rice-flour Noodles is in Liuzhou, Yunnan province. In the case, the translator tried to spread local culture in a dish name.(Chu Yiyi 2017, 9)<br /> <br /> Also, some translators applied literal translation with annotation to render dish names. For instance, let’s take “长寿面”, a cuisine name from A Bite of China as an example. The translation provided in “longevity noodles”, followed by the annotation “the noodles are long and slim, and long is homophonic to ‘chang’ and slim to ‘shou’, ‘changshou’ means longevity”. In this case, not only can the foreigners know the basic meaning of the dish, but they can also understand its cultural meanings (Chu Yiyi 2017, 9). Another example is螺蛳粉. Some translate it into Snail Rice-flour Noodles, a local snack in Liuzhou. Snail Rice-flour Noodles is very faithful to the Chinese dish name. But the translator added some explanations to emphasize local characteristics. The origin of Snail Rice-flour Noodles is in Liuzhou, Yunnan province. In this case, the translator tried to spread local culture in a dish name. (Chu Yiyi 2017, 9)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Secondly, dishes with local names can apply to transliteration such as兰州拉面 Lanzhou Beef Noodles), 金华火腿(Jinhua Ham) and重庆小面(Chongqing Small Noodles). Some local names have become a brand for selling. They emphasize the authentic flavor of these dishes in order to attract people from other places or countries. As for some culture-loaded dish names, we fail to find the equivalent words in English. That’s the reason why we resort to transliteration. It’s a translation method mainly depend on Chinese pinyin such as Lanzhou, Jinhua and Chongqing as we mentioned above.(Chu Yiyi 2017, 12)<br /> <br /> Secondly, dishes with local names can apply to transliteration such as兰州拉面 Lanzhou Beef Noodles), 金华火腿(Jinhua Ham) and重庆小面(Chongqing Small Noodles). Some local names have become a brand for selling. They emphasize the authentic flavor of these dishes to attract people from other places or countries. As for some culture-loaded dish names, we fail to find the equivalent words in English. That’s the reason why we resort to transliteration. It’s a translation method mainly dependent on Chinese pinyin such as Lanzhou, Jinhua, and Chongqing as we mentioned above.(Chu Yiyi 2017, 12)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> One of the perks of transliteration is to emphasize local characteristics and spread local cultures. But transliteration is not confined to this area. Some translators combine transliteration into literal translation. For instance, if we simply translate “东坡肉” literally into“Dongpo’s Pork” without any further explanations, the target readers will get confused if they first see the translation. Thus, explanation “Dongpo, a famous poet in Song Dynasty” needs to be added (Chu Yiyi, 2017). Some dish names are from foreign countries such as 生鱼片(Sashimi). Sashimi is Japanese way of speaking. Transliteration with sounds of foreign languages can apply to these Chinese dish names. Some translators also translate腌制泡菜 into kimchi rather than pickles cabbages, thus emphasizing Korean flavor rather than Chinese flavor. But there are few dish names originated from foreign languages. (Chu Yiyi 2017, 12)<br /> <br /> One of the perks of transliteration is to emphasize local characteristics and spread local cultures. But transliteration is not confined to this area. Some translators combine transliteration into literal translation. For instance, if we simply translate “东坡肉” literally into“Dongpo’s Pork” without any further explanations, the target readers will get confused if they first see the translation. Thus, the explanation “Dongpo, a famous poet in the Song Dynasty” needs to be added (Chu Yiyi, 2017). Some dish names are from foreign countries such as 生鱼片(Sashimi). Sashimi is the Japanese way of speaking. Transliteration with sounds of foreign languages can apply to these Chinese dish names. Some translators also translate腌制泡菜 into kimchi rather than pickles cabbages, thus emphasizing Korean flavor rather than Chinese flavor. But few dish names originated from foreign languages. (Chu Yiyi 2017, 12)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Lastly, some Chinese cultural-loaded dish names fail to fit the framework of literal translation and transliteration. Translators should apply free translation into their translation process. There are four categories of free translation applied to C-E translation of Chinese cuisines: named according to the characteristics of ingredients metaphorically, named after historical allusions, named according to the production process metaphor and named after the meaning of good. As for the first category, 蚂蚁上树is a good example. The word-for-word translation of蚂蚁上树 is ants on a tree but it does not deliver the essence of the dish.(Siwei Yue 2013, 65-68) <br /> <br /> Lastly, some Chinese cultural-loaded dish names fail to fit the framework of literal translation and transliteration. Translators should apply free translation into their translation process. There are four categories of free translation applied to C-E translation of Chinese cuisines: named according to the characteristics of ingredients metaphorically, named after historical allusions, named according to the production process metaphor, and named after the meaning of good. As for the first category, 蚂蚁上树is a good example. The word-for-word translation of蚂蚁上树 is ants on a tree but it does not deliver the essence of the dish.(Siwei Yue 2013, 65-68) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> The main ingredients of the dish are minced pork and fine vermicelli. The final dish is similar to ants on the tree, so Chinese give it a metaphorical dish name. Sauteed Vermicelli with minced Pork is a better version than the original translation. Some dish names are full of historical allusions such as霸王别姬. The deep-level meaning of the expression霸王别姬 is to reveal the tragic ending of a hero in history. But there is a coincidence for the combination of turtle and chicken in the dish 霸王别姬. Different from mandarin, Chinese people give a nickname “王八” for turtle. 姬in 霸王别姬 sounds similar to 鸡(chicken).(Siwei Yue 2013, 65-68) <br /> <br /> The main ingredients of the dish are minced pork and fine vermicelli. The final dish is similar to ants on the tree, so the Chinese give it a metaphorical dish name. Sauteed Vermicelli with Minced Pork is a better version than the original translation. Some dish names are full of historical allusions such as霸王别姬. The deep-level meaning of the expression霸王别姬 is to reveal the tragic ending of a hero in history. But there is a coincidence for the combination of turtle and chicken in the dish 霸王别姬. Different from mandarin, Chinese people give the nickname “王八” for the turtle. 姬in 霸王别姬 sounds are similar to 鸡(chicken).(Siwei Yue 2013, 65-68)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> The word-for-word translation of 霸王别姬 is farewell my Concubine, but turtle stewed chicken is easier to understand for target readers. As for the third category——named according to the production process metaphor, 驴打滚 is a case in point. 驴打滚 is one of the traditional snacks in the northeast China, especially in Beijing and Tianjin. It is a three-color snack with yellow, white and red. The final process of making is to sprinkle on the soybean noodles, which looks like wild donkeys rolling up of the loess in suburb, so we named it 驴打滚(Donkey Roll). But compared to donkey doll, fried chop rice cake shows the main ingredients of the dish, thus lowering the hurdles for understanding.(Siwei Yue 2013, 65-68) <br /> <br /> The word-for-word translation of 霸王别姬 is farewell my Concubine, but turtle stewed chicken is easier to understand for target readers. As for the third category——named according to the production process metaphor, 驴打滚 is a case in point. 驴打滚 is one of the traditional snacks in northeast China, especially in Beijing and Tianjin. It is a three-color snack with yellow, white, and red. The final process of making is to sprinkle on the soybean noodles, which look like wild donkeys rolling up of the loess in suburb, so we named it 驴打滚(Donkey Roll). But compared to the donkey doll, fried chop rice cake shows the main ingredients of the dish, thus lowering the hurdles for understanding.(Siwei Yue 2013, 65-68) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> As for the last category, 佛跳墙 is a case in point. The literal meaning of 佛跳墙 is that a Buddha jumps over the wall. But actually 佛跳墙 is a dish cooking all things in one pot. It comes from a story: when we open the jar, the smell of a dish become popular in other places as well. That attracts many Buddhas who jump over the wall to have a see. Also, the dish bodes well for longevity and reunion. That’s why we also call it 福寿全, a word full of good omens.From strategies discussed above, we can find that there is no fixed pattern for C-E translation of Chinese cuisines. We translators should bear these principles and strategies in mind and put them into practice in our translation process. The ultimate goal for our translation is to produce a simple but accurate translation to inform target readers, especially foreigners. (Siwei Yue 2013, 65-68)<br /> <br /> As for the last category, 佛跳墙 is a case in point. The literal meaning of 佛跳墙 is that a Buddha jumps over the wall. But actually, 佛跳墙 is a dish cooking all things in one pot. It comes from a story: when we open the jar, the smell of a dish becomes popular in other places as well. That attracts many Buddhas who jump over the wall to have a see. Also, the dish bodes well for longevity and reunion. That’s why we also call it 福寿全, a word full of good omens. From the strategies discussed above, we can find that there is no fixed pattern for C-E translation of Chinese cuisines. We, translators, should bear these principles and strategies in mind and put them into practice in our translation process. The ultimate goal for our translation is to produce a simple but accurate translation to inform target readers, especially foreigners. (Siwei Yue 2013, 65-68)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> === Conclusion ===<br /> <br /> With the popularity of Chinese culture, there has been a resurgence of interests in C-E translation of Chinese cuisine. In this chapter, I discussed the previous studies on this topic with functional equivalence theory in order to emphasize the importance of our research and try to find research gap among these chapters. After discussing the existing problems on C-E translation of Chinese cuisine, I summarized some principles and strategies that can apply to C- E translation of Chinese cuisine. But what I discussed in the chapter is only a panoramic view of Chinese dish names. (Yi-Yan Lee, 2016, 10)<br /> <br /> With the popularity of Chinese culture, there has been a resurgence of interest in C-E translation of Chinese cuisine. In this chapter, I discussed the previous studies on this topic with functional equivalence theory to emphasize the importance of our research and try to find a research gap among these chapters. After discussing the existing problems on C-E translation of Chinese cuisine, I summarized some principles and strategies that can apply to C- E translation of Chinese cuisine. But what I discussed in the chapter is only a panoramic view of Chinese dish names.(Yi-Yan Lee, 2016, 10)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> There are eight classifications of Chinese famous cuisines ranging from Lu Cuisine and Chuan Cuisine, Yue Cuisine and Min Cuisine, Su Cuisine and Zhe Cuisine, Xiang Cuisine and Hui Cuisine. Under these eight Chinese cuisines, there are distinct differences in dish names considering region and ethnic group. As we know, one size can’t fit all. Aside from researches on Chinese dish names, cultural elements behind idioms related to Chinese dishes deserve more attention. (Yi-Yan Lee, 2016, 10)<br /> <br /> There are eight classifications of Chinese famous cuisines ranging from Lu Cuisine and Chuan Cuisine, Yue Cuisine and Min Cuisine, Su Cuisine and Zhe Cuisine, Xiang Cuisine and Hui Cuisine. Under these eight Chinese cuisines, there are distinct differences in dish names considering the region and ethnic group. As we know, one size can’t fit all. Aside from researches on Chinese dish names, the cultural elements behind idioms related to Chinese dishes deserve more attention. (Yi-Yan Lee, 2016, 10)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> === References ===<br /> <br /> *Caiqiao Huo, Xiaomei Du &amp; Weichen Gu.(2020). The Metaphor and Translation of the Dish Names in Chinese Food Culture. Open Journal of Modern Linguistics (5) 423-428.<br /> <br /> *Jiangnan Xue. (2015). A Chinese Bite of Translation: A Translational Approach to Chineseness and Culinary Identity. Ottawa: University of Ottawa.<br /> <br /> *Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp; Radina Mohamad Deli. (2018). Between concrete and abstract: the Malaysian Chinese way of naming dishes. International Communication of Chinese Culture (3) 247–259.<br /> <br /> *Munday J. (2016). ''Introducing Translation Studies: Theories and Applications''. New York: Routledge.<br /> <br /> *Nida, Eugene A. &amp; Charles R. Taber.(1969). ''The Theory and Practice of Translation''. Leiden: E. J. Brill.<br /> <br /> *Nida, Eugene. A.(1993). ''Language, Culture and Translating''. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nord, C. (2001). ''Translating as a Purposeful Activity: Functionalists Approaches Explained''. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Qing Zhang &amp; Jiaqi Wang. (2010). Application of Functional Equivalence Theory in English Translation of Chinese Idioms. Journal of Language Teaching and Research (6) 880-888.<br /> <br /> *Siwei Yue. (2016). Functionalism Theory Applied in C-E Translation of Chinese Food Culture Text. Theory and Practice in Language Studies (1) 61-68.<br /> <br /> *Yi-Yan Lee. (2016). Imaging Identity with Food: A Study of Cultural Translation in Ang Lee's Eat Drink Man Woman and Documentary ''A Bite of China''. Hong Kong: The University of Hong Kong.<br /> <br /> *车宜默[Che Yimer].(2019). 跨文化交际视角下的中餐菜单英译案例研究[A case study of English translation of Chinese menus from a cross-cultural communication perspective].北京：北京外国语大学[Beijing: Beijing Foreign Studies University].<br /> <br /> *李玮玮[Li Weiwei]. (2017). 目的论视角下的中国菜名汉英口译实践报告[A practical report on Chinese-English interpretation of Chinese cuisine names from the perspective of purpose theory].山东：山东大学[Shangdong: Shandong University].<br /> <br /> *莫传霞,岳玲[Mo Chuanxia, Yue Ling].(2020).“再创作”翻译思想下的北海民俗饮食文化英译[The English translation of Beihai folk food culture under the idea of &quot;re-creation&quot; translation]. 广西教育学院学报[Journal of Guangxi Education College] (05) 78-81.<br /> <br /> *屠易义[Tu Yiyi].(2017). 从文化角度谈中式菜名的英译方法[The English Translation of Chinese Cuisine Names from a Cultural Perspective].上海：上海外国语大学[Shanghai:Shanghai International Studies University].<br /> <br /> *邬婷婷[Wu Tingting].(2017). 目的论视角下中式菜肴简介英译的翻译报告[A Translation Report on the English Translation of Chinese Cuisine Introduction from the Perspective of Purpose Theory].宁波：宁波大学[Ningbo: Ningbo University].<br /> <br /> *吴慧琦[Wu Huiqi]. (2020). 中西方饮食文化差异与菜名翻译——评《中西方饮食文化差异及翻译研究》[Chinese and Western food culture differences and the translation of dish names--Review of &quot;Chinese and Western food culture differences and translation research&quot;]. 食品工业[Food Industry] (09) 364-365.<br /> <br /> *张婷丽[Zhang Tingli].(2015). 目的论指导下的《舌尖上的中国》菜名英译策略[The strategy of English translation of the dish names of &quot;China on the Tip of the Tongue&quot; guided by purpose theory].湖南：湖南师范大学[Hunan: Hunan Normal University].<br /> <br /> ==The Untranslatability and Loss of Meaning in Chinese Dish Names Translation--Taking Hunan cuisine names an Example - 袁雨晨 Yuan Yuchen==<br /> &lt;center&gt; 袁雨晨 Yuan Yuchen 202020080665 &lt;/center&gt;<br /> ===Abstract===<br /> Chinese food culture has attracted much attention both at home and abroad, and chinese cuisine is gradually going to global markets. Cultural differences make the translation of chinese dish names a challenge for translators. Taking Hunan cuisine an example, we try to explore the translation methods of chinese dish names from Catford's theory of untranslatability and Newmark's theory of loss of meaning, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.<br /> <br /> ===Key words===<br /> Untranslatability，loss of meaning，Hunan cuisine names<br /> <br /> ===题目===<br /> 中国菜名的不可译性和意义的缺失——以湘菜菜名为例<br /> <br /> ===摘要===<br /> 中国的饮食文化在国内外备受关注，中国菜也逐渐走向世界，文化差异使得中国菜名的译法给译者带来了挑战。试以湘菜为例，从卡特福德的不可译理论和纽马克的意义缺失理论来探究湘菜菜名的翻译方法，从而在翻译过程中规避问题，达成中国菜名的相对可译性。<br /> <br /> ===关键词===<br /> 不可译性；意义缺失；湘菜菜名<br /> <br /> ===Introduction===<br /> Translation, as an indispensable means of the communication among different cultures, contributes a lot to the development of human civilization. But to translate the source language into target language accurately and perfectly is hardly impossible for every translator. Debates about untranslatability are one of the most heated issues about translation. On the one hand, we should insist that translation is possible due to the similarity of human experience, linguistic and cultural universality; on the other hand, we have to admit the fact that there are some insurmountable obstacles and difficulties in translation practices owing to linguistic and cultural disparities.Among cultural differences, the cuisine culture plays a very important role. The most outstanding example is Chinese cuisine culture which is different from most western countries. It is not only famous for daintiness but also the attractive dish names. (Wang Lijun 2008, 10)<br /> <br /> The major concern of this paper is &quot;The Untranslatability and Loss of Meaning in Chinese Dish Names&quot;. Chinese cuisine is regarded as a great wonder of collection of cooking skills in foreign people's eyes. Westerners are often attracted to the looks of Chinese dishes besides their delicious flavor and taste. While the sight of Chinese dishes brings pleasure, the names of dishes also catch much attention of westerners. When people from different countries enjoy Chinese dishes, they are often curious and eager to know the exact meaning of the dish name and its origin. Since the dish name is the first impression given to a diner when he or she decides to order a dish. So it is important to convey accurate information to the patron. Since Chinese cuisine culture has continued to be exported overseas, translation of dish names plays an important role and is faced with a high demand determined by the complex nature of Chinese cuisine culture.<br /> <br /> Based on the Catford's theory of untranslatability and Newmark's theory of loss of meaning, taking Hunan cuisine an example, this paper explore the translation methods of chinese dish names, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.At first it illustrates the linguistic and cultural untranslatability. And it then emphasizes particularly on constitutions and fonctions of Hunan cuisine names. Finally, according to the classification of dish names, translation techniques are suggested and some of them are just the compensative measures to those untranslatable dish names.<br /> <br /> ===1.An Overview of Untranslatability, Loss of Meaning and Hunan Cuisine Names===<br /> <br /> ====1.1 Linguistic Untranslatability and Cultural Untranslatability Put Forward by J. C. Catford====<br /> Catford was the first translation theoretician who explored equivalence at different levels of language. He distinguished two kinds of untranslatability in A Linguistic Theory of Translation, that is, linguistic untranslatability and cultural untranslatability.<br /> <br /> Catford thought that linguistic untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. <br /> <br /> Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences, for instance, the names of some institutions, clothes, foods and dishes, abstract concepts, and the like.<br /> <br /> According to Catford's view of untranslatability, the dichotomy mentioned above would not exist if it could be demonstrated that all instances of cultural untranslatability respond to &quot;the impossibility of finding an equivalent collocation in the target language&quot;. This impossibility is, in his opinion, a case of linguistic untranslatability.<br /> <br /> According to Catford, &quot;Translation fails---or untranslatability occurs---when it is impossible to build functionally features of the situation into the contextual meaning of the TL text.&quot; (Catford 1965, 93)<br /> <br /> ====1.2 Loss of Meaning Put Forward by Peter Newmark====<br /> Peter Newmark analyzed the loss of meaning as follows:<br /> <br /> First, if the text describes a situation which has elements peculiar to the environment, institutions and culture of its language area, there is an inevitable loss of meaning, since the translator's language can only be approximate to the source language. Unless there is already a recognized translation equivalent, the translator has to choose from transcribing the foreign word, translating it, substituting a similar word in his own culture, naturalizing the word with a loan translation, sometimes adding or substituting a suffix from his own language, defining it or paraphrasing, which is sometimes added in parenthesis or as a footnote to a transliteration.<br /> <br /> Second, an inevitable source of loss is the fact that the two languages, both in their basic character and their social varieties, have many different lexical, grammatical and sound systems, and segment many physical objects and all intellectual concepts differently.<br /> <br /> Third, the individual uses of language of the writer and the translator do not coincide. Everybody has lexical if not grammatical idiosyncrasies, and attaches &quot;private&quot; meanings to a few words. The translator normally writes in a style that comes naturally to him, desirably with a certain elegance and sensitivity unless the text precludes it. Moreover, a good writer's use of language is often remote from some of the conventional canons of good writing, and it is the writer not the canons that the translator must respect.<br /> <br /> Last, the translator and the text-writer have different theories of meaning and different values. The translator's theory colors his interpretation of the text. He may get greater value than the text-writer on connotation and correspondingly less on denotation. He may look for symbolism where realism was intended; for several meanings where only one was intended; for different emphasis, based on his own philosophy or even his reading of the syntax. The resulting loss of meaning is inevitable and is unrelated to the obscurity or the deficiencies of the text and the incompetence of the translator, which are additional possible sources of this loss of meaning. Therefore, absolute equivalence can never be reached. A translator can't convey all the meanings of the original in his translation.(Tan Zaixi 2004, 215)<br /> <br /> ====1.3 Constitution and Functions of Hunan Cuisine Names====<br /> Hunan cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi areas. It is characterized by thick and pungent flavors. As a mirror of Chinese cuisine culture, dish names play an important role in transmitting Chinese cuisine culture to the whole world. Today, there are countless and various Chinese dish names, so it's so hard to translate them without a clear analysis of their constitutions and functions.<br /> <br /> Many of the Hunan cuisine are named after the ingredients, seasonings, cooking methods, flavour or colour, shape. Hunan cuisine can be cooked in a variety of ways,which can be divided into cooking methods for hot dishes,such as stir-fried, fried, roasted, grilled, boiled, stewed, steamed and son on; and cooking methods for cold dished, such as frozed, mixed, marinated, smoked and so on. The flavour is the sensation caused by a substance that stimulate the taste buds, flavour can be divided into two categories: one is the natural single flavour, also called the basic flavour; another is the compound flavour made of two or more single flavour. The single flavour of Hunan cuisine is mainly salty, sweet, sour, spicy, bitter, fresh and so on; the compound flavour is mainly hot and sour, sweet and sour, salty and spicy, spicy and hot and so on.Most dish names are made of a combination of flavours and the name of the main ingredient, such as “酸辣鸡杂”、 “麻辣肚丝”. Spicy is a highly used word in Hunan cuisine names.Not many dishes are named directly with words that indicate colour (red, yellow, white, green, etc.) and shape (round, flat, pointed, square, etc.),but more often the colour and shape express the substance.For example, “金钱蛋”is named after a substance that has a colour and shape. “金钱” is borrowed from the coins in Chinese history which are round, square-hole. “菊花鱿鱼”“菊花” isn’t real chrysanthemum, but the shape of the finished dishes.<br /> <br /> The utensils such as casseroles, stones pots, hanging pots, dry pots, flat pots, iron pots are used to serve the Hunan cuisine. So the names of kitchen utensils sometimes appear in Hunan cuisine names, the names of untensils and the main ingredients are combined to form the name of a dish, in order to show the characteristics of the dishes, such as “石锅玉兔”，“干锅鸡”，“砂锅熊掌”.<br /> <br /> And there are many dishes which are named by means of metaphor are connected with allusion，a person's name or a place name. The names of dishes containing the name &quot;组庵&quot; and the name of the main ingredient in dishes are related to Tan Yanyan. Tan Yanyan (1880-1930), a native of Chaling in Hunan, was the governor of Hunan province after the Revolution of 1911. Tan Yanyan was a famous gourmet and played a major role in the innovation and development of Hunan cuisine at the time. (Zhang Qiang 2017, 19)<br /> <br /> Above all, the constitution of Hunan cuisine names are various and mainly have the above mentioned features. Almost all Hunan cuisine names are characterized by elegance and try to convey a kind of aesthetic sense to diners.<br /> <br /> A dish name usually keeps people informed of the main ingredients of the dish, and sometimes uses beautiful words to add aesthetic value and finally it will stimulate the diners' appetite. Particularly, Chinese dish names have a special function that is cultural function owing to transmitting cultures.<br /> <br /> Informative Function<br /> <br /> The informative function means that the communicative aim of language is to provide people with information. As the fundamental function of Chinese dish names, it supplies the basic information of a dish, such as the ingredients, seasonings, cooking methods and so on. Chinese cooking methods are famous for its variety and the ingredients. People can get these information through most of Chinese dish names. So when Chinese dish names are translated into English, this function should be kept completely. (Wang Lixia 2017, 19)<br /> <br /> <br /> Aesthetic Function<br /> <br /> If a dish were a work of art, the dish name would be a part of the art.Besides the informative function, there is an aesthetic value. Although not all Chinese dish names possess the aesthetic value, such as those self-descriptive ones, a lot of names formed by metaphors or other special means to bring the sense of beauty and satisfy the aesthetic need of people. The beautiful names such as“碧绿双脆”， “金银烩双丸”， “天麻炖双飞”， “蝴蝶飘海”, it’s difficult to identify the original ingredient, and the basic information of the dishes are deduce by metaphor,but which attract the diners to image, to get an enjoyment. The subtle integration of aesthetics and culinary science greatly enhance the aesthetic function of these dish names.(熊力游 2004, 84)<br /> <br /> Cultural Function<br /> <br /> Chinese dish names also function as a culture carrier. Numerous cultural words play a significant role to demonstrate the national specialties.“百鸟朝凤”, “全家福”, “龙女触珠” “桃园三结义”and many other culturally loaded terms are frequently used in dish names, which are unique to the Chinese culture. This is a best way to arouse foreigners' interests on Chinese culture.<br /> <br /> ===2.Reasons for the Untranslatability and Loss of Meaning in Chinese Dish Names===<br /> <br /> ====2.1 Differences of Thinking====<br /> There is a fundamental difference between the traditional Chinese concept of &quot;unity of human and nature&quot; and the traditional Western concept of &quot;humanism&quot;, and the way of thinking and philosophies of each nationality differ. The food cultures of China and the West are therefore influenced by the obvious differences between them, and the same food cultures influence the naming of dishes in a certain way. Traditional Chinese philosophical thinking places emphasis on Qi and existence and non-existence, and in terms of cultural spirit and mode of thinking, this has led to the formation of a unity between human and nature, an emphasis on integral functions and a focus on ambiguity, which has led to the development of unique concepts in the science of food, namely the ecological concept of the correspondence between human and nature, the nutritional concept of food treatment and nourishment, and the concept of the harmonisation of the five tastes. <br /> <br /> Westerners hold a rational and scientific concept of diet. They emphasise the nutritional value of the diet, the amount of protein, fat, calories and vitamins contained in the food, and pay particular attention to whether the nutrient content of the food is well matched, whether the calorie supply is optimal, and whether these nutrients can be fully absorbed by the eater. For example, Westerners generally do not eat animal offal or anything that they consider to be of no nutritional value, such as liver, chicken feet, duck heads, dog meat, etc., which are absolutely delicious in China and which Westerners may never have eaten in their lives. Some of the ingredients used in Chinese dishes are not offensive to diners in China, for example animals such as snakes and frogs. For good luck, Chinese names are often borrowed from inedible objects or animals that are taboo for Westerners, such as “红烧狮子头”. Such dishes are unacceptable to Westerners and can sometimes be offensive to them. (Cao Binbin 2016, 24)<br /> <br /> ====2.2 Different Beliefs and Values====<br /> Belief and value constitute an important part in culture. Chinese and westerners are living in different social background, having their own history and religion. So, disparity in value and belief is inevitable, such as Buddhism in China. It has history of thousands years. Some vocabularies in Chinese are related with Buddhism, such as “立地成佛”，“谋事在人，成事在天”.These expressions all reflect the great influence of Buddhism on language. In western countries, people have been more influenced by Christianity. Phrases like &quot;man proposes God disposes&quot;; &quot;God help those who help themselves&quot; are typical examples. But if“谋事在人，成事在天”is translated to &quot;man proposes, God disposes&quot;, it disobeys Chinese belief which is the Buddhism rather than the Christianity.<br /> <br /> The value of a certain culture is a set of behavioral standards for people to make choices and solve conflicts and it is usually displayed in people's philosophic and moral concept. The concept that is thought highly by one nation may be neglected by another nation. And this phenomenon becomes a great obstacle in the cross-cultural communication and translation. <br /> <br /> As far as animal vocabularies are concerned, the value of Chinese and westerners are quite different. Take &quot;dog&quot; for example, Chinese often use them to guard door. In their concepts, dogs have nothing to praise. So vocabularies with dogs often have derogatory connotations, such as“狗腿子”，“狐朋狗友”，“狼心狗肺”，“狗眼看人低”，“狗改不了吃屎”.Whereas, in western countries, owing to dogs' loyalty, courage and intelligence, people regard dogs as their favorite and loyal friends and give great honor to them, such as &quot;love me, love my dog&quot;, &quot;lucky dog&quot; and &quot;every dog has his day&quot;. So long as westerners know that dog meat is cooked into dishes in China, they will feel shocked and horrible. Hence although the dish name“狗肉汤”is translatable, we had better avoid translating it or we should not treat westerners to eat dog meat. If it is unavoidable, we should explain those dogs are raised for dinners.<br /> <br /> When translating, it is important to take into account the cultural differences, accepting psychology and eating habits of foreigners, otherwise it will be difficult to achieve the intended function and purpose of the translation. After all, although the translator &quot;deals with individual words, he is dealing with two major cultures&quot;(Liu Chuang 2012, 120)<br /> <br /> ====2.3 Different Customs and Living Environment====<br /> Custom refers to the way of living formed in the long-term development of human's history. It is embodied in various aspects of people's daily lives such as garment, etiquette, marriage, funeral, traditional dishes and so on, due to the different living habits and the customs of different people, which constitute a great obstacle in the cross-cultural communication and translation.<br /> <br /> ====2.4 Lexical Non-equivalence Concerned with Cultural Difference====<br /> The lexical non-equivalence generally refers to the non-equivalence of lexical meanings. As we all know, the meaning of a word, which is involved in many aspects, such as the denotative meaning, the associative meaning and so on, is not a simple concept. Therefore, there are several kinds of untranslatable phenomena concerned with the lexical non-equivalence.<br /> <br /> ====2.5 Absence of Terms====<br /> Absence of terms is a frequent phenomenon leading to untranslatability. It refers to the case that in translation we fail to find counterpart in target language. In Chinese, there are many terms as “风水”, “阴阳”, “属相”and so on. These words are derived from unique Chinese culture, which are almost impossible to translate to English, since there are no such things in western countries.<br /> <br /> ====2.6 Discrepancy of Semantic Association====<br /> Terms and expressions, as embodiment of culture, have rich meanings and profound connotations. Therefore discrepancies of terms lead to translation barriers inevitably. For example, dragon in English and “龙“ in Chinese represents different connotation though it is the same imaginary image. Owing to this difference, terms concerning dragon in these two languages differ greatly. To Chinese, “龙“ is something sacred and has been referred to as the ancestor of the Chinese nation-that's why Chinese people call themselves“龙的传人 (descendants of the dragon)“. “龙” is used frequently in Chinese daily life in order to convey a propitious meaning, such as in dish names“龙凤呈祥”，“二龙戏珠”and “青龙过海”.To westerners, however, the dragon is a symbol of evil. Many heroes in stories struggled against dragons which were slain in most cases.<br /> <br /> Take “喜鹊(pied magpie)” for another instance. In Chinese culture, this bird is always regarded as a messenger of good news, for the first character of its Chinese name(喜)means &quot;happiness&quot;. So the chattering of a pied magpie had the connotative meaning of &quot;good news is coming&quot;. But in English culture, people pay more attention to the appearance of this black-and-white bird and the noises it makes. Then the connotative meaning of it in English is &quot;a chatterbox&quot;. (Wang Lijun 2017, 28)<br /> <br /> ===3.Strategies of Untranslatability and Loss of Meaning of Hunan Cuisine Names===<br /> The purpose of translation is to communicate, therefore transfering the information is very important in translation. Regardless of the method of translation, it is important to convey as much information as possible about the main ingredients, cooking methods, etc., so that foreigners can understand them and communicate with each other. Clearly conveying information about the dishes means that the English translation of Hunan cuisine names can help people from other countries understand the basic information about the dishes, the unique cooking techniques and regional characteristics of Hunan cuisine, and appreciate the colourful culinary culture of Hunan. Some contain profound historical allusions or folk legends, while others have changed their names based on raw materials, shapes and cooking methods. This makes English translation difficult and makes it difficult to fully reflect the linguistic and cultural features of the Chinese language. In this case, the English translation of Hunan cuisine names should be purpose-oriented, so that foreign friends can understand as much as possible about the basic information of Hunan cuisine. The name of the dish should first of all ensure that the customer knows the ingredients， the supplementary ingredients, the cooking method and the flavour of the dish, so the most important thing when translating the name of a dish, whether it is realistic or associative, is that it should firstly convey its denotative meaning. In some cases, it is also possible to make major changes to the presentation of the translation, avoiding or diluting words in the dish that have strong symbolic meaning but are incompatible with Western culture, and keeping the basic content of the dish as far as possible in order to achieve the basic purpose and function of conveying the message of the dish. (Wang Caiying 2009, 108)<br /> <br /> The names of some dishes are quoted from poems and idioms, and the English translation method of &quot;literal+interpretative translation&quot; can be used to express the specific meaning of the ingredients while retaining their distinctive national characteristics. Some of the common cooking methods used in Hunan cuisine, such as &quot;stir-frying, roasting, boiling, stewing, deep-frying, steaming&quot;, etc., make the translation more effective.<br /> <br /> ====3.1 English Translations of Hunan Cuisine Names Based on Cooking Methods and Main Ingredient====<br /> The name of such a dish includes both the cooking method and the main ingredient, with the cooking method preceding and the main ingredient following. The English translation uses “cooking method (past participle of the verb)+main ingredient”, such as“炒生菜&quot;, where &quot;炒&quot; is the practice. &quot;生菜&quot; is the main ingredient, which translates as Sauteed Lettuce &quot; and “花生炖猪蹄&quot;，where“炖&quot; is the cooking method, peanuts and pig's feet are the main ingredients, the name of the dish can be translated as“cooking method+main ingredient+and+main ingredient”,that‘s “Stewed Pig's Trotters and Peanuts&quot;.(Zhang Qiang 2017, 23)<br /> <br /> ====3.2 English Translation of Hunan Cuisine Names Based on &quot;Ingredient and Main Ingredient&quot; or &quot;Main ingredient and Soup&quot;====<br /> The names of such Hunan dishes mainly consist of main ingredients and ingredients, which form Hunan cuisine names as &quot;ingredient+main ingredient&quot;, which can be translated in English as &quot;main ingredient+with/in+ingredients&quot;. Connected by with or in. e.g.&quot;冬笋腊肉&quot; and &quot;蟹黄海参&quot; can be translated respectively as “Preserved Pork (Smoked Pork) with Winter Bamhoo Shoot” and “Sea Cucumber with Crab Roe”. If the ingredient is soup, use the expression &quot;soup+main ingredient&quot;, which is translated as &quot;main ingredient+in/with+ Soup/Sauce&quot;. Yhe choice of in or with is determined by the actual &quot;sauce&quot;. Use &quot;in&quot; if the main ingredient is immersed in the sauce, and if the sauce is separate from the main ingredient, or if it is poured over the main dish, we should use “with” e.g. &quot;蜜汁白莲&quot; is translated as &quot;Lotus-seed in Honey Sauce&quot;and &quot;茄汁鱼片&quot; is translated as &quot;Sliced Fish with Tomato Sauce &quot;.(Zhang Qiang 2017, 24)<br /> <br /> ====3.3 English Translation of Hunan Cuisine Names According to the Flavour and the Main Ingredients====<br /> When the name of a dish is &quot;flavour+main ingredient&quot;, the English translation puts the flavour in the front and the main ingredient at the back, highlighting the taste of the dish, e.g. in &quot;麻辣牛肉&quot;, &quot;麻辣&quot; is the taste. &quot;牛肉&quot; is the main ingredient, which translates as &quot;Spicy and Hot Beef&quot;and &quot;酸辣&quot; in &quot;酸辣鸡杂&quot; is the flavour, &quot;鸡杂&quot; is the main ingredient and it can be translated as &quot;Hot and Sour Chicken Giblets&quot;.(Zhang Qiang 2017, 26)<br /> <br /> ====3.4 English Translation of Hunan Cuisine Names Based on Seasonings and Main Ingredients====<br /> The English translation of Hunan cuisine name in the form of &quot;seasoning+main ingredient&quot; can use the structure of &quot;main ingredient+with+seasoning&quot;, such as &quot;芥末鸡条&quot; can be translated as “Chicken Strips with Mustard”, a literal translation can also be used in the original structure, such as “孜然牛肉” can be translated as &quot;Cumin Beef&quot;.<br /> <br /> ====3.5 English Translation of Hunan Cuisine Names Based on Seasonings, Cooking Methods and Main Ingredients====<br /> Chinese Hunan cuisine names has the structure of &quot;seasoning+cooking method+main ingredient&quot;, which can be translated in English as &quot;cooking method (past participle of the verb)+main ingredient+ with+seasoning&quot;, e.g. &quot;豆瓣酱烧肥鱼&quot; can be translated as &quot;Braised Fish with Thick Broad-bean Sauce&quot; and &quot;豆豉蒸排骨&quot; as &quot;Steamed Pork Chops with Lobster Sauce&quot;.(Zhang Qiang 2017, 26)<br /> <br /> ====3.6 English Translation of Hunan Cuisine Names According to the Colour and Shape of the Finished Dish====<br /> The names of such dishes are generally translated using the literal and free translation method. For example, &quot;芙蓉鸡片&quot; can be translated as &quot;Fried Sliced Chicken with Egg White&quot; and &quot;菊花鱿鱼&quot;as &quot;Fried Chrysanthemum-shaped Squid&quot;.<br /> <br /> ====3.7 English Translation of Hunan Cuisine Names According to the Flavour and the Shape of the Raw Material after it has been cut====<br /> The English translation of Hunan cuisine names can be in the form of &quot;flavour+shape+main ingredient&quot;, e.g. &quot;麻辣&quot; in &quot;麻辣羊肚丝&quot; denotes the flavour. &quot;羊肚&quot; is the main ingredient, and the goat tripe is shredded, which can be translated as &quot;Spicy and Hot shredded Goat Tripe&quot;. (Zhang Qiang 2017, 29)<br /> <br /> ====3.8 English Translation of Hunan Cuisine Name According to the Cooking Method and the Main Ingredient and its modified Shape====<br /> Chinese Hunan cuisine names &quot;cooking method+main ingredient+shape&quot; can be translated as &quot;cooking method (past participle of the verb)+shape+main ingredient&quot;, such as &quot;干煸牛肉丝&quot;. &quot;干煸&quot; is the cooking method, &quot;牛肉&quot; is the main ingredient and &quot;丝&quot; is the shape of the modified ingredient, it can be translated as &quot;Dry-fried Shredded Beef&quot;.(Zhang Qiang 2017, 29)<br /> <br /> ====3.9 English Translations of Hunan Cuisine Names from &quot;Name of Person or Place + Main Ingredient&quot; to &quot;Name of Person or Place+Cooking Method + Main Ingredient&quot;====<br /> In addition to the above principles, the names of such dishes should also be transliterated from the names of people and places, which is good for promoting the Chinese language and culture. The translation of Hunan cuisine names as &quot;person's name+main ingredient&quot; can be made directly. For example, in &quot;组庵豆腐&quot;, &quot;组庵&quot; is the name of a person and &quot;豆腐&quot; is the main ingredient, which is transliterated as &quot;Zu'an Tofuo&quot;.<br /> <br /> The name of the dish &quot;place name+main ingredient&quot; can be translated as &quot;main ingredient+，+place name+Style&quot; with the main ingredient separated from the place name by a comma. For example, &quot;湖南&quot; in &quot;湖南腊肉&quot; is the name of the place, and &quot;腊肉&quot; is the main ingredient, which is translated as &quot; Preserved Pork (Smoked Pork), Hunan Style&quot;, the name of a Hunan dish in the form of &quot;place name+main ingredient&quot; can also be translated into the form of &quot;place name+main ingredient&quot;, e.g. &quot;东安鸡&quot; can be translated as &quot;Dong' an Chicken&quot;.<br /> <br /> The name of a dish can be translated in the form of &quot;cooking method+main ingredient+，+person (place name)+style&quot;, e.g. &quot;毛氏红烧肉&quot;, which can be translated as &quot;Braised Pork, Mao's Family Style. &quot;(Zhang Qiang 2017, 30)<br /> <br /> ====3.10 An English Translation of Hunan Cuisine Names as &quot;Utensil + Main Ingredient&quot;====<br /> Containers such as iron plates, dry pans, casseroles, etc. are also used in combination with the main ingredient to name the chinese Hunan cuisine names, which can be translated as “utensils+main ingredient”，e.g. “干锅茶树菇” is translated as Dry Pot (Griddle Cooked) Tea Tree Mushrooms, it can also be translated as“main ingredient+in/on+main ingredient”, e.g. “铁板牛肉”can be translated as Beef Steak Served on Sizzling Iron Plate. (Zhang Qiang 2017, 31)<br /> <br /> ====3.11 The English Translation of Hunan Cuisine Names that Do Not Reflect Information on Cooking Methods, Main Ingredients, Tastes, etc.====<br /> Some Hunan cuisine names do not reflect basic information such as cooking method, main ingredients, taste, etc. These names usually combine the colour, aroma, cooking method and stylistic features of the dish to give it a pleasant name. For example, “全家福” could be translated as Quan Jia Fu (A tonic recipe of chicken breast fried with sea cucumber peeled shrimp and squid, carrying the implied meaning of a happy family reunion) (Zhang Qiang 2017, 31)<br /> <br /> ===Conclusion===<br /> Chinese dish names are rich in connotation, vividly reflecting China's cuisine culture. Their English translations are an effective means to inform foreigners of Chinese culture. Therefore, it is of great importance to make a study on translations of these dish names. The current studies in this field have given an analysis to Chinese dish names' features, functions as well as the principles for their translation. (Wang Lijun 2017, 23)<br /> <br /> This paper has made a tentative study of Chinese dish names from the angle of untranslatability and loss of meaning. The study covers the analysis of the untranslatability and loss of meaning caused by the differences between Chinese and English, from linguistic and cultural perspectives, taking Hunan cuisine names an example, the introduction of the constitution and function of dish names. Then since Chinese dish names play an important role in Chinese culture, according to untranslatabiltiy caused by culture differences between Chinese and English, the paper analyzes the untranslatable phenomena existing in the English translation of Chinese dish names from the aspects of thinking, beliefs and values, customs, and lexical non-equivalence. <br /> <br /> Although there are many translated versions of various Chinese dishes nowadays, and some of them have been accepted by the public, it is undeniable that there are cultural obstacles which cannot be translated. If translators don't know untranslatabiltiy of dish names, they cannot translate them properly, since they couldn't avoid the obstacles and adopt some compensatory measures. strangeness in front of cultural differences.<br /> <br /> A translation should on the one hand keep as much as possible the original flavor and on the other hand try to make it accessible to the target language readers.<br /> <br /> ===References===<br /> [1]Cao Binbin. 曹彬彬.(2016). 从翻译的不可译性看中式菜名英. [English Translation of Chinese Cuisine Names from the Perspective of Translation Untranslatability]. 英语广场. [English Square]. 24-25.<br /> <br /> [2]J. C. Catford. (1965). A Linguistic Theory of Translation . London: Oxford University.93-95<br /> <br /> [3]Liu Chuang. 刘闯.(2012). 浅析中餐菜名英译的不可译性及解决. [An analysis of the untranslatability of the English translation of Chinese cuisine names and its solution]. 校园英语. [Campus English]. 120-121.<br /> <br /> [4]Tan Zaixi. 谭载喜. (2004). 西方翻译简史(增订版). [ A Brief History of Western Translation (Updated Edition)]. 商务印书馆. [The Commercial Press] 200-220<br /> <br /> [5]Wang Caiying.王才英.(2009). 试论中国菜名的相对不可译及对策. [Experimental discussion on the relative untranslatability of Chinese dish names and Strategies].长沙大学学报. [Journal of Changsha University]. 108-109.<br /> <br /> [6]Wang Lijun. 王丽君.(2008). 中文菜名的不可译性研究. [On Untranslatability of Chinese Dish Names]. 吉林大学学报. [Journal of Jilin University]. 10-13<br /> <br /> [7]Wang Lixia. 王丽霞.(2017).《湘菜六味—湘菜缘分》汉译英实践报告.[A Report on the C-E Translation of the 3rd Chapter of Xiangcailiuwei].湖南师范大学.[Hunan Normal University]<br /> <br /> [8]Xiong Liyou. 熊力游. (2004). 中华菜名功能与翻译处理. [Functions and Translation processing of Chinese Cuisine names]. 长沙大学学报. [Journal of Changsha University]. 84-86<br /> <br /> [9]Zhang Qiang. 张强. (2017). 湘菜菜名词语与对外汉语教学.[Name of Hunan Cuisine in Teaching Chinese as a Second Language].湖南师范大学.[Hunan Normal University]. 18-33<br /> <br /> ==A Study of English Translation of Chinese Dish Names from the Perspective of Domestication and Foreignization -- Taking Hunan cuisine an Example - 邬香 Wu Xiang==<br /> &lt;center&gt; 邬香 Wu Xiang 202020080651.&lt;/center&gt;<br /> ===Abstract===<br /> As a bright pearl in the storehouse of traditional Chinese culture, catering culture plays a more and more important role in the increasingly frequent cross-cultural communication. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the neglect of cultural connotations of dishes, and the lack of unified translation standards. Foreignization and domestication can effectively solve the above problems. From the perspective of foreignization and domestication this chapter takes the English translation of Hunan cuisine as an example and uses different translation strategies for realistic and freehand dishes from the linguistic and cultural levels. Although domestication and foreignization can not remove all the obstacles in English translation of dish names, they can help to accurately express the meanings of dish names, reflect their cultural connotations and promote cultural exchange and dissemination.<br /> <br /> <br /> As a bright pearl in the storehouse of traditional Chinese culture, catering culture plays a more and more important role in the increasingly frequent cross-cultural communication. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the neglect of cultural connotations of dishes, and the lack of unified translation standards. Foreignization and domestication can effectively solve the above problems. From the perspective of foreignization and domestication, this chapter takes the English translation of Hunan cuisine as an example and uses different translation strategies for realistic and freehand dishes from the linguistic and cultural levels. Although domestication and foreignization can not remove all the obstacles in English translation of Chinese dish names, they can help to accurately express the meanings of dish names, reflect their cultural connotations and promote cultural exchange and transmission.--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 08:14, 17 December 2020 (UTC)<br /> <br /> ===Key words===<br /> Chinese dish names; English translation; domestication and foreignization; cross-cultural communication<br /> <br /> ===题目===<br /> 异化和归化视角下中国菜名英译研究——以湘菜为例<br /> <br /> ===摘要===<br /> 饮食文化作为中国传统文化宝库中一颗璀璨的明珠，在如今日益频繁的跨文化交流中的作用愈发重要。但是目前中国菜名英译中出现不少问题，主要包括使用直接生硬的表达方式、忽略菜肴文化内涵、缺乏统一的翻译标准。运用异化和归化翻译策略能有效解决上述问题。本章拟从异化和归化的视角出发，以湘菜英译为例，针对写实型和写意型菜肴从语言和文化层面使用不同的翻译策略。尽管归化和异化不能清除菜名英译中所有的障碍，但其有助于准确表达菜名含义，体现其蕴藏的文化内涵，促进文化交流与传播。<br /> <br /> ===关键词===<br /> 中国菜名；英译；归化和异化；跨文化交流<br /> <br /> ===Introduction===<br /> After thousands of years of precipitation and inheritance Chinese food culture has emerged on the international stage and gradually gained the favor and recognition of foreigners. In today's society cultural exchanges between countries and nations are increasingly frequent. As a cross-cultural communication activity, translation refers not only to the process of language conversion, but also to the process of cultural transformation and dissemination. Because Chinese food contains a large number of cultural and artistic features, which reflect the Chinese cultural landscape, we have different translation versions in the process of translating Chinese dishes. This is not conducive to the spread of Chinese culture. It’s known that translation strategies of domestication and foreignization can retain the cultural elements in the original text to the greatest extent. As one of the eight major cuisines in China, Hunan cuisine has its unique characteristics and rich cultural heritage, so it is suitable to adopt domestication and foreignization in English translation. Many Chinese scholars focus on specific translation methods and skills in the research on translation of Chinese dish names.They rarely consider the translation strategies of foreignization and domestication. However, it is necessary to clarify what kind of translation strategy to adopt before choosing appropriate translation methods and skills, because the implementation of the former is reflected in the application of specific translation skills, while the application of the latter requires certain translation strategies . Therefore,in this chapter I will discuss the application of translation strategies of domestication and foreignization in the English translation of traditional Chinese dish names based on the corpus of Hunan dishes. (Xiong Bing 2014,84)<br /> <br /> <br /> 中国饮食文化历经数千年的沉淀和传承后，在国际舞台上崭露头角，逐渐得到外国人的青睐和认可。当今社会世界各国、各民族文化交流日益频繁，翻译作为一种跨文化交际活动，不仅指语言转换的过程，而且是文化转换和传播的过程。归化和异化策略能最大程度保留原文中的文化元素，解决目前中国菜名翻译过程中存在的一些问题。湘菜作为中国八大菜系之一，具有独特的特点和丰富的文化底蕴，适合采用归化和异化英译。中国许多学者对中国菜名翻译的研究多着眼于具体的翻译方法和技巧，很少从异化和归化的翻译策略高度来考虑。然而首先明确采用怎样的翻译策略，才能继而选用合适的翻译方法和技巧，因为前者的实施体现在特定翻译技巧的运用，同时后者的运用需依据一定的翻译策略。因此，本文将以湘菜菜品名为语料，探讨翻译策略在传统中国菜名英译中的运用。(熊兵，2014,84）<br /> <br /> ===1. Exiting Problems in English Translation of Chinese Dish Names===<br /> Chinese food culture is extensive and profound. It has a long history. The importance of English translation of Chinese dish names in cross-cultural communications between China and foreign countries is self-evident. However, there are many problems in the English translation of Chinese dish names, such as the use of direct and rigid expressions, the lack of unified translation standards and the ignorance of the cultural connotation of dishes. These problems make foreigners and some domestic English learners confused. Next I will analyze them in detail with examples.(Xia Ying 2016, 259)<br /> <br /> 中国饮食文化博大精深，源远流长。中餐翻译在中外文化交流中的重要性不言而喻。然而，目前中国菜名英译存在不少问题，诸如使用直接生硬表达法、缺乏统一翻译标准、忽视菜肴文化内涵等。这些问题不仅引起外国人的困惑，国内英语学习者亦云里雾里。下面我将结合实例具体分析。(夏瑛 2016, 259)<br /> <br /> ====1.1 The Use of Direct and Rigid Expressions====<br /> China has a vast territory and abundant resources. The eating habits and cooking methods in different regions of the country are different. Some dishes are named after myths, legends and allusions, while others are complex in cooking methods and various in ingredients. Direct and stiff expressions can‘t express the rich connotations of these dishes and even make people funny. For example, if &quot;Jiaohua chicken, a whole chicken roasted in caked mud&quot;(叫花鸡) is translated into &quot;beggar's chicken&quot;(叫花子的鸡), it does not reflect the origin and the cooking method of this dish. It is said that in the late Ming Dynasty and early Qing Dynasty a beggar in Changshu（常熟，a city of Jiangsu province） got a chicken by chance. He had no cooking utensils and seasonings. So he had to put the chicken into the mud to simmer and roast it. When the chicken was cooked, it knocked off the mud shell, and the aroma overflowed. It became a delicious dish. Another example is that &quot;木须肉&quot; is translated as &quot;wood mustache meat&quot;（木头胡子肉）. This translation is confusing and does not reflect the main ingredients of this dish. I think that it is appropriate and reasonable to translate it into &quot;stir fried pork with eggs and black fugus&quot;. (Zhang Yang 2016, 48)<br /> <br /> 中国地大物博，全国各地区的饮食习惯与烹饪方法各不相同，其中一些菜肴以神话、传说及典故命名，还有一些佳肴烹饪方法复杂，食材多种多样。直接生硬的表达法不能很好表达这些菜肴的丰富内涵，甚至会让人啼笑皆非。比如，”叫花鸡”(Jiaohua Chicken，a whole chicken roasted in caked mud)若译成”Beggar’s Chicken”则完全没有体现这道菜的由来及做法。相传明末清初时，常熟一个乞丐偶然间得到一只鸡，苦于没有炊具和调料，只能将鸡处理后放入泥土中煨烤，鸡熟后敲掉泥壳，香气四溢，成为一道美味佳肴。又如，“木须肉”被译为”Wood mustache meat”（木头胡子肉），这种译法让人不知所云，更没有体现这道菜的主要原料。笔者认为将其译为”Stir-fried pork with eggs and black fungus”比较恰当合理。(张扬 2016, 48)<br /> <br /> ====1.2 The Lack of Unified Translation Standards====<br /> At present there is no uniform international standard for the translation of Chinese dish nayanmes, which leads to the emergence of multiple translation versions in the book market and restaurants. It brings inconvenience and trouble to foreigners and seriously affects the spread of Chinese catering culture. For example, there are several different translation versions of &quot;麻婆豆腐&quot; in China: bean curd with minced pork in hot sauce; Mapo Tofu; tofu made by woman with freckles. The last translation is not very appropriate and easy to cause disgust. Foreigners are familiar with the translation of &quot;Mapo Tofu&quot; and have already accepted it, so it is acceptable not to explain it. The first translation is to make people salivate. It reflects the method and raw materials of this dish. There are also many ways to translate &quot;宫保鸡丁&quot;, including &quot;Kung Pao chicken&quot;, &quot;fried diced chicken in Sichuan style&quot; or &quot;sauteed chicken cubes with chili and peanuts&quot;. So many translation versions will not only make readers confused, but also fail to reflect the characteristics and cultural connotation of Chinese dish names. Therefore, the translation of the unified dish names is one of the problems to be solved in correctly understanding Chinese cooking culture. (Lin Hong 1991, 41)<br /> <br /> 目前，国际上没有关于中国菜名翻译的统一的标准，这导致在图书市场和餐厅内出现多个翻译版本，给外国人就餐带来不便与麻烦，严重影响了中国饮食文化的传播。例如，国内“麻婆豆腐”有以下几种不同的翻译：Bean curd with minced pork in hot sauce; Mapo tofu; Tofu made by woman with freckles.笔者认为，最后一种译法不是很贴切，容易引起反感。外国人已熟知并接受”Mapo tofu”的译法，故不解释亦可。第一种译法较为形象，体现了菜肴的做法和原料，让人垂涎欲滴。“宫保鸡丁”五花八门的译法包括”Kung Pao Chicken”, “Fried diced chicken in Sichuan style” 或”Sautéed chicken cubes with chili and peanuts”. 如此多的译名不仅会引起读者思维上的混乱，而且没有很好地体现中国菜名的特点与文化内涵。由此可见，统一菜名的翻译是正确领略中国饮食文化亟待解决的问题之一。 (林红 1991, 41)<br /> <br /> ====1.3 The Neglect of Cultural Connotations of Dishes====<br /> The differences between Chinese and Western cultures lead to the differences between Chinese and Western catering cultures, which in the final analysis stems from the different attitudes towards rationality and sensibility. Chinese people have strong perceptual thinking, so they pursue beauty and artistry. Chinese dishes are full of color, fragrance and other cultural connotations. Westerners pay more attention to rationality, truth and science. The names of Western dishes are easy to understand, and the raw materials and nutrients are relatively clear. For example, onion soup in French style(法式洋葱汤) is used in Western food, while &quot;stewed snake and chicken&quot;(龙凤呈祥) in Chinese food is the soup stewed with snake and chicken. Snake is regarded as a small dragon (Jiao 蛟) in China, and there is a folk saying that pheasant flies on the branch and becomes a phoenix(野鸡飞上枝头变凤凰). Therefore, the snake is compared to the dragon, and the chicken to the Phoenix, which is used to bless and praise things and others. The main ingredient of &quot;more than every year&quot;(年年有余) is fish. &quot;Yu&quot;(余) in Chinese refers to surplus, which is homophonic with &quot;fish”(鱼), which expresses people's good wishes for a prosperous family and surplus every year. If foreigners do not understand the Chinese culture implied in these dishes, they will find this kind of translation very strange. Therefore, cultural factors must be taken into account in translating Chinese dishes to avoid misunderstanding. (Wang Junjian 2017，107)<br /> <br /> 中西文化的差异导致中西饮食文化的不同，而这种差异归根结底源于双方对待理性和感性的不同态度。中国人感性思维较强，故而追求美和艺术性，中餐讲究色香味俱全，通常含有祝福、美好等文化内涵。西方人则更注重理性、真理和科学，西餐菜名通俗易懂，原料和营养成分较为清楚。比如，西餐中的Onion soup in French style(法式洋葱汤),而中餐中的”龙凤呈祥”（Stewed snake and chicken）是用蛇和鸡炖的汤。蛇在中国视为小龙（蛟），且民间有“野鸡飞上枝头变凤凰”的俗语。故把蛇比作龙，鸡比作凤凰，用作对事物和他人的祝福和赞美。”年年有余”（More than every year）的主要食材是鱼，“余”在汉语中指剩余，与“鱼”谐音，表达人们对家业发达、年年有余的美好愿望。如果外国人不了解这些菜隐含的中国文化，则会觉得这种翻译很奇怪。因此，在翻译中国菜名时必须考虑文化因素，避免造成误解。(王君健 2017,107)<br /> <br /> To a large extent, the above problems are caused by the fact that people pay attention to the intuitive feelings in the process of translation, ignore the cultural connotations of dish names, and use inappropriate translation methods. I will try to solve these problems by adopting translation strategies of domestication and foreignization from the linguistic and cultural levels. Next, I will introduce the two translation strategies and analyzes how to use them to improve the quality of translation in the process of translating Hunan cuisine into English. (Xia Ying 2016, 259+273)<br /> <br /> 以上问题很大程度上是因为人们在翻译过程中注重直观的感受，忽略菜名蕴含的文化底蕴，使用不恰当的翻译方法造成的。笔者试图从语言和文化层面采用归化和异化翻译策略来解决这些问题。接下来将介绍着这两种翻译策略并分析在湘菜英译过程中如何运用它们来提高翻译质量。(夏瑛 2016, 259+273) <br /> <br /> ===2. Translation Strategies of Domestication and Foreignization ===<br /> <br /> ====2.1 Definitions of Domestication and Foreignization====<br /> Domestication and foreignization are two different translation strategies in the process of translation. These two terms were first put forward by Lawrence Venuti in his book Translator's Invisibility according to the theory of German philosopher Schleiermacher. (Wang Shaofei 2006,30) Domestication refers to a translation strategy that localizes the source language, takes the target language or target language readers as the destination, and adopts the expressions that the readers are used to convey the content of the original text. It can help readers better understand the translation and enhance its readability and appreciation. Foreignization in the process of translation considers the linguistic characteristics of foreign cultures, absorbs foreign language expressions. It requires translators to approach the author and adopt the corresponding source language expressions to convey the content of the original text. It means that we should take the source culture as the destination. The purpose of using foreignization is to consider the differences of national cultures, preserve and reflect characteristics of foreign cultures and their language styles, and to retain the exotic sentiment for the target readers.（Su Songlonghua 2011）<br /> <br /> “归化”和“异化”是翻译过程中两种不同的翻译策略。这两个术语最初是由劳伦斯韦努蒂( Lawrence Venuti) 根据德国哲学家施莱尔马赫( Schleiermarcher) 的理论在他的著作《译者的隐身》中提出的。(王少飞，2006, 30) 归化指把源语本土化，以目标语或译文读者为归宿，采取目标语读者所习惯的表达方式来传达原文的内容的一种翻译策略。归化翻译要求译者向目的语的读者靠拢。归化翻译有助于读者更好地理解译文，增强译文的可读性和欣赏性。异化在翻译上迁就外来文化的语言特点，吸纳外语表达方式，要求译者向作者靠拢，采取相应于作者所使用的源语表达方式，来传达原文的内容，即以源语文化为归宿。使用异化策略的目的在于考虑民族文化的差异性、保存和反映异域民族特征和语言风格特色，为译文读者保留异国情调。（百度百科,宿松龙华，2011）<br /> <br /> ====2.2 Two Levels of Domestication and Foreignization====<br /> Foreignization and domestication should be investigated from the level of language form and cultural content. (Zhang Zhizhong 2005,46) On the one hand, at the linguistic level adopting the translation strategy of foreignization is beneficial to enrich the expression of the target language, but only in a few cases the purpose of translation is to show the language form of the source language. Domestication, because of its reader-oriented characteristics, can ensure that the translation is easy to understand, and it is favored by readers. Therefore, at the language level domestication is the mainstay and foreignization is the supplement. On the other hand, on the cultural level foreignization can retain the cultural elements and connotations contained in the source language as much as possible, which helps to spread foreign cultures, and its advantages are greater than domestication. However, it is impossible to completely adopt the foreignization strategy, because there are too large cultural differences in cross-cultural communication, and it is necessary to use domestication to remove communication barriers. Therefore, at the cultural level the principle of foreignization as the mainstay and domestication as the supplement is adopted. In addition, using domestication strategies at the language level can clearly express the meaning of the original text, which helps to better reflect the cultural elements expressed by the use of foreignization at the cultural level. In short, when the source language has distinctive national characteristics, the use of a combination of translation strategies of domestication and foreignization can maximize strengths,avoid weaknesses and promote cultural transmission.(Shen Sangshuang，Wang Shuqiong 2017, 87)<br /> <br /> 谈论异化和归化，应从语言形式和文化内容层面考察。（张智中，2005,46）一方面，在语言层面上，采取异化翻译策略有利于丰富目的语的表达方式，但是只有在少数情况下翻译的目的是展现源语的语言形式。而归化由于读者导向性的特点能保证译文通俗易懂，受到广大读者的青睐。故而在语言层面提倡主要采用归化策略，异化策略辅助的原则。另一方面，在文化层面上，异化能尽可能保留源语中蕴藏的文化元素和内涵，有助于传播异国文化，其优势大于归化。但是，完全采用异化策略是不可能的，因为在跨文化交际中存在文化差异过大的情况，需要采用归化来扫除交流障碍。因此，在文化层面上采用异化为主，归化为辅的原则。此外，在语言层面上采取归化策略能清楚的表达原文意思，有助于更好地体现在文化层面采用异化策略所表达的文化元素。总之，当源语具有鲜明的民族特色时，采用归化和异化结合的翻译策略能够扬长避短，促进文化传播。(沈桑爽，王淑琼，2017，87）<br /> <br /> Theoretically speaking, foreignization and domestication are two opposite translation strategies. However, they are closely related and interact with each other in specific translation practices and applications. When domestication and foreignization are applied in the translation of Chinese dish names, the translator should deal with the relationship between the readers and the author. On the one hand, from the perspective of readers we should try our best to use their habitual expressions and consider their way of thinking and understanding ability to make sure that they can understand the translation. On the other hand, we should pay attention to retaining the essence of Chinese traditional culture contained in Chinese dish names, so as not to blindly please readers without knowing to change. This is the basic requirement of a qualified translator of Chinese dish names. (Su Songlonghua 2011)<br /> <br /> 从理论上看异化和归化这两种翻译策略是对立的，然而在具体的翻译实践和应用中二者有紧密的联系，且相互作用。在中国菜名翻译中应用归化和异化翻译策略时，译者应处理好读者与作者之间的关系。一方面，应从读者的角度出发尽可能用其惯用的表达方式，考虑他们的思维方式和理解能力，以达到他们能明白翻译内容的目的。另一方面，应注意保留中国菜名中所蕴含的中国传统文化精髓，做到既不一味取悦读者，也不不知变通（一成不变），这是一位合格的中国菜名翻译者的基本素养。( 百度百科 宿松龙华 2011)<br /> <br /> ===3. Application of Domestication and Foreignization in English Translation of Hunan Cuisine===<br /> <br /> ====3.1 Composition and Nomenclature of Hunan Cuisine====<br /> As one of the eight major cuisines in China, Hunan cuisine has the unique characteristics of color, flavor and taste of Chinese dishes, and its naming also shows different styles. Hunan cuisine can be generally divided into realistic dishes and freehand dishes, which describe their mood. The first type of dishes directly reflects the cooking elements. The second one usually uses rhetorical skills to endow dishes with certain cultural connotations according to their own composition. If foreigners don't understand Chinese culture,from literal translation they don't know the specific methods and raw materials of this kind of dishes, so it is difficult to understand their meanings. (Chen Wei 2007，108)<br /> <br /> 湘菜作为中国八大菜系之一，具有中国菜肴独有的色香味俱全的特点，其命名亦显示不同的风格。湘菜一般可分为写实型菜肴和写意型菜肴，写实型菜肴直接体现烹饪要素。写意型佳肴则通常使用修辞手法，根据其本身的组成赋予菜肴一定的文化内涵。如果外国人不了解中国的文化，单从字面翻译他们不知道这类菜肴具体做法和原料，难以理解其具体含义。(陈蔚 2007，108)<br /> <br /> =====3.1.1 Realistic Dishes=====<br /> Realistic dishes are often named according to the combination of cooking elements. The cooking elements of Hunan cuisine mainly include raw materials(原料), seasonings(调料), knife techniques(刀法), taste(口味) and cooking methods(烹饪方法). Common main ingredients embody fish, meat, chicken, etc.; seasonings involve star anise(八角), cinnamon(桂皮), green onion(葱), ginger(姜), garlic(蒜); knife techniques are various, such as slicing(切片), shredding(切丝), cutting into wicker shapes(切柳) ; the taste is famous for its sour and spicy(酸辣), fresh and tender(鲜嫩), crisp and fragrant(酥脆) taste; the cooking methods are mainly sauted(爆), simmered(煨), stewed(炖), fried(炒), braised(烩) and steamed(蒸). The common combination methods include following three types: cooking materials + methods + knife method, such as sauted shredded pork with green pepper(青椒肉丝); seasoning + raw materials, such as bullfrog with ginger sauce and pepper(姜辣牛蛙), hot and sour radish strips(酸辣萝卜条); taste + cooking method + raw materials, such as smoked fish in five flavors(五香熏鱼). (Chen Wei 2007, 108)<br /> <br /> 写实型菜一般根据其菜肴烹饪要素的组合命名，湘菜的烹饪要素主要包括原料、调料、刀法、口味和烹饪方法。常见的主料包括鱼、肉、鸡等；调料有八角、桂皮、葱、姜、蒜；种类繁多的刀法如，切片、切丝、切柳等；口味以酸辣、鲜嫩、酥脆、香熏著称；烹饪方法以爆、煨、炖、炒、烩、蒸为主。常见的组合方式包括以下三种：烹饪原料+方法+刀法，如青椒肉丝（Sauteed Shredded Pork with Green Pepper）；调料+原料，如姜辣牛蛙（Bullfrog with ginger sauce and pepper ）、酸辣萝卜条（Hot and sour radish strips）；口味+烹饪方法+原料，如五香熏鱼（Smoked fish in five flavors)。(陈蔚 2007，108)<br /> <br /> =====3.1.2 Freehand Dishes=====<br /> There are two types of freehand dishes. The first one is named according to the raw materials, colors, shapes or origin places of the dishes, which not only contains rich historical and cultural backgrounds and local flavors, but also expresses good wishes for good luck and has Chinese characteristics. These dishes are often named after allusions, legends or use metaphors, such as steamed glutinous rice ball (with meat / sugar in it)(姊妹团子), hotpot of snakeheaded fish slices as butterflies out of the soup(蝴蝶飘海). The second one refers to the names of people and place names related to dishes, which has distinctive local characteristics, such as Mao's braised pork(毛氏红烧肉), braised chestnut with green cabbage(板栗烧菜心), Changde rice noodles(常德米粉) and Lixian County stewed pork gut(澧县肠子). (Chen Wei 2007，108)<br /> <br /> 写意型菜包括两种类型。第一种根据菜肴的原料、色形或产地取名，使其不仅蕴含丰富的历史文化背景和地方风味，也表达了吉祥美好的祝愿，更具有中国特色。这些菜常以典故、传说命名或使用隐喻等修辞手法，如姊妹团子（Steamed Glutinous Rice Ball (with meat/sugar in it)）、蝴蝶飘海(Hotpot of snakeheaded fish<br /> slices as butterflies out of the soup)。第二种引用与菜肴相关的人名、地名命名，具有鲜明的地方特色，如毛氏红烧肉（Mao's braised pork）、板栗烧菜心（Braised chestnut with green cabbage）、常德米粉(Changde rice noodles)，澧县肠子(Lixian county stewed pork gut)。(陈蔚 2007，108)<br /> <br /> According to the composition and nomenclature of Hunan cuisine and the high acceptability and comprehensibility of domestication and foreignization, translation strategies of domestication-based and foreignization-assisted translation of realistic Chinese dish names reproduces the original style well. The strategies of adopting foreignization as the main and domestication as the supplement for the English translation of freehand dish names can better convey the interesting characteristics of Chinese cuisine and the broad and profound cultural heritage. In the following I will use exemplification to analyze it from different perspectives. (Jiang Jun 2017, 203)<br /> <br /> 根据湘菜构成及命名方法和归化和异化的可接受度高和可理解性强的特点，翻译写实型中国菜名时采用归化为主、异化为辅的翻译策略很好地再现原作的风格，而针对写意型菜名英译采用异化为主、归化为辅的策略能较好地传达中餐妙趣横生的特征及博大精深的文化底蕴。下面我将从不同的角度使用例证法具体分析。 (姜君 2017, 203)<br /> <br /> ====3.2 At the Language Level Domestication is the Mainstay and Domestication is the Supplement====<br /> Domestication at the language level means that the English translation of Hunan dishes should use common and appropriate expressions in English to convey the meaning of Chinese dish names at different levels of linguistics such as vocabulary, semantics, and grammar, so as to ensure the acceptability of English translation of dish names for foreigners. (Shen Sangshuang，Wang Shuqiong 2017, 88)<br /> <br /> 语言层面的归化指湘菜的英译要在词汇、语义、语法等语言学的不同层面上，使用英语中常见、贴切的表达方式传达中国菜名的含义，以确保英译菜名在外国人中的接受度。(沈桑爽，王淑琼 2017, 88)<br /> <br /> =====3.2.1 Domestication at Lexical Level=====<br /> “童子鸡”can be translated as “Tender chicken”(嫩滑的鸡肉), but it cannot be translated as “chicken without sexual life”(没有性生活的鸡). According to this literal translation, “童子鸡” refers to chickens that have not mate. However, this dish originally emphasized that the chicken is tender and tastes very good, not the age of the chicken. Therefore, when translating “童子鸡”, the strategy of domestication is used at the lexical level. The word “Tender” is used to express the concept of “童子”, which means that the chicken is not mature enough. It expresses the essence of this dish vividly and avoids misunderstanding. This method is also applicable to the English translation of “鱼香肉丝”. “Shredded pork with garlic sauce or Fish-flavored shredded pork in hot sauce”(蒜蓉猪肉丝或鱼香肉丝) refers to shredded pork mixed with minced garlic. The “fish fragrance”(鱼香) of this dish does not refer to the fragrance of fish meat, but a complex flavor composed of various seasonings such as pickled pepper, sugar and vinegar. The above-mentioned translation not only retains the original meaning of Chinese, but also arouses foreigners' associations with the smell of fish. (Lin Hong 1991, 41)<br /> <br /> “童子鸡”可译为Tender chicken(嫩滑的鸡肉)，但不能译成“chicken without sexual life”。按照这种字面翻译，“童子鸡”指的是没有交配的小鸡。然而，这道菜原本强调的是鸡肉很嫩，口感十分好，而非鸡的年龄。因此翻译“童子鸡”时在词汇层面使用归化策略，用tender表示“童子”这个概念，指鸡尚未发育成熟，可传神地表达这道菜的本质，避免误解。这种方法同样适用于“鱼香肉丝”的英译。“鱼香肉丝”（Shredded pork with garlic sauce or Fish-flavored shredded pork in hot sauce）指混合着蒜末的肉丝。这道菜的“鱼香”并非指鱼肉的香味，而是一种用泡椒、糖、醋等多种调料组成的复合味道。上述译法即保留了中文的原意，又能引起外国人对鱼香味的联想。(林红 1991, 41)<br /> <br /> In addition, pinyin can be used in English translation of dishes with Chinese characteristics which have been included in major foreign English dictionaries, such as wonton(馄饨), tofu(豆腐), jiaozi(饺子) and Shaomai(烧卖). These dishes are traditional Chinese food which has been widely accepted by foreigners. Moreover, the use of pinyin can promote Chinese and Chinese cooking culture. (Shen Sangshuang, Wang Shuqiong 2017, 88)<br /> <br /> 此外，具有中国特色且被国外主要英文字典收录的，使用汉语方言拼音或音译拼写的菜名，英译时可使用拼音，如“馄饨”（Wonton）、“豆腐”（Tofu）、“饺子”（Jiaozi）、“烧卖”(Shaomai)等。这些菜肴都是已被外国人普遍接受的中国传统食品，使用拼音能推广汉语和中国饮食文化。(沈桑爽，王淑琼 2017, 88)<br /> <br /> =====3.2.2 Domestication at Semantic Level=====<br /> Domestication at semantic level is conducive to convey the meaning of dish names simply and clearly. For example, “一卵孵双凤” can be translated as “two phoenix were hatched from an egg (two chickens, winter bamboo shoots and mushrooms steamed in watermelon)”. From the above translation you can clearly understand the main ingredients and cooking methods of this dish, so as not to be confused by its name. (Zhang Yang 2016, 48) In another example, “金鱼戏莲” is made with squid as the main ingredient. The squid rolls resemble goldfish, playing among the lotus clusters composed of eggs, shrimps and green beans. The name of the dish comes from it. If this dish is directly translated as “goldfish plays with lotus” with the use of foreignization, it is difficult for people to figure out what it means. Therefore, “Oil-fried squid files and steamed shrimp meat, albumen and lima bean to mean”(金鱼戏莲) vividly expresses the essence of this dish, and a vivid and interesting picture can be constructed in the reader's mind through the representation of the image of “floating lotus”(浮莲).Similar examples include “stewed assorted meats/hotchpotch” (全家福), “hotpot of snakeheaded fish slices as butterflies out of the soup” (蝴蝶飘海) and “steamed whole hen with litchi, longan, jujube, lotus and medlar”(五元神仙鸡). (Zhang Yanping, Zhang Weiping 2016, 120)<br /> <br /> 语义上的归化有利于简单明了地传达菜名的含义。例如，“一卵孵双凤”可译为Two phoenix were hatched from an egg(two chickens, winter bamboo shoots and mushrooms steamed in watermelon).从上述翻译可以十分清楚地了解这道菜的主要食材和制作方法，从而不会再被菜名弄得一头雾水。 （张扬 2016，48）又如，“金鱼戏莲”以鱿鱼为主料制作而成，鱿鱼卷似金鱼，嬉戏于由鸡蛋、虾仁和青豆组成的群莲中，菜名由此而来。如果采用异化策略直接译为Goldfish plays with lotus,外国人很难弄明白这指的是什么。故用Oil-fried squid files and steamed shrimp meat, albumen and lima bean表示“金鱼戏莲”,既十分形象地表达了这道菜的本质，又通过“浮莲”意象的再现，能在读者脑海里构建一幅生动有趣的画面。类似的例子还包括“全家福”（Stewed assorted meats/hotchpotch）、“五元神仙鸡”（Steamed whole hen with litchi, longan, jujube, lotus and medlar）、“蝴蝶飘海”（Hotpot of snakeheaded fish slices as butterflies out of the soup）。 (张艳萍, 张伟平 2016, 120)<br /> <br /> =====3.2.3 Domestication at Grammatical Level=====<br /> The domestication of Hunan cuisine at the grammatical level is mainly reflected in the use of prepositions and verb past participles in English translation of dish names. There are various cooking methods for Hunan cuisine, including simmer, stew, steam, fry, smoke, and the past participle is usually used in the translation. Such as “Dongting spicy salted duck” (洞庭酱板鸭), “Dongting barbecued mandarin fish”(网油叉烧洞庭桂鱼), and “fried winter bamboo shoots”(油辣冬笋尖).Dishes with main ingredients and supplemented by ingredients, seasonings, and soups are generally translated by prepositions, such as “preserved egg with hot pepper”(尖椒皮蛋),“fragments of garlic bolt without using knife”(手撕蒜苗), “Yongzhou fried duck pieces together with its blood and balsam pear” (永州血鸭) and “braised pig knuckle in brown sauce” (走油猪腿). (Shen Sangshuang, Wang Shuqiong 2017, 88)<br /> <br /> 湘菜在语法层面的归化主要体现在英译菜名时介词和动词过去分词的使用方面。湘菜多种多样的烹调方法，包括煨simmer、炖stew、蒸steam、炒fry、熏smoke，在译文中通常用过去分词。如“洞庭酱板鸭”（Dongting spicy salted duck ）、“网油叉烧洞庭桂鱼”（Dongting barbecued mandarin fish）、“油辣冬笋尖”（Fried winter bamboo shoots）。而以主料为主，配料、调料、汤汁为辅的菜肴一般会使用介词翻译，如“尖椒皮蛋”（Preserved Egg with Hot Pepper）、“手撕蒜苗”（Fragments of garlic bolt without using knife）、“永州血鸭”（Yongzhou fried duck pieces together with its blood and balsam pear）、“走油猪蹄”（Braised pig knuckle in brown sauce）。 (沈桑爽，王淑琼 2017, 88)<br /> <br /> ====3.3 At the Cultural Level Foreignization is the Mainstay and Domestication is the Supplement====<br /> As we all know, the exchange of food culture in cross-cultural communication is closely connected with daily life. Chinese dishes are both delicacy and art. They have profound cultural heritage and aesthetic value. There are many dishes named after allusions, legends and dishes with names of people and places in Hunan cuisine. Only when people understand their cultural background can they be translated into English more successfully. At the cultural level the translation strategies of foreignization as the mainstay and domestication as the supplement helps to inform customers of the taste, cooking method and ingredients of the dishes to the greatest extent, and accurately convey the cultural elements of the dishes. In my opinion, to use the foreignization translation strategy to translate Chinese food must first understand the characteristics of the naming of Western food. According to the famous French chef Auguste Escoffier, Western dishes are usually named after people, places, gods, historical events, and main ingredients. Comparing the naming and composition characteristics of Hunan cuisine and Western cuisine, it can be seen that when translating freehand Chinese cuisine names, the taste, ingredients, cooking methods and necessary knowledge background of the dishes must be reflected. So understanding the characteristics of Western dishes names is beneficial to the translation of Chinese freehand dish names. (Zhou Yonghong 2008, 101)<br /> <br /> 众所周知，跨文化交际中饮食文化的交流与日常生活紧密相连。中国菜品既是佳肴又是艺术品，其具有深厚的文化底蕴和审美价值。湘菜中有许多以典故、传说命名的菜肴以及带人名和地名的菜肴，人们了解其文化背景，才能较成功地将其译为英语。文化层面采取异化为主，归化为辅的翻译策略有助于最大程度告知顾客菜肴的口味、烹饪法和食材，精准传递菜品的文化元素。我认为，使用异化的翻译策略翻译中餐首先要了解西餐的命名的特点。法国名厨Auguste Escoffier 的认为，西餐菜肴通常用人名、地名、神灵、历史事件以及主要原料等命名。对比湘菜和西餐命名和构成特点，可知翻译写意型中餐菜名时需要体现菜名的口味、食材、烹饪方法以及必要的知识背景。由此可见，了解西餐菜名的特点有利于翻译中国写意型菜名的翻译。(周永红 2008, 101)<br /> <br /> =====3.3.1 Dishes Named after Allusions and Legends=====<br /> 以典故、传说命名的菜肴<br /> There are many dishes named after allusions and legends in Chinese and Western cuisine. These dishes have historical and cultural origins and are not suitable for literal translation. For example, the famous French dish Veronique（薇洛妮克）is named after the mythical goddess. The white juice symbolizes her beautiful appearance, and the white grapes next to it symbolize her tears.“姊妹团子” is a local snack in Hunan Province. It is made by grinding the finest glutinous rice into a fine powder, and the inset is a meat filling made of raw materials such as fresh meat, mushrooms, monosodium glutamate and sesame oil. The shape is a long cone with a pointed top and a flat bottom. After being steamed, it looks like a small white pagoda. The origin of this dish is as follows: in the early 1920s the young and beautiful Jiang sisters set up a stall selling glutinous rice dumplings in the polder of the Fire Palace in Changsha. The dumplings they made were delicious and beautiful, and people were full of praise for it. The translation “Steamed glutinous rice ball (with meat/sugar in it)” points out that the main raw material of this dish is rice ball, the auxiliary materials are meat and sugar, and the cooking method is steam, which makes it clear at a glance (operations12, 2008)<br /> <br /> 中餐和西餐中有不少以典故、传说命名的菜肴。这些菜有历史文化渊源，不适合采用直译的方法。例如，法国名菜Veronique（薇洛妮克）以神话女神命名，白汁与象征着她的美丽容貌，配在旁边的白色提子象征着她的眼泪。“姊妹团子”是湖南省地方特色小吃。其制作时用上等糯米磨成细粉，内陷是由鲜肉、香菇、味精、芝麻油等原料构成的肉馅。外形是尖顶平底长型锥体，蒸熟后像一座白色的小宝塔。这道菜肴的由来如下：本世纪20年代初在长沙火宫殿的圩场上年轻漂亮的姜氏姐妹摆了一个卖团子的摊子，她们制作的团子既好吃又好看，人们对此赞不绝口。译文“Steamed glutinous rice ball (with meat/sugar in it)”指出此菜主要原料是rice ball、辅料为meat和sugar,烹饪方法为steam,让人一目了然。(百度百科operations12, 2008)<br /> <br /> “湘西土匪鸭”is a dish named after an allusion. It is said that a woman surnamed Zhang(张氏) opened a restaurant in Xiangxi (湘西，the west of Hunan province), but her business was not very good due to the large area and sparse population. To make matters worse, her ducks raised in the house are fierce and domineering, ruining the crops every day, not laying eggs properly and causing Zhang to hold the bamboo poles and rush and scold them every day: “You damn ducks, you are like bandits!” She was so angry with these ducks to kill all of them. Because these wild ducks are delicious and Zhang's cooking skills are good, the ducks she burns are soft and tender, and they are delicious, attracting people to smell the fragrance and attracting a large number of guests. Someone asked what this dish was called. Because of the ducks Zhang was extremely angry at that time, and she casually replied: “What kind of dish? Wild ducks!” Since then this dish has become famous. (百度百科) If we use the translation strategy of domestication to translate this dish as “Brigand in Xiangxi ducks”, it is incredible. Translating “湘西土匪鸭” into “Xiangxi wild ducks” not only allows guests to understand the special ingredients of the dish, but it embodies the legendary story of Xiangxi. (Zhang Yanping, Zhang Weiping 2016, 121-122)<br /> <br /> “湘西土匪鸭”是以典故命名的菜肴。传说湘西以前一个姓张的妇人开了一家餐馆，由于地广人稀，生意不太好。更糟糕的是，家中饲养的鸭子凶悍霸道，天天糟蹋庄稼，不好好下蛋，害得张氏天天拿着竹竿又赶又骂:“你们这些该死的鸭子，简直像土匪!。她一气之下把这些鸭子全杀了。由于这些爱撒野的鸭子肉质鲜美，且张氏厨艺很好，她烧的鸭子酥软嫩滑，鲜香绝伦，引得食客闻香而至,吸引大量的客人。有人问这叫什么菜，张氏气极，随口答：“什么菜/土匪鸭!”从此这道菜名声大震。(百度百科)若使用归化的翻译策略将这道菜译为“Brigand in Xiangxi ducks”让人匪夷所思。把“湘西土匪鸭”译成“Xiangxi wild duck”不仅能让客人了解菜的特殊食材，而且体现了湘西这个传奇的故事。 (张艳萍, 张伟平 2016, 121-122)<br /> <br /> =====3.3.2 Dish Names with Place Names and People's Names=====<br /> 带地名和人名的菜名<br /> There are usually two translation methods for the name of a dish with a person's name and a place name in the name of a western dish: dish name + place + style; place /person’s name + dish name. For example, Macedonia de fruta(马其顿水果) uses the second translation method, indicating the origin and ingredients of the dish name. This is a classic dessert in Spanish restaurants. All kinds of fruits are cut into small pieces and then mixed with sugar water or juice. It's a little like Chinese fruit with sugar. The name of this dish is related to the Great Alexander of the Macedonian Empire in the fourth century BC. At the age of 30 Alexander established the largest empire in the history of the time and promoted the integration of races, cultures and languages throughout the empire. In the 18th century the French called things that combined various elements &quot;Macedonia&quot;. Therefore, this candied fruit chowder is named &quot;Fruit Macedonia&quot;.“攸县香干”is a famous characteristic traditional soy product in Hunan Province, which originated in Youxian County, Hunan Province(湖南省攸县). This dish tastes smooth and tender. Tofu is easy to taste and has an aftertaste after eating. It is a home-cooked dish which is suitable for all ages. The translation &quot;Dried tofu, Youxian style&quot; uses the foreignization translation strategy to point out from the cultural level that the raw material of the dishes is dried tofu, and it reflects the local characteristics of Youxian County. (zzpingic1130, 2010)<br /> <br /> 西式菜名中带人名和地名的菜名通常有两种翻译方法：菜名+地名+style ; 地名/人名+菜名。例如，Macedonia de fruta(马其顿水果)的译文使用了第二种翻译方法，指明菜名的产地和原料. 这是西班牙餐馆中一道经典的饭后甜点。各种水果切成小丁后，伴上糖水或果汁，有点像咱们中国的糖渍水果。这道菜名和公元前四世纪的马其顿帝国的亚历山大大帝有关。亚历山大大帝在30岁时就建立了当时史上最大的帝国，并促进帝国内各地的种族、文化、语言等的大融合。到了18世纪，法国人就把融合了各种各样元素的事物称之为“马其顿”。因此，这道糖渍水果大杂烩就取名为“水果马其顿”了。“攸县香干”是湖南省著名的特色传统豆制品，起源于湖南省攸县境内。这道菜口感滑嫩、韧性足、口味纯、细而不腻，有点劲道。豆腐很容易入味，吃完后有回味，是一道老少适宜的家常菜。译文“Dried tofu ，Youxian style”采用异化的翻译策略从文化层面指出了菜的原料是烘干的豆腐，而且体现攸县的地方特色。 (百度百科 zzpingic1130, 2010)<br /> <br /> “玉麟香腰”was created by the chef of Peng Yulin(彭玉麟), a famous official in Hengyang(衡阳,a city of Hunan province) in the Qing Dynasty, and the name of the dish came from this. The main ingredient is pork loin. There are a variety of snacks in a bowl. The dishes are divided into seven layers, stacked one after another and shaped like a pagoda(宝塔). It's also known as “pagoda fragrant waist”(宝塔香腰). If this dish is translated as &quot;sweet pig kidney&quot;, it is difficult to explain its cultural heritage, and it does not show the beauty of this dish's visual “step by step”(步步高升) like a pagoda. “玉麟香腰”can be translated into English as “Yulin’s best homely dish”. According to legend, when Peng Yulin returned home to banquet his fellow villagers, he used “玉麟香腰” as the first dish. “Peng Yulin's best family banquet dishes”(彭玉麟最好的家宴菜) can ingeniously explain the origin of this dish and undoubtedly explain why this dish is also called “touwan”(头碗，the first dish). The English translation of the name of the dish implies “top”(顶级，最好). It seems to mean “to reach the highest level”(登塔至级). Translation of “Yulin’s best homely dish” not only conforms to the psychological world of diners, but also fully considers the audience’s cognitive needs and aesthetic expectations. （Zhang Yanping，Zhang Weiping，2016,121-122）<br /> <br /> “玉麟香腰”是清代衡阳名官彭玉麟家厨创作而成，菜名由此而来。其主要食材是猪腰，一个碗里有多种小吃，菜分七层，层层堆砌，形状象宝塔，又名“宝塔香腰”。若将此菜译为“Sweet pig kidney”则很难解释它的文化底蕴，亦没有呈现这道菜视觉上“步步高升”如宝塔的美感。，“玉麟香腰”可以英译成 Yulin’s Best Homely Dish，因相传彭玉麟回乡宴请父老乡亲时，为表示丰盛，第一道菜就用的是“玉麟香腰”。“彭玉麟最好的家宴菜”能巧妙地解释了此菜的起源，无疑说明了此菜又称为“头碗”的缘由，且菜名英译中“最好”有蕴含“顶级”，似“登塔至级”之意：菜英译名 Yulin’s Best Homely Dish 不仅顺应了食客的心理世界，也充分考虑到受众的认知需要与审美期待。（张艳萍，张伟平，2016,121-122）<br /> <br /> ====3.4 Limitations of Domestication and Foreignization in English Translation of Hunan Cuisine====<br /> Translation strategies that adopt the combination of domestication and foreignization can ensure the clarity of English translation of Hunan cuisine and retain its cultural connotation, but there are still shortcomings, which are mainly reflected in the following three aspects. Firstly, foreignization requires translators to move closer to readers and try their best to use their familiar and accustomed expressions, but sometimes it is difficult to find corresponding words in the target language, especially when we translate the culturally loaded words. For example, the dishes which represent happiness and lucky in Chinese include “四喜丸子”, “百鸟朝凤” and “全家福”. When we translate these dishes from Chinese into English, we don't know which words should be used to convey auspicious and beautiful meanings on the basis of accurately expressing the meaning of them. Secondly, due to the limitation of menu capacity, the meaning of Chinese dishes named after allusions, legends, and myths can’t be fully expressed. If it is literally translated or transliterated, the guests may be very confused. The choice of transliteration and annotation is too much content, which violates the principle of concise menus. For example, if we translate“佛跳墙” into “Fotiaoqiang” or “Buddha jumping the wall”, it does not reflect the essence of this dish. “Fotiaoqiang-steamed abalone with shark’s fin and fish maw in broth” is more appropriate, but not concise enough. Thirdly, due to the variety of cooking methods and seasonings in China, when translating Hunan cuisine into English the use of domestication is beneficial to people who understand Chinese food culture, but for most foreigners who do not know or are not familiar with these cooking methods and seasonings this type of translation will increase the difficulty of understanding.(Fan Jiwen 2016, 13-14) For example,“干锅烧明虾” and “红烧肉” both have the word “burn”(烧), but the translations are completely different. They should be translated as follows: “Fried prawns with pepper sauce” and “braised pork with brown sauce”. The cooking method of the first dish is “fried”(煎), and the second dish is “stewed”（炖）.（Zhang Yang，2016,48）<br /> <br /> 采用归化和异化结合的翻译策略能最大限度地保证湘菜译文清晰明了，保留其蕴含的文化内涵，但仍有不足，主要体现在以下三个方面。第一，异化要求译者向读者靠拢，尽可能用他们熟悉和习惯的表达方式，但有时候很难在目的语中找到对应的词语，尤其是文化负载词的翻译。比如汉语中表示吉祥的菜包括“四喜丸子”、“百鸟朝凤”、“全家福”，翻译时在准确表达菜名含义的基础上不知道该用什么词来传达吉祥美好的意思。第二，由于菜单容量的限制，以典故、传说、神话等命名的中国菜肴的含义不能完全表达。如果直译或者音译，客人可能会十分困惑。选择音译加注解的方式则内容太多，违背菜单简洁的原则。例如，“佛跳墙”如果译成“Fotiaoqiang”or “Buddha jumping the wall”未体现这道菜的本质。“Fotiaoqiang-steamed abalone with shark’s fin and fish maw in broth”比较贴切，但不够精简。第三，由于中国的烹饪方法和调料多种多样，英译时使用归化的翻译策略对于了解中国饮食文化的人来说是有利的，但是对于大部分不知道或者不熟悉这些烹饪方法和调料的外国人来说，这类的译文会增加他们的理解难度。(范继文 2016, 13-14) 比如， “干锅烧明虾”与“红烧肉”都有“烧”字，但是译法却是完全相同的，应该分别翻译如下：“Fried Prawns with Pepper Sauce”与“Braised Pork with Brown Sauce”。第一道菜的烹饪方法是“煎”，第二道菜则是“炖”。（张扬，2016,48）<br /> <br /> ===Conclusion===<br /> Although foreignization and domestication are theoretically opposite, they are complementary and indispensable in the process of English translation of Chinese dish names. Taking translation strategies of domestication and foreignization from the linguistic and cultural levels can not only be faithful to the original, but also embody the rich cultural connotations and Chinese elements contained in the dish names. Therefore, the English translation of Chinese dish names is an indispensable part of cross-cultural communication and an important link in spreading Chinese traditional culture. I hope this chapter can provide some valuable reference for future research on the English translation of Chinese dish names. (Wang Yingying, Zhang Yu 2009, 58)<br /> <br /> 尽管异化与归化在理论上是对立的，但在中国菜名英译过程中二者的作用是相辅相成，缺一不可的。针对写实型和写意型的菜肴从语言和文化层面采取异化和归化的翻译策略不仅能够尽可能地忠于原文，还可以体现菜名中蕴含的丰富文化内涵和中国元素。由此可见，中国菜名的英译是跨文化交际中不可或缺的一部分，是传播中国传统文化的重要环节。希望本文能为未来中国菜名英译研究提供一些有价值的参考。 (王瑛瑛， 张瑜 2009, 58)<br /> <br /> ===References===<br /> *Chen Wei. 陈蔚. (2007). “从中式菜名的英译看异化与归化策略的运用” [ Application of Foreignization and Domestication in the Translation of Chinese Dish Names]. “黄石理工学院学报” [Journal of Huangshi Institute of Technology] (1):107-108.<br /> *Fan Jiwen. 范继文. (2016). “归化异化理论视角下的中式菜名英译研究——以川菜菜名翻译为例” [A study on the English translation of Chinese Dish Names from the Perspective of Domestication and Foreignization-Taking Chuan Cuisine as an Example]. Tianjin: 天津财经大学 [Tianjin University of Finance and Economics].<br /> *Lin Hong. 林红. (1991). “浅析中国菜名的英译问题” [A Study on the Problems of English Translation of Chinese Dish Names]. “四川烹饪高等专科学校学报” [Journal of Sichuan Culinary College] (2):41-42.<br /> *Jiang Jun. 姜君. (2017). “浅析异化与归化视角下的中餐菜名英译” [A Study on the English Translation of Chinese Dish Names from the Perspective of Foreignization and Domestication]. “语言文化” [Language and culture](3):203.<br /> *Operations (2008.3.10). 姊妹团子. [Steamed Glutinous Rice Ball]. &quot;Baidu Encyclopedia&quot;. https://baike.baidu.com/item/姊妹团子.<br /> *Su Songlonghua. 宿松龙华. (2011.1.13). 归化异化. [Domestication and Foreignization]. “Baidu Encyclopedia”. https://baike.baidu.com/item/归化异化.<br /> *Shen Sangshuang, Wang Shuqiong. 沈桑爽，王淑琼. (2017). “传统杭帮菜名称英译的归化与异化翻译策略研究” [A Study on the Translation Strategies of Domestication and Foreignization in the English Translation of the Names of Traditional Hangbang Dishes]. “安徽文学” [Anhui Literature] (8):87-88+104.<br /> *Wang Junjian. 王君健. (2017). “中国菜名翻译现状与思考” [Translation Status and Thoughts of Chinese Dish Names]. “海外英语” [Overseas English] (11):107-108.<br /> *Wang Shaofei. 王少飞. (2006). “文学翻译的异化与优化” [Foreignization and Optimization of Literary Translation]. Beijing: 对外经济贸易大学 [Foreign Economic and Trade University].<br /> *Wang Yingying, Zhang Yu. 王瑛瑛，张瑜. “异化与归化策略在中国菜名翻译中的应用” [The Application of Foreignization and Domestication Strategies in the Translation of Chinese Dishes]. “商洛学院学报” [Journal of Shangluo University] (3):54-58.<br /> *Xiong Bing. 熊兵. (2014). “翻译研究中的概念混淆——以‘翻译策略’、‘翻译方法’和‘翻译技巧’为例” [Conceptual Confusion in Translation Studies: a Case Study of &quot;Translation Strategies&quot;, &quot;Translation Methods&quot; and &quot;Translation Skills&quot;]. “中国翻译” [China Translators Journal] (3):82-88.<br /> *Xia Ying. 夏瑛. (2016). “浅谈中国菜名英译中存在的一些问题及对策研究” [A Study on the Problems and Measures in the English Translation of Chinese Dish Names]. “科技视界” [The Vision of Science and Technology] (26):259+273.<br /> *Zhang Yang. 张扬. (2016). “中餐菜名的英译研究——以湘菜菜名为个案” [A Study on the English Translation of Chinese Dishes: Taking Hunan Cuisine as an Example]. “英语广场” [English Square] (6):47-48.<br /> *Zhou Yonghong. 周永红. (2008). “接受美学视阈下的湘菜翻译探讨” [A Study on the Translation of Hunan Cuisine from the Perspective of Reception Aesthetics]. “贵州工业大学学报” [Journal of Guizhou University of Technology] (1):101-102+105.<br /> *Zhang Yanping, Zhang Weiping. 张艳萍，张伟平. (2016). “基于语料库的湘菜菜名英译研究” [A Corpus-based Study on the English Translation of Hunan Dishes]. “南华大学学报” [Journal of Nanhua University] (1):119-122.<br /> *Zzpingic1130 (2010.8.7). 攸县香干. [Dried Tofu, Youxian Style]. “Baidu Encyclopedia”. https://baike.baidu.com/item/攸县香干.<br /> *Zhang Zhizhong. 张志中. (2005). “兼容并蓄 双层操作——异化归化之我见” [Inclusive and Double Operation -- My View on Foreignization and Domestication]. “语言与翻译” [Language and translation] (2):44-48.</div>

Qu Miao https://bou.de/u/index.php?title=History_of_Translation_Studies_6&diff=113973 2020-12-17T17:20:56Z

<p>Qu Miao: /* How to Keep “Chineseness” in Idiom Translation from Chinese to English 瞿淼 202070080604 Qu Miao */</p> <hr /> <div>这里是《翻译学史》的书稿第六部分(Part 6)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> *Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> *Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]<br /> *Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].<br /> <br /> ='''Foreignization and Domestication'''=<br /> <br /> <br /> ==Domestication and Foreignization in Translation from the Perspective of Functionalist Approaches 汤蓓 Tang Bei==<br /> &lt;center&gt; 汤蓓 Tang Bei, 202070080607.&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> Translation is purposeful and trans-cultural communication. And domestication and foreignization are two strategies to cope with cultural differences in translation. This thesis attempts to explain the choice of demestication and foreignization in translation by case studies from the perspective of functionalist approaches.<br /> <br /> ==='''Key words'''===<br /> domestication; foreignization;functionalist approaches<br /> <br /> ==='''摘要'''===<br /> 翻译是一种有目的的跨文化交际，处理翻译的文化差异可以使用两种方法：归化和异化。本文从德国功能派翻译理论出发，利用该理论的主要观点，从翻译功能的角度分析译者在翻译过程中对翻译的两大策略——归化与异化的选择做出解释。<br /> <br /> ==='''关键词'''===<br /> 归化；异化；功能派理论<br /> <br /> ==='''Introduction'''===<br /> Translation, bridging the world of different cultures together, is a cross-cultural activity to the essence as well as an important medium to promote cultural communication. However, due to the differences between materials, customs, religions, thoughts, living environments and language systems, cultural gaps, independent of man’s will, exist objectively, which cause the main difficulties in cultural communication. Only by adopting proper translation strategies can translators reduce cultural conflicts and effectively achieve cultural communication. There are arguments in translation circles on which translation strategy is the better one to remove cultural confusion and promote cultural communication. Domestication and foreignization are two points at issue. Some are for domestication, and some are for foreignization.<br /> <br /> In 1970s, the German functionalist approaches emerged. “Functionalist” means focusing on the function or functions of texts and translations. Functionalism is a broad term for various theories that approach translation in this way. Although Skopostheory has played a major role in the development of this trend. For the functionalist, translation is a purposeful activity, Nord had mentioned that a complex action designed to achieve a particular purpose.(Nord,1997) .The top-ranking rule for any translation is thus the “Skopos rule”, that is “the end justifies the means” (Nord 1997:29). Plus Holz-Manttari’s theory of tranlational action, Reiss’s text typology, the functionalism is intended to solve the eternal dilemma of many issues in translation studies, and the strategies of domestication and foreignization are without exception.<br /> <br /> From the perspective of functionalist approaches, the choice of translation strategies depends on the functions of the texts, the Skopos. To achieve the prospective purposes, the translator has the freedom to choose the method he needs domestication or foreignization, or both. The functionalist approaches provided a perspective of translation studies.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:24, 11 December 2020 (UTC)<br /> <br /> ===Chapter1: Brief Introduction of Domestication and Foreignization===<br /> ====Definition of Domestication and Foreignization====<br /> Domestication and foreignization, two different yet functionally related strategies, the two terms were formally put forward by Laurence Venuti, aiming at explaining two kinds of translation strategies in The Translator’s Invisibility in 1995. Venuti claimed that he traced the root of the terms back to Friedrich Schleiermacher’s famous notion about translation. Schleiermacher, a German theologian and philosopher, said in a lecture in 1813 on the different methods of translation, which stated that “There are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him” (Venuti 1995:37).<br /> <br /> According to Venuti, “domestication means bringing the foreign culture closely to the reader in the target culture, making the text recognizable and familiar. Foreignization, on the other hand, means taking the reader over to the foreign culture and making him or her see the differences” (Venuti 1995:148).<br /> <br /> Mark Schuttleworth and Moria Cowie defined domestication and foreignization in the following way: “Domesticating translation is a term used by Venuti to describe the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL readers”, while “Foreignizing translation is a term used by Venuti to designate the type of translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original”. (Schaffner 1995:21)<br /> <br /> To sum up above, the conclusion can be drawn like this: domestication refers to a reader-oriented translation which makes use of acceptable expressions in the target culture to make the target text easy to understand and suitable for the target text readers. Foreignization translation is a culture-oriented translation, which tries to retain the charm of the original text as much as possible in order to preserve the flavour of the original text.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:26, 11 December 2020 (UTC)<br /> <br /> ====Supporter of Domestication and Foreignization====<br /> Eugene. A. Nida, a famous American translation theorist dedicated to the communicative function of translation, is widely considered to be the most important supporter for domestication. Nida understands the concepts of domestication and foreignization as “dynamic or functional equivalence” and “formal equivalence” or “formal correspondence”. Dynamic equivalence is a principle of translation. According to this principle, the translators translate the original text with the purpose of making the impact of target language wording on the target culture readers. (Nida&amp;Taber, 1969:200). He argues that, “Under normal circumstances, translators always change the form of the original text ,but as long as the conversion rules change the consistency of transfer in the context of the source language to follow the rules and follow the anti-conversion target language, then the information is retained, and translation is faithful”. (Nida, 1964:118) Nida divides equivalence into two levels : the lowest level and the highest level of equivalence. The lowest level on the translation is of important and basic requirements; while the highest level on the translation is the ideal, and is therefore difficult to achieve. If the translator is unable to achieve the lowest level of equivalence, it is not enough. He also states that: “The purpose of dynamic equivalence in the translation is to achieve natural expression and to link the receptor and relevant behavior patterns within receptor’s cultural context.” (Nida, 1964:165) The natural expression indicates fluency is very important to this translation theory. Apparently, domestication in Nida’s works is involved in this fluency. Nida and other proponents of domestication have their own reasons: First, it is not only unrealistic, but also dangerous for translators to try to impose the linguistic and cultural norms of the source text on the target text. Language barriers and cultural barriers should be overcome in a good translation. Second, since translation is an important and necessary medium in both cross-linguistic and cross-cultural communication, the behavior patterns of the target culture should absorb some parts of the source culture in translation. Third, the language of the translated text should be natural, authentic and understandable, which is one of the requirements of translation. This requirement aims to avoid the misunderstanding caused by the target audience because of the language barriers. Domestication is considered to be the most important from the perspective of “natural expression” in Nida translations.<br /> <br /> While Venuti, who is the famous representative of the foreignization school questioned Nida’s translation strategy, and proposed his own “resistant strategy” against the dominant fluency. He argues that “cultural differences will be contained in fluent translation strategy, which in fact is a practice of cultural imperialism” (Venuti, 1995:20). Venuti points out that foreignizing strategy of resistance is a pressure on those values to show the linguistic and cultural differences between the original and the translated text. By resisting the dominant cultural values, the role of resistant strategy in questioning, changing and destroying the native cultural norms is positive. With the destruction of the cultural norms of the target language, foreignization translation maintains foreignness and culture unique. Venuti sees domestication as a way for a strong culture to exert cultural hegemony over a weak culture. Considering the cultural inequality, domestication has more significance. Thus, “the foreignization translation in English can be a form which is based on the interests of democratic geopolitical relations. Venuti’s foreignizating strategy of resistance has a positive impact on studies about translation. He focuses translation not only on the language level, nor only view domestication and foreignization as translation strategies.Venuti and other proponents of foreignization argue reasons as following: First of all, “cultural authenticity” which embodies the characteristics of a foreign culture is one of the basic principles of foreignization translation. Only through the destruction of cultural norms of the target language, can foreignization maintain foreignness and cultural characteristics of foreign text. The supporters for foreignization hold that the target readers want to feel exoticism of the translated text. The translators should present a new cultural identity to the readers, because that is the purpose of the reader to read translated works. Thus readers may know the real outside world through translated works. The translators should have confidence in the readers’ intelligence and imagination to appreciate cultural differences. Third, the exchange and dissemination of culture should be one of the main purposes of the translation. The introduction of authentic exotic culture promotes cultural exchanges. Only when translation can transfer the source linguistic phenomenon and cultural phenomenon, can it be seen as faithful translation. Cultural communication can improve the development and prosperity of the local culture by means of foreignization translation. The local culture can be greatly enriched by absorbing nutritious heterogeneous culture. The culture of a nation will become energetic and influential through an open and receptive attitude towards foreignness.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:28, 11 December 2020 (UTC)<br /> <br /> ====My Understanding on Domestication and Foreignization====<br /> As it is known that the argument about domestication and foreignization has a long period history. In these arguments, the translators always focus on one while ignores the another. In fact, domestication and foreignization have both its advantages and disadvantages. Actually, we should learn these two kinds of strategies from the perspective of a neutral standpoint. From above mentioned, it can be concluded that domestication can effectively avoid the misunderstanding of the original text by cultural differences. Translation is a kind of cultural exchange, and the main task of the translator is to establish effective communication between different cultures by eliminating cultural conflicts. Such communication may be effective in the source culture, but may not be effective in the target culture. The target audience can easily interpret the translated text in terms of their familiar cultural norms. If the information in the translation is within the understanding of the target audience, this translation can better convey the message. If not, the message may be misunderstood. While in foreignization, it can be concluded that the target readers want to experience a foreign culture. In other words, it is usually presumed that understanding foreign culture is one of the main purposes of the target readers in reading translated works. Generally speaking, foreignization is relatively smoother, simpler, clearer and more conventional, and can entertain ordinary readers and achieve a lively effect because the expression and style of such translation are familiar to the target readers. Foreignization is somewhat clumsy, unnatural and unfamiliar, and can be used to introduce foreign culture, history and philosophy, and let readers feel the exotic culture and customs. However, foreign cultural images and language features may cause information overload for readers. In a word, both domestication and foreignization have its advantages and disadvantages so it is hard to say which one is better. So we need a theoretical framework to guide us how to choose the translation strategy.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:29, 11 December 2020 (UTC)<br /> <br /> ===Chapter2:Brief Introduction of Functionalist Approaches===<br /> ====Skopos Theory====<br /> Skopos theory was developed by Hans Vermeer in the late of 1970s. In the translation of non-literary text types such as scientific and academic papers, instructions for use, tourist guides, contracts etc, Vermeer came to realize that the contextual factors surrounding the translation cannot be ignored. These factors include the culture of the intended of the target text and of the client who has commissioned it, and, in particular, the function which the text is to perform in that culture for those readers. Later Vermeer and his followers continue to complete the theory and prove that it also can be applied to literary translation. Within the framework of Skopos theory, translation is not regarded as a process of transcoding, but as a specific form of human action. Like any other human action, translation has a purpose, and the word Skopos is used as a technical term for the purpose of a translation.<br /> <br /> The general and primary rule of Skopos theory is the skopos rule. Vermeer assumes that as a general rule it must be the intended purpose of the text that determines translation methods and strategies. Translation is determined by its purpose. It all depends on the Skopos of translation whether to employ domesticating or foreignizing strategy. The second general rule is the coherence rule. This rule stipulates that the target text must be sufficiently coherent to allow the intended users to comprehend it, given their assumed background knowledge and situational circumstances. The third general rule is the fidelity rule. The rule concerns intertextual coherence between translation, the outcome of translational action, and source text. It stipulates only that some relationship must remain between the two once the overriding principle of the first two rules have been satisfied. Among the three rules, the skopos rule plays the most important role while the other two should subject to it. In the Skopos theory, another important term is “translation brief” which specifies what kind of translation is needed. In the ideal situation, translator can decide what strategy to use by the translation brief given by the initiator.<br /> <br /> According to Skopos theory, a text is viewed as an “offer of information”(Reiss &amp;Vermeer 1984: 139) made by a producer to a recipient. Translation is a secondary offer of information, imitating a primary offer of information. Translation is the production of a functionally appropriate target text based on an existing source text, and the relationship between the two texts is specified according to the Skopos of the translation. It is up to the translator to decide what role a source text is to play in the translation action. The decisive factor is the specified Skopos. As a result, the status of the source text is much lower in Skopos theory than in equivalence-based theories.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:34, 11 December 2020 (UTC)<br /> <br /> ====Theory of Translational Action====<br /> The theory of translational action was developed by Holz-Manttari in1980s. The theory is based on the principles of action theory put forward by Wright and Rehbein and is designed to cover all forms of intercultural transfer. In her model, translational action is “the process of producing a message transmitter of a certain kind, designed to be employed in superordinate action systems in order to coordinate actional and communicative cooperation” or “a complex action designed to achieve a particular purpose” (Nord, 1997).The primary purpose of translational action is to enable cooperative, functionally adequate communication to take place across cultural barriers. Holz-Manttan pays special attention to the actional aspects of the translation process and she analyzes the roles of the participants (such as initiator,translator, user, message receiver) and the situational conditions (time, place, medium) in which their activities take place. In her model, the source text is viewed as a mere tool for the realization of communicative functions. It is a text to which a translation initiator, a client, has assigned the function of serving as source material for translational action. It is totally subordinate to its purpose and is afforded no intrinsic value, thus it may undergo radical modification in the interest of the targeted reader.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:36, 11 December 2020 (UTC)<br /> <br /> ====Text Typology====<br /> The text typology of functionalist approaches was developed by Reiss in the book cooperating with Vermeer in 1984. The theory is based on the “origin model” of language functions proposed by the German psychologist Karl Buhler in 1934. The three functions of his theory refer to the representation of objects and phenomena, the attitude of the text producer towards such phenomena, and the appeal to the text receiver that correspond broadly to Jackobson’s Reprecentational, Expressive and Conative functions. It is on this basis that Reiss distinguishes among the informative text, the expressive text and the operative text, each calling for particular sets of skills and strategies on the part of the translator. <br /> Reiss distinguishes between two forms of text categorization, which are located on different levels of abstraction: on one hand, text types are classified according to the dominant communicative function (basically informative, expressive or operative mentioned above); on the other hand, text genres or varieties are classified according to linguistic characteristics or conventions (like those of reference books, lectures, satires or advertisements). (Nord, 1997)--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:37, 11 December 2020 (UTC)<br /> <br /> ===Chapter3:The Choice of Domestication and Foreignization in Translation from the Perspective of Functionalist Approaches===<br /> ====From the Perspective of Skopoos Theory====<br /> The Skopos theory gets its name from the Greek word “Skopos” which means “purpose”. This approach to translation stresses the purpose of the translation, which determines the translation strategies to be adopted. A translatum i.e. the translated text is determined by its Skopos. Knowing why a text is to be translated and what its function is going to be in the target culture is important in this approach. Like the summary Nord made in 1997, Skopos theory seemed to be exactly the translational model that was needed since it was pragmatic, culture-oriented, consistent, practical, normative, comprehensive and expert. The main point of this functional approach is the following: it is not the source text as such, or its effects on the source-text recipient, or the function assigned to it by the author, that determines the translation process, as is postulated by equivalence-based translation theories, but the prospective function or Skopos of the target-text as determined by the initiator’s, i.e. client’s, needs. Consequently, the Skopos is largely constrained by the target text user and his situation and cultural background.<br /> <br /> There are some examples showing the function of Skopos rule. Translators’ choices of translation strategies are often decided by their purposes. Both Yang Xianyi and David Hawkes translated Hongloumeng, one of the four Chinese classical masterpieces. However, the two translators adopted totally different strategies. Yang tends to employ foreignizing translation while Hawkes domesticating translation. The translation of the title of Hongloumeng shows the difference. Yang translated the title into “A Dream of Red Mansions” while Hawkes chosen another name of the masterpiece, “The Story of the Stone”. For Hawkes, the Chinese traditional, noble red color won’t raise the same imagination in the westerners. Contrarily, it will be connected with blood, violence and so on. Therefore, he avoided translating the character literally and resorted to another English word “green” that has more pleasant meaning in English language. As a result, “怡红院” was translated as “the house of green delights” and “怡红公子”as “green boy” . Another domesticating example is the translation of “鸳鸯” , the mandarin duck which is the symbol of true love. He used “lovebird” to replaced the specific Chinese word. In order to make the translated text easier to understand, and “谋事在人，成事在天”were rendered as “Man proposes, God disposes”. The Chinese Buddhist “heaven” becomes the western Christian “God”. Hawkes’ purpose is to entertain his English readers and he adopted those easy-understood words and phrases in English culture in spite of sacrificing the original cultural connotation. Contrarily, Yang’s purpose is to introduce the luxuriant Chinese culture to the western world. That’s why so many words and phrases with culture-specification were maintained and translated literally. His expected readers are those who are willing to know Chinese culture and to absorb new expressions. Consequently he adopted a rather foreignizing method, attempting to maintain the exotic cultural factors of source text. Examples were seen as following:<br /> 1.俗语说的好：“一龙九种，种种个别。”未免人多了就有鱼龙混杂，下流人物在内。(第九回)<br /> “A dragon begets nice offspring, each one different.” And inevitably among so many boys there low types too, snakes mixed up with dragons.(Yang 202)<br /> “There are nice kinds of dragon and no two kinds are alike”. Where many are gathered together the wheat is sure to contain a certain amount of chaff; and this school was no exception in numbering some very ill-bred persons among its pupils.(Hawkes 206)<br /> 2.真是天有不测风云，人有旦夕祸福。(第十一回)<br /> “Truly, ‘Storms gather without warning in nature, and nature, and bad luck befalls men overnight’”.(Yang 291)<br /> “I know ‘the weather and human life are both unpredictable’.”(Hawkes 294)<br /> 3.俗话说得好：“杀人不过头点地。”(第十二回)<br /> Remeber the proverb “A murder can only lose his head.”(Yang 318)<br /> “You know what the proverb says: He who checks a moment’s rage, shall calm and carefree end his days.”(Hawkes 322)<br /> <br /> It is can concluded that cultural gaps between the source language and the target language is always a hard nut for a translator to crack. Every language has its own specific cultural connotation, and sometimes the contained meanings are very difficult to convey by another language in the process of translation. The famous Chinese anesthetist, translator Zhu Guangqian pointed out: “Because of the different cultural situation and living status, words refer to the same thing sometimes can bring about different imagination and esthetics. For instance, the English words fire, sea, Roland, castle, sport, shepherd, nightingale, race will different psychological reaction between the English and the Chinese people. For English people, have abundant cultural factors. On the other hand, the Chinese characters and words like风，月，江，湖，梅，菊，燕，碑，笛，僧，隐逸，礼，and阴阳can evoke special association of ideas among Chinese people which may not be comprehended easily by the English people.”(Zhu Guangqian 1984:335) Consequently, the translating strategies translators choose must be determined by the Skopos of translation. Based on this Skopos, translators can select either foreignization, oriented towards the SL culture or domestication, oriented towards the TL culture, or both.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:39, 11 December 2020 (UTC)<br /> <br /> ====From the Perspective of Translational Action====<br /> Translational action views translation as purpose-driven, outcome-oriented human interaction and it focuses on the process of translation as message-transmitter compounds involving intercultural transfer. Holz-Manttari says that translation is not only about translating words, sentences or texts but is in every case about guiding the intended co-operation over cultural barriers enabling functionally oriented communication. For her, translating is a form translational, intentional and interpersonal interaction. <br /> <br /> As a form of communicative action, translating is a form of translational interaction. Translational interaction takes place in situations that are limited in time and space. This means every situation has historical and cultural dimensions that condition the agents’ behavior, their knowledge and expectations of each other, their appraisal of the situation, and the standpoint from which they look at each other and at the world. As a result, translators, who enable communication to take place between members of different culture communities, are conditioned by these factors too. Their decision of translating strategy is without exception. In addition, translation is an intentional interaction. For translators, there is a choice to act one war or another.<br /> In Manttari’s model inter-linguistic translation is seen as a communicative process with a series of roles and players. The roles and players are: The initiator, the person, group or institution that starts off the translation process and determines its course by defining the purpose for which the target text is needed. (Nord,1997:20 )The commissioner, is the person who asks the translator to produce a target text for a particular purpose and addressee. Sometimes he may influence the very production of the target text by demanding a particular text format or terminology.The ST producer, the person who writes the ST;the TT producer, who is the translator;the TT user, who is the person who uses the TT; the TT receiver, who is the final recipient of the TT.<br /> These roles and players are interconnected through a complex network of mutual relation. Among these roles, the initiator and the translator are the most significant since it is the initiator who gives out the translation brief and thus determines translator's translation strategy. Sometimes the roles and players can be overlapped, one person playing the roles of several agents at the same time. For example, translator can be the initiator and TT producer at the same time if he is the person who wants to translate the source text into target culture, Yan Fu and Lin Shu are of this kind. In this situation, the translator can determine the translation strategy subjectively according to the purpose he wants to attain. They initiated the translation action themselves and had their prospective TT receivers in mind. Thus the intentions of the translators, the initiators and the aesthetical expectation of TT receivers together determined the translators to choose the strategy of domestication.<br /> Lin Yutang, a famous Chinese writer and translator, candidate of Nobel Prize for literature, once asked his friend Yu Dafu to translate his masterpiece A Moment in Peking that had achieved a great success in the English world. He sent him a detail explanation of the idioms and quotations from Chinese culture in detail. Unfortunately, the deal turned out to be unaccomplished. (Later,some translators translated it into Chinese. However, Lin felt unsatisfied with all these translated versions.) In this case, Lin is the source text producer and the initiator, he gave out the translation brief and largely determined the translating strategy. Lin’s other works, such as The Importance of Living, My Country and My People, are originally written in English and later translated into Chinese. Compared the English and the Chinese versions, we can find great differences, especially those concerning Chinese specific cultural phenomena. Then what led to these differences? What are the purposes of the initiator? The reasons probably lie in this: creating a work that can satisfy both English and Chinese readers. Since the English readers are not familiar with the Chinese culture, Lin described it in great details; while in its Chinese version, these details were omitted. In Lin’s translation of Chinese classics, such as Laozi and Zhuangzi’s Taoism, he also adopted the same routine and won a large number of readers. In another translated work The Six Chapters of a Floating Life《浮生六记》, he adopted both domesticating and foreignizing strategies. The examples are in the following:<br /> 余笑曰：“卿非解人，摸索在有意无意间耳，拥而狂探，田舍郎之所为也。”<br /> Beauty of caressing lies in doing naturally and half unconsciously. Only a country bumpkin will hug and caress a woman roughly. (Quoted in Meng Jiangang, 2002)<br /> 惠来以番饼二圆授余，即以赠曹。曹力却，受一圆而去。<br /> Hueilai gave me two Mexican dollars which 1 gave to Ts’ao, but Ts’ao would not take them, only after my insistence did he receive one dollar before going away.(Quoted in Meng Jiangang, 2002)<br /> <br /> In the two examples quoted above, Lin employed domesticating translation. The Chinese classics was translated into modern English and the cultural images were replaced, such as “田舍郎，番饼二圆”. The translation became fluent and transparent as if the translator was invisible. However, in order to introduce the profound Chinese culture, he also adopted foreignizing translation in the same text. The example is in the following:<br /> 其形削肩长颈，瘦不漏骨，眉弯目秀，顾盼神飞，惟两齿微露，似非佳相。<br /> Of a slender figure, she had drooping shoulders and a rather long neck, slim but not to the point of being skinny. Her eyebrows were arched and in her eyes there was a look of quick intelligence and soft refinement. The only defect was that her two font teeth slightly inclined forward, which was not a mark of good woman.(Quoted in Meng Jiangang, 2002)<br /> <br /> The lines described the appearance of a Chinese woman. However, the traditional Chinese beauty may not be beautiful in western culture; and it is difficult for the westerners to understand that “两齿微露” is a premonition of disaster. Lin made no explanation here since he believed western reader would interpret the cultural connotation according to the context. There is no doubt that he succeeds.The secret of his success is to focus on the function of the target text. Since translation is an intercultural action, different cultures can communicate smoothly by this means. In Lin’s case, he played the roles of source text producer, initiator and translator. Initiators can be a group or an institution. In order to achieve some kind of political purpose, government sometimes initiates a series of translation action and determines the translating strategies for translators. In addition, in order to get more benefit, publisher, the initiator, sometimes will set a translation brief for translators, and asks them to act accordingly. These phenomena are not uncommon in modern society. For example, many foreign romances are translated into Chinese in recent years. Some are domesticating while others are foreignizing. The reasons behind them probably lie in the publishers’ intention to satisfy their perspective readers. Translatorial action produces a TT that is functionally communicative and functionally suitable in the target culture. It places translation in its socio-cultural context, which includes the interplay between the translator and the institution that initiated it and stresses functionality.<br /> <br /> ====From the Perspective of Text Typology====<br /> Among the advocates of functional approaches to translation is Reiss who works on text types which determine translation. Reiss’s approach considers the text rather than the word or the sentence as the translation unit and hence the level at which equivalence is to be sought. The contents of Reiss’s text typology are in the following:<br /> The first one is the “informative” text where the content is the main focus. These texts do plain communication of facts, information, knowledge, opinions etc. The logical or referential dimension of language is what is involved. The second one is the “expressive” text where the focus is on creative composition and aesthetics. Both the author (the sender) and the message are what are foregrounded. Imaginative creative literature exemplifies these texts and the third one is the “operative” text where the focus is “appellative” by which what is meant is that the text appeals to the reader to act in a certain way, persuading, dissuading, requesting, and cajoling him. The form of language is dialogic.(Reiss, 1971:25)<br /> Correspondingly Reiss advocates specific translation methods for these text types. The target text of an informative text should be in plain prose with explication where required, the aim being to transmit the referential content of the text. The text styles concern philosophy, news reports, science and so on that aim at introducing foreign culture, history and custom. This text type focuses on the convey of specific culture. Together with the function of Skopos theory, a foreignizing translation should be advocated. The target text of an expressive text should use the “identifying” method, the translator having to look at it from the ST author’s standpoint. The text type of this kind mainly is literature that concerns various linguistic, cultural factors with the functions of cognition, expression, moralism, aesthetics and so on. Since it connects closely to culture, the choice of translation strategy seems more complex. Generally speaking, we can make the decision according to its function and purpose. For those works rich in cultural connotation, if the purpose is to introduce the source text culture to the target one, we should take foreignizing translation, such as Yang Xianyi’s A Dream of Red Mansions. Since the classic is a representation of Chinese culture and conventional moral, we should convey these information to foreign readers and avoid misreading or misunderstanding. On the contrary, if the translator’s intention is to entertain the readers and provide the plot of the story, he can adopt the domesticating translation as Hawkes did in his The Story of the Stone. More examples can be seen at Su Mashu and Chen Duxiu’s 《悲惨世界》, all headings of the original novel were domesticated into typical Chinese traditional parallel sentences. For example, “The Close of A Day’s March” and “Prudence Recommended to Wisdom” were translated into “第一回 迪涅城行人落魄，苦巴馆店主无情” and “第二回 感穷途华贱伤心，遇贫客渔夫设计” respectively. Both content and form of an operative text are subordinate to the extra linguistic effect that the text is designed to achieve. “The translation of an operative text has to employ the ‘adaptive’ method, trying to create the same effect on the readers, as the ST. The translation of operative texts into operative texts should be guided by the overall aim of bringing about the same reaction in the audience, although this might involve changing the content and/or stylistic features of the original.” (Nord, 1997:38) This functions well in the translation of documental texts. The examples can be found in the translation of advertisement. For instance, the famous trade mark “Coca Cola” was translated into “可口可乐” and reached a totally success. “Coca” is the plant the Indians view as saint and from which people abstract cocaine. If it is translated directly into“古柯” it probably cannot raise the nice flavor of the drink in Chinese customers. Then “Coca” was domesticated into “可口” while “Cola” maintained its foreigness. Therefore, for an operative text, since communicative function is prior to everything else, we tend to employ domesticating translation. <br /> Reiss also mentioned evaluating criteria, which vary according to text types. Thus while the translation of any content-oriented text has to aim at semantic equivalence, and a popular science piece will have to preserve the ST style, there is greater need to retain a metaphor in an expressive text than in an informative target text. Reiss thinks one could gauge the adequacy of a TT by intra-linguistic criteria like semantic, grammatical and stylistic features and extra-linguistic criteria like situation, subject field, time, place, receiver sender and implications like humor, irony, emotion, etc.<br /> Reiss’s text typology is a useful but it is clear that texts are often not as hermetically sealed as Reiss has once believed. A biography or an editorial could have informative as well as appellative content. A personal letter could well be informative, expressive and appellative as can be an advertisement. As a result, translators should take other factors into account, such as functions, Skopos and so on and make judgement accordingly.<br /> <br /> ==='''Conclusion'''===<br /> Domestication is reader-centered and TL culture-oriented, and foreignization is author-centered and SL culture-oriented. However, which of the two translating strategies should be chosen evokes a heated and endless debate at home and abroad, since scholars of these two opposite schools can't convince each other. Many scholars regard these two strategies as oil and vinegar, and believe that they can never coexist harmoniously in translation. People who advocate foreignization believe that, as a means of cultural communication, translation should introduce foreign culture and exoticness to target reader, meanwhile taking in new expressions. On the contrary, people who prefer domestication argue that translation should help to overcome not only language barrier but also cultural conflict. For them, the task of translator is to avoid cultural conflict, and domesticating translation can help readers understand the source text better and finally reach the goal of cultural communication. <br /> From the perspective of functionalist theory, as a communicative, intercultural action, translation is viewed as an intentional, interpersonal interaction. From the angle of Skopos of translation, together with action theory and text typology theory, funetionalist approaches provide us a perspective. Skopos rule is the principal rule determining any translation process in the purpose of the overall translational action. Plus loyalty rule put forward by Nord, functionalist approaches put translation into the framework of action theory and cross-culture communication theory. And adequacy rather than equivalence should be the criterion of judging the quality of a translation. By analyzing the purposes of different parties involved in the translation action(such as initiator, translator, and reader)，guided by translation brief given by the initiator, a translator can determine which translation strategy should be chosen. If the purpose of translation is to introduce domestic culture, history, philosophy to foreign readers, then foreignization should be employed. On the other hand, if the purpose of translation is to entertain the target reader, domestication can add more readability and get better function. Besides, text typology can help translator to figure out the function of a source text and make wiser decision about translation strategy. In one word, from the viewpoint of functionalist, domestication and foreignization have different functions in target language culture. Translator can adopt either or both of them in order to achieve the prospective functions. They are not, and should not be regarded as contradictory, but complementary, and can be employed simultaneously in translation. <br /> In a word, translation can realized cultural communication and transplantation goal under the guidance of the functionalist approaches.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 12:46, 13 December 2020 (UTC)<br /> <br /> ==='''References'''===<br /> <br /> 1.Bassnett, Susan&amp;Andre Lefevere. (2001). ''Constructing cultures: Essays on Literary Translation.'' Shanghai: Foreign Language Education Press.<br /> <br /> 2.Hawkes, David. (1982). ''The Story of the Stone.'' New York: Penguin Books.<br /> <br /> 3.Nida, E. A.&amp;Chr. R. Taber. (1969). ''The Theory and Practice of Translation.'' Leiden: E. J. Brill.<br /> <br /> 4.Nida, E. A. (1964). ''Toward a Science of Translating.'' Leiden: E. J. Bril1.<br /> <br /> 5.Nord, Christiane. (1997).''Translating as a Purposeful Activity: Functionalist ApproachesExplained.'' Manchester:St. Jerome Publishing.<br /> <br /> 6.Reiss, K. (1971). ''Possibilities and Limitations of Translation Criticism.'' Munich: Hueber.<br /> <br /> 7.Schaffner, (1995). Christina. ''“Editorial.” Cultural Functions of Translation.'' Clevedon: Multilingual Matters LTD.<br /> <br /> 8.Schleiermacher, A. (1992) On the Different Methods of Translating [A]. ''Theories of Translation: An Anthology of Essays from Dryden to Derrida''[C]. Schulte, R&amp;Biguenet, J. Chicago and London: The University of Chicago Press,36-54.<br /> <br /> 9.Venuti, L.(1995). ''The Translator’s Invisibility.''[M]. London: Routledge.<br /> <br /> 10.Venuti, L.(1998). ''The Scandal of Translation.''[M]. London:Routledge.<br /> <br /> 11.Yang, Xianyi&amp;Yang Gladys.(1994) ''A Dream of Red Mansions.'' Beijing: Foreign Language Press.<br /> <br /> 12.Cai Ping 蔡平.(2002).翻译方法应以归化为主[Domestication should be the Main Strategy in Literary Translation]. 中国翻译 Chinese Translators Journal(5):39-41.<br /> <br /> 13.Cao Xueqin&amp;Gao E曹雪芹&amp;高鹗.(1992)''红楼梦''[Hongloumeng].Beijing:People's Literature Publishing Press 人民文学出版社.<br /> <br /> 14.Guo Jianzhong 郭建中. (2000).''文化与翻译''[Culture and Translation].Beijing:China Translation and Publishing Co.中国对外翻译出版公司.<br /> <br /> 15.Guo Jianzhong 郭建中. (1999)''当代美国翻译理论''[Contemporary American translation theory]. Wuhan: Hubei Education Press 湖北教育出版社.<br /> <br /> 16.Meng Jiangang 孟建刚. (2002).''关于翻译原则二重性的最佳关联性解释''[Accounting for the Duality of the Translating Principles of Foreignization and Domestication with the Notion of Optimal Relevance]. 中国翻译 Chinese Translators Journal (5):27-31.<br /> <br /> 17.Tang Zaixi 谭载喜. (1991). ''西方翻译简史'' [A Short Translation History in the West].Beijing:The Commercial Press 商务印书馆.<br /> <br /> 18.Tang Zaixi 谭载喜. (1999). ''新编奈达论翻译'' [A new edition of Nida’s theory of translation].Beijing:China Translation and Publishing Co. 中国对外翻译出版社公司.<br /> <br /> 19.Zhu Guangqian朱光潜.(1984). ''谈翻译:翻译论文研究集''[On Translation: A collection of research papers on translation].Beijing: Foreign Language Teaching and Research Press 外语教学与研究出版社<br /> <br /> ==The Application of Domestication and Foreignization in Howard Goldblatt’s Translation of Mo Yan’s Works 欧蓉 Ou Rong==<br /> &lt;center&gt; 欧蓉 Ou Rong, 202020080629.&lt;/center&gt;<br /> ===Abstract===<br /> For a long time, owing to the unique style, Chinese literature has attracted much attention among world literature. In the process of flowing overseas, translation has become a bridge of cross-cultural communication and a medium of transmission. Mo Yan is a well-known representative Chinese writer, who won the Nobel Prize in Literature in 2012. And the study abroad on his works in translation has never stopped. Howard Goldblatt is a famous American translator specializing in contemporary Chinese literature, and all English versions of Mo Yan's works are from him. Through analyzing the domestication and foreignization that reflect in the translated version of Mo Yan's works by Howard Goldblatt, the thesis aims to point out merits and and demerits of this application and consider the matters that should be paid attention to when translating Chinese literary works into English. It can help strengthen the understanding and improve the fluency of the exchange between different cultures and promote Chinese literature goes ahead with the world.<br /> ===Key words===<br /> domestication; foreignization; Howard Goldblatt; Mo Yan’s works<br /> <br /> ===题目===<br /> 葛浩文英译莫言作品中的归化和异化之应用<br /> <br /> ===摘要===<br /> 一直以来，中国文学的独特风格在世界文学中备受瞩目，在流向海外的过程中，翻译成为了跨文化沟通的桥梁与传播的媒介。莫言是中国著名作家，外国对其作品的翻译研究从未断过，2012年他获得诺贝尔文学奖。葛浩文是美国著名中国当代文学翻译家，莫言所有作品的英译本都来自于他。本文旨在通过分析葛浩文在翻译莫言作品过程中体现的归化和异化，从而指出其优点与缺点，从而思考中国文学作品被英译时应注意的事项，加强与提高不同文化之间交流的理解度与流畅度，帮助中国文学走出国门，面向世界。<br /> <br /> ===关键词===<br /> 翻译；归化；异化；葛浩文；莫言的作品<br /> <br /> ===Chapter1 Introduction===<br /> From ancient to present, despite of its unique style, Chinese literature only has its own several classic works as famous among the world, such as Four Great Classical Novels---Water Margin, Journey to the West, Romance of the Three Kingdoms and Dream of the Red Chamber. Also, few literature works created in modern history have theirs own statues in the international. With the establishment of People’s Republic of China and Reform and Opening, there are a handful of modern and contemporary works that are well-known abroad(Lv Minhong, 2011:6).<br /> <br /> Some Chinese literary works are published abroad and squeeze into bookshelves fill with English native books. The prominent Chinese writers in and out include Lu Xun, Mo Yan, Yu Hua, Lao She, Shen Congwen, Zhang Ailing and so on. Until 2012, the time that Mo Yan was awarded Nobel Prize, people’s interest in Chinese literature reached a climax(Sun Huijun,2014:86). In the process of flowing overseas, translator plays a crucial role in cultural transmission. The American sinologist Howard Goldblatt is the typical example, who made great contributions for the output of Chinese Culture(Ge Haowen,2014).<br /> <br /> He can be called the mirror of Mo Yan in America, even the critic Updike said,the translation of contemporary Chinese novels in the United States seems to be the lonely career of Professor Howard Goldblatt(2005:37). Until now, his translation works of Mo Yan include Red Sorghum, Big Breasts and Wide Hips, Life and Death Are Wearing Me Out, The Garlic Ballads, The Republic Wine, Sandalwood Death and so on. His superb translation for Mo Yan in certain sense helps a lot for Mo’s position in world literature. <br /> <br /> Mo Yan said: ''without the outstanding work of Professor Howard Goldblatt, the translator of my novels, my novels could have been translated into English and published in the United States by others, but there is absolutely no such perfect translation as today. Many friends who are proficient in both English and Chinese said to me, Professor Howard Goldblatt’s translation perfectly matches with my original work. But I prefer to believe that his translation adds great luster to my original work''(2000:170).<br /> ====1.1. Literature Review====<br /> Howard Goldblatt, who is well-known as a translator, sinologist and writer, translated many works of Chinese writers. During his 30-year translation career, he has translated more than 50 modern and contemporary Chinese literary works, making an inestimable contribution to the spread and influence of Chinese literature overseas(Jia,Yanqin,2012:62). However, as Howard mentioned in the interview, ''Americans don’t pay much attention to translated text. Because they are always suspicious to translation''(2009:50). Although translator plays a key role in literary dissemination and communication, the work of translators has not received the attention they deserve. And the researches on translation abroad also mainly focus on translation theorists rather than translators.<br /> <br /> Therefore, the study about Howard Goldblatt’s translation is also not paid attention intensely outside. In 2011, the journal &quot;Chinese Literature Today&quot; was jointly organized by the University of Oklahoma and Beijing Normal University as an important platform for Chinese literature dissemination and research overseas, in which Howard, as the special guest, was introduced in details. In this journal, Christopher Lupke(2011)introduces Howard’s career of translation and studying, assesses his style of translation and discusses his faithful translation strategies .<br /> <br /> Also, after three years, the journal “Chinese Literature Today” invited Howard again. Stalling Jonathan(2014)gives an original interview about Howard Goldblatt. The new point is the mention of opera of Yuan dynasty, which helps a lot for Howard’s translation of the work Life and Death Are Wearing Me Out.<br /> <br /> Although there are few response to Howard Goldblatt’s translation abroad, many scholars in domestic regard him as a hot research object. Ji Jin(2009) conducts an interview on the situation of contemporary Chinese literary works overseas, Howard Goldblatt's criteria for choosing text, Howard Goldblatt's views and evaluations of contemporary Chinese writers, and his prospects for the development of contemporary Chinese literature in the future. This kind of study aims to find the problems Chinese literary works encountering with outside and to think about the solution. <br /> <br /> Some scholars are interested in Howard Goldblatt’s view, principles and specific strategies on translation. Zhang Yaoping(2005)collects all Chinese works translated by Howard Goldblatt and figures out his views and style of translation. Then, Wen Jun, Wang Xiaochuan and Lai Tian(2007)summarize Howard Goldblatt’s four principles on translation. From the interview to Howard, Yan Yixun(2014) gets his ideas that “Elegance” is more important than “Faithfulness” and “Expressiveness” and that “Faithfulness” cannot be neglected by “Elegance”. <br /> <br /> Nevertheless, the most common is the research on the text of translated version by Howard Goldblatt. Shao Lu(2013), through analyzing Howard’s Life and Death Are Wearing Me Out, finds Howard’s “fidelity” and “infidelity” in translating. Shi Guoqiang(2013)points out Howard’s “Creative treason” on translation from his Big Breasts and Wide Hips. Yin Lingwei and Shen Xiangyu(2020)discuss Howard’s “fidelity” and “treason” in his translation of the work Frog. Many other works, such as Tales of Hulan River, Turbulence, Six Chapters From My Life Downunder, Red Sorghum and so on, also are studied by many scholars. <br /> <br /> In this way, most scholars only reach a conclusion by analyzing a novel translated by Howard Goldblatt. Although the most studied is the translated texts of Mo Yan’s works, it lacks a systematic study of Howard’s translation strategies in a writer’s several works. Shao Lu(2011)has studied Howard’s translation of Mo Yan’s whole works, but her focus is translator’s decisive effect to promote the output of the original author’s works. <br /> <br /> Therefore, the paper aims to analyze the domestication and foreignization in Howard Goldblatt's translation of Mo Yan's novels, find pivotal obstacles, and think about practical measures to promote Chinese culture to the world.<br /> <br /> ===Chapter 2 Howard Goldblatt and Mo Yan===<br /> Mo Yan, one of Chinese contemporary writers, born in Gaomi of Shandong province, creates plenty of novels in which the story happened in his hometown, Red Sorghum, Big Breasts and Wide Hips contained. His novel draws on the artistic guidelines of modernist novels such as magical realism, surrealism, symbolism, and stream of consciousness. He uses metaphors, symbols, exaggerations, and irony to express the profundity of the society, history, culture and the beauty of thousands of styles of regional culture in China.(Lv Minhong,2011:102) <br /> <br /> Notwithstanding there is another feature in Mo Yan’s works---neutral and objective portrayal to the characters from different parties. For example, in Red Sorghum, when it comes to theme of history, to reconstruct history by overturning the dualistic opposition in the creation of traditional anti-Japanese novels, he presents the vague horizon between past and present, death and life, good and evil(Shao Lu,2011:51). <br /> <br /> Combining the living description and impersonal history sense, Mo Yan’s work receives much attention from readers over the world. However, Mo Yan’s unique writing style with dialects and local color is difficult to translate into another language. It is Howard Goldblatt who translates his novels into English that speeds up the spreading overseas.<br /> <br /> Howard Goldblatt, although with American descent, is interested in Chinese culture very much. He once studied and taught in Taiwan for many years, which provides him much experience to absorb Chinese culture. He once said Taiwan is his another home. When he came back to America, he was matriculated by San Francisco State University to study Chinese language literature. After several years, he went to Indiana University of Pennsylvania for further study under the guidance of the Professor Liu Wuji who is a well-known expert in Chinese literature(Lv Minhong,2011:29). <br /> <br /> What drive Howard to choose Mo Yan continually and frequently can probably be several causes following. Firstly, Howard himself is interested in Chinese culture, which can be seen from his long-term study in China and his further study with the help of the Professor Liu Wuji. Here Mo Yan is a convinced writer representing Chinese literature(Lv Minhong,2011:29). <br /> <br /> Secondly, Mo Yan’s work meets the taste of Americans. After his translated work Red Sorghum was published in America, the volume pressed and sale is impressive. Howard explained that American readers prefer two or three kinds of novels---those more about sex and politics or the detective novels(2009:46). Obviously, the former two elements can be shown in Mo Yan’s work. <br /> <br /> Finally, there is a great relationship established between Howard Goldblatt and Mo Yan. They would communicate with each other frequently. Each Mo Yan’s new book, Howard said, he would read it and admit the value of Mo’s works(2009:54). Just occasionally, Mo Yan once praised Howard’s rigorous spirit in translation and expressed his gratification to the cooperation(2000:170).<br /> <br /> So much connection with China and accumulation of Chinese culture fosters his profound knowledge about Chinese literature. From 1970s Howard began to translate Chinese literary works. Among the works he had translated, the number of Mo Yan’s works is the most. And the version translated by Howard is the most accepted.<br /> <br /> ===Chapter 3 Embodiment of Demestication and Foreignization===<br /> Domestication and foreignization are frequently used in the process of translation. The two terms were first brought forward by Venuti, an Italian. According to Venuti, domestication is to &quot;bring the original author into the target language culture&quot;, while foreignization is to &quot;accept the language and cultural differences of the foreign language text and bring the reader into the foreign context&quot;(2004:20). <br /> <br /> It implies that domestication requires the translator to get closer to the readers of the target language. The translator must speak like the native author. If the original author wants to have a direct dialogue with the reader, the translation must become an authentic native language. On the contrary, foreignization accepts the language characteristics of foreign cultures in translation and absorbs foreign language expressions. It requires translators to move closer to the original author, adopt the source language expression corresponding to the author's use to convey the content of the original text, that is, the source language culture is the destination(Venuti,2004:25). <br /> <br /> In Howard Goldblatt’s translated works of Mo Yan’s, the application of domestication and foreignization are ubiquitous. <br /> ====3.1. Domestication====<br /> To convey the information more fluently and naturally, providing convenience to readers to understand, Howard applies domestication a lot in his translated works. Annotation, addition, omission and substitution, which are methods of domestication, can be seen in the Howard Goldblatt’s translated works.<br /> ====3.1.1. Annotation====<br /> In Mo Yan’s work, there are many unique elements that exist in Chinese culture. To avoid obstacles for foreign readers, Howard makes some explanations based on the original meaning. There are several examples following:<br /> <br /> E.g: Original text: 她回头对上官吕氏说：“上官家的，你跟我进来。”(Mo Yan,2012:10)<br /> <br /> Translated text: She stopped, turned and said to Shangguan Lv:“Lady Shangguan, come with me.”(Howard Goldblatt,2011:17)<br /> <br /> In China, especially in the northern regions, when addressing a person’s wife, the word “的” is usually added to the man’s last name. “上官家的” refers to Shangguan Fulu’s wife. It is a kind of dialect, showing the local color of Gaomi town. Here Howard uses “lady” to explain “的”, for the former is commonly used in English expression to greet a married woman. American readers could keep pace with the plots without culture gap, avoiding the obstacle for understanding.<br /> <br /> There are some special expressions only in Chinese local culture, which are even able to be understood by the local. Howard also adds some annotations following:<br /> <br /> E.g: Original text: 八竿子拨拉不着的个表姨。(Mo Yan,2012:328)<br /> <br /> Translated text: You’re such a distant aunt.(Howard Goldblatt,2011:363)<br /> <br /> “八竿子拨拉不着” is equivalent to the meaning of “Eight poles can’t be struck”, describing the relationship between the two being alienated or unrelated. The original description of the person killed by the little lion is a whole number when counted on the table. Howard adopts the strategy of domestication, only expressing the distance between the two, without literally translating &quot;Baganzi&quot;. <br /> <br /> The translator is responsible for the original work and also for the target readers, paying attention to reader’s acceptance and to the fluency of the translation. Therefore, Howard puts the content and form of the translation within the knowledge range of the target language readers, helping them to better understand the translation with their own cultural concepts.<br /> <br /> ====3.1.2. Addition====<br /> It is known that addition can be used as a method of domestication to explain the concealed information.<br /> <br /> E.g: Original text:---信马由缰式的---(Wen Jun,2007:79)<br /> <br /> Translated text: Prepared to go with the flow---that was how he lived his life---he followed the man inside.(Wen Jun,2007:79)<br /> <br /> Xu Yuanchong believes that the four-character idiom of Chinese is an advantage that the West does not have, and only China has. Peole cannot find a perfect expression in another language. There is not an absolutely identical expression matches the meaning of certain an idiom. The idiom of Chinese The idiom “信马由缰”means to wander aimlessly on a horse. Howard Goldblatt not only translated the literal meaning of the idiom, but also explained the meaning of the idiom in specific situations based on the meaning in the text(Xu Yuanchong,1993:87).<br /> <br /> ====3.1.3. Omission====<br /> There are some elements in original text that are difficult to understand for foreign readers. Therefore, Howard makes some omissions when translating. <br /> <br /> E.g:Original text: 谢谢审判长的提醒，我马上进入实质性辩护。近几年来，农民的负担越来越重。我父亲所在村庄，种一亩蒜薹，要交纳农业税九元八角。要向乡政府交纳提留税二十元，要向村委会交纳提留三十元，要交纳县城建设税五元（按人头计算），卖蒜薹时，还要交纳市场管理税、计量器检查税、交通管理税、环境保护税，还有种种名目的罚款！(Cao Shunying,2015:127)<br /> <br /> Translated text: Thank you for reminding me, Your Honor. I’ll get right to the point. In recent years the peasants have been called upon to shoulder ever heavier burdens: fees, taxes, fines, and inflated prices for just about everything they need.(Cao Shunying,2015:127)<br /> <br /> Compared with the original work, some details of Chinese legal policies are obviously omitted here, because foreign readers basically do not understand Chinese legal policies, which are too difficult and boring to understand. If the translator makes too many descriptions of these details, foreign readers will lose interest in this work. It is also an embodiment of domestication. By the way, in the end of The Garlic Ballads, Howard makes a great change that he deletes some problematic plot and turns the imperfect ending into a satisfying ending. This action, certainly proved, is correct(Yan Yixun,2014:197).<br /> <br /> ====3.1.4. Substitution====<br /> Sometimes, the meaning of words or expression is not equal to the literal meaning. Perhaps, it is the contrary or unrelated meaning, which requires translators make a closing reading and recognize the real meaning the original author want to express. This time, translators should find a more accurate native expression to substitute the original expression. There is an typical example following:<br /> <br /> E.g: Original text: 余占鳌在火辣辣的痛楚中，忽然感到一阵酥酥麻麻的快乐，这快乐冲到喉咙，启动牙齿，化作一连串胡言乱语：“亲娘亲娘亲娘……亲娘……亲娘……”(Mo Yan,2007:158)<br /> <br /> Translated text: Stung by the pain, he experienced a sense of numbing ecstasy, and when it reached his throat it activated his teeth moving and emerged as a stream of gibberish:“Mistress Mistress Mistress...”(Howard Goldblatt,1994:165)<br /> <br /> The Chinese “亲娘” and “亲妈” are not only called as the biological mother, but also often people’s blurting when sighing. For example, if people are shocked by something, they will say: “哦，我的妈呀！” Here, the author uses the word “亲娘” five times to express the confusion and excitement in Yu Zhanao's heart. <br /> <br /> Grandmother scolded Yu Zhanao as a punishment for him breaking into her room, but Yu Zhanao admired her grandmother, so he regarded her grandma's behavior as a flirtation, so he was happy. If the translator literally translates “亲娘” as “mother”, this will not only make readers feel very confused about the relationship and plot, but also the original flirting feeling will be indifferent. Howard Goldblatt uses the strategy of domestication to replace it with “mistress”. It not only eliminates the differences between language and culture, but also makes translation more fluent, natural and smooth.<br /> <br /> ====3.2. Foreignization====<br /> To close the distance with the original text and try at most to transmit the authentic culture of original text, translators apply foreignization as a translation method. This kind of method usually does not change the style and order of the characters in original text, keeping the exotic tinge of original culture in the target language. Transliteration and literal translation, as the methods of foreignization, are the most frequently used by Howard Goldblatt.<br /> <br /> ====3.2.1. Transliteration====<br /> In most cases, transliteration is the best translation method for names without special meaning. When translating a name, transliteration is a very important way. The translator can translate the name according to its pinyin without changing the Chinese order. Howard Goldblatt uses a lot of transliteration when there is no special meaning in the translation of Red Sorghum. For example, “戴凤莲” was translated as “Dai Fenglian”, “豆官” was “Douguan”, and “单庭秀” was “Shan Tingxiu”. “王文义” means “Wang Wenyi”(Howard Goldblatt,1994).<br /> <br /> It can be seen from the above that Howard extremely respects the original author in the translation of such names. He not only uses pinyin completely, but also follows the order of Chinese names, that is, the surname is first and the first name is last, respecting and obeying Chinese traditional cultural customs.<br /> <br /> However, when translating some characters’ nicknames and names with special meanings, transliteration is not applicable. The translator needs to find out the specific implicit meaning, and then choose the most suitable translation, such as “刘罗汉”, which is translated into “Arhat Liu”. Because 刘罗汉 was a loyal, firm and honest helper. He passed away in order to protect the property of his host. His spirit is consistent with the meaning of “Araht”, so Howard’s translation of it is very symbolic(Howard Goldblatt,1994).<br /> <br /> There is another transliteration that appears with some annotations, which can enlarge reader’s insight and make the plot more logically:<br /> <br /> E.g: Original text: 直到春暖花开的清明节。(Mo Yan,2012:110)<br /> <br /> Translated text: Qingming, the day of ancestral worship in the warmth of spring, when flowers were in full bloom. (Howard Goldblatt,2011:140)<br /> <br /> “清明节” is a traditional Chinese festival. It is a festival to worship ancestors. The traditional activity is tomb sweeping. Using transliteration and short explanations, readers can have a basic understanding of this object, and can remind readers of its uniqueness.<br /> <br /> ====3.2.2. Literal Translation====<br /> In the translation of some idioms and culturally loaded words, Howard Goldblatt also adopts the literal translation method to maintain the characteristics of the source language, so that people of different nationalities can share some common points in cognition. <br /> <br /> E.g: Original text: 母亲咬着牙齿说：“姓沙的，你癞蛤蟆想吃天鹅肉，做梦去吧！”(Mo Yan,2012:85)<br /> <br /> Translated text: Mother clenched her teeth. “You there, Sha”, She said, “Like the toad who want to feast on a swan, you can just dream on!”(Howard Goldblatt,2011:113)<br /> <br /> In this sentence, “癞蛤蟆想吃天鹅肉” is a common Chinese idiom, which means that without self-knowledge, one wants to obtain something impossible. For American readers, they may not be able to fully understand the relationship between Toad and Swan in Chinese. But in this way, they can understand what the author wants to express based on their own experience and context.<br /> <br /> In this way, Howard has neither changed the lively image of the original text nor has it lost the connotative meaning of the original text. He once said:''If I can find appropriate slangy or regional or slightly archaic or unusual words that carry that sense, I’ll certainly use them. If I can’t I won’t.''(2014:8)<br /> <br /> ===Chapter4 Enlightenment for Translation===<br /> Howard Goldbaltt puts faithfulness to the original text in the first place, reproduces the original content and ideas and retains the original writing style and language characteristics. It reflects the translator’s ethics of being faithful to the original text; secondly. To consider the target language reader's reading ability and translation the translator adopts domestication strategies to overcome language and cultural barriers, appropriately reduces the cultural information of the original text, and provides a naturally familiar target language for readers of the target language(Chen Jiayu,2019:20). <br /> <br /> In order to promote cultural exchanges and realize cross-cultural communication, translators adopt foreignization strategies to preserve the cultural and national characteristics of the original text as much as possible. This not only allows target language readers to understand foreign cultures and customs, but also promotes cultural exchanges and dissemination and makes outstanding contributions to promoting Chinese literature to overseas.<br /> <br /> The purpose of Howard Goldbaltt’s translation is to complete a translation that is readable for Americans and highly accepted by the market. And about Howard’s translation of domestication and foreignization, there are many some arguments. Most scholars confirm to that Howard Goldblatt’s translation is applied domestication more frequently, while foreignization is minor(Yin Ting,2014:150). <br /> <br /> However, in studying the translated text Big Breasts and Wide Hips, Shi Guoqiang(2013:80) thinks that foreignization is the main methods of Howard’s translation, domestication minor. He comes up with several aspects that Howard use foreignization in his translation, such as some idoims, special nouns and two-part allegorical saying and so on. Despite of the arguments, Howard’s excellent translation cannot be denied, which help a lot for the going abroad of Chinese literature.<br /> <br /> Analyzing the Howard’s translated works of Mo Yan’s, although his translation is the best version of Mo Yan’s novels until now, as for the output of Chinese litertature even Chinese culture, we still can get some enlightenment. <br /> <br /> Firstly, when translating Chinese literature into other languages, the translator himself is important. Usually, the translators who translate Chinese into another language are our Chinese. They translate their mother language into another language, in a sense, not as well-master as the people of target language. It causes a problem that the readers of target language cannot read and understand the translated version naturally and easily by Chinese translators. And the Chinese translators, most of them, are living in China, lack of the context of target language(Hu Anjiang,2010:11). <br /> <br /> Also, the Chinese translators who specialize in two languages and cultures are rare. What is more, the foreign translators familiar with Chinese culture is less. Therefore, according to Xu Jianping and Zhang Rongxi, the most effective way for Chinese-English translation is the cooperation of the original author and foreign translator of target language(2002:38). Howard Goldblatt and MoYan is the best example. And Howard himself also expresses the similar view(2014:201). <br /> <br /> Secondly, the translation strategy is also crucial. Chinese literature is the “weak literature”(Yin Lingwei,2020:109), so Xu Jianping thinks that foreignization should not be widely used in Chinese-English translation, because foreign readers’ understanding of China and its language and culture is far less than Chinese readers' understanding of foreign language and culture(2002:38). <br /> <br /> However, from the 1870s to the 1970s, for a hundred years, Chinese literary translation was roughly based on domestication; during the two decades of reform and opening up, inspired by Western translation theories, the Chinese translation community rethought foreignization and domestication, and the two methods have gradually become balanced in China. Therefore, Sun Zhili believes that the translation of Chinese literature in the 21st century will be dominated by foreignization(2002:40). <br /> <br /> Actually, it is not suitable to regard domestication and foreignization by dichotomy. Combining the two ways, the starting point should be to bring Chinese literary translations closer to Western readers through the domestication translation method, so as to enter the mainstream Western culture. Let Western readers first understand our cultural routines and ways of thinking, and then talk about further transformation and influence on the West Follow-up issues such as literary creation mode(Hu Anjiang,2010: 15). <br /> <br /> Finally, the responsibility of publishers and editors is also heavy. When Chinese literature goes out, the most in short supply of talents are intermediary talents, that is, intermediary agencies that can understand Chinese contemporary literary works, and at the same time understand the international market, and have a good background of cooperation with international publishing institutions...(Li Yun,2007) <br /> <br /> There is “the third readers” in the world. They usually don't pay much attention to the content when reading, because they are more in love with the readability or text style of the work. Also, they do not compare the translations with the original works, but only compare these translations with original English works or those literary translations translated from other languages into English. Paying more attention to such “fair readers” who pursue pure literary feeling and pure aesthetic experience will be an important guarantee for literary translations to gain the literary market, commercial profits and even the status of translated literary classics(Medougall,2007:23)<br /> <br /> ===Chapter5 Conclusion===<br /> For any responsible translator, every choice made in the translation process is not random or blind, but has a clear consciousness and clear goals, and they strive to resolve various contradictions encountered in translation to achieve the value of translation(Liu Yunhong, 2014). Through analyzing the application of domestication and foreignization Howard Goldblatt’s translation of Mo Yan’s works, some enlightenment can be concluded. The translators, the translation strategies and the publisher and editor can be taken as the crucial aspects. <br /> <br /> Citing the words of Nida, for a truly successful translation, bilingual proficiency in culture is more important than in language, because words have meaning only in the culture in which they function(1993:83). This shows that in the process of translation, translators should not stick to a single domestication or foreignization translation strategy. They should comprehensively consider various factors such as language, culture, and readers’ comprehension, and adopt appropriate strategies to arrive at a degree of integration and adaptation for the highest translation.<br /> <br /> The needs of the target language culture have changed with the development of society and the changes of the times, and the target language readers' acceptance and understanding of Chinese culture have also increased with the increase of China's international influence. Many things that tended to be domesticated in the past are now or in the future using foreignized translations that are completely acceptable to the target language readers, and even look forward to them. Translating Chinese literary works with increasingly alienated strategies, allowing the world to read Chinese stories and understand Chinese culture is the only way for Chinese culture to “go out”.<br /> <br /> ===References===<br /> *Goldblatt, Howard(2011). 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Domesticating translation places emphasis on the target culture, which makes the original text more easily understood by the target-language readers, while foreignizing translation aims to produce the foreignness and cultural characteristics in the source text as much as possible.<br /> Skopos theory was proposed by Reiss and Vermeer in the 1970s, which held that the purpose of translation determines the translation strategy. This thesis takes Skopos Theory as the basis of theoretical research, and analyzes the application and practice of domestication and foreignization in the course of translation.<br /> <br /> ===Key Words===<br /> Skopos Theory, domestication, foreignization<br /> <br /> ===题目===<br /> 目的论视角下归化和异化在翻译过程中的应用<br /> <br /> ===摘要===<br /> 归化和异化这对翻译术语是由美国著名翻译理论学家劳伦斯韦努蒂（Lawrence Venuti）于1995年在《译者的隐身》中提出来的。归化翻译是一种倾向于译入语文化的翻译方法，使原文文本更加容易被目的语读者所接受。异化翻译则旨在尽可能地传递原文文本的异质性和文化特色。翻译目的论由赖斯和弗米尔于20世纪70年代提出，该理论认为翻译目的决定翻译策略。本文将以目的论作为理论研究的依据，分析归化和异化在翻译过程中的应用和实践。<br /> <br /> ===关键词===<br /> 目的论，归化，异化<br /> <br /> ===Introduction===<br /> In the context of economic globalization, cultural exchanges are becoming increasingly frequent among countries. Translation, turning an original or “source” text into a text in another language, is an effective way of cultural communication. As a bridge communicating between cultures, translation plays an implacable role in the interaction. Since translation requires constant language choosing according to different context of culture, different translation theories have been proposed. Traditional translation theories focused on the equivalence of meaning and form of language, and literal translation and free translation were the main approaches. In the 1990s, there was a “cultural turn” in translation. The study of translation was no longer limited to the linguistic level, which has greatly widened the theoretical scope of translation. Lawrence Venuti, an American translation theorist, proposed two translation strategies: Domestication and foreignization.<br /> In contemporary translation studies, Skopos Theory proposed by Vermeer is the landmark of functional approaches to translation, which is relatively accepted by the public. Vermeer (1987:26) held that translation is a kind of transformation behavior based on the original text and translation behavior is an intentional and purposeful behavior in a specific context.<br /> The thesis is comprised of five sections. The first part presents an introduction of this thesis. The second part discusses the origination and formulation of Skopos Theory and three rules of Skopos Theory, including skopos rule, coherence rule and fidelity rule. The third part gives a brief interpretation of the two translation methods: domestication and foreignization. The fourth part analyzes the application and practice of the two methods in the course of translation under the direction of Skopos Theory. The last part draws a conclusion for this thesis.<br /> <br /> ===Chapter 1 Skopos Theory===<br /> According to Gentlzer(1993:18), before the 1960s, translation was regarded as a kind of code-switching, reorganization and meaning equivalence of two languages. Under these circumstances, translation was listed as a branch of linguistics. For a long time, linguists devoted themselves to studying the translation methods, principles and standards in the linguistic range of research, without concerning the factors of external language, such as the author and reader, or the speaker and hearer. With going deep into the research work, a new theory based on the premise that linguistics is only a tool of translation study but not the object has been proposed. Proposers considered translation as a kind of communicative activity between human beings, in this case, pragmatic level should be given priority to translation study, and background knowledge such as the conventions, norms and habits of different cultures should not be ignored. This chapter will focus on the introduction to this new theory of translation study—Skopos Theory.<br /> ====1.1 Origination and formulation of Skopos Theory====<br /> The formulation and development of Skopos Theory has undergone four stages. The representative of the first stage was Katharina Reiss, who was one of the founders of Functional Approaches to translation. The early theories of Katharina Reiss were based on the concept of equivalence. Reiss(1984:21) advocated that the equivalence between translation had to shift its focus from word and sentence level to textual level and that translators should take translation strategies, language functions, discourse types and text genres into account in the process of translation. Based on the three characteristics of linguistic functions, Reiss divided texts into three types: informative type, expressive type and operative type. These three different types of texts respectively served the communication between content, the communication between artistically organized content and the communication between content with a persuasive character, as a result, translation strategies for different text types were proposed. But in later studies, she realized that equivalence between translation was an impossible-to-be-realized, therefore, Reiss revised her theory of Text Typology, and the analysis of text types was no longer the main reference of translation strategies. She held that the translator should give priority to the functional characteristics of the target text rather than the principle of equivalence, and in the whole process of translation, the communicative functions that the target language was expected to achieve should be of great significance in the cultural environment of the target language. Thus it can be seen that Reiss’s theory laid the foundation for the formulation of Skopos Theory of translation. <br /> <br /> In the second stage, Vermeer (1987:27) broke through the limitations of equivalence theory, and took textual purpose as the primary criterion for the translation process. He developed functional skopos theory and made outstanding contributions to functionalist translation theory. He tried to build a bridge between practice and theory, considering that translation was a transformation of language, and also a kind of human behavior. As we all know, any action has its goal or purpose, and leads to a result, a new situation or event. This was why Vermeer named his theory as “Skopos Theory”, which was proposed in the 1970s in German. “Skopos” was a word in Greek, which meant “aim”, “purpose”, “intention” or “function”. Generally, &quot;Skopos&quot; referred to the communicative purpose of the translation. According to Vermeer’s Theory, the text’s purpose must remain a high priority, which will directly affect all aspects of the translation process. According to Vermeer, there were three purposes of translation: the translator's purpose, the purpose of dissemination of the translation, and the specific purpose of the special translation strategy. It was the initiator of the translation act that determined the purpose of the translation. But the translator did not passively accept everything. He can also act as the initiator, directly participating in determining the purpose of the translation (Zhang Jinlan, 2004:35). Moreover, Skopos Theory claimed that the intended purpose of the translation determined the methods and strategies of translation and that three rules of translation should be observed: skopos rule, coherence rule and fidelity rule.<br /> <br /> Translation Action based on the communication theory and action theory was elaborated by Justa Holtz Manttari in the third stage of the development of Skopos Theory, which has expanded the scope of functional translation theory. She regarded translation as a person-to-person, purpose-driven and result-oriented interaction activity. Manttari conducted a detailed analysis of the participants and behavior in the translation processes, mainly including the initiator / client, the commissioner, the ST producer, the TT producer, the TT user and the TT receiver. (Manttarri,1984: 398)Translation was the transfer of complex information including texts, pictures, sounds and languages between different cultures. The purpose of translation action was to overcome cultural and language barriers, so as to achieve cultural communication. She insisted that adaptations, compilations, edits and information inquiries were of essentiality in the process of translation activities, and she even included editing, consulting, and other activities related to foreign cultures into the translation action. The translator produced &quot;message transmitter&quot; that met the specific needs of the recipient's cultural background according to the client's requirements. As long as the target text can be produced to meet the client's needs, the task of translation was complete. In other words, the translation needed not be equivalent to the original, which contrived the theory of Translation Action to be an extreme functional theory.<br /> <br /> In the fourth stage, Christian Nord (2001：12)proposed two kinds of translation strategies, in response to the fact that Manttari completely ignored the original text: (1)Documentary translation: it referred to record the information contained in the original text in the communication of target language; it emphasized the direct production of the original text regardless of the context of the target.(2) Instrumental translation: it referred to the translation that achieved different functions for the certain purposes in the target language culture. Nord's contribution to translation studies was many-sided, and she proposed the theory of Function plus Loyalty. Function referred to the factors that made the translation work in a predetermined way in the target language environment, while loyalty referred to the interpersonal relationship among the translator, the original author, the recipient of the translation, and the initiator of the translation. In Nord’s view, loyalty was a kind of concept that translators should be loyal to both the original text and the target of the translation, and that was different from the concept of fidelity or faithfulness which only focused on the relationship between the original and the translation.<br /> <br /> It can be seen from the above that the landmark theories of the German functionalist approach were: Katharina Reiss’ Text Typology, Hans Josef Vermeer’ Skopos Theory, Justa Holtz Manttari’ Theory of Translation Action and Nord's Function plus Loyalty.<br /> <br /> ====1.2 Three rules of the Skopos Theory====<br /> The Skopos Theory proposed by Vermeer is the most important theory of functional approaches to translation. There were three ways to understand this word &quot;skopos&quot;: the purpose of the translator; the communicative purpose of the text; the purpose to be achieved by using a special translation strategies. Usually, &quot;skopos&quot; referred to the communicative purpose of the text. (Zhang Jinlan, 2004:36). First, under an ideal situation, the initiator of the translation will give details of the elements in the process of translation, such as the recipient of the translation, the environment in which the translation was used, and the functions that the translation should achieve. According to Skopos Theory, the primary rule followed by all translators was the “skopos rule”: The translation purpose determined the translation methods and strategies. Second, coherence rule pointed that the translation must meet the criteria of intra-textual coherence and that translated text must be sufficiently coherent to allow the intended addressees to comprehend it, given that their assumed background knowledge and situation circumstances. Third, fidelity rule meant that the translated text should bear some relationship with the corresponding source text, and there should be intra-textual coherence between the original text and the translation. Intra-textual coherence was similar to what was commonly referred to as fidelity to the original, and the degree and form of fidelity were determined by the purpose of the translation and the translator's understanding of the original.<br /> <br /> ===Chapter 2 Domestication and Foreignization===<br /> As we all know, translation has shifted its emphasis from language conversion to cultural transformation. Translation is no longer only regarded as the transformation of language symbols, but a mode of cultural transformation. Since translation is closely related to culture, a problem naturally arises: how to deal with the cultural factors in the text, especially the text with great cultural differences between the source language and the target language. It is on the issue of how to deal with cultural differences in translation that there exist disagreements in the field of translation. Generally speaking, it can be divided into two opposite opinions, namely, domestication and foreignization.<br /> ====2.1 Domestication====<br /> Domestication is an important term in cultural criticism, cultural translation theory and cultural exchange. Due to the differences in geographical environment and social history, the differences between eastern and western cultures exist objectively. In other words, not every person in the west can understand the cultural symbols of the east. When dealing with various oriental materials, the oriental scholars in the west can only make some transformation based on some methods such as domestication or foreignization.<br /> <br /> Lawrence Venuti, a famous American translator, was the first person to introduce the term “domestication” in his book The Translator's Invisibility: A History of Translation. He proposed that domestication is an approach that the translator &quot;leaves the reader in peace, as much as possible, and moves the author towards him&quot; and that domesticating translation should abide by the current mainstream values of the target language and culture, openly adopt conservative assimilation methods to the translation of the original text, and cater to local canon, publishing trend and political needs. (Venuti, 2001:19)<br /> <br /> Schuttleworth and Cowie in their book Dictionary of Translation Studies defined “domestication” as “a term used to describe the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL readers. . .it is identified with a policy common in dominant cultures which are aggressively monolingual, unreceptive to the foreign, and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with [target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other”.(Schuttleworth &amp; Cowie, 2004:59)<br /> <br /> Douglass Robinson, a Canadian translator who discussed domestication and foreignization from the perspective of postcolonial theory, defined domestication as a term used by translators who were strident advocates of foreignizing translation to describe the worst translation. This kind of translation adopts the way of domesticating the original text into the target culture and language values. Traditionally, this concept is often referred to as “free translation”. (Robinson, 1997:114)<br /> <br /> Domesticating translation, which emerged in the 17th century when the translation activities mainly focused on the introduction of religious classics, classical literary works and the dissemination of Enlightenment thoughts, has been playing a dominant role in British for a long time. There were lots of scholars who firmly advocated the domesticating translation. For example, one of the representatives Eugene Nida has put forward the famous dynamic equivalence and the theory of reader’s response. He proposed that translation should achieve dynamic equivalence, not only in the form of expression, but also in accordance with the norms of the target language. He believed that the cultural category of the target readers should be taken into consideration in terms of expression, choice of words and sentences, and writing style, which should conform to the reading habits and reading psychology of the target readers (Nida, 2003:159). Meanwhile, in the United States, domesticating translation occupied the dominant position in the field of translation in a very long period of time. At that time, the critics in the United States strongly criticized those poems that tried to faithfully convey the exotic flavor of the original text, and publishers also strongly rejected this kind of foreignizing translation, which made it hard to get the chance of publication. They thought that only domesticating translation is the authentic translation, and in this way the translation can be read as if it is created in the target language. The translators completely vanish in the kind of fluent, domesticating translation that has erased every trace of exoticism.<br /> <br /> In some sense, domestication aims to transform the cultural identity of “the other” into the identity of “I”, so that the thoughts, values and behaviors of “the other” conform to “my” standards. As a result, cultural standardization eliminates and replaces cultural differences, leading to the emergence of cultural supremacy or ethnocentrism which refer to the tendency of all countries and nationalities to regard their own way of life, beliefs, values and codes of conduct as superior to others. Homi Bhabha ever claimed that with the global expansionism of the strong culture of Europe and America, non-western countries have been placed in a narrow narrative of progress and development and their civilization described as decadent and autocratic (An Feng, 2004: 15). Under this circumstance, Vetinu proposed the foreignizing translation in order to achieve the deconstruction of ethnocentrism.<br /> <br /> ====2.2 Foreignization====<br /> Based on a thorough study of the history of translation in the West from the 17th century to the present, Venuti (2001:23) found that the adoption of domesticating translation strategies was the dominant practice in the history of western translation. Such a translation tradition implies the fact that translators take the western ideology as the standard and foreign texts are shaped by the values of western nationalism and imperialism. Venuti has challenged this kind of translation tradition and firmly advocated foreignizing translation.<br /> <br /> Venuti studied translation from the perspective of society and culture. His theory was directly derived from the German tradition of emphasizing foreignization, the influence of French thinker Derrida and the school of cultural studies. In the mid-18th century, German translators and writers have put other languages in the same position as German, and respect for foreign languages has become a guiding principle in the course of translation, from which people learn to adjust themselves to the heterogeneous elements in foreign texts. In the 19th and 20th century, attention to the foreignness of the original text has become an undercurrent in the study of German translation theory. During this period, the theorists were cautious and avoided the words of &quot;literal translation&quot; and &quot;free translation&quot;. They no longer focus on the unit of translation, but turn to the issue of the interpretation of cross-cultural text. For example, German scholar Schleiermacher ever stated:<br /> <br /> <br /> &quot;An inner necessity, in which a peculiar calling of our people [the Germans] express itself clearly enough, has driven us to translating en masse; we cannot go back and we must go on. Just as our soil itself has no doubt become richer and richer fertile and our climate milder and more pleasant only after much transplantations of foreign flora, just so we sense that our language, because we exercise it less owing to our Nordic sluggishness, can thrive in all its freshness and completely develop its own power only through the most many-sided contacts with what is foreign.&quot;(Schleiermacher, 2004:62)<br /> <br /> <br /> The German tradition of emphasizing “foreignness” (especially Schleiermacher's argument) provided the theorical basis and direction for Venuti's thoughts, then Derrida's &quot;Deconstruction&quot; philosophy provided a “strategy” for Venuti's translation theory. Derrida challenged all the traditional translation theories and practices with the concept of “differance” in his writing activity and deconstruction strategy. “Differance” is the source of uncertainty and difference. And the meaning of text is always be influenced by the temporization and spacing of the difference; therefore, meaning cannot be completely determined and the absolute translation of original text is always impossible (Graham, 1986:146). Deconstructive translation theory deconstructs the authority of the original text, and puts the translation on an equal and complementary position with the original, thus giving the translator more autonomy. Meanwhile, deconstructive translation theory emphasizes “difference”, and aims to achieve a deeper and more accurate understanding of the differences between languages through translation.<br /> <br /> On the basis of previous scholars' theories, combined with American modernist translation theory, Venuti developed the connotation of foreignizing translation at least from the following aspects(Zhang Jinghua，2009:68): (1) The &quot;heterogeneity&quot; of modernist foreignization comes not only from foreign languages and cultures, but also from those excluded and marginalized discourses in local discourses. (2) The modernist text in foreignizing translation develops the idea of &quot;translation autonomy&quot; and enriches the connotation of foreignization translation in ethical sense, which also conforms to the Frankfurt School's thought of &quot;artistic autonomy&quot; in translation literature.(3) The foreignization of modernism advocates to promote the renewal of the target-language system with the help of marginal languages such as new words and ancient words. (4) In the discourse strategy, foreignizing translation endows translators with more freedom, highlights the subjectivity of the translator, and no longer relies solely on the literal translation.<br /> <br /> ===Chapter 3 Translation Method under the Direction of Skopos Theory===<br /> Translation is not only a process of language conversion, but also a behavior of cross-cultural communication. Translation is the bridge of cultural integration. The negation and exclusion of foreign cultures are incompatible with the role of translation as a cultural bridge; however, the overall acceptance of foreign language will also lead the original language to lose its &quot;social identity&quot;. XIE(Xie Yao,2017:360) stated that the translation work inevitably bears its cultural imprint, and domestication and foreignization are main ways to lessen the conflict between source language culture and target language culture. Foreignization does a good job in keeping the culture and images for the source language, while domestication means removing all strangeness and foreignness of the source text and making the translation clearly readable. <br /> ====3.1 Target reader-oriented approach — domestication====<br /> If translators aim to produce equivalent translation, especially pragmatic equivalent translation to achieve communicative effect with fully understanding the semantic meaning and pragmatic meaning, and considering the acceptance and response of readers, the domesticating translation should be given priority. Therefore, one of the responsibilities of translators is to avoid cultural conflicts, which can lead to various forms of misunderstanding. When transplanting a text into another culture, the translator should carefully weigh the connotation of ideology in the culture. Therefore, we should try our best to transform the source language culture into the target language culture. At the same time, the translator is also a disseminator. In cross-cultural communication, he/she should eliminate barriers and deliver the meaning of the source culture to the readers of the target culture. Then, I will analyze the practice of domesticating translation combined with some examples.<br /> <br /> <br /> “煮茶非漫浪,要须其人与茶品相得。故其法每传于高流隐逸、有烟霞泉石磊磈于胸次间者。<br /> The art of tea brewing is not for roman' s sake. The moral state of the brewer should match well with the quality of the tea. That explains why the techniques of tea brewing are usually handed down only to eremitic wisdoms with lofty characters and peaceful mind.&quot; <br /> (Jiang &amp; Jiang，2009:36)<br /> <br /> <br /> “The art of tea brewing is not for roman' s sake”, the sentence pattern of this translation is obviously derived from “art for art's sake”, which reminds people of the aesthetic movement that appeared in the late 19th century in the field of British Art and Literature. “Art for art’s sake”, a slogan translated from the French “l’art pour l’art”, which was coined in the early 19th century by the French philosopher Victor Cousin. It expressed the belief held by many writers and artists, especially those associated with Aestheticism, that art needed no justification, and that it served no political, didactic, or other purposes. This form of expression has already been in the public eye for a long term. Therefore, the translator resorted to the domesticating method according to the cultural standards and traditions of the target language so that the information can be easily understood and accepted by the receptors. <br /> <br /> Then, I take the translation of “角楼”, an ancient architecture in China, as another example. The word “角楼” has a long history, which first appeared in the book History of the Three Kingdoms · Wei Shu. It was built on the corner rampart. Because the horizon from the “角楼” is very wide and the enemy's situation can be observed clearly. Therefore, “角楼” was used as an important facility of the defense project in ancient times. At present, there are four “角楼” in the Palace Museum in Beijing. The most common translation of “角楼” is “turret”. The word &quot;turret&quot; originates from the Latin word &quot;turris&quot;, which means a small tower that projects vertically from the wall of a building such as a medieval castle and is used to provide a projecting defensive position allowing covering fire to the adjacent wall. It can be seen that the meaning of the word is very similar to that of the “角楼”. Here, the translator adopts the domesticating strategy to try to find the equivalent words of the image “角楼” in the western culture. Many more examples could be mentioned. For instance, “肉夹馍” is a famous snack in Xi’an and has been listed as a cultural heritage, which is one of the delicacies for foreign tourists to taste in Xi'an. The official translation of “肉夹馍” in Xi'an is “Rougamo”. However, the more well-known or widely spread translations are &quot;Chinese hamburger&quot; and &quot;Chinese sandwich&quot;, because foreign tourists think that “肉夹馍”is a popular Chinese &quot;meat burger&quot; or &quot;meat sandwich&quot;, and the translation here adopts the domestication strategy.<br /> <br /> ====3.2 The purpose of source culture dissemination—foreignization====<br /> For the sake of spreading the source language culture, translator should adopt foreignization so as to promulgate the culture of the original language to the target readers to the largest degree, stimulate the readers to learn the unknown source culture, help to overcome the obstacles in cross-cultural communication, and finally facilitate cultural integration. Then, I will analyze the practice of foreignizing translation combined with some examples.<br /> <br /> <br /> “凡采茶,在二月、三月、四月之间。<br /> The second, third, fourth months of the lunar year are a proper time for almost all sorts of tea to get harvested.&quot; <br /> (Jiang &amp; Jiang, 2009:48)<br /> <br /> <br /> During the Tang Dynasty, there was no strict time requirements for tea plucking. In the Classics of Tea, Lu Yu said that the optimum time for tea plucking was between February and April in the lunar calendar, that is to say, it is between March and May according to the current solar calendar. In this sentence, the translator supplemented the cultural element “the lunar year” for accurate time expression. The lunar calendar was established in ancient China based on the operating cycle of the moon, which has been used for thousands of years, guiding the Chinese nation's spring planting, autumn harvest, daily life, containing the wisdom of harmonious coexistence between the Chinese people and nature, and inheriting the continuous national life culture. With the western learning introduced into China, the solar calendar has gradually become a common social calendar, and the lunar calendar is to a large extent an expression of life customs and the inheritance of folk customs. The translator used communicative translation strategies to explain the precise season of tea-picking to the target readers. From the perspective of cultural communication and the expectations of the target readers, the translator tried his best to make the target readers appreciate the exotic and unique cultural information of the source text in the process of compensating for cultural defaults. For publicity translation, the original text can be regarded as a collection of languages, and also a mirror of national history and culture. It can be said that any text is always loaded with certain cultural information to show its unique national cultural temperament. In order to achieve cultural exchange, translators convey the cultural information in the original text accurately and faithfully. This is a good example of foreignizing translation.<br /> <br /> Then, I take the translation of “谋事在人，成事在天”, an ancient proverb in The Dream of Red Mansions, as another example. David Hawkes translated it into “Man proposes, God disposes”. He quoted Western proverbs to express the central idea of the original sentence. However, his translation of “天” into “god” was based on his western mode of thinking. Hawkes' translation ignored the differences of religious and cultural information and failed to convey the cultural elements of the original text. However, Yang Xianyi translated this proverb into “Man proposes, Heaven disposes”. Besides, “阿弥陀佛” appeared many times in the novel, and Hawkes translated into “my Lord” or “my God” while Yang Xianyi translated into “Amida Buddha”, which showed the character's Buddhist belief. We can clearly see that Yang Xianyi employed the foreignizing translation. In the course of translation, foreignization is more favorable to show the cultural differences to the readers, and enable them to understand the Chinese religious and other cultural backgrounds more accurately.<br /> <br /> ===Conclusion===<br /> Based on Skopos Theory, combined with the prop criterions of skopos rule, this thesis studies the domestication and foreignization in the course of translation. It should be said that the two strategies, domestication and foreignization, are not opposite or even contradictory, but complementary in translation. Cultural transplantation would be successfully achieved with a variety of methods and models. With Skopos theory applied to make a comprehensive analysis of various factors involved in translation, we can conclude that translators can adopt the principles and methods of both domestication and foreignization. (Guo Jianzhong,1998:5)As for to what extent source culture must be preserved in the translation, how to preserve it, and to what extent source culture must be adjusted to adapt to the target culture, we have to make a choice based on our correct understanding of the nature and the purpose of translation and the demands of target readers. Therefore, it is important for translators to have a deep cultural awareness in the process of translation, and to be sensitive to the similarities and differences between the two cultures. In addition, once one kind of translation method has been employed in a particular text during the process of translation, the translator better keep this basic tendency as far as possible.<br /> <br /> ===References===<br /> *Gentzler, Edwin.(1993). ''Contemporary Translation Theories'' [M]. London: Routledge.<br /> <br /> *Graham, Joseph.(1986). ''Difference in Translation''[M]. Ithaca: Cornell University Press.<br /> <br /> *Justa Holz-Manttari.(1984). ''Translatorisches Handeln, Theorie und Methode''[M]. Distributor, Akateeminen Kirjakauppa.<br /> <br /> *Nida, Eugene. A. (2003). ''Toward a Science of Translating''[M]. Brill Academic Publishers.<br /> <br /> *Nord, Christiane.(2001). ''Translating as a Purposeful Activity: Functional Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Reiss, Katharine. &amp;Vermeer, Hans. J. (1984). ''Towards a General Theory of Translational Action: Skopos Theory Explained'' [M]. London: Routledge.<br /> <br /> *Robinson, Douglass. (1997). ''Translation and Empire: Postcolonial Theory Explained''[M]. Manchester: St Jerome.<br /> <br /> *Schleiermacher, Friedrich. (2004). ''On the Different Methods of Translating''[A]. In Lawrence Venuti ed. The Translation Studies Reader[C]. London: Routledge.<br /> <br /> *Schuttleworth, Mark. &amp; Cowie, Moria. (1997). ''Dictionary of Translation Studies''[C]. Manehester: St Jerome. <br /> <br /> *Vermeer, Hans. J. (1987). ''What does it Mean to Translate'' [J]. Indian Journal of Applied Linguistics (2):25-33.<br /> <br /> *Venuti, Lawrence.(2001). ''The Translator’s Invisibility: History of Translation''[M]. London and New York: Routledge.<br /> <br /> *An Feng安锋.(2004). 霍米·巴巴“后殖民理论研究”[D].[ Homi Bhabha’s Study on Postcolonial Theory ]. 北京语言大学Beijing Language and Culture University.<br /> <br /> *Guo Jianzhong郭建中.(1998).翻译中的文化因素:异化与归化[J].[Cultural Factors in Translation:Foreignization and Domestication].上海外国语大学学报Journal of Shanghai International Studies University (2):3-5.<br /> <br /> *Jiang Xin&amp;Jiang Yi（唐）陆羽，姜欣, 姜怡（译）. (2009).大中华文库·茶经[M]．[The Classics of Tea].湖南：湖南人民出版社Hunan People's Press．<br /> <br /> *Xie Yao 谢瑶.(2017).“一带一路”背景下中国茶文学作品的归化翻译与异化翻译[J].[Domesticating and Foreignizing Translation of Chinese Tea Literature in the Context of Belt and Road].福建茶叶Fujian Tea(2) :360-361．<br /> <br /> *Zhang Jinghua 张景华.(2009). 翻译伦理：韦努蒂翻译思想研究[M].[Ethics of Translation: A Study of Venuti's Thought on Translation]. 上海交通大学出版社Shanghai Jiao Tong University Press. <br /> <br /> *Zhang Jinlan张锦兰. (2004).目的论与翻译方法[J].[The Skopos Theory and Translation Method]. 中国科技翻译 Technology Translation in China(1):35-37.<br /> <br /> ==Study of domestication and foreignization in cross cultural translation 周罗平 Zhou Luoping==<br /> &lt;center&gt; 周罗平 Zhou Luoping,202020080670.&lt;/center&gt;<br /> <br /> ===Abstract===<br /> Language is the carrier of culture and the medium of communication between cultures. Language and culture are closely connected. Nowadays, cultural exchanges are becoming increasingly frequent; hence, it’s particularly important to use translation to convey information between different cultures. Translation is a process not only about transforming one language into another, but also about noticing the history and cultural tradition behind languages. Therefore, in cross-cultural translation, translators should master two strategies to deal with culture: domestication and foreignization. This article will introduce domestication and foreignization and explore how to use them in cross-cultural translation.<br /> <br /> ===Key words===<br /> Domestication Foreignization Cross-cultural Translation<br /> <br /> ===题目===<br /> 跨文化翻译中归化和异化研究<br /> <br /> ===摘要===<br /> 语言是文化的载体，是文化间传播和交流的媒介。语言和文化之间密不可分。在文化交流日益频繁的今天，用翻译去传递不同文化之间的信息就显得格外重要。翻译不仅仅是将一种语言转化为另一种语言，更要关注不同语言背后所承载的历史背景和文化传统，故在跨文化翻译中，译者应掌握处理文化的两种翻译方法：归化和异化。本文将系统地介绍归化和异化这两种翻译策略，并探究在跨文化翻译中如何选择使用这两种翻译策略。<br /> <br /> ===关键词===<br /> 归化 异化 跨文化翻译<br /> <br /> ===Introduction===<br /> Influenced by different geographical environment, historical development and other factors, different nations and countries form their unique culture. Translation plays an important role in cross-cultural communication. The translator as the main body of translation activities should convey the culture of one language in another language. In this process, the translator is faced with how and to what extent to show the cultural connotation of source language; therefore, the translator is bound to face the choice between domestication and foreignization.<br /> <br /> Domestication, oriented by the target language culture, aims to eliminate the strangeness brought about by the source text, but it also reduces the opportunities for the target readers to contact with foreign cultures. While foreignization, oriented by the source language culture, aims to retain the unique style and cultural characteristics of the source language, but it will increase the reading difficulty. The best way is to combine domestication with foreignization. Therefore, the translator should fully consider the type of the text and the readers of the translation and then choose the translation strategies and methods reasonably.<br /> <br /> This paper will be divided into five parts. The first part is the introduction of this paper. The second part is the introduction of domestication and foreignization, as well as a brief introduction of the representatives of domestication and foreignization. The third part is an analysis of the factors that influence the choice of domestication and foreignization. The fourth part introduces the translation methods under domestication and foreignization. The fifth part is the conclusion.<br /> <br /> ===Chapter 1 Domestication and Foreignization===<br /> The terms domestication and foreignization were first put forward by Lawrence Venuti in his work The Translator’s Invisibility. The two concepts of foreignization and domestication are defined by Venuti based on Schleiermacher’s distinction between the two different translation orientations. Schleiermacher clearly pointed out that there can be only two ways of Translating. Either by keeping the author as still as possible, so as to lead the reader to the author; the other is to keep the reader as still as possible, thereby guiding the author to approach the reader. Venuti, on the basis of Schleiermacher’s distinction, called the former foreignization and the latter domestication (Jiang 2016，146-147).<br /> <br /> ====1.1 Introduction of Domestication====<br /> According to Venuti, domestication is actually an ethnocentric practice, bringing foreign texts into the cultural values of the target language and thus bringing the author back home (Venuti 2009, 20).Therefore, in the process of translation, the translator follows the target language culture and adopts conservative methods to assimilate the original text so as to meet the needs of the target language readers. <br /> <br /> In this sense, the biggest advantage of the domestication is that it makes the translated works more easily accepted by the target language readers and that readers can better understand the connotation of the source text. In addition, domestication well reflects the coexistence of different cultures in the process of communication, and shows that translators seek common ground when facing culture differences and conflicts. Of course, every coin has two sides. Domestication translation also has its shortcomings. When translators adopt domestication, they tend to assimilate part of the original content with different language style or unique national culture, which makes the translation lose the characteristics of the original text, thus affecting the communication and spread of different cultures and hinders readers’ understanding of foreign culture.<br /> <br /> Eugene Nida is the representative figure advocating domestication. Nida’s functional equivalence theory or dynamic equivalence theory shows that he is a supporter of domesticating translation. His dynamic equivalence theory shows that he pursues the most natural equivalence translation. He once said that “dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language” (Nida &amp; Taber 2004, 24). In other words, dynamic equivalence means that the reader’s response to the translation is consistent with that of the original. Nida’s dynamic equivalence theory fully considers the reader’s language culture and the reader’s ability to appreciate the translation. Therefore, in the course of translating, the translator should take the completely natural and smooth language expression as the goal. In order to make the translation natural and smooth, the translator must make some adjustments to the original text. Some heterogeneous cultures which are not accepted by readers should be eliminated as much as possible. Nida’s dynamic equivalence theory takes the reader into full consideration. It aims to eliminate the readers’ strangeness to the original content and let readers better understand the thought and meaning of the original text, which precisely reflects the characteristics of domesticating translation.<br /> <br /> ====1.2 Introduction of Foreignization====<br /> Foreignization is an ethnodeviant practice, keeping language and cultural differences of the original texts as far as possible and thus sending the reader abroad (Venuti 2009, 20). In other words, in order to show the cultural characteristics of the source work, translators use foreignising translation to retain the characteristics of the source text and try to keep the writing techniques used by the author of the source language. Hence, for the readers of the target language, the translation is exotic and unfamiliar. <br /> <br /> Same to the domestication, foreignization also has its advantages and disadvantages. Foreignization, by transplanting the culture of the source language into the culture of the target language, enriches the culture of the target language to a great extent. For example, the Chinese phrase “武装到牙齿” is translated as “armed to the teeth”, which greatly spreads Chinese culture and enriches the English and Chinese language culture. Of course, foreignization also has its limitations. Some cultural differences and language differences are difficult to overcome. If foreignization is adopted blindly in the process of translation, there will produce some translations that readers cannot understand and accept, and translation will also lose its function of cultural communication.<br /> <br /> Schleiermacher and Venuti are strong supporters of foreignization. Schleiermacher’s preferred strategy is to accommodate the reader to the author. He claims that translations need not be same as the original author writes in the source language. The translation does not conform to the general expression habits of the target language. He believes that a translator who knows the target language can help target readers who are not proficient in the foreign language but have a strong understanding of the original text. In order to achieve this goal, the translator must adopt the foreignization translation, emphasize the value of heterogeneous culture, and ensure the faithfulness to the original text by subordinating the words in the target text to the source language (Jiang 2016, 147). In this way, the translation can be faithful to the meaning of the original text and can introduce heterogeneous cultures and concepts to readers of target language.<br /> <br /> In his book The Translator’s Invisibility, Venuti expresses his understanding and support for foreignization translation in detail. He believes that foreignization translation is a kind of translation strategy that preserves and highlights the heterogeneity of the original text in the translation. Firstly, he believes that foreignization is reflected in the selection of translation materials. He mainly aims at the classic translation of literature and culture of the target language instead of scientific translation (Venuti 2009, 42). In the process of foreignising translation, the translator chooses a foreign text which is different from the mainstream culture of the target language, which can change the cultural composition of the target language. Secondly, foreignization translation is reflected in the language used by the translator. This means that in the process of translation, the closer the language style of the translation is to the language style of the original, the more heterogeneous the readers will feel. Moreover, Venuti advocates that in the process of translation, the translator should use words that are not commonly used and non-standard. Translators should mix slang, neologism or archaic words to achieve heterogeneous effects(Venuti 2009, 35). In this way, the foreignization style of translation highlights the heterogeneity of foreign texts and challenges and resists the mainstream culture of the target language. Thirdly, foreignization translation is embodied in cultural alienation. By highlighting the cultural differences caused by language differences, foreignization translation promotes the development of cultural diversity, helps to resist the hegemony of European and American culture, and helps to promote the development of culture and language of weak and small nations (Venuti 2009, 21). Fourthly, foreignising translation highlights and enhances the status of the translator, which changes the phenomenon that the smooth translation makes the translator invisible in the past, thus promoting translation research to gradually move to the academic center (Venuti 2009, 17). Venuti elaborates that smooth translation has long occupied the mainstream position in the history of western translation, and the fluency of translation has become the standard to judge whether a translation is good or not. Venuti challenges and questions this phenomenon. The smooth translation covers up the translator’s intervention and interpretation of the original text, and covered up the language and cultural differences of the original work. Therefore, he puts forward the concept of resistant translation to expound his translation thoughts. Resistant translation refers to a translation strategy that preserves some heterogeneity in literary translation. The object of resistance is the prevailing translation thought in British and American culture, that is, fluent translation is acceptable translation. Venuti challenges the dominant position of British and American culture and introduces the idea of weak culture by advocating resistant translation. Translation is not only a process of seeking similarities between languages and cultures, but also a process of facing the differences between languages and cultures. Translators cannot completely and thoroughly eliminate these differences. Therefore, a good translation must be the blending and collision of different cultures, from which the readers can better understand and perceive cultural diversity (Jiang 2016, 169-170).<br /> <br /> ====1.3 Literal translation, free translation, domestication, and foreignization====<br /> There are a lot of discussions on the translation strategies of domestication and foreignization, and literal translation and free translation. Many people think that domestication is equal to free translation, while foreignization is equal to literal translation. I don’t think so. In this section, I will make a comparison and distinction between the two groups of translation concepts. <br /> <br /> Literal translation refers to the translation that maintains the content and style of the original text while following the norms of the target language. Literal translation starts with word to word translation (Shuttleworth &amp; Moira 2005, 129). However, due to the need to be consistent with the grammar of the target language, the final target text may also present the equivalence of phrase to phrase or clause to clause. Free translation, as opposed to literal translation, refers to the translation that reads naturally, rather than the type of translation that completely retains the wording of the source text. Free translation is usually oriented to the target language (Shuttleworth &amp; Moira 2005, 84).<br /> <br /> As mentioned before, domesticating translation covers up the differences between different cultures and weakens the strangeness of the original. The translation produced by domestication is very fluent and natural so that readers are able to read and understand the translation according to their own language expressions. Foreignising translation requires the translation to show the heterogeneity of the original text and convey the foreign cultural characteristics of the original text as far as possible so that the reader will feel a strange feeling when reading the translated text and sometimes they will have some misunderstanding or questions that are caused by exotic culture. <br /> <br /> Literal translation and free translation emphasize whether the translation is consistent with the original text in terms of language form and language style. Domestication and foreignization not only emphasizes the language level, but also pays attention to whether the values and cultural traditions conform to the expression habits of the target language countries. Additionally, it is worth mentioning that literal translation and free translation are static opposites. Whether the translation is faithful to the original is mainly seen from the linguistic unit. Domestication and foreignization is a pair of dynamic opposites (Lu 2018, 57). With the increasing frequency of cultural exchanges and the passage of time, the original foreignization will become domestication. Therefore, we cannot easily equate literal translation with foreignization, nor can we equate free translation with domestication.<br /> <br /> ===Chapter 2 Factors influencing the choice of domestication and foreignization===<br /> In cross-cultural translation, translators are always faced with the choice of domestication and foreignization. Then, how does the translator make a choice? This chapter will explore some factors that influence the choice of translation strategies of domestication and foreignization, and then discuss when to domesticate and when to foreignize the text.<br /> <br /> ====2.1 The type of the text==== <br /> Different text has its own function. When dealing with different kinds of texts, translators should choose different translation strategies to translate text and to better show the function of the text. Newmark, a famous translator, divides text into three types according to its content and style: expressive function, informational function, and vocative function.<br /> <br /> Expressive text mainly has literary value or shows the author’s unique writing style, including some serious literary works, such as some serious imaginative literature, authoritative statements and some literary works like personal letters, autobiography, and essay (Newmark 2001, 39). Expressive text emphasizes the expressive function of language. This kind of the text takes the authority of the original author into consideration and pays less attention to readers’ responses. Compared with other types of texts, expressive texts use artistic and beautiful language, with the purpose of creating artistic images, so that readers can be inspired and moved by the language in the process of reading (Wang 2008, 138). The characteristics of expressive texts require translators to translate not only meaning, but also the emotion in the process of translation, so as to reproduce the artistic characteristics of the original text to the greatest extent and make readers feel the artistic charm of the source text when reading the translated text. Therefore, the linguistic features and purposes of expressive texts require translators to use foreignization as much as possible to reflect the exotic flavor of the source language and reproduce the artistic features of the source text.<br /> <br /> Informative text is mainly to convey the original information to readers truthfully and smoothly, mainly including technical reports, articles in newspapers or periodical, general teaching materials, product descriptions and other text whose content is more important than form (Newmark 2001, 40). This kind of text is created without author’s personal emotion and its main function is to lead readers to know and understand information. These characteristics require translators to focus on the content of the text and uses simple or clear expression as far as possible to convey the content so that readers can fully accept the meaning; therefore, it’s better to use domestication as much as possible to reproduce the content of the original text instead of sticking to the language styles. <br /> <br /> Vocative text is mainly to call readers to take action, to think, and to make reaction, including notice, instruction, and advertisement. This type of text emphasizes the infective function of the language and it takes readers as center (Newmark 2001, 41). Vocative text emphasizes the readability of the text and the acceptability of the reader (Wang 2008, 139). It is necessary to put the readers of the target language in the first place and take their culture and receptivity into consideration, so that they can clearly get the information; therefore, when translating such texts, translators should grasp the cultural differences between different languages and put the cultural habits of target readers in the first place. Only in this way can readers truly think, feel, and act. Additionally, in the course of translation, translators should give full play to the linguistic advantages of the target language and should not be limited to the expression of the original text, so as to achieve the same effect as the original language as far as possible.<br /> <br /> According to Newmark, the division of text is not absolute, and most texts have all three functions at the same time with one or two of them dominate (Newmark 2001, 42). Hence, in the actual translation, domestication and foreignization should be combined. Domestication and foreignization are not always antithetical; on the contrary, they complement each other. When choosing foreignising translation strategy, the translator should pay attention to the smoothness and understandability of the target text. When choosing the domestication translation strategy, the translator should also pay attention not to lose the flavor and style of the original text. During translating, to a certain extent, the translator has freedom so the translator should give full play to the advantages of the two translation strategies. The translator can adopt domesticating translation to familiarize language expression and use foreignising translation to keep cultural elements.<br /> <br /> ====2.2 Readers of the target language====<br /> The translator choosing which translation strategy is not only influenced by the type of text, but also by the target readers. Reader is an important factor influencing the choice of domestication and foreignization so translator should take readers’ age, gender and educational level in the consideration in the course of translation. <br /> <br /> The translation under the domestication strategy is smooth and natural and it’s easier to be accepted by readers. Therefore, if the target readers of the translated text are young children or readers with low education level, the translator can use the domestication strategy more when translating, so that the readers can understand and accept the information of the translated text. However, the translation under the foreignization strategy aims at revealing the heterogeneity of the source culture, spreading foreign culture, and preserving the unique expression and original flavor of the original text. Such a translation may be awkward and difficult to understand. If the readers of the target text are highly educated, highly receptive, or have a certain understanding and cognition of the culture of the source language, the translator can use the foreignization strategy to show the style of the source text, so that the readers can better understand the foreign culture and broaden their horizon (Zhang &amp; Wang 2007, 147).<br /> <br /> Generally speaking, most works have a specific audience for reading. Different groups of readers have their own characteristics and different levels of comprehension; therefore, translators should take the factor of readers into consideration to choose domestication strategy or foreignization strategy in the actual translation. <br /> <br /> ===Chapter 3 The application of translation methods in domestication and foreignization===<br /> In cross-cultural translation, translating culturally-loaded expressions is difficult. Choosing appropriate ways to translate culturally-loaded expressions will not only keep the original favor, but also make readers of target language understand so in this part I will introduce some methods to translate culturally-loaded expressions under the domestication and foreignization strategy.<br /> <br /> ====3.1 Introduction of culturally-loaded expressions====<br /> Culturally-loaded words refer to words with certain cultural background or profound cultural implication, including proverbs, allusions, special characters’ names and current idioms and idioms that have been deposited in a certain historical stage (Fang 2011, 297). As culturally-loaded words have their own uniqueness, the following principles should be followed in the translation of culture-loaded words. According to Wang Zhenqi, first, the key implied meaning of the expression in the source text should be converted into non-implied meaning in translation. Second, the representation of the lexical meaning of the source language should be given priority to the representation of the form. Third, the context of the source words should be taken into full consideration in the choice of translation (Wang 2014, 97). Then, in the translation of such words, the translator takes cultural exchange as the purpose, evaluates the readers’ cultural reception and perceptivity, and adopts flexible and appropriate translation methods, so as to ensure that the translated text not only retains the cultural information and cultural color of the original text, but also has readability. There are different ways of translating culturally-loaded words because of their different forms and cultural meanings.<br /> <br /> ====3.2 Translation methods under the domestication strategy====<br /> Under the domestication translation strategy, there are three main methods to translate culturally-loaded expressions, namely: free translation, cultural substitution, and simplification.<br /> <br /> Free translation is a common way in translating culturally-loaded words. Free translation is to translate the cultural information in the source text as much as possible. If the translator only conveys literal meanings of the words that are rich in cultural information, sometimes they will confuse and even misunderstand readers. In order to better convey the meaning of the original text, the translator adopts free translation method to translate the real connotation of culturally-loaded words, fill the gap in the readers’ culture, and let readers understand the text more naturally and smoothly (Wang 2014, 98). For example, some color words in Chinese have lots of different symbolic meanings. The color purple in Chinese culture represents the spirit of saints and emperors, which is maybe unfamiliar to readers of other cultures. Hence, when translating the term “紫禁城”，in order to eliminate misunderstanding, the translator tends to adopt free translation to translate it as “the forbidden city” which shows its cultural meaning. <br /> <br /> In cross-cultural translation, the translator may face such difficulty that there is no corresponding word in the target language equaling to the culturally-loaded word in the source language. In this case, cultural substitution is a good choice. Cultural substitution, put forward by Beekman and Callow, is a method of dealing with things that exist in the source language but do not exist in the target language. It is defined as using things in target language to replace the things in source language culture that is unknown to readers of target language. In order to maintain the functional meanings, both things have the same function. There are three points to note when using. Firstly, do not replace history with didactic words; secondly, choose the one that suits best and not just the one with the most obvious function; thirdly, avoid functional conflicts between source language and target language(Fang 2011,104). For example, in order to let readers of target language better feel and understand the love of Romeo and Juliet, we will use cultural substitution methods and translate it into the love between Liang Shanbo and Zhu Yingtai, which eliminates the unfamiliarity of the cultural image in the source language and is the representation of domestication. Using the cultural images in the target culture, the translator enables the target readers to understand the foreign culture on the basis of their own culture, thus strengthening the understanding between different cultures.<br /> <br /> Simplication is also a good way to deal with culturally-loaded expressions translation. According to Wang, simplified translation is to translate the core meaning of culture-loaded words in the source language into a simple and clear target language. In cross-cultural translation, the translator may encounter such a situation when the long-winded concept of the original text can be simply expressed in the target language, such as using idiom, and such a translation is more acceptable to the target language readers. Therefore, it is very effective to use simplified translation which not only preserves the core concept of the original text, but also makes the translation acceptable (Wang 2014, 98).<br /> <br /> Free translation, cultural substitution and simplication are all translation methods to eliminate the strangeness caused by culturally-loaded words in the source language text and avoid readers’ confusion or misunderstanding. These domesticated text translation methods facilitate readers’ reading, better ensure that readers correctly understand the content of the source language text and experience the emotion of the source language text.<br /> <br /> ====3.3 Translation methods under the foreignization strategy====<br /> Under the foreignization translation strategy, there are five main methods to translate culturally-loaded words, namely: literal translation, literal translation plus annotation, transliteration, transliteration plus annotation, and cultural borrowing.<br /> <br /> Literal translation is loyal to the meaning and structure of the source text, directly translating the source language into the target language (Fang 2011, 104). With the increasingly frequent cultural exchanges, some loaded words and expressions have gradually become familiar to people. For example, the proverb “All roads lead to Rome” is directly translated as “条条大路通罗马” . “A near friend is better than a far-dwelling kinsman” is translated as “远亲不如近邻”. These culturally-loaded expressions are directly translated into the target language and Chinese readers can clearly understand the meanings.<br /> <br /> However, when literal translation can’t fully convey the original cultural information and readers have difficulty perceiving the meaning, the translator can add some annotation to explain the meaning of the culturally-loaded words on the basis of the literal translation (Wang 2014, 98). Annotations can be used to supplement background information, cultural traditions and other information for readers to understand. For example, the sentence “Now he was his valet, his dog, his man Friday” is translated as “如今他便成了他的听差，他的狗，他的忠仆星期五（星期五Friday是《鲁滨逊漂流记》中Robinson Crusoe的忠实奴仆）” . By adding the supplementary information, readers will know the meaning of this sentence clearly. Hence, for one thing, the translation preserves the original culture and promotes the communication between different cultures as well; for another, the readers of target language can better understand the cultural connotation and broaden their knowledge.<br /> <br /> Transliteration is a good and common way to translate culturally-loaded expressions. It uses letter symbols to represent letter symbols in another language system. When there is a big difference between the source language and the target language and there is a semantic gap, it is impossible to translate the semantic meaning (Fang 2011, 105). In this case, transliteration is the main translation method. The objects of transliteration are the names of people, places and newly generated terms. For instance, a city of America “Mount Pleasant” is translated as “芒特普莱森特” in Chinese. The Chinese Taoist thought “阴”and “阳” are translated as “Yin” and “Yang.” Through transliteration, readers of the target language can not only gain some understanding of the cultural knowledge of the source language, but also introduce new cultural concepts into the culture of the target language.<br /> <br /> Transliteration plus annotation is also often used in the translation of specific cultural words. The translator can add some annotation that can be in-text annotation or extra-text annotation to explain the meaning of the culturally-loaded words on the basis of the transliteration(Fang 2011, 105), so as to achieve the purpose of cultural information transmission. For example, the sentence “Like a son of Bacchus, he can drink up two battles of whisky at a breath” is translated as “他简直像巴克斯（巴克斯是古希腊神话中的酒神）的儿子，能一口气喝光两瓶威士忌”. The annotation gives a clear explanation of the connotation of culturally-loaded words. <br /> <br /> Cultural borrowing refers to some words in the source language, which can only be transferred into the target language word by word according to the literal meaning because no appropriate corresponding language can be found in the target language. The borrowed words may be unchanged or slightly altered, but their meaning must be clear and unmistakable in the target language text (Fang 2011, 304). For example, “as timid as a rabbit” can be translated as “胆小如兔”in Chinese. By cultural borrowing, this translation preserves the emotional image and cultural connotation of source language and the readers of target language can figure out the meaning of this expression. Therefore, when using cultural borrowing, the translator should not only keep the cultural image in source text but also let the reader of target language understand the image with exotic connotation.<br /> <br /> On the basis of preserving the culture and keeping the flavor of the original text, these five translation methods try their best to make readers understand the culture of the source language so as to let readers perceive the beauty of foreign culture and to introduce new expressions into target language.<br /> <br /> ===Conclusion=== <br /> Translation is an activity of communication between different languages and cultures. Different nations and countries have different ways of language expression because of their different cultures. In cross-cultural translation, translators should not only take on the responsibility of transmitting the source language culture and promoting the communication between different cultures, but also take the responsibility of making the target readers understand the connotation of the text, so as to make the translation readable and acceptable. This requires the translator to master the two translation strategies of domestication and foreignization, and grasp the balance between them.<br /> <br /> Domestication is helpful for the target language readers to understand the original text and avoid the obstacles caused by cultural differences; however, the translation approach to the readers’ language and culture will inevitably lose language features and cultural customs of the original text. Foreignization translation retains the expression habits and cultural characteristics of the source language, but is easy to increase the understanding difficulty of the target language readers, and may even cause misreading of the target language readers. With the frequent cultural exchanges, to some degree, people around the world are relatively familiar with each other’s cultural customs; therefore, on the premise that the target readers have no misunderstanding of the original text, the foreignization translation strategy can be appropriately adopted, which can enrich the target language culture and broaden the horizon of the target readers. <br /> <br /> Hence, in cross-cultural translation, translators had to deal with the problems of domestication and foreignization. Translators should consider some factors that influence the choice and choose appropriate translation methods to make domestication and foreignization complement each other, and retain the original flavor of the original text while ensuring the understanding of the target readers.<br /> <br /> ===References===<br /> *Fang Mengzhi方梦之.(2011)中国译学大辞典[A Dictionary of Translation Studies in China]. 上海外语教育出版社Shanghai Foreign Language Education Press.<br /> *Jiang Tong蒋童.(2016).韦努蒂翻译理论的谱系学研究[Genealogical study on Lawrence Venuti’s translation theory].商务印书馆The Commercial Press.<br /> *Lu Xiaojun 陆晓君. (2018) 归化和异化与直译和意译的比较[A Comparison between domestication and foreignization and literal translation and free translation]. 齐齐哈尔师范高等专科学校学报[Journal of Qiqihar Junior Teachers’ College](05) 55-57.<br /> *Newmark, P. (2011) A Textbook of Translation. Shanghai Foreign Language Education Press.<br /> *Nida, E.A. &amp; Taber C.R. (2004) The Theory and Practice of Translation. Shanghai Foreign Language Education Press.<br /> *Shuttleworth, M. &amp; Moira, C. (2005) Dictionary of Translation Studies.谭载喜译Translated by Tan Zaixi. Foreign Language Teaching and Research Press.<br /> *Venuti, L. (2009) The Translator’s Invisibility. 张景华译Translated by Zhang Jinghua. 外语教育与研究出版社Foreign Language Teaching and Research Press.<br /> *Wang Chan王婵.(2008). 纽马克翻译理论在不同文本类型中的体现[The Embodiment of Newmark’s translation in different text types].湖北师范学院学报（哲学社会科学版）Journal of Hubei Normal University(Philosophy and Social Science) (02) 138-140.<br /> *Wang Zhenqi王溱琪.(2014).文化负载词翻译方法浅议[A brief discussion on culturally-loaded word translation method ].长江大学学报(社科版)Journal of Yangtze University (Social Science) (01) 97-98.<br /> *Zhang Siyong &amp;Wang Huimin张思永,王慧敏. (2007). 归化还是异化——谈影响翻译策略选择的若干因素 [Domestication or foreignization-an analysis of factors influencing the choice of translation strategy].广西社会科学 Guangxi Social Science (10):145-148.<br /> <br /> ==The Application of Domestication and Foreignization in the Translation of Chinese Xiehouyu 龚钰冕 Gong Yumian==<br /> &lt;center&gt; 龚钰冕 Gong Yumian,202020080601.&lt;/center&gt; <br /> <br /> ==='''Abstract'''=== <br /> Chinese Xiehouyu is a unique part of Chinese folk culture, and people are familiar with it. The translation of Chinese Xiehouyu is a kind of cross-cultural communication activity that spreads the Chinese national language and culture to the English world. In depth study of the connotation and translation methods of Chinese Xiehouyu has played a significant role in promoting and improving the Chinese-English translation and cross-cultural communication between Chinese and English. Based on the theory of domestication and foreignization, this paper attempts to analyze the types and components of Chinese Xiehouyu, and to explore their translation strategies.<br /> <br /> ==='''摘要'''===<br /> 汉语歇后语是中国民俗文化特有的一部分，人们耳熟能详。汉英歇后语翻译是一种将中华民族语言文化传播到英语世界的跨文化交流活动，深入学习研究汉语歇后语的内涵和翻译方法，对汉英语言的互译和跨文化交际都起到了很好的促进和提高作用。本文试图用归化和异化理论出发，分析汉语歇后语的类型及其构成，探讨汉语歇后语的翻译策略。<br /> <br /> ==='''Key words'''=== <br /> Chinese Xiehouyu, domestication and foreignization, translation strategy<br /> <br /> ==='''关键词'''===<br /> 汉语歇后语；归化和异化；翻译策略<br /> <br /> ==='''Introduction'''===<br /> Chinese Xiehouyu is a unique language form in Chinese idioms, which is full of cultural connotation and has a special structural form. It has the characteristics of vivid and humorous language, rich in philosophy and enlightenment, which is widely spread and loved by the Chinese people. Chinese Xiehouyu is not only widely used in spoken language of all social strata, but also can be seen everywhere in classical and modern literary works and articles. However, as a unique language form in Chinese, it is difficult to find the corresponding expression in other languages. Therefore, it has become a difficulty in the translation of Chinese idioms, which is undoubtedly a great challenge to the translator. <br /> <br /> The strategies of domestication and foreignization play an important role in translation. Besides, the correct application of domestication and foreignization in translating Chinese Xiehouyu will appropriately and vividly introduce China's history and culture to foreign people to promote cultural exchanges. Therefore, this paper attempts to analyze the types and components of Chinese Xiehouyu, analyze the connotations of domestication and foreignization, and explore the translation methods of Chinese Xiehouyu with many examples.<br /> <br /> ===Chapter 1 The Definition of Chinese Xiehouyu===<br /> <br /> ====1.1 The Origin of Chinese Xiehouyu====<br /> Chinese Xiehouyu is also called allegorical saying, witticism, abbreviation, quotation and so on. When it comes to Xiehouyu, Chinese people are familiar with it, because it is a form of expression that Chinese people have learned since childhood. When studying the origin of Chinese Xiehouyu, some linguists and linguistic works also mentioned other related names. For example, Chen Wangdao (1932) included Xiehouyu in the section of &quot;Cutting and Shortening Words&quot; in his ''The Main Ideas of The Rhetoric''.<br /> <br /> Guo Shaoyu (1925) pointed out that Xiehouyu originated from &quot;shefu&quot; (a form similar to guessing riddles) in his book ''A Study of Proverbs''; and names such as &quot;riddle&quot;, &quot;proverb&quot;, &quot;abbreviation&quot;, &quot;idiom&quot;, &quot;witticism&quot; were listed in other books. By comparison, most of them reveal some similarities and differences. Let's briefly review the origin of the name &quot;Xiehouyu&quot;.<br /> <br /> The name &quot;xiehou&quot; was first found in the biography of Zheng fan in Tang Dynasty, and it is mentioned in the book that &quot;the style of Zheng Wu Xiehou&quot; (a kind of poem with the style of &quot;xiehou&quot;). The word &quot;Xiehouyu&quot; has appeared for a long time, but what the ancients said refers to the ppoetry or a word game about Xiehouyu. The Xiehouyu, which we are talking about today, was called &quot;Qiaoyu&quot;, &quot;Fangyu&quot; and &quot;Shiyu&quot; by the ancients and were more commonly known as &quot;Yaoyan&quot;. （Miregu Aimaiti, 2014, 5）<br /> <br /> At the beginning of the 20th century, Bai Qiming took Xiehouyu as a kind of folk literature and art after the publication of his article &quot;''Xiehouyu Which Should Be Included in The Collection of Songs'' &quot;. He pointed out that Xiehouyu, also known as &quot;argot&quot;, was called &quot; wind typeface &quot; in Tang Dynasty and &quot;Kaner&quot; or &quot;Kanzi&quot; in custom. However, he did not explain why he called it &quot;Xiehouyu&quot; in his article.<br /> <br /> In the 1930s, Chen Wangdao pointed out in his book &quot; ''The Main Ideas of The Rhetoric''&quot; that Xiehouyu has two meanings: one is &quot;Xiehouyu&quot; used by the ancients, also known as &quot;cutting and shortening words of Xiehouyu&quot;; the other is &quot;Xiehouyu&quot; that people use today, also referred as “Pijieyu”, that is, the Xiehouyu composed of interpretation.<br /> <br /> In the 1950s, Mao Dun pointed out that in order to distinguish it from the &quot;original or formal xiehouyu&quot;, a different name should be given to the Xiehouyu that people use today, but he did not specify what name to use instead. In the 1980s, from the perspective of academic research, Wen Duanzheng thought that the academic name should reflect the essential characteristics of the things referred to, agreed with Mao Dun's opinion, and concluded that Xiehouyu did not express the meaning of &quot;xiehou&quot; in Chinese through a large number of examples. Therefore, he suggested that the Xiehouyu should be renamed as &quot;quotations&quot; according to the relationship between the former and latter parts of the Xiehouyu. <br /> <br /> However, most scholars believe that the name of Xiehouyu has been accepted by people and it is difficult to change it. Therefore, they advocate that the name &quot;Xiehouyu&quot; should still be used without any change. （Miregu Aimaiti, 2014, 6）<br /> <br /> ====1.2 The Structure of Chinese Xiehouyu====<br /> Chinese Xiehouyu can be literally translated into &quot;rest ending sayings&quot; or &quot;post-pause expressions&quot;. According to its structure, it is also translated as &quot;example-explanation-sayings&quot;. In 1986, Professor Luo Shenghao, a linguistic professor at the University of Illinois at Chicago, translated the Chinese Xiehouyu into &quot;enigmatic folk similes&quot; in his book ''A Dictionary of Chinese Xiehouyu''. <br /> <br /> According to professor Luo, &quot;Similes&quot; refers to the Chinese Xiehouyu which is generally composed of vehicle and tenor. The vehicle are figurative metaphors. The tenor is the explanation of the vehicle to show its essential significance. For example, “粪坑里的石头——又臭又硬” (The stone in the cesspit —— smelly and hard.). &quot;Folk&quot; indicates that the Xiehouyu is originated from the folk and is used more frequently in daily spoken language. &quot;Enigmatic&quot; indicates that this kind of expression has the nature and characteristics of riddles which also have two parts: the tenor and the vehicle. Therefore, &quot;enigmatic Folk Similes&quot; basically reflects the special structure and essential characteristics of Chinese Xiehouyu. (Qi Dehui, 2011, 110)<br /> <br /> ====1.3 The Definition of Chinese Xiehouyu====<br /> Xiehouyu has very distinct characteristics, and its external structure is composed of two parts. The former part is the image and descriptive language, which tells a thing, a modality, an object, a scene and so on, while the latter part is a summary and abstract language, which is the explanation of the former part. The combination of the former part and the latter part produces a sense of witty and humor to express meaning. Therefore, the fixed phrase is called Xiehouyu. (Bao Huinan &amp; Bao Ang, 2000, 64)<br /> <br /> In the dictionary, the explanation of Xiehouyu is that a sentence composed of two parts: the former part is like the riddle, the latter part is like the answer of riddle, and the original meaning is from the latter part. For example, “泥菩萨过江——自身难保”(like a clay idol fording a river, hardly able to save oneself(let alone anyone else)). Therefore, Xiehouyu is a kind of idiom with relatively fixed structure and oral characteristics, which is composed of two parts with the relationship of citation and annotation. （Miregu Aimaiti, 2014, 5）<br /> <br /> ''An Unabridged, Comprehensive Dictionary''defines Xiehouyu as follows: Xiehouyu is a kind of idiom, which is humorous and vivid sentences that are familiar to the masses. When used, it can omit the latter part, and the former part can show the meaning, such as &quot;丢了西瓜捡芝麻&quot; (lose the watermelon and pick up the sesame) can mean &quot;因小失大&quot; (keep the tail from wagging the dog); the former and latter part can also be juxtaposed, such as &quot;芝麻开花—节节高&quot; (A sesame stalk puts forth blossoms notch by notch, higher and higher – rising steadily). (Liu Na, 2016, 18)<br /> <br /> The definition points out the nature and components of Xiehouyu. In the branches of linguistics, Xiehouyu belongs to the National Cultural Connotation (NCC), which is composed of the former part and the latter part. The former part often explains and describes a kind of life phenomenon, and the latter part makes comments and analysis on this phenomenon. （Miregu Aimaiti, 2014, 6）<br /> <br /> In the section of language and characters in the ''Chinese Encyclopedia'', Xiehouyu refers to the humorous utterance formed by deliberately missing one word or half sentence of a commonly used word when speaking. There are usually two kind of Xiehouyu. The first one is the original meaning of Xiehouyu, referred to the omission of the last word of an idiom, which is also called &quot;abbreviation&quot;. （Miregu Aimaiti, 2014, 6）<br /> <br /> The second one is allegorical sayings that are expanded its meaning. The two-part allegorical sayings in Beijing are called witticism, which means that the last half of a sentence can be omitted. For example, &quot;竹篮打水（Ladling water with a wicker backet）&quot; omits the latter part &quot;一场空（all is empty）&quot;. Sometimes homonyms are used. Such as &quot;外甥打灯笼一一照旧（舅）(Things seemed to be the same as before)&quot;. In this sentence, “旧” and “舅” are homophones in China. (Yang Peigen &amp; Li Yanlin，2006，93)<br /> <br /> In short, Xiehouyu is a special language form created by the Chinese people in their daily life. It is a short, funny and vivid sentence and composed of two parts: the former part plays the role of introduction, like a riddle, and the latter part plays the role of supplement, like the answer of riddle, which is very natural and appropriate. In a certain language environment, one usually says the former part and omit the latter part, the other can understand and guess its original meaning, so this language form is called Xiehouyu.（Miregu Aimaiti, 2014, 7）<br /> <br /> ====1.4 The Importance of Chinese Xiehouyu Translation====<br /> Xiehouyu is a kind of Chinese idioms, which reflects people's daily life and experience, and is a concise summary and warning of people's experience in life. It has rich ideological connotation and unique cultural characteristics. However, from the perspective of translation, as a unique language phenomenon in Chinese, it is difficult to find the corresponding expression in other languages. Therefore, it has become a difficulty in the translation of Chinese Xiehouyu, which is undoubtedly a great challenge to the translator. (Xu Yanan &amp; Zeng Xianmo, 2020, 249)<br /> <br /> There are similar forms of Chinese Xiehouyu in English, but so far, there is no official definition corresponding to Chinese Xiehouyu. How to reproduce the language style of Xiehouyu and convey its rich cultural connotation is a subject worthy of discussion and research. At the same time, the translation of Xiehouyu helps the world to understand China and Chinese culture, which is conducive to the wide spread of Chinese culture. (Xu Yanan &amp; Zeng Xianmo, 2020, 249)<br /> <br /> From the perspective of linguistics, the most differences are that Chinese is a parataxis language while English hypotaxis. Chinese belongs to the Chinese-Tibet language, while English belongs to the Indo-European language; Chinese is a parataxis language while English hypotaxis. In English, the arranging of clauses one after the other without connectives showing the relation between them, for example, the rain fell; the river flooded; the house washed away. In Chinese, the dependent or subordinate construction or relationship of clauses with connectives, for example, I shall despair if you don’t come. (Lian Shuneng, 1993，48-49)<br /> <br /> Therefore, interlingual conversion occurs in the process of translation, which it is of great value in translation. In the process of translating Chinese Xiehouyu into English, it is necessary to faithfully reproduce the meaning of the source language by integrating language, cognition, culture, communication and other factors. The form and meaning of Chinese idioms are not completely coincident, which is fully reflected in the literal meaning and implied meaning of Xiehouyu. For foreigners, being familiar with and understanding Xiehouyu can strengthen their mastery of Chinese and deepen their understanding of Chinese culture and civilization. (Liu Na, 2016, 18)<br /> <br /> ===Chapter 2 Types of Chinese Xiehouyu===<br /> According to the connection between the two parts of the Chinese Xiehouyu, it can be roughly divided into two types: metaphorical Xiehouyu and paronomasia Xiehouyu. (Qi Dehui,2011,110)<br /> <br /> ====2.1 Metaphorical Xiehouyu====<br /> There are numerous metaphorical Xiehouyu. The former part implies a metaphorical meaning and the latter part original meaning. Their internal connections are very clear and logical.<br /> <br /> For example, <br /> （1）那个宝玉是个丈八的灯台——照见人家，照不见自己的，只知嫌人家脏。这是他的房子，由着你们糟蹋。 (As for Baoyu, he is like a ten-foot lamp-stand that sheds light on others but none on it-self. He complains that other people are dirty, yet leaves you to turn his own rooms topsy-turvy.)<br /> <br /> It can be seen that in the first example, the vehicle is literally translated, while the tenor is translated with interpretation, explaining the former part. Literal translation with interpretation not only retains the figurative image of the original language, but also effectively conveys its cultural connotation, which is clear to the target readers.(Qi Dehui,2011,110)<br /> <br /> ====2.2 Paronomasia Xiehouyu====<br /> The paronomasia Xiehouyu has a great proportion in Chinese Xiehouyu. The latter part of the paronomasia Xiehouyu is a pun, which has both the surface meaning of the vehicle and other deep meaning. In other words, the literal meaning is to explain the former part, but its deep meaning expresses a completely different meaning from the whole context. (Jin Huikang, 2004, 132)<br /> <br /> For example,<br /> (2)一根筷子吃藕——挑眼(Eating lily root with only one chopstick——picking it up by the holes.) <br /> In the second example, “pick holes” means to find one’s faults, while the meaning of its vehicle is to pick the whole in lotus root slices with a chopstick.(Ling Li, 2004, 452)<br /> <br /> (3) 三九天的萝卜——冻了心（动了心）(A mid-winter turnip（in the third period of nine days after the winter solstice）—— the heart is frozen（affected in heart）.)<br /> In the third example, the surface meaning of “the heart is frozen” is that the turnip in a mind winter is completely frozen from the root, and the root is a symbol of heart. Moreover, “冻了心”and“动了心”in Chinese are homophones, which becomes a pun.(Qi Dehui,2011,111)<br /> <br /> ===Chapter 3 Domestication and Foreignization===<br /> <br /> ====3.1 Definition Of Domestication and Foreignization====<br /> The terms of domestication and foreignization were first put forward by German philosopher Friedrich Daniel Ernst Schleiermacher. He proposed his famous notion of the translation which “leaves the reader in peace, as much as possible, and moves the author towards him” (Venuti, 1995,19-20). Later, this term was introduced into the field of translation by Lawrence Venuti, an American translation theorist. He referred to the first method proposed by Schleiermacher as &quot;domestication&quot;, and the second method as &quot;foreignization&quot;. In a word, domestication is s term used by Venuti (1995) to designate the type of translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. （Mark Shuttleworth &amp; Moira Cowie, 2004, 43-44）<br /> <br /> Then, foreignization is a term used by Venuti (1995) to designate the type of translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (Mark Shuttleworth &amp; Moira Cowie, 2004, 59）Eugene A. Nida, the advocator of the theory, put forward in his linguistic theory of functional equivalence that &quot;cultural equivalence can be achieved by excluding linguistic differences.&quot;<br /> <br /> Qian Zhongshu, a famous writer and translator in China, once put forward the theory of &quot;sublimation&quot; in ''The Translation of Linshu'', which means that the translation should not only accord with language expression custom of the target language, but also keep the style of the original work. Substantially, theory of sublimation requires translators to comprehensive the meaning of the original work and to consider the factors of semantic relation, style, cultural differences and information transfer effect etc., and then translators should translate selectively. <br /> <br /> On the contrary, &quot;foreignization&quot; requires the translator to approach the author and express the meaning of the original text with the expressions commonly used by people. During the period of the New Culture Movement in China, Lu Xun, the advocator of the theory, once put forward the translation method of &quot;domestication&quot;, which brought a western style to the works. (Liu Xiaocen, 2017, 99)<br /> <br /> In conclusion, domestication is to localize the source language, take the target language or the target language readers as the destination, and adopt the expression methods that the target language readers are used to convey the content of the original text. Domestication requires the translator to approach the target language readers, and the translator must speak like the native author. If the original author wants to have a direct dialogue with the readers, the translated text must become a native language. Domestication translation helps readers understand the translation better and enhance the readability and appreciation of the translation. (Nie Xiaohua, 2002, 3)<br /> <br /> On the contrary, Foreignization means that the translator should try his best not to disturb the author and let the readers approach the author. In translation, it is to accommodate the language characteristics of foreign culture, absorb foreign language expression, and require the translator to approach the author and adopt the source language expression corresponding to the author to convey the content of the original text, that is, to take the target culture as the destination. The purpose of using foreignization strategy is to consider the differences of national culture, preserve and reflect the characteristics of foreign nationality and language style, and to retain the exotic sentiment for the target readers. (Nie Xiaohua, 2002, 3)<br /> <br /> ====3.2 Dialectical Analysis of Domestication and Foreignization====<br /> Domestication and foreignization have a great difference which is the former requires that the text is close to the reader, while the latter requires that the text is close to the author. Some scholars believe that domestication and foreignization, no matter which one is adopted, must be applied in the whole translation text, and cannot be confused. However, in the actual practice of translation, we can't really do that. Translation requires us to faithfully reproduce the thoughts and styles of the author of the original text, which are full of strong foreign style, so it is necessary to adopt the method of foreignization. (Xu Yanan &amp; Zeng Xianmo, 2020, 249)<br /> <br /> However, at the same time, the translation should also take into account the readers' understanding and the fluency of the original text, so it is necessary to adopt the method domestication. It is not advisable to choose one strategy and completely exclude the other. Each of them has its own advantages and disadvantages, so it cannot achieve the ultimate goal of translation with only one of them. (Xiao Luan &amp; Feng Xuehua, 2011，65)<br /> <br /> In translation, we are always faced with the choice of foreignization and domestication, so that the translation can find a middle point between being close to the reader and being close to the author, but the &quot;middle point&quot; is not fixed. Sometimes the translated text is closer to the author and sometimes closer to the reader. However, no matter which side it is close to, it should follow a principle: when being close to the author, the translation should not be too far away from the reader; when being close to the reader, it should not be too far away from the author. (Xiao Luan &amp; Feng Xuehua, 2011，66)<br /> <br /> In other words, foreignization should not hinder the smoothness and understandability of the translated text, and domestication does not lose the style of the original text. At the same time, we should adhere to the domestication strategy for the language form, while foreignization for cultural factors in the original text. In this way, the translated text can combine the advantages of the two strategies and avoid their disadvantages, so that they can achieve common development. Therefore, during the actual translation process, domestication and foreignization should complement each other and the more appropriate translated text can be produced. (Liu Xiaocen，2017，99)<br /> <br /> ===Chapter 4 The Application of Domestication and Foreignization in the Translation of Chinese Xiehouyu===<br /> There are always contradictions and disputes between foreignization and domestication in the translation of Chinese xiehouyu. There is a great deal of debate in the field of translation about whether to use foreignization to take the culture of source language as the destination and retain the characteristics of the foreign text, or to use domestication to take the culture of target language as the destination and conform to the characteristics of the target language.（Qi Dehui,2011,110）<br /> <br /> For example, “ 三 个 臭 皮 匠 —— 顶一 个 诸 葛 亮 ”. Some translate it into “Two heads are better than one.” Others translate it into “Three cobblers with their wits combined together equal Zhuge Liang， the master mind.” The first translation is obviously to adopt a domesticated strategy, which conforms to the English expression. It is easy for native English speakers to understand and accept, and it is easy to read. However, the disadvantage is that one (head) in the sentence is not exactly referred as Zhuge Liang in the Chinese Xiehouyu. In Chinese culture, Zhuge Liang was an intelligent man, while one (head) was just an ordinary person. （Qi Dehui,2011,111）<br /> <br /> The second translation version adopts foreignization, which retains the characteristics of Chinese, so that readers from English-speaking countries can understand the connotation of Chinese culture from the translation and promote cultural exchanges. But how do readers in English speaking countries feel when they read such articles? how can cultural exchanges be promoted if it is difficult for readers to understand and lose interest in reading? And when readers see the translation, they can't understand that it is an idiom in Chinese which is humorous, catchy and well-known, and the meaning of the Chinese source language is lost. （Qi Dehui,2011,111）<br /> <br /> For example,<br /> （4）那胡正卿心头 “十五个吊桶打水——七上八下” Hu Chengching was very much upset by this and his heart was beating like fifteen buckets being hurriedly lowered into a well for water——eight going down while seven coming up. <br /> （5）他这一阵，心头如同十五个吊桶打水——七上八下，老是宁静不下来。His mind was in turmoil these days and he was quite unable to think straight. <br /> <br /> The fourth example uses foreignization to retain the two images of &quot;fifteen buckets&quot; and &quot;seven up and eight down&quot;; the fifth example uses domestication, abandons the image of the original text, and directly translates it into a more native phrase &quot;in turmoil&quot;. Should foreignization or domestication be adopted in the translation of Chinese Xiehouyu? When do translators use foreignization and when do they use domestication? It depends on the purpose of translation, the characteristics of the translated works and the readers the works are facing with. &quot;If the purpose is to convey culture and let English readers understand and learn Chinese culture, foreignization should be adopted&quot; (Huan Yahui, 2004, 118).<br /> <br /> For example, the Chinese English Dictionary of Xiehouyu compiled by Guo Zhuzhang and Luo Shenghao, and 100 Xiehouyu translated by Jia Cen are designed to let English readers understand and learn Chinese culture, so they mostly adopt the strategy of foreignization. Foreignization can also be used if the features and images of the source language are retained in translation, which will not affect the communication of information and conform to the language usage of the target language (Huan Yahui, 2004, 119).<br /> <br /> For example,<br /> （6）咱们俩的事，一条绳上拴着两只蚂蚱——谁也跑不了！We're like two grasshoppers tied to one cord，neither can get away! <br /> （7）去设埋伏我们都没有信心，想必他一定在昨天晚上就早溜了，今天去也是瞎子点灯——白费蜡。We had no confidence in today's ambush because we were sure he had escaped last night. It seemed as useless as a blind man lighting a candle.<br /> <br /> In the process of translation, the translator retains the unique language form of the original text, which not only will not affect the communication of information, but also can promote the exchange of culture and thought, giving the target readers a similar aesthetic enjoyment. Because those vivid metaphors in the original text are the products of human common thinking and they can be understood and accepted by readers in other countries. (Zhou Ningqi, 2008，152)<br /> <br /> However, if a literary work is translated and the readers of the translated text are only for the sake of appreciating the work or even for entertainment, domestication should be adopted. (Zhou Ningqi, 2008，152)<br /> <br /> For example:<br /> （8）你别狗咬吕洞宾——不识好人心。我是好心好意劝你，倒粘到我身上来了。Don't snarp and snarl at me when I’m trying to do my best for you. I give you my advice with the best will in the world and you turn round and lay the blame on me.<br /> <br /> This example refers to a character in Chinese mythology. If it is translated literally for the purpose of preserving the cultural information of the original text, it is necessary not only to annotate who Lu Dongbin is, but also to explain to foreign readers the allusion that Lu Dongbin is willing to do good deeds. (Yang Hongwei &amp; Li Yadan,2004,84)<br /> <br /> In fact, the origin of the Chinese Xiehouyu is not important here. It is better to discard its cultural background knowledge and translate it directly into &quot;don't snarp and snarl at me&quot;, which ensures the effective transmission of key information and makes the translation concise and fluent. Although the cultural reference of &quot;狗咬吕洞宾&quot; is not reflected in the translation of this saying, the translator uses the verbs &quot;snarp&quot; and &quot;snarl&quot; to vividly depict the dog biting and barking, which, to some extent, reproduces the vivid and figurative rhetorical effect achieved by the use of Xiehouyu in the original text. (Yang Hongwei &amp; Li Yadan,2004,84)<br /> <br /> （9）我们有些同志喜欢写文章但是没有什么内容，真是“懒婆娘的裹脚——又长又臭”。 Some comrades love to write long articles，but such articles are exactly like the foot-bandages of a slut（the cloth used for women’s foot in ancient China），Long and smelly（implies the articles are long and dull）.<br /> <br /> A translation is full of long, boring words and obscure annotations that can be daunting to the reader. It can be better to translate the sentence into “these articles are dull and overelaborate”. Through a lot of translation practice, the translation strategies of foreignization and domestication in the translation of Chinese Xiehouyu can be summarized as follows. (Qi Dehui, 2011, 111)<br /> <br /> ====4.1 The Application of Domestication and Foreignization in the Translation of Chinese Xiehouyu====<br /> <br /> ====4.1.1 Literal Translation====<br /> Most Xiehouyu use vivid metaphors, whose metaphorical meaning is referred as general things or common sense. When the metaphorical relationship is clear, literal translation is generally adopted as long as it does not affect the understanding of the target language readers, that is to say, literal translation is adopted without too much extension and explanation, so as to retain both the content and the form of the source language. It is not only faithful to the original text, but also vivid and easy for the target language readers to read and appreciate. (Qi Dehui, 2011, 111)<br /> <br /> For example,<br /> （10）瘫子掉在井里——捞起也是坐。（Even if a paralytic falls into a well，he can be no worse off than before.）(Yang Xianyi &amp; Dai Naidie,1986)<br /> （11）竹篮打水——一场空。（Drawing water from a bamboo basket——all in vain. ）<br /> （12）哑巴梦见妈——说不出来的苦。（Like a dumb man dreaming of his mother，he could not express his despair! ）<br /> <br /> The above three cases are translated by Yang Xianyi. The translator adopts literal translation to keep the original style of the source language and strive to meet the expectations of the target language readers for heterogeneity. (Qi Dehui, 2011, 112)<br /> <br /> ====4.1.2 Literal Translation with Notes====<br /> In Chinese, idioms with a dog are generally derogatory, such as &quot;狼心狗肺、狗腿子、狗仗人势、狗头军师&quot;, and so on. However, in English, the words and sentences about dog are often positive, such as &quot;every dog has its day.&quot; Western readers may not understand the differences between the two languages and cultures. Therefore, in the translation with foreignization, literal translation with notes should be adopted to fully express the original meaning and metaphorical meaning of Chinese Xiehouyu. For example, &quot;狗戴帽子——装人&quot; is a taunt. It can be translated as &quot; A dog is wearing a cap —— pretending to be a human being （an insult）.&quot; In this way, the English reader would not be misunderstood. (Zhou Ningqi, 2008，153)<br /> <br /> In addition, some Xiehouyu with allusions are often literally translated with notes, so as not to make English readers feel puzzled.<br /> <br /> For example,<br /> （13）周瑜打黄盖——一个愿打，一个愿挨。 <br /> Box on the ear was skillfully given by a Chou Yu and gladly taken by a Huang Kai.（A fourteenth century novel based on events which took place in the third century A.D. Chou Yu of the Kingdom Wu had Huang Kai，another of Wu general，cruelly beaten，and then sent him to the enemy camp in order to deceive the enemy.）<br /> <br /> ====4.2 Domestication in the translation of Chinese Xiehouyu====<br /> <br /> ====4.2.1 Free Translation====<br /> Free translation mainly refers to grasping the content and metaphorical meaning in translation, combining with the context, and flexibly conveying the meaning. (Guo Jianzhong, 1996, 13)<br /> <br /> For example,<br /> （14）我这个人你也知道。说话向来是袖筒里入槌——直出直入。(You know me——I speak frankly and to the point.)<br /> <br /> （15）他必审问我，我给他个“徐庶入曹营”——一言不发。(He sure to ask questions but I'll hold my tongue to begin with.)<br /> <br /> （16）穷棒子闹翻身，是八仙过海，各显神通。(When we pass from the old society to the new one，each of us shows his true worth.)<br /> <br /> （17）我们校队近年来可是“孔夫子搬家——净是（输）书。”(Our school team has kept losing in the recent years.)<br /> <br /> ====4.2.2 Combination of literal and free translation====<br /> While literal translation is adopted to retain the metaphorical image of the original text, free translation is also used, sometimes with some appropriate supplement, so that the translation can convey the meaning of the original text more clearly. Chinese Xiehouyu often carries a deep historical and cultural implication. It is very difficult to transfer the loaded cultural information in Chinese Xiehouyu into English. (Gao Yun &amp; Yu Jie, 2004, 126)<br /> <br /> Some Xiehouyu with strong national cultural features lie in the image and style, and the translation should be based on the premise of being faithful to the meaning expressed in the original text. Literal translation should be followed by free translation to show its metaphorical meaning &quot;. The combination of literal translation and free translation is undoubtedly one of the effective means of cultural compensation, which not only keeps the metaphorical image of the source language, but also maintains the integrity of the cultural content. (Qi Dehui, 2011, 112)<br /> <br /> For example,<br /> （18）我说二三百两银子，你就说二三十两，戴着斗笠亲嘴——差着一帽子。 (When I say two or three hundred taels，you say twenty or thirty! It's like kissing in straw helmets——the lips are far apart!)<br /> （19）兔子的尾巴——长不了（Guo Jiangzhong, 1996, 12）(The tail of a rabbit can't be long——won't last long.)<br /> <br /> ====4.2.3 Equivalent Translation====<br /> Some English idioms and some Chinese Xiehouyu use the same or similar metaphors to express the same or similar metaphorical meanings, in this case, may as well borrow English synonym idioms to translate them. That is to change the original image of the vehicle in translation and translate it with a metaphor familiar to English readers. That is to say, the target text and the original text adopt different vehicles to create the same image, convey the same spirit and achieve the same effect. (Qi Dehui, 2011, 112)<br /> <br /> For example,<br /> （20）冰冻三尺——非一日之寒。 (Rome was not built in a day.)<br /> （21）肉包子打狗——一去不回头。（A dog given a bone that doesn't come back for more.）<br /> （22）脱裤子放屁——多此一举。(To carry coals to Newcastle.)<br /> <br /> When using English idioms to translate Chinese Xiehouyu, we should pay attention to the rhetorical features. If the rhetorical feature of two languages is different, we cannot apply it. For example, &quot;老王卖瓜——自卖自夸&quot; must be translated into “No man cries stinky Fish”, because the former has a positive meaning, while the latter does not. （Ling Li,2004,59）<br /> <br /> ====4.2.4 Omission====<br /> Omission refers to the deletion of certain words from the original text, not to delete the original text, but to leave out the words that are self-evident in the translation, or to leave out words that are too cumbersome or not suitable for English expression. This method is especially suitable for the translation of some Chinese Xiehouyu. (Zhou Ningqi, 2008，152)<br /> <br /> For example,<br /> （23）癞蛤蟆想吃天鹅肉——痴心妄想。 (You are like a toad trying to swallow a swan.)<br /> （24）赔了夫人又折兵——双重损失。 (You’ve lost the campaign and your wife into the bargain.)<br /> <br /> The metaphorical meanings of the above two examples are quite obvious. The target language readers can infer the figurative meaning directly from the image of the vehicle or from the context of Chinese Xiehouyu, so only the metaphorical part can be translated.(Yang &amp; Dai,1986)<br /> <br /> To sum up, in the translation of Chinese Xiehouyu, attention should be paid to the similarity of form and spirit, so that the surface and deep meanings can be expressed accurately, clearly and vividly. Therefore, we should flexibly adopt the methods of straightness and explanation (free translation and annotation) to truly show the stylistic and pragmatic characteristics of Chinese Xiehouyu. Moreover, the translation of Chinese Xiehouyu must take into account its unique language form and distinct cultural background, and try to translate its metaphorical meaning of as accurately and appropriately as possible, which is the key to the good translation of Xiehouyu. (Liu Na, 2016,19)<br /> <br /> ==='''Conclusion'''===<br /> In the cultural perspective translation is a communicating process, in which the choosing of translation strategies is of vitality. In the communication of western and Chinese culture, we should absorb the quintessence and abolish what is old and establish in its place the new order of things. When we learn from the languages and cultures of different nationalities, we should also be openminded and inclusive. <br /> <br /> In the translation field, literary translation has always occupied an important position, and the research on literary translation is the most active and developed at all times and in all countries. The translation of Chinese Xiehouyu can lay a theoretical foundation for better learning other languages. The translation of Chinese Xiehouyu is not only the conversion between two languages, but also the interlingual activity of cultural exchange between the two nations. Starting from the two languages, we should not only learn our own language, but also have a deep and profound understanding of our own culture. Thus, we can be easier to translate Chinese Xiehouyu into English by narrowing cultural gap and eliminate the obstacles of language.<br /> <br /> The translation of Xiehouyu is flexible，which needs surmount double barriers to language and culture and adopt different translation methods according to different situations. In order to convey Chinese culture and let English readers understand and learn Chinese culture, foreignization should be adopted. Moreover, those which is vivid and easy to understand should retain their original content and form, and foreignization can also be adopted for literal translation. <br /> <br /> However, domestication should be adopted when translating literary works. For example, due to the cultural and linguistic differences, some Xiehouyu can be translated with the strategy of domestication, which is easier to be accepted by the target language readers; for metaphorical Xiehouyu and paronomasia Xiehouyu with strong national characteristics, literal and free translation can be used with the strategy of foreignization.<br /> <br /> In a word, as far as the structure of the target language are concerned, the phrases and sentences are all in line with the translation standards. Chinese Xiehouyu not only carries the wisdom of Chinese predecessors, but also reflects the profound culture, history and thinking mode of the Chinese nation from different perspective. In the process of translation, the translator should try to keep the style of the original work, focus on the target language readers, and translate the Chinese Xiehouyu appropriately to avoid wrong translation, overtranslation or undertranslation. <br /> <br /> Therefore, the translation of Chinese Xiehouyu must take into account its unique language form and distinct cultural background, and try to translate its metaphorical meaning as accurately and appropriately as possible, which is the key to the good translation of Chinese Xiehouyu.<br /> <br /> ==='''Reference'''===<br /> <br /> Yan Xiaohua 晏小花.(2002). 翻译中的异化和归化. [Foreignization and Domestication in Translation]. 湖南医科大学学报[Journal of <br /> Social Science of Human Medical University]25-27.<br /> <br /> Wang Yijun 王义军.(2009). 从归化和异化看文化与翻译.[ Culture and Translation from the Perspective of Domestication and Foreignization] 安徽文学 [Anhui Literature] 216-217.<br /> <br /> Miregu.Aimaiti米热姑·艾买提.(2014). 汉语歇后语在维吾尔语中的翻译研究[Studying on Translating Chinese Two-Part Allegorical Sayings into Uyghur].甘肃：西北民族大学[Gansu：Northwest Minzu University] 5-8.<br /> <br /> Wen Duanzheng 温端政. (2002).中国歇后语大词典.[Chinese Xiehouyu dictionary]. 上海：上海辞书出版社[Shanghai: Shanghai Lexicographic Publishing House] 20-21<br /> <br /> Lian Shuneng 连淑能. (1993). 英汉对比研究.[ Contrastive Studies Of English And Chinese]. 北京：高等教育出版社[Beijing:Higher Education Press]<br /> <br /> Bao Huinan &amp; Bao Ang 包惠南，包昂. (2000). 实用文化翻译学[Studies of Practical Cultural Translation] . 上海：上海科学普及出版社[Shanghai: Shanghai Science Popularization Press]<br /> <br /> ==A Brief Analysis of Domestication and Foreignization in the Translation of Chinese Idioms Zou Xinyu 邹鑫雨==<br /> <br /> &lt;center&gt; 邹鑫雨 Zou Xinyu, No.202070080633.&lt;/center&gt;--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 13:19, 10 December 2020 (UTC)Zou Xinyu<br /> <br /> ===Abstract===<br /> The translation of Chinese idioms has something to do with cultural differences of English and Chinese. To appositely adjust cultural differences between English and Chinese, a large number of translators use two translation strategies: domestication and foreignization, when translating Chinese idioms. <br /> <br /> Domestication and foreignization are two kinds of translation strategies which are culture-oriented. This paper will make an introduction of domestication and foreignization in the first part, and then will introduce the definition and cultural connotations of Chinese idioms. Then, it will discuss the application of these two translation strategies to Chinese idioms by taking some examples so that the author of this paper can make a brief analysis of the relativity of these two translation strategies, domestication and foreignization, and learn how to select proper translation strategies to translate Chinese idioms. <br /> <br /> The study of the translation of Chinese idioms is conducive to the development of language, which will promote international exchanges and cooperation as well as the innovation of translation methods, thus deepening the organic integration of two translation strategies of domestication and foreignization in the translation of idioms and promoting the research and development of the dualism of translation.<br /> <br /> ===Key Words===<br /> Domestication; Foreignization; Chinese Idioms; Translation<br /> <br /> ===题目===<br /> 浅析汉语习语翻译的归化异化<br /> <br /> ===摘要===<br /> 汉语习语的翻译涉及到英汉文化差异。为了适当地调和英汉文化之间的差异，许多译者采用了归化和异化的翻译策略。<br /> <br /> 归化和异化是两种以文化为导向的翻译策略，本文第一部分先介绍归化异化两种策略，紧接着在第二部分从含义、文化内涵方面对汉语习语进行了介绍，然后通过举例来探讨这两种翻译策略在汉语习语翻译中的运用，从而分析出这两种翻译策略的相关性以及如何选取合适的翻译策略来翻译汉语习语。<br /> <br /> 对汉语习语翻译的研究有利于语言的发展，促进国际间的交流与合作，推进翻译方法的革新，加深归化异化两种翻译策略在习语翻译中的有机融合，推动翻译二元论的研究与发展。<br /> <br /> ===关键词===<br /> 归化；异化；汉语习语；翻译<br /> <br /> ===Chapter1 Domestication and Foreignization===<br /> Domestication and foreignization are two different translation strategies, they are commonly used in the translation of Chinese idioms. In this chapter, the author will introduce the definition of domestication and foreignization, and then will present the debates on these two translation strategies.<br /> <br /> ====The Definition of Domestication and Foreignization====<br /> Domestication is a term used by Lawrence Venuti, American translation theorist, to describe the translation strategy in which a transparent, fluent style is adopted to minimize the strangeness of the foreign text for readers of target language (Venuti 1995, 19-20). Venuti believes domestication originated from Friedrich Schleiermacher's famous notion of the translation which &quot;leaves the reader in peace, as much as possible, and moves the author towards him&quot; (Schleiermacher 1838/1963, 47; 1838/1977, 74). <br /> <br /> From Venuti's perspective, domestication has negative connotations as it's regarded as a policy common in dominant cultures which are &quot;aggressively monolingual, unreceptive to the foreign&quot;, and which he describes as being &quot;accustomed to fluent translation that invisibly inscribe foreign texts with values of target language and provide readers with the narcissistic experience of recognizing their own culture in a culture order&quot; (Venuti 1995, 15). <br /> <br /> According to Venuti, domestication is the predominant translation strategy in Anglo-American culture, and he argues that this is consistent with the unbalanced relation between Anglo-American culture and other cultures. He further points out that domestication has widely served domestic affairs, therefore it's necessary to adopt other translation strategies to challenge the domination of domestication (Venuti 1995, 15). <br /> <br /> Foreignization is a term used by Lawrence Venuti to describe the translation strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the origin text (Venuti 1995, 19-20). Venuti asserts foreignization is derived from the translation type, stated by Schleiermacher, in which &quot;the translator leaves the author in peace, as much as possible, and moves the reader towards him&quot; (Schleiermacher 1838/1963, 47; 1838/1977, 74).<br /> <br /> As far as Venuti is concerned, he describes foreignization as an &quot;ethnodeviant pressure&quot; (Venuti 1995, 20), and thus considers it can &quot;register the linguistic and cultural difference of the foreign text, sending the reader abroad&quot; (Venuti 1995, 20). In specific terms foreignization means not only the freedom from the absolute restriction of target language and texts, but the selection of an non-fluent, opaque style in some appropriate situations and the deliberate accumulation of &quot;Realia&quot; of source language or &quot;Archaisms&quot; of target language, which would provide readers of target language with an &quot;alien reading experience&quot; (Venuti 1995, 20).<br /> <br /> ====The Debates on Domestication and Foreignization====<br /> There has been a long-standing debate about how to deal with cultural differences in translation. There are many scholars, such as John Dryden, Alexander Tytler, Denham, Lefevere, Frere, who approved of domestication. Domestication has been in the dominant position for a long time. To begin with, translation theorists like Cicero, Saint Jeromi and Quintilian raised some ideas about word-for-word translation and sense-for-sense transaltion. Considered from the theories they put forward, they favored free translation (Schulte &amp; Biguenet ‚1992, 13).<br /> <br /> As is well-known, Eugene A. Nida proposed the concept of functional equivalence. From his perspectives, translation is communication, in which what really matters is what people get when they listen, speak and read the translated text. Translation shouldn't be judged by the comparison of the corresponding lexical meanings, grammatical categories and rhetorical devices, but by the extent to which the recipient correctly understands and appreciates the translated text. The purpose of Nida's functional equivalence theory is that the expression of the translated text should be completely natural, so that the readers can better understand the original text through domestication translation, thus avoiding cultural conflicts, eliminating the gap, and finally achieving the purpose of cultural exchange (Nida ‚1993, 118). <br /> <br /> The supporters of domestication hold the view that the translator should take readers into consideration, and if the content of the translation is not within the reader's understanding, the effect of translation and communication will not be achieved, and secondly the translator should try to avoid cultural conflicts, and in the process of translation, the translator should constantly get closer to the target reader, so that the target reader can read the translation with the same effect as the reader of the original text. Thirdly, each language has its own cultural connotation, so if there is a cultural gap between the two languages, foreignization will not only result in a non-fluent translation, but also in the reader's unacceptability of the translation. Last but not least, it cannot be realized to find the completely equivalent word in another language, so to avoid producing opaque translations, it's no doubt that domestication is a better choice (Chan 2004, 171).<br /> <br /> Foreignization started later than domestication, and gained much popularity in the 20th century. Many scholars' translations embody this translation strategy, including many of Ezra Pound's translations and Nabokov's famous literal translation of Pushkin's Eugene Onegin (Mark Shuttleworth &amp; Moira Cowie 2004, 59).<br /> <br /> Lawrence Venuti firstly defined foreignization and was a representative of foreignization. Venuti described foreignization in his book ''The Translator's Invisibility'' as &quot;a form of resistance, which is against ethnocentrism, racism, cultural narcissism and imperialism, in the interests of democratic geopolitical relations&quot; (Venuti 1995, 20). He proposed a translation theory and practice that opposes translation fluency and aims not to eliminate linguistic and cultural differences in translation, but to express such linguistic and cultural differences in translation. This is also one of the basic ideas of deconstructionist translation thought. It's said by Venuti that &quot;the aim of opposing domestication and advocating foreignization is to develop a translation theory and practice that resists the predominance of cultural values of the target language, thus expressing the linguistic and cultural differences of foreign texts&quot; (Venuti 1995, 20). Foreignization is premised on the belief that cultures differ from each other and that communication is complicated by cultural differences between and within linguistic communities. Foreignization is to recognize and tolerate the differences and to express the cultural differences in the target language. <br /> <br /> People who favor of foreignization hold the following reasons. Firstly, the translator should make every effort to be faithful to the original work in the translation, and the content of the original work should be reproduced to the maximum extent. If the translator fails to reach this, then the translation will be considered as faithful. Secondly, adding the expression of source language into target language will enrich the target language. Thirdly, the purpose of readers' reading translations is to learn about foreign cultures, which foreignization can help to realize. Foreignization attempts to keep the characteristics of the source language (孙致礼 2002, 40-44). The debate between domestication and foreignization has still continued until the 21st century.<br /> <br /> ===Chapter2 The Definition and Cultural Connotations of Chinese Idioms=== <br /> It is of great importance to have an understanding of Chinese idioms before analyzing domestication and foreignization in the translation of Chinese idioms. Chinese idioms are closely related to various Chinese cultures. Domestication and foreignization are commonly used by translators in dealing with cultural factors in translation. Therefore, in this chapter, the author will introduce the definition and cultural connotations of Chinese idioms.<br /> <br /> ====The Definition of Chinese Idioms====<br /> According to ''Modern Chinese Dictionary'', Chinese idioms are &quot;concise and meaningful phrases or short sentences that have been in long public usage&quot; (Dictionary Editorial Office, Institute of Linguistics, Chinese Academy of Social Sciences 2002, 248). <br /> <br /> In ''The New Oxford Dictionary of English'', idiom is &quot;a group of words established by usage as having a meaning not deducible from those of the individual words; a form of expression natural to a language, a person, or group of people&quot; (Hanks 2001, 908). <br /> <br /> As is defined in ''Webster's New World Dictionary of the American'' (1972), idiom means &quot;an accepted phrase, construction, or expression contrary to the usual patterns of the language or having a meaning different from the literal&quot;. <br /> <br /> These definitions all mention that idioms are formed in the long process that people use languages, and they cannot be understood from their literal words because they are closely related to the culture. Thus, the cultural characteristics must be taken into consideration.<br /> <br /> ====The Cultural Connotations of Chinese Idioms====<br /> In this section, the author will divide the cultural connotation of Chinese idioms into four groups: geographical culture, conventional culture, historical culture and religious culture. <br /> <br /> For Chinese idioms reflecting geographical culture, they are created in China's particular geographical environment. China has been a big country dominated by agriculture since ancient times, and the agricultural population accounts for a large proportion. Therefore, a large part of Chinese idioms is related to agriculture. They are the crystallization of the extremely rich wisdom accumulated by the working people in the productive labor for generations. For example, those who engage in agriculture will say: &quot;靠山吃山，靠水吃水&quot; (One has to make use of whatever resources available.), &quot;种瓜得瓜，种豆得豆&quot; (What goes around comes around.), &quot;一日之计在于晨&quot; (An hour in the morning is worth two in the evening.) (Qiu Nengsheng, Qiu Xiaoqin 2019, 52). <br /> <br /> For Chinese idioms reflecting conventional culture, they derive from Chinese national customs in the social life. Chinese people are made of fifty-six ethnic groups, and each group has its own customs. Just in Han, there are many types of customs such as marriage customs, drinking customs, funeral customs, etc. Among these different aspects of customs, people create abundant Chinese idioms. For an instance, &quot;红运当头&quot; which means one has a good fortune, &quot;开门红&quot; which means to make a good start (Qiu Jixin 2002, 45).<br /> <br /> For Chinese idioms reflecting historical culture, they originate from Chinese long-run national history and culture. An important element of Chinese idioms reflecting historical culture is the historical allusions and fables. They are treasures of Chinese national history and culture, with strong national colors and distinctive cultural personalities, containing rich historical and cultural information, and reflecting the characteristics of historical cultures. Many idioms of this type come from historical allusions and fables. For an instance, &quot;万事俱备，只欠东风&quot; comes from the Battle of the Red Cliff, &quot;八仙过海，各显神通&quot; reflects the content of Chinese traditional myths and legends (Zhang Ning 1999, 24). <br /> <br /> For Chinese idioms reflecting religious culture, they mainly come from Buddhism and Taoism. Confucius and Mencius are considered as saints by Chinese people. Many Chinese idioms reflecting religious culture contain &quot;佛&quot; (Buddha), &quot;庙&quot; (temple) and &quot;和尚&quot; (monk or bonze). For example, &quot;临时抱佛脚&quot; (embrace Buddha's feet in one's hour of need) which means seeking help at the last moment, &quot;放下屠刀，立地成佛&quot; (drop one's cleaver and become a Buddha) which means achieving salvation as soon as one give up evil (Wang Fang 2001, 35).<br /> <br /> ===Chapter3 The Application of Domestication and Foreignization in Chinese Idioms' Translation===<br /> In the translation of Chinese idioms, Foreignization and domestication are not mutually exclusive translation strategies. Instead, they can work together to help to produce better translations. In this chapter, the author will present specific examples of the application of these two translation strategies in Chinese idioms’ translation.<br /> <br /> ====The Application of Domestication in Chinese Idioms Translation====<br /> 我要有个[三长两短]，你给玉山捎个话！(杜鹏程《保卫延安》)<br /> <br /> Translation: If [anything should happen] to me, let Yushan know!<br /> <br /> The meaning of &quot;三长两短&quot; cannot be understood from its literal words. If the idiom is translated into &quot;three long and two short things&quot;, the target readers will feel confused. Therefore, it's more appropriate to use domestication in the translation. Though the national feature may not be expressed in the translation, domestication makes the translation more fluent and comprehensive. <br /> <br /> 她怕[碰一鼻子灰]，话到嘴边，她又把它吞了下去。(茅盾《子夜》)<br /> <br /> Translation: She was afraid of [being snubbed], so she swallowed the words that came to her lips.<br /> <br /> The image of &quot;碰一鼻子灰&quot; is to have one's nose rubbed in the dirt, which is difficult for the target reader to understand what it means, so it's necessary to abandon the original image and to express its meaning to the target reader. <br /> <br /> 运涛好久不来信了，一家子[盼了星星盼月亮]。(梁斌《红旗谱》)<br /> <br /> Translation: For many months no letter came from Yuntao till his whole family [worried over him day and night].<br /> <br /> The translation gives up seeking a consistent form with the original text, instead it chooses to find a functionally similar expression to convey the emotion of the original sentence, giving the target reader the same feeling as the readers of the original text have.<br /> <br /> 等他们赶来营救时，已是[正月十五贴门神——晚了半月]啦。<br /> <br /> Translation: But they were too late for a rescue.<br /> <br /> Two-part allegorical sayings (xiehouyu) is unique to the Chinese language, and is a unique structural form with strong national characteristics. Because of the double barriers of language form and culture, translators sometimes have to abandon the unique structural form and national characteristics of two-part allegorical sayings and adopt the translation strategy of domestication, which is to only translate its meaning, and abandon the metaphor and metonymy of it.<br /> <br /> 一剑剁去随手而倒。霎时觉来，乃[南柯一梦]，口中犹骂，操贼不止。(罗贯中《三国演义》)<br /> <br /> Translation: Dong Cheng cried to Cao, chopping at him with his blade. Cao crumbled in the wake of the blow, as Cheng repeated the words &quot;traitor, traitor&quot; until he had awoken from [the empty dream].<br /> <br /> This idiom mainly talks about that Chun Yufen had a dream of becoming a sheriff of Nanke County and living a wealthy life. However, when he woke up, he found out that it was just a dream. Later, people use &quot;南柯一梦&quot; to refer to a dream, or a metaphor for a happy air. The target reader who has no knowledge of the background of this idiom will have difficulty acquiring the meaning. Under this circumstances, it's a better choice to adopt domestication. <br /> <br /> The translation strategy of domestication is to grasp the important aspect of the content and metaphor of idioms. When using doestication, the translator sometimes has to sacrifice the image and needs to combine the context to convey metaphors flexibly. One of the responsibilities of the translator is to avoid cultural conflicts leading to misunderstanding of the translation. When translating a text into another culture, the translator must carefully weigh the connotation of ideology in the culture. If the content and form expressed in the translation are within the knowledge range of the target reader's understanding of the real world, it will be easier for the reader to understand them (许建平 2004, 8).<br /> <br /> English and Chinese idioms belong to different languages ​​and are produced under different cultural backgrounds. If the foreignization translation method is overemphasized, it will increase the reader's unfamiliarity with the translation, increase the difficulty of readers' acceptance, and hinder the mutual communication and penetration between different countries and nations. Therefore, according to the national psychology of the target language, if the foreignization cannot be expressed clearly, the domestication translation strategy can be adopted so that the reader can appreciate and grasp the meaning of the original text (Chan 2004, 104).<br /> <br /> ====The Application of Foreignization in Chinese Idioms Translation====<br /> “他一家子在这，他的房子、地在这儿，他跑？[跑了和尚跑不了庙]。”(周立波《暴风骤雨》)<br /> <br /> Translation: &quot;Escape? But his home and property can't escape. The monk may run away, but the temple can't run with him&quot;.<br /> <br /> 咳，这一来，[竹篮子打水一场空了]！(梁斌《红旗谱》)<br /> <br /> Translation: Ah! We were drawing water in a baboo basket.<br /> <br /> 特别是她那时的“密司林佩瑶”，禀受了父亲的名士气质，曾经[架起了多少的空中楼阁]…… (茅盾《子夜》) <br /> <br /> Translation: She herself, Miss Lin Pei-yao, endowed with her scholarly father's idealistic temperament, was especially fond of [building castles in the air]...<br /> <br /> Because people's feelings, perceptions of objective things and social experiences have many similarities, there are a small number of idioms that are identical or similar in English and Chinese idioms. These idioms have the same or similar figurative meaning, and the same implied meaning, which means that the literal and figurative meanings of these idioms convey the same cultural information and can be translated into each other. The translation of &quot;跑了和尚跑不了庙&quot;, &quot;竹篮子打水一场空&quot; and &quot;架起了多少的空中楼阁&quot; convey the same meaning as their Chinese meaning, and the it's not difficult for foreign readers to get the information. Therefore, foreignization which is used in these three translations not only expresses the the meaning, but preserves the national and cultural characteristics of the idioms. <br /> <br /> 匡超人听了这话，慌忙作揖，磕下头去，说道：“晚生真乃‘[有眼不识泰山]’。”(吴敬梓《儒林外史》)<br /> <br /> Translation: When Kuang Chao-jen heard this, he made haste to bow. &quot;Although I have eyes,&quot; he exclaimed, &quot;I [have failed to see Mount Tai]!&quot; (Translated by Yang Xianyi)<br /> <br /> In this translation, the translator preserves the image and national characteristics, directly expressing the literal meaning of &quot;有眼不识泰山&quot;. As China has developed rapidly, Mount Tai has been known by more and more foreigners as a famous scenic spot of China. Foreigners who get the knowledge of the mountain will not misunderstand the idiom. Thus, Using foreignization makes the translation both understandable and vivid. <br /> <br /> 主公仰慕将军，欲求令爱为儿妇，永结[秦晋之好]。(罗贯中《三国演义》)<br /> <br /> Translation: My master, long your admirer, seeks your treasured daughter's hand in behalf of his son to [band the two houses in marriage as the states of Qin and Jin did in ancient times].<br /> <br /> For idioms with strong national color or allusive nature, the translator can translate them with foreignization on the basis of context, and some explanations can be added in the translation to express the original meaning more clearly. The Chinese historical idiom &quot;秦晋之好&quot; comes from a historical allusion. When this idiom first appeared in the novel, the translator translated the names of the two vassal states by transliteration, thus retaining the differences of cultures. In order to make readers better understand the idiom, the translator also interpreted the idioms so that the meaning hidden behind the Chinese characters was much clear. Now that the English translation of the sentence is an experiment, the result of deleting &quot;band the two houses in marriage&quot; can be called a faithful translation, but at most it is only the faithfulness of the language form. If the former part is deleted, it will be &quot;as the states of Qin and Jin did in ancient times&quot;. The translation seems to convey the main meaning of the idiom, but at least in form, the extraordinary meaning of the original idiom is gone. It is a pity that &quot;秦晋之好&quot; lost its own meaning. On this basis we should add some annotations. <br /> <br /> Foreignization conveys information from one culture and language to another in a way that maintains its original nature, bringing not only a new component to the target language, but also an influx of such a component that will lead to various aggregation and fission reactions within the target language, which will eventually lead to its fundamental transformation. As a result, the integration of nations and peoples is greatly facilitated. The use of heterogeneous translations of idioms is conducive to the mutual exchange and penetration of two heterogeneous cultures and languages, and promotes the integration between them. Therefore, the metaphors, images and national and local colors of the original idioms are preserved in the translation as much as possible without violating the linguistic norms of the translation and without causing false associations (Liao Qiyi 2001, 58).<br /> <br /> ====The Application of the Combination of Domestication and Foreignization in Chinese Idioms Translation====<br /> (张飞) 瞠目大叱曰: “我哥哥是[金枝玉叶]，你是何等人 ……”(罗贯中《三国演义》) <br /> <br /> Translation: The moment Zhang Fei heard this, his eyes widened and he shouted, &quot;Our brother is a prince of the blood, [a jade leaf on a golden branch]. Who are you to …&quot;<br /> <br /> 梁虔等曰: “夏侯驸马乃[金枝玉叶]，倘有疏虞，难逃坐视之罪。”(罗贯中《三国演义》)<br /> <br /> Translation: Liang Qian, as well as others argued, &quot;Imperial Son－in－Law Xiahou Mao is [part of the royal family], the slightest negligence will be punished as willful indifference to his fate&quot;.<br /> <br /> 耀骂曰: “曹都督乃[金枝玉叶]，安肯与反贼相见耶! ”(罗贯中《三国演义》) <br /> <br /> Translation: Fei Yao taunted him:&quot; Field Marshal Cao [belongs to the royal family]. He would not lower himself to meet a traitor&quot;. <br /> <br /> The interpretation of &quot;金枝玉叶&quot; in the Chinese dictionary is: The golden jade metaphor the royal family and the noble people. It can be seen from the translation of this idiom in ''The Romance of the Three Kingdoms'' that the translator uses the combination of foreignization and domestication. If you completely use the method of foreignization, readers will think that Chinese people are the same in their thinking mode. If the method of foreignization is completely adopted, the reader will understand each word. But they do not understand the overall meaning, because there is no relationship between the two images of &quot;金枝&quot; and &quot;玉叶&quot;. They may speculate on the linguistic expression of these two images, because they are suppressed by the difference in the strange world, and this kind of speculation may hinder the understanding of the whole sentence. On the other hand, the more important the difference in the language culture of the original language is, the more it should be reproduced. In order to highlight the Chinese emphasis on &quot;Gold&quot; and &quot;Jade&quot;, the idiom should be completely alienated, which resulted in different translations of the three sentences of this idiom..<br /> <br /> 蒙曰: “兵有利钝，战无必胜。如猝然遇敌，步骑相促，人尚不暇及水，何能入船乎?”权曰: “[人无远虑，必有近忧]。子明之见深远。”(《论语》)<br /> <br /> Translation: Lu Meng responded:&quot; The fortunes of war are never constant; victory is never sure. In an abrupt confrontation, with infantry and cavalry jostling together, our men may not have time to reach the water much less board the boats&quot;. Sun Quan commented, &quot;[Improvidence invites danger]. Lu Meng wisely looks ahead&quot;.<br /> <br /> 子邓忠劝曰: “[小不忍则乱大谋]，父亲若与他不睦，必误国家大事。” (《论语》)<br /> <br /> Translation: Ai's son, Deng Zhong, urged him to forbear, saying, &quot;[Intolerance for trifles ruins great plans]. Father, if you fall out with him, you will fail the dynasty&quot;.<br /> <br /> The above two famous idioms are all from the ''Analects of Confucius''. In the different translations versions, the translations of &quot;人无远虑，必有近忧&quot; and &quot;小不忍则乱大谋&quot; are also different. The word-by-word interpretation conveys the literal meaning of the idioms and is used in dialogue. The author's situation is always like this, he cannot express all aspects of the original text, and choosing one side means giving up other aspects. Observing the translations, the number of words is originally quite a lot, and the meaning is also expressed clearly enough, and there is no longer a need for domestication interpretation. To be fair, both translations are consistent with the language style of the translated text. The foreignization and domestication are balanced in the translation.<br /> <br /> In translation, even if every word in the original text can be translated with its &quot;equivalence&quot; in the translation, it is not always guaranteed that the translation will have the same or similar effect on the readers of the translated text as the original text, because readers often use their own cultural concepts to understand the content of the translated text. In some idioms, the cultural color of the original language is preserved by foreignization, but it causes linguistic errors and difficulties for readers to understand, and if we adopt domestication, we will lose the cultural color of the original language and cannot let the readers fully understand the meaning of the original. Therefore, we can adopt a combination of domestication and foreignization to translate the literal meaning and then point out the implied meaning, so that the translation can be imaginative and vivid, reflecting the style and flavor of the original language and being fully accepted by the readers (Guo Jianzhong 1998, 17).<br /> <br /> ===Conclusion===<br /> In translation practice, it is impossible to adopt only one translation strategy, especially the idiom with strong cultural color. If the language expression habits of the target language are taken into account, the cultural connotation in the source language is inevitably affected, and vice versa. From the perspective of cultural facsimile, excessive domestication or foreignization translation strategy is not conducive to the transmission of idioms' meaning, and needs to be used interactively according to the actual situation. <br /> <br /> (1)Choosing a translation strategy according to the purpose <br /> <br /> In order to ease language and cultural contradictions and to make the translation both fluent and easy to understand, it is recommended to use the domestication strategy. At the same time, there are also many Chinese idioms that introduce English vocabulary through foreignization translation strategy. For example, &quot;lose one's face&quot; comes from &quot;丢面子&quot;. Many idioms can be translated using two strategies. The key depends on the translator’ s attitude and choice, and what needs to be achieved. The translation of Chinese historical idioms in the famous book ''Dream of the Red Chamber'' such as &quot;巧妇难为无米之炊&quot;, which the famous Chinese translator Yang Xianyi translated like this:&quot; Even the cleverest housewife can’t cook a meal without rice&quot;. And the British sinologist David Hawks translated it as &quot;Even the cleverest housewife can't make bread without flour&quot;. Mr. Yang uses a foreignization strategy to introduce eastern culture to the west while Hawkes uses domestication strategy to enhance western readers' comprehension. <br /> <br /> (2)Choosing a translation strategy based on content <br /> <br /> Translation is a cultural exchange. Translators need to be culturally conscious, that is, to introduce the language and culture of one nation to another. If you can find the equivalent expression or the similar expression that you can directly apply, choose the foreignization translation. For example, &quot;熟能生巧&quot; can be directly translated as &quot;Practice makes perfect&quot;. When the original text and the translation cannot be translated according to cultural differences, it is necessary to replace the &quot;culture of source language&quot; with the &quot;culture of target language&quot;, and to transform the meaning to be conveyed in the source language into the cultural image familiar to the target language, such as &quot;吃不了兜着走&quot;. Its corresponding expression in English cannot be found, so it has to be translated as &quot;be in serious trouble&quot; according to its original meaning. <br /> <br /> (3)Combining the two strategies for translation in translation practice <br /> <br /> It is not enough to use just one translation strategy to retain the cultural characteristics of the idioms, but also to convey the meaning. If the translation also wants to be accepted by readers of the target language, it is not enough to use a certain translation strategy. The translator needs to combine two strategies to do the translation. For example, &quot;三十六计，走为上策&quot;. If translators only uses the foreignization translation strategy to translate it, the translation of this idiom will be like &quot;Of the thirty-six strategies, the best is running away&quot;. Although the culture in the original text is retained and the literal meaning is also expressed, its implicit meaning is not reflected. At this time, it is necessary to supplement the domestication translation like &quot;as you have no better choice&quot;. Only in this way can the translation be more complete.<br /> <br /> ===References===<br /> *Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London: Routledge.<br /> <br /> *Schleiermacher, Fredrich. 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''外国语（上海外国语大学学报）'' Journal of Foreign Languages (02) 12-18.<br /> <br /> = '''Title Translation''' =<br /> <br /> <br /> ==A Study on the Translation of Movie Titles 陈惠 Chen Hui==<br /> 陈惠 Chen Hui No.202020080592--[[User:Chen Hui|Chen Hui]] ([[User talk:Chen Hui|talk]]) 03:52, 15 December 2020 (UTC)Chen Hui<br /> <br /> ===Abstract===<br /> Film is a comprehensive art integrating vision and hearing, which has made great contributions to the transnational communication and integration of culture. The title is an important factor in a movie's appeal to the public. Therefore, the translation of movie titles is of vital importance. The translation should not only fit the film content but also cross cultural differences. Moreover, it has strict word count control, which makes it difficult to translate literary works with relative freedom and high requirements. This paper will analyze the current situation of film title translation, try to summarize the features and functions of film title translation, put forward the criteria and principles of film title translation, and briefly discuss the strategies of film title translation.<br /> <br /> ===Key words===<br /> Features of film titles. Translation criteria, translation principles, translation strategies.<br /> <br /> ===摘要===<br /> 电影是一门集视觉和听觉为一体的综合性艺术，为文化的跨国传播和融合做出了巨大的贡献。电影标题正是电影吸引大众眼球的重要因素。因此电影标题的翻译就显得至关重要。其译文既需贴合电影内容又要跨越文化差异，并且有严格的字数控制，难以像文学作品翻译那样相对自由，要求极高。本文将分析目前电影名翻译的现状，试图总结电影片名的特点和功能，提出电影片名翻译的标准及原则并浅谈电影标题翻译的策略。<br /> <br /> ===关键词===<br /> 电影片名特点，翻译标准，翻译原则，翻译策略。<br /> ===Chapter1 Introduction===<br /> As one of the eight major arts, film is an important carrier of world cultural exchange, bearing specific cultural symbols. The translated names of films reflect different ways of dealing with foreign cultures and convey different cultural values. This paper released in mainland China and Hong Kong and Taiwan area's English movie, for example, from the political system, economic environment and language habits, this paper analyzes the reasons of different film title translation, points out that the different cultural values, dubbing staff of different translation strategies, and in order to meet the requirement of the local culture market, cross-cultural differences should be important factors should be taken into consideration when the translation practice. With the increasingly close cultural exchanges between China and foreign countries, English films, as an important cultural form, have gradually entered the Stage of Chinese films, which inevitably involves English-Chinese translation. In English-Chinese film translation, film title translation plays a very important role. Han Su said that “A good title translation can not only add to the film, but also help Chinese and Western films to go out and bring in better, and promote cultural exchanges and communication.” (Han,2018,P95).In order to translate high-quality film titles into Chinese, it is necessary to have an accurate understanding of the characteristics, translation principles and translation strategies of film titles.<br /> <br /> ===Chapter2 Movie: A kind of Art===<br /> <br /> ====2.1 The Introduction of Movie====<br /> Film is a comprehensive art integrating vision and hearing, which has made great contributions to the transnational communication and integration of culture. Yang Shu said that :“Different from other art categories, film is an emerging art form formed with modern technology and has its own ontological characteristics.”(Yang Shu, 2017, P78)).The title of the film is an important factor in its appeal to the public. Therefore, the translation of movie titles is of vital importance. The translation should not only fit the film content but also cross cultural differences. Moreover, it has strict word count control, which makes it difficult to translate literary works with relative freedom and high requirements. This paper will analyze the current situation of film title translation, try to summarize the characteristics of film title translation and the principle of film title translation, and to talk about the strategies of film title translation.Film, a continuous image developed by the combination of mobile photography and slide show, is a visual and auditory modern art, but also a complex of modern technology and art that can accommodate drama, photography, painting, music, dance, writing, sculpture, architecture and other arts. Cinema is a visual art that simulates the experience of communicating ideas, stories, perceptions, sensations, beauty, or atmosphere through recorded or programmed moving images and other sensory stimuli. The term cinematography is short for cinematography, usually used to refer to filmmaking and the film industry, as well as the art form that emerges from it. Films are cultural relics created by a particular culture. They reflect these cultures and influence them. Film is regarded as an important art form, a source of popular entertainment and a powerful medium for educating citizens. The visual basis of a film gives it universal power of transmission. The film has its own characteristics. In terms of artistic expression, it not only has the characteristics of all kinds of other arts, but also has the means of expression beyond all other arts because it can use the artistic montage of the film grouping skills. With the development of modern society, movies have penetrated into every aspect of human social life and become an indispensable part of People's Daily life. Film is an art whose time and course of growth are known by human beings. It is a media with rapid development and great influence since the 20th century. It is also a creative industry integrating politics, economy and culture. Since the end of the 19th century, France, the United States and other parts of the film inventors have invented can mimic a person's eyes and ears of photoacoustic records and reduction technology and machine, the film technology, from the birth, were entrepreneurs become film business, by politicians become ideology, by artists become film art, researchers developed into film theory. The history of a film is also the history of filmmakers exploring the laws of film. Film is a kind of modern art which uses modern scientific and technological achievements as tools and materials, and uses the means of expression to create visual images and the combination of shots. In the space and time of the screen, it shapes the specific images that are moving, sound and painting combined, and lifelike, to reflect social life. The film can accurately &quot;restore&quot; the real world, &quot;show&quot; the virtual world, giving people a sense of authenticity, a sense of intimacy, just like being on the scene. This feature of film can satisfy people's desire to experience life in a broader and more real way. Movies can be divided into action movies, fantasy movies, comedy movies, horror movies, science fiction movies and so on.<br /> <br /> ====2.2 Features of English Film Title====<br /> On the one hand, a film title is an art form, reflecting the literary value of a film; on the other hand, it is linked with the box office, reflecting the commercial value of a film. Therefore, a film title directly affects the success of a film. English movie titles have the following characteristics.<br /> (1) The title is easy to understand and arouses the audience's interest. This is contrary to the characteristics of Chinese movie titles. Some Chinese movie names are not introduced by media, which makes it difficult for the audience to have a clear understanding of the movie in advance, such as The Promise and Infernal Affairs. Movie titles in English are often simple, but they have a profound effect on the audience's enthusiasm. For example, True Lies, the movie's title tells you that the movie is about a lie, but what kind of a lie is a &quot;True lie&quot;? When the audience sees the name of the movie, they will first have such doubts in their minds, and then watch the movie with doubts and curiosity. There are plenty of similar movies, such as Back to the Future.(2) The title contains slang to enhance the appeal of the film.The title of the film incorporates slang, on the one hand, to make the audience feel friendly, on the other hand, to achieve the desired ironic effect of the film. One Flew over the Cuckoo's Nest, and at that very moment, the Cuckoo's Nest Flew very slowly. &quot;Slumdog,&quot; for example, is a slur for someone who lives in a Slumdog. The other way around is to be sarcastic. The other way around is to be sarcastic.(3)The title of the film is named after the name, which is clear at a glance.Names of people, places, objects and places often appear in the titles of European and American films, such as Pearl Harbor. As long as you have some historical knowledge, it is not difficult to know the content of the film, which is obviously related to the Pearl Harbor incident during the Second World War. In addition, there are also Casablanca, Roman Holiday, Waterloo Bridge(Waterloo Bridge) and other famous films with place names as film titles. People like Forrest Gump, which is clearly the main story in the film, but also Emma, Jane Eyre, etc. It's about a Perfume genius who's obsessed with Perfume and becomes a psychopath. It's also about The Piano and The Net. In addition, there are one case, is to add in the title of the character (place or items) characteristics. For example, Edward Scissorhands, Schindler's List, The Mask of Zorro, etc.(4) The title contains numbers to indicate the plot.Numbers appear frequently in English movies, and they are real rather than imaginary. In this kind of naming, the numbers in the title will appear in the play, either directly spoken by the characters, or the numbers-almand-or explained gradually through the plot. This may be related to the fact that westerners pay more attention to objectivity and practicality, and think more straight lines. The famous film with numbers included in the title has Seven Deadly Sins(&quot; Seven Sins &quot;). According to the title, it can be associated with the Seven Deadly Sins of the Bishop. The mysterious serial murders in the film are one of these Seven Sins, so the title gives a good hint to the audience. Eleven tells the story of Eleven skilled dodgers.Heart completes a breathtaking mission story; Six Days and Seven Nights a man crashes in a plane and lands on a desert island for Six Days and Seven Nights. In addition, there are also Twelve Angry Men, The Six Sense, Eight LeggedFreaks and so on.<br /> These are the characteristics of British and American film titles, we can see that they value simplicity. Due to cultural differences, most Chinese film titles have deep meanings and reveal rich cultural heritage, such as Farewell My Concubine, A Thousand Miles Away, Curse of the Golden Flower and so on. Therefore, foreign films should attach importance to the translation of film titles in order to enter the Chinese market. How to arouse the resonance of Chinese audience's aesthetic appreciation requires the translator to pay attention to aesthetic factors in the translation of movie names.(Lin Wen, 2015)<br /> <br /> ====2.3 Functions of English Film Title====<br /> The British translation theorist Newmark believes that language has six functions: the function of expression, the function of information, the function of demanding, the function of beauty, the function of responding, and the function of meta-language. Among them, the first four are the main ones. The title of a film is a proper noun, which is the product of the screenwriter's careful conception. It can not only highly summarize the theme or content of the film, but also strongly stimulate the reader's desire to watch it. Therefore, it mainly has information function, imperative function and aesthetic function. In film title translation, BaoHui south thinks &quot;should not only conform to the language specification, but also full of artistic charm, as well as the content of the faithful to the original title, and to reflect the language characteristics of formerly, strive to achieve the art to create&quot;, wants be particular about &quot;mass, popularization, colloquial and artistic quality&quot;, &quot;to be able to have very good guide depending on and promotion effect&quot;. The author believes that the film title has five functions: 1) Suit the content of the original film, reflect the theme of the original film, help the audience better understand the original film, highlight the style of the original film; 2) Concise and comprehensive, easy to remember; 3) Set the emotional tone of the film, and infect the audience with strong lyric, thrilling or dramatic atmosphere; 4) It conforms to the language norms of Chinese and is suitable for the appreciation habits of Chinese audiences; 5) Attract audience and increase box office income. Therefore, the theoretical support for film title translation is not the traditional translation theory centered on &quot;faithfulness to the original author or the original text&quot;, but the unified equivalence with the original title in language, cultural information and functional characteristics.(Newmark,1958).<br /> <br /> ===Chapter3 Analysis on Movie Title Translation===<br /> <br /> ====3.1 Current Study of Movie Title Translation====<br /> With the rapid development of China's society and the improvement of the openness of the country at all levels, more and more foreign films have entered China, giving Chinese audiences different visual and spiritual cultural feast. At times, however, the translation of movie titles has left audiences baffled. Due to the vast territory of China, the same English movies are sometimes translated differently under the cultural background of the mainland, Taiwan and the three places, making it difficult for people to judge the same movie from the name of the translated movie. For example, Gone with the Wind is translated in Mainland China, while Gone with the Wind is translated in Hong Kong and Taiwan. For example, in Cantonese, &quot;slam-dunk&quot; is called &quot;Thun&quot;, while in Mandarin it is &quot;slam-dunk&quot;. Therefore, the movie Space Jam has been translated into &quot;Thun in Space&quot; and &quot;Slam-Dunk in the Air&quot;. Due to different pronunciations, the translation of movie names will also be different. For example, the classic film Titanic was translated into the Hong Kong version of &quot;Titanic&quot; and &quot;Titanic&quot;, but the latter is better known. (3) Influence of commercial interests More and more films are driven by commercial investment. In order to win high box office, eye-catching words are often added to the title of the film in translation to make the audience shine. For example, in the film Leon, merchants translate it into Leon in order to pursue a better box office. In fact, it is also possible to translate it into Leon, but it lacks the thriller of the former, so it cannot better attract the audience. There's another movie, The Mask, for example. The Mainland version is The Mask, while The Taiwan version is The Modern Saint. The former is more convincing and mysterious, and The translation is better.(5) Random translation is quite common in Hong Kong. The so-called random translation refers to the translation of the name without the content of the film, imaginary, unrestrained, full of exaggerations, suspense, with only one purpose, is to attract audiences. For example, &quot;Fair Came&quot; was translated into Chinese by Hong Kong and translated into Chinese as &quot;Fair game&quot;. The film tells the story of Kitty, who was originally a lawyer in miami-famous family firm, who woke up and suddenly became a target of Soviet spies, facing death threats all the time. It was hard to see how Kitty could be called a witch from beginning to end. Hong Kong translations (1995) and mainland Chinese translations of &quot;Shawshank Redemption&quot;. The story takes place at the beginning of 1947, banker Andy is wronged and imprisoned. Facing the unfair fate, Andy can show not pleased by external gains, not saddened by personal losses and silently construct his own future. It is not clear where 1995 came from in the Hong Kong translation, and the word &quot;stimulus&quot; does not match the content of the film. From the perspective of translation, translation has made big fear of translation standards, even the most basic of faithful to the original works and &quot;letter&quot; to the cause for the current more than a translation, the chaotic translation for the current situation, in addition to our regional factors mentioned above, a local translation characteristics, the mass media have unshirkable responsibility. As a mass media, newspapers, magazines, films, radio and television do not pay attention to the use of standardized translation of the name, which leads to the further deterioration of the phenomenon of film translation one translation. In addition, in order to pursue business profits, translator and even from The film content, subjective themselves, exaggerated exaggerated, use some stimulus, poignant words to attract audience attention, no bridge &quot;, and &quot;candle&quot; two characters, The tragic fate of The film, The heroine, consider translation of &quot;faithfulness, expressiveness and elegance&quot;, such as Hong Kong and Taiwan to Hemingway's masterpiece The Sun Also Rises &quot;The Sun Also Rises&quot; translation &quot;concubine is chaoyang and zhao jun, and formerly known as and simply goes and The original content.(Song Yanlan, 2017)<br /> <br /> ====3.2 Standarding Movie Title Translation====<br /> <br /> =====3.2.1 Ways to Standard=====<br /> Facing the current situation of film title translation, how should we regulate the translation of film title? I think there are several ways to look at it. From the perspective of the translator, the translator should accurately grasp the original content, want to reaction and its creation and works reflect the major theme of background, this can help the translator vividly grasp accurately the original content, understand the formerly known as connotation, translation with the original content, to maximize the reappearance of formerly known as information, make the translation really play a guide role. Such as film, A Walk in the Clouds, title literally &quot;go&quot; in the cloud, which describes A youth couple of vine flowers in the loving touching love story, also the garden it is translated into &quot;to Walk through the Clouds,&quot;, reflects both the original meaning, and full of poetic, leave the audience with fragrant vineyard, fascinating intoxicating refreshing romantic breath. The translator should also be in accordance with the original, pay attention to the using a variety of translation method is flexible, should not only respect the formerly known as film, also considering the cultural differences, adopt the appropriate expression, proper free translation of some of the titles, appropriately express the original information, should not only to retain the original western style, and to consider domestic audience's comprehension and language habits, considering the cultural differences. Some titles can be translated literally, simply and clearly to convey the information of original titles, such as Sindler's List translated into Schindler's List,Back to the Future translated into Back to the Future, etc. Some titles require free translation. For example, the novel Cone Wih the Wind is translated as &quot;Gone with the Wind&quot; with literal translation, but the film's translation of &quot;Gone with the Wind&quot; is more attractive. &quot;Troubled times&quot; tells the background of the story, &quot;Beautiful Woman&quot; points out the heroine of the film, which -- the translated title vividly shows the heroine Scarlett's rough experience in the war years, which can fully attract the audience's attention. Waterloo Bridge, literal translation is &quot;Waterloo Bridge&quot;, see the translation, the audience will first think of the battle of Waterloo, napoleon, but the film describes not smoke of the battlefield, but sad love story, the symbol of the combination of Chinese folk story &quot;the blue Bridge&quot;, the translator skillfully as a &quot;blue use some stimulus, poignant words to attract audience attention, no Bridge&quot;, and &quot;candle&quot; two characters, the film highlighted the tragic fate of the heroine.(Yao Dongyu, 2016)<br /> <br /> =====3.2.2 The Criteria for Movie Title Translation=====<br /> As for the criteria of translation,Yan Fu, a famous modern translator, put forward the criteria of &quot;faithfulness, expressiveness and elegance&quot;. Letter “is for the original text, requires the translator to correctly understand the original text, faithful expression of the original thought, style, inside” is for the translation, and requires to use fluent and easy to understand the speech, but on the elegant &quot;, but there is no consensus. King explained the concept from three aspects: receiver concept, effect concept and equivalence concept. As for the concept of effect, he pointed out that, after clarifying the effect of information on the receiver, it should be emphasized that it should include the full effect of information, namely the thorough understanding and feeling obtained by the receiver. Includes main spirit, concrete fact, artistic conception atmosphere three main elements. In the translation practice of the film title, Jin Ti said that because of different language changes are bound to cause changes in the language effect, so only from the effect of the translation, to determine whether the language is appropriate. Taking this as the standard, the translated name should try to achieve the equivalence of spirit, fact and artistic conception in sound, shape and meaning, that is, the relationship between the recipient and the translated message should be basically the same as that between the recipient and the original message &quot;(Nida, CF King: 1998).<br /> <br /> ====3.3 The Principles of Movie Title Translation====<br /> Although the translation of film titles has its particularity, it is not distinct from the translation of other genres, but has something in common. In terms of its translation process and results, the author believes that it should be mainly reflected in the following two principles :1. Principle of Economic Benefit Liu Miqing (1999,P49) pointed out that since the content contained in the original language is worthy of translation (i.e., it has social benefits), the conversion should be realized by the target language that is acceptable to the society, instead of being restricted by the readability of the original language. It is also said that social benefits are the yardstick by which the meaning of translation, the quality of translation and the value of translation are tested &quot;(1999,P48). He puts forward three principles, among which the readability principle of the target language plays a guiding role in title translation. When the readability of the source language is very good, it can convert all the formal meaning and stylistic meaning of the source language into the target language correspondingly...&quot;. In Hong Kong, for example, Saund ofMusic has been translated as &quot;floating in the sky&quot; and in Taiwan as &quot;truth, goodness and beauty&quot;, which leaves the audience puzzled. Since then, the film has been widely accepted as &quot;the sound of music&quot; by Chinese mainland translators. 2. Principles of Cultural Characteristics Translation with cultural characteristics is considered to be one of the most difficult to translate. &quot;As for culture-specific&quot;, translation theorist Baker(2000, p64) said that the words of the target language may express a concept that is completely unknown to the culture of the target language, which may be abstract or concrete and may be related to religious beliefs, social customs or even certain things. This shows the difficulty of cultural translation. The film is the director's reflection of the real or virtual life, and the title that reflects the content of the film also naturally contains many cultural factors, making it difficult to translate. There are various ways to embody cultural connotation, such as cultural words and idioms. &quot;First Blood” for example, is an idiom meaning &quot;first to win a battle&quot;, but always translated as &quot;the first drop of blood&quot;.<br /> <br /> ===Chapter4 Ways of Movie Title Translation===<br /> <br /> ====4.1 Literal Translation====<br /> literal translation - simple and clear, to the literal translation is carried out in accordance with the literal meaning to translation, translation is not to add or increase or decrease, achieve unity, so as to convey sincerity buy primitive thoughts, reflects the primitive expression of the style of work, even done very well, otherwise the translation will lose the essence of the original. Nowadays, more and more audiences like original films. Excellent film translations retain their own unique labels while promoting films. Although there is no gorgeous translation of words, they are insipid yet mysterious. For example, a film about psychology, Beautiful Mind, which the translator translated directly into &quot;A Beautiful Mind&quot;, without adding any other elements, makes people have a calm and mysterious feeling towards this film. There is also a film about the Sniper in Iraq war, American Sniper, which the translator directly translated into American Sniper. When people see the title, they can clearly know what subject this film is about. There is no gorgeous language, but it goes straight to the theme without losing the original meaning.(Zhou Baoxue, 2013)<br /> <br /> ====4.2 Free Translation====<br /> Free translation -- in a similar situation, free translation with cultural characteristics is translated in accordance with the general idea of the original text, instead of word for word translation, which can be applied in the context of huge cultural differences between the original language and the target language. There is a classic work by Nicolas Cage called &quot;Face Off&quot;. Some translators have translated it into &quot;Face Off&quot; or &quot;Face Off&quot;. Both translations are free translation, not literal translation. The advantage of this is that it not only expresses the meaning of the English title, but also conveys the content of the film. When English films encounter Chinese culture, they need to be adjusted appropriately, so that the film name can quickly enter people's lives and let people quickly understand the general content of the film on the basis of highlighting the theme and with local cultural characteristics. Such as a movie starring Tom Hanks was called Catch Me If You Can, translation version did not directly translated into &quot;If You Can Catch Me, but according to the four words idioms in Chinese habit and common cultural features translated into&quot; cat and mouse game &quot;or&quot; free &quot;, the two translation versions are make good use of the four words idioms, injected with Chinese cultural characteristics, and highlight the theme, let the people You'll never forget.(Yang Huhong, 2006)<br /> <br /> ====4.3 Transliteration====<br /> Transliteration means to translate according to the English pronunciation and find the corresponding Chinese words, which is more intuitive and lets people remember the name of the movie. Even if English is not well spoken, foreigners can still understand it through the corresponding Chinese translation, which promotes cultural exchange. Milk, for example, translates directly into Milk. There are Avatars, Juno and so on, which keep the original flavor of the original films.(He Ying, 2001)<br /> <br /> ====4.4 Amplification and Omission====<br /> Amplification and provincial translation -- to highlight the features of the film and keep close to the theme, amplification or provincial translation refers to adding or reducing the corresponding information on the original basis to achieve the function of better information transmission, so as to make the name of the film more representative and play the role of advertising. So for example, the movie, instead of making it literally Interstellar, you make it into Interstellar, you make it into Interstellar, so that you have a better way of talking about what the movie is about. -Two. There's also How to Train Your Dragon. Instead of being translated into how to tame your dragon, the translator reduced it to How to Train Your Dragon.(Jin Ti, 1997)<br /> <br /> ====4.5 Naturalization====<br /> Domestication method is adopted in the translation of English film titles to avoid literal translation, which would make the Chinese translation of film titles impossible for Chinese audiences to understand the theme and cultural connotation of the film. This translation strategy aims to make the translated title conform to the cultural psychology and aesthetic standards of Chinese audiences, adapt to the difficulty of public understanding, give the audience an intuitive and preliminary understanding of the film content, and stimulate their interest in watching the film. Cleopatra Cleopatra was the last queen of the Ptolemaic Dynasty of Egypt, one of the first sovereigns of Alexander the Great after his conquest of Egypt. Legend has it that Cleopatra was beautiful and intelligent. She was close to Caesar and Antony, politically adept, involved in the politics of the end of the Roman Republic, ambitious, and a legendary Egyptian queen. There is no doubt that Cleopatra was a central figure in ancient Egypt, and her anecdotes about Her relationships with Caesar and Antony made her a famous figure in literature and art. This is the story of Cleopatra, the 52-year-old Caesar who came to Egypt as a Roman governor to settle a royal contest between Cleopatra, the Ptolemaic dynasty, and her half brother Ptolemy XIII. Cleopatra quickly conquered Caesar with her charm of courage and political skill, gaining control not only of the Ptolemies in Egypt, but of Rome as well. The son of Cleopatra and Caesar was made heir, but Antony and Octavian were not satisfied. After Caesar's assassination, Antony took over the REINS of Rome and was also conquered by Cleopatra. If the title of the English movie is literally translated into Chinese as Cleopatra, Chinese audiences who are not familiar with Egyptian history will lose interest in watching it. Compared with the literal translation of Cleopatra, the domestication strategy can be used to translate Cleopatra to achieve the commercial purpose of attracting audiences' interest, and at the same time, the audience can understand the theme of the film more intuitively, so as to achieve the purpose of promoting the cultural transmission.(Wu Shuang, 2005)<br /> <br /> ====4.6 Foreignization====<br /> In the translation of English film titles, foreignization should try to keep the expression habits and cultural characteristics of the original titles, bring the audience into the English language and culture, let the audience experience an unprecedented exotic amorous feelings, and maximize the dissemination of English language and culture. Zeng Qinyu thought domestication and foreignization can be regarded as the extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation. The Hollywood film Titanic tells the touching love story between rose, a rich girl, and Jack, a poor boy painter, when the luxury liner Titanic collided with an iceberg and sank. On April 15, 1912,Titanic set sail from Southampton, England, carrying more than 1,000 passengers and more than 800 crew members, bound for New York. But unfortunately it collided with an iceberg and sank. When the wreck was found on the bottom of the sea in 1985, there was a portrait of a teenage girl on the cabin wall, and Rose, who was 102 at the time, claimed to be the girl. The original Rose because her fiance Carl is a snob and do not want to marry him, when ready to throw himself into the sea, was Bohemian poor painter Jack save. Rose fell in love with jack, a cheerful character. As a witness of love, Jack drew a portrait for Rose. Not long after that, the ship hit an iceberg and began to sink. In the critical moment of life and death, Jack left the chance of life to Rose, he was frozen to death in the cold sea. In the translation of the film title, alienation strategy was adopted, literally translated as Titanic. This translation strategy was consistent with the understanding and acceptance level of Chinese audiences, loyal to the social and cultural life of English-speaking countries, and retained the form and content of the original English title to the greatest extent.(Zeng Qinyu，2020)<br /> <br /> ===Chapter5 Conclusion===<br /> Film is a comprehensive art. The translation of film titles should not only follow certain principles and methods of translation, but also have rich cultural knowledge and solid language skills. The title translation is not a simple and mechanical arrangement. It needs to consider the similarities and differences between Eastern and Western cultures and the acceptability of translation according to the content of the film, so that it not only conveys the message of the film, but also is full of beauty. Therefore, translators should not only be familiar with the ways of language expression and conversion, but also have a profound cultural awareness. On the basis of in-depth understanding of the cultural information conveyed by the title, translators should understand the content and style of the film, try to understand the wording and try to accurately grasp the surface meaning and associative meaning of the source language and the target language. &quot;I was a standup, I was at the tenth month of October&quot;, I translated the title of the film with a rigorous attitude, and only by carving and chiselling can I achieve a classic translation that enjoys universal popularity.(Yang Shu, 2017)<br /> <br /> ===References===<br /> [1]Eugene A. Nida. Toward a Science of Translating. Shanghai Foreign Language Education Press, 2004.<br /> <br /> [2]Jin Ti. Equivalent Translation Exploration. Beijing: China International Translation and Publishing Company, 1997.<br /> <br /> [3]Han Su. Comparison between English and Chinese Version in Film Title Translation. Journal of Chifeng University.2019(03):101-103<br /> <br /> [4]He Ying. Theory and method of Film Title Translation. Foreign language Teaching, 2001 ,(01):56-60.<br /> <br /> [5]Lin Wen. Cultural Identity and Translation of English Film Titles. Guizhou Normal University,2016.<br /> <br /> [6]Liu Miqing. Contemporary Translation Theory. Beijing: China International Translation and Publishing Company, 1999.<br /> <br /> [7]Lu Hui. Brief analysis of English Film Title Translation. Huashang. 2008(06):68.<br /> <br /> [8]Song Yanlan. Common Chinese Cultural Factors in English Film Title Translation -- Take 50 films for example. Liberal arts navigation. 2017(04):22-24.<br /> <br /> [9]Yao Dongyu. Journal of Liao Ning Institute of Science and Technology,2016.<br /> <br /> [10]Yang Hu Hong. On several Translation Methods of Film Title Translation. Anhui Literature, 2006.<br /> <br /> [11]Yang Shu. Narrative Studies of Mainland Chinese Films Since the New Era. Shandong Normal University. 2017.<br /> <br /> [12]Zen Qingyu. A Brief analysis of domestication and Foreignization of English Film Title Translation. Science and Education Guide. 2020(05):25-26.<br /> <br /> [13]Zhou Baoxue. A Brief Analysis of the Principles and Methods of English Film Title Translation. Science and Education Literature Review. 2013(08):149-150.<br /> <br /> == A Study on Movie Titles Translation from the Perspective of Skopos Theory 罗雨晴 Luo Yuqing ==<br /> <br /> &lt;center&gt;罗雨晴 Luo Yuqing No.202070080601&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> <br /> With the continuous advancement of globalization, more and more foreign films are introduced into China continuously. China's film market is huge and Watching films has become a popular way of entertainment for Chinese. Various kinds of films emerge in endlessly so that film titles are particularly important. The film title is the eye of the film, the highlight and essence of a film. A good film title can successfully attract people's attention, stimulate the desire to watch, and bring them into the cinema, which is the purpose of English film title translation. From the perspective of Skopos Theory, this paper will analyze the characteristics and functions of film titles, all kinds of existing translations, and puts forward some translation methods of English film titles, hoping to be helpful to the translation of film title translation.<br /> <br /> ==='''Key words'''===<br /> <br />  English film title translation; Skopos Theory; translation methods<br /> <br /> ==='''摘要'''===<br /> <br /> 随着全球化进程的不断推进，越来越多的外国电影源源不断地涌入中国，中国电影市场巨大，看电影已成为一种广受欢迎的娱乐消遣方式，各种电影层出不穷，因此电影片名就显得尤为的重要。电影片名是电影的眼睛，是一部电影的亮点与精华所在。一个好的电影名可以成功吸引人的眼球，激发大众观看欲望，将大众带入电影院。而英语电影片名的翻译目的就在此。本文主要将从目的论的视角出发，分析电影片名的特点与作用，对各种现有译名的进行分析，就此提出一些英文电影片名的翻译方法，希望能对电影片名的翻译工作有所帮助。<br /> <br /> ==='''关键词'''===<br /> <br /> 英语电影片名翻译； 目的论; 翻译方法<br /> <br /> ==='''Chapter1 Introduction'''===<br /> <br /> A film is like a book with pictures and sound. When reading books, we will imagine the scenes described in the books, while words in book will be presented in the form of images and sound in film. Most of films last about two hours. In these two hours, we can get in touch with something we are not familiar with in a relaxed way. Film brings us a variety of visual, auditory and other sensory pleasure. It is not only a way of entertainment, but also an important medium to spread culture. With the rapid development of economy, people pay more and more attention to the quality of life and cultural exchanges between different countries are closer than before. A large number of foreign films are pouring into China, trying to get a share of the Chinese market. Although there are close cultural exchanges, there are still cultural differences between China and the West. Therefore, the translation of film titles after the introduction of foreign films into China is very important. Although the translation of film titles seems to be a small project, it is not so easy to translate them well and to the point to let people can't wait to see the whole film. It is self-evident that the film title is the essence of a film. It not good enough to accurately summarizes the contents of the film, to attract the audience. The quality of the film title directly affects its dissemination in China, and its importance is self-evident. <br /> <br /> This paper proposes a Skopos Theory approach to the translation of film titles. The ultimate goal of film title translation is to attract attention as much as possible on the premise of accurately conveying the content of the film. Skopos Theory can provide a reasonable explanation for those film titles that are not translated according to the traditional translation theory. The Skopos Theory put forward by Hans Vermeer is the core theory of functional translation theory. Compared with some previous translation theories, this theory has some breakthroughs. The purpose of translation carries through the whole process of translation, and the purpose determining method is its biggest feature, which gives the translator a lot of space to adopt the translation method that he thinks is suitable.<br /> <br /> This thesis is composed of five chapters. Chapter one serves as an introduction, presenting the importance of the translation of English film title translation, the adaptability of the Skopos Theory and the structure of the thesis.Chapter two is a general analysis of English film title translation, including film genres and features and functions of English film title translation. Chapter three is a general introduction of Skopos Theory, consisting of its development, concept and three basic principle. Chapter four analyzes the existing film title translation from the perspective of Skopos Theory, and comes to the methods of film title translation. Chapter five draws a conclusion finally.<br /> <br /> ==='''Chapter2 A General Introduction of English Film Title'''===<br /> <br /> ====2.1 Film Genres ====<br /> According to He Ying in her article &quot;Theory and Method Guiding Film Title Translation&quot;, films are normally divided into three categories: science and educational film, documentary film, and feature film. Educational film spread scientific and technological knowledge. (He Ying 2001, 57)Documentary film is a kind of film or TV art form that takes real life as the creation material, takes real people as the object of expression, and processes and displays it artistically. It takes showing the truth as the essence and arouses people's thinking with reality. Feature film is a kind of film work which uses image and sound as means to narrate. Any film which is played by actors, has a certain plot and expresses a certain theme can be called a feature film. Feature films are often more easily accepted by all and have a large audience,so that this thesis confines its tentative study to the titles and the corresponding translations of English feature films. As for feature films, Tim Dirks categorized the main genres such as action films, adventure films comedy films, crime&amp;gangster films, drama films, epics or historical films, horror films, musical (dance）films, science fiction films, war (anti-war) films, and Westerns. Actually, a genre is always a vague term with no fixed boundaries and the referred types may overlap each other. Genres can be combined to form hybrid genres,(Tim Dirks,2003,3.19) such as ''Inglourious Basterds'' 《无耻混蛋》 which melts the genre of action and war，so does ''Saving Private Ryan''《拯救大兵瑞恩》. <br /> <br /> ====2.2 Features of English Film Title====<br /> <br /> ===== 2.2.1 Linguistic Features===== <br /> Foreign film titles are usually translated into Chinese with four characters and The translated titles are usually concise. It is not convenient for the audience to grasp the key points when they meet with long title and a short title can also contain many meanings. With the fierce competition in the film market, most of the audience just want to relax so that they prefer to watch films with accurate and concise expression of film titles. In addition, the use of four characters may be related to Chinese language habits that there are four character idioms in China. For example, ''Transformers'' 《变形金刚》, ''Captain America''《美国队长》, ''Escape Plan'' 《金蝉脱壳》, ''The Hunger Games'' 《饥饿游戏》, ''Once Upon a Time in America''《美国往事》.The translated titles of these foreign films are very concise and to the point, and the emphasis is on simplicity. They use vivid words to arouse the audience's interest. For example, the film Escape Plan is literally translated into Chinese as《金蝉脱壳》. The translator combines a Chinese idiom, golden cicada out of shell, which comes from the Xie Tianxiang written by Guan Hanqing. This idiom means when a cicada turns into an adult, one should take off a layer of shell, which draws an metaphor between people and cicada.(Baidu Encyclopaedia, golden cicada out of shell） And the film is about a prison designer who is locked into a high-pressure prison designed by himself and is ready to escape with other accomplices. The meaning the film and the idiom want to express is just the same, and the translated title is more vivid.<br /> <br /> =====2.2.2 Aesthetic Features ===== <br /> In fact, the translation of film titles is also a kind of literature. When foreign films are introduced into China, the translation of translated titles is equivalent to giving the film a life again. film titles can also be appreciated as the paintings do. The aesthetic translation of film titles will create a kind of artistic conception with a strong artistic quality. The translator will use a lot of rhetorical devices, such as metaphor, contrast, repetition, contradiction, exaggeration, parody, symbol and so on. Take film ''Hilary and Jackie''《她比烟花寂寞》 for example, the film mainly shows us a cello genius Jacqueline dupley's brilliant and extremely short life like fireworks, which reflects the extreme gorgeous beauty, the loneliness behind the streamer. The word &quot;fireworks&quot; is used symbolically. At first, some people may think this translation is kind of affected, but in fact it is quite consistent with this film’s content and touching. There are other wonderful examples, such as ''The Hours''《时时刻刻》, ''Sommersby''《似是故人来》, ''The Shape of Water''《水形物语》, ''Flipped''《怦然心动》, ''The Bridges of Madison County''《廊桥遗梦》, which are fabulous.<br /> <br /> =====2.2.3 Commercial Features=====<br /> Whether the translation of the film is concise or aesthetic, it is aim to attract the public to buy tickets. Film is the combination of art and commerce. A cinema film will not only express art or just for commercial purposes, It better to say that commercial films may pay more attention to box office, while literary and artistic films will pay more attention to artistic expression. A film is the painstaking efforts of all the workers. If no one appreciates it, it would be a pity. Therefore, attraction is indispensable in the translation of film titles. For example, there are some animated feature films made by Pixar. ''Finding Nemo''《海底总动员》,''Toy Story''《玩具总动员》,''The Incredibles''《超人总动员》,''Cars''《汽车总动员》. They all used the form《XX总动员》,which is a manifestation of business characteristics. Toy story, as an animated film, created a box office miracle and had a wide influence in China. Naturally, the audience was deeply impressed by this translation. Therefore, considering its popularity and attractiveness, the distributor will try to translate similar cartoons in this way. However, with more and more such translated titles, the public has already experienced aesthetic fatigue. This kind of translation may lose its original function, so it will be replaced by other translations later.<br /> <br /> ====2.3 Functions of English Film Title====<br /> <br /> =====2.3.1 Informative Function ===== <br /> The informative function is the basic function that any film title should possess.representative of a film, it is agreed that the film title should be of high-information value. A title without any informative value can be said meaningless.to enable the audience to get a thorough understanding of the film content. According to Newmark, the core of the informative function of language is external situation, the facts of a topic, reality outside language, including reported ideas or theories.(Newmark 2001, 40) In this thesis, the interpretation of the informative function is two-fold. A film tile should highly summarize the content of a film, which conveys a lot of information, such as the genre of film. Many film viewers tend to watch a certain type of film. When she chooses which film to watch in the cinema, the translation title of the film plays a very important role, such as ''Triangle'' 《恐怖游轮》,a psychological suspense film. The heroine experiences repeated asmsaras interacted with each other. The film shows the same people appearing in the same place and even chasing each other, which provides a variety of understanding for the play. The director said that the film has three endings, but they all lead to the same end point, that is, the final scene of the car accident, leaving Melissa in this endless cycle. The original translation is triangle in Chinese, which is actually about the closed reincarnation of a triangle. It can be said that the translation does not fully grasp the inner essence of the film. By contrast, 《迷失三角洲》 expresses this film’s theme more accurately, but the title 《恐怖游轮》 is more attractive. It makes the genre of the film more easy to get to. People will know that it is a thriller and suspense film at the sight of the title. Film title can not only let the audience know the type of the film, but also let the audience quickly know the relevant information of the film, such as time, place, character, what’s going on with characters. For example, Rise of the Planet of ''the Apes''《猩球崛起》，from the title , we can know that the film is telling stories about orangutans. ''12 Angry Men''《十二怒汉》, this title tells us that the main characters of the story are twelve men. ''Homeless to Harvard: the Liz Murray story'' 《风雨哈佛路》，this title let us know know that it tells the story of the protagonist's struggle at Harvard. ''Sleepless in Seattle''《西雅图夜未眠》, and from this title, we are ware of that the location of the story is mainly in Seattle.<br /> <br /> =====2.3.2 Aesthetic Function===== <br /> Peter Newmark once wrote: This is the language designed to please the senses, firstly through its actual or imagined sound and secondly through its metaphors. The rhythm, balance and contrasts of sentences, clauses and words also play their part. Their sound-effects consist of onomatopoeia, alliteration, assonance, rhythm, meter, intonation, stress.These rhetorical devices make the form of film title diverse, rich in connotation, expand the meaning of the film space, enhance the aesthetic effect.Chinese and English are two different languages. Chinese pays attention to refining words, which is very consistent with the requirements of film title translation.Word refining pays attention to vivid, using language to render an atmosphere or artistic conception, and transmit this feeling to the Chinese audience.如''The Remains of the Day''《长日将尽》 This film is adapted from the novel of the same title British novelist of Japanese origin Kazuo Ishiguro, the film is an elegy about the decline of the aristocracy in the British Empire. The protagonist of the story recalls his life in the form of a diary. The most important thing is the relationship between him and his former colleague, the housekeeper Miss Ken Dunn. He was a loyal housekeeper in the noble family. He saw the vicissitudes of prosperity and tried to perfect his work. However, he always suppressed his feelings and saw miss Kendeng, who was waiting for no result, to marry away from home. This translation has successfully created a melancholy atmosphere. What’s more, a carefully designed film title can well perform the aesthetic function, creating such beauty as phonetic beauty and imaginational beauty. For example, ''Breathe''《一呼一吸》, this translation sounds rhythmic, if we just translate it into 《呼吸》，then it will lose the beauty of sound, in addition, four characters looks more neat visually. And there are other wonderful examples, such as ''Like Sunday, Like Rain''《如晴天，似雨天》, The Words《妙笔生花》.<br /> <br /> =====2.3.3 Vocative Function ===== <br /> A film title can show the audience with the relevant information about the film, and it can create an imaginative atmosphere for the audience and entertain them aesthetically. However, its vocative function is more important. That is to call upon the audience to buy tickets. According to Newmark, &quot;the core of the vocative function of language is the readership, the addressee&quot;(Newmark 2001, 41). According to Wei Jianhua, when the definition is applied to film titles, the addressees here refer to audiences. The vocative function of film titles is to draw the attention of audiences, make them psychologically interested and buy tickets. (Wei Jianhua2008, 121-122) Both informative and aesthetic functions serve the vocative function, since the prime and ultimate aim of film production is to win the hearts of audiences and be financially rewarded. Few titles are purely informative aesthetic or vocative. The three major functions are often integrated, with emphasis on one of them. Some translations of film titles are very eye-catching, such as ''Frozen''《冰雪奇缘》, if it is translated literally, it will become 《冰冻》, which is not vivid at all. However, 《冰雪奇缘》is full of sense of fairy tale, which gives people a lively and wonderful feeling, that is, realizes the value of information transmission, and also improves the publicity effect of the film. There are far more examples, such as ''Man on Fire''《怒火救援》, ''The Bourne Identity''《谍影重重》, ''The Matrix'' 《黑客帝国》, ''V for Vendetta''《V字仇杀队》.<br /> <br /> ==='''Chapter3 A General Introduction of Skopos Theory'''===<br /> ====3.1 The Development of Skopos Theory====<br /> Skopos Theory, originally written as Skopostheorie in German, is a major translation approach of German Functionalist School. &quot;Skopos&quot; means “ purpose ”or “ goal ” in Greek. “The 1970s and 1980s saw a move away from the static linguistic typologies of translation shifts and the emergence and flourishing in Germany of a functionalist and communicative to the analysis of translation (Munday 2016, 73) .” The Skopos Theory is one of the achievements of its development and the most important one.The development of the Skopos Theory experienced following four stages.<br /> Firstly,in the book “ Possibility and Limitations in Translation Criticism” , Katherine Rice first proposed functional translation theory. She believes that translators should put functional features first rather than information equivalence.<br /> Secondly, Hans Vermeer, a student of Reiss, broke away from the equivalence-based theories and set up the theoretical framework for &quot;Functional School&quot;: Skopos Theory. situation&quot;. In the framework of Vermeer's theory, every translation is directed at an intended audience, since to translate means “ to produce a text in a target setting for a target purpose and target addressees in target circumstances” (Vermeer 1987, 29). <br /> Thirdly, On the basic of Vermeer's research, Justa Holz Manttari further developed the<br /> functional theory. “ Manttari's theory is based on the principles of action theory and is cover all forms of intercultural transfer ” (Nord1991, 12-13). “ Manttari places special emphasis on the action aspect of the translation process, analyzing the roles of the participants (initiator, translator, user and message receiver) and the situational conditions (time, place and medium) in which their activities take place ” (Nord 1991, 13). Skopos Theory views translation as a complex activity intended to realize a specific purpose.<br /> Fourthly，Christina Nord summed up and perfected the theory of functionalism. She systematically expounds in English the internal and external factors to be considered in text analysis in translation and how to formulate translation strategies suitable for translation purposes on the basis of the functions of the original text. Christina Nord sorts out the functionalist theories and proposes that translators should follow the guiding principle of “ Function Plus Loyalty ” , thus perfecting the theory.<br /> <br /> =====3.2 Three Basic Rules of Skopos Theory=====<br /> The top-ranking rule for any translation is thus the “ skopos rule”, what Reiss and Vermeer described as “ the end justifies the means ” (Reiss &amp;Vermeer1984, 101). There are three possible kinds of purposes in the field of translation: (1) the translator's general purpose in the translation process (perhaps to earn a living); (2) the communicative purpose aimed at by the target text in the target situation (perhaps to instruct the reader); (3) the purpose aimed at by a particular translation strategy or procedure (for example, to translate literally in order to show the structural particularities of the source language). (Baidu Encyclopaedia , Skopos Theory)The skopos rule is summed up by Vermeer as “ the end justifies the means ”. He explains the skopos rule in the following way: Each text is produced.for a given purpose and should serve this purpose. The rule thus reads as follows: translate/ interpret/ speak/ write in a way that enables your text/translation to. function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.(Nord 2001, 29)<br /> Another important rule of Skopos Theory is the coherence rule, which means that &quot;a translation should be acceptable in a sense that it is coherent with the receivers situation&quot;. Focusing on the target readership and target culture, functionalists regard intra-textual coherence than inter-textual coherence, just as Nord put it, &quot;inter-textual coherence is considered subordinate to intra-textual coherence, and both are subordinated to the skopos rule.<br /> The third rule of Skopos Theory is fidelity rule. Fidelity rule means that there should be inter -textual coherence between the original text and the target text. This is equivalent to the so-called faithfulness to the original text in other translation theories, but the degree and form of faithfulness to the original text depends on the purpose of the translation and the translator's understanding of the original text.<br /> <br /> =====3.3 Function Plus Loyalty=====<br /> As mentioned above, the primary rule in Skopos Theory is the skopos rule, which defines that the translators can make changes of the word, style or form of the source text in the accordance with translation purpose. While the inter-textual coherence rule holds that the translated version should be loya1 to the source text. However, when the aim of the author is contrary to the aim of the translator, the inter-textual coherence rule should be abide by the skopos rule. As a result, there may appear the situation that there is no restriction for the change of source text. In order to improve the functionalism studies, Nord proposes the loyalty rule, which insists that the translator should be loyal to the author and audience: “ The audiences have the right to know what the translator has done for the original text and what kind of work produced by the translator. Translators cannot simply translate in a non-literal way without telling the target audience what they have done and why (Nord 2001, 125) ”.<br /> Function refers to the factors that make a target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship between the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients.<br /> All in all, This theory enriched Vermeer’s Skopos Theory, avoids sour-text sovereign and perfects radical functionalist.<br /> <br /> ====Chapter4 The Application of Skopos Theory in Film Title Translation====<br /> <br /> =====4.1 Skopos Theory's Guiding Role in English Film Title Translation=====<br /> A careful look at theory may show that it is significant in that it is different from traditional theories. It helps to free translators from the bondage of traditional theories by providing them a new way of thinking, broadens the scope of translation studies by increasing the range of possible translation strategies, and establishes a profound foundation, helping people to penetrate deeper into cultural and translation phenomena.Traditional translation theories tend to classify the translation of film titles into general literature translation. Equivalence theory plays an important role in traditional translation theories. However, the author believes that it is difficult to achieve the commercial effect required by the film title simply by emphasizing the equivalence between the original text and the translation. Therefore, it will be more appropriate to regard it as an advertisement translation. Since it is an advertisement translation, of course, the first thing to emphasize is the publicity effect. （Zheng Yuqi &amp; Wang Xiaodong，2006）For example, the Chinese translation of film titles is to make the Chinese translation attract the interest of Chinese readers in the Chinese market. In this way, Skopos Theory naturally plays a guiding role. Therefore, the first rule of Skopos Theory is skopos rule. The translation of film titles emphasizes the commercial nature, that is to say, it should be attractive enough. Therefore, we should not stay in the translation itself when translating film titles. The traditional equivalent translation theory can not be fully applied to the translation of film titles, so more effective translation theories are needed to guide it. Therefore, it has to be associated with the German functionalist translation theory with Skopos as its core. The most direct purpose of film title translation is the transmission of information. A good translation can highlight the content of the original film and make the audience better understand the theme information expressed and transmitted by the original film.If the translator could not produce a satisfactory version only on the base of the original title, he should consult the plot of the film.<br /> Let's look at an example in order to make this point clear. The film Thelma and Louise,Louise is a waitress in a cafe. She is busy all day and wants to travel. Her good friend Selma has been unhappy since she married a car salesman Daryl. She stayed at home all day, lonely and bored. One weekend, Persuaded by Louise again and again, she agreed to go on a pleasant trip with her. They parked their car in a bar in Arkansas for the night. The bar is full of young customers. The drunken Harun took a fancy to Selma and asked her to dance. Selma didn't listen to Louise's advice. She danced and drank with Harlan, and was taken outside to the parking lot. Harlan tried to harass her. After being rejected, Harun becomes violent and tries to force Selma to submit to him with violence. Louise came to the parking lot, found Selma in a critical condition, took out the pistol that Selma had brought in the luggage bag, and forced Harlem to let Selma go. Harlan began to curse and insult them. In his anger, Louis shot and killed him. In a flash, the two female partners on a vacation journey, embarked on a journey of despair that can not be turned back.In the Grand Canyon, Selma and Louise are determined to fight to the end and never give in. They smile and clasp hands,driving towards the cliff. Actually, this film mainly describe what happened to this two women and their growth process.''Thelma and Louise'', When translated into《末路狂花》, the audience can predict the stimulating effect that the film wants to express and convey the message of the film. If translated literally into 《塞尔玛与露易斯》, it will inevitably make people confused, unable to grasp the main meaning of the film, only two names can be known. Therefore, Skopos Theory plays an important role in the translation of film titles. There are many examples, ''Erin Brockovich'' 《永不妥协》, ''Fast &amp; Furious''《速度与激情》 ''Blade Runner''《银翼杀手》, ''Lord of Ring'' 《魔戒》, ''Inception''《盗梦空间》,''Top Gun''《壮志凌云》, These titles are not only translated from the source language into the target language, but also for the purpose of film sales, taking into account the information, aesthetic and other factors to form an attractive translation. <br /> <br /> ====4.2 Methods for Film Title Translation====<br /> <br /> =====4.2.1Transliteration=====<br /> Transliteration means to seek phonetic correspondence in terms of the translation to describe the English syllables through the corresponding Chinese characters carrying similar sounds. It relates to the conversion of different alphabets in different language system. Transliteration is usually applied this situations, when they are the name of persons and places and historical events. This method is often adopted in the film title translation because it has the obviously features in keeping the phonetic fluency of original film titles which express its strong exoticism, which can arouse the audience's curiosity to see the film. With the development of global communication, people become more and more interested in knowing other country’s culture, this method is becoming increasingly popular. For example，''Jane Eyre'' 《简爱》，''Dunkirk''《敦刻尔克》，''Hamlet''《哈姆雷特》, ''Emma''《爱玛》, ''Mulan''《木兰花》, ''Brooklyn''《布鲁克林》,''Manhattan''《曼哈顿》.Transliteration can enable the target audience to know more about the original history and culture. On the contrary, if they are translated in other ways, the viewers may take it as an ordinary film and may feel no interest in it, which will in turn do great harm to the box-office value of the film. However, this does not mean that transliteration should be adopted for any title which can be transliterated. If the original title can only provide little information and the audience can only contact with a foreign word, then transliteration can not achieve the effect that translation of film title should have.<br /> <br /> =====4.2.2 Literal Translation =====<br /> Functionalism does not exclude equivalence so long as it is adequate to &quot;a Skopos that requires that the target text serve the same communicative function or functions as the source text.&quot;（Nord 2004, 36). The merits of this method lie in its fidelity to the original meaning and cultural flavor of the original.The original title of many films is a high generalization of the content of the film, which can better realize its information function, aesthetic function and market function. It is necessary to be faithful to the theoretical basis of the original text. At this time, the literal translation of the title often inherits the simplicity and clarity of the original title, with large amount of information and easy to arouse the audience's curiosity. In the process of actual translation, the degree of overlap between Chinese and English in many film titles is astonishing, which can almost achieve word-for-word translation. For example, ''Blue Valentine''《蓝色情人节》,''Eat Pray Love''《美食、祈祷和恋爱》,''Darkest Hour''《至暗时刻》,''Hideen Figures''《隐藏人物》, ''Primal Fear''《一级恐惧》, ''Four Wedding and a Funeral''《四个婚礼和一个葬礼》, ''Pearl Harbor''《珍珠港》, ''Atonement''《赎罪》, ''Leap Year''《闰年》, ''Detachment''《超脱》. Besides, there are other way to use this method by changing the parts of the speech or adjusting the word order, for example, ''10 Things I Hate About You''《我恨你的十件事》''12 Years a Slave''《为奴十二年》, ''Life as We Know It''《我们所知道的生活》,to make it more specific, I will use this example ''A Star Is Born''《一个明星的诞生》，in the original title, the “born” is a verb, but when it is translated in to the Chinese title, the verb is changed into a noun to make this title look more balance. And in this example,''The Boy in the Striped Pajamas''《穿条纹睡衣的男孩》, the translator changed the original order to cater to the grammar of Chinese . What’s more, sometimes, the article like a or the will be deleted when translated into Chinese because it is not so important to viewer to catch the information about a certain film in some circumstances and by doing this, the title will look more concise, such as ''The Imitation Game''《模仿游戏》, ''A Beautiful Mind'' 《美丽心灵》, ''A Perfect World''《完美的世界》, ''The Social Network'' 《社交网络》.<br /> <br /> =====4.2.3 Liberal Translation=====<br /> Any translator with common sense of translation will not expect to find equivalent expressions in the target language all the time. Given this, translators may often adopt free translation. Free translation is an alternative approach that is used mainly to convey the meaning and the spirit of the original title without sticking to the form. (Feng qinhua2000, 36-44) Liberal translation preserve the content of the original title as much as possible at the cost of changing the form of the film title. In the specific operation, translators often use some techniques, such as addition, conversion and extension in particular so as to deeply convey the content of the original film and enhance the appeal of the title.（He Ying 2001, 57） A List of examples belong to this group, such as ''Coherence''《彗星来的那一夜》, ''The Secret Life of Walter Mitty''《白日梦想家》, ''Welcome''《非法入境》, ''Agro''《逃离德黑兰》, ''Silver Linings Playbook''《乌云背后的幸福线》, ''A Lot Like Love''《相见恨早》, ''If Only''《爱再来一次》, ''Temple Grandin''《自闭历程》, ''La La Land'' 《爱乐之城》,''Eternal Sunshine of the Spotless Mind''《暖暖内含光》,''Hacksaw Ridge''《血战钢锯岭》.<br /> <br /> =====4.2.4Combination of Transliteration and Literal Translation=====<br /> In addition to literal translation and transliteration, there is another way, that is, to combine literal translation and transliteration. This method is usually applicable to the original title containing the name of a person or place. Of course, this is not a perfunctory translation method, the title can still summarize the information of the whole film after being translated. For example, ''Becoming Jane''《成为简奥斯丁》, ''The Life of David Gale''《大卫·戈尔的一生》, ''Manchester by the Sea''《海边的曼彻斯特》, ''Notting Hill'' 《诺丁山》, ''A Rainy Day in New York''《纽约的一个雨天》, ''Maid in Manhattan''《曼哈顿女佣》,''Citizen Kane''《公民凯恩》, ''The Shawshank Redemption'' 《肖申克的救赎》, ''Schindler’List''《辛德勒的名单》.<br /> <br /> =====4.2.5 Combination of Literal Translation and Liberal Translation=====<br /> The combination of literal translation and liberal translation can be faithful to the original text to the greatest extent and attract the audience. Due to various reasons, the original titles of some English films only realize the information function of translated titles. In order to realize the various functions of translation, the translator sometimes retains the reasonable part of the original name, and then combines the need of the audience to complete the relevant information as far as possible. (He Aixiang2020, 103-107) There are some examples, such as ''Wonder''《奇迹男孩》, ''Whiplash''《爆裂鼓手》, ''Sully''《萨利机长》, ''I, Tonya''《我，花样女王》, ''Love Actually''《真爱至上》, ''Changeling''《换子疑云》, ''The Bucket List''《遗愿清单》, ''Before Sunrise''《爱在黎明破晓前》, ''Before Sunset''《爱在日落黄昏时》, ''Before Midnight''《爱在午夜降临前》, ''The Martian'' 《火星救援》.<br /> <br /> =====4.2.6 Re-creative Translation=====<br /> As mentioned above, re-creative translation is the last resort so far as the translation of English film titles is concerned. Sometimes, some titles are obscure and neither nor fowl after translation while others are very ordinary without attraction and this method aims not only transferring the informative value, but also reproducing the aesthetic and appellative value of the film. (Ma Yuanyuan 2010, 28-29)The following are good examples, such as ''North Country''《永不让步》, ''Rudy''《追梦赤子心》, ''Definitely，Maybe''《爱情三选一》, ''Up''《飞屋环游记》, ''Coco''《寻梦环游记》.<br /> <br /> ==='''Chapter5 Conclusion'''===<br /> This paper studies the translation of film titles from the perspective of Skopos Theory. Firstly, it analyzes the genres of films, the characteristics and functions of film titles translation. Secondly, it mainly introduces the development and rules of Skopos Theory. Finally, it analyzes the translation of film names under the Skopos Theory and puts forward some translation methods of film titles. Skopos Theory holds that the skopos rule is the primary rule, therefore, when translating film titles, translators have more initiative and they can use more diversified methods, which makes the film titles more commercial. However, there are still many shortcomings in this paper. For example, when analyzing the characteristics and functions of film titles, the aspect of cultural exchange is not taken into account. In the final translation method part, the summary is not in place, and the proposed method is not novel enough. I hope that in the further study, I can put forward a more applicable model of film title translation, and the last point is the lack of film data, the main purpose of film title translation is to attract more audience to buy tickets. If I can analyze the data of box office well, I can further evaluate whether the purpose of film title translation has been achieved. This paper is only limited to the author's understanding of the translation, thus some conclusions and analysis are still not profound enough. The author hopes that there will be more research results in the future, which can provide more abundant theories and methods to guide the translation of film titles.<br /> <br /> ==='''References'''=== <br /> He Yuan贺莺. (2001) 电影片名的翻译理论和方法 [Theories and Methods of Film Title Translation].外语教学Foreign Language Education (01) 56-60.<br /> <br /> Tim, Dirks.(2003) [Main Film Genres]. https://www.filmsite.org/genres.html<br /> <br /> Baidu Encyclopaedia 百度百科 金蝉脱壳 https://baike.baidu.com/item/金蝉脱壳/83303?fr=aladdin<br /> <br /> Newmark, Peter. (2001). [A Textbook of Translation]. Shanghai Foreign Language Education Press 41-44.<br /> <br /> Wei Jianhua韦建华. (2008). 英语电影片名翻译原则与方法探讨[On the Principles and Methods of English Film Title Translation].电影文学Movie Literature (03) 121-122.<br /> <br /> Munday, Jeremy .(2016). [Introducing Translation Studies:Theories and Application]. London and New York: Routledge 73.<br /> <br /> Vermeer, H. J.(1987). [What Does It Mean to Translate?]. Indian Journal of Applied Linguistics 13 (2) 25-33. <br /> <br /> Nord, C. (1991). [Translation as a Purposeful Activity--Functionalist Approaches Explained] .Shanghai Foreign Language Education Press 12-36&amp;129.<br /> <br /> Baidu Encyclopaedia 百度百科 翻译目的论https://baike.baidu.com/item/翻译目的论<br /> <br /> Reiss, K. &amp; Hans J. Vermeer, H. (1984). [Groundwork for a General Theory of Translation].Tubingen: Niemeyer 101.<br /> <br /> Zheng Yunqi &amp; WangXiaodong. 郑玉琪,王晓冬. (2006) 小议电影片名的英汉翻译原则[On the English-Chinese Translation of Movie Titles].中国翻译Chinese Translators Journal 27(02) 66-68.<br /> <br /> Feng Qinghua冯庆华. (2000). 实用翻译教程[A Practical Course Book on Translation].上海译文出版社Shanghai Translation Press.<br /> <br /> He Aixiang何爱香. ( 2020). 中国电影片名的新修辞翻译策略探究[Translation Strategies for Chinese Movie Titles --A Rhetoric Perspective]江南大学学报(人文社会版), Journal of Jiannan University (Humanities&amp;Social Sciences) 19(02) 103-107.<br /> <br /> Ma Yuanyuan马媛媛. (2010). 翻译目的论视角下的英文电影片名的汉译 [Translation of English Film Titles from the Perspective of Skopos Theory]. 黑龙江大学Heilongjiang University 28-29.<br /> <br /> Douban Movie website 豆瓣电影网 https://movie.douban.com/<br /> <br /> ==The Study of Brand Name Translation 谭鑫洁 Tan Xinjie==<br /> &lt;center&gt;谭鑫洁 Tan Xinjie，202020080641.&lt;/center&gt;<br /> <br /> ===Abstract===<br /> With acceleration of economic globalization, more enterprises have been active in the global market. Brand name translation plays a significant role in the international trade. A successful brand name is the direct element to attract the customers’ attention and evoke their desire to buy the products, is gravely important to the sales volume of commodities. Based on many convincing examples, this paper introduces the definition and functions of brand names, states the principles of the brand names translation, offers the available and useful methods for the translation of brand names.<br /> <br /> ===key words===<br /> Brand name translation; Principle; Methods<br /> <br /> ===商标翻译研究===<br /> <br /> ===摘要===<br /> 随着经济全球化进程的加快，越来越多的企业活跃在全球市场中。商标翻译在国际贸易中起着举足轻重的作用。一个好的译名是吸引顾客注意，并唤起他们购买商品欲望的直接因素，对商品的销售量有着极其重要的影响。本文结合许多令人信服的例子，介绍商标的定义和功能，阐述商标翻译的原则，提供有用的商标翻译方法。<br /> <br /> ===关键字===<br /> 商标翻译；原则；方法<br /> <br /> ===1. Introduction===<br /> In the development of human society, the emergence of commodities gives rise to the birth of brand name. The contemporary Chinese dictionary defines the brand name as “it is the mark, sign (words like drawing and patterning) which are printed on the cover of the product or the packaging”, A brand name is the most prominent mark of a commodity, and can leave deep impression upon the mind of shoppers and arouse their desires to buy the related commodity. (Lu Wenchan 2018,2)<br /> <br /> In the development of human society, the emergence of commodities gives rise to the birth of brand name. The contemporary Chinese dictionary defines the brand name as “it is the mark, sign (words like drawing and patterning) which are printed on the cover of the product or the packaging”, A brand name is the most prominent mark of a commodity, and can leave deep impression upon the mind of shoppers and arouse their desires to buy the related commodity. (Lu Wenchan 2018,2)--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 08:13, 17 December 2020 (UTC)<br /> <br /> <br /> The import and export of commodities gives rise to the birth of brand name translation. A good brand name translation may bring an enterprise huge wealth, whereas a bad one may let an enterprise suffer great loss. Therefore, an enterprise's future is closely linked with brand name translation, and it is valuable to have a research on how to translate brand names properly. At the same time, brand name translation can widen the linguistic research field, enrich the connotation of linguistics, and accelerate the combination of linguistic theoretic research and its practical application. <br /> <br /> In this paper, first part is introduction of this paper. The value of this research is mainly introduced in first part. Second part introduces the definition and functions of brand name and brand name translation. Third part gives concrete examples to analyze five principles brand name translation (the principle of following the target customers' culture, the principle of using concise words, the principle of grasping the characteristics of commodities, the principle of considering the target consumers’ aesthetic preference, &quot;Three Principles of Beauty&quot;). Fourth part gives examples about brand name to introduce five methods in brand name translation (transliteration, literal translation, free translation, combinative translation, non-translation). The last part of this paper is conclusion emphasizing the theme of this research. <br /> <br /> ====1.1 Brand and Its Name====<br /> According to the European Community Trademark Regulation, “the brand is a name, symbol, sign, design, number or some combination of these elements used to identify commodities or services of the enterprise.”Brand is a kind of soft power and a part of the core competitiveness of an enterprise. A good brand can not only reflect the value of products, but also represent the corporate image. What’s more, it will attract consumers’ attention and promote the sales of the goods. (Jing Yang 2018,1) <br /> <br /> Bhimrao M. Ghodeswar(2008:4-12) remarks, “Branding is a set of marketing and communication methods that help to distinguish a company or products from competitors, aimed at creating a lasting impression in the minds of customers. The key components that form a brand's tool box include a brand’s identity, brand communication, brand awareness, brand loyalty, and various branding strategies.” Therefore, a good brand name is especially important to the enterprise. (Lu Wenchan 2018,2)<br /> <br /> ====1.2 Brand Name Translation====<br /> With the development of the global economy, China has become the most potential markets around world. More and more foreign products to enter the Chinese market and got the attention of the Chinese. At the same time, to compete with foreign products, many Chinese products have entered into the international market. <br /> <br /> To participate in international competition, a good brand translation is extremely important. However, brand translation is not a simple conversion process from Source Language to Target Language, but an interlingual and intercultural communication, and often reflects culture, customs, economy, politics, religions and cultural aesthetics. In order to accurately translate the brand, the translators are required not only to have good language skills, but also to possess comprehensive knowledge of interlanguage and intercultural communication.<br /> <br /> ===2. The Principles of Brand Name Translation===<br /> The purpose of brand name is to give publicity to commodities, stimulate consumption and boost the celebrity of the brand of the goods. Brand name translation is not a simple translation from one language to another language, it should reflect the commodities' information and embody enterprises' intelligence. But the same brand has different cultural connotations in different languages and cultures due to the cultural differences of different countries. Therefore, In order to promote the sales of the products, the translation of brand names should abide by the following principles. (Fade Wang 2012,3)<br /> <br /> ====2.1 The Principle of Following the Target Customers' Culture====<br /> In China people pursues auspicious and peaceful culture and like the characters that mean happiness, prosperity and auspiciousness, such as &quot;金&quot;, &quot;美&quot;, &quot;福&quot; and &quot;佳 &quot;. In order to conform to the aesthetic culture of Chinese consumers, when translating the brand names of products, translators consciously choose characters that Chinese consumers like, such as “Marlboro”(万宝路), “Carrefour”(家乐福), “Ford”(福特). (Liu Haiyan 2013,11)<br /> <br /> Different countries and areas have great differences in culture. Translators should pay more attention to cultural differences, avoiding misapprehension and antipathy. For example, many brand names in China contain the characters &quot;dragon&quot;, &quot;phoenix&quot;, &quot;magpie&quot;, &quot;petrel&quot; and so on, because in Chinese culture, dragon is the symbol of imperial power and nobility, magpie is a lucky bird, Petrel is the symbol of courage and strength. But in English culture dragon is an evil imaginary animal, and it arouse terror and aversion in people’s mind, magpie means &quot;someone who chatters&quot;, petrel is the symbol of disaster. (Liu Haiyan 2020,4)<br /> <br /> People with different cultural backgrounds have different ideas about the same things because of the different moral criteria, religions, beliefs, and modes of thinking. For example, a clock brand name “金鸡牌闹钟”, which is originated from the Chinese saying “雄鸡报晓” meaning that cock heralds the break of a day, was once translated as “Golden Cock Alarming Clock”. However,“cock” in English also refers to male reproductive organ and is regarded as a taboo word. (Fade Wang,2012,2)<br /> <br /> ====2.2 The Principle of Using Concise Words====<br /> As commodities are to be sold to consumers, their brand names should be common, popular, concise and easy to understand and remember. Generally, English trademarks are not usually translated into Chinese more than four Chinese characters. (Feng Wang 2012,3).<br /> <br /> For example, “Budweiser”, an American beer, is not translated as “百德威瑟”, but as “百威”, which makes people feel energetic and powerful after drinking it. “Bausch &amp;Lomb”, an American eyewear brand, is translated into “博士伦”, which combines sound and meaning, as if wearing the glasses can be as knowledgeable as the doctor. “Hewlett-packard” is the world's largest electronic apparatus and notebook computer company, named after its founders, William Hewlett and David Packard. &quot;Hewlett packard&quot; was transliterated as “休利特-帕卡德公司”, but it was finally replaced by other brief translation “惠普”, which is both concise and easy to remember.Other examples are as follows: Marlboro (cigarette) —&quot;马尔波罗&quot;—&quot;万宝路&quot;、Mercedes-Benz (car) —&quot;默赛德斯·本茨&quot;—&quot;奔驰&quot;. The Chinese are familiar with “百威”, “万宝路”, “奔驰”, but few know what “百德威瑟”, “马尔波罗”, “默赛德斯·本茨” are referring to. The reason is that the original translation is long and difficult for Chinese. (Chen Yang,Wang Xiufeng 2018,2); (Zhang Lulu 2011,2)<br /> <br /> ====2.3 The Principle of Grasping the Characteristics of Commodities====<br /> Brand is a reflection of commodity and an important advertisement. Therefore, if the translation of brand name can represent the commodity’s characteristics and functions, it will make consumers impressed. <br /> <br /> For example: The toothpaste brand “Colgate” was named after the company founder, William Colgate. Its Chinese name “高露洁” (Gao Lu Jie) might not sound like a perfect transliteration, but its meaning is unrivalled: “revealing superior cleanliness”. “Jie” indicates the type of the product (cleaning). “五粮液”(literally means the “essence of five grains”) makes people think of the wine that is brewed from grain; while “蒙牛”(literally means “Mongolian cows”) can be associated with the milk from Inner Mongolia. Brand names implies regional flavor. The Chinese famous brand &quot;维维豆奶&quot; is translated as &quot;Soybean&quot;, in which &quot;Bean&quot; refers to the soybean, and it reflects the attributes of the product.(Fade Wang 2012,2); (Jing Yang 2018,4)<br /> <br /> Some commodities’ brand names bear the marks of the regions in which they are produced so as to raise the celebrity of the concerned places. For example, the two famous beer brand names implying the manufacturing places in China are “青岛啤酒”(Tsing Tao Beer) and “燕京啤酒”(Yangjing Beer)(Fade Wang 2012,2).<br /> <br /> ====2.4 The Principle of Considering the Target Consumers’ Aesthetic Preference====<br /> Chinese translation of the American cosmetic brand “Revlon” is so beautiful (Lu Hua Nong 露华浓). On the one hand, &quot;Lu Hua Nong&quot; serves as a sound transcription of &quot;Revlon&quot;, On the other hand, the translation of these three syllables provides an apt meaning for the brand name. These three characters come from the celebrated quatrain by the Tang poet Li Bai &quot;云想衣裳花想容，春风拂槛露华浓&quot;, which originally describes the elegant female beauty of Yang Guifei. Translators skillfully combine the aesthetic connotation of Chinese culture with the pronunciation of the original trademark so as to create a trademark translation with Chinese characteristics. Bayerisch Motoren Werke(BMW) is translated into “宝马”, which quotes from an old saying “人中吕布，马中赤兔；宝马予英雄，鲜花赠美人”, Since ancient times, a good horse has been a symbol of wealth. Modern people pursue a good car just as ancient people crave a good horse. Therefore, the translated name is perfect in pronunciation, meaning and product characteristics. There are more examples such as “Make up for ever”- “浮生若梦”(from Li Bai “浮生若梦，为欢几何”), “Innisfree”- “悦诗风吟”(from Ye Zhi “The Lake Isle of Innisfree”), “Lexus”- “凌志”(from Mao Zedong “久有凌云志，重上井冈山”), “IKEA”- “宜家”,(from the Book of Songs: &quot;桃之夭夭，灼灼其华。之子于归，宜其室家&quot;, which perfectly implies the good attributes of &quot;home&quot;)(Victor Mair 2019);(Ogilvy Ao Mei 2017);(Liu Haiyan 2020,3); (Li Jianzi 2018).<br /> <br /> ====2.5 “Three Principles of Beauty”====<br /> Professor Xu Yuanchong put forward the &quot;Three Principles of Beauty&quot; for poetry translation: including beauty in sense, that is, the beauty of language use and the beauty of words meaning; beauty in sound, that is, the beauty of rhythm; beauty in form, that is, the beauty of language form. However, the standard also applies to brand name translation. (Duan Wenpo, Guo Ru 2018,1)<br /> <br /> =====2.5.1 The Beauty in Sense=====<br /> Through the characteristics of the product, as well as the experience and perception it can bring to consumers to translate the brand name of the product, so as to make the translation of the brand closer to its own meaning, the meaning of the brand name easy to understand, and make the translation more vivid and flexible. For example, “NIKE”(耐克) is the goddess of victory in Greek mythology, symbolizing victory and light. It gives people a sence of confidence. In the process of translation, the translator should fully grasp the characteristics of the goods, so that consumers can understand the goods. (Zhang Wenfei 2020,3)<br /> <br /> =====2.5.2 Beauty in Sound=====<br /> The translated brand is loud in pronunciation, clear in rhythm and full of musical sense, giving people the enjoyment of auditory beauty. For example, “Nokia”(诺基亚), “Samsung”(三星), “Nestle”(雀巢), “HP&quot;(惠普), “Della”(戴尔), “SONY”(索尼) and so on . In this way, the translation don’t lose the beauty in sound of the brand and sounds beautiful and concise, thus reflecting the characteristics of the product. When a Chinese brand is translated into an English brand, it is usually translated directly in pinyin. This method not only retains the phonetic beauty of the brand, but also shows the exotic feelings and characteristics of the product. (Zhang Wenfei 2020,3)<br /> <br /> =====2.5.3 Beauty in Form=====<br /> Brand name should be short in shape and easy to remember, which can leave a deep impression on consumers. Non-translation can be used to convey the beauty of the form. The method means to express the meaning of the source language without any equivalent word of the target language, that is to say, without any conversion between the two languages. For example, “SK-II”, “LG”, “IBM” (Wang Hengen, 2009,3).<br /> <br /> ===3.The methods of brand name translation===<br /> <br /> ====3.1 Transliteration====<br /> Transliteration is a translation method that transcribes the same or similar pronunciation between the original and target language to translate the name of the product. Though transliteration is simple, it can not only retain the original rhyme, but also well reflect the brand's cultural connotation. (Lu Wenchan 2018,4)<br /> <br /> Transliteration is quite common in the process of translating foreign trademark names into Chinese. Taking some products for example, the Germanic auto “Benz” was translated as “朋驰” or “本茨” in Taiwan, although this version is homophonic to the original name “Benz”, it sounds dull and lack of implied meaning. The present version of it in the mainland is “奔驰”, which is not only similar to the original pronunciation, but also give customers the impression that the car can run very fast, thus impressing the buyers with the excellent performance of such cars. A medicine called &quot;Quick&quot;, is translated to &quot;Kuai Ke&quot; in Chinese, which is reminiscent to the fact that the medicine will quickly overcome disease. The brand name of food “Subway” is translated into“Sai Bai Wei”，the last characters “Bai Wei” mean “100 flavours”— a hint on showing what the brand offers to its customers, somewhere that provides everyone with their own favourite flavours. There are also some brand names which only conveys the pronunciation and do not have any meaning or function. Such as ,“Kodak”(Keda), “Intel”(Yingteer), &quot;Puma&quot;(Biao Ma), &quot;Parker&quot;(Pai Ke), &quot;Lincoln&quot;（Lin Ken), &quot;Canon&quot; (Jia Neng). Chinese consumers, seeing these transliterated brand names, would probably have the first impression that the merchandise is made in foreign countries. It would arouse the psychological demand of some consumers and encourage them to purchase greatly. (Fade Wang 2012,2); (Jing Yang 2018,4); )(Jing Yang 2018,4)<br /> <br /> It is common for Chinese brand names to use “Hanyu Pinyin” for translation. Hanyu means the Chinese language, pin means &quot;spell&quot; and yin means &quot;sound&quot;. In Chinese pronunciation, transliteration is mainly applicable to our country's names, merchandises with ethnic style. For example, “Haier” is transliterated from “海尔” and is homophonous with “higher”. This translated brand name is easily associated with the advertisement of “Haier”: “Haier, higher and higher”. The well-known drink brand “娃哈哈” is simply translated as “Wahaha”. (Fade Wang 2012,3)<br /> <br /> ====3.2 Literal Translation====<br /> The literal translation means that using the corresponding target words directly according to the original brand name meaning. When we use the literal translation, it is usually the brand name which has a precise meaning, good cultural implication and the function is equivalent. Excellent literal translation not only keeps the original content, but also keeps the original form, especially the original metaphor, image and national, local characteristics. (Lu Wenchan 2018,4)<br /> <br /> A great number of brand names are translated into another language by using literal translation. Only if there are correspondent words in the target language, literal translation can be applied. Taking a red wine brand &quot;Dynasty&quot; as an example, it is translated into “Wangchao”. In Chinese, “Wangchao”means power and wealth. It gives the customers an illusion that if they drink the red wine “Wangchao”, their status and taste will improve accordingly. It stimulates the customers to buy the product inadvertently. The car brand name “Bluebird” is translated into “Lanniao” (Bluebird). The brand name “Bluebird” originates from the pantomime “Bluebird” which is created by the Belgian author. In the pantomime, the “Bluebird” is the symbol of “the future happiness”. In China, it represents the object which can be the bailment of our “lovesickness”. Other examples such as Playboy (men’s wear) “花花公子”, Wild Turkey (whiskey) “野火鸡” , Blue Ribbon beer “蓝带” 啤酒, Redbull (drink) “红牛”, all of these translated brand names are very suitable for their goods. (Lu Wenchan 2018,4); (Lu Wenchan 2018,4); (Zhang Shu 2018,4)<br /> <br /> In the above examples, they have the same referential meaning and cultural implication in the target language and source language which can associate the customers with the same feelings of China and western countries. However, there are also some circumstances that we cannot use the literal translation accounting of the different cultural message. For example, “紫罗兰”, a man’s clothing company, is translated into “Pansy”, but the definition of the word in the dictionary: an offensive word for homosexual man. So sales of the brand is poor. Other examples such as “Bianfu”(bat) , “Baixiang”(white elephant) , “Jinji”(Golden Cock), all are failure translation because of the different cultural implication. Therefore, it is important for us to pay more attention to the connotation and association of the brand name in the process of translation to avoid the cultural clashes. Translators should think deeply to find out what these English expressions really mean in authoritative reference books to minimize the mistakes in literal translation. (Zhang Jin 2019,2); (Lu Wenchan 2018,4)<br /> <br /> ====3.3 Free translation====<br /> When both sounds and meaning can’t show the value of the product, it is a best choice to use the free translation. The free translation is also called “paraphrasing translation”, namely using similar and related words to translate brand name in the target language pronunciation. Free translation has the features of being vivid and impressive, which retains the original meaning. What's more, free translation is able to deliver the aesthetic and value orientation of the products. (Lu Wenchan 2018,4)<br /> <br /> Here are some instances such as &quot;Rejoice&quot;, its translation is &quot;Piao Rou&quot;. Rejoice means joy and happiness, and the brand name translation indicates hair will become smooth after using the shampoo. So translators fully explore its connotations of the brand name. A soap called “Safeguard” is translated into “Shu Fu Jia”, “Shu” gives a refreshing and comfortable feel; “Fu” means “skin”, which shows the commodity's function; “Jia”expresses the using effect. The translation of many brand names named adopts free translation method, for instance, “葵花” (Sunflower), “百灵” (Lark), “Pioneer” (先锋), “Skinice”(肤美灵). (Jing Yang 2018,5); (Jing Yang 2018, 4)<br /> <br /> However, owing to the different cultural system, some words have the same referential meaning with different associative meaning, sometimes; even the referential meaning is different. For example, If “芳草” is transliterated as “Fangcao”, it would bring antipathy to target readers, because “fang” in English means venomous tooth of a snake and “cao” sounds like “chaos.”, so “Fragrance Grass” should be a better translation for this brand name.(Fade Wang 2012,4).<br /> <br /> ====3.4 Combinative Translation====<br /> Combinative Translation is a combination of transliteration, literal Translation and liberal translation. This method is a bit more difficult for translators to master and challenges their creative ability. It requires that its meaning can indicate the characteristic and function of the product. Consumers can have nice association from the pronunciation and meaning of the translated brand name.<br /> <br /> “Coca-Cola” is translated as “可口可乐”. The translator by using free translation method translate it as “可口” which means “very pleasant to people’s taste”, because as for beverage, people would attach importance to the feeling of the taste. The second part is transliterated as “可乐”. The version “可口可乐” sufficiently implies the characteristic and function of the beverage: it sure can give you nice flavor and pleasure. The &quot;Goldlion&quot; is translated into &quot;Jin Li Lai&quot;, which is a good translation. As we all know, &quot;lion&quot; means &quot;Shi Zi&quot;&quot; in Chinese, but the pronunciation of &quot;Lion&quot; is similar to the Chinese &quot;Shi&quot;, and &quot;Shi&quot; means &quot;Lose&quot; in Chinese, then the businessmen will think &quot;lose&quot; unlucky. When it is translated as &quot;Jin Li Lai&quot;, it means wealth and good luck, and the consumers' psychology is met satisfyingly. Other examples of this type are as follows: “Nike”(耐克), “Unilever”(联合利华), “Uniqlo”(优衣库), “Revlon”(露华浓), “Volkswagen”(大众) and so on. (Fade Wang 2012,4); (Jing Yang 2018,5)<br /> <br /> ====3.5 Non-translation====<br /> Due to the differences in Chinese and English, there are also some exceptions, when some brands enter a foreign culture, they choose to remain their original brand name, and this situation is called “non-translation” (Jing Yang,2018,5). <br /> <br /> On many occasions, some brands are made up of letters, numbers, or combination of the two, after entering a foreign market with their original forms, for eye-catching and they are usually easy to be remembered. For example, we are all familiar with the &quot;999&quot;medicines, &quot;IBM&quot; computers, &quot;TCL&quot; electronic products, &quot;LG&quot; Electronics, “iphone”, “ipad” and so on. Non-translation avoids using the equivalences in the target language and leave the original ones untranslated. There are some brand names unifying intercultural communications by short forms which have great stability and maintain the original and profound meaning at any time. (Zhang Jin 2019,2)<br /> <br /> ===4.Conclusion===<br /> In the age of economic globalization, in order to occupy the international market and attract customers, brand name and its translation are very important. Brand name translation is not only a simple replacement between two languages, but also a cultural combination in two different languages. <br /> <br /> From this thesis, the following conclusions can be reached: <br /> <br /> First, brand name translation should follow the five principles mentioned in this paper. If the brand name translation follows the principle of following the target customers' culture, it will be easier for customers to understand the product and buy it. If the brand name translation follows the principle of using concise words and the princple of grasping the characteristic of commodities, it will make consumers impressed. If the brand name translation follows the principle of considering the target consumers’ aesthetic preference and &quot;Three Principles of Beauty&quot;, product sales will increase.<br /> <br /> Second, brand name translation can use the five methods: transliteration, literal translation, free translation, combinative translation, non-translation.<br /> <br /> Brand name relates to the image of the enterprise and business opportunities, which is vital for the source countries to further explore the international market. Brand name translation is one of intercultural translations. Translators need to stand on a level of intercultural translations and have observant awareness of cross culture. At the same time, they need to respect every ethnic customs and use correct methods and skills of translation to make brand name into customers hearts. Thereby, manufacturers can promote consumption and improve the interests of enterprises.<br /> <br /> ===References===<br /> [1]Chen Yang, Wang Xiufeng. Translation of Chinese-English Trademark Names and their Cultural Connotations [J]. Comparative Research on Cultural Innovation, 2012,2(17):68-70.<br /> <br /> [2]Duan Wenpo, Guo Ru. Reappearance of &quot;Three Beauty&quot; in Trademark Translation and Analysis of Translation Methods [J]. Innovation and Entrepreneurship Theory Research and Practice, 2012,1(14):110-112.<br /> <br /> [3]Fade Wang. An Approach to the Translation of Brand Names[J]. Theory and Practice in Language Studies,2012,2(9). <br /> <br /> [4]Jing Yang. Study on Brand Name Translation from the Perspective of Cultural Difference[A]. Research Institute of Management Science and Industrial Engineering.Proceedings of 2018 International Conference on Arts, Linguistics, Literature and Humanities (ICALLH 2018)[C].Research Institute of Management Science and Industrial Engineering: Computer Science and Electronic Technology International Society,2018:6.<br /> <br /> [5]Liu Haiyan. Analysis of Chinese Translation Skills of English Trademark Names [J]. English Square (Academic Research),2013(09):8-11.<br /> <br /> [6]Lu Wenchan. Studies on Chinese-English Brand Name Translation from the Perspective of Cross-cultural Communication[A]. Research Institute of Management Science and Industrial Engineering.Proceedings of 2018 2nd International Conference on Social Sciences, Arts and Humanities (SSAH 2018)[C].Research Institute of Management Science and Industrial Engineering: Computer Science and Electronic Technology International Society,2018:6.<br /> <br /> [7]Wang Hengen. &quot;Three Beauty&quot; theory and Trademark Translation Analysis [J]. Success (Education),2009(03):274-275.<br /> <br /> [8]Xuechuan He. The Study of Chinese-English Trademark Translation[J]. Theory and Practice in Language Studies,2018,8(5).<br /> <br /> [9]Zhang Shu. Study on E-C translation of Brand names from the perspective of Skopos Theory[A]. Institute of Management Science and Industrial Engineering.Proceedings of 2018 5th International Conference on Education,Management and Computing Technology(ICEMCT 2018)[C].Institute of Management Science and Industrial Engineering: Computer Science and Electronic Technology International Society,2018:5.<br /> <br /> [10]Zhang Jin. Principles and Methods of Translating Chinese and English Trademark Names [J]. Campus English,2019(10):225-226.<br /> <br /> [11]Zhang Wenfei. Further Discussion on Trademark Translation Strategies under Sanmei theory [J]. Campus English,2020(30):249-250.<br /> <br /> [12]Li Jianzi (2018.7.11). Chinese translated names are popular! &quot;Make up for Ever&quot; arouses hot discussion. https://www.cbo.cn/article/id/45823.html<br /> <br /> [13]Ogilvy Ao Mei (2017.5.2). Why should a good copywriter earn $100,000 a month? Look at these awesome translations. https://m.digitaling.com/articles/36896.html<br /> <br /> [14]Victor Mair (2019.10.19). &quot;Revlon&quot; in Chinese. https://languagelog.ldc.upenn.edu/nll/?p=44732<br /> <br /> ='''Translation of Cultural Words'''=<br /> <br /> <br /> ==Translation of Culture-Loaded Words in Li Qingzhao's Ci-Poetry Based on Scopos Theory 周思庆 Zhou Siqing==<br /> &lt;center&gt;周思庆 Zhou Siqing 202020080673 &lt;/center&gt;<br /> ===Abstract===<br /> This paper attempts to illustrate the influence of Skopos theory on translation strategies and the influence of translation strategies on translation effect by analyzing the different translations of culture-loaded words in Li Qingzhao’s Ci-Poetry based on Scopos Theory according to Nida’s classification of culture-loaded words. This research is of great significance to refresh blood into the study of Li Qingzhao’s Ci Poems and promote excellent Chinese traditional culture to go abroad.<br /> <br /> ===Key word===<br /> culture-loaded word, Li Qingzhao, Scopos Theory<br /> <br /> ===题目===<br /> 从目的论看李清照词中的文化负载词英译<br /> <br /> ===摘要===<br /> 本文主要以目的论为指导，以奈达对文化负载词的分类为依据，从对不同英译版本的李清照词中文化负载词的翻译进行分析，说明目的论对翻译策略的影响以及翻译策略对译文效果的影响，旨在为李清照词的英译研究注入新鲜血液，推动中国优秀传统文化走向世界。<br /> <br /> ===关键词===<br /> 文化负载词， 李清照， 目的论<br /> <br /> ===Introduction===<br /> Li Qingzhao, is the representative of the graceful and restrained school well-known for her elegant, fresh and refined language as well as rich and vivid images. Her poetry is an unparalleled cultural treasure in the history of Chinese literature. Culture-loaded words are those words rich in cultural connotations.(Fu Guiying, 2013：3) Nida divided culture-loaded words into five categories, namely ecological, material, social, religious and linguistic culture-loaded words.(Nida, Eugene A, 1993:25) As the representative of the “German school”, Hans J. Vermeer proposed the Scopos Theory and continued the functionalist tradition. Analyzing the culture-loaded words in different translations of Li Qingzhao's Ci Poems according to Scopos theory is conducive for the readers to grasp the elegant style of Li Qingzhao's, to figure out the proper translation strategies, and to encourage more creation of excellent translation works.(Reiss and Vermeer, 1984:196)<br /> <br /> ===Chapter 1 Introduction of Li Qingzhao and her Ci-Poetry===<br /> ====1.1 Brief introduction of Li Qingzhao====<br /> Li Qingzhao, a well-known poetess in Song Dynasty, is the only woman who is generally compared with the most outstanding poets. As a female writer, she suffered a lot in that unstable age full of oppression and discrimination, but still kept a resolute and resistant attitude toward life no matter how much turns and twists in the process of struggle. Li Qingzhao was born in a rich and cultured family in 1083. Thanks to her father Li Gefei, the Minister of Rites, and her well-educated mother, she had a peaceful and favorable circumstance in her childhood and received a good education, which paved the path for her literary career. Unlike most ignorant women in that age, she had great talent in many aspects, such as painting and music, especially writing. She was a versatile writer whose Ci Poems and prose are both excellent. Her contribution in literature earned great fame for herself.(Fu Guiying, 2013：3)<br /> <br /> She married to Zhao Mingcheng, the son of a vice-president of the Board of Rides when she was eighteen years old. The marriage life was happy and idyllic in the early years. They collected and appreciated rare books, paintings and antiques together. However, their peaceful and harmonious life was ruined by the invasion of the Jurchens in 1127. They were forced to fled to the southern areas and separated with each other. The bulk of precious collections, including the ancient paintings, vessels, and books, lost during the fugitive way. Her husband was dispatched to a new official post in Zhe Jiang province and died on the way. Since then, Li Qingzhao lived lonely and homelessly in endless sorrow. The miserable and painful life experience didn't destroy her poetry proposition but deepened the theme of her literary works. The concern for the fate of the masses and country showed her great integrity and patriotic passion.(Fu Guiying, 2013：3)<br /> <br /> ====1.2 Development and characteristics of Li Qingzhao's Ci-Poetry====<br /> <br /> As a literary form, Song Ci, also called Ci Poems or long-short lines, emerged in Tang Dynasty and popularized in Song Dynasty. Ci Poems revolved from a kind of folk music used for expressing the emotions through its original melody. Li Qingzhao is regarded as the representative of the graceful and restrained party. Generally, Li Qingzhao's proposition of Ci Poems can be divided into two periods according to the critical historical events in Song Dynasty and her personal life experience. The former period works most depicted her delightful life as a young girl. The theme includes the praise of nature and beauty, her pure love to her husband, and the memories of the innocent childhood, such as Rumengling( 如 梦 令 ), Dian Jiangchun( 点 绛 唇 ), Jianzimulanhua( 减 字 木 兰 花 ) ， Cai Sangzi( 采 桑 子 ), Zuihuayin(醉花阴), Yijianmei(一剪梅) and so on. As for the latter period, her works changed dramatically because of the downfall of the Northern Song Dynasty as well as the death of her husband. The theme of her poems turned to homesickness, the grief for the instability of the nation and the melancholy meditation of the miserable life. She transmitted her feelings in the images implicitly rather than cry out her sorrow directly. The poems written in this period include Spring in Wulin(武陵春), Shengshengman(声声慢), Yongyule(永遇乐) and so on.(Fu Guiying, 2013：4)<br /> <br /> To conclude, her elegant and pure language and sensitive emotion were demonstrated in both of her literary period. Her Ci Poems are full of accurate and vivid images, leaving the readers a wide imagery space. No other poetess in Song Dynasty can replace her position in the Chinese history of literature.(Fu Guiying, 2013：4)<br /> <br /> ===Chapter 2 Introduction of Scopos theory===<br /> ====2.1 Historical development of Scopos theory====<br /> <br /> Functional approaches emerged in 1970s and developed through three stages: (1)Katharina Reiss introduced the functional category of translation criticism; (2) Hans J. Vermeer proposed Scopos theory; (3) Justa Holz-Manttari put forward the theory of translation action.(Zhang Chenxiang, 2007:32)<br /> <br /> In the first stage, Katharina Reiss proposed the text function and translation strategy, which paves the way for the Scopos theory. The theory foundation of Reiss’s theory is the functional equivalence theory, which aims to establish a model of translation criticicm based on the functional relationship between source text and target text (Zhang Chenxiang, 2007:32). Katharina Reiss divided text into three categories: expressive text, informative text and vocative text. The proposal of functional translation theory signifies that translation study gradually get rid of static linguistic typologies.(Zhang Chenxiang, 2007:32)<br /> <br /> In the second stage, Hans J. Vermeer established the initial theory of functional group, Scopos theory, further developing the functional translation theory. He pointed out that translation is a human activity and a kind of transformation. Every human activity has its purpose and will create certain consequence , a new situation or event or a new thing (Zhang Chenxiang, 2007:34). This is the origin of Scopos theory. Reiss mentioned that, “the source text can be assigned to a text type and a genre, and in making this assignment, the transoat0r can decide on the hierarchy of postulates which has to be observed during target-text production”. Vermeer thinks that translators needn’t be restrained to certain translation method, instead, the translators should consider the purpose of translation and the psychology of the target audience and use the translation strategies flexibly. In the process of translation, the translator can adapt literal translation or free translation according to the situation to make sure the expected effect can be realized. (Reiss and Vermeer, 1984:196)<br /> <br /> In the third stage, Justa Holz-Manttari developed Vermeer’s theory and proposed the theory of translation action 1n 1984. She avoid using the term “translation” and focus on the process of translation which concludes traditional translation and other text building activity. In Holz-Manttari’s model, translation is defined in a broader sense as “a complex action designed to achieve a particular purpose”, or an intercultural communication whose product is the target text which achieves appropriate function in a particular cultural context. According to the functional approach, all participants have certain functions or roles in the interaction. The TT addressees are crucial in specification of the purposes of translation(Nord, 2001:20).<br /> <br /> ====2.2 Basic rules of Scopos theory====<br /> <br /> In the Scopos theory, there are three basic rules, namely skopos theory, coherence rule and fidelity rule. Among the three rules, scopos rule is the most significant one. “Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precissely in the way they want it to function.” This rule can help solve the contradiction between literal translation and free translation. It means that the choosing of translation strategies depends on translation purpose. When the scopos focuses on the original language, as long as the features of the original culture is well expressed, literal translation or even word for word translation can be adopted.(Reiss and Vermeer, 1984: 98)<br /> <br /> The coherence rule is also named intra-textual coherence by functionalists. It requires that the translated text should make sense on the communicative situation in which it is received. It specifies that a translation should be acceptable in a sense that it is coherent with the receivers’ situation (Reiss and Vermeer, 1984: 100) Being coherent means being “part of the receiver’s situation”, so the cultural aspects should be taken into consideration. Besides, the target readers’ culture-specific world-knowledge, expectations and communicative needs are also important factors which may affect the way of handing a text, translators ought analyze these factors carefully. (Li Zhao, 2011:24)<br /> <br /> Since the source text is the offer of information , it should also be taken into account. Fidelity rule is also named “intertextual coherence”. This coherence balance the source text and the target text and the form and degree of such intertextual coherence are determined by the translator’s interpretation of the source text and the translation skopos. However, intertextual coherence is subordinate to intra-textual, and both of the two are subordinate to the skopos rule.(Li Zhao, 2011:28)<br /> <br /> ===Chapter 3 Introduction of culture-loaded words===<br /> ====3.1 Definition of culture-loaded words====<br /> <br /> Since Bassnett and Lefervere put forward the concept of “cultural turn” in 1990, the interaction between translation and culture has been drawn more attention. During the five thousand years’ civilization, China has accumulated its unique culture due to the unique geographical locations, living environments, historical background, etc. Many scholars has made different definitions to cultural loaded words. J. F Aixel gives these words another name “cultural-specific items” and defined them as: “some items appearing in the source text do not have equivalent items in the target reader’s cultural systems” (J. F Aixel, 1996:58). Later, Mona Baker defined culture-loaded words as: “The source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as ‘cultural-specific’.” This paper studies the translation of culture-loaded words according to Nida’s classification of cultural elements. Nida divided culture into five categories: ecological culture, material culture, social culture, religious culture and linguistic culture. This paper will analyze the culture-loaded words according to the five categories. (Baker, 2004:21)<br /> <br /> ====3.2 Classification of culture-loaded words====<br /> <br /> =====3.2.1 Ecological culture-loaded words=====<br /> <br /> Culture develops in certain ecological environment, so different region has different culture. Ecological culture-loaded words refer to those words that reflect the distinctive geographical conditions, the natural surroundings, feature of the climate, plants and animals, etc. in a language. Even the connotations of the same thing in western and eastern culture are different or even opposite. (Liao Huihua, 2010:9)<br /> <br /> For example, the “west wind” in China is totally different from that in western countries. Because China lies in the Eastern Hemisphere, with mountains to the west and oceans to the east. This location makes it dry and cold in autumn and winter when the west wind blows. Therefore, the west wind in Chinese culture often refers to the cold wind in autumn an winter, which is often used to describe the desolate, cold, and sometimes also compared to the decadent force of the fall of the sun with a derogatory meaning. Such as “古道西风瘦马” in Ma Zhiyyuan’s 《天净沙·秋思》. On the contrary, Britain is located in the western hemisphere, the west Atlantic island, and the east is the continent of Europe. When the west wind blows from the Atlantic Ocean, Britain is in the season of revival. Therefore, in English culture, the west wind is the symbol of hope and strength. For example, the Ode to the West Wind, a famous British poem, reflects this meaning. Obviously, through the above analysis, we know that “西风” and the west wind have the same conceptual meaning but have very different associative meaning due to different ecological environment. (Liao Huihua, 2010:9)<br /> <br /> =====3.2.2 Material culture-loaded words=====<br /> <br /> Material culture-loaded words include the words related to the economic life, daily supplies, commodities, food, transportation, etc. Different nations have different living habits, so the material products are quite different. For example: “旗袍”(qi pao), “麻将”(ma jiang),”馄饨”(Wonton), etc. (Liao Huihua, 2010:10)<br /> <br /> =====3.2.3 Social culture-loaded words=====<br /> <br /> The tradition, custom, living habit, social activity, etc. All belong to the category of social culture. Due to different historical background, political feature, tradition and custom, the social culture-loaded words formed and developed. For instance, “重阳节”(chong yang jie) is a traditional Chinese festival to give the blessings to the old people, which is familiar to Chinese but unfamiliar to foreigners.(Han Zhouwen, 2014:18)<br /> <br /> =====3.2.4 Religious culture-loaded words=====<br /> <br /> Religious culture is composed by the religious faith and and ideology under the different nation’s cultural background, which demonstrate in the difference in psychology and language behavior. Chinese people advocate Confucianism, Buddhism and Taoism whereas western people mainly believe in God. Therefore, the cross-cultural communication barriers and language translation barriers emerged. Religious culture-loaded words reflects the characteristics of religious beliefs, so it is quite difficult for the foreigners to understand the Chinese religious culture-loaded words. For example, western people believe in God while Chinese people believe in “天”(tian), “菩萨”(pu sa), “佛”(fo). (Han Zhouwen, 2014:23)<br /> <br /> =====3.2.5 Linguistic culture-loaded words=====<br /> <br /> Language as one part of culture also produces translation problems. Since the two languages belong to two different language systems, their different language features will be involved in translation. These particularities may be reflected in phonetics, morphemes, vocabulary and syntax. For example, reduplicative words and four-character words and expressions are frequently seen in Chinese but are rarely seen in English.(Han Zhouwen, 2014:24)<br /> <br /> ===Chapter 4 The application of Scopos theory in the translation of culture-loaded words===<br /> <br /> Chinese culture and western culture are so different due to different geographical location and historical background. And these differences also reflect in the two language systems, which is also known as cultural gap. In the process of translating Li Qingzhao’s Ci-Poetry, the translator may face all kinds of problems due to the cultural gap. In this chapter, the focus is on analyzing the suitable translation strategies from the perspective of Scopos theory.(Fu Guiying, 2013:56)<br /> <br /> ====4.1 Translation of ecological culture-loaded words====<br /> <br /> (1)梨花欲谢恐难禁。(《浣溪沙》）<br /> <br /> I am afraid pear blossoms cannot bear at all<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:25)<br /> <br /> O bright pods/ Of the pepper plant, you do not/ Need to bow and beg pardon./ I know you cannot hold back/ The passing day.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:66)<br /> <br /> Some plants and flowers have certain connotation in Chinese, which leaves the gap of further imagination. Snow is often compared to pear-blossom, which is a common metaphor in Chinese poetry, for example: “忽如一夜春风来，千树万树梨花开” is used to describe the beautiful snow-covered landscape. Here, Xu Yuanchong translated “梨花”into “pear blossoms”directly is to reproduce this often-used metaphor. Both the basic meaning and the cultural content have been well transmitted. Xu Yuanchong adopted literal translation to realize foreignization. In contrast, Kenneth Rexroth adopted demestication and free translation and translate “梨花” as “the pepper plant” to achieve the skopos of translation. Here, “the pepper plant” is used to serve as a substitution because it is a New Year decoration which shows the passion of spring. This passionate image can contrast the depressed mood of Li Qingzhao for the fleeting time.(Liao Huihua, 2010:40)<br /> <br /> (2)试问卷帘人，却道海棠依旧？（《如梦令》）<br /> <br /> I ask the maid rolling up the screen./ “The same crab-apple tree,”she says, “is seen”<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:34)<br /> <br /> I asked my maid as she rolled up the curtains,/ “Are the begonias still the same?”<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:44)<br /> <br /> In Chinese culture, “海棠” usually symbolizes bitter love. When people encounters twists and turns in love, they often use it to express the sad feeling of parting. Xu Yuanchong adopted literal translation and translated “海棠” into “crab-apple tree”, which maintain the traditional Chinese culture by employing foreignization. However, Kenneth Rexroth translated it into”begonias” by demestication, which makes this image more familiar to the target readers. The aim of Xu Yuanchong is to introduce Chinese culture to foreigners whereas the purpose of Kenneth Rexroth is to make the text be accepted by the taget readers, therefore, , sothe former uses foreignization but the latter uses demestication.(Liao Huihua, 2010:41)<br /> <br /> ====4.2 Translation of material culture-loaded words====<br /> <br /> (3)常记溪亭日暮 (《如梦令》)<br /> <br /> I oft remember what a happy day/ We passed in creekside arbour when it glooming.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:38)<br /> <br /> I remember in Hsi T’ing/ All the many times/ We got lost in the sunset.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:21)<br /> <br /> The meaning of “溪亭” can be interpreted as the name of a place in Ji’nan, Shandong Province or a pavilion by the river side. Therefore, different versions of this word appears according to the different understanding of this word. Xu Yuanchong translated it as “creekside arbour” by employing literal translation whereas Kenneth Rexroth translated it into “Hsi T’ing” according to its sound by using transliteration. The version “creekside arbour” is more acceptable by Chinese readers because it shows the basic meaning of this word. But the version “Hsi T’ing” is more understandable for foreigners because it’s just a name of a place.(Liao Huihua, 2010:48)<br /> <br /> (4)轻解罗裳，独上兰舟。(《一剪梅》)<br /> <br /> My silk robe doffed, I float/ Alone in orchid boat<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:49)<br /> <br /> I open/ My silk dress and float alone/ On the orchid boat.<br /> <br /> —translated by Kenneth Rexroth &amp; Chung Ling (Kenneth Rexroth,&amp; Chung Ling,1979:56)<br /> <br /> Generally speaking, “兰舟” refers to a small boat which is made of the trunk of a magnolia tree. <br /> However, both Xu Yuanchong and Kenneth Rexroth translated “兰舟” into “orchid boat” in order to reproduce the poetic language of the original text. If they translate it according to the literal meaning, the beautiful poetic language cannot be reproduced in the target language. So, they associated the boat with orchid, a kind of beautiful flower to achieve “literariness”, making poetry as poetic as possible.(Zheng Yanhong. 2001:129)<br /> <br /> ====4.3 Translation of social culture-loaded words====<br /> <br /> (5)海燕未来人斗草。(《浣溪沙》)<br /> <br /> The swallows not yet come, a game of grass we play.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:55)<br /> <br /> People are gathering wild flowers and herbs in the meadow.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:93)<br /> <br /> Viewed literally, “斗草” is mostly interpreted as “to fight with grass”. But actually, it refers to a particular custom on the Dragon Boat Festival according to the notes in various anthologies of Li Qingzhao. On the Dragon Boat Festival (the fifth day of May), people usually participate a kind of game in which every one need to gather flowers and plants to be the winner. Xu Yuanchong knows that “斗草” is a traditional game, so he adopted literal translation as “a game of grass we play”, which is direct and correct. While Kenneth Rexroth adopted amplification and translated it as”gathering wild flowers and herbs in the meadow” in order to create concrete scene for the target reader. Generally speaking, both the two versions realized the skopos of translating the cultural connotation of “斗草” by adopting different translation strategies.(Liao Huihua, 2010:49)<br /> <br /> (6)佳节又重阳(《醉花阴》)<br /> <br /> The Double Ninth comes now again.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:54)<br /> <br /> Again it is the Ninth of the Ninth Month.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:47)<br /> <br /> “重阳” is a traditional Chinese festival on the ninth day of the ninth lunar month. People would always miss their families and relatives on this day every year. Here, when this festival is coming around, the poetess feel sad and lonely because of the separation from her husband, Zhao Mingcheng. In Xu Yuanchong’s version, he translated it literally as The Double Ninth and made a annotation to explain the cultural meaning of this festival to make target readers know the background information about this term. The unique feature of the ST is fully conveyed in the TT through foreignization. The skopos of Xu Yuanchong is to maintain the original feature of Chinese culture as much as possible, so he adopted foreignization to achieve this goal. In contrast, Kenneth Rexroth translated it into “the Ninth of the Ninth Month”. Although the time of the event is translated, but the connotation of this festival is lost. Sometimes literal translation for words with rich connotation can cause cultural loss. Here, Rexroth omitted the cultural meaning because he thinks it is not necessary to add the burden of understanding the text. In this way, the target reader can easily understand the TT within their own knowledge.(Liao Huihua, 2010:49)<br /> <br /> ====4.4 Translation of religious culture-loaded words====<br /> <br /> (7)仿佛梦魂归帝所 (《渔家傲》)<br /> <br /> In leaf-like boat my soul to God’s abode would fly.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:62)<br /> <br /> I am rapt away to the place of the Supreme/ And hear the words of Heaven.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:33)<br /> <br /> As we all known, Chinese culture is much influenced by Taoism whereas western culture is much affected by Christianity. Here, “帝所” refers to the place of the Jade Emperor. Because western people are not familiar with the myths of Taoist culture, here “God” is be the substitution of “帝” in Xu Yuanchong’s version by literal translation. In contrast, Kenneth Rexroth translated it as “the place of the Supreme”, which means the Sovereign. We can see the religious devotion of the ST is neglected. To conclude, Xu Yuanchong’s version is more faithful to the original text because he aims to introduce Chinese culture to foreigners. Kenneth Rexroth translated it without Taoist culture because he aims to remove cultural barriers and make target readers easier to understand the meaning of the text.(Li Qing, 2005:148)<br /> <br /> (8)造化可能偏有意，故叫明月玲珑地。(《渔家傲》)<br /> <br /> You find a special favor in Creator’s eye,<br /> <br /> The moon caresses you with pure beams from on high.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:76)<br /> <br /> Making the bright moon shine splendid on your curving flesh.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:45)<br /> <br /> In Xu Yuanchong’s version, “造化” is translated directly into “Creator” but in Kenneth Rexroth’s version, this image is deleted. In China, “上天”（heaven）is the governor of the universe under the influence of Taoism and Buddhism. “造化” is a unique concept in Taoist culture. Xu Yuanchong aims to maintain the Taoist culture and introduce it to foreigners. However, in western countries, Christianity is the mainstream of religious belief. Therefore, Kenneth Rexroth neglected this image to make the TT more acceptable western people who believes in Christianity. In summary, Xu Yuanchong focused more on the culture of the ST whereas Kenneth Rexroth payed more attention on the acceptability of the target reader.(Liao Huihua, 2010:45)<br /> <br /> ====4.5 Translation of linguistic culture-loaded words====<br /> <br /> (9) 寻寻觅觅，冷冷清清， 凄凄惨惨戚戚。(《声声慢》)<br /> <br /> I look for what I miss;<br /> <br /> I know not what it is.<br /> <br /> I feel so sad, so drear,<br /> <br /> So lonely, without cheer.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:81)<br /> <br /> Search. Search. Seek. Seek.<br /> <br /> Cold. Cold. Clear. Clear.<br /> <br /> Sorrow. Sorrow. Pain. Pain.<br /> <br /> —translated by Kenneth Rexroth &amp; Chung Ling (Kenneth Rexroth,1979:78)<br /> <br /> Tune: Slow, Slow, Song is recognized as the representative of reduplication. The use of seven sequential reduplicative words add the powerfulness of the miserable tone. we can find some similarities between these reduplicative words such as “清清”, “凄凄” and “戚戚” sound quite similar or even the same, really strengthen the melodious effect of the language. Xu Yuanchong adopted free translation in order to reproduce the beautiful artistic conception in the ST. The form of reduplication is neglected but the sad atmosphere that the reduplicarive words create is reproduced. Rexroth use the literal translation to imitate the original reduplicative words. The repetition of the same word reproduces the sound of reduplication in ST, and words with one syllable are also very similar to Chinese character. But the sense is not well conveyed. The target readers fail to experience the painful atmosphere and the great sadness of the poetess in the TT.(Li Qing, 2005:149) <br /> <br /> (10) 小风疏雨萧萧地 (《孤雁儿》)<br /> <br /> A grizzling wind and drizzling rain<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:90)<br /> <br /> Small wind, fine rain, hsiao, Hsiao<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:56)<br /> <br /> In the ST, “萧萧” is a reduplicative word in order to foil the depressed and sad atmosphere. It is difficult to reproduce this unique structure in the TT. We can see in Xu Yuanchong’s version, he omitted the original form and tried to reproduce the beautiful sound and sense. The rhymes of “grizzling” and “drizzling” are the same. This internal rhyme can make compensation for the loss of reduplication. And the strong sad mood is fully conveyed. Here, foreignization is employed. Kenneth Rexroth focused on the reproduction of the form, so he adopted transliteration to maintain the form of reduplicative word. Although the sound and form are beautiful, in this way, the sad cultural conception may lose at the same time.(Li Qing, 2005:75)<br /> <br /> ===Conclusion===<br /> In this paper, the present author studies the translation of cultural-loaded words in Li Qingzhao’s Ci-Poetry from the perspective of Scopos theory. By contrast analysis, we can find that Xu Yuanchong and Kenneth Rexroth adopted different translation strategies: the former adopted foreignization whereas the latter adopted domestication because of their different translation skopos. Xu Yuanchong devoted himself to introduce excellent Chinese culture to foreigners and Kenneth Rexroth aimed to make target reader better understand the TT. This study still has some shortcomings. Although this paper can shed some light on the study of culture-loaded word, ti still has some limitations. If more samples of culture-loaded word are taken for the analysis, the study could be more comprehensive and systematic. Thus, the English translation of the culture-loaded words of her Ci poetry based on Skopos theory deserves further study. The author believes that wider cases will be involved in this study.((Liao Huihua, 2010:64)<br /> <br /> ===References===<br /> *Nida, Eugene A. (1993). ''Language, Culture and Translating''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nord, Christiane. (2001). ''Translating as a Purposeful Activity: Functionalist Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Reiss, Katharina. (1971). ''Translation Criticism: The Potentials and Limitations: Categories and Criteria for Translation Quality Assessment''[M]. Manchester: St. Jerome Publishing.<br /> <br /> *Reiss, Katharina and Vermeer, Hans J. (1984). ''Groundwork for a General Theory of Translation''[M]. Tubingen: Niemeyer.<br /> <br /> *Rexroth, K. &amp; Chung L. (1979). ''Ching-chao: Complete Poems''[M]. New York: New Directions.<br /> <br /> *Vermeer, Hans J. A. (1996). ''Scopos Theory of Translation''[M]. Heidelberg: TEXT con TEXT-Ver-lag.<br /> <br /> *付桂英. (2013). “三美”理论指导下李清照词英译的美感再现[D].上海:上海外国语大学.<br /> <br /> * 韩周文. (2014). 《生死疲劳》中文化负载词的英译研究——以目的论为视角[D].福州:福建师范大学.<br /> <br /> *郦青. (2005). 李清照词英译对比研究[Contrast Study on LI Qingzhao's Ci-Poetry]. [D].上海:华东师范大学.<br /> <br /> *李照. (2001). 目的论视角下的文化负载词翻译——试评林语堂的《吾国与吾民》[Translation of Culture-loaded Words Based on Scopos Theory -Comments on Lin Yutang's &quot;Our Country and Our People&quot;]. [D].北京:首都师范大学.<br /> <br /> * 廖慧华. (2010). 从目的论角度对比分析《李清照词》中文化负载词的翻译[D].衡阳:南华大学.<br /> <br /> *王仲闻. (2019) 李清照集校注 [Annotation on the Collection of Li Qingzhao's Ci-Poetry]. [M].北京:人民文学出版社.<br /> <br /> *许渊冲. (2006). 翻译与艺术[Translation and Art]. [M].北京:五洲传播出版社.<br /> <br /> *许渊冲. (2003). 宋词三百首[Three Hundred Ci Poems of the Song Dynasty]. [M].北京:中国对外翻译出版社.<br /> <br /> *许渊冲. (2003). 文学与翻译[Literature and Translation]. [M].北京:北京大学出版社.<br /> <br /> *杨健. (2000). 李清照词英译研究[English Translation Studies on Li Qingzhao's Ci-Poetry]. [D].南宁:广西大学.<br /> <br /> *张沉香. (2007). 功能目的理论与应用翻译研究[Scopos Theory and Applied Translation Studies]. [M].长沙:湖南师范大学出版社.<br /> <br /> *郑燕虹. (2001). 风筝之线——评王公红、钟玲翻译的李清照诗词[The String of the Kite -Comments on Kenneth Rexroth and Chung Ling's Translation of Li Qingzhao's Ci-Poetry]. [J].外语学刊,160(3):125-129.<br /> <br /> ==A Study on Culture-loaded Words in ''Six Chapters of a Floating Life'' Translated by Lin Yutang from the Perspective of Domestication and Foreignization 蒋淇玮 Jiang Qiwei 202070080592 英语笔译==<br /> <br /> ===Abstract===<br /> <br /> ''Six Chapters of a Floating Life'' is an autobiographical prose written by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines.<br /> Among the current English versions of this book, Lin Yutang's ''Six Chapters of a Floating Life'' is written first and the closest with the original version in style, which enables lots of foreign readers to catch a glimpse of the life of an obscure Chinese scholar.<br /> Six Chapters of a Floating Life is written in classical Chinese and has a long history, which both make the translation more difficult, especially the translation of its culture-loaded words.<br /> Culture-loaded words refer to words, phrases and idioms that demonstrate specific things in a culture. As we all know, China has a centuries-old history and rich civilization, possessing plenty of unique cultural phenomena, not to mention numerous culture-loaded words. In Six Chapters of a Floating Life, there are many culture-loaded words that are worthy of study.<br /> By consulting relevant materials, I find that there are only a few works analyzing cultural-loaded words in Six Chapters of a Floating Life from the perspective of domestication and foreignization.<br /> This pair of translation terms was put forward by Lawrence Venuti, a famous American translation theorist, in The Translator's Invisibility in 1995. As a matter of fact, domestication and foreignization are a unity of opposites and complement each other. Neither absolute domestication nor foreignization exists. There are different degrees of domestication and foreignization in all translation activities and works. Therefore, it is reasonable, scientific and feasible to analyze Mr. Lin’s translation from this perspective, which can fill certain research vacancy and benefit future studies in this field.<br /> Thus, in this thesis, the author will subdivide domestication and foreignization into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words.<br /> <br /> ===Key Words===<br /> <br /> domestication; foreignization; ''Six Chapters of a Floating Life''; Lin Yutang; culture-loaded words<br /> <br /> ===摘要===<br /> <br /> 《浮生六记》是清代文人沈复于1808年所著的自传体散文，以真言诉真情，为历代读者所推崇。目前流传较广的《浮生六记》英译本中，林语堂先生的Six Chapters of a Floating Life成文最早且与沈复原文风格最为接近，让不少外国读者得以一窥中国一无名文人的若梦浮生。<br /> 沈复此书以文言文著就，加上距今年代较为久远，译者的翻译之路可谓困难重重，这其中文化负载词的处理更是值得反复推敲。文化负载词是标志某种文化中特有事物的词、词组和习语。众所周知，中华民族的历史文明源远流长，独有的文化现象数不胜数，应运而生的文化负载词自然不在少数。《浮生六记》一书中就有相当数目的文化负载词具有研究价值。<br /> 通过查阅相关资料，本人发现从归化和异化角度来解读林译中文化负载词的研究还少之又少。归化和异化这对翻译术语是由美国著名翻译理论学家劳伦斯·韦努蒂（Lawrence Venuti）于1995年在《译者的隐身》中提出的。作为两种翻译策略，归化和异化是对立统一、相辅相成的，绝对的归化和绝对的异化都是不存在的。所有的翻译活动及作品都存在不同程度的归化和异化现象，故而，从这一角度来分析林译具有合理性、科学性和可行性，且能填补一定的研究空缺，为之后的相关研究提供可参考的思路与借鉴。<br /> 因此，本文作者将聚焦这一文学经典，将归化与异化这两种翻译策略细分为不同的翻译方法，对林译中有代表性的文化负载词进行分析解读，以小见大，从词见章，进而证明归化与异化的翻译策略的指导性，找出林译在国内外成功的原因，指出其在中国文化“走出去”中所起的积极作用，并为文化负载词的翻译难题提供解题思路及开口，引起大众对于文化翻译的重视与思考。<br /> <br /> ===关键词===<br /> <br /> 归化，异化，《浮生六记》，林语堂，文化负载词<br /> <br /> ===Chapter One Introduction===<br /> <br /> With globalization surging ahead, cultural communication and exchange have become rising tides that no one can fight against. Chinese and English, as the language with the largest number of users and the language most widely used in this globe, are both crucial languages, which work as vital bridges in cultural world.<br /> However, as is known to all, China is a nation of age-old history and rich civilization. On her vast earth, there grows plenty of unique cultural phenomena. As a result, quite a number of culture-loaded words have been emerging. For culture-loaded words have their specific cultural connotations, it is hard to render them so that foreign readers could understand, which is a real and tough task for translators.<br /> Six Chapters of a Floating Life is an autobiographical prose written in classical Chinese by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines. In this book, there are many culture-loaded words, which are worth studying.<br /> Among the current English versions of it, Lin Yutang's Six Chapters of a Floating Life is written first and the closest with the original version in style, which enables lots of foreign readers to take a look at the life of an obscure Chinese scholar.<br /> Thus, in this thesis, under the guidance of translation strategies, domestication and foreignization, the author will subdivide them into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words. (Shen Fu 2019)<br /> <br /> ===Chapter Two Literature Review===<br /> <br /> ====2.1 A Study on ''Six Chapters of a Floating Life''====<br /> For the sake of carrying on this study, we must have a basic understanding of both our original and translated text sources: Six Chapters of a Floating Life. Hence we will have a brief review of its original version and English version translated by Mr. Lin in the following paragraphs. (Shen Fu 2019)<br /> <br /> =====2.1.1 A Brief Review of Its Original Version=====<br /> Six Chapters of a Floating Life is an autobiographical prose written by Shen Fu, who was an unknown scholar in Qing dynasty, in the 13th year of Jiaqing (AD 1808). It includes six chapters, of which only four remain, recording Shen Fu’s wedded bliss, pleasures of life, ups and downs, travel experiences, experiences in Formosa and the way of life. The phrase in this book’s title &quot;floating life&quot; derives from a passage in Li Po's poem, “ Our floating life is like a dream; how often can one enjoy oneself ?”<br /> Shen Fu, whose courtesy name is Sanbai, and alternative name Meiyi, was born in Suzhou, Jiangsu province in China in the 28th year of Qianlong (AD 1763). He was a man of letters, who was once an assistant to ranking officials and a merchant.<br /> The remaining four chapters of ''Six Chapters of a Floating Life'' was accidentally found on the stall in Suzhou by a man called Yang Yinchuan. Yang passed it on to Wang Tao, his brother-in-law, who then published it with movable type in 1877. Subsequently, this book gradually established itself on the literary field.<br /> This book is a pure and fair record of Shen Fu's ordinary but difficult life, which is still full of unforgettable and beautiful moments. It is incredibly touching, for Mr. Shen wrote down his real experiences and sincere feelings in plain words naturally, without traces of sham.<br /> Nowadays, Six Chapters of a Floating Life has become a classic and owned a mass of readers. Many people even called it “little A Dream in Red Mansions” for its description of the conflicts in the feudal family and society, which highly affirms its literary value and achievements. (Shen Fu 2019)<br /> <br /> =====2.1.2 A Brief Review of Its English Version Translated by Lin Yutang=====<br /> In the spring and summer time of 1935, Lin Yutang successively translated Six Chapters of a Floating Life into English and serialized them in the English magazines T'ien Hsia Monthly and Hsi Feng published in Shanghai. For the sake of better work, Mr. Lin has modified his translation no less than ten times. Now, his translation version has been acknowledged as the most popular one for it is the closest to the original text in terms of writing style.<br /> Lin Yutang once highly praised Shen Fu’s wife Yün, “Yün, I think, is one of the loveliest women in Chinese literature.” Mr. Lin said he translated the work for two reasons, one is to let the world know Yün by her name, and the other is that he has found lots of things in the simple life of this couple, the pursuit of beauty, the experience of ups and downs, and unswerving love for carefreeness.<br /> In February of 1999, Foreign Language Teaching and Research Press reprinted Six Chapters of a Floating Life with Mr. Lin’s translation in the form of picture book. Its introductory notes claim that the reprinting is first due to Mr. Lin’s translation work, which has contributed a lot in the promotion of Chinese culture, secondly Mr. Lin’s superb artistic attainments and extraordinary cultural accomplishments, and lastly his beautiful and skilled use of English language. It demonstrates that Mr. Lin's translation has a far-reaching influence. (Shen Fu 2019)<br /> <br /> ====2.2 An Introduction of Culture-loaded Words====<br /> Here we will focus on another important item in this study: culture-loaded words. This introduction covers three aspects, including definition, categorization and previous studies on them in Six Chapters of a Floating Life, which enable us to distinguish, select and analyse culture-loaded words in future steps. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.1 Definition of Culture-loaded Words=====<br /> There are many definitions for culture-loaded words, and I have presented three different versions below.<br /> First, Mona Baker claims that &quot;the source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as `culture-specific' &quot; (2000:21). This definition mentions three fields, namely religion, custom and food, which are now recognized to be among the main sources of culture-loaded words. Second, it means that the cultural information words carry in the source language finds no equivalent in the target language (包慧南，2001：10). In this version, the focus is “no equivalent”, which reveals why it is significant to study the translation of culture-loaded words. For in numerous cases, there is no equivalent in the target language. Third, J.F. Aixelá, a Spanish translator and translation theorist, defines them as &quot;culture-specific items&quot; and states in his book Culture-specific Item in Translation that &quot;Some items appeared in the source text do not have equivalent items in the target readers' cultural system or these items have different textual status with those in the target readers' cultural system, thus leading to translation difficulty while transferring the function and meaning of the source text to the target text&quot; (张南峰，2004：19). From this definition, we are able to get a new perspective. Besides “no equivalent”, it makes a point that culture-loaded words can exist in the target cultural system but with different function and meaning.<br /> To sum up, as barriers to translation, culture-loaded words have no equivalent in other cultural systems and are marks and mirrors of a nation’s distinct environment, which are often seen in fields like religion, custom, food etc. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.2 Categorization of Culture-loaded Words===== <br /> Eugene Nida considers that &quot;if translators want to do a good job in cross-cultural translation, there are five types of cultural factors: 1) ecological culture; 2) material culture; 3) social culture; 4) religious culture; and 5) linguistic culture&quot;(胡壮麟、姜望琪，2002). In line with Nida's categorization of cultural factors, culture-loaded words can also be classified into five types accordingly, namely ecological culture-loaded words, religious culture-loaded words, material culture-loaded words, social culture-loaded words and linguistic culture-loaded words. (Eugene, A. Nida. 2001)<br /> This thesis will analyze Lin Yutang’s translation of culture-loaded words in Six Chapters of a Floating Life on the basis of Nida's categorization. (Eugene, A. Nida. 2001)<br /> <br /> =====2.2.3 Previous Studies on Translation of Culture-loaded Words in Six Chapters of a Floating Life=====<br /> Among those studies of the English versions of Shen Fu’s Six Chapters of a Floating Life, the studies of Mr. Lin’s account for a large proportion of it. In Quan Shulian’s article “Translator’s Cultural Orientation: Comparative Study of Translation of Culture-loaded Words in Six Chapters of a Floating Life”, she compares the translation of culture-loaded words done by Mr. Lin and Shirley Black and then claims that Shirley Black tends to use domestication while Mr. Lin applies foreignization more frequently. With a different focus, Li Yi, who has studied the culture-loaded words in Six Chapters of a Floating Life translated by Lin Yutang, analyzes the translation of culture-loaded words in three aspects: wording, Chinese idioms and the looks of women, and concludes that it is the purpose of translation determines which translation strategies to use and domestication and foreignization are a unity of opposites which should not be discussed apart. (Eugene, A. Nida. 2001)<br /> <br /> ===Chapter Three An Analysis of Translation Strategies Based on ''Six Chapters of a Floating Life''===<br /> <br /> ====3.1 Translation Strategy of Domestication====<br /> Domestication, as opposed to foreignization, refers to a translation strategy, which aims to translate the source text into target language in a transparent, fluent and natural style so as to minimize the strangeness for target readers.<br /> As free translation is the most widely used translation method pertaining to domestication, we will discuss it and its two branches paraphrase and idiomatic translation. (Xiong Bing 2014,82-88)<br /> <br /> =====3.1.1 Free Translation===== <br /> Free translation refers to a translation method that reproduces the transferred meaning of the source text, which can be further divided into paraphrase and idiomatic translation. (Xiong Bing 2014,82-88)<br /> <br /> =====3.1.1.1 Paraphrase===== <br /> When applying paraphrase, the translator translates the source text explanatorily, without application of collocations and idioms in the target language as replacement of those parts in the source text. (Xiong Bing 2014,82-88)<br /> <br /> 1a. 合卺后，并肩夜膳，……（沈复，2018：7）<br /> 1b. After the drinking of the customary twin cups between bride and groom, we sat down together at dinner… (Lin Yutang, 2019: 35)<br /> <br /> The Chinese phrase “合卺” refers to a characteristic part of ancient Chinese wedding ceremonies that the newlyweds drink cross-cupped wine in their wedding room. Foreign readers would have difficulty comprehending this phrase as there is no such a rite in their countries. Thus, Lin Yutang applies the translation method of paraphrase, explaining exactly what the custom is, which enables foreign readers to understand this special activity.<br /> <br /> 3.1.1.2 Idiomatic Translation<br /> Idiomatic translation is an explanatory method of translation as well, with application of collocations and idioms in the target language as replacement of the parts in the source text. (Xiong Bing 2014,82-88)<br /> <br /> 2a. 井井然未尝稍失。（沈复，2018：9）<br /> 2b. Whatever she did was done well, and it was difficult to find fault with her. (Lin Yutang, 2019: 40-41)<br /> <br /> “未尝稍失”means that someone handles things incredibly well, without anything wrong. And we can translate this Chinese phrase just in such an explanatory way, for it is clear and correct in meaning. But it is comparatively lengthy. That’s why here Mr. Lin adopts the English phrase “find fault with”, which is quite familiar to English users. For it conveys the meaning of the source text precisely and concisely, and improves the smoothness of foreign readers’ reading activity.<br /> <br /> ====3.2 Translation Strategy of Foreignization====<br /> Compared to domestication, foreignization refers to a translation strategy that retains the original expressions and differences between source and target languages to a larger extent. This translation strategy can offer foreign readers more exotic information if they are willing to explore, but the reading process is less natural and efficient. (Xiong Bing 2014,82-88)<br /> And foreignization consists of three translation methods, namely transliteration, word-for-word translation and literal translation, which will be presented below. (Xiong Bing 2014,82-88)<br /> <br /> =====3.2.1 Transliteration===== <br /> Transliteration refers to the rendering of alphabets, words or phrases in one language with symbols of similar or even the same pronunciations in another language. (Xiong Bing 2014,82-88)<br /> <br /> 3a. 服余衣，长一寸又半；于腰间折而缝之，外加马褂。（沈复，2018：31）<br /> 3b. As my gown was found to be an inch and a half too long, she tucked it round the waist and put on a makua on top. (Lin Yutang, 2019: 108)<br /> <br /> The Chinese phrase “马褂” refers to the mandarin jacket worn over a gown, which is a kind of special costume of Chinese characteristics. It is popular in Qing dynasty and the Republic of China. Originally, it’s worn by the Chinese Manchu people on horseback. “马” means “horse” in English. “褂” means a short gown. And that is the reason why this costume is called “马褂”in Chinese. Though foreign readers barely know this kind of clothes and its origin, Mr. Lin translates it as “makua” tersely according to its Chinese pronunciation, which offers foreign readers an opportunity to get a clue of the new item “makua” and shows his confidence of Chinese history and culture.<br /> <br /> =====3.2.2 Word-for-word Translation=====<br /> Word-for-word translation is the rendering of text in which a word is used to replace another in the source text without considering the differences between the two languages in morphology, syntax and semantics, so as to translate a word in accordance with the paraphrasing method. (Xiong Bing 2014,82-88)<br /> <br /> 4a. 一场，主考得香钱百文。（沈复，2018：57）<br /> 4b. The official examiner would get one hundred cash “incense money”. (Lin Yutang, 2019: 253)<br /> <br /> “Incense” translated into Chinese is “香”, while the English equivalent of “钱” is “money”. From this we can find that “incense money” is a word-for-word correspondence with “香钱”. There are much fewer people in English-speaking countries who are Buddhists, compared with China. So the concept of “incense money” may be strange to them. Here, Mr. Lin translates this phrase literally without transforming or considering morphological differences in two languages, which shows a brand-new concept to plentiful foreign readers. And it might arouse their interest to figure out what this phrase implies and what’s the culture connotation behind it.<br /> <br /> =====3.2.3 Literal Translation=====<br /> Literal translation, or directed translation, is the rendering of text in which a word is used to replace another word in the original text correspondingly, with consideration of the differences between the two languages in morphology, syntax and semantics, so as to enable the translation to conform to the lexical and syntactic norms of the target language. (Xiong Bing 2014,82-88)<br /> <br /> 5a. 急人之难，成人之事，嫁人之女，抚人之儿，指不胜屈，挥金如土，多为他人。（沈复，2018：63）<br /> 5b. He used to help people in trouble, bring up other people's sons and marry off other people's daughters in innumerable instances, spending money like dirt, all for the sake of other people. (Lin Yutang, 2019: 299)<br /> <br /> “挥金如土” in Chinese means to throw one’s money about. There is a set expression in English both in meaning and construction, which is “spending money like water”. But instead of the image “water”, which is more common and well-accepted among English people, Mr. Lin keeps the original image “dirt” in his translation. That’s because the image “dirt” is more acknowledged by Chinese people, who have been rooted in agriculture civilization and dealt with dirt all the time. Hence, the literal translation of “dirt” into English is able to let readers of different culture background grasp more of the source text and aware of the culture differences.<br /> <br /> ====3.3 A Brief Conclusion on the Translation Strategies==== <br /> In this Chapter, we have mainly discussed five translation methods based on Six Chapters of a Floating Life. Among them, two belong to the translation strategy of domestication while three the translation strategy of foreignization. (Xiong Bing 2014,82-88)<br /> The former instances from the book have proved that the application of the translation methods under domestication enables foreign readers to comprehend and accept literary works in a closer and more natural way, while the translation methods under foreignization provides them with a choice to feel the cultural differences and find out more valuable information. There is no absolute domestication or foreignization and no perfect choice of translation strategies. It is the purposes of translation that determine which translation strategy or methods to use. As to Mr. Lin, he has combined the usage of both the two superior strategies and their translation methods in his translation of Six Chapters of a Floating Life. (Xiong Bing 2014,82-88)<br /> <br /> ===Chapter Four An Analysis of the Translation of Culture-loaded Words in ''Six Chapters of a Floating Life''===<br /> <br /> ====4.1 Domestication Applied in Culture-loaded Words====<br /> In this part, we will center upon some culture-loaded words in Six Chapters of a Floating Life that are translated by Mr. Lin with the adoption of domestication. (Xiong Bing 2014,82-88)<br /> <br /> =====4.1.1 Free Translation of Culture-loaded Words=====<br /> As we have mentioned before, free translation is the most commonly used translation method pertaining to domestication and it includes paraphrase and idiomatic translation. Therefore, we will discuss them with examples of culture-loaded words in the book. (Xiong Bing 2014,82-88)<br /> <br /> ======4.1.1.1 Paraphrase of Culture-loaded Words======<br /> The following two examples are able to demonstrate the brilliant use of paraphrase by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 6a. 自此耳鬓相磨，亲同形影。（沈复，2018：9）<br /> 6b. And so every day we rubbed shoulders together and clung to each other like an object and its shadow… (Lin Yutang, 2019: 42)<br /> <br /> The Chinese phrase “耳鬓相磨” is culture-loaded, which just derives from this book of Shen Fu. It literally means the rubbing of people’s ears and sideburns, whose extended meaning refers to the close relationship among people. Here Mr. Lin applies the new image of shoulders instead of the original images of ears and sideburns, for it would be hard for foreign audience to grasp the connection between ears and sideburns and the intimacy within them. Meanwhile, rubbing shoulders can accurately express the meaning of closeness in English. So he uses the phrase “rubbed shoulders” to convey the original meaning in an explanatory way.<br /> <br /> 7a. 粉颈 （沈复，2018：8）<br /> 7b. Beautiful white neck (Lin Yutang, 2019: 38)<br /> <br /> In China, scholars conventionally adopt the word “粉”, which is “pink” in English, to modify one’s face, neck, etc. to show that one’s skin is white touched with red. However, if translating the Chinese term “粉颈” literally, we will get the phrase “pink neck”. There is no doubt that it will be odd for foreign audience. Therefore, Mr. Lin uses “beautiful white” rather than “pink” to modify “neck”, which expresses the meaning of “粉” briefly and precisely without causing troubles to readers and makes their reading activities more natural and pleasant.<br /> <br /> ======4.1.1.2 Idiomatic Translation of Culture-loaded Words======<br /> The following example is able to demonstrate the fine use of idiomatic translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 8a. 大醉而卧（沈复，2018：7）<br /> 8b. I fell asleep drunk like a fish. (Lin Yutang, 2019: 37)<br /> <br /> This four-character Chinese phrase means one is lying in a state of terrible drunkenness. In the processing of this phrase, Mr. Lin uses a set English phrase “drunk like a fish”, which describes that one is terribly drunk. The adoption of this ready-made phrase in translation does convey the meaning of the source text correctly and vividly, which makes it easy for foreign readers to catch on and picture the scene. From this we can see that wise use of idiomatic translation may yield twice the result with half the effort.<br /> <br /> ====4.2 Foreignization Applied in Culture-loaded Words====<br /> In this part, we will center on some culture-loaded words in Six Chapters of a Floating Life that are translated by Mr. Lin with the adoption of foreignization. (Xiong Bing 2014,82-88)<br /> <br /> =====4.2.1 Transliteration of Culture-loaded Words=====<br /> The following two examples are able to show the use of transliteration by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 9a. 故上下呼芸为“三娘”。后忽呼为“三太太”……（沈复，2018：63）<br /> 9b. hence they used to call Yün “san niang” at home, but this was later suddenly changed into “san t'ai t'ai”. (Lin Yutang, 2019: 301)<br /> <br /> “San” refers to “number three” in Chinese. “Niang” generally means a young married woman in a big household, while “t’ai t’ai” suggests the mistress of an independent home. “Niang” and “t’ai t’ai” are two of those unique terms of addressing people in ancient Chinese society, so there are no equivalents in English. That’s why Mr. Lin chooses to introduce their Chinese sounds to foreign audience, which leaves them a hint to learn two interesting addresses with era characteristics and know the distinct Chinese system of addressing.<br /> <br /> 10a. 余则从之学画，写草篆，镌图章…… （沈复，2018：56）<br /> 10b. They would then either write “grass-script”, or “chüan-script” or carve seals… (Lin Yutang, 2019: 247)<br /> <br /> “篆书” refers to a style in Chinese calligraphy, often used on seals. If we translate the Chinese character “篆” literally into English it would be “seal”. However, Mr. Lin abandons the easy translation of “seal- script” and renders this calligraphy style as “chüan-script” according to its Chinese pronunciation, which exhibits an individual kind of Chinese writing style to foreign readers. There will be problems that most people who know little about China will feel difficult to understand this ancient “script”. And if they desire to figure it out, they need to do extra work beyond reading this book. Nevertheless, in this way, they have chances to know much more about China, which is an efficient way of spreading Chinese culture and driving cross-cultural communication.<br /> <br /> =====4.2.2 Word-for-word Translation of Culture-loaded Words=====<br /> The following example is able to show the masterly use of word-for-word translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 11a. 芸笑曰：“白字有缘，将来恐白字连篇耳。”（沈复，2018：13）<br /> 11b. “It is all right,” Yün smiled and replied. “to have one's life bound up with the Po's, only I am afraid I shall be writing Po characters all my life.” (Lin Yutang, 2019: 54-55)<br /> <br /> The so-called Po characters are words written wrong. This kind of words indeed exists in Chinese writing system, but they are used in a wrong way by people for they are of similar pronunciations and forms while in different meanings. In translation of this sentence, Mr. Lin renders “白字”, which means misspelt words, as “Po characters” word for word. “Po” is close to the pronunciation of Chinese character “白”, while “character” literally means “字” in Chinese. Mr. Lin translates the culture-loaded phrase like this to demonstrate a new term to foreign readers, instead of “misspelt word” which is easy to grasp but lack of Chinese charm. In this way, foreign readers can be more conscious of the original cultural genes lie behind those English words.<br /> <br /> =====4.2.3 Literal Translation of Culture-loaded Words=====<br /> The last two examples will show the tactful use of literal translation by Mr. Lin in his translation of culture-loaded words. (Xiong Bing 2014,82-88)<br /> <br /> 12a. 但李诗宛如姑射仙子，有一种落花流水之趣，令人可爱。 <br /> （沈复，2018：12）<br /> 12b. but Li Po’s poems have the wayward charm of nymph. His lines come naturally like dropping petals and flowing waters, and are so much lovelier for their spontaneity. (Lin Yutang, 2019: 53)<br /> <br /> In Chinese, “落花流水” is an idiom, which usually refers to the beauty of the scenes is waning in the late spring or one is defeated utterly. But this phrase is used here to compliment Li Po’s poems’ fluency and naturalness. Even though this expression is full of Chinese features, it is not too hard for foreign readers to get its implication from the images of “dropping petals” and “flowing waters”. For we have a common sense about these two natural scenery that they are both in the state of harmony and fluency. So Mr. Lin’s adoption of the method of literal translation is quite appropriate here and leaves some space for readers to imagine and taste by themselves.<br /> <br /> 13a. 芸曰：“世传月下老人专司人间婚姻事……” （沈复，2018：27）<br /> 13b. “It is said that the Old Man under the Moon is in charge of matrimony,” said Yün. (Lin Yutang, 2019: 92)<br /> <br /> “月下老人” is the god of marriage who is in charge of human love relationships in Chinese mythology. This image is peculiar to China, so it stands to reason that there is no equivalent expression in other countries. When rendering this culture-loaded phrase, Mr. Lin chooses the method of literal translation with words of capitalized initial letters, which enables readers to feel that it is obviously a new culture symbol for them and the Old Man may be a Chinese god. Then it is up to the readers themselves if they want to search for some more information about this “Old Man under the Moon” or not. In this way, the translation becomes briefer and it rests with the readers concerning how much information they will get beyond the lines.<br /> <br /> ===Chapter Five Conclusion===<br /> <br /> Concerning the current fact that different cultural systems around the world are becoming increasingly connected, translation activities have been literally taking place at every moment. However, the cultural differences in different counties have made it an arduous task. In view of the tremendous differences between China and English-speaking countries, the translation works are no easy tasks as well.<br /> As symbols which carry lots of cultural information, culture-loaded words are obstacles in translation, for they have no equivalents in other languages. So when translating these words, translators need to be alert and adopt the most proper translation strategies and methods so as to achieve the translation purposes to the deepest extent.<br /> In this thesis, guided by domestication and foreignization, the author has discussed several culture-loaded words in Six Chapters of a Floating Life, which translated by Lin Yutang. Different from other theses focusing on this issue, the author probes it in five detailed translation methods under the two translation strategies we have mentioned before.<br /> Through the analysis of former examples, we can come to the point that domestication and foreignization are the unity of opposites. There is no standard answer that which translation strategy should be used in which circumstances. It is the purposes of translation that determine our choice. In the translation of Six Chapters of a Floating Life, Lin Yutang has proved this to us by using different translation methods in accordance with his purposes, which contributes to his translation success both at home and abroad and the cultural exchanges between China and other countries.<br /> In total, this thesis has basically fulfilled its tasks to prove the instructiveness of the translation strategies of domestication and foreignization, and find out the reasons why Lin Yutang’s translation version turns out to be a huge success and receives warm responses. At the same time, it points out that this translation has played an active role when Chinese culture steps out to the global stage, and provides reference for the translation of culture-loaded words. (Li Yi 2013, 43-44)<br /> <br /> ===Bibliography===<br /> <br /> Lawrence, Venuti. (2004). The Translator’s Invisibility [M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> Eugene, A. Nida. (2001). Language and Culture: Contexts in Translating [M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> Eugene, A. Nida. (2004). Toward a Science of Translating [M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> Mona, Baker. (2000). In Other Words: A Coursebook on Translation [M]. Beijing: Foreign Language Teaching and Research Press.<br /> <br /> Bao Huinan 包惠南. (2001). 文化语境与语言翻译[M]. 北京：中国对外翻译出版公司.<br /> <br /> Feng Li 冯丽. [2013(3)：116-117]. 浅析文化视角下的林语堂译本《浮生六记》[J]. 漯河职业技术学院学报.<br /> <br /> Hu Zhuanglin, Jiang Wangqi 胡壮麟，姜望琪. (2002). 语言学高级教程[M]. 北京：北京大学出版社.<br /> <br /> Liu Aili 刘艾莉. (2015). 认知翻译观视角下《围城》中文化负载词的翻译研究[MA]. 广东外语外贸大学硕士学位论文.<br /> <br /> Liang Linxin, Xu Mingwu 梁林歆，许明武. [2017(4)：53-59]. 国内外《浮生六记》英译研究：回顾与展望[J]. 外语教育研究.<br /> <br /> Li Yi 李懿. [2013(11)：43-44]. 从归化和异化论林语堂《浮生六记》译本中文化词的翻译[J]. 英语广场·学术研究.<br /> <br /> Shen Fu 沈复. (2019). 《浮生六记》（双语版）[M]. 湖南：湖南文艺出版社.<br /> <br /> Shen Fu 沈复. (2018). 《浮生六记》[M]. 浙江：浙江工商大学出版社.<br /> <br /> Wu Hualing 吴华玲. [2010(3)：113-116]. 林语堂中庸观在其译作中的审美再现——以林译《浮生六记》为例[J]. 云梦学刊.<br /> <br /> Wang Weiwei 王维维. [2012(10)：46-47]. 从形合与意合角度分析林语堂《浮生六记》译本[J]. 英语广场·学术研究.<br /> <br /> Xiong Bing 熊兵. [2014(3)：82-88]. 翻译研究中的概念混淆[J]. 中国翻译.<br /> <br /> Zhang Nanfeng 张南峰. (2004). 艾克拉西的文化专有项翻译策略评介[J]. 中国翻译.<br /> <br /> Zhu Yitian 朱怡天. (2013). 《浮生六记》林语堂英译本中文化负载词的翻译[MA]. 上海外国语大学硕士学位论文.<br /> <br /> 翻译理论与翻译技巧论文集[C]. (1983). 北京：中国对外翻译出版公司选编.<br /> <br /> ==How to Keep &quot;Chineseness&quot; in Idiom Translation from Chinese to English 瞿淼 202070080604 Qu Miao==<br /> <br /> ===Abstract===<br /> Idiom is a form of expression natural to a language, person, or group of people. With rich cultural information, Chinese idioms carry the characteristics of Chinese language and culture. In the translation of idoms from Chinese to English, &quot;Chineseness&quot; in idioms is often lost in the translation, since Chinese and English belong to different language systems so there exist great cultural differences between them. (Wang Tao, 2018, 32)<br /> This article, from the perspective of domestication and foreignization, compares the different effects of the text translated repectively by domestication and foreignization method and discusses the way to keep &quot;Chineseness&quot; in idiom translation form Chinese to English. And the article ends with the conclusion that in idiom translation from Chinese to English, it is advisable to translators should, according to the needs of a specific context, find a balance between foreignization and domestication, so that &quot;Chineseness&quot; in the original text is kept in translated text as much as possible. <br /> <br /> ===Key Words===<br /> idiom translation; cultural deficiency; cultural differences; foregnizing; domestication<br /> <br /> ===汉语习语英译如何保持&quot;中国性&quot;===<br /> <br /> ===摘要===<br /> 俗语是流传在人民群众口头上的，结构相对稳定的通俗语句，一般包括谚语、歇后语、惯用语和俗成语。汉语俗语承载着中国语言文化特色，蕴含着丰富的文化信息。在汉英俗语翻译中，因为汉语和英语属于不同的语言系统，并且文化差异较大，所以常常出现译文丢失了中国特色的情况。（王涛，2018，32）<br /> 本文从归化和异化的角度，对比了分别使用归化和异化翻译方法的译文的效果，讨论汉英俗语翻译保持中国特色的方法，得出结论，在中文习语的翻译过程中，译者应该根据特定语境的需要，在异化和归化之间找到一个平衡点，以此来最大限度地保持俗语的中国特色。<br /> <br /> ===关键词===<br /> 习语翻译；文化缺失；文化差异；异化；归化<br /> <br /> === Introduction===<br /> An idiom is a set phrase of two or more words that means something different from the literal meaning of the individual words．Generally speaking, idioms include colloquialisms, allegorical sayings, proverbs, slang, jargon and so on. The composition and semantics of idioms are very conventional, which is inseparable from the social and cultural background of idioms. Language is the carrier of culture, and idioms are an essential part of language. Idioms are deeply rooted in the social and cultural background where they are produced, and fully reflect the geographical environment, customs, religious beliefs and social, political, economic, and cultural systems in this background. Therefore, idioms are very national and cultural. (Wang Tao, 2018, 32)<br /> <br /> As an effective means to promote cross-cultural communication, translation is a bridge connecting different languages and can enhance communication between different cultures. As the essence of national culture, the translation of idioms plays an increasing important role in promoting cultural exchanges, and the biggest difficulty in translation is how to deal with the cultural conventions of source idioms. For translators, idiom translation must not only be fluent and express meaning, but also realize the transfer of cultural connotations implied by idioms. (Jiang Lei, 2003, 54)<br /> Idioms in Chinese are the carriers that convey the rich connotations of the Chinese language. They have the characteristics of concise language, brilliant meaning, typical connotation, and wide range of uses. Since idioms are the most quintessential and typical part of Chinese culture and the shining pearl in Chinese culture, idiom translation is of great significance for achieving the most perfect state of communication between China and the West. Due to the differences between Chinese and Western cultures, there exist cultural deficiencies in the translation of Chinese idioms, which makes it difficult for people of different cultural backgrounds to establish coherent and unobstructed semantics when communicating. (Liu Ning, 2016, 81)<br /> <br /> The first chapter of this article is an overview of Chinese idiom translation, analyzing the problems of Chinese idioms translation and the importance of keeping &quot;Chineseness&quot; in idiom translation. In the second chapter, this article discusses the reasons for cultural deficiency in Chinese idiom translation form four aspects: different emotional orientation, historical and cultural background, religious beliefs and ways of thinking. The third chapter is a comparative analysis of foreignization and domestication translation in idiom translation. This chapter begins with a brief introduction of foreignization and domestication translation method, and then compares the application of the two methods in idiom translation. At last, this article ends with the conclusion that translators should, according to the needs of a specific context, find a balance between foreignization and domestication.<br /> <br /> ===Chapter One An Overview of the Idiom Translation form Chinese to English===<br /> Chinese idioms are mainly created by the folk and widely circulate. From the expression content of Chinese idioms, it has a large connotation, rich and profound content, hence it is surely informative with a good expression effect. As for language structure, it is usually characterized by popularity and colloquialism. In view of the current situation of the translation of Chinese idioms, the cultural connotation is obviously missing due to the influence of cultural forms. Idiom is a window for foreigners to understand Chinese culture. Therefore, it is of significance to keep Chinese characteristics in the translation of Chinese idioms as much as possible to spread Chinese culture. (Jia Yunpeng, 2015, 65)<br /> <br /> ====1.1 The Problems of Idiom Translation form Chinese to English ====<br /> Chinese idioms involve many contents and cover a wide range of knowledge. There is no doubt that this colloquial language has the characteristics of popularity, reflecting common and commonly used factors in daily life, so that the meaning of Chinese idioms can be fully expressed.Chinese idiom is a kind of inheritance of folk culture. In the process of translation, it is affected by its own cultural form and historical factors, and there is a certain cultural deficiency, or &quot;loss of Chineseness&quot;, in the translation of Chinese colloquial language. (Liu Ning, 2016, 81)<br /> <br /> The manifestation of cultural deficiency in the translation of Chinese idioms is mainly due to the errors in the interpretation of the inherent meanings conveyed by the Chinese idioms, and the discrepancy in the intrinsic values between the translator and the original Chinese idioms after translation. As a result, the inheritance and development of culture are hindered, and there is a lack of comprehensive understanding in the process of foreign translation. (Guo Jianzhong, 2000, 65)<br /> The emergence of this phenomenon is a manifestation of cultural deficiency, and the contradiction of cultural mechanism orientation between readers and translators leads to the emergence of cultural deficiency.On the basis of the semantic meaning of the original text, the translation of Chinese colloquial language is in accordance with the linguistic environment and the operational environment of grammar. The translation process emphasizes the cultural inheritance and the expression of intrinsic value.It is precisely the collision between different cultures that causes the phenomenon of culture loss. (Liu Ning, 2016, 82)<br /> <br /> ====1.2 The Importance of Keeping &quot;Chineseness&quot; in Chinese Idiom Translation to English====<br /> Idioms are the condensed and quintessence of human language. As the treasures of national culture, they carry the cultural information such as geography, history, religion and living habits of a country or a nation. Translation is a kind of cross-cultural communication activity, which conveys cultural characteristics. If it is separated from the culture of a nation, translation would miss its due role. (Wang Tao, 2018, 33)<br /> Since the 1980s and 1990s, translation studies have ushered in a new stage, namely the shift of translation. Susan Bassnett is a representative of the school of &quot;cultural translation&quot;. Her view of cultural translation emphasizes the special status of culture in translation -- as language and culture are closely related, culture, rather than text, should be regarded as the basic unit of translation. In short, translation is by no means an act of pure language. It is deeply rooted in the culture in which the language is located. Translation is the communication within and between cultures, and translation equivalence is the cultural function equivalence between the source language and the target language. In a word, it is significant to keep Chinese characteristics in Chinese Idiom Translation to English as much as possible to spread Chinese culture. (Jiang Lei, 2003, 53)<br /> <br /> === Chapter Two The Reasons for the Loss of &quot;Chineseness&quot; in Idiom Translation from Chinese to English===<br /> Chinese and English have completely different cultural backgrounds. The cultural differences between the two are huge, which makes the Chinese and Western people have huge understanding barriers in language exchanges, especially idioms in traditional Chinese culture. Since idioms contains rich and profound cultural background knowledge, translators will inevitably encounter the problem of cultural deficiency in the process of idiom translation, transplanting one culture to another. The problem of cultural deficiency in idiom translation occurs frequently. The reasons for the Loss of &quot;Chineseness&quot; in Idiom Translation from Chinese to English are mainly reflected in the following four aspects. (Qiu Nengsheng, 2019, 51)<br /> <br /> ====2.1 Different Emotional Orientation====<br /> Although there are many words that refer to the same thing in Chinese and English, the word may mean differently in different language contexts, for the same word may bear different associative meanings. (Jia Yunpeng, 2015, 65)<br /> For example, Chinese people and Westerns often have different understanding to color words. The semantic associations of the word &quot;yellow&quot; are different in English and Chinese cultures. In Chinese culture, yellow is the symbol of imperial power and status, so it plays an important role.For example, &quot;黄袍加身&quot;（the yellow robe adds the body） refers to being an emperor.However, in modern Chinese, the word &quot;黄&quot; often has a derogatory meaning, which means lewdness and depravity. It forms many new words with other words and is widely used.For example: &quot;黄色影片&quot;, &quot;黄色书籍&quot; and so on, most of them are related to the concept of sex. Nevertheless, yellow represents justice, wisdom and glory in Western culture.In Western art St. Peter is dressed in yellow.Of course, yellow also has a bad symbolic meaning. It reminds people of the color of the clothes worn by Judas, who betrayed Jesus. Therefore, yellow can be used to express &quot;timid, unreliable, jealous, sensationalist, low-level sensationalism&quot; and other derodic meanings. But in English the word &quot;yellow&quot; doesn't have an obscene meaning. (Jia Yunpeng, 2015, 66)<br /> Chinese people has regarded the &quot;dragon&quot; as the symbol of the nation since ancient times, and the Chinese nation called themselves the &quot;descendant of the dragon&quot;. However, in western culture, &quot;dragon&quot; is a lizard with scales, wings and tails, an can breathe fire. It is a symbol of evil and cruelty. Therefore, if the Chinese idiom &quot;望子成龙&quot; was translated into &quot;hope one’s children to become a dragon&quot;, it would lead to great misunderstanding. But we translate it into &quot;hope one’s children will have a bright future&quot;, foreigners may not get the metaphoric meaning of the word &quot;龙&quot;. This is what we said the loss of &quot;Chineseness&quot;, namely, cultural deficiency. (Qiu Nengsheng, 2019, 52)<br /> <br /> ====2.2 Different Historical and Cultural Background====<br /> Chinese culture has a long history and bears a profound and sophisticated cultural nature. As the essence of Chinese culture, Chinese idioms often contain many historical allusions. And idioms originated from literary quotation or historical events should not be conceived literally because they have deeper meanings. Without cultural background knowledge, it is not easy to understand this kind of idioms, not mention to translate them. (Wang Tao, 2018, 114)<br /> For instance, the Chinese idiom &quot;三顾茅庐&quot;, which means repeatedly requesting somebody to take up a responsible post, derives from a historical story of Zhuge Liang. At the end of the Eastern Han Dynasty, Zhuge Liang lived in a thatched cottage in Longzhong. Xu Shu, a counsellor, recommended zhuge Liang to Liu Bei and said, zhuge Liang was a genius. In order to ask Zhuge Liang to help him conquer the war, Liu Bei went with Guan Yu and Zhang Fei to ask him to leave the mountain. However, Zhuge Liang was not at home, so Liu Bei had to leave his name and went back unhappy. A few days later, Liu Bei learned that Zhuge Liang had returned and went with Guan Yu and Zhang Fei against the wind and snow.But Zhuge Liang went out again, and Liu Bei and his men left again. Liu Bei went to Longzhong for the third time and finally met Zhuge Liang.In the conversation, Zhuge Liang made a very incisive analysis of the situation, which impressed Liu Bei. Liu Bei visited the thatched cottage three times, which greatly moved Zhuge Liang and he promised to go out to help him. Zhuge Liang helped Liu Bei win many victories and laid the foundation of the state of the Han dynasty for him. (Qiu Jixin, 2002, 43)<br /> From this story comes the idiom. If we just translate &quot;三顾茅庐&quot; into &quot;repeatedly to request somebody to take up a responsible post” or &quot;have visited the cottage thrice in succession to call on somebody repeatedly&quot;, foreigners would not get the allusion of it, hence the Chinese characteristics is lost somehow. (Qiu Jixin, 2002, 43)<br /> Likewise, the idioms like &quot;班门弄斧&quot; and &quot;卧薪尝胆&quot; are all relevant to some historical figures, who are known by all Chinese people but unfamiliar to foreigners. Only when they have learned something about Zhuge Liang, Lu Ban, and Gou Jian can they get the meaning of these idioms. And it is the profound historical and cultural backgrounds that make the Chinese idioms hard to translate. (Qiu Jixin, 2002, 43)<br /> <br /> ====2.3 Different religious beliefs====<br /> As a special form of human culture, religion is produced and developed almost synchronously with human culture, and all ethnic groups have their own religious beliefs and cultures. Religion not only exerts a certain influence on people's values and ways of thinking, but also influences language expression. (Jia Yunpeng, 2015, 65)<br /> In the late Western Han Dynasty, Buddhism was introduced into China, and it has a history of more than one thousand years in China. Accompanied with the introduction of Buddhism came some idioms from Buddhism or related to Buddhism, such as &quot;放下屠刀，立地成佛&quot;, &quot;苦海无边，回头是岸&quot;, and &quot;醍醐灌顶&quot;. Most Chinese people believe in Buddhism and Taoism, while most Westerners believe in Christianity. In the context of two different religious cultures, translators often meet translation difficulties. (Jia Yunpeng, 2015, 65)<br /> Take &quot;放下屠刀，立地成佛&quot; as an example. The idiom &quot;放下屠刀&quot; (lay down the butcher's knife) does not refer to the butcher's knife that actually kills. The &quot;butcher's knife&quot; here refers to malice, evil deeds and all delusions, delusions, confusion, differentiation and persistence. The sentence &quot;放下屠刀，立地成佛&quot; (Put down the butcher's knife and become a Buddha on the spot) means: the one who put down delusion, distinction, persistence, is the Buddha! The essence of &quot;butcher knife&quot; is &quot;man's confusion to himself&quot;. Many translation versions of this idiom are given, like &quot;A killer becomes a Buddha at the moment he drops the knife to kill.&quot; and &quot;A wrongdoer may become a man of virtue once he does good.&quot;; however, these versions both neglect the original Buddhist factors. If the cultural connotation is not expressed in translation, westerners would feel confused while reading. (Jia Yunpeng, 2015, 65)<br /> <br /> <br /> ====2.4 Different Ways of Thinking====<br /> As for the characteristics of the deep structure of Chinese culture, from Hager to Derrida, the western academic circle has formed a prejudice that China has no rationality and no philosophy. Previous Chinese scholars have found some similarities and differences between Chinese and Western cultures in material, institutional and ideological aspects, but they have neglected the role of rationality in the Chinese and Western cultures. (Jiang Lei, 2003, 54)<br /> Reason has different contents and categories. Different categories of reason make up different rational structures. Although the outbreak of rationality is the common characteristic of Chinese and Western civilizations in the axial age, their rational structure is not the same.The rational structure of the ancient West includes logical reason, natural reason, practical reason, and aesthetic reason, but it lacks historical reason. Its rational structure is dominated by pure reason, while logical reason occupies a dominant position. (Jiang Lei, 2003, 54)<br /> The rational structure of China includes historical reason, natural reason and moral reason. It has logical thought, but it has not developed logical reason, among which historical reason occupies a dominant position. Logical reason dominates western thinking, while historical reason leads Chinese thinking. This difference in rational structure is the fundamental reason for the difference in Chinese and Western thinking. (Guo Jianzhong, 2000, 66)<br /> The difference between Chinese civilization and Western civilization lies in the difference of rational structure. The difference between the western civilization and the Chinese civilization lies in the difference of dichotomy.Some of the differences between Chinese and Western dichotomies can be traced back to the differences between Chinese and Western languages. Different language features are the source of the differences between Chinese and Western cultures. (Jia Yunpeng, 2015, 66)<br /> <br /> ===Chapter Three Comparative Analysis of foreignization and domestication Translation in Idiom Translation===<br /> As a literary form, Chinese idioms have many inherent and connotative meanings. In the process of translation, the phenomenon of loss of Chinese characteristics is quite serious. In order to induce the loss of Chinese characteristics in translation to minimum, we should choose the appropriate translation method. (Guo Jianzhong, 2000, 65)<br /> Domestication and foreignization translation have always been the focus of debate in the field of translation. The essence of the contradiction lies in the proposition that the expression form of the original language introduced into the target language or the idiomatic expression in the target language. This article, from the perspective of domestication and foreignization, compares the different effects of the text translated repectively by domestication and foreignization method and discusses the way to keep &quot;Chineseness&quot; in idiom translation form Chinese to English. (Guo Jianzhong, 2000, 65)<br /> <br /> ====3.1 A Brief Introduction of foreignization and domestication Translation====<br /> Foreignization and domestication Translation are systematically put forward by Lawrence Venuti in his book Translator's Invisibility: A History of Translation (1995). <br /> Domestication translation is to transform the foreign element in one culture into something familiar in another culture.It puts aside the sentence and image of the original text, but grasps its pragmatic meaning. From the target language and the original text of the pragmatic meaning of the same way of expression.Strictly speaking, domestication is a revision of the culture of the target language. However, it reduces the difficulty of the readers to accept the translation text at the expense of the large culture contained information as well as the appreciation and understanding of the meaning of heterogeneous culture to some extent. (Jiang Lei, 2003, 53)<br /> On the contrary, foreignization is to transform the information from one culture and language to another culture and language in a way that remains almost as it is. It endows the target language with new linguistic elements and also novel and unique forms of expression, which is conducive to the mutual communication and penetration of two heterogeneous cultures and languages, so as to promote their mutual integration. (Jiang Lei, 2003, 53)<br /> In his book, Venuti makes a critical study of western translation from the early 17th century to the present, and reveals that the strategy of &quot;smooth translation&quot; has always been dominant in the history of Western translation. The fundamental reason is to form a norm of foreign literature in English based on the western ideology. Venuti puts it bluntly that his purpose writing this book was to go against tradition, namely, to advocate the visibility of translators. Venuti opposed domestication and advocated foreignization in tradition. This translation strategy, he says, can be called &quot;resistance&quot;. (Venuti, 1995,105) <br /> Such translation not only avoids smooth translation, but also challenges the culture of the target language, because smooth translation tamper with the foreign text with the ethnocentrism of the culture of the target language. &quot;Resistance&quot; means resistance to the ethnocentrism of the target language culture, so that the translator is no longer invisible in translation. (Jiang Lei, 2003, 53)<br /> <br /> Nida is the representative of the domestication translation. He put forward the concept of functional equivalence, &quot;The relationship between the target receptor and the target text should be equivalent to that between the source language receptor and the source text&quot;, in order to eliminate the differences in language and culture in the translation. (Nida, 1993)<br /> <br /> ====3.2 The Application of domestication Translation in Idiom Translation====<br /> The ideal of Nida's domestication translation is the closest natural equivalent. Domestication translation maximizes the dominant position of the target language and makes the target language close to readers. It tries to overcome cultural differences to realize the equivalent translation. Due to the cultural differences between different languages, translators are required to have a keen sense of culture and ability to fully and accurately interpret the national psychology and cognitive mode of the source culture, so that they can reproduce the profound cultural connotations of the source language. (Qiu Jixin, 2002, 42)<br /> Generally speaking, idioms are words with rich cultural connotations. Undoubtedly, the choice of foreignization and domestication method will produce different results: whether the culture of the source language can be preserved, and to what extent can be preserved. If we choose domestication method, we should realize that there are two premises to distinguish it: one is the domestication under the principle of fidelity, which is prescriptive and centered on the source language; another is domestication under the premise of non-faithfulness, which is descriptive and oriented by the translation into Chinese. (Qiu Jixin, 2002, 42)<br /> <br /> That is to say, domestication translation can be divided two way. One is a faithful principle under domestication, we can refer it as equivalent translation. While using this method to translate idioms, translators try to look for expressions from target language which has the same semantic effect as that of the source language, thus to make the translation natural, direct and vivid, improving the readability and acceptability of the translation. (Qiu Jixin, 2002, 42)<br /> For example, the Chinese idiom &quot;时间就是金钱&quot; is translated as &quot;Time is money&quot;, and &quot;事实胜于雄辩&quot; as &quot;Facts speak louder than words&quot;. The other is a loyal premise of domestication, which is similar to free translation. When the cultural characteristics of source language idioms expressed cannot be transformed through literal translation, translators should adopt free translation, not only to convey the deep meaning of the source language, but also to reflect characteristics of the target language, realizing the harmonious development of the two different languages. For instance, &quot;胆小如鼠&quot; is translated into &quot;as timid as a hare&quot; instead of &quot;as timid as a mouse&quot;. (Jiang Lei, 2003, 54)<br /> <br /> Another example of the application of domestication is the translation version of the famous Chinese novel 《红楼梦》 by David Hawkes. There are a large number of idioms in the novel, and Hawkes generally translated them by using the method of domestication. For the sentence &quot;癞蛤蟆想天鹅吃。&quot;(曹雪芹 165) , Hawkes translated it into &quot; The toad on the ground wanting to eat the goose in the sky&quot; [Hawkes, 2012, 242]. Here, Hawkes replaced &quot;swan&quot;(天鹅) with &quot;goose&quot;(鹅), since the associative meanings of &quot;swan&quot; and &quot;goose&quot; are completely different in western culture. (He Fang, 2019, 171)<br /> <br /> ====3.3 The Application of foreignization Translation in Idiom Translation====<br /> Foreignization translation means that, under the pressure of cultural value deviationism, the reader is brought into the context of the translation, accepts the language and cultural differences of the foreign language text. It takes the source language culture as the destination, adopting the source language expression methods that correspond to the original author, approaching the source language text author, and conveying the original content most truthfully. (Qiu Jixin, 2002, 43) <br /> <br /> For example, if &quot;一箭双雕&quot; is translated as &quot;kill two hawks with one arrow&quot; instead of &quot;kill two birds with one stone&quot;, the cultural information of the source language would be preserved to the greatest extent, so that the different cultural connotations can be truly presented to readers. The differences in the culture of the source language are reflected, allowing readers to experience foreign cultures through their own cultural cultivation. The foreignization translation method reflects a trend of cultural integration, allowing the strong culture and the weak culture to develop in the collision, and finally achieve equal dialogue in the continuous exchange. It not only promotes cultural exchanges, but also contributes to the enrichment and development of the target language culture. (Jiang Lei, 2003, 54)<br /> <br /> Moreover, another example of the application of foreignization is the translation version of the famous Chinese novel 《红楼梦》 by Yang Xianyi(杨宪益). Contrary to Hawkes’s translation, Yang adopted the method of foreignization while confronting with cultural factors in translating. As for &quot;癞蛤蟆想天鹅吃&quot;[曹雪芹, 1791, 165], Yang translated it into &quot;A toad hankering for a tatste of swan&quot;(Yang Xianyi, 1978). Here, Yang keeps the &quot;Chineseness&quot; in source language through literal translation. (He Fang, 2019, 172)<br /> <br /> Choosing domestication or foreignization is not a question of black and white, but a question of grasping &quot;degree&quot;, or finding a balance. Translation involves the pragmatic rules of two different languages and is a cross-linguistic and cross-cultural communicative activity. Foreignization and domestication shouldn’t be treated simply separately. In many cases, the use of the two methods is restricted by the pragmatic environment and must be combined. It is impossible for a translator to choose only one method to translate a work and use it to the end. The key to the translation of idioms is to grasp a balance point between domestication and foreignization. If we simply emphasize the readability of the translated version, we may ignore the cultural characteristics of the source language, leading to excessive domestication and loss of the culture of the source language. (Qiu Nengsheng, 2019, 56)<br /> However, if we only focus on the transmission of the cultural information of the source language, it may damage the readability of the translated text and lead to excessive foreignization. The loss of readability of the translated text will eventually lead to the failure of the translator's efforts. The selection method of foreignization and domestication should be a dynamic mechanism, flexible and changing with the change of corresponding influencing factors. Due to the need of specific context, the same idiom may be translated in different ways. In the process of idiom translation, whether to adopt domestication or foreignization, communicative purpose and pragmatic environment all affect the choice of methods. (Qiu Nengsheng, 2019, 56)<br /> For example, the primary purpose of Yang’s translation of Dream in Red Chamber is to spread Chinese culture; therefore, he mainly adopted the method of foreignization in idiom translation, so that the &quot;Chineseness&quot; in idioms could be kept as much as possible. And Hawkes mainly used domestication in his translation, because he wanted to reduce the difficulties of reading, making it easier for western readers to accept the novel. So we can see, different communicative purposes lead to different chooses of translation methods. (He Fang, 2019, 172)<br />  <br /> ===Conclusion===<br /> Fomestication and foreignization have always been the focus of controversy in translation circles. The essence of the contradiction is to advocate the introduction of the original expression in the target language or the authentic expression of the target language. The article believes that the contradiction between the two is not irreconcilable under normal circumstances. In fact, mere foreignization or domestication cannot appear alone in translation. The balance between the two should be sought as much as possible on the premise of loyalty to translation duties. (Guo Jianzhong, 2000, 65)<br /> <br /> One of the purposes of translation is to spread the source language culture, promoting cultural exchange and integration as well as the diversified development of the world. The foreignization translation method can reserve enough space for readers to appreciate and analyze foreign cultures. (Qiu Nengsheng, 2019, 56)<br /> The translator should have enough confidence in readers when adopting foreignization strategies, and believe that readers can give full play to their imagination to understand foreign countries on the basis of comparing their own and foreign culture. The ultimate goal of translation is to promote cross-cultural communication. It is necessary to consciously retain relevant cultural factors in the translation process. Simply using domestication translation will inevitably hide or even distort the cultural connotation of the source language. In order to preserve and spread the source language culture, the use of foreignization translation methods should be emphasized when translating idioms rich in cultural meaning. (Guo Jianzhong, 2000, 12) <br /> <br /> However, the foreignization strategy has its limits. Regardless of whether for interpretation or translation, it does not mean that all idioms containing cultural factors should be preserved. Information transmission and cultural transmission are equally important in the translation process. One cannot lose sight of the other. Idioms convey a country’s culture brilliantly. <br /> In the process of idiom translation, the expression of cultural factors cannot be ignored. The retention of unique cultural images can attract readers of the target language. The actual acceptance ability of the target language readers cannot be ignored, otherwise it may cause poor communication. In the translation process, the translator must adhere to the principle of the inter-growth of different languages and cultures, and must pay attention to the fact that the translation must achieve communication, coordination and docking with the world, and at the same time, it must not be inappropriately eliminated in order to comply with the needs of the target country. The source language and the target language are inherent in language and culture. (Qiu Jixin, 2002, 45)<br /> <br /> ===Bibliography===<br /> *Guo Jianzhong 郭建中. (2000). 韦努蒂及其解构主义的翻译策略 [Venuti and his deconstructionist translation strategy]. 中国翻译 [Chinese translation].<br /> *He Fang 贺 芳. (2019). 异化翻译与文化传播——以杨宪益《红楼梦》歇后语翻译为个案 [Alienation Translation and Cultural Communication-- A Case Study of Yang Xianyi's Idiom Translation in A Dream of Red Mansions]<br /> *Jia Yunpeng 贾云鹏. (2015). 汉语四字成语翻译中的文化补偿与缺失 [Cultural Compensation and Deficiency in the Translation of Chinese Four-character Idioms]. 语文建设 [China Academic Journal].<br /> *Jiang Lei 蒋 磊. (2003). 英汉文化差异与习语翻译的归化和异化 [E -C Cultural Differences and Foreignization &amp;Domestication in Idioms Translation]. 武汉: 武汉大学出版社 [Wuhan: Wuhan University Press].<br /> *Qiu Jixin 裘姬新. (2002). 论习语翻译中的异化与归化 [On Alienation and Adaptation in Idiom Translation]. 语言与翻译 [Language and Translation].<br /> *Wang Tao 王 涛. (2018). 英汉习语翻译中的文化缺失与补偿 [Cultural Deficiency and Compensation in Translation of English and Chinese Idioms]. 三峡大学 [China Three Gorges University].<br /> *Qiu Nengsheng 邱能生. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization and Domestication in Translation of English and Chinese Idioms under the Background of Cultural Differences]. 上海翻译 [Shanghai Journal of Translators].<br /> *Yang Xianyi 杨宪益. (1978). 红楼梦 [A Dream of Red Mansions]. 外文出版社 [Foreign Language Press].<br /> *David Hawkes. (2012). The Story of The Stone. Shanghai Foreign Language Education Press.<br /> *Venuti,L.The Translator′s Invisibility [M].London &amp; New York:Routledge,1995:20<br /> *Nida, Eugene. A.(1993). Language, Culture and Translating. Shanghai: Shanghai Foreign Language Education Press.<br /> *Nida, Eugene A. &amp; Charles R. Taber. (1969). The Theory and Practice of Translation. Leiden: E. J. Brill.<br /> <br /> ==Translation of English Proverbs from the Perspective of Culture 韩海洋 202020080602 Han Haiyang==<br /> <br /> ===Abstract===<br /> As close communication between eastern and western countries,nowadays cultural influence is increasingly becoming more and more importance than before in language exchanging. As for translation of English proverbs, proper translation strategies should be considered in order to better understand their meanings and characters. By looking up thesis and documents, some translation strategies need to be concluded. In terms of cultural influence and social communication, foreignization and domestication are chosen in which the former is used more frequently than the latter. It arrives the conclusion that foreignization applied for translation of English proverbs is on the increase.<br /> <br /> As close communication between eastern and western countries, nowadays cultural influence is increasingly becoming more and more importance than ever before, which is benefited from language exchanging. For translation of English proverbs, proper translation strategies should be seriously considered in order to better understand their meanings and characters. By looking up thesis and documents, some translation strategies are concluded. In terms of cultural influence and social communication, foreignization and domestication are selected in which the former is used more frequently that the latter. Thus, it is said that more and more translators apply foreignization to translate English proverbs. --[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 11:58, 16 December 2020 (UTC)<br /> <br /> ===Key Words===<br /> proverbs; culture; translation strategies<br /> <br /> ===从文化视角来看英语谚语的翻译===<br /> <br /> ===摘要===<br /> 由于文化因素在不同语言之间的交流具有一定的影响，特别在中西方交往日益密切的背景下。为了更好的翻译英语谚语，使其达到应有预期效果，适当的翻译策略可以在翻译过程中更好地了解谚语的含义与特色。通过查阅资料和文献，总结出合适的翻译方法。根据现在的社会背景和文化影响，对于归化和异化两种方法，异化的选择得到了更多的倾向。在翻译的过程中，将文化因素考虑进去对于语言翻译上面，异化的趋势将会逐渐增大。<br /> <br /> ===关键词===<br /> 谚语; 文化; 翻译方法 <br /> <br /> ===1. Introduction===<br /> With the advent of 21th century, society has been changed in a wide scope, and shed light on the unparalleled interaction of culture and economy as most exemplified phenomenon happening everywhere. Translation is thereby a way to transfer from one culture to another, in which the effect of cultural background is behind language the essence of best fruit of translation. The history of translation has been lasted for a long time, for example when it comes to English proverbs, which can be traced to centuries ago, like Bible and works of Shakespeare. It is not rare to see that each country has its own unique culture, and under the cover abundant resources mirroring a country can be exploited. English proverbs as a product of culture the bridge for cultural exchange is been studied since centuries ago. The strategies of proverbs translation also have been experimentally discussed from time to time as the rapid development of culture and economy. Translation plays a key role in promoting a country’s own culture, because that is the way of importing and exporting knowledge of culture to another country. Proverbs is the product of culture that cannot be understood directly without any effort to digest it. So translation is needed, which could impose exotic flavors to new conception or understanding, but the premise is that translation is properly chosen in regard to nowadays strongly cultural promotion awareness.<br /> <br /> Usually proverbs are concise, concrete and pithy words which are rhythmed and organized for the sake of being simple to remember and spread to people. Proverbs are summarized by certain people from all walks of life in a specialized area, including eating habits, farming, belief, customs and so many. Proverbs composed of words the exact symbol of language, are named as the crystal of culture in a easily understandable way. Culture awareness is highly appreciated whatever it is developed country or developing country. For the fulfillment of translation of English proverbs, therefore this thesis aims to translate English proverbs with appropriate translation strategies-mainly foreignization and domestication from the perspective culture.<br /> <br /> ===2. Chapter 1 General Introduction to English proverbs===<br /> <br /> ====1.1 Definition of Proverbs====<br /> As far as history is concerned, proverbs can be dated back to the times that language is produced. According to Dictionary of Proverbs, proverbs are “a succinct and memorable statement that contains advice, a warning or a prediction, or an analytical observation”. Maybe the first definition is given by Socrates that a proverb is noted as brevity, philosophical tone, and common usage. In the 15th century, Michael Apostolius of Byzantium wrote, “A proverb is a statement which conceals the clear in the unclear, or which through concrete images indicates intellectual concepts, or which makes clear the truth in furtive fashion”.(Honeck 1997,12)<br /> <br /> Champion (1966:xi) has claimed his idea “a proverb in my opinion is a racial aphorism which has been, or still is, in common use, conveying advice or counsel, invariably camouflaged figuratively, disguised in metaphor or allegory.” According to Mieder (1993), “A proverb is a short generally known sentence of the folk which contains wisdom, truth, morals, and traditional views in a metaphorical, fixed and memorable form and which is handed down from generation to generation”. Although definition is definitely different from one to another, one thing is for sure is that proverbs have been proved to exist for a long time. From all the above have been talked, proverbs can be boiled down to a simple, culture-loaded, and wide-circled saying enjoying great popularity throughout the whole country. Considering it that a majority of elements are included in proverbs, especially when it comes to perspective of culture, some feasible measures should be properly taken to handle it.(Champion 1966,15)<br /> <br /> 1.1.1 Origin of Proverbs from Abroad<br /> Proverbs are not come out from nowhere, and the amount and meaning of them do not stay the same eternally. As a rule, comparison between at home and abroad is always been found. From abroad, English proverbs could be seen in Bible, and works from Shakespeare and other fables. Part of old proverbs are stemmed from Bible, which largely related to God and so many fairy tales, or in other word like “God” or any related implication are sometimes recorded in proverbs. Like the famous one said: “man proposes, God disposes”, it shows that in western country people faithfully believe in God who is enshrined in most western religions, especially Christianity. <br /> <br /> Except from Bible, in the times of Renaissance Shakespeare’s works can be found in which some proverbs are known from that time. For example, in Romeo and Juliet there is one sentence “a rose by any other means would smell as sweet”. It means that irrespective of how things’ names are changed, the essence embedded in them would still intact. Shakespeare is as one of the most brilliant play writers just on the behalf of renaissance period. There are still amounts of proverbs created by other scholars like Francis Bacon, John Milton and so on.(Li Keshi 2009,35-38)<br /> <br /> 1.1.2 Origin of Proverbs at home<br /> <br /> In china, proverbs can be traced to Spring and Autumn periods. At that time, people mostly work at farm, so there are a lot of proverbs related to farming or country life. with Zuo’s Commentary( 左 传 ) deserves the first.In it, the Chinese proverb “山有木，工则度之；宾有礼，主则择之”has its track, and most of the proverbs mentioned in Zuo’s Commentary are from Zhou Dynasty as “Zhou proverbs”(周谚). Besides, terms like “Xia proverbs(夏谚)” can also be found in Mencius(孟子). Like the proverb “吾王不游，吾何以休？吾王不豫，吾何以助？一游一豫，为诸侯度”from Mencius, though have not been handed down, it is regarded as the earliest proverb that have been recorded (ibid,2003). <br /> <br /> Xia is an extremely ancient dynasty in Chinese history, as far as over 4,000years from today. So maybe proverbs are not as popular as today, they are definitely has records and can shed light on Chinese history.Proverbs in China are said to date back to as early as before the words came into being. People at that time did not pass down their knowledge and experience by writing, while they made it by speaking and saying in a simple and memorable way. With time moving forward, proverbs are gradually been regarded as important as written words which play a great role in future generation in dealing with culture and heritage. No matter what kind of proverbs are produced, from the historical evidence it can be observed that proverbs can across ocean and land, moving to another country, another culture domain.(ibid 2003,31) <br /> <br /> ====1.2 Characteristics of Proverbs====<br /> Proverbs are memorable, vivid words which are succinct and simple in form summarized by people from all walks of life. Both Chinese and English are bountiful in considering the thousands of proverbs have been recorded and there are still more proverbs to be created as time goes on. For the record, proverbs are not spoken at random and created at one’s free will. Some rules can be depended on, such as the lifestyle, living environment, education, social value, and so on. Take environment for example, the British lived near to ocean or sea, and therefore it is common to see proverbs related to sea spoken by English people “In a clam sea, every man is a pilot.”<br /> <br /> 1.2.1 Cultural Characteristics of Proverbs<br /> <br /> Broadly speaking, culture contains all the aspects of the society and gives its people ability viewing the world. Meanwhile, culture also can be regarded as a deciding element on distinguishing the difference from each country. It is no exaggeration to say that a country’s most standing heritage is its culture, which keeps changeable in line with the history. Although nowadays similarities of culture are seen more easily than ever before, the reason is under the influence of globalization-culture import and export take place here and there. The logic is culture formed from all walks of life, which means language is included, and proverbs are product of language. <br /> <br /> Therefore, proverbs carry characteristics of culture whatever the country is and how singular its culture is. Social customs is one of the big parts in a cultural society, there are some symbols or people are widely used in proverbs. Jack and Jill usually refer to man and woman in general such as: “every Jack has his Jill”. The counterpart in china is also easy to find. To name a few, there are more could be found in each cultural community. The next indispensable one is religion. It is well acknowledged that western countries like America and the UK, are religious countries, in which the words like: “God, devil, and church” are seen here and there. Like it has been said before, language is the product of culture, which contains every aspect of people’s life from individuality to the whole society. <br /> <br /> What is more, value concept is also included since it reflects how a country embodies its culture to the outside world. Giving respect for the aged in china is a necessary and ethic social value passed on and on for thousands of years. In Chinese, there is proverb saying that: “不听老人言，吃亏在眼前”. It means youth should listen to what the old men told you, or you will pay the price of what you have done. Instead, traditional values favor in masculinity, people think that men are superior to women and they have direct control over them. Ego and individuality in America is felt deeply, because they think that they are going to be successful by themselves from any given chance. They seldom make big achievement by working in group rather than enjoying doing it by their own hands. Proverbs like “near is my shirt, but near is my skin” is emphasizing that someone himself is more important than others.(Li Keshi 2009,35-38)<br /> <br /> 1.2.2 Rhetorical Characteristics of Proverbs<br /> <br /> As proverbs express concrete meaning by only a few words, sometimes it has to apply some kind of rhetorical devices for perfectly presenting the delicacy of proverbs. Some meaningful proverbs are not understood directly by adding each word all together, however, it only can be realized by using proper rhetorical methods to give their deep meaning, in another word, connotative meaning. <br /> <br /> Simile is often seen in proverbs, and it usually compares one thing to another thing, in order to showing its vivid or obscure picture to receptor who may not understand directly from plain words. In sentences with simile, “like” and “as” are widely used for example, “March come in like a lion and goes out like a lamb”, and “time tries friend, as fire tries gold”. The former means that the changes of March is different from how it is coming and ending, and the latter means that friend like gold needs to be tested then you would find who is your real friend. Both of them impressively express the core meaning from unfamiliar thing or abstract thing to specific and easily understandable thing. <br /> <br /> Metaphor is seemingly like simile, but it is more implicitly explaining meaning than simile. Like “brevity is the soul of wit” and “an empty bag cannot stand upright”. The former means brevity is so important to wit like the soul of a person, the latter one translated in Chinese is “人是铁，饭是钢，一顿不吃饿的慌。” Hyperbole is a rhetoric that uses overstatement or obvious exaggeration to emphasize something, such as “Our life is but a span” and “An unfortunate man would drown in teacup”. The former means life lasts in a few times as short as span, which is obviously overstated. The latter means if a person is feeling unlucky at that day, whatever you do will bring bad lucky. Personification is the ability to endow common lifeless things with features of human-being. For instance, “Money is a good servant but a bad master”, and “fortunate knocks once at least at every man’s gate”. The former means money should be rationally handled or it may be a burden for you. The latter means everyone has a chance to be fortunate at least once.(Guo Min 2008,123-127)<br /> <br /> From all above have been discussed, they are just the most common figurative devices formed into proverbs. In terms of the function of rhetorical, proverbs can come into being in a simple, memorable form. It can be inferred that proverbs in a much degree use rhetorical to express refined and concrete meaning. Meanwhile it reflects the problem that when doing translation of proverbs, focus are more than just words themselves needed to be considered, as well as culture, form and connotative meaning. <br /> <br /> ====1.3 Differences Between Proverbs and Maxims, Sayings, Idioms====<br /> <br /> It seems that proverbs are looked the same as maxims, sayings, and idioms one way or another, but in fact there still exists some differences between them. For one thing, the existence of proverbs is across the whole world, therefore, no one can precisely calculate how many of them are recorded, and how many of them are still unknown to us. In terms of the number of proverbs is uncertain, so making a convincing definition is unrealistic, at least not perfect. If referring to it could be found that the definition in the dictionary is also easy to distinguish from each other. Some researchers disagree with each other on the definitions of these similar terms. <br /> <br /> Fergusson (1983) states some proverbs are simple folk sayings. Burton Stevenson (1987)’s idea about proverb is that― “A maxim is the sententious expression of some general truth or rule and it becomes a proverb when it gets its wings by winning popular acceptance.” Some scholars believe that sayings are one stream in the vast ocean of proverbs while others argue that proverbs should be included in the realm of sayings. In one source defining idioms and proverbs, NTC’s American Idioms Dictionary (1987) mention that ― “the idiom ‘a bird in the hand is worth two in the bush’ is a proverb meaning that something you already have is better than something you might get.” (Burton Stevenson 1987,20)<br /> <br /> As for classifying maxims and proverbs, Cordry (1997) suggests that “one defines a maxim as a rule of conduct and a proverb as a comment or observation with regard to the universal experience of life, the distinction is not always clear.” And as given in Concise Oxford English-Chinese Dictionary (2003), saying is defined as “a maxim, proverb, adage, etc.” Even so, there must be some obvious features we could rely on to categorize them in general. It could be concluded that maxim and saying are mostly the expression of principle or behavior of man or the rules that summarized by famous writer or philosopher.(Cordry 1997,26-28)<br /> <br /> Thus maxim and saying are seldom heard or seen except reading in the books and hearing from author himself. As a number of them are in a serious or form expression, there they are not as popular as proverbs which are created from daily experience by common people. In regard to idiom, its meaning is not the each word put together, but by understanding it form local people who made them and made it spread in his surrounding places. Idioms sometimes are not complete sentences but simple phrases. While, proverbs enjoy great popularity and are universally spread because of their concrete, succinct and vivid description.(Fergusson 1983,28-31) <br /> <br /> In conclusion, proverbs are prevalent in the world enjoying widespread social value and abundant sentence structures, but for sayings and maxims they are carrying the color of literature. Idioms have local color that is only understood within the same or similar speech community. With such understanding, it lays the foundation for researcher to better study and distinguish the distinctions form others. <br /> <br /> ===2. Chapter 2 Relation Between Culture and Proverbs Translation===<br /> <br /> ====2.1 Definition of Culture====<br /> <br /> As many scholars have been studied the definition culture, there have been existed sorts of definitions, in which they do not have big difference in one way or another. Culture is a general word that could take language, customs, religion, and others into account. One of the oldest and most quoted definitions of culture, which is frequently mentioned regardless of so many entries of definitions, was formulated by the 19th-century English anthropologist Edward Burnett Tylor in the first paragraph of his Primitive Culture (1871) as “Culture… is that complex whole which includes knowledge, belief, morals, custom, and any other capabilities and habits acquired by man as a member of society. …” . <br /> <br /> While Nida, a famous linguistic and translation theorist, gives his definition of culture as “the totality of beliefs and practices of a society” in the book Language and Culture (2001:139) and as “the way of life and its manifestations that are peculiar to a community that uses a particular language as its means of expression” by New mark given in his book of A Textbook of Translation (2001:94).From the mentioned above, culture includes every aspect of human life such as housing, transporting, communicating with people, recording of history and so on. Therefore, it is no exaggeration to say that proverb, or even language is a part of culture. Some scholar even put that language is the medium of culture, without language there may be no existence of culture. So the importance of culture cannot be ignored in order to better understand the deep meaning when studying proverb, a culture-loaded word, and more attention should be given to perspective of culture.(Katan 2004,16)<br /> <br /> ====2.2 Language and Proverb====<br /> <br /> It is no exaggeration to say that language is the product of culture since culture is culturally transmitted from the view of linguistics. Therefore, proverbs are composed of a set of words, which are selected from a particular language community. Take English and Chinese for example, they both represent their special culture and unique characteristics respectively. More importantly, proverbs are the crystal of language, which can be used as a convenient tool to understand different cultures for language is the bridge leading to culture.<br /> <br /> ====2.3 Value and proverbs====<br /> <br /> Value is associated with sorts of people’s live and is defined by these people living in a specific area. Value of appreciation on people is an obvious example that eastern and western countries have extreme angles on how to appraise a person. Tanned skin and jeans clothes are symbols as to select people whom they like more, but for eastern, white skin and Qipao maybe are thresholds for people to judge a person whether he or she is more stylish. Value of eating is still a big mark to differentiate race or natality. Cooked meal in china and salad in the west make the difference that eating habit is so little sameness on each other. There are still more, living environment and national policy if is related to country. All of them shape all kinds of values which are on behave of its countries or people. Like east or west, home is the best means “金窝，银窝，不如自己的狗窝.” Proverbs are not just created form nowhere but they are existed for ages and still available only if they are still reflecting meaningful viewpoints.(Chen Jinshi 2006,72-77) <br /> <br /> Language is a part of culture and also at the same time a reflection of culture. Taking Chinese and English for example, they belong to different language families, therefore there exist some distinctions between them. Chinese people usually don’t say daring or family name directly, which is so different from western people who call their parents’ name and say sweet words without any concerning of awkwardness or shyness. It works to proverbs, and that is the social custom defining a society what is their core valve. <br /> As far as we know, social value between western country and eastern country are of great differences. In western country, self-awareness and individuality are mostly emphasized, but for eastern, more attention is given to collective wisdom and working in groups. Like Chinese proverbs “ 三个臭皮匠，顶个诸葛亮。”and in English proverbs such as “ God helps those who help themselves.” From above being said that it has a lot benefits to study proverbs to better understand culture and language.(Chen Jinshi 2006,72-77)<br /> <br /> ====2.4 Cultural Similarity on Chinese and English Proverbs====<br /> <br /> Without any effort it can tell that Chinese and English are defined by different language families. Even so, Chinese and English proverbs shared some similarities in various ways, which are performed in different form and speech of proverbs. Because there exist universal truths and life styles, they are more or less understood by people from society to society. Like the truth of the universe in the definition of right and wrong and subjects including philosophy, math, chemistry, they are all developed separately in different areas but shared and summarized by all members form all the world. In this point, proverbs play the role in spreading some common knowledge and experience to the outside world, though forms are created by different society, they are carrying the same meaning or implying one way or another. Examples like “a snow year, a rich year(瑞雪兆丰年), strike while the iron is hot, and a neighbor is better than a distant cousin.” All of them are proved to share universal life experience and truth in the everyday life. Because people live under the same sky, sun, star, they go on making their living by hard working.(Han Jiaoyang 2009,111-117)<br /> <br /> It is no exaggeration to say that cultural exchanges are rapidly happening all over the word, and foreign culture may be assimilated by domestic culture or rejected by its opposite expression of culture. In this sense, we have same expressions in different ways of forms, like “情人眼里出西施” (Beauty is in the eyes of the beholder). They are describing the same thing but with different cultural background, therefore they sometimes have similarities in one way or another.(Han Jiaoyang 2009,111-117)<br /> <br /> ====2.5 Cultural Difference in Chinese and English Proverbs====<br /> <br /> Without a doubt that cultural similarities surely make translation easier in understanding foreign proverbs, but they are not silver bullets to taking all the proverbs into consideration. When it comes to separate boundaries which cut the Earth into serval parts, under this context, local culture will be formed and promoted in its own birth place. One of the most common features of culture is religion in western and eastern country, because western people have belief in God, Chinese people believe in Buddhism, which are of two great differences. That is the reason why in the process of translation, factor of culture has to be reckoned, especially in the new eras. As Nord have ever put forward in Translating as a Purposeful Activity that ―A culture-specific phenomenon is one that is found to exist in a particular form or function in only one of the two cultures being compared‘‘ (Nord,2001:34), therefore culture will be compared at a time when people have different perceptions on things, in which language would be the first. The grammatically sentence structure and the pronunciation for example, have little in common regarding they belong to different language family.(Fu Yanli 2016,91-92)<br /> <br /> Living environment is an element on deciding the formation of proverbs. Traditional Chinese people were busy doing farming, agriculture, so there are proverbs associated with them. Like “ 瓜熟蒂落” means things will be done when they are mature, and “人靠血样，苗考水活”means blood is a necessity for existence of human being as well as water to seedlings.” Moreover, a fruitful harvest is dependent on the weather, producing proverbs such as “三月三，著蓑衣，三月十五冷凄凄”, which means lunar early month has heavy and the middle is heavily cold. But for English proverbs, which are to a large extent related to fishery or marine affairs such as “to sink or swim”, “to keep one’s feet above water” and so many. Therefore both of the proverbs are created surrounding environment. Except for living environment, living customs are also reflected on formation of proverbs. <br /> <br /> In different communities, people have different perception of things like animals. In Chinese proverbs, “杀鸡取卵” which equals to “kill the goose that lays golden eggs”, in which different animals are choose represent local customs. English proverbs would say that “look for a needle in a haystack”, which has a Chinese counterpart as “大海捞针”. It means that doing something is as difficult as finding out a small piece in an immerse container. Dog is also a featured sign that stand for different views in Chinese and English proverbs. In China, although dog is loyal to his master, it always leaves unrespectable impression on people, on the contrary, English love dogs and cherishes them so much sometimes even more than their family.(Fu Yanli 2016,91-92) <br /> <br /> Different cultural heritage and religious beliefs are also play a key role in the formation of proverbs. It is not hard to refer that understanding proverbs on the bases of translation is convenient for study foreign culture. With all the differences and sameness, within the range of translation, culture is a must during translation <br /> <br /> ===3. Chapter 3 Translation Strategies for English Proverbs===<br /> <br /> Translation strategies have long been studied for a long time, during that time, domestication and foreignization have been considered as dominating strategies that were applied by a lot of scholars. Cross-culture exchange has gained great trend, especially in those years global communication between countries develops rapidly. It is true that here exists another method like “functional equivalent” created by famous scholar Eugene Nida who claims that in the process of translation source text and target text are both considered as author and reader are separated by the language or culture. <br /> <br /> The best function of translation is aiming to make source text as readable as reader-oriented text, which is popular in centuries ago in the era of underdeveloped cultural exchanges. In Chinese culture, the history of translation can also be traced to hundreds of years ago, some brilliant point of view like “信，达，雅”by Yan Fu, then it was changed into “信，达，切”by Liu Chongde. It means that translated text in which the flavor of text should be close to its original color of its culture. Taking what translation strategies into consideration should comply with the trend of culture exchange and its development.(Chen Daoen 2015,257-258)<br /> <br /> ====3.1 Domestication and Foreignization====<br /> <br /> Domestication is a target language oriented translation device, which is to change the flavor into reader’s meet. It is compatible with the taste of people who think their country is strong enough to set international standard and in which all other countries will prepare for the transmission of culture. It is the assimilation that causes translator to change resource text into native flavor. But for this phenomenon, the reason is that people’s recognition is limited and their hold self-importance to the most, therefore, everything from outside will be transmitted into domestic flavor. <br /> <br /> As communication of culture and technology grows rapidly and each country would like to strengthen its comprehensive power by take into foreign culture. As for translation strategies, which are still be reckoned which one should be adapted. Foreignization is a source language oriented translation device, which is to change the flavor into author’s meet. The roots of the terms “domestication” and “foreignization” can be traced back to the German philosopher Schleiermacher‘s argument in 1813 in a lecture on the different methods of translation, he found only two methods of affecting the domestic reader‘s understanding of the foreign author, “Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Venuti 2004,19-20).<br /> <br /> In China, some scholars also have put forward their own opinions about the definitions of domestication and foreign. Among them, Lu Xun’s opinion is famous. He claimed that domestication was as “rewriting, changing the foreign story into Chinese story and changing the foreigners into Chinese” , while foreign was “translation is like going abroad traveling, it must reflect the scene and flavor of the foreign country concerned.”(ibid 1984,301) Expect the definition of domestication and foreignization, translator when doing the work of translation should consider the perspective of culture and the intention of the writer as well as reader whether they want to the culture of source text to be originally intact or changed into readers’ culture.(罗新璋 1984,301)<br /> <br /> ====3.2 Foreignization over Domestication for Translation====<br /> <br /> As far as social development is concerned, cultural exchange is more frequent than now or ever. In previous centuries, domestication is always been advocated by Chinese and western translators, as the exchange of economy and culture is not as common as today. Countries blindly think themselves as the leading one, so naturally take translated text as a respect from other countries. In translated works, any trace of alien culture is eliminated, in favor of own country’s culture to be admired and promoted. The awareness of culture is not developed people only unconsciously find that in their mind anything enters into their country is no foreign at all, because every product from aboard will be transferred into familiarly native fruit with sense of closeness. <br /> <br /> In another way, people at that time are barely having the chance to access to education, in particular for poor family most of them are illiterate. It is without saying that no room is left for people in their countries to study culture abroad while native culture still did not gain completely popularity. From the above being mentioned, at an early age, domestication has upper hand indeed. So in choosing translation strategies, it is no doubt that it should be domestication centered.(Ding Min 2014,72-76) <br /> <br /> For another thing, as technology and economy develop from nowhere, cultural exchange between countries has witnessed great changes in the past decades. In highly developed areas, people in their countries universally receive full education in which their counties’ historical culture has been deeply absorbed. So, in the process of translation, foreign culture as novel things fulling with exotic flavor has attracted people a lot to see the differences and experience a foreign journey. The untouchable place of domestication did not enjoy its popularity an anymore for its limitation of spreading of foreign culture. <br /> <br /> Therefore, foreignization became more and more important as translation tool in the view of people’s eye. It not only translated the original foreign text into native character, but also carried the foreign special into domestic text. Take china for example, although as a developing country in the Asian, china has so much say in the stage of the world in the aspect of culture and world peace. Language as the bridge of communication, have to be understood by others in the way of translation. In one way or another, domestication and foreignization can both play the role in the translation, but from the perspective of culture, foreignization seems to weigh more in nowadays choosing translation strategies.(Ding Min 2014,72-76)<br />  <br /> ===4. Conclusion===<br /> <br /> Proverbs are culture-loaded words that has been transmitted and renewed from generation to generation as well as the changes of different eras. As a part of language and the product of culture, it is no exception that proverbs can be a medium, which offer the opportunity to learn language and culture. With the advent of new technology and wide economic communication, translation is playing an indispensable role in this process. <br /> <br /> Proper translation strategies are essential that whether foreign culture should be taken into consideration since it stands as the soft strength of a country. By considering this, foreignization has more superiority when compared with domestication. Foreignization as a trend translation, keeping the original culture intact to target readers, meanwhile can enrich a native country’s culture and expand vocabulary. There is no doubt that domestication is not totally worthless, regarding proverbs has multiple varieties, which cannot be translated simply by foreignization, therefore domestication is worked as supplementary tool assisting foreignization in translation. <br /> <br /> Foreignization leaves the culture of source text untouched, wishing to give target reader exotic environment where readers experience different aspects of culture, like religion, belief, custom and others.<br /> <br /> In the end, as cultural development and social progress is moving forward, foreignization has more advantages than domestication.<br />  <br /> ===5. References===<br /> *Bian Xiaofei, 边晓霏(2013). 从文化视角探究谚语翻译[Exploring proverb translation from a cultural perspective]. ''保定:河北大学''[Baoding:Hebei University] .<br /> *Chen Jinshi,陈金诗(2006). 英汉谚语的特征与翻译[Characteristics and translation of English-Chinese proverbs]. ''武汉:中南民族大学''[uhan: Zhongnan University for Nationalities].<br /> *Dong Jing,董晶,Liu Yalou,刘亚楼(2015).英语谚语的文化内涵与翻译方法[The cultural connotation and translation of English proverbs]. ''河北联合大学学报(社科版)'',(1): p: 100-103.<br /> *Fu Yanli,付艳丽(2016). 跨文化语境下英语谚语翻译的意蕴与特征表达[The Meaning and Characteristics of English Proverbs Translation in Cross-cultural Context]. ''济南职业学院学报''[Journal of Jinan Vocational College],(4): p: 90-91.<br /> *Ding Min,丁敏(2014). 从文化视角看英语谚语的翻译[Translation of English proverbs from a cultural perspectiv]. 西安:西安外国语大学[Xi'an:Xi'an University of Foreign Languages].<br /> *Guo Min,郭敏(2008). 英汉谚语中的文化差异及其翻译[Cultural differences in English and Chinese proverbs and their translation]. 重庆:西南大学[Chongqing: Southwest University].<br /> *Han Jiaoyang,韩娇阳(2009). 从谚语英汉互译中看文化缺省及其补偿策略[Cultural default and its compensation strategy in English-Chinese translation of proverbs]. 长春:吉林大学[Changchun: Jilin University],.<br /> *Lu Daoyen,陆道恩(2015).文化视角下英语谚语的翻译技巧[Translation skills of English proverbs from a cultural perspectiv]. ''高教学刊''[Journal of Higher Education],(24): P:257-258.<br /> *Li Keshi,李克时(2009). 论英语谚语汉译的异化趋势[On the trend of alienation in Chinese translation of English proverbs]. 南京:南京农业大学[Nanjing: Nanjing Agricultural University].<br /> *Liu Weiping,刘卫平(2008). 文化视角下的美国谚语翻译[Translation of American Proverbs in Cultural Perspective]. 桂林:广西师范大学[Guilin: Guangxi Normal University].<br /> *Li, H.(2012) A Study of Film Subtitle Translation from the Perspective of Domestication and Foreignization[MA]. Shenyang: Liaoning University.<br /> *Mo, L, H.(2014) A Study on Chinese and English Proverbs about Marriage from the Perspective of Contrastive Linguistics[MA]. Nanning: Guangxi University.<br /> *Mao, Q.(2017) A Study on the Proverbs in Shakespeare’s Play in Their Chinese Translations in the Perspective of Conceptual Metaphor[MA]. Guilin: Guangxi Normal Univeristy .<br /> *You, X, J.(2009) A Contrastive Study On Hypotaxis and Parataxis in English and Chinese and Its Influence on the Chinese-English Translation of Ancient Fables[D]. Suzhou: Suzhou University.<br /> *Zhao, C, H.(2012) A Study on Proverb Translation from Cross-Cultural Perspective[D].Changchun:Jilin University.<br /> <br /> ==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory 刘金惺琦 liu jinxingqi==<br /> <br /> ==Translation of Chinese Neologisms from the Perspective of Cross-cultural Translation Theory ==<br /> &lt;center&gt;解帆 Xie Fan&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> With the continuous enhancement of China's overall national strength and international influence, Chinese is playing an increasingly important role in communications and exchanges among countries all over the world. An increasing number of Chinese neologisms are used to express and describe the status quo. These neologisms invigorate Chinese culture, however, meanwhile, they make it harder for the world to understand Chinese. <br /> <br /> On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.<br /> <br /> On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.<br /> ==='''Key words'''===<br /> Chinese neologisms; cross-cultural theory; English translation; strategies<br /> <br /> ==='''摘要'''===<br /> 随着我国综合国力和国际影响力不断增强，汉语在世界各国沟通与交流中起到越来越重要的作用，用来表达和描述社会状态的汉语新词也日益增多。这些新词给中国文化带来生命力的同时，也给世界人民理解汉语带来了困难。<br /> <br /> 一方面，语言本身存在着不可译性，每种语言在其组词造句、表达方式上都具有其独特性，现实中并不存在两种完全对等的符号系统。另一方面，不同的民族有着不同的历史传统、宗教信仰、思维方式，这尤其增加了语言理解的难度。因此，跨文化翻译成为中华文化传播过程中的重要一环。通过翻阅相关资料，不难发现由于汉语新词的英译起步较晚，国内外相关翻译研究尚未成熟，因此在英译汉语新词的过程中出现了一些问题。前人已有相关文章指出过这些问题，但没有提出如何才能避免这种问题、提高译文质量。基于前人的相关理论和观点，并结合实例，本文将首先介绍汉语新词分类及其特点，然后说明跨文化翻译理论对于英译汉语新词的意义，最后介绍在跨文化翻译理论下英译汉语新词时的几种方法，希望为后续规范汉语新词英译行为提供必要参考。<br /> <br /> ==='''关键词'''===<br /> 汉语新词；跨文化翻译；英译；策略<br /> <br /> ==='''Introduction'''===<br /> With the growing power of China and the further improvement of the globalization, China's contact with other countries in the world has become closer. And how to maintain Chinese culture’s uniqueness when it is introduced to the world has been the top priority for translators. The development of China has given birth to a large number of Chinese neologisms with its uniqueness. The society changes with each passing day, covering from international affairs to domestic matters. Against this background, neologisms are likely to be derived. These words attract widespread attention and gradually enter people's daily life. Since the implementation of the reform and opening up to the outside world, a great number of Chinese neologisms have appeared. <br /> <br /> Not only do these neologisms with Chinese characteristics vividly show Chinese people’s understanding of their unique phenomena, but also they largely enrich the expression of Chinese. However, at the same time, these words pose serious problems for translators as well. On the one hand, the differences between Chinese culture and western countries’ culture are numerous, which makes it hard to find equivalent of Chinese neologisms in English. On the other hand, with the times going forward, the number of Chinese neologisms is steadily increasing, which results in difficulties in translating Chinese neologisms into English. Therefore, Cross-cultural translation of Chinese neologisms into English becomes prevailing. Cross-cultural translation theory was proposed by Mary Snell Hornby in her well-known representative book Translation Studies: an Integrated Approach. She believes that translation is not a process of decoding or the transformation of language symbols, but also the transformation of cultural patterns. Due to the rapid development of Chinese society in the past decade, more and more translators have turned to Chinese neologisms, making the study of English translation of Chinese neologisms a new focus. Chinese Translators Journal, Lexicographical Studies and other authoritative academic journals have set up columns for translation of Chinese neologism. There are also vocabulary books compiled according to the specific types of Chinese neologisms, such as Chinese-English Expressions of Current Events by Yang Quanhong and English Translation of Buzzwords and Sayings by Chen Dezhang. In addition, the most representative ones include Yang Quanhong's Approaches to Translation of Chinese Words and Expressions into English and Zhang Jian's On Translation of Chinese Press Neologisms into English. In the age of information, it is not hard to find English translation of Chinese neologisms on English learning websites such as https://www.chinadaily.com.cn/, https://www.en84.com/ and so on. These websites have launched platforms for English translation of Chinese neologisms and updated them timely. So far, scholars have studied Chinese neologism from different perspectives. This paper is based on 138 related articles including these key words such as “cross-cultural theory” “Chinese neologisms” and “English translation” on http://kns.cnki.net. Fu Rong narrated the difficulties and methods in The English Translation of Chinese Neologism from a Cross-cultural Perspective. Zhou Hongjie elaborated on the basic principles, methods and key points in The English Translation of Chinese neologisms from a Cross-cultural Perspective. In addition, a majority of articles analyzed the status quo in the English translation of Chinese neologisms from the perspective of cross-cultural translation theory, but few dwell on strategies of solving the problems during the course of translation. This paper introduces Chinese neologisms and its classifications and characteristic in the second section, the significance of cross-translation to Chinese neologisms in the third section and ways of translating in the fourth section. It is based on the previous viewpoints and puts forward practical strategies to be followed in the translation of Chinese neologisms from the perspective of cross-translation theory combining with examples.<br /> <br /> ===Chapter 1 Overview of Chinese Neologisms===<br /> <br /> Neologisms are words new in connotation or form. In other words, they can either be new words created to express new concepts and phenomena in line with times or existing words given new meanings. These words help the further development of language, embody Chinese people's latest understanding of the world with the times going forward, and enrich the expression and promote transmission of Chinese language. (Fu Rong, 2015: 80) To better translate Chinese neologisms into English, we need to have a deeper understanding of Chinese neologisms, including its classifications and characteristics.<br /> <br /> 1.1 Classifications of Chinese Neologisms<br /> <br /> Generally speaking, Chinese neologisms can be classified into four categories, namely, old words endowed with new meanings, Chinese abbreviations, newly generated words and loan words.<br /> <br /> Old words endowed with new meanings, as the name suggests, are existent words that have been endowed with new meanings for reuse even though have been forgotten for a long time. (Li Chunjiang, 2015: 62) Take “备胎(spare tire)”as an example, which refers to an extra tire carried in a motor vehicle for emergencies. It now refers to a back-up, second line, just-in-case, or a B-plan or contingency, in other words, someone who is benched now. Besides, “粉(powder)”originally refers to fine powder used for makeup or paint, while it means having a crush on or adoring a famous celebrity now. With the changing society of China, the essential characteristics of the things or phenomena referred to by the old words have changed as well. Because of the uniqueness pf Chinese words, it may be defective to use substitute words and fail to reflect the pun. Not only does endowing the existing words with new meanings produce connection between old words and new meanings, but also reduces the trouble of creating new words.<br /> <br /> Chinese abbreviations are the result of refining existing words. The process of extracting mainly depends on the importance of each part of the words. Those significant parts are selected to replace the lengthy words. The most common Chinese abbreviations can be divided into three forms. First, extracted initials. Such as “哥哥(brother)--GG”, “笑死我了(It’s so funny that I have a shortness of breathe)” and “漂亮小姐姐(good-looking sister)--PLXJJ”. Second, syllable imitation. Such as “呜呜呜 (onomatopoetic words of cry)--555”, “我爱你一生一世(I love you forever)--5201314” and “不要这样子(don’t do like this)--表酱紫”. Third: reduced words. Such as “很累，感觉不会再爱了(feel so tired that will not fall in love again)--累感不爱” and “躺着也中枪(a lying person can be shot as well)--躺枪”. Chinese abbreviations have their own laws of forming, so it is easy for us to understand as long as we recognize the laws of them. Besides, in the premise of reflecting the principle of simplicity and the purpose of economy frugality, Chinese abbreviations are helpful to ensure goog rationale and high semantic transparency. Nowadays, people are always pursing a simple and peaceful life, which gives rise to the frequent use of abbreviations. Nevertheless, the abbreviations of words should neither be arbitrarily imitated, nor be simply carried out by way of analogy. Instead, the abbreviations with the widest social acceptance should be selected through investigation and evidence collection from multiple aspects.<br /> <br /> Newly generated words can be roughly divided into two types. The first is generated through metaphors, similes and metonymy. For instance, “虎妈(tiger mom) is defined as strict disciplinarian mothers who demand high achievement from their children and maintain control of their activities”, and“猫爸(cat dad)”refers to fathers who take a more softly approach to parenting, preferring to be emotionally sensitive, gentle and relaxed about rules and discipline, and they are in the belief that this kind of parenting will make their offspring self-sufficient and independent. With new things coming in, people need words to describe them but there are no ready expressions at hand. The metaphorical use of some expressions will do the job as it will reflect the same essence of the objects through metaphor. The second type is created with the arrival of new phenomenon. For instance, “APEC蓝” is employed to describe the quality air and the exceptionally blue sky in Beijing during the APEC meeting in 2014. And “蒜你狠”is used to illustrate the price of garlic which soared more than 100 times in 2010, even outstripping meat and eggs. A great number of new phenomena and new concepts spring up, however, it’s hard to describe them with the existing words. Under this circumstance, the vocabulary system needs to produce more new words to meet the requirements of social communication.<br /> <br /> The advancement of globalization, communication and cooperation in some fields among countries are deepening day by day, which inevitably bring changes in language, and that is so-called “Chinese localization”. Loan words are “transformed” into Chinese words in accordance with the rules of pronunciation, semantics, structure and grammatical system of Chinese. In the mid-1970s, Taiwanese used “show--秀” as morphemes to match with &quot;做&quot; and &quot;作&quot;. To the surprise of the editor, these newly created words were so well-received in the entertainment industry that a large number of words such as “歌舞秀、双人秀、真人秀、脱口秀”were produced. Nowadays, the neologism “秀儿” referring to those who like to show off their resources is widely accepted. Similarly, “博客、思客、播客、朋客、创客”appeared one by one. “客” was derived from “黑客(hacker)”, in other words, the word group of “X客” were generated. <br /> <br /> 1.2 Characteristics of Chinese Neologisms<br /> <br /> In order to have better quality of translation of Chinese neologisms, translators need to have a deep insight into its characteristics. Chinese neologisms are characterized by cultural uniqueness, simplicity, vividness and uncertainty.<br /> <br /> Chinese neologisms come from a wide range of sources, but they all have roots in China. Some are based on Chinese culture. For instance, “山寨(mountain fastness)”originated from Water Margin, which used to refer to the place where the poor live. But when used online, the original meaning is transformed to plagiarism, imitation, parody and other popular cultural phenomena. Others are on the basis of customs. Take “红色炸弹(red bomb)” as an example. Since Chinese traditional wedding ornament is red, the word &quot;红色炸弹(red bomb)&quot; is used to describe the overwhelming wedding invitations. <br /> <br /> We are living in a fast-paced era. The speed of generation and transmission of information are accelerating. Under this situation, we crave for cost-effective communication. This status quo requires concise language. Chinese abbreviations exactly exemplify the simplicity. Abbreviations are condensed with rich information content, and effectively reinforce the expressiveness of Chinese vocabulary. Therefore, the number of abbreviations in vocabulary increases rapidly.<br /> <br /> The appearance of Chinese neologisms meets people's needs to describe an object or a phenomenon more vividly. Such as “人艰不拆” means that since life has been so hard, some things should not be exposed. And “酸菜鱼”is used for persons who are jealous, ugly, and redundant to make fun of themselves. “剁手党”refers to the addicted shopping crowd. They buy countless things, but often regret after calming down, even vow to chop off their hands if they don't act rationally next time. The vividness of Chinese neologisms adds humorous effects to the expression.<br /> <br /> With the crazy tempo of life, Chinese neologisms emerge in an endless stream. For one thing, with the increasing influence of network to people's life, online language is a shock to traditional language since many words are not compatible with Chinese language system. For another, neologisms fade away with the end of an event and are quickly replaced by neologisms with the times.<br /> <br /> ===Chapter 2 Cross-cultural Translation Theory and Its Significance===<br /> <br /> As Chinese neologisms are rooted in Chinese culture, translators are supposed to turn to cross-cultural translation theory when translating Chinese neologisms into English. Hence, having a deep insight into it and its significance helps improve the quality of translation.<br /> <br /> 2.1 Hornby’s Cross-cultural Translation Theory<br /> <br /> Cross-cultural translation theory refers to translation across cultural divide and be less influenced by factors such as politics, religions, regions and ideologies. Cross-cultural translation theory was put forward by German translation theorist Mary Snell-Hornby. From her perspective, translation is a kind of cross-cultural communication. In this way, translators should not only have a bilingual ability, but also the cultural backgrounds of the source language and the target language. In reality, there are no two completely equivalent language systems. Each language has its own uniqueness in terms of word formation, sentence construction and expression, which is even more distinctive in translating into the target language with totally different economic, political, social and cultural backgrounds. Therefore, cross-cultural translation becomes a rigid demand. In the process of cross-cultural translation, translators are supposed to strike a balance between Chinese style and maximize the recipients’ understanding and acceptances’ of Chinese culture. Mary Snell-Hornby proposed that translators should skillfully switch the two languages in the process of translation as well as deeply dig into the culture backgrounds behind the two languages. In other words, translation is more bicultural transformation than bilingual transformation. (Wang Weidong, 2011: 78).<br /> <br /> In the process of translation, the cultural deposits have a direct bearing on the expression of words, its connotations and emotions. Hence, translators must take these factors into consideration in translation. Cross-cultural translation theory has the following requirements for translation, which can be divided into three aspects: first, to express the meaning of the source language. Second, to dig out the cultural connotation of the source language. Third, to convey the emotion of the source language. Only when translator meets the three requirements above can the quality of the translation be guaranteed.<br /> <br /> 2.2 Significance of Cross-cultural Translation Theory<br /> <br /> The significance of Cross-cultural Theory to English Translation of Chinese Neologisms can be divided into the following three aspects. The British historian Dr. Toynbee once said, it is not surprising to say that the 21st century belongs to East Asia led by China for China’s control over East Asia is not merely political, but cultural. Though East Asian countries such as Korea and Japan maintain their political independence, they are strongly influenced by Chinese culture.” Therefore, promoting English translation of Chinese neologisms is very important for enriching the world language system, improving China’s soft power and introducing Chinese culture into the world.<br /> <br /> 2.2.1 Learning the Chinese Idiomatic Expression<br /> <br /> Translators can learn the rules of Chinese word-formation and characteristics of Chinese expression in the process of translating from the perspective of cross-cultural translation theory. There are great differences between Chinese and English word-formations. Take the three main forms of Chinese neologisms as example. Subject-predicate forms, such as “私聊” and“群聊”; Verb-object forms, such as: “煞风景”“抬杠”; Complementary forms, such as: “吓尿”and so on. In English vocabulary system, most compound words are in the form of nouns, while Chinese has a variety of parts, such as verbs, nouns and adjectives. Translators can grasp the characteristics of Chinese word-formation through the translation and readers can understand the Chinese idiomatic expression. <br /> <br /> 2.2.2 Spreading Chinese Culture Contained in Chinese Neologisms<br /> <br /> Chinese neologisms are produced in China’s distinctive environment, containing culture with Chinese characteristics. It is an effective way to spread Chinese culture contained in Chinese neologisms through cross-cultural translation. For example, “打虎” and “拍蝇” have become buzzwords in China these years. In fact, both above two neologisms are political terms. The “tigers” refer to corrupt officials at higher level and “flies” at grassroots level. Chinese neologisms are epitomes of China's development in a certain period, carrying much social information. The world can learn about the development of China through Chinese neologisms. Accordingly, determination of Chinese government to take out “tigers” and swat “flies” can be seen through these coinage of new terms such as “打虎” and “拍蝇”. Therefore, cross-cultural translation helps spread Chinese culture contained in Chinese neologisms.<br /> <br /> 2.2.3 Conveying Emotion Expressed by Chinese Neologisms<br /> <br /> Emotional expressions are essential to translation of Chinese neologisms. Translation of Chinese neologisms from the perspective of cross-cultural translation theory helps to convey emotion expressed. For example, it is not proper to translate“和事佬”into“peacemaker”. In Chinese, “和事佬”refers to persons who are unprincipled and blindly promote reconciliations, with derogatory meaning. While in English, “peacemaker” refers to those who create and safeguard peace, with commendatory emotions. Therefore, if the cross-cultural principles are violated in translation, there will be differences in the expression of emotions, which will hinder the expression of real emotions and lead to misunderstanding.<br /> <br /> ===Chapter 3 Methods of Chinese Neologisms Translation===<br /> <br /> To improve the quality of Chinese neologisms translation, translators need to have a full knowledge of problems existing in the process of the translation of Chinese neologisms, and then avoid them by choosing appropriate ways of translating and following principles of cross-cultural translation theory.<br /> The late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. <br /> <br /> Nowadays, it is common to see rigid translation, which leads to failure to convey its true meaning. For example, if “我好方”is translated into “I’m so square”, it will confuse readers. In fact, this neologism refers to people in panic. As its word “方”pronounces similarly to the word “慌”，it is employed to make fun of those who can't distinguish between “f”sound and “h” sound. Similarly, “蓝瘦，香菇” can’t be translated into “blue monsters and shiitake mushrooms” for it refers to “I’m so sad that I’m going to cry”. Hence, rigid translation will result in misunderstanding. Not only should we make translations interesting, but also we need to ensure they are correct.<br /> <br /> Many Chinese neologisms, after being translated into English, can express their meanings accurately, though fairly lengthy. For instance, if“无语”is translated into “have nothing to say”, it seems a little bit lengthy. We can translate it into“speechless”, instead. When translating Chinese neologisms, translators are supposed to use as few words as possible to accurately convey as much information as possible, making readers spend as little time as possible to understand them.<br /> <br /> Till now, many neologisms lack Chinese uniqueness after being translated into English. For example, “杠精”will lose the uniqueness the word“精”carries if it is translated into“argumentative person”. In China, “精”commonly describe demons and ghosts, with derogatory meaning, such as those used in“白骨精”“蜘蛛精”and“蜈蚣精”. In this case, it is not proper to translate“精”into “person”. Therefore, we need to ensure Chinese culture be spread in the process of translation.<br /> <br /> 3.1 Transliteration<br /> <br /> Transliteration is the translation of Chinese neologisms into English which sounds similarly to Chinese. Transliteration of Chinese neologisms into English can fully retain the pronunciation of Chinese and traditional Chinese culture. What’s more, it is more efficient.<br /> <br /> Zeng Lisa once proposed that translators should accurately convey more information with as few words as possible, so that the audience can obtain the clearest and smoothest information with as little time as possible. Transliteration gives priority to efficiency and can meet the requirements of the fast pace of modern society, improve the communicative efficiency of readers, and save space for readers' cognitive ability to play. <br /> <br /> For example, &quot;大妈&quot; is transliterated into &quot;dama&quot; and entered the Oxford dictionary. In addition to this, there are a sea of transliterations of Chinese neologisms in modern English vocabulary, for example: &quot;风水&quot; (fengshui), &quot;八卦&quot; (bagua), &quot;太极&quot; (taichi), &quot;气功&quot; (qigong), and &quot;武术 &quot;(wushu), &quot;功夫&quot; (kungfu), &quot;胡同&quot; (hutong), &quot;麻将&quot; (mahjong), &quot;叩头&quot; (while), and so on. Transliteration makes Chinese neologisms widely spread and its culture behind. However, if translators stick to the literal interpretation or explanatory translation of some words, it may lead to cumbersome words and poor quality. <br /> <br /> 3.2 Literal Translation<br /> <br /> Literal translation is one of the efficient way of translation. Literal translation enables us to directly find equivalent expressions in English in terms of form, style and connotation, which is the perfect embodiment of &quot;commonness&quot; between English and Chinese. Above all, literal translation helps promote Chinese culture.<br /> <br /> Language carries and transmits culture, as it is the heart of the cultural system. Culture influences and even shapes language, which is the foundation of language and the source of innovation. In the current context of cross-cultural communication, translation is not only a process of language conversion, but also a process of cultural transplantation.The transmission between eastern and western cultures is practical in theology, but it is limited in reality. Chinese neologisms are the most active part of Chinese vocabulary, which reflect the way of thinking, values, customs and lifestyles formed by the Chinese people in the new natural and social environment. Therefore, literal translation works for spreading Chinese culture. <br /> <br /> In modern English, examples of literal translation of Chinese neologisms can be found everywhere, such as “一国两制--one country, two systems”, “二孩政策--two-child policy”, “希望工程--Hope Project” and “好久不见long time no see” and so on. Literal translation is straightforward, concise and efficient. Not only can it effectively reduce the boredom caused by the transformation from Chinese to English, enrich the expressiveness of English, but also maximize the retention of Chinese cultural.<br /> <br /> Therefore, it is necessary to interpret or add annotations in the context, otherwise it is difficult to convey its Chinese characteristics and cultural connotation.<br /> <br /> 3.3 Free Translation<br /> <br /> Free translation is another way of translating, which emphasizes the relative independence of both Chinese and English. On the one hand, differences exist in different language systems including grammatical constructions and expressions. On the other hand, there are quite a few distinctions between different cultures including historical traditions, religious beliefs and even ways of thinking, ways of thinking. Therefore, sometimes free translation is required to avoid misunderstanding and disputes.<br /> <br /> Free translation refers to reproduce the matter without the manner, or, the content without form. Put another way, it explains the general idea of Chinese neologisms. For example, “豆腐渣工程” refers to the construction project that collapsed or did not comply with relevant regulations due to cutting corners in the construction process. It is translated into English as “jerry-built project”. “白色污染”, the pollution of the environment by plastic waste that is difficult to degrade, is translated as “plastic pollution”. In a word, although the paraphrased neologisms need not strictly stick to Chinese, it can better reflect the meaning of Chinese.<br /> <br /> ==='''Conclusion'''===<br /> <br /> The emergence of Chinese neologisms demonstrates a new face of China. Neologisms are new in content, form, and content, which are produced to express new concepts and phenomena. However, due to the obvious cultural differences between China and western countries, there are many obstacles in the course of translating Chinese neologisms into English. Neologisms are perhaps the number one problem for non-literary translators and professional translators. Under this circumstance, cross-cultural translation of Chinese neologisms becomes a prevailing trend. Cross-cultural translation refers to translating crossing cultural divide and being less influenced by factors such as politics, religions, regions and ideologies. In a way, translating Chinese neologisms into English from the perspective of cross-cultural translation theory can help to promote understanding of Chinese. In another, it can effectively convey the emotions expressed by neologisms. Moreover, it can help to promote the spread of Chinese culture. In spite of the continuous standardization and improvement of translation, there are still some problems in the process of translating Chinese neologisms into English, such as rigid translation, wordy translation and translation with cultural loss. English translation of Chinese neologisms may be a daunting problem, so we need translators with joint efforts, both stick to effective translation methods, flexible and innovative, and latest changes, in order to improve the overall quality of translation of Chinese neologisms, thus speak up aloud in the international community. In this paper, three main strategies are suggested, and they are transliteration, literal translation, and free translation. To better translate Chinese neologisms from the perspective of cross-cultural translation theory, translators need to adopt compatible ways of translating with different types of Chinese neologisms and target readers. On the one hand, it is necessary to fully grasp Chinese neologisms, which requires translators to have more knowledge of Chinese cultural background and Chinese idiomatic expression. On the other hand, we should find the way of translating which is most accepted by readers. <br /> <br /> Moreover, Chinese neologisms are constantly updated with the development of the society. If we do not keep pace with the times and know the latest meaning of Chinese neologisms, it may lead to misunderstanding. (Tian Longjiao, 2013: 160) Therefore, translators should constantly supplement, update or revise the English translation of those Chinese neologisms without definite translation, which is an important guarantee to keep the English translation of Chinese neologisms accurate. Advancing with the times often requires translators to pay close attention to the post-translation effect. On the other hand, translators should also constantly draw on new English words. Chinese neologisms have strong timeliness, especially with the increase of Internet users, hence, at any one time emerge Chinese neologisms which are closely associated with the society. In short, in the process of translation, translators must pay attention to riding on the trend of the times so as to update the expression of the target language and readily accepted by readers. Update expressions means keeping up with the development of the times and use idiomatic English to illustrate new things, new words and new expressions. <br /> In other words, on the basis of grasping the exact meaning of Chinese neologisms, we should make it understood in English. Translators should not only improve their ability to understand Chinese, enhance their ability to translate Chinese into English, but also be keeping with the times so as to introduce more Chinese neologisms into English and continuously inject more Chinese elements into English. In this way, Chinese culture can be spread and the expression of English can be innovated.<br /> <br /> ==='''References'''===<br /> <br /> [1]Baker Mona. In Other Words: A Coursebook on Translation [M]. London/New York: Routledge, 1992.<br /> [2] Jing Huang. Study on the Influence of Cultural Construction and Cultural Deficiency on English Translation[A].He Nan: Proceedings of 2019 International Conference on Humanities,Cultures,Arts and Design, 2019.<br /> [3] Kata. An introduction for translators, interpreters and mediators. [D].Manchester: St Jerome, 2004.<br /> [4] Min Deng. Cultural Differences between Chinese and English Color Words and Their Translation[A].Hong Kong: Proceedings of 2019 International Linguistics, Education and Literature Conference, 2019.<br /> [5] Newmark Peter. A Textbook of Translation [M].Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> [6] Pym. Translation and text transfer. An essay on the principles of intercultural communication [A].Frankfurt: Peter Lang, 1992.<br /> [7] Snell Hornby, Mary. Translation studies: An Integrated Approach. Amsterdam: John Benjamins, 1995.<br /> [8] 付蓉. 从跨文化的角度探讨汉语新词新语的英译[J]. 北京:语文建设, 2015.<br /> [9] 亢世勇. 《新词语大辞典》的编撰[J].辞书研究, 2003.<br /> [10] 李春江. 汉语网络新词的英译探究[J]. 宁波:宁波工程学院学报, 2015. <br /> [11] 廖颖颖． 论中国主流英语新闻报刊对中国特色词语的英译策略[J]. 长沙:湖南师范大学学报, 2008.<br /> [12] 刘宓庆. 新编当代翻译理论[M]. 北京:中国对外翻译出版公司, 2005.<br /> [13] 刘晓骏. 汉语网络新词英译中的文化因素[J]．内蒙古:语文学刊，2012.<br /> [14] 欧阳因. 朗文中国流行新词语[M]. 北京:北京大学出版社, 2000．<br /> [15] 丘柳珍. 汉语网络新词的英译[J]. 赤峰学院学报:自然科学版, 2014.<br /> [16] 田龙娇. 对外汉语新词新语教学研究[D]. 四川师范大学, 2013.<br /> [17] 王维东. 网络热词汉译英探究[J]. 北京:中国翻译, 2011.<br /> [18］吴秋芬,杨司桂. 汉语新词英译研究十年述评[J]. 燕山大学学报, 2014.<br /> [19] 杨全红. 高级翻译十二讲[M]. 武汉:武汉大学出版社, 2009.<br /> [20] 张健,唐见端. 略谈汉语新词新义的英译[J]. 中国翻译, 1996.<br /> <br /> <br /> ==Translation of Chinese Neologisms from the Perspective of Cross-cultural Translation Theory-解帆 Xie Fan 202070080637 英语口译==<br /> &lt;center&gt;解帆 Xie Fan 202070080637 英语口译&lt;/center&gt;<br /> <br /> ===Abstract===<br /> <br /> With the continuous enhancement of China's overall national strength and international influence, Chinese is playing an increasingly important role in communications and exchanges among countries all over the world. An increasing number of Chinese neologisms are used to express and describe the status quo. These neologisms invigorate Chinese culture, however, meanwhile, they make it harder for the world to understand Chinese. <br /> <br /> On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.<br /> <br /> ===Key Words===<br /> <br /> Chinese neologisms; cross-cultural theory; English translation; strategies<br /> <br /> ===题目===<br /> <br /> 跨文化翻译理论指导下汉语新词英译的研究<br /> <br /> ===摘要===<br /> <br /> 随着我国综合国力和国际影响力不断增强，汉语在世界各国沟通与交流中起到越来越重要的作用，用来表达和描述社会状态的汉语新词也日益增多。这些新词给中国文化带来生命力的同时，也给世界人民理解汉语带来了困难。<br /> <br /> 一方面，语言本身存在着不可译性，每种语言在其组词造句、表达方式上都具有其独特性，现实中并不存在两种完全对等的符号系统。另一方面，不同的民族有着不同的历史传统、宗教信仰、思维方式，这尤其增加了语言理解的难度。因此，跨文化翻译成为中华文化传播过程中的重要一环。通过翻阅相关资料，不难发现由于汉语新词的英译起步较晚，国内外相关翻译研究尚未成熟，因此在英译汉语新词的过程中出现了一些问题。前人已有相关文章指出过这些问题，但没有提出如何才能避免这种问题、提高译文质量。基于前人的相关理论和观点，并结合实例，本文将首先介绍汉语新词分类及其特点，然后说明跨文化翻译理论对于英译汉语新词的意义，最后介绍在跨文化翻译理论下英译汉语新词时的几种方法，希望为后续规范汉语新词英译行为提供必要参考。<br /> <br /> ===关键词===<br /> <br /> 汉语新词；跨文化翻译；英译；策略<br /> <br /> ===Introduction===<br /> <br /> With the growing power of China and the further improvement of the globalization, China's contact with other countries in the world has become closer. And how to maintain Chinese culture’s uniqueness when it is introduced to the world has been the top priority for translators. The development of China has given birth to a large number of Chinese neologisms with its uniqueness. The society changes with each passing day, covering from international affairs to domestic matters. Against this background, neologisms are likely to be derived. These words attract widespread attention and gradually enter people's daily life. Since the implementation of the reform and opening up to the outside world, a great number of Chinese neologisms have appeared. <br /> <br /> Not only do these neologisms with Chinese characteristics vividly show Chinese people’s understanding of their unique phenomena, but also they largely enrich the expression of Chinese. However, at the same time, these words pose serious problems for translators as well. On the one hand, the differences between Chinese culture and western countries’ culture are numerous, which makes it hard to find equivalent of Chinese neologisms in English. On the other hand, with the times going forward, the number of Chinese neologisms is steadily increasing, which results in difficulties in translating Chinese neologisms into English. Therefore, Cross-cultural translation of Chinese neologisms into English becomes prevailing. Cross-cultural translation theory was proposed by Mary Snell Hornby in her well-known representative book Translation Studies: an Integrated Approach. She believes that translation is not a process of decoding or the transformation of language symbols, but also the transformation of cultural patterns. Due to the rapid development of Chinese society in the past decade, more and more translators have turned to Chinese neologisms, making the study of English translation of Chinese neologisms a new focus. Chinese Translators Journal, Lexicographical Studies and other authoritative academic journals have set up columns for translation of Chinese neologism. There are also vocabulary books compiled according to the specific types of Chinese neologisms, such as Chinese-English Expressions of Current Events by Yang Quanhong and English Translation of Buzzwords and Sayings by Chen Dezhang. In addition, the most representative ones include Yang Quanhong's Approaches to Translation of Chinese Words and Expressions into English and Zhang Jian's On Translation of Chinese Press Neologisms into English. In the age of information, it is not hard to find English translation of Chinese neologisms on English learning websites such as https://www.chinadaily.com.cn/, https://www.en84.com/ and so on. These websites have launched platforms for English translation of Chinese neologisms and updated them timely. So far, scholars have studied Chinese neologism from different perspectives. This paper is based on 138 related articles including these key words such as “cross-cultural theory” “Chinese neologisms” and “English translation” on http://kns.cnki.net. Fu Rong narrated the difficulties and methods in The English Translation of Chinese Neologism from a Cross-cultural Perspective. Zhou Hongjie elaborated on the basic principles, methods and key points in The English Translation of Chinese neologisms from a Cross-cultural Perspective. In addition, a majority of articles analyzed the status quo in the English translation of Chinese neologisms from the perspective of cross-cultural translation theory, but few dwell on strategies of solving the problems during the course of translation. This paper introduces Chinese neologisms and its classifications and characteristic in the second section, the significance of cross-translation to Chinese neologisms in the third section and ways of translating in the fourth section. It is based on the previous viewpoints and puts forward practical strategies to be followed in the translation of Chinese neologisms from the perspective of cross-translation theory combining with examples.<br /> <br /> ===Chapter 1 Overview of Chinese Neologisms===<br /> <br /> Neologisms are words new in connotation or form. In other words, they can either be new words created to express new concepts and phenomena in line with times or existing words given new meanings. These words help the further development of language, embody Chinese people's latest understanding of the world with the times going forward, and enrich the expression and promote transmission of Chinese language. (Fu Rong, 2015,79)<br /> <br /> To better translate Chinese neologisms into English, we need to have a deeper understanding of Chinese neologisms, including its classifications and characteristics.Generally speaking, Chinese neologisms can be classified into four categories, namely, old words endowed with new meanings, Chinese abbreviations, newly generated words and loan words. (Fu Rong, 2015,80)<br /> <br /> ====1.1 Classifications of Chinese Neologisms====<br /> <br /> Old words endowed with new meanings, as the name suggests, are existent words that have been endowed with new meanings for reuse even though have been forgotten for a long time. Take “备胎(spare tire)”as an example, which refers to an extra tire carried in a motor vehicle for emergencies. It now refers to a back-up, second line, just-in-case, or a B-plan or contingency, in other words, someone who is benched now. Besides, “粉(powder)”originally refers to fine powder used for makeup or paint, while it means having a crush on or adoring a famous celebrity now. (Li Chunjiang, 2015,59)<br /> <br /> With the changing society of China, the essential characteristics of the things or phenomena referred to by the old words have changed as well. Because of the uniqueness pf Chinese words, it may be defective to use substitute words and fail to reflect the pun. Not only does endowing the existing words with new meanings produce connection between old words and new meanings, but also reduces the trouble of creating new words. (Li Chunjiang, 2015,62)<br /> <br /> Chinese abbreviations are the result of refining existing words. The process of extracting mainly depends on the importance of each part of the words. Those significant parts are selected to replace the lengthy words. The most common Chinese abbreviations can be divided into three forms. (Liao Yingying 2008,66)<br /> <br /> First, extracted initials. Such as “哥哥(brother)--GG”, “笑死我了(It’s so funny that I have a shortness of breathe)” and “漂亮小姐姐(good-looking sister)--PLXJJ”. Second, syllable imitation. Such as “呜呜呜 (onomatopoetic words of cry)--555”, “我爱你一生一世(I love you forever)--5201314” and “不要这样子(don’t do like this)--表酱紫”. Third: reduced words. Such as “很累，感觉不会再爱了(feel so tired that will not fall in love again)--累感不爱” and “躺着也中枪(a lying person can be shot as well)--躺枪”. (Liao Yingying 2008,67)<br /> <br /> Nowadays, people are always pursing a simple and peaceful life, which gives rise to the frequent use of abbreviations. Nevertheless, the abbreviations of words should neither be arbitrarily imitated, nor be simply carried out by way of analogy. Instead, the abbreviations with the widest social acceptance should be selected through investigation and evidence collection from multiple aspects. (Liao Yingying 2008,68)<br /> <br /> Newly generated words can be roughly divided into two types. The first is generated through metaphors, similes and metonymy. For instance, “虎妈(tiger mom) is defined as strict disciplinarian mothers who demand high achievement from their children and maintain control of their activities”, and“猫爸(cat dad)”refers to fathers who take a more softly approach to parenting, preferring to be emotionally sensitive, gentle and relaxed about rules and discipline, and they are in the belief that this kind of parenting will make their offspring self-sufficient and independent. (Ou Yangyin 2000,23)<br /> <br /> With new things coming in, people need words to describe them but there are no ready expressions at hand. The metaphorical use of some expressions will do the job as it will reflect the same essence of the objects through metaphor. The second type is created with the arrival of new phenomenon. For instance, “APEC蓝” is employed to describe the quality air and the exceptionally blue sky in Beijing during the APEC meeting in 2014. And “蒜你狠”is used to illustrate the price of garlic which soared more than 100 times in 2010, even outstripping meat and eggs. (Ou Yangyin 2000,24)<br /> <br /> A great number of new phenomena and new concepts spring up, however, it’s hard to describe them with the existing words. Under this circumstance, the vocabulary system needs to produce more new words to meet the requirements of social communication.(Liu Miqing 2005,45)<br /> <br /> The advancement of globalization, communication and cooperation in some fields among countries are deepening day by day, which inevitably bring changes in language, and that is so-called “Chinese localization”. Loan words are “transformed” into Chinese words in accordance with the rules of pronunciation, semantics, structure and grammatical system of Chinese. (Li Chunjiang, 2015,63)<br /> <br /> In the mid-1970s, Taiwanese used “show--秀” as morphemes to match with &quot;做&quot; and &quot;作&quot;. To the surprise of the editor, these newly created words were so well-received in the entertainment industry that a large number of words such as “歌舞秀、双人秀、真人秀、脱口秀”were produced. Nowadays, the neologism “秀儿” referring to those who like to show off their resources is widely accepted. Similarly, “博客、思客、播客、朋客、创客”appeared one by one. “客” was derived from “黑客(hacker)”, in other words, the word group of “X客” were generated. (Li Chunjiang, 2015,63)<br /> <br /> ====1.2 Characteristics of Chinese Neologisms====<br /> <br /> In order to have better quality of translation of Chinese neologisms, translators need to have a deep insight into its characteristics. Chinese neologisms are characterized by cultural uniqueness, simplicity, vividness and uncertainty. (Kang Shiyong 2003,152)<br /> <br /> Chinese neologisms come from a wide range of sources, but they all have roots in China. Some are based on Chinese culture. For instance, “山寨(mountain fastness)”originated from Water Margin, which used to refer to the place where the poor live. But when used online, the original meaning is transformed to plagiarism, imitation, parody and other popular cultural phenomena. Others are on the basis of customs. Take “红色炸弹(red bomb)” as an example. Since Chinese traditional wedding ornament is red, the word &quot;红色炸弹(red bomb)&quot; is used to describe the overwhelming wedding invitations. (Wang Weidong 2011,347)<br /> <br /> We are living in a fast-paced era. The speed of generation and transmission of information are accelerating. Under this situation, we crave for cost-effective communication. This status quo requires concise language. Chinese abbreviations exactly exemplify the simplicity. Abbreviations are condensed with rich information content, and effectively reinforce the expressiveness of Chinese vocabulary. Therefore, the number of abbreviations in vocabulary increases rapidly.(Wang Weidong 2011,349)<br /> <br /> The appearance of Chinese neologisms meets people's needs to describe an object or a phenomenon more vividly. Such as “人艰不拆” means that since life has been so hard, some things should not be exposed. And “酸菜鱼”is used for persons who are jealous, ugly, and redundant to make fun of themselves. “剁手党”refers to the addicted shopping crowd. They buy countless things, but often regret after calming down, even vow to chop off their hands if they don't act rationally next time. The vividness of Chinese neologisms adds humorous effects to the expression.(Wang Weidong 2011,350)<br /> <br /> With the crazy tempo of life, Chinese neologisms emerge in an endless stream. For one thing, with the increasing influence of network to people's life, online language is a shock to traditional language since many words are not compatible with Chinese language system. For another, neologisms fade away with the end of an event and are quickly replaced by neologisms with the times.(Wang Weidong 2011,351)<br /> <br /> ===Chapter 2 Cross-cultural Translation Theory and Its Significance===<br /> <br /> As Chinese neologisms are rooted in Chinese culture, translators are supposed to turn to cross-cultural translation theory when translating Chinese neologisms into English. Hence, having a deep insight into it and its significance helps improve the quality of translation.(Fu Rong 2015,80）<br /> <br /> ====2.1 Hornby’s Cross-cultural Translation Theory====<br /> <br /> Cross-cultural translation theory refers to translation across cultural divide and be less influenced by factors such as politics, religions, regions and ideologies. Cross-cultural translation theory was put forward by German translation theorist Mary Snell-Hornby. From her perspective, translation is a kind of cross-cultural communication. In this way, translators should not only have a bilingual ability, but also the cultural backgrounds of the source language and the target language. (Snell Hornby 1995,21)<br /> <br /> In reality, there are no two completely equivalent language systems. Each language has its own uniqueness in terms of word formation, sentence construction and expression, which is even more distinctive in translating into the target language with totally different economic, political, social and cultural backgrounds. Therefore, cross-cultural translation becomes a rigid demand. In the process of cross-cultural translation, translators are supposed to strike a balance between Chinese style and maximize the recipients’ understanding and acceptances’ of Chinese culture. (Snell Hornby 1995,24)<br /> <br /> Mary Snell-Hornby proposed that translators should skillfully switch the two languages in the process of translation as well as deeply dig into the culture backgrounds behind the two languages. In other words, translation is more bicultural transformation than bilingual transformation. (Snell Hornby 1995,30)<br /> <br /> In the process of translation, the cultural deposits have a direct bearing on the expression of words, its connotations and emotions. Hence, translators must take these factors into consideration in translation. Cross-cultural translation theory has the following requirements for translation, which can be divided into three aspects: first, to express the meaning of the source language. Second, to dig out the cultural connotation of the source language. Third, to convey the emotion of the source language. Only when translator meets the three requirements above can the quality of the translation be guaranteed.(Jing Huang 2019,433)<br /> <br /> ====2.2 Significance of Cross-cultural Translation Theory====<br /> <br /> The significance of Cross-cultural Theory to English Translation of Chinese Neologisms can be divided into the following three aspects. The British historian Dr. Toynbee once said, it is not surprising to say that the 21st century belongs to East Asia led by China for China’s control over East Asia is not merely political, but cultural. Though East Asian countries such as Korea and Japan maintain their political independence, they are strongly influenced by Chinese culture.” Therefore, promoting English translation of Chinese neologisms is very important for enriching the world language system, improving China’s soft power and introducing Chinese culture into the world.(Snell Hornby 1995,47)<br /> <br /> =====2.2.1 Learning the Chinese Idiomatic Expression=====<br /> <br /> Translators can learn the rules of Chinese word-formation and characteristics of Chinese expression in the process of translating from the perspective of cross-cultural translation theory. There are great differences between Chinese and English word-formations. Take the three main forms of Chinese neologisms as example. Subject-predicate forms, such as “私聊” and“群聊”; Verb-object forms, such as: “煞风景”“抬杠”; Complementary forms, such as: “吓尿”and so on. (Kang Shiyong 2003,178)<br /> <br /> In English vocabulary system, most compound words are in the form of nouns, while Chinese has a variety of parts, such as verbs, nouns and adjectives. Translators can grasp the characteristics of Chinese word-formation through the translation and readers can understand the Chinese idiomatic expression. (Kang Shiyong 2003,179)<br /> <br /> =====2.2.2 Spreading Chinese Culture Contained in Chinese Neologisms=====<br /> <br /> Chinese neologisms are produced in China’s distinctive environment, containing culture with Chinese characteristics. They are epitomes of China's development in a certain period, carrying much social information. The world can learn about the development of China through Chinese neologisms. (Kang Shiyong 2003,181)<br /> <br /> It is an effective way to spread Chinese culture contained in Chinese neologisms through cross-cultural translation. For example, “打虎” and “拍蝇” have become buzzwords in China these years. In fact, both above two neologisms are political terms. The “tigers” refer to corrupt officials at higher level and “flies” at grassroots level. Accordingly, determination of Chinese government to take out “tigers” and swat “flies” can be seen through these coinage of new terms such as “打虎” and “拍蝇”. Therefore, cross-cultural translation helps spread Chinese culture contained in Chinese neologisms. (Kang Shiyong 2003,182)<br /> <br /> =====2.2.3 Conveying Emotion Expressed by Chinese Neologisms=====<br /> <br /> Emotional expressions are essential to translation of Chinese neologisms. Translation of Chinese neologisms from the perspective of cross-cultural translation theory helps to convey emotion expressed. (Kang Shiyong 2003,183)<br /> <br /> For example, it is not proper to translate“和事佬”into“peacemaker”. In Chinese, “和事佬”refers to persons who are unprincipled and blindly promote reconciliations, with derogatory meaning. While in English, “peacemaker” refers to those who create and safeguard peace, with commendatory emotions. Therefore, if the cross-cultural principles are violated in translation, there will be differences in the expression of emotions, which will hinder the expression of real emotions and lead to misunderstanding. (Kang Shiyong 2003,183)<br /> <br /> ===Chapter 3 Methods of Chinese Neologisms Translation===<br /> <br /> To improve the quality of Chinese neologisms translation, translators need to have a full knowledge of problems existing in the process of the translation of Chinese neologisms, and then avoid them by choosing appropriate ways of translating and following principles of cross-cultural translation theory. The late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. (Liu Miqing 2005,77)<br /> <br /> Nowadays, it is common to see rigid translation, which leads to failure to convey its true meaning. For example, if “我好方”is translated into “I’m so square”, it will confuse readers. In fact, this neologism refers to people in panic. As its word “方”pronounces similarly to the word “慌”，it is employed to make fun of those who can't distinguish between “f”sound and “h” sound. Similarly, “蓝瘦，香菇” can’t be translated into “blue monsters and shiitake mushrooms” for it refers to “I’m so sad that I’m going to cry”. Hence, rigid translation will result in misunderstanding. Not only should we make translations interesting, but also we need to ensure they are correct.(Li Chunjiang 2015,63)<br /> <br /> Many Chinese neologisms, after being translated into English, can express their meanings accurately, though fairly lengthy. For instance, if“无语”is translated into “have nothing to say”, it seems a little bit lengthy. We can translate it into“speechless”, instead. When translating Chinese neologisms, translators are supposed to use as few words as possible to accurately convey as much information as possible, making readers spend as little time as possible to understand them.(Li Chunjiang 2015,63)<br /> <br /> Till now, many neologisms lack Chinese uniqueness after being translated into English. For example, “杠精”will lose the uniqueness the word“精”carries if it is translated into“argumentative person”. In China, “精”commonly describe demons and ghosts, with derogatory meaning, such as those used in“白骨精”“蜘蛛精”and“蜈蚣精”. In this case, it is not proper to translate“精”into “person”. Therefore, we need to ensure Chinese culture be spread in the process of translation.(Li Chunjiang 2015,64)<br /> <br /> ====3.1 Transliteration====<br /> <br /> Transliteration is the translation of Chinese neologisms into English which sounds similarly to Chinese. Transliteration of Chinese neologisms into English can fully retain the pronunciation of Chinese and traditional Chinese culture. What’s more, it is more efficient. Zeng Lisa once proposed that translators should accurately convey more information with as few words as possible, so that the audience can obtain the clearest and smoothest information with as little time as possible. Transliteration gives priority to efficiency and can meet the requirements of the fast pace of modern society, improve the communicative efficiency of readers, and save space for readers' cognitive ability to play. (Fu Rong 2015,81)<br /> <br /> For example, &quot;大妈&quot; is transliterated into &quot;dama&quot; and entered the Oxford dictionary. In addition to this, there are a sea of transliterations of Chinese neologisms in modern English vocabulary, for example: &quot;风水&quot; (fengshui), &quot;八卦&quot; (bagua), &quot;太极&quot; (taichi), &quot;气功&quot; (qigong), and &quot;武术 &quot;(wushu), &quot;功夫&quot; (kungfu), &quot;胡同&quot; (hutong), &quot;麻将&quot; (mahjong), &quot;叩头&quot; (while), and so on. Transliteration makes Chinese neologisms widely spread and its culture behind. However, if translators stick to the literal interpretation or explanatory translation of some words, it may lead to cumbersome words and poor quality. (Fu Rong 2015,82)<br /> <br /> ====3.2 Literal Translation====<br /> <br /> Literal translation is one of the efficient way of translation. Literal translation enables us to directly find equivalent expressions in English in terms of form, style and connotation, which is the perfect embodiment of &quot;commonness&quot; between English and Chinese. Above all, literal translation helps promote Chinese culture. Language carries and transmits culture, as it is the heart of the cultural system. Culture influences and even shapes language, which is the foundation of language and the source of innovation. In the current context of cross-cultural communication, translation is not only a process of language conversion, but also a process of cultural transplantation. (Fu Rong 2015,82)<br /> <br /> The transmission between eastern and western cultures is practical in theology, but it is limited in reality. Chinese neologisms are the most active part of Chinese vocabulary, which reflect the way of thinking, values, customs and lifestyles formed by the Chinese people in the new natural and social environment. Therefore, literal translation works for spreading Chinese culture. (Fu Rong 2015,83)<br /> <br /> In modern English, examples of literal translation of Chinese neologisms can be found everywhere, such as “一国两制--one country, two systems”, “二孩政策--two-child policy”, “希望工程--Hope Project” and “好久不见long time no see” and so on. Literal translation is straightforward, concise and efficient. Not only can it effectively reduce the boredom caused by the transformation from Chinese to English, enrich the expressiveness of English, but also maximize the retention of Chinese cultural. Therefore, it is necessary to interpret or add annotations in the context, otherwise it is difficult to convey its Chinese characteristics and cultural connotation. (Fu Rong 2015,83)<br /> <br /> ====3.3 Free Translation====<br /> <br /> Free translation is another way of translating, which emphasizes the relative independence of both Chinese and English. On the one hand, differences exist in different language systems including grammatical constructions and expressions. On the other hand, there are quite a few distinctions between different cultures including historical traditions, religious beliefs and even ways of thinking, ways of thinking. Therefore, sometimes free translation is required to avoid misunderstanding and disputes. Free translation refers to reproduce the matter without the manner, or, the content without form. Put another way, it explains the general idea of Chinese neologisms. (Fu Rong 2015,84)<br /> <br /> For example, “豆腐渣工程” refers to the construction project that collapsed or did not comply with relevant regulations due to cutting corners in the construction process. It is translated into English as “jerry-built project”. “白色污染”, the pollution of the environment by plastic waste that is difficult to degrade, is translated as “plastic pollution”. In a word, although the paraphrased neologisms need not strictly stick to Chinese, it can better reflect the meaning of Chinese. (Fu Rong 2015,84)<br /> <br /> ===Conclusion===<br /> <br /> The emergence of Chinese neologisms demonstrates a new face of China. Neologisms are new in content, form, and content, which are produced to express new concepts and phenomena. However, due to the obvious cultural differences between China and western countries, there are many obstacles in the course of translating Chinese neologisms into English. Neologisms are perhaps the number one problem for non-literary translators and professional translators. Under this circumstance, cross-cultural translation of Chinese neologisms becomes a prevailing trend. Cross-cultural translation refers to translating crossing cultural divide and being less influenced by factors such as politics, religions, regions and ideologies. (Ou Yangyin 2008,88)<br /> <br /> In a way, translating Chinese neologisms into English from the perspective of cross-cultural translation theory can help to promote understanding of Chinese. In another, it can effectively convey the emotions expressed by neologisms. Moreover, it can help to promote the spread of Chinese culture. (Ou Yangyin 2008,91)<br /> <br /> In spite of the continuous standardization and improvement of translation, there are still some problems in the process of translating Chinese neologisms into English, such as rigid translation, wordy translation and translation with cultural loss. English translation of Chinese neologisms may be a daunting problem, so we need translators with joint efforts, both stick to effective translation methods, flexible and innovative, and latest changes, in order to improve the overall quality of translation of Chinese neologisms, thus speak up aloud in the international community. In this paper, three main strategies are suggested, and they are transliteration, literal translation, and free translation. (Ou Yangyin 2008,143)<br /> <br /> To better translate Chinese neologisms from the perspective of cross-cultural translation theory, translators need to adopt compatible ways of translating with different types of Chinese neologisms and target readers. On the one hand, it is necessary to fully grasp Chinese neologisms, which requires translators to have more knowledge of Chinese cultural background and Chinese idiomatic expression. On the other hand, we should find the way of translating which is most accepted by readers. (Ou Yangyin 2008,155)<br /> <br /> Moreover, Chinese neologisms are constantly updated with the development of the society. If we do not keep pace with the times and know the latest meaning of Chinese neologisms, it may lead to misunderstanding. Therefore, translators should constantly supplement, update or revise the English translation of those Chinese neologisms without definite translation, which is an important guarantee to keep the English translation of Chinese neologisms accurate. Advancing with the times often requires translators to pay close attention to the post-translation effect. (Liu Miqing 2005,387)<br /> <br /> Plus, translators should also constantly draw on new English words. Chinese neologisms have strong timeliness, especially with the increase of Internet users, hence, at any one time emerge Chinese neologisms which are closely associated with the society. In short, in the process of translation, translators must pay attention to riding on the trend of the times so as to update the expression of the target language and readily accepted by readers. Update expressions means keeping up with the development of the times and use idiomatic English to illustrate new things, new words and new expressions. (Liu Miqing 2005,389)<br /> <br /> In other words, on the basis of grasping the exact meaning of Chinese neologisms, we should make it understood in English. Translators should not only improve their ability to understand Chinese, enhance their ability to translate Chinese into English, but also be keeping with the times so as to introduce more Chinese neologisms into English and continuously inject more Chinese elements into English. In this way, Chinese culture can be spread and the expression of English can be innovated.(Liu Miqing 2005,391)<br /> <br /> ===References===<br /> <br /> *Baker Mona. In Other Words: A Coursebook on Translation [M]. London/New York: Routledge, 1992.<br /> <br /> *Jing Huang. Study on the Influence of Cultural Construction and Cultural Deficiency on English Translation[A].He Nan: Proceedings of 2019 International Conference on Humanities,Cultures,Arts and Design, 2019.<br /> <br /> *Kata. An introduction for translators, interpreters and mediators. [D].Manchester: St Jerome, 2004.<br /> <br /> *Min Deng. Cultural Differences between Chinese and English Color Words and Their Translation[A].Hong Kong: Proceedings of 2019 International Linguistics, Education and Literature Conference, 2019.<br /> <br /> *Newmark Peter. A Textbook of Translation [M].Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> <br /> *Pym. Translation and text transfer. An essay on the principles of intercultural communication [A].Frankfurt: Peter Lang, 1992.<br /> <br /> *Snell Hornby, Mary. Translation studies: An Integrated Approach. Amsterdam: John Benjamins, 1995.<br /> <br /> *Fu Rong付蓉.(2015).从跨文化的角度探讨汉语新词新语的英译[A Study of English Translation of Chinese Neologisms from a Cross-cultural Perspective].语文建设Language Planning<br /> <br /> *Kang Shiyong亢世勇.(2003).《新词语大辞典》的编撰[The Compiling of Dictionary of Chinese Neologisms].辞书研究Lexicographical Studies<br /> <br /> *Li Chunjiang李春江.(2015).汉语网络新词的英译探究[A Study of Chinese Online Neologisms].宁波工程学院学报Journal of Ningbo University of Technology<br /> <br /> *Liao Yingying廖颖颖．(2008).论中国主流英语新闻报刊对中国特色词语的英译策略[Strategies of English Translation of Words with Chinese Characteristics Used by Chinese Mainstream English Newspapers].湖南师范大学学报Journal of Hunan Normal University<br /> <br /> *Liu Miqing刘宓庆.(2005).''新编当代翻译理论''[''A New Edition of Contemporary Translation Theory''].北京：中国对外翻译出版公司 Beijing:National Translation and Publishing Company of China<br /> <br /> *Ou Yangyin欧阳因.(2000).''朗文中国流行新词语''[''Langwen Chinese Neologisms''].北京：北京大学出版社 Beijing:Peking University Press<br /> <br /> *Wang Weidong王维东.(2011).网络热词汉译英探究[A Study of the English Translation of Chinese Online Neologisms]. 北京:''中国翻译'' Beijing: ''Chinese Translators Journal''<br /> <br /> *Zhang Jian &amp; Tang Jianduan张健,唐见端.(1996).略谈汉语新词新义的英译[A brief Discussion on the English Translation of Chinese Neologisms].北京:''中国翻译''''Chinese Translators Journal''<br /> <br /> ='''Translation of Dish Names'''=<br /> <br /> <br /> ==On the C-E Translation of Chinese Dish Names: From a Functional Equivalence Perspective——刘洋诺Liu Yangnuo==<br /> &lt;center&gt;刘洋诺Liu Yangnuo, 202020080621.&lt;/center&gt;<br /> <br /> === Abstract ===<br /> <br /> With increasing global influence, the task of cultural communication is a formidable project. Translation as a media plays an important role in cultural communication. ''A Bite of China'', a TV program to introduce Chinese dishes, has gained popularity at home and abroad, thus broadcasting Chinese dishes. But difficulties in translating Chinese dishes are evitable considering abundant culture-loaded expressions and complex cooking skills. The chapter discusses theoretical and practical significance of researching Chinese dish names. We summarize some point of views from other scholars. Also, we analyze the difficulties in translating Chinese cuisines from a functional equivalence perspective. We will discuss three strategies for translating Chinese dish names combined with translation examples.(Zhangtingli 2015,1-2)<br /> <br /> With increasing global influence, the task of cultural communication is a formidable project. Translation as a medium plays an important role in cultural communication. ''A Bite of China'', a TV program to introduce Chinese dishes, has gained popularity at home and abroad, thus broadcasting Chinese dishes. But difficulties in translating Chinese dishes are evitable considering abundant culture-loaded expressions and complex cooking skills. The chapter discusses the theoretical and practical significance of researching Chinese dish names. We summarize some points of view from other scholars. Also, we analyze the difficulties in translating Chinese cuisines from a functional equivalence perspective. We will discuss three strategies for translating Chinese dish names combined with translation examples.(Zhangtingli 2015,1-2)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> === Keywords ===<br /> <br /> Chinese-English Translation; Chinese Dish Names; Functional Equivalence<br /> <br /> === 题目 ===<br /> 从功能对等理论浅析中式菜名的英译<br /> <br /> === 摘要 ===<br /> <br /> 中国国际影响力不断提高，文化交流的使命更加艰巨。翻译作为文化交流媒介，其重要性也不容忽视。中国饮食文化节目《舌尖上的中国》在海内外热播也进一步推动了中国特色饮食文化的传播，但是其丰富的文化内涵和多样的烹饪技巧也给译者带来不少困难。本文探讨研究中国菜名翻译的理论和实践意义，总结中国菜名翻译目前的研究成果。从功能对等理论出发，分析中国菜名翻译的困难，同时也结合翻译实例，提出三个中国菜名翻译的策略。<br /> <br /> === 关键词 ===<br /> <br /> 中译英；中国菜名；功能对等<br /> <br /> === Introduction ===<br /> <br /> As the old Chinese saying goes, food is the God of the people. In other words, we regard food as the primary need. Chinese cuisine has a firm connection between our daily life and Chinese culture. But when it comes to Chinese cuisine, there are many aspects left for us to consider, such as the etiquette of dining table, dietary structure or habits, the art of dietary decorations and cultural connotation. In the chapter, we will mainly focus on Chinese dish names. From semantic linguistic point of view, there are two structure in a language. The surface structure is Chinese dish names themselves, but the deep structure is the meaning behind these dish names.(Chu Yiyi 2017, 3-7)<br /> <br /> As the old Chinese saying goes, food is the God of the people. In other words, we regard food as the primary need. Chinese cuisine has a firm connection between our daily life and Chinese culture. But when it comes to Chinese cuisine, there are many aspects left for us to consider, such as the etiquette of a dining table, dietary structure or habits, the art of dietary decorations, and cultural connotation. In the chapter, we will mainly focus on Chinese dish names. From a semantic linguistic point of view, there are two structures in a language. The surface structure is Chinese dish names themselves, but the deep structure is the meaning behind these dish names. (Chu Yiyi 2017, 3-7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> It’s not surprising that we will discuss the relationship between some Chinese dish names and their cultural connotation in the later part of this chapter. Chinese dish names are endowed with Chinese culture through culture-loaded expressions or idioms. When we dive into our research, it’s easy to find out that behind some dish names from historical stories and anecdotes are layer upon layer of meanings. Although the majority of us understand the importance of translating Chinese dish names, good translations still remain in the dark. The reasons abound, ranging from a great variety of Chinese dishes and difficulty in fully understanding of cultural connotation behind Chinese dishes.(Chu Yiyi 2017, 3-7)<br /> <br /> It’s not surprising that we will discuss the relationship between some Chinese dish names and their cultural connotation in the latter part of this chapter. Chinese dish names are endowed with Chinese culture through culture-loaded expressions or idioms. When we dive into our research, it’s easy to find out that behind some dish names from historical stories and anecdotes are layer upon layer of meanings. Although the majority of us understand the importance of translating Chinese dish names, good translations remain in the dark. The reasons abound, ranging from a great variety of Chinese dishes and difficulty in fully understanding of cultural connotation behind Chinese dishes. (Chu Yiyi 2017, 3-7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> The chapter takes functional equivalence coined by Eugene Nida as a theoretical basis. In the first part, we look back on previous studies on the C-E translation of Chinese dish names. In the second part, we try to discuss difficulties in translating Chinese dish names in terms of basic information and cultural backgrounds. In the third part, we review functional equivalence theory. In the last part, we turn to discuss the possibility of applying the theory into translation practice on Chinese dish names in order to improve C-E translation of Chinese cuisine. We consolidate commonly used strategies into three combined with translation examples in reality. (Chu Yiyi 2017, 6)<br /> <br /> The chapter takes functional equivalence coined by Eugene Nida as a theoretical basis. In the first part, we look back on previous studies on the C-E translation of Chinese dish names. In the second part, we try to discuss difficulties in translating Chinese dish names in terms of basic information and cultural backgrounds. In the third part, we review the functional equivalence theory. In the last part, we turn to discuss the possibility of applying the theory into translation practice on Chinese dish names to improve C-E translation of Chinese cuisine. We consolidate commonly used strategies into three combined with translation examples in reality. (Chu Yiyi 2017, 6)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> And then we summarize what we have discussed before and to point out limitations of this chapter. The purpose of our research is to have a better understanding of our own culture and transmitting Chinese culture to foreigners. Apart from cultural aspect, cultural communication interconnects with economic and political aspect, which is one of reasons why China attaching much importance to cross-cultural communication and transmission.(Chu Yiyi 2017, 6)<br /> <br /> And then we summarize what we have discussed before and point out the limitations of this chapter. The purpose of our research is to have a better understanding of our own culture and transmitting Chinese culture to foreigners. Apart from the cultural aspect, cultural communication interconnects with economic and political aspects, which is one of the reasons why China attaching much importance to cross-cultural communication and transmission. (Chu Yiyi 2017, 6)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> === Previous Studies on the C-E Translation of Chinese Dish Names ===<br /> <br /> There are some scholars who have paved the way for our further researches. Among these researches, almost all of scholars share the same Chinese cultural background. Some of them describe strategies for C-E translation of Chinese dish names based on several translation theories. Others analyze the C-E translation of Chinese dish names at restaurants abroad. Zhang Tingli (Zhang Tingli 2015, 1-2) summarized six characteristics of Chinese dish names based on A Bite of China, a popular TV program in China. Below are six characteristics: place names plus ingredients, personal names plus ingredients, main ingredients plus supplementary ingredients, cooking procedures, various flavors and cultural elements. (Zhang Tingli 2015, 1-2)<br /> <br /> Some scholars have paved the way for further researches. Among these researches, almost all scholars share the same Chinese cultural background. Some of them describe strategies for C-E translation of Chinese dish names based on several translation theories. Others analyze the C-E translation of Chinese dish names at restaurants abroad. Zhang Tingli (Zhang Tingli 2015, 1-2) summarized six characteristics of Chinese dish names based on ''A Bite of China'', a popular TV program in China. Below are six characteristics: place names plus ingredients, personal names plus ingredients, main ingredients plus supplementary ingredients, cooking procedures, various flavors, and cultural elements.(Zhang Tingli 2015, 1-2) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> Li Weiwei (Li Weiwei 2017, 1-2) wrote a report on Chinese-English cuisine interpretation under the guidance of Skopos Theory, including the Skopos rule, the coherence rule, the fidelity rule and the loyalty rule. Che Yimo (Che Yimo 2019, 1-2) summarize three principles to analyze the menu translation quality of a Chinese restaurant based on cross-cultural communication theories. The three principles include semantic proximity, cultural communication and aesthetics. Xue Jingnan (Xue Jingnan 2015, 1-2) involves an analysis of the translation of Chineseness by Chinese-Candians in food discourse from a cultural perspective, which providing a glimpse into Chinese culinary identity. (Che Yimo 2019, 1-2)<br /> <br /> Li Weiwei (Li Weiwei 2017, 1-2) wrote a report on Chinese-English cuisine interpretation under the guidance of Skopos Theory, including the Skopos rule, the coherence rule, the fidelity rule, and the loyalty rule. Che Yimo (Che Yimo 2019, 1-2) summarizes three principles to analyze the menu translation quality of a Chinese restaurant based on cross-cultural communication theories. The three principles include semantic proximity, cultural communication, and aesthetics. Xue Jingnan (Xue Jingnan 2015, 1-2) involves an analysis of the translation of Chineseness by Chinese-Canadians in food discourse from a cultural perspective, which provides a glimpse into Chinese culinary identity. (Che Yimo 2019, 1-2)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> Similiarly, Lee Yi Yan (Lee Yi Yan 2016, 1-2) mainly focus on cultural and sociological phenomenon behind Chinese food. His research is based on two types of popular Chinese food narratives: Ang Lee's Eat Drink Man Woman published in 1994 with a televisual documentary series ''A Bite of China'' released in 2012. As the chapter published in International Communication of Chinese Culture (Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp; Radina Mohamad Deli 2018,1-2), four scholars collected from Malaysian Chinese weddings and the lunar new year celebration in order to investigate the concrete and abstract naming of Chinese dishes and to discuss the common cultural considerations underlying them. (Lee Yi Yan 2016, 1-2)<br /> <br /> Similarly, Lee Yi Yan (Lee Yi Yan 2016, 1-2) mainly focus on cultural and sociological phenomenon behind Chinese food. His research is based on two types of popular Chinese food narratives: Ang Lee's Eat Drink Man Woman was published in 1994 with a televisual documentary series ''A Bite of China'' released in 2012. As the chapter published in International Communication of Chinese Culture (Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp; Radina Mohamad Deli 2018,1-2), four scholars collected from Malaysian Chinese weddings and the lunar new year celebration to investigate the concrete and abstract naming of Chinese dishes and to discuss the common cultural considerations underlying them. (Lee Yi Yan 2016, 1-2)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> They found that concrete naming deals with the tangible aspects of a dish by incorporating method of preparation, taste/aroma, appearance of dish, as well as container used. Under the guidance of their chapters, we are able to explore more in this infinite sphere. We pay tributed to great efforts they have paid. While researches on the C-E translation of Chinese dish names have spread into most sectors, researches from a functional equivalence theory are few because previous scholars mainly apply Skopos theory and cross-cultural theory into their researches. In the chapter, we will discuss the C-E translation of Chinese dish names coupled with functional equivalence theory. In the next part, we will turn to existing problems in the C-E translation of Chinese dish names. (Zhang Tingli 2015, 1-2)<br /> <br /> They found that concrete naming deals with the tangible aspects of a dish by incorporating the method of preparation, taste/aroma, the appearance of the dish, as well as container used. Under the guidance of their chapters, we can explore more in this infinite sphere. We pay tribute to the great efforts they have paid. While researches on the C-E translation of Chinese dish names have spread into most sectors, researches from a functional equivalence theory are few because previous scholars mainly apply Skopos theory and cross-cultural theory into their researches. In the chapter, we will discuss the C-E translation of Chinese dish names coupled with functional equivalence theory. In the next part, we will turn to existing problems in the C-E translation of Chinese dish names. (Zhang Tingli 2015, 1-2)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:41, 17 December 2020 (UTC)<br /> <br /> === Existing Difficulties on the C-E Translation of Chinese Dish Names ===<br /> <br /> (1) Difficulty in Transmitting Basic Information of Chinese Dish Names<br /> <br /> Different translation versions of a Chinese dish always make foreigners confused. For example, there are at least three versions of 炮弹鱼, including Shell fish, bullet mackerel and trigger fish. We often blur the lines between scientific name and general name in our translation. Also, sometimes we seem to ignore distinct difference between two things by using the same name to define them. For example, some translators use bamboo fungus and edible tree fungus to stand for竹笋 and 木耳 respectively, but in reality 竹笋is completely different from 木耳. There are some subtle differences among Chinese dishes. (Mo Chuanxia &amp; Yue Lin 2020,5)<br /> <br /> As Mo Chuanxia and Yue Lin (Mo Chuanxia &amp; Yue Lin 2020,5) mentioned in their chapter, 水米籺is cooked rice pounded into paste with stuffing inside for worship or diet. 籺is a defining food for South China, especially in Guangdong provinces. It is totally different from cake or pastry in Western culture. The best way to translate it is to use explanatory words. Below are some C-E translations related to Chinese dishes: 黄馍馍(yellow steamed bun), 肉夹馍(the marinated meat in baked bun), 榴莲酥(crispy durian cake) and蒿子粑粑(crown daisy rice cake). Everyone who has ever eaten these four kinds of food will have an inkling of knowledge about the different flavor and shape between 黄馍馍and肉夹馍.(Mo Chuanxia &amp; Yue Lin 2020,5)<br /> <br /> As Mo Chuanxia and Yue Lin (Mo Chuanxia &amp; Yue Lin 2020,5) mentioned in their chapter, 水米籺is cooked rice pounded into a paste with stuffing inside for worship or diet. 籺is a defining food for South China, especially in Guangdong provinces. It is different from cake or pastry in Western culture. The best way to translate it is to use explanatory words. Below are some C-E translations related to Chinese dishes: 黄馍馍(yellow steamed bun), 肉夹馍(the marinated meat in a baked bun), 榴莲酥(crispy durian cake) and蒿子粑粑(crown daisy rice cake). Everyone who has ever eaten these four kinds of food will have an inkling of knowledge about the different flavor and shape between 黄馍馍and肉夹馍. (Mo Chuanxia &amp; Yue Lin 2020,5)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) <br /> <br /> Likewise, the word “sausage” is insufficient to translate 血肠, 腊肠 and 香肠. For some well-known Chinese food such as tofu, it’s unnecessary to translate it into bean curd as in 油豆腐(fried bean curd puff). It seems to be nonessential part in translating Chinese dish names because we often are encouraged to create our own translation. But for long-term effects, chaos will lead to negative impact on economic benefits of those Chinese dishes and cross-cultural communication.(Mo Chuanxia &amp; Yue Lin 2020,5)<br /> <br /> Likewise, the word “sausage” is insufficient to translate 血肠, 腊肠, and 香肠. For some well-known Chinese food such as tofu, it’s unnecessary to translate it into bean curd as in 油豆腐(fried bean curd puff). It seems to be a nonessential part of translating Chinese dish names because we often are encouraged to create our translation. But for long-term effects, chaos will lead to a negative impact on the economic benefits of those Chinese dishes and cross-cultural communication. (Mo Chuanxia &amp; Yue Lin 2020,5) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) <br /> <br /> Judging from a great variety of cooking techniques in many Chinese dish names, they bring a lot difficulties in the rendering of Chinese cuisine. In Chinese, there are a lot of verbs to describe how to cook. I list some common verbs below: 炒, 煮, 炖, 炸, 煎, 煲, 蒸, 烧, 焖 and 拌. But when it comes to C-E translation, we translators seem to ignore these verbs and use the same &quot;with&quot; structure to translate all of them as in 莴笋炒火腿(Stir-fried ham with asparagus lettuce), 莲藕炖排骨(Stewed ribs with lotus root) and 虾子焖茭白(Shrimp roe stewed with cane shoots). On top of these commonly used verbs, some verbs are really difficult to understand for native speakers who are unfamiliar with cooking, let alone for foreigners.(Chu Yiyi 2017,13) <br /> <br /> The four words list below is a case in point: 煸, 焙, 焗 and 烩. The reason behind this phenomenon lies in lacking language about cooking techniques. The word list in this paragraph is more about the duration and degree of heating while cooking Chinese cuisine. As a translator, we should not only know general translation skills that can applied to a large number of texts, but also should have the inkling of other fields. Without background knowledge on cooking procedures, they will be stumbling blocks for translators striving for concise and accurate renderings. (Chu Yiyi 2017,13)<br /> <br /> The four words list below is a case in point: 煸, 焙, 焗, and 烩. The reason behind this phenomenon lies in lacking language about cooking techniques. The word list in this paragraph is more about the duration and degree of heating while cooking Chinese cuisine. As a translator, we should not only know general translation skills that can be applied to a large number of texts but also should have the inkling of other fields. Without background knowledge on cooking procedures, they will be stumbling blocks for translators striving for concise and accurate renderings. (Chu Yiyi 2017,13)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> After discussing cooking techniques in Chinese dish names, we will turn to the different flavor of Chinese cuisine. When burying myself into oceans of Chinese dishes, I divide all sorts of flavors into two categories. In the first category, word list includes 酸辣, 三鲜, 川味, 麻辣, 卤味, 家常, 酱香, 五香, 香辣 and 酥. In the second category, 孜然, 铁板, 鼓汁, 姜汁, 泡椒, 糖醋 and 蒜泥 will put in a group because these nouns mainly derived from ingredients and cooking utensils rather than the flavor itself. The main function of these words are not referential but beautifying. The flavor of delicious Chinese cuisine was represented by these beautifying words, thus triggering mouth-watering effect. (Che Yimo 2019, 6)<br /> <br /> After discussing cooking techniques in Chinese dish names, we will turn to the different flavors of Chinese cuisine. When burying myself into oceans of Chinese dishes, I divide all sorts of flavors into two categories. In the first category, the word list includes 酸辣, 三鲜, 川味, 麻辣, 卤味, 家常, 酱香, 五香, 香辣, and 酥. In the second category, 孜然, 铁板, 鼓汁, 姜汁, 泡椒, 糖醋 and 蒜泥 will put in a group because these nouns mainly derived from ingredients and cooking utensils rather than the flavor itself. The main function of these words is not referential but beautifying. The flavor of delicious Chinese cuisine was represented by these beautifying words, thus triggering a mouth-watering effect. (Che Yimo 2019, 6)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> But it's hard for target reader to get the same effect as source reader through translation due to lacking equivalent words and expressions. Likewise, some Chinese words that refer to all sorts of food don't have equivalent one in English such as 什锦, 八宝 and 拼盘. If we translate them into &quot;all sorts of food&quot;, the aesthetic effect weaken. Whereas the translation loss and gain are inevitable, underlying aesthetic effect plays an imporant role in translation process. On top of this, cuisines with Chinese characteristics lead to translation problems. Below are some Chinese dish names: 红豆沙, 撞奶, 龟苓膏, 木瓜雪耳羹 and 蛋白果糖水. Lexical vacancy leads to losing the adding touch that brings a work of art to life.(Che Yimo 2019, 6) <br /> <br /> But it's hard for the target reader to get the same effect as the source reader through translation due to lacking equivalent words and expressions. Likewise, some Chinese words that refer to all sorts of food don't have equivalent ones in English such as 什锦, 八宝, and 拼盘. If we translate them into &quot;all sorts of food&quot;, the aesthetic effect weaken. Whereas translation loss and gain are inevitable, the underlying aesthetic effect plays an important role in the translation process. On top of this, cuisines with Chinese characteristics lead to translation problems. Below are some Chinese dish names: 红豆沙, 撞奶, 龟苓膏, 木瓜雪耳羹, and 蛋白果糖水. Lexical vacancy leads to losing the adding touch that brings a work of art to life. (Che Yimo 2019, 6) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Many translators tend to use word-for-word rendering to translate these Chinese dish names such as 红豆沙(orange flavored red bean paste). Since Chinese dish names not only contains basic information of main ingredients and cooking skills but also mirrors culinary identity and wisdom, translators are supposed to pay considerable attention to convey layers of meaning in Chinese dish names.(Che Yimo 2019, 6)<br /> <br /> Many translators tend to use word-for-word rendering to translate these Chinese dish names such as 红豆沙(orange-flavored red bean paste). Since Chinese dish names not only contains basic information of main ingredients and cooking skills but also mirrors culinary identity and wisdom, translators are supposed to pay considerable attention to convey layers of meaning in Chinese dish names. (Che Yimo 2019, 6)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> (2) Difficulty in Considering Different Cultural Backgrounds<br /> <br /> Diffference between Western culture and Chinese culture leads to problems in culture-loaded Chinese dish names. Chinese dish names are endowed with good omen. 鸳鸯锅(double-flavor hot pot) is a case in point. In Chinese culture, 鸳鸯 is a symbol of beautiful love and perfect marriage. But the beautiful underlying meaning lost in Western culture. Appropriate ways to deal with culture-loaded words or expression become an issue in the C-E translation of Chinese dish names. Though double-flavor hot pot conveys the basic information of this dish, signified meaning still remains in the darkness. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> The difference between Western culture and Chinese culture leads to problems in culture-loaded Chinese dish names. Chinese dish names are endowed with good omen. 鸳鸯锅(double-flavor hot pot) is a case in point. In Chinese culture, 鸳鸯 is a symbol of beautiful love and perfect marriage. But the beautiful underlying meaning is lost in Western culture. Appropriate ways to deal with culture-loaded words or expressions become an issue in the C-E translation of Chinese dish names. Though double-flavor hot pot conveys the basic information of this dish, the signified meaning remains in the darkness. (Mo Chuanxia &amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Likewise, attention-grabbing Chinese dish names combined with Chinese culture background lead to translation problems such as 刀板香(sliced salted pork) and 片儿川(noodles with preserved vegetable) . 刀板香 is a traditional pickled food in Anhui province. Through its dish names, it's difficult to know the main ingredients of this dish. A story lies behind the dish: When a person called Hu Zongxian came by one of his teachers, the wife of his teacher treated him with a delicious dish made by pork slices. Hu Zongxian felt satisfied with the dish and named it as &quot;刀板香&quot;. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> Likewise, attention-grabbing Chinese dish names combined with Chinese culture background lead to translation problems such as 刀板香(sliced salted pork) and 片儿川(noodles with preserved vegetable). 刀板香 is a traditional pickled food in Anhui province. Through its dish names, it's difficult to know the main ingredients of this dish. A story lies behind the dish: When a person called Hu Zongxian came by one of his teachers, the wife of his teacher treated him to a delicious dish made of pork slices. Hu Zongxian felt satisfied with the dish and named it &quot;刀板香&quot;. (Mo Chuanxia &amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> 片儿川 is the most well-known dish in 奎元馆(a famous restaurant in Hangzhou).In the Qing Dynasty, there were many examinees rushing to join a ancient test for selecting officials in Hangzhou, Zhejiang. Examinees from all over the country gathered in Hangzhou. In order to attract them, the shopkeeper supplied noodles made of pour-sweet vegetables, bamboo shoots, and pork slices. Three eggs were added to breakfast noodles, which contained a good omen for examinees. Therefore, a large number of examinees often came to eat noodles because Kuiyuan’s noodles were so cheap. Later, one of the examinees was got number one in a round of test. When he went to the store to thank the owner, he found that the restaurant didn't have a name. So he named it &quot;Kuiyuan Hall&quot;. Since then, 片儿川 in Kuiyuan Hall has become famous and tables in Kuiyuan Hall are in full bloom. All those who come to Hangzhou to take the exam will come here to eat noodles for good luck. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> 片儿川 is the most well-known dish in 奎元馆(a famous restaurant in Hangzhou). In the Qing Dynasty, many examinees were rushing to join an ancient test for selecting officials in Hangzhou, Zhejiang. Examinees from all over the country gathered in Hangzhou. To attract them, the shopkeeper supplied noodles made of pour-sweet vegetables, bamboo shoots, and pork slices. Three eggs were added to breakfast noodles, which contained a good omen for examinees. Therefore, a large number of examinees often came to eat noodles because Kuiyuan’s noodles were so cheap. Later, one of the examinees was got number one in a round of tests. When he went to the store to thank the owner, he found that the restaurant didn't have a name. So he named it &quot;Kuiyuan Hall&quot;. Since then, 片儿川 in Kuiyuan Hall has become famous and tables in Kuiyuan Hall are in full bloom. All those who come to Hangzhou to take the exam will come here to eat noodles for good luck. (Mo Chuanxia &amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> 片儿川 has specially meaning for the person who are going to test. Similarly, foreign foods invade into our daily life with increasing cultural communication. The origin of 罗宋汤(Borscht) is in Ukraine. 罗宋 is the transliteration of Russian and is originated from the early Shanghai Pidgin English. Russian Borscht (Borshch) is another commonly used name. During the October Revolution, a large number of Russians moved to Shanghai. They brought vodka and Russian-style western cuisine. The first western-style cuisine restaurant in Shanghai was opened by the Russians. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> 片儿川 has special meaning for the person who is going to test. Similarly, foreign foods invade our daily life with increasing cultural communication. The origin of 罗宋汤(Borscht) is in Ukraine. 罗宋 is the transliteration of Russian and is originated from the early Shanghai Pidgin English. Russian Borscht (Borshch) is another commonly used name. During the October Revolution, a large number of Russians moved to Shanghai. They brought vodka and Russian-style western cuisine. The first western-style cuisine restaurant in Shanghai was opened by the Russians. (Mo Chuanxia &amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> This soup evolved from the Russian-style red cabbage soup. The Russian-style red cabbage soup is spicy and sour but Shanghai people are not used to it. Later, influenced by local taste, it gradually formed a unique Shanghai-style borscht. In Shanghai-style borscht, we take beets as the main ingredient with supplements such as potatoes and carrots, spinach and beef, cubes and butter. From what we discussed before, we can conclude that Chinese dish names often pay considerable attention to good connotation. Abstract meaning mainly derived from legends, idioms, historical events and auspicious words. When we start to translate Chinese cuisine, cultural considerations are indispensable part to consider. It should be noted that translators take the responsibility to fill the gap between Chinese culture and Western culture. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> This soup evolved from the Russian-style red cabbage soup. The Russian-style red cabbage soup is spicy and sour but Shanghai people are not used to it. Later, influenced by local taste, it gradually formed unique Shanghai-style borscht. In Shanghai-style borscht, we take beets as the main ingredient with supplements such as potatoes and carrots, spinach and beef, cubes, and butter. From what we discussed before, we can conclude that Chinese dish names often pay considerable attention to good connotations. Abstract meaning is mainly derived from legends, idioms, historical events, and auspicious words. When we start to translate Chinese cuisine, cultural considerations are an indispensable part to consider. It should be noted that translators take the responsibility to fill the gap between Chinese culture and Western culture. (Mo Chuanxia &amp; Yuelin 2020, 7)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Except for source cultural background, target cultural background is also of great importance. When it comes to cultural taboos, 龙(dragon) is the first symbol coming to our mind. Whereas 龙 are often embedded with good connotation in Chinese culture such as good fortune and bright future, 龙 often stands for brutal animal or person as in the well-known epic Beowulf. Below are some Chinese dish names with 龙: 龙抄手 (Easter Bunny Wonton), 龙须面(fine noodles) and 乌龙吐珠 (Sea Cucumber with Quail Eggs). Some translators replace dragon with bunny due to different preference between Chinese culture and Western culture. Others omit word-for-word translation, rather emphasizing the main ingredients of the dish.(Wu Tingting 2017, 4)<br /> <br /> Except for source cultural background, target cultural background is also of great importance. When it comes to cultural taboos, 龙(dragon) is the first symbol coming to our minds. Whereas 龙 are often embedded with good connotations in Chinese cultures such as good fortune and bright future, 龙 often stands for brutal animal or person as in the well-known epic Beowulf. Below are some Chinese dish names with 龙: 龙抄手 (Easter Bunny Wonton), 龙须面(fine noodles), and 乌龙吐珠 (Sea Cucumber with Quail Eggs). Some translators replace dragon with bunny due to different preferences between Chinese culture and Western culture. Others omit word-for-word translation, rather emphasizing the main ingredients of the dish.(Wu Tingting 2017, 4)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) <br /> <br /> In addition, some Chinese dish names with internal organs such as intestines or blood may keep target readers at bay. For example, in 肠粉(Steamed vermicelli roll) and 脑花(brain or brain flower), the former hightlights main ingredients rather than being confined to word-for-word translation, but the latter fails to arouse target reader's appetite. Further explanation and translation skills are involved in these dish names. Other examples include 夫妻肺片(Sliced Beef and Ox Tongue in Chili Sauce) and 撒尿牛丸(juicy beef ball). Word-for-word translation can be confusing or even disgusting for people who are unfamilar with Chinese dishes. (Wu Tingting 2017, 4)<br /> <br /> Also, some Chinese dish names with internal organs such as intestines or blood may keep target readers at bay. For example, in 肠粉(Steamed vermicelli roll) and 脑花(brain or brain flower), the former highlights main ingredients rather than being confined to word-for-word translation, but the latter fails to arouse the target reader's appetite. Further explanation and translation skills are involved in these dish names. Other examples include 夫妻肺片(Sliced Beef and Ox Tongue in Chili Sauce) and 撒尿牛丸(juicy beef ball). Word-for-word translation can be confusing or even disgusting for people who are unfamiliar with Chinese dishes. (Wu Tingting 2017, 4)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> 夫妻肺片 is a well-known dish mainly made by ox tongue, tripe and beef. Guo Chaohua (husband) and Zhang Tianzheng (wife) created the dish. Nowadays, it becomes part of Chuan cuisine. Contrary to the dish name, lungs of different animals are not the main component of the dish because 肺片 is originated from 废片. 废片 is a humourous name for all sorts of sliced internal organs. Likewise, though juicy beef ball conveys the basic information of the dish, it loses its attraction and refreshing impression. Therefore, target readers will have totally different feeling from source readers. The equivalence between SL and TL can be broken. In the next part, we will have a brief review of functional equivalence theory in order to discuss the application of the theory into C-E translation of Chinese dish names.(Wu Tingting 2017, 4)<br /> <br /> 夫妻肺片 is a well-known dish mainly made of ox tongue, tripe, and beef. Guo Chaohua (husband) and Zhang Tianzheng (wife) created the dish. Nowadays, it becomes part of Chuan cuisine. Contrary to the dish name, the lungs of different animals are not the main component of the dish because 肺片 is originated from 废片. 废片 is a humorous name for all sorts of sliced internal organs. Likewise, though juicy beef ball conveys the basic information of the dish, it loses its attraction and refreshing impression. Therefore, target readers will have a totally different feeling from source readers. The equivalence between SL and TL can be broken. In the next part, we will have a brief review of functional equivalence theory to discuss the application of the theory into the C-E translation of Chinese dish names. (Wu Tingting 2017, 4)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> === Functional Equivalence Theory ===<br /> <br /> Functional Equivalence put forward by Eugene. A. Nida, a renowned American linguist and translation theorist. Functional equivalence theory focus on the verbal comparison between the SL and TL. Nida attempts to offer a new way to produce an equivalent, taking the relationship of the receptor to the text into account. Functional equivalence theory developed from dynamic equivalence. He defined dynamic equivalence as &quot;the quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors. (Nida 1993, 127)<br /> <br /> Functional Equivalence put forward by Eugene. A. Nida, a renowned American linguist, and translation theorist. Functional equivalence theory focuses on the verbal comparison between the SL and TL. Nida attempts to offer a new way to produce an equivalent, taking the relationship of the receptor to the text into account. Functional equivalence theory developed from dynamic equivalence. He defined dynamic equivalence as &quot;the quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors.(Nida 1993, 127)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) <br /> <br /> Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida 1969, 200). In the later works, he thought that the adequacy of a translation depended on “the reliability of the text itself, the discourse type, the intended audience, the manner in which the translated text is to be used, and the purpose for which the translation has been made” (Nida 1993, 127). Under the influence of Eugene. A. Nida, other subsequent scholars also put forward their own understanding of functional equivalence. (Nida 1993, 127)<br /> <br /> Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida 1969, 200). In the later works, he thought that the adequacy of a translation depended on “the reliability of the text itself, the discourse type, the intended audience, how the translated text is to be used, and the purpose for which the translation has been made” (Nida 1993, 127). Under the influence of Eugene. A. Nida, other subsequent scholars also put forward their understanding of functional equivalence.(Nida 1993, 127)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> The translator recreates the text in target language by keeping some source-text information or linguistic elements invariant and adapting the rest to the receivers’ background knowledge, expectations and communicative needs or to such factors as medium-restrictions and deixis requirements(Yue Siwei 2013, 61-68). The term the closest natural equivalent implies that the rendering must be readable (related to the language form) and understandable (related to the content) to the target receptors, since different languages have different features of grammar and lexicon.(Nida 1993, 127) <br /> <br /> The translator recreates the text in the target language by keeping some source-text information or linguistic elements invariant and adapting the rest to the receivers’ background knowledge, expectations, and communicative needs or such factors as medium-restrictions and deixis requirements(Yue Siwei 2013, 61-68). The term the closest natural equivalent implies that the rendering must be readable (related to the language form) and understandable (related to the content) to the target receptors, since different languages have different features of grammar and lexicon.(Nida 1993, 127)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Functional-equivalence requires the highest degree of proximity (Zhang Qing &amp; Wang Jiaqi 2010, 880-888). The translation is a reproduction process of source text in target language, observing the target culture. The target language features in terms of contents, sentence structure and lexis should be considered as criteria to adapt the source text before translating. The source text elements that do not fit in target culture should be revised or even neglected in translating so as to transfer the flavor of source text while not violating target culture. (Nida 1993, 127)<br /> <br /> Functional-equivalence requires the highest degree of proximity (Zhang Qing &amp; Wang Jiaqi 2010, 880-888). The translation is a reproduction process of the source text in the target language, observing the target culture. The target language features in terms of contents, sentence structure, and lexis should be considered as criteria to adapt the source text before translating. The source text elements that do not fit in target culture should be revised or even neglected in translating to transfer the flavor of the source text while not violating target culture. (Nida 1993, 127)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> In Nida's view, the success of the translation depends above all on achieving equivalent response. It is one of the four basic requirements of a translation, which are 1. making sense; 2. conveying the spirit and manner of the original; 3. having a natural and easy form of expression; 4. producing a similar response. He pays great attention to equivalence and reader's response. Nida's functional equivalence theory has gone through three stages of development ranging from formal equivalence and dynamic equivalence to functional equivalence. The core of Nida's theoretical framework is mainly functional equivalence. (Jeremy Munday 2016, 126)<br /> <br /> In Nida's view, the success of the translation depends above all on achieving an equivalent response. It is one of the four basic requirements of a translation, which are 1. making sense; 2. conveying the spirit and manner of the original; 3. having a natural and easy form of expression; 4. producing a similar response. He pays great attention to equivalence and the reader's response. Nida's functional equivalence theory has gone through three stages of development ranging from formal equivalence and dynamic equivalence to functional equivalence. The core of Nida's theoretical framework is mainly functional equivalence.(Jeremy Munday 2016, 126)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Functional equivalence is mainly to enable translation and original text to be equivalent in language function, rather than language form correspondence. The reader of the target language should fully understand the customs, social consciousness and habitual expression mentioned in the original context. This receptor-oriented approach considers adaptations of grammar, of lexicon and of cultural references to be essential in order to achieve naturalness. The target language should not show interference from the source language and the foreignness of the source text setting is minimized.(Jeremy Munday 2016, 126)<br /> <br /> Functional equivalence is mainly to enable the translation and original text to be equivalent in language function, rather than language form correspondence. The reader of the target language should fully understand the customs, social consciousness, and habitual expression mentioned in the original context. This receptor-oriented approach considers adaptations of grammar, lexicon, and cultural references to be essential to achieve naturalness. The target language should not show interference from the source language and the foreignness of the source text setting is minimized.(Jeremy Munday 2016, 126)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Except for equivalence, reader's response pays an important role in functional equivalence theory. In contrast with traditional translations views towards the source text and the target text, functional equivalence translation pays considerable attention to the receptor‟s response and the naturalness of the target language rather than language forms as formal equivalence. Though later translation theorists critize Nida's functional equivalence given the impossibility of achieving functional equivalence in translation process, his functional equivalence has still paved the road away from traditional translation views by instilling fresh views into translation studies.(Jeremy Munday 2016, 126) <br /> <br /> Except for equivalence, the reader's response plays an important role in functional equivalence theory. In contrast with traditional translation views towards the source text and the target text, functional equivalence translation pays considerable attention to the receptor‟s response and the naturalness of the target language rather than language forms as formal equivalence. Though later translation theorists criticize Nida's functional equivalence given the impossibility of achieving functional equivalence in the translation process, his functional equivalence has still paved the road away from traditional translation views by instilling fresh views into translation studies.(Jeremy Munday 2016, 126) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Functional equivalence theory provides a glimpse into dealing with the relationship between target text and related cultural expectations. For real and practical translation, functional equivalence set the standard for what good translation is. So in the next part, we will discuss the application of this theory in the C-E translation of Chinese dish names. (Jeremy Munday 2016, 126)<br /> <br /> Functional equivalence theory provides a glimpse into dealing with the relationship between target text and related cultural expectations. For real and practical translation, functional equivalence sets the standard for what good translation is. So in the next part, we will discuss the application of this theory in the C-E translation of Chinese dish names. (Jeremy Munday 2016, 126)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> === Application of Functional Equivalence Theory in the C-E translation of Chinese Cuisine ===<br /> <br /> 4.1Princples of C-E translation of Chinese Cuisine<br /> <br /> Principles on C-E translation abound given different original texts. When it comes to C-E translation of Chinese Cuisine, two principles should be mentioned. What comes first is faithfulness. The translator is supposed to translate the basic information of Chinese cuisine. Sometimes, ingredients and cooking procedures should be included into the translation process. The main purpose of our translation is to inform target readers, especially foreigners who know nothing about Chinese. In Chinese, we often use the number three to represent three kinds of ingredients. (Qing Zhang &amp; Jiaqi Wang 2010, 880)<br /> <br /> Principles on C-E translation abound given different original texts. When it comes to the C-E translation of Chinese Cuisine, two principles should be mentioned. What comes first is faithfulness. The translator is supposed to translate the basic information of Chinese cuisine. Sometimes, ingredients and cooking procedures should be included in the translation process. The main purpose of our translation is to inform target readers, especially foreigners who know nothing about Chinese. In Chinese, we often use the number three to represent three kinds of ingredients. (Qing Zhang &amp; Jiaqi Wang 2010, 880)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Therefore, we translators should list three ingredients clearly in translation process. For example, in 扣三丝,some translators render it into Chicken, mushroom, ham threads in consommé. Though this rendering is in great detail, target readers can catch the point quickly. But for other larger numbers such as five and eight, listing all ingredients will lead to clumsiness. 八宝菠菜(Spinach with Eight Delicacies) is a case in point. This is the living proof for precise and clear translation. Faithfulness is not equal to word-for-word translation. Various translation skills should be involved in translation process in order to arrive at the principle of faithfulness. But the principle of faithfulness is not enough for a good translation. (Qing Zhang &amp; Jiaqi Wang 2010, 880)<br /> <br /> Therefore, we translators should list three ingredients clearly in the translation process. For example, in 扣三丝, some translators render it into Chicken, mushroom, ham threads in consommé. Though this rendering is in great detail, target readers can catch the point quickly. But for other larger numbers such as five and eight, listing all ingredients will lead to clumsiness. 八宝菠菜(Spinach with Eight Delicacies) is a case in point. This is the living proof for precise and clear translation. Faithfulness is not equal to a word-for-word translation. Various translation skills should be involved in the translation process to arrive at the principle of faithfulness. But the principle of faithfulness is not enough for a good translation. (Qing Zhang &amp; Jiaqi Wang 2010, 880)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> It’s noted that distinct cultural difference plays an important role in cultural communication. If a translator fails to delivery cultural connotation in a Chinese cuisine, these cultural-loaded dish names lost their attract towards foreigners. Even though native speakers are able to understand what a Chinese cuisine refers, the functional equivalence is out of balance. The purpose of our study is not only to provide a glimpse into informing foreigners when they barge into a Chinese restaurant, but also to spread Chinese culture behind Chinese cuisine. For example, in 烩南北(Stewed Mushrooms with Winter Bamboo Shoots), target readers fail to get the meaning from original words. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> It’s noted that a distinct cultural difference plays an important role in cultural communication. If a translator fails to deliver cultural connotation in Chinese cuisine, these cultural-loaded dish names lost their attraction towards foreigners. Even though native speakers can understand what Chinese cuisine refers to, the functional equivalence is out of balance. The purpose of our study is not only to provide a glimpse into informing foreigners when they barge into a Chinese restaurant but also to spread Chinese culture behind Chinese cuisine. For example, in 烩南北(Stewed Mushrooms with Winter Bamboo Shoots), target readers fail to get the meaning from original words.(Qing Zhang &amp; Jiaqi Wang 2010, 885-888)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Literal translation doesn’t fit in this Chinese cuisine because ingredients and cooking procedures are difficult to understand unless we dig more information on the Internet. The origin of the dish name lies in two different ingredients. Bamboo shoots are most in the south of China and mushrooms are most in the north of China. The combination of bamboo and mushroom represents the combination of culture in two parts of China. The precious value of Stewed mushrooms with winter bamboo shoots also lies in the combination of two precious ingredients. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> Literal translation doesn’t fit in this Chinese cuisine because ingredients and cooking procedures are difficult to understand unless we dig more information on the Internet. The origin of the dish name lies in two different ingredients. Bamboo shoots are most in the south of China and mushrooms are most in the north of China. The combination of bamboo and mushroom represents the combination of culture in two parts of China. The precious value of Stewed mushrooms with winter bamboo shoots also lies in the combination of two precious ingredients.(Qing Zhang &amp; Jiaqi Wang 2010, 885-888)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> The same goes for榆钱饭(Elm Seeds Meal). 榆钱 is originally an ingredient in Shangxi province. But the dish name also bodes well for well-off or prosperous future. Chinese people attribute their wish of getting more money into the word 钱(money). It sounds vulgar but the true wish is to live a better life. When translating Chinese cuisine, translators should consider the different cultural backgrounds in order to spare no efforts to broadcast Chinese culture. On top of this, some dish names are complicated to render them. For example, 龙, an image with red and gold color, refers to good wishes for prosperous future in China but it’s disgusting in Western culture. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> The same goes for榆钱饭(Elm Seeds Meal). 榆钱 is originally an ingredient in Shangxi province. But the dish name also bodes well for a well-off or prosperous future. Chinese people attribute their wish of getting more money to the word 钱(money). It sounds vulgar but the true wish is to live a better life. When translating Chinese cuisine, translators should consider the different cultural backgrounds to spare no efforts to broadcast Chinese culture. On top of this, some dish names are complicated to render them. For example, 龙, an image with red and gold color, refers to good wishes for a prosperous future in China but it’s disgusting in Western culture. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Therefore, when we translate龙抄手, the word 龙 should be replaced by other words. Some translators try to translate it into Easter Bunny Wonton. Also, the same goes for words referring to internal organ. 肠粉is a case in point. A dish name with intestines will lead to vomiting before eating. What’s more, the main ingredient in肠粉has nothing about intestines. Steamed vermicelli roll is a better translation version. The most scary and well-known Chinese dish name I have heard is 夫妻肺片. But the power of ingenious translation can help foreigners understand this dish and avoid awkwardness ahead of them. While broadcasting Chinese culture, culture taboos in the culture of target readers also need to be taken into our consideration. After we have put forward two principles for C-E translation of Chinese cuisine, the next part will discuss some strategies available for translators in the translation process.(Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> Therefore, when we translate龙抄手, the word 龙 should be replaced by other words. Some translators try to translate it into Easter Bunny Wonton. Also, the same goes for words referring to an internal organ. 肠粉is a case in point. A dish name with intestines will lead to vomiting before eating. What’s more, the main ingredient in肠粉has nothing about intestines. Steamed vermicelli roll is a better translation version. The scariest and well-known Chinese dish name I have heard is 夫妻肺片. But the power of ingenious translation can help foreigners understand this dish and avoid awkwardness ahead of them. While broadcasting Chinese culture, cultural taboos in the culture of target readers also need to be taken into our consideration. After we have put forward two principles for C-E translation of Chinese cuisine, the next part will discuss some strategies available for translators in the translation process. (Qing Zhang &amp; Jiaqi Wang 2010, 885-888)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> 4.2Strategies for C-E translation of Chinese Cuisine<br /> <br /> First and foremost, a large number of Chinese cuisines can apply literal translation in some way. The main cooking procedures, ingredients and skills should be very clear in dish names. Lexical equivalence is the main purpose of literal translation. Also, we can divide the application of literal translation into four parts. The first part is the combination of main ingredient and other supplementary ingredients. For example, in 羊肚包肉, roasted mutton wrapped in lamb tripe can avoid ambiguity. The most special ingredient in the dish is roasted mutton, which delivers some flavors to target readers. We can also render “番茄牛腩” into tomato and beef brisket. (Chu Yiyi 2017, 9)<br /> <br /> First and foremost, a large number of Chinese cuisines can apply literal translation in some way. The main cooking procedures, ingredients, and skills should be very clear in dish names. Lexical equivalence is the main purpose of a literal translation. Also, we can divide the application of literal translation into four parts. The first part is the combination of the main ingredient and other supplementary ingredients. For example, in 羊肚包肉, roasted mutton wrapped in lamb tripe can avoid ambiguity. The most special ingredient in the dish is roasted mutton, which delivers some flavors to target readers. We can also render “番茄牛腩” into tomato and beef brisket.(Chu Yiyi 2017, 9)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> The spicy beef briskets and sour tomatoes arouse different feelings in the heart of target readers. Sometimes, the flavor of a dish makes itself clear in the name of a dish. When we use literal translation, the flavor of a dish such as剁椒 and 家常 cannot be ignored. For example, in剁椒鸭肠(Duck Intestines with Chili) and家常烧蹄筋(Home-Style Braised Beef Tendon), Chili and home-style not only inform foreigners of basic information of this dish, but also arouse a sense of taste in their mouths. The third part of the application of literal translation is the combination of utensils and ingredients such as 砂锅面(Casserole Noodles). In Chinese, 砂锅 is a utensil for cooking.(Chu Yiyi 2017, 9)<br /> <br /> The spicy beef briskets and sour tomatoes arouse different feelings in the heart of target readers. Sometimes, the flavor of a dish makes itself clear in the name of a dish. When we use the literal translation, the flavor of a dish such as剁椒 and 家常 cannot be ignored. For example, in剁椒鸭肠(Duck Intestines with Chili) and家常烧蹄筋(Home-Style Braised Beef Tendon), Chili and home-style not only inform foreigners of basic information of this dish but also arouse a sense of taste in their mouths. The third part of the application of literal translation is the combination of utensils and ingredients such as 砂锅面(Casserole Noodles). In Chinese, 砂锅 is a utensil for cooking. (Chu Yiyi 2017, 9)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC) <br /> <br /> But with increasing popularity of noodles cooking by casseroles, casserole noodles have become a Chinese dish. The last part of the application of literal translation lies in the combination of cooking methods, eating methods and ingredients. 手抓饼(Shredded Cake) is a case in point. Opposed to forks in Western culture, Chinese tend to use chopsticks. Therefore, Shredded Cake is a dish without using chopsticks or any other dinner sets. But literal translation is not a sliver bullet for all C-E translation of Chinese cuisine. Sometimes, a dish includes too much ingredients or cooking procedures. If we apply to literal translation in the case, we will sacrifice simplicity in order to maintain faithfulness.(Chu Yiyi 2017, 9)<br /> <br /> But with the increasing popularity of noodles cooking by casseroles, casserole noodles have become a Chinese dish. The last part of the application of literal translation lies in the combination of cooking methods, eating methods, and ingredients. 手抓饼(Shredded Cake) is a case in point. As opposed to forks in Western culture, the Chinese tend to use chopsticks. Therefore, Shredded Cake is a dish without using chopsticks or any other dinner sets. But the literal translation is not a silver bullet for all C-E translation of Chinese cuisine. Sometimes, a dish includes too many ingredients or cooking procedures. If we apply to literal translation in this case, we will sacrifice simplicity to maintain faithfulness.(Chu Yiyi 2017, 9)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Also, some translators applied to literal translation with annotation in order to render dish names clearly. For instance, let’s take “长寿面”, a cuisine name from A Bite of China as an example. The translation provided in “longevity noodles”, followed by the annotation “the noodles are long and slim, and long is homophonic to ‘chang’ and slim to ‘shou’, ‘changshou’ means longevity”. In the case, not only can the foreigners know the basic meaning of the dish, they can also understand its cultural meanings (Chu Yiyi 2017, 9). Another example is螺蛳粉. Some translate it into Snail Rice-flour Noodles, a local snack in Liuzhou. Snail Rice-flour Noodles is very faithful to the Chinese dish name. But the translator added some explanations to emphasize local characteristics. The origin of Snail Rice-flour Noodles is in Liuzhou, Yunnan province. In the case, the translator tried to spread local culture in a dish name.(Chu Yiyi 2017, 9)<br /> <br /> Also, some translators applied literal translation with annotation to render dish names. For instance, let’s take “长寿面”, a cuisine name from A Bite of China as an example. The translation provided in “longevity noodles”, followed by the annotation “the noodles are long and slim, and long is homophonic to ‘chang’ and slim to ‘shou’, ‘changshou’ means longevity”. In this case, not only can the foreigners know the basic meaning of the dish, but they can also understand its cultural meanings (Chu Yiyi 2017, 9). Another example is螺蛳粉. Some translate it into Snail Rice-flour Noodles, a local snack in Liuzhou. Snail Rice-flour Noodles is very faithful to the Chinese dish name. But the translator added some explanations to emphasize local characteristics. The origin of Snail Rice-flour Noodles is in Liuzhou, Yunnan province. In this case, the translator tried to spread local culture in a dish name. (Chu Yiyi 2017, 9)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Secondly, dishes with local names can apply to transliteration such as兰州拉面 Lanzhou Beef Noodles), 金华火腿(Jinhua Ham) and重庆小面(Chongqing Small Noodles). Some local names have become a brand for selling. They emphasize the authentic flavor of these dishes in order to attract people from other places or countries. As for some culture-loaded dish names, we fail to find the equivalent words in English. That’s the reason why we resort to transliteration. It’s a translation method mainly depend on Chinese pinyin such as Lanzhou, Jinhua and Chongqing as we mentioned above.(Chu Yiyi 2017, 12)<br /> <br /> Secondly, dishes with local names can apply to transliteration such as兰州拉面 Lanzhou Beef Noodles), 金华火腿(Jinhua Ham) and重庆小面(Chongqing Small Noodles). Some local names have become a brand for selling. They emphasize the authentic flavor of these dishes to attract people from other places or countries. As for some culture-loaded dish names, we fail to find the equivalent words in English. That’s the reason why we resort to transliteration. It’s a translation method mainly dependent on Chinese pinyin such as Lanzhou, Jinhua, and Chongqing as we mentioned above.(Chu Yiyi 2017, 12)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> One of the perks of transliteration is to emphasize local characteristics and spread local cultures. But transliteration is not confined to this area. Some translators combine transliteration into literal translation. For instance, if we simply translate “东坡肉” literally into“Dongpo’s Pork” without any further explanations, the target readers will get confused if they first see the translation. Thus, explanation “Dongpo, a famous poet in Song Dynasty” needs to be added (Chu Yiyi, 2017). Some dish names are from foreign countries such as 生鱼片(Sashimi). Sashimi is Japanese way of speaking. Transliteration with sounds of foreign languages can apply to these Chinese dish names. Some translators also translate腌制泡菜 into kimchi rather than pickles cabbages, thus emphasizing Korean flavor rather than Chinese flavor. But there are few dish names originated from foreign languages. (Chu Yiyi 2017, 12)<br /> <br /> One of the perks of transliteration is to emphasize local characteristics and spread local cultures. But transliteration is not confined to this area. Some translators combine transliteration into literal translation. For instance, if we simply translate “东坡肉” literally into“Dongpo’s Pork” without any further explanations, the target readers will get confused if they first see the translation. Thus, the explanation “Dongpo, a famous poet in the Song Dynasty” needs to be added (Chu Yiyi, 2017). Some dish names are from foreign countries such as 生鱼片(Sashimi). Sashimi is the Japanese way of speaking. Transliteration with sounds of foreign languages can apply to these Chinese dish names. Some translators also translate腌制泡菜 into kimchi rather than pickles cabbages, thus emphasizing Korean flavor rather than Chinese flavor. But few dish names originated from foreign languages. (Chu Yiyi 2017, 12)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> Lastly, some Chinese cultural-loaded dish names fail to fit the framework of literal translation and transliteration. Translators should apply free translation into their translation process. There are four categories of free translation applied to C-E translation of Chinese cuisines: named according to the characteristics of ingredients metaphorically, named after historical allusions, named according to the production process metaphor and named after the meaning of good. As for the first category, 蚂蚁上树is a good example. The word-for-word translation of蚂蚁上树 is ants on a tree but it does not deliver the essence of the dish.(Siwei Yue 2013, 65-68) <br /> <br /> Lastly, some Chinese cultural-loaded dish names fail to fit the framework of literal translation and transliteration. Translators should apply free translation into their translation process. There are four categories of free translation applied to C-E translation of Chinese cuisines: named according to the characteristics of ingredients metaphorically, named after historical allusions, named according to the production process metaphor, and named after the meaning of good. As for the first category, 蚂蚁上树is a good example. The word-for-word translation of蚂蚁上树 is ants on a tree but it does not deliver the essence of the dish.(Siwei Yue 2013, 65-68) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> The main ingredients of the dish are minced pork and fine vermicelli. The final dish is similar to ants on the tree, so Chinese give it a metaphorical dish name. Sauteed Vermicelli with minced Pork is a better version than the original translation. Some dish names are full of historical allusions such as霸王别姬. The deep-level meaning of the expression霸王别姬 is to reveal the tragic ending of a hero in history. But there is a coincidence for the combination of turtle and chicken in the dish 霸王别姬. Different from mandarin, Chinese people give a nickname “王八” for turtle. 姬in 霸王别姬 sounds similar to 鸡(chicken).(Siwei Yue 2013, 65-68) <br /> <br /> The main ingredients of the dish are minced pork and fine vermicelli. The final dish is similar to ants on the tree, so the Chinese give it a metaphorical dish name. Sauteed Vermicelli with Minced Pork is a better version than the original translation. Some dish names are full of historical allusions such as霸王别姬. The deep-level meaning of the expression霸王别姬 is to reveal the tragic ending of a hero in history. But there is a coincidence for the combination of turtle and chicken in the dish 霸王别姬. Different from mandarin, Chinese people give the nickname “王八” for the turtle. 姬in 霸王别姬 sounds are similar to 鸡(chicken).(Siwei Yue 2013, 65-68)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> The word-for-word translation of 霸王别姬 is farewell my Concubine, but turtle stewed chicken is easier to understand for target readers. As for the third category——named according to the production process metaphor, 驴打滚 is a case in point. 驴打滚 is one of the traditional snacks in the northeast China, especially in Beijing and Tianjin. It is a three-color snack with yellow, white and red. The final process of making is to sprinkle on the soybean noodles, which looks like wild donkeys rolling up of the loess in suburb, so we named it 驴打滚(Donkey Roll). But compared to donkey doll, fried chop rice cake shows the main ingredients of the dish, thus lowering the hurdles for understanding.(Siwei Yue 2013, 65-68) <br /> <br /> The word-for-word translation of 霸王别姬 is farewell my Concubine, but turtle stewed chicken is easier to understand for target readers. As for the third category——named according to the production process metaphor, 驴打滚 is a case in point. 驴打滚 is one of the traditional snacks in northeast China, especially in Beijing and Tianjin. It is a three-color snack with yellow, white, and red. The final process of making is to sprinkle on the soybean noodles, which look like wild donkeys rolling up of the loess in suburb, so we named it 驴打滚(Donkey Roll). But compared to the donkey doll, fried chop rice cake shows the main ingredients of the dish, thus lowering the hurdles for understanding.(Siwei Yue 2013, 65-68) --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> As for the last category, 佛跳墙 is a case in point. The literal meaning of 佛跳墙 is that a Buddha jumps over the wall. But actually 佛跳墙 is a dish cooking all things in one pot. It comes from a story: when we open the jar, the smell of a dish become popular in other places as well. That attracts many Buddhas who jump over the wall to have a see. Also, the dish bodes well for longevity and reunion. That’s why we also call it 福寿全, a word full of good omens.From strategies discussed above, we can find that there is no fixed pattern for C-E translation of Chinese cuisines. We translators should bear these principles and strategies in mind and put them into practice in our translation process. The ultimate goal for our translation is to produce a simple but accurate translation to inform target readers, especially foreigners. (Siwei Yue 2013, 65-68)<br /> <br /> As for the last category, 佛跳墙 is a case in point. The literal meaning of 佛跳墙 is that a Buddha jumps over the wall. But actually, 佛跳墙 is a dish cooking all things in one pot. It comes from a story: when we open the jar, the smell of a dish becomes popular in other places as well. That attracts many Buddhas who jump over the wall to have a see. Also, the dish bodes well for longevity and reunion. That’s why we also call it 福寿全, a word full of good omens. From the strategies discussed above, we can find that there is no fixed pattern for C-E translation of Chinese cuisines. We, translators, should bear these principles and strategies in mind and put them into practice in our translation process. The ultimate goal for our translation is to produce a simple but accurate translation to inform target readers, especially foreigners. (Siwei Yue 2013, 65-68)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> === Conclusion ===<br /> <br /> With the popularity of Chinese culture, there has been a resurgence of interests in C-E translation of Chinese cuisine. In this chapter, I discussed the previous studies on this topic with functional equivalence theory in order to emphasize the importance of our research and try to find research gap among these chapters. After discussing the existing problems on C-E translation of Chinese cuisine, I summarized some principles and strategies that can apply to C- E translation of Chinese cuisine. But what I discussed in the chapter is only a panoramic view of Chinese dish names. (Yi-Yan Lee, 2016, 10)<br /> <br /> With the popularity of Chinese culture, there has been a resurgence of interest in C-E translation of Chinese cuisine. In this chapter, I discussed the previous studies on this topic with functional equivalence theory to emphasize the importance of our research and try to find a research gap among these chapters. After discussing the existing problems on C-E translation of Chinese cuisine, I summarized some principles and strategies that can apply to C- E translation of Chinese cuisine. But what I discussed in the chapter is only a panoramic view of Chinese dish names.(Yi-Yan Lee, 2016, 10)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> There are eight classifications of Chinese famous cuisines ranging from Lu Cuisine and Chuan Cuisine, Yue Cuisine and Min Cuisine, Su Cuisine and Zhe Cuisine, Xiang Cuisine and Hui Cuisine. Under these eight Chinese cuisines, there are distinct differences in dish names considering region and ethnic group. As we know, one size can’t fit all. Aside from researches on Chinese dish names, cultural elements behind idioms related to Chinese dishes deserve more attention. (Yi-Yan Lee, 2016, 10)<br /> <br /> There are eight classifications of Chinese famous cuisines ranging from Lu Cuisine and Chuan Cuisine, Yue Cuisine and Min Cuisine, Su Cuisine and Zhe Cuisine, Xiang Cuisine and Hui Cuisine. Under these eight Chinese cuisines, there are distinct differences in dish names considering the region and ethnic group. As we know, one size can’t fit all. Aside from researches on Chinese dish names, the cultural elements behind idioms related to Chinese dishes deserve more attention. (Yi-Yan Lee, 2016, 10)--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:38, 17 December 2020 (UTC)<br /> <br /> === References ===<br /> <br /> *Caiqiao Huo, Xiaomei Du &amp; Weichen Gu.(2020). The Metaphor and Translation of the Dish Names in Chinese Food Culture. Open Journal of Modern Linguistics (5) 423-428.<br /> <br /> *Jiangnan Xue. (2015). A Chinese Bite of Translation: A Translational Approach to Chineseness and Culinary Identity. Ottawa: University of Ottawa.<br /> <br /> *Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp; Radina Mohamad Deli. (2018). Between concrete and abstract: the Malaysian Chinese way of naming dishes. International Communication of Chinese Culture (3) 247–259.<br /> <br /> *Munday J. (2016). ''Introducing Translation Studies: Theories and Applications''. New York: Routledge.<br /> <br /> *Nida, Eugene A. &amp; Charles R. Taber.(1969). ''The Theory and Practice of Translation''. Leiden: E. J. Brill.<br /> <br /> *Nida, Eugene. A.(1993). ''Language, Culture and Translating''. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nord, C. (2001). ''Translating as a Purposeful Activity: Functionalists Approaches Explained''. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Qing Zhang &amp; Jiaqi Wang. (2010). Application of Functional Equivalence Theory in English Translation of Chinese Idioms. Journal of Language Teaching and Research (6) 880-888.<br /> <br /> *Siwei Yue. (2016). Functionalism Theory Applied in C-E Translation of Chinese Food Culture Text. Theory and Practice in Language Studies (1) 61-68.<br /> <br /> *Yi-Yan Lee. (2016). Imaging Identity with Food: A Study of Cultural Translation in Ang Lee's Eat Drink Man Woman and Documentary ''A Bite of China''. Hong Kong: The University of Hong Kong.<br /> <br /> *车宜默[Che Yimer].(2019). 跨文化交际视角下的中餐菜单英译案例研究[A case study of English translation of Chinese menus from a cross-cultural communication perspective].北京：北京外国语大学[Beijing: Beijing Foreign Studies University].<br /> <br /> *李玮玮[Li Weiwei]. (2017). 目的论视角下的中国菜名汉英口译实践报告[A practical report on Chinese-English interpretation of Chinese cuisine names from the perspective of purpose theory].山东：山东大学[Shangdong: Shandong University].<br /> <br /> *莫传霞,岳玲[Mo Chuanxia, Yue Ling].(2020).“再创作”翻译思想下的北海民俗饮食文化英译[The English translation of Beihai folk food culture under the idea of &quot;re-creation&quot; translation]. 广西教育学院学报[Journal of Guangxi Education College] (05) 78-81.<br /> <br /> *屠易义[Tu Yiyi].(2017). 从文化角度谈中式菜名的英译方法[The English Translation of Chinese Cuisine Names from a Cultural Perspective].上海：上海外国语大学[Shanghai:Shanghai International Studies University].<br /> <br /> *邬婷婷[Wu Tingting].(2017). 目的论视角下中式菜肴简介英译的翻译报告[A Translation Report on the English Translation of Chinese Cuisine Introduction from the Perspective of Purpose Theory].宁波：宁波大学[Ningbo: Ningbo University].<br /> <br /> *吴慧琦[Wu Huiqi]. (2020). 中西方饮食文化差异与菜名翻译——评《中西方饮食文化差异及翻译研究》[Chinese and Western food culture differences and the translation of dish names--Review of &quot;Chinese and Western food culture differences and translation research&quot;]. 食品工业[Food Industry] (09) 364-365.<br /> <br /> *张婷丽[Zhang Tingli].(2015). 目的论指导下的《舌尖上的中国》菜名英译策略[The strategy of English translation of the dish names of &quot;China on the Tip of the Tongue&quot; guided by purpose theory].湖南：湖南师范大学[Hunan: Hunan Normal University].<br /> <br /> ==The Untranslatability and Loss of Meaning in Chinese Dish Names Translation--Taking Hunan cuisine names an Example - 袁雨晨 Yuan Yuchen==<br /> &lt;center&gt; 袁雨晨 Yuan Yuchen 202020080665 &lt;/center&gt;<br /> ===Abstract===<br /> Chinese food culture has attracted much attention both at home and abroad, and chinese cuisine is gradually going to global markets. Cultural differences make the translation of chinese dish names a challenge for translators. Taking Hunan cuisine an example, we try to explore the translation methods of chinese dish names from Catford's theory of untranslatability and Newmark's theory of loss of meaning, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.<br /> <br /> ===Key words===<br /> Untranslatability，loss of meaning，Hunan cuisine names<br /> <br /> ===题目===<br /> 中国菜名的不可译性和意义的缺失——以湘菜菜名为例<br /> <br /> ===摘要===<br /> 中国的饮食文化在国内外备受关注，中国菜也逐渐走向世界，文化差异使得中国菜名的译法给译者带来了挑战。试以湘菜为例，从卡特福德的不可译理论和纽马克的意义缺失理论来探究湘菜菜名的翻译方法，从而在翻译过程中规避问题，达成中国菜名的相对可译性。<br /> <br /> ===关键词===<br /> 不可译性；意义缺失；湘菜菜名<br /> <br /> ===Introduction===<br /> Translation, as an indispensable means of the communication among different cultures, contributes a lot to the development of human civilization. But to translate the source language into target language accurately and perfectly is hardly impossible for every translator. Debates about untranslatability are one of the most heated issues about translation. On the one hand, we should insist that translation is possible due to the similarity of human experience, linguistic and cultural universality; on the other hand, we have to admit the fact that there are some insurmountable obstacles and difficulties in translation practices owing to linguistic and cultural disparities.Among cultural differences, the cuisine culture plays a very important role. The most outstanding example is Chinese cuisine culture which is different from most western countries. It is not only famous for daintiness but also the attractive dish names. (Wang Lijun 2008, 10)<br /> <br /> The major concern of this paper is &quot;The Untranslatability and Loss of Meaning in Chinese Dish Names&quot;. Chinese cuisine is regarded as a great wonder of collection of cooking skills in foreign people's eyes. Westerners are often attracted to the looks of Chinese dishes besides their delicious flavor and taste. While the sight of Chinese dishes brings pleasure, the names of dishes also catch much attention of westerners. When people from different countries enjoy Chinese dishes, they are often curious and eager to know the exact meaning of the dish name and its origin. Since the dish name is the first impression given to a diner when he or she decides to order a dish. So it is important to convey accurate information to the patron. Since Chinese cuisine culture has continued to be exported overseas, translation of dish names plays an important role and is faced with a high demand determined by the complex nature of Chinese cuisine culture.<br /> <br /> Based on the Catford's theory of untranslatability and Newmark's theory of loss of meaning, taking Hunan cuisine an example, this paper explore the translation methods of chinese dish names, so as to avoid the problems in the translation process and achieve the relative translatability of the dish names.At first it illustrates the linguistic and cultural untranslatability. And it then emphasizes particularly on constitutions and fonctions of Hunan cuisine names. Finally, according to the classification of dish names, translation techniques are suggested and some of them are just the compensative measures to those untranslatable dish names.<br /> <br /> ===1.An Overview of Untranslatability, Loss of Meaning and Hunan Cuisine Names===<br /> <br /> ====1.1 Linguistic Untranslatability and Cultural Untranslatability Put Forward by J. C. Catford====<br /> Catford was the first translation theoretician who explored equivalence at different levels of language. He distinguished two kinds of untranslatability in A Linguistic Theory of Translation, that is, linguistic untranslatability and cultural untranslatability.<br /> <br /> Catford thought that linguistic untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. <br /> <br /> Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences, for instance, the names of some institutions, clothes, foods and dishes, abstract concepts, and the like.<br /> <br /> According to Catford's view of untranslatability, the dichotomy mentioned above would not exist if it could be demonstrated that all instances of cultural untranslatability respond to &quot;the impossibility of finding an equivalent collocation in the target language&quot;. This impossibility is, in his opinion, a case of linguistic untranslatability.<br /> <br /> According to Catford, &quot;Translation fails---or untranslatability occurs---when it is impossible to build functionally features of the situation into the contextual meaning of the TL text.&quot; (Catford 1965, 93)<br /> <br /> ====1.2 Loss of Meaning Put Forward by Peter Newmark====<br /> Peter Newmark analyzed the loss of meaning as follows:<br /> <br /> First, if the text describes a situation which has elements peculiar to the environment, institutions and culture of its language area, there is an inevitable loss of meaning, since the translator's language can only be approximate to the source language. Unless there is already a recognized translation equivalent, the translator has to choose from transcribing the foreign word, translating it, substituting a similar word in his own culture, naturalizing the word with a loan translation, sometimes adding or substituting a suffix from his own language, defining it or paraphrasing, which is sometimes added in parenthesis or as a footnote to a transliteration.<br /> <br /> Second, an inevitable source of loss is the fact that the two languages, both in their basic character and their social varieties, have many different lexical, grammatical and sound systems, and segment many physical objects and all intellectual concepts differently.<br /> <br /> Third, the individual uses of language of the writer and the translator do not coincide. Everybody has lexical if not grammatical idiosyncrasies, and attaches &quot;private&quot; meanings to a few words. The translator normally writes in a style that comes naturally to him, desirably with a certain elegance and sensitivity unless the text precludes it. Moreover, a good writer's use of language is often remote from some of the conventional canons of good writing, and it is the writer not the canons that the translator must respect.<br /> <br /> Last, the translator and the text-writer have different theories of meaning and different values. The translator's theory colors his interpretation of the text. He may get greater value than the text-writer on connotation and correspondingly less on denotation. He may look for symbolism where realism was intended; for several meanings where only one was intended; for different emphasis, based on his own philosophy or even his reading of the syntax. The resulting loss of meaning is inevitable and is unrelated to the obscurity or the deficiencies of the text and the incompetence of the translator, which are additional possible sources of this loss of meaning. Therefore, absolute equivalence can never be reached. A translator can't convey all the meanings of the original in his translation.(Tan Zaixi 2004, 215)<br /> <br /> ====1.3 Constitution and Functions of Hunan Cuisine Names====<br /> Hunan cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi areas. It is characterized by thick and pungent flavors. As a mirror of Chinese cuisine culture, dish names play an important role in transmitting Chinese cuisine culture to the whole world. Today, there are countless and various Chinese dish names, so it's so hard to translate them without a clear analysis of their constitutions and functions.<br /> <br /> Many of the Hunan cuisine are named after the ingredients, seasonings, cooking methods, flavour or colour, shape. Hunan cuisine can be cooked in a variety of ways,which can be divided into cooking methods for hot dishes,such as stir-fried, fried, roasted, grilled, boiled, stewed, steamed and son on; and cooking methods for cold dished, such as frozed, mixed, marinated, smoked and so on. The flavour is the sensation caused by a substance that stimulate the taste buds, flavour can be divided into two categories: one is the natural single flavour, also called the basic flavour; another is the compound flavour made of two or more single flavour. The single flavour of Hunan cuisine is mainly salty, sweet, sour, spicy, bitter, fresh and so on; the compound flavour is mainly hot and sour, sweet and sour, salty and spicy, spicy and hot and so on.Most dish names are made of a combination of flavours and the name of the main ingredient, such as “酸辣鸡杂”、 “麻辣肚丝”. Spicy is a highly used word in Hunan cuisine names.Not many dishes are named directly with words that indicate colour (red, yellow, white, green, etc.) and shape (round, flat, pointed, square, etc.),but more often the colour and shape express the substance.For example, “金钱蛋”is named after a substance that has a colour and shape. “金钱” is borrowed from the coins in Chinese history which are round, square-hole. “菊花鱿鱼”“菊花” isn’t real chrysanthemum, but the shape of the finished dishes.<br /> <br /> The utensils such as casseroles, stones pots, hanging pots, dry pots, flat pots, iron pots are used to serve the Hunan cuisine. So the names of kitchen utensils sometimes appear in Hunan cuisine names, the names of untensils and the main ingredients are combined to form the name of a dish, in order to show the characteristics of the dishes, such as “石锅玉兔”，“干锅鸡”，“砂锅熊掌”.<br /> <br /> And there are many dishes which are named by means of metaphor are connected with allusion，a person's name or a place name. The names of dishes containing the name &quot;组庵&quot; and the name of the main ingredient in dishes are related to Tan Yanyan. Tan Yanyan (1880-1930), a native of Chaling in Hunan, was the governor of Hunan province after the Revolution of 1911. Tan Yanyan was a famous gourmet and played a major role in the innovation and development of Hunan cuisine at the time. (Zhang Qiang 2017, 19)<br /> <br /> Above all, the constitution of Hunan cuisine names are various and mainly have the above mentioned features. Almost all Hunan cuisine names are characterized by elegance and try to convey a kind of aesthetic sense to diners.<br /> <br /> A dish name usually keeps people informed of the main ingredients of the dish, and sometimes uses beautiful words to add aesthetic value and finally it will stimulate the diners' appetite. Particularly, Chinese dish names have a special function that is cultural function owing to transmitting cultures.<br /> <br /> Informative Function<br /> <br /> The informative function means that the communicative aim of language is to provide people with information. As the fundamental function of Chinese dish names, it supplies the basic information of a dish, such as the ingredients, seasonings, cooking methods and so on. Chinese cooking methods are famous for its variety and the ingredients. People can get these information through most of Chinese dish names. So when Chinese dish names are translated into English, this function should be kept completely. (Wang Lixia 2017, 19)<br /> <br /> <br /> Aesthetic Function<br /> <br /> If a dish were a work of art, the dish name would be a part of the art.Besides the informative function, there is an aesthetic value. Although not all Chinese dish names possess the aesthetic value, such as those self-descriptive ones, a lot of names formed by metaphors or other special means to bring the sense of beauty and satisfy the aesthetic need of people. The beautiful names such as“碧绿双脆”， “金银烩双丸”， “天麻炖双飞”， “蝴蝶飘海”, it’s difficult to identify the original ingredient, and the basic information of the dishes are deduce by metaphor,but which attract the diners to image, to get an enjoyment. The subtle integration of aesthetics and culinary science greatly enhance the aesthetic function of these dish names.(熊力游 2004, 84)<br /> <br /> Cultural Function<br /> <br /> Chinese dish names also function as a culture carrier. Numerous cultural words play a significant role to demonstrate the national specialties.“百鸟朝凤”, “全家福”, “龙女触珠” “桃园三结义”and many other culturally loaded terms are frequently used in dish names, which are unique to the Chinese culture. This is a best way to arouse foreigners' interests on Chinese culture.<br /> <br /> ===2.Reasons for the Untranslatability and Loss of Meaning in Chinese Dish Names===<br /> <br /> ====2.1 Differences of Thinking====<br /> There is a fundamental difference between the traditional Chinese concept of &quot;unity of human and nature&quot; and the traditional Western concept of &quot;humanism&quot;, and the way of thinking and philosophies of each nationality differ. The food cultures of China and the West are therefore influenced by the obvious differences between them, and the same food cultures influence the naming of dishes in a certain way. Traditional Chinese philosophical thinking places emphasis on Qi and existence and non-existence, and in terms of cultural spirit and mode of thinking, this has led to the formation of a unity between human and nature, an emphasis on integral functions and a focus on ambiguity, which has led to the development of unique concepts in the science of food, namely the ecological concept of the correspondence between human and nature, the nutritional concept of food treatment and nourishment, and the concept of the harmonisation of the five tastes. <br /> <br /> Westerners hold a rational and scientific concept of diet. They emphasise the nutritional value of the diet, the amount of protein, fat, calories and vitamins contained in the food, and pay particular attention to whether the nutrient content of the food is well matched, whether the calorie supply is optimal, and whether these nutrients can be fully absorbed by the eater. For example, Westerners generally do not eat animal offal or anything that they consider to be of no nutritional value, such as liver, chicken feet, duck heads, dog meat, etc., which are absolutely delicious in China and which Westerners may never have eaten in their lives. Some of the ingredients used in Chinese dishes are not offensive to diners in China, for example animals such as snakes and frogs. For good luck, Chinese names are often borrowed from inedible objects or animals that are taboo for Westerners, such as “红烧狮子头”. Such dishes are unacceptable to Westerners and can sometimes be offensive to them. (Cao Binbin 2016, 24)<br /> <br /> ====2.2 Different Beliefs and Values====<br /> Belief and value constitute an important part in culture. Chinese and westerners are living in different social background, having their own history and religion. So, disparity in value and belief is inevitable, such as Buddhism in China. It has history of thousands years. Some vocabularies in Chinese are related with Buddhism, such as “立地成佛”，“谋事在人，成事在天”.These expressions all reflect the great influence of Buddhism on language. In western countries, people have been more influenced by Christianity. Phrases like &quot;man proposes God disposes&quot;; &quot;God help those who help themselves&quot; are typical examples. But if“谋事在人，成事在天”is translated to &quot;man proposes, God disposes&quot;, it disobeys Chinese belief which is the Buddhism rather than the Christianity.<br /> <br /> The value of a certain culture is a set of behavioral standards for people to make choices and solve conflicts and it is usually displayed in people's philosophic and moral concept. The concept that is thought highly by one nation may be neglected by another nation. And this phenomenon becomes a great obstacle in the cross-cultural communication and translation. <br /> <br /> As far as animal vocabularies are concerned, the value of Chinese and westerners are quite different. Take &quot;dog&quot; for example, Chinese often use them to guard door. In their concepts, dogs have nothing to praise. So vocabularies with dogs often have derogatory connotations, such as“狗腿子”，“狐朋狗友”，“狼心狗肺”，“狗眼看人低”，“狗改不了吃屎”.Whereas, in western countries, owing to dogs' loyalty, courage and intelligence, people regard dogs as their favorite and loyal friends and give great honor to them, such as &quot;love me, love my dog&quot;, &quot;lucky dog&quot; and &quot;every dog has his day&quot;. So long as westerners know that dog meat is cooked into dishes in China, they will feel shocked and horrible. Hence although the dish name“狗肉汤”is translatable, we had better avoid translating it or we should not treat westerners to eat dog meat. If it is unavoidable, we should explain those dogs are raised for dinners.<br /> <br /> When translating, it is important to take into account the cultural differences, accepting psychology and eating habits of foreigners, otherwise it will be difficult to achieve the intended function and purpose of the translation. After all, although the translator &quot;deals with individual words, he is dealing with two major cultures&quot;(Liu Chuang 2012, 120)<br /> <br /> ====2.3 Different Customs and Living Environment====<br /> Custom refers to the way of living formed in the long-term development of human's history. It is embodied in various aspects of people's daily lives such as garment, etiquette, marriage, funeral, traditional dishes and so on, due to the different living habits and the customs of different people, which constitute a great obstacle in the cross-cultural communication and translation.<br /> <br /> ====2.4 Lexical Non-equivalence Concerned with Cultural Difference====<br /> The lexical non-equivalence generally refers to the non-equivalence of lexical meanings. As we all know, the meaning of a word, which is involved in many aspects, such as the denotative meaning, the associative meaning and so on, is not a simple concept. Therefore, there are several kinds of untranslatable phenomena concerned with the lexical non-equivalence.<br /> <br /> ====2.5 Absence of Terms====<br /> Absence of terms is a frequent phenomenon leading to untranslatability. It refers to the case that in translation we fail to find counterpart in target language. In Chinese, there are many terms as “风水”, “阴阳”, “属相”and so on. These words are derived from unique Chinese culture, which are almost impossible to translate to English, since there are no such things in western countries.<br /> <br /> ====2.6 Discrepancy of Semantic Association====<br /> Terms and expressions, as embodiment of culture, have rich meanings and profound connotations. Therefore discrepancies of terms lead to translation barriers inevitably. For example, dragon in English and “龙“ in Chinese represents different connotation though it is the same imaginary image. Owing to this difference, terms concerning dragon in these two languages differ greatly. To Chinese, “龙“ is something sacred and has been referred to as the ancestor of the Chinese nation-that's why Chinese people call themselves“龙的传人 (descendants of the dragon)“. “龙” is used frequently in Chinese daily life in order to convey a propitious meaning, such as in dish names“龙凤呈祥”，“二龙戏珠”and “青龙过海”.To westerners, however, the dragon is a symbol of evil. Many heroes in stories struggled against dragons which were slain in most cases.<br /> <br /> Take “喜鹊(pied magpie)” for another instance. In Chinese culture, this bird is always regarded as a messenger of good news, for the first character of its Chinese name(喜)means &quot;happiness&quot;. So the chattering of a pied magpie had the connotative meaning of &quot;good news is coming&quot;. But in English culture, people pay more attention to the appearance of this black-and-white bird and the noises it makes. Then the connotative meaning of it in English is &quot;a chatterbox&quot;. (Wang Lijun 2017, 28)<br /> <br /> ===3.Strategies of Untranslatability and Loss of Meaning of Hunan Cuisine Names===<br /> The purpose of translation is to communicate, therefore transfering the information is very important in translation. Regardless of the method of translation, it is important to convey as much information as possible about the main ingredients, cooking methods, etc., so that foreigners can understand them and communicate with each other. Clearly conveying information about the dishes means that the English translation of Hunan cuisine names can help people from other countries understand the basic information about the dishes, the unique cooking techniques and regional characteristics of Hunan cuisine, and appreciate the colourful culinary culture of Hunan. Some contain profound historical allusions or folk legends, while others have changed their names based on raw materials, shapes and cooking methods. This makes English translation difficult and makes it difficult to fully reflect the linguistic and cultural features of the Chinese language. In this case, the English translation of Hunan cuisine names should be purpose-oriented, so that foreign friends can understand as much as possible about the basic information of Hunan cuisine. The name of the dish should first of all ensure that the customer knows the ingredients， the supplementary ingredients, the cooking method and the flavour of the dish, so the most important thing when translating the name of a dish, whether it is realistic or associative, is that it should firstly convey its denotative meaning. In some cases, it is also possible to make major changes to the presentation of the translation, avoiding or diluting words in the dish that have strong symbolic meaning but are incompatible with Western culture, and keeping the basic content of the dish as far as possible in order to achieve the basic purpose and function of conveying the message of the dish. (Wang Caiying 2009, 108)<br /> <br /> The names of some dishes are quoted from poems and idioms, and the English translation method of &quot;literal+interpretative translation&quot; can be used to express the specific meaning of the ingredients while retaining their distinctive national characteristics. Some of the common cooking methods used in Hunan cuisine, such as &quot;stir-frying, roasting, boiling, stewing, deep-frying, steaming&quot;, etc., make the translation more effective.<br /> <br /> ====3.1 English Translations of Hunan Cuisine Names Based on Cooking Methods and Main Ingredient====<br /> The name of such a dish includes both the cooking method and the main ingredient, with the cooking method preceding and the main ingredient following. The English translation uses “cooking method (past participle of the verb)+main ingredient”, such as“炒生菜&quot;, where &quot;炒&quot; is the practice. &quot;生菜&quot; is the main ingredient, which translates as Sauteed Lettuce &quot; and “花生炖猪蹄&quot;，where“炖&quot; is the cooking method, peanuts and pig's feet are the main ingredients, the name of the dish can be translated as“cooking method+main ingredient+and+main ingredient”,that‘s “Stewed Pig's Trotters and Peanuts&quot;.(Zhang Qiang 2017, 23)<br /> <br /> ====3.2 English Translation of Hunan Cuisine Names Based on &quot;Ingredient and Main Ingredient&quot; or &quot;Main ingredient and Soup&quot;====<br /> The names of such Hunan dishes mainly consist of main ingredients and ingredients, which form Hunan cuisine names as &quot;ingredient+main ingredient&quot;, which can be translated in English as &quot;main ingredient+with/in+ingredients&quot;. Connected by with or in. e.g.&quot;冬笋腊肉&quot; and &quot;蟹黄海参&quot; can be translated respectively as “Preserved Pork (Smoked Pork) with Winter Bamhoo Shoot” and “Sea Cucumber with Crab Roe”. If the ingredient is soup, use the expression &quot;soup+main ingredient&quot;, which is translated as &quot;main ingredient+in/with+ Soup/Sauce&quot;. Yhe choice of in or with is determined by the actual &quot;sauce&quot;. Use &quot;in&quot; if the main ingredient is immersed in the sauce, and if the sauce is separate from the main ingredient, or if it is poured over the main dish, we should use “with” e.g. &quot;蜜汁白莲&quot; is translated as &quot;Lotus-seed in Honey Sauce&quot;and &quot;茄汁鱼片&quot; is translated as &quot;Sliced Fish with Tomato Sauce &quot;.(Zhang Qiang 2017, 24)<br /> <br /> ====3.3 English Translation of Hunan Cuisine Names According to the Flavour and the Main Ingredients====<br /> When the name of a dish is &quot;flavour+main ingredient&quot;, the English translation puts the flavour in the front and the main ingredient at the back, highlighting the taste of the dish, e.g. in &quot;麻辣牛肉&quot;, &quot;麻辣&quot; is the taste. &quot;牛肉&quot; is the main ingredient, which translates as &quot;Spicy and Hot Beef&quot;and &quot;酸辣&quot; in &quot;酸辣鸡杂&quot; is the flavour, &quot;鸡杂&quot; is the main ingredient and it can be translated as &quot;Hot and Sour Chicken Giblets&quot;.(Zhang Qiang 2017, 26)<br /> <br /> ====3.4 English Translation of Hunan Cuisine Names Based on Seasonings and Main Ingredients====<br /> The English translation of Hunan cuisine name in the form of &quot;seasoning+main ingredient&quot; can use the structure of &quot;main ingredient+with+seasoning&quot;, such as &quot;芥末鸡条&quot; can be translated as “Chicken Strips with Mustard”, a literal translation can also be used in the original structure, such as “孜然牛肉” can be translated as &quot;Cumin Beef&quot;.<br /> <br /> ====3.5 English Translation of Hunan Cuisine Names Based on Seasonings, Cooking Methods and Main Ingredients====<br /> Chinese Hunan cuisine names has the structure of &quot;seasoning+cooking method+main ingredient&quot;, which can be translated in English as &quot;cooking method (past participle of the verb)+main ingredient+ with+seasoning&quot;, e.g. &quot;豆瓣酱烧肥鱼&quot; can be translated as &quot;Braised Fish with Thick Broad-bean Sauce&quot; and &quot;豆豉蒸排骨&quot; as &quot;Steamed Pork Chops with Lobster Sauce&quot;.(Zhang Qiang 2017, 26)<br /> <br /> ====3.6 English Translation of Hunan Cuisine Names According to the Colour and Shape of the Finished Dish====<br /> The names of such dishes are generally translated using the literal and free translation method. For example, &quot;芙蓉鸡片&quot; can be translated as &quot;Fried Sliced Chicken with Egg White&quot; and &quot;菊花鱿鱼&quot;as &quot;Fried Chrysanthemum-shaped Squid&quot;.<br /> <br /> ====3.7 English Translation of Hunan Cuisine Names According to the Flavour and the Shape of the Raw Material after it has been cut====<br /> The English translation of Hunan cuisine names can be in the form of &quot;flavour+shape+main ingredient&quot;, e.g. &quot;麻辣&quot; in &quot;麻辣羊肚丝&quot; denotes the flavour. &quot;羊肚&quot; is the main ingredient, and the goat tripe is shredded, which can be translated as &quot;Spicy and Hot shredded Goat Tripe&quot;. (Zhang Qiang 2017, 29)<br /> <br /> ====3.8 English Translation of Hunan Cuisine Name According to the Cooking Method and the Main Ingredient and its modified Shape====<br /> Chinese Hunan cuisine names &quot;cooking method+main ingredient+shape&quot; can be translated as &quot;cooking method (past participle of the verb)+shape+main ingredient&quot;, such as &quot;干煸牛肉丝&quot;. &quot;干煸&quot; is the cooking method, &quot;牛肉&quot; is the main ingredient and &quot;丝&quot; is the shape of the modified ingredient, it can be translated as &quot;Dry-fried Shredded Beef&quot;.(Zhang Qiang 2017, 29)<br /> <br /> ====3.9 English Translations of Hunan Cuisine Names from &quot;Name of Person or Place + Main Ingredient&quot; to &quot;Name of Person or Place+Cooking Method + Main Ingredient&quot;====<br /> In addition to the above principles, the names of such dishes should also be transliterated from the names of people and places, which is good for promoting the Chinese language and culture. The translation of Hunan cuisine names as &quot;person's name+main ingredient&quot; can be made directly. For example, in &quot;组庵豆腐&quot;, &quot;组庵&quot; is the name of a person and &quot;豆腐&quot; is the main ingredient, which is transliterated as &quot;Zu'an Tofuo&quot;.<br /> <br /> The name of the dish &quot;place name+main ingredient&quot; can be translated as &quot;main ingredient+，+place name+Style&quot; with the main ingredient separated from the place name by a comma. For example, &quot;湖南&quot; in &quot;湖南腊肉&quot; is the name of the place, and &quot;腊肉&quot; is the main ingredient, which is translated as &quot; Preserved Pork (Smoked Pork), Hunan Style&quot;, the name of a Hunan dish in the form of &quot;place name+main ingredient&quot; can also be translated into the form of &quot;place name+main ingredient&quot;, e.g. &quot;东安鸡&quot; can be translated as &quot;Dong' an Chicken&quot;.<br /> <br /> The name of a dish can be translated in the form of &quot;cooking method+main ingredient+，+person (place name)+style&quot;, e.g. &quot;毛氏红烧肉&quot;, which can be translated as &quot;Braised Pork, Mao's Family Style. &quot;(Zhang Qiang 2017, 30)<br /> <br /> ====3.10 An English Translation of Hunan Cuisine Names as &quot;Utensil + Main Ingredient&quot;====<br /> Containers such as iron plates, dry pans, casseroles, etc. are also used in combination with the main ingredient to name the chinese Hunan cuisine names, which can be translated as “utensils+main ingredient”，e.g. “干锅茶树菇” is translated as Dry Pot (Griddle Cooked) Tea Tree Mushrooms, it can also be translated as“main ingredient+in/on+main ingredient”, e.g. “铁板牛肉”can be translated as Beef Steak Served on Sizzling Iron Plate. (Zhang Qiang 2017, 31)<br /> <br /> ====3.11 The English Translation of Hunan Cuisine Names that Do Not Reflect Information on Cooking Methods, Main Ingredients, Tastes, etc.====<br /> Some Hunan cuisine names do not reflect basic information such as cooking method, main ingredients, taste, etc. These names usually combine the colour, aroma, cooking method and stylistic features of the dish to give it a pleasant name. For example, “全家福” could be translated as Quan Jia Fu (A tonic recipe of chicken breast fried with sea cucumber peeled shrimp and squid, carrying the implied meaning of a happy family reunion) (Zhang Qiang 2017, 31)<br /> <br /> ===Conclusion===<br /> Chinese dish names are rich in connotation, vividly reflecting China's cuisine culture. Their English translations are an effective means to inform foreigners of Chinese culture. Therefore, it is of great importance to make a study on translations of these dish names. The current studies in this field have given an analysis to Chinese dish names' features, functions as well as the principles for their translation. (Wang Lijun 2017, 23)<br /> <br /> This paper has made a tentative study of Chinese dish names from the angle of untranslatability and loss of meaning. The study covers the analysis of the untranslatability and loss of meaning caused by the differences between Chinese and English, from linguistic and cultural perspectives, taking Hunan cuisine names an example, the introduction of the constitution and function of dish names. Then since Chinese dish names play an important role in Chinese culture, according to untranslatabiltiy caused by culture differences between Chinese and English, the paper analyzes the untranslatable phenomena existing in the English translation of Chinese dish names from the aspects of thinking, beliefs and values, customs, and lexical non-equivalence. <br /> <br /> Although there are many translated versions of various Chinese dishes nowadays, and some of them have been accepted by the public, it is undeniable that there are cultural obstacles which cannot be translated. If translators don't know untranslatabiltiy of dish names, they cannot translate them properly, since they couldn't avoid the obstacles and adopt some compensatory measures. strangeness in front of cultural differences.<br /> <br /> A translation should on the one hand keep as much as possible the original flavor and on the other hand try to make it accessible to the target language readers.<br /> <br /> ===References===<br /> [1]Cao Binbin. 曹彬彬.(2016). 从翻译的不可译性看中式菜名英. [English Translation of Chinese Cuisine Names from the Perspective of Translation Untranslatability]. 英语广场. [English Square]. 24-25.<br /> <br /> [2]J. C. Catford. (1965). A Linguistic Theory of Translation . London: Oxford University.93-95<br /> <br /> [3]Liu Chuang. 刘闯.(2012). 浅析中餐菜名英译的不可译性及解决. [An analysis of the untranslatability of the English translation of Chinese cuisine names and its solution]. 校园英语. [Campus English]. 120-121.<br /> <br /> [4]Tan Zaixi. 谭载喜. (2004). 西方翻译简史(增订版). [ A Brief History of Western Translation (Updated Edition)]. 商务印书馆. [The Commercial Press] 200-220<br /> <br /> [5]Wang Caiying.王才英.(2009). 试论中国菜名的相对不可译及对策. [Experimental discussion on the relative untranslatability of Chinese dish names and Strategies].长沙大学学报. [Journal of Changsha University]. 108-109.<br /> <br /> [6]Wang Lijun. 王丽君.(2008). 中文菜名的不可译性研究. [On Untranslatability of Chinese Dish Names]. 吉林大学学报. [Journal of Jilin University]. 10-13<br /> <br /> [7]Wang Lixia. 王丽霞.(2017).《湘菜六味—湘菜缘分》汉译英实践报告.[A Report on the C-E Translation of the 3rd Chapter of Xiangcailiuwei].湖南师范大学.[Hunan Normal University]<br /> <br /> [8]Xiong Liyou. 熊力游. (2004). 中华菜名功能与翻译处理. [Functions and Translation processing of Chinese Cuisine names]. 长沙大学学报. [Journal of Changsha University]. 84-86<br /> <br /> [9]Zhang Qiang. 张强. (2017). 湘菜菜名词语与对外汉语教学.[Name of Hunan Cuisine in Teaching Chinese as a Second Language].湖南师范大学.[Hunan Normal University]. 18-33<br /> <br /> ==A Study of English Translation of Chinese Dish Names from the Perspective of Domestication and Foreignization -- Taking Hunan cuisine an Example - 邬香 Wu Xiang==<br /> &lt;center&gt; 邬香 Wu Xiang 202020080651.&lt;/center&gt;<br /> ===Abstract===<br /> As a bright pearl in the storehouse of traditional Chinese culture, catering culture plays a more and more important role in the increasingly frequent cross-cultural communication. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the neglect of cultural connotations of dishes, and the lack of unified translation standards. Foreignization and domestication can effectively solve the above problems. From the perspective of foreignization and domestication this chapter takes the English translation of Hunan cuisine as an example and uses different translation strategies for realistic and freehand dishes from the linguistic and cultural levels. Although domestication and foreignization can not remove all the obstacles in English translation of dish names, they can help to accurately express the meanings of dish names, reflect their cultural connotations and promote cultural exchange and dissemination.<br /> <br /> <br /> As a bright pearl in the storehouse of traditional Chinese culture, catering culture plays a more and more important role in the increasingly frequent cross-cultural communication. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the neglect of cultural connotations of dishes, and the lack of unified translation standards. Foreignization and domestication can effectively solve the above problems. From the perspective of foreignization and domestication, this chapter takes the English translation of Hunan cuisine as an example and uses different translation strategies for realistic and freehand dishes from the linguistic and cultural levels. Although domestication and foreignization can not remove all the obstacles in English translation of Chinese dish names, they can help to accurately express the meanings of dish names, reflect their cultural connotations and promote cultural exchange and transmission.--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 08:14, 17 December 2020 (UTC)<br /> <br /> ===Key words===<br /> Chinese dish names; English translation; domestication and foreignization; cross-cultural communication<br /> <br /> ===题目===<br /> 异化和归化视角下中国菜名英译研究——以湘菜为例<br /> <br /> ===摘要===<br /> 饮食文化作为中国传统文化宝库中一颗璀璨的明珠，在如今日益频繁的跨文化交流中的作用愈发重要。但是目前中国菜名英译中出现不少问题，主要包括使用直接生硬的表达方式、忽略菜肴文化内涵、缺乏统一的翻译标准。运用异化和归化翻译策略能有效解决上述问题。本章拟从异化和归化的视角出发，以湘菜英译为例，针对写实型和写意型菜肴从语言和文化层面使用不同的翻译策略。尽管归化和异化不能清除菜名英译中所有的障碍，但其有助于准确表达菜名含义，体现其蕴藏的文化内涵，促进文化交流与传播。<br /> <br /> ===关键词===<br /> 中国菜名；英译；归化和异化；跨文化交流<br /> <br /> ===Introduction===<br /> After thousands of years of precipitation and inheritance Chinese food culture has emerged on the international stage and gradually gained the favor and recognition of foreigners. In today's society cultural exchanges between countries and nations are increasingly frequent. As a cross-cultural communication activity, translation refers not only to the process of language conversion, but also to the process of cultural transformation and dissemination. Because Chinese food contains a large number of cultural and artistic features, which reflect the Chinese cultural landscape, we have different translation versions in the process of translating Chinese dishes. This is not conducive to the spread of Chinese culture. It’s known that translation strategies of domestication and foreignization can retain the cultural elements in the original text to the greatest extent. As one of the eight major cuisines in China, Hunan cuisine has its unique characteristics and rich cultural heritage, so it is suitable to adopt domestication and foreignization in English translation. Many Chinese scholars focus on specific translation methods and skills in the research on translation of Chinese dish names.They rarely consider the translation strategies of foreignization and domestication. However, it is necessary to clarify what kind of translation strategy to adopt before choosing appropriate translation methods and skills, because the implementation of the former is reflected in the application of specific translation skills, while the application of the latter requires certain translation strategies . Therefore,in this chapter I will discuss the application of translation strategies of domestication and foreignization in the English translation of traditional Chinese dish names based on the corpus of Hunan dishes. (Xiong Bing 2014,84)<br /> <br /> <br /> 中国饮食文化历经数千年的沉淀和传承后，在国际舞台上崭露头角，逐渐得到外国人的青睐和认可。当今社会世界各国、各民族文化交流日益频繁，翻译作为一种跨文化交际活动，不仅指语言转换的过程，而且是文化转换和传播的过程。归化和异化策略能最大程度保留原文中的文化元素，解决目前中国菜名翻译过程中存在的一些问题。湘菜作为中国八大菜系之一，具有独特的特点和丰富的文化底蕴，适合采用归化和异化英译。中国许多学者对中国菜名翻译的研究多着眼于具体的翻译方法和技巧，很少从异化和归化的翻译策略高度来考虑。然而首先明确采用怎样的翻译策略，才能继而选用合适的翻译方法和技巧，因为前者的实施体现在特定翻译技巧的运用，同时后者的运用需依据一定的翻译策略。因此，本文将以湘菜菜品名为语料，探讨翻译策略在传统中国菜名英译中的运用。(熊兵，2014,84）<br /> <br /> ===1. Exiting Problems in English Translation of Chinese Dish Names===<br /> Chinese food culture is extensive and profound. It has a long history. The importance of English translation of Chinese dish names in cross-cultural communications between China and foreign countries is self-evident. However, there are many problems in the English translation of Chinese dish names, such as the use of direct and rigid expressions, the lack of unified translation standards and the ignorance of the cultural connotation of dishes. These problems make foreigners and some domestic English learners confused. Next I will analyze them in detail with examples.(Xia Ying 2016, 259)<br /> <br /> 中国饮食文化博大精深，源远流长。中餐翻译在中外文化交流中的重要性不言而喻。然而，目前中国菜名英译存在不少问题，诸如使用直接生硬表达法、缺乏统一翻译标准、忽视菜肴文化内涵等。这些问题不仅引起外国人的困惑，国内英语学习者亦云里雾里。下面我将结合实例具体分析。(夏瑛 2016, 259)<br /> <br /> ====1.1 The Use of Direct and Rigid Expressions====<br /> China has a vast territory and abundant resources. The eating habits and cooking methods in different regions of the country are different. Some dishes are named after myths, legends and allusions, while others are complex in cooking methods and various in ingredients. Direct and stiff expressions can‘t express the rich connotations of these dishes and even make people funny. For example, if &quot;Jiaohua chicken, a whole chicken roasted in caked mud&quot;(叫花鸡) is translated into &quot;beggar's chicken&quot;(叫花子的鸡), it does not reflect the origin and the cooking method of this dish. It is said that in the late Ming Dynasty and early Qing Dynasty a beggar in Changshu（常熟，a city of Jiangsu province） got a chicken by chance. He had no cooking utensils and seasonings. So he had to put the chicken into the mud to simmer and roast it. When the chicken was cooked, it knocked off the mud shell, and the aroma overflowed. It became a delicious dish. Another example is that &quot;木须肉&quot; is translated as &quot;wood mustache meat&quot;（木头胡子肉）. This translation is confusing and does not reflect the main ingredients of this dish. I think that it is appropriate and reasonable to translate it into &quot;stir fried pork with eggs and black fugus&quot;. (Zhang Yang 2016, 48)<br /> <br /> 中国地大物博，全国各地区的饮食习惯与烹饪方法各不相同，其中一些菜肴以神话、传说及典故命名，还有一些佳肴烹饪方法复杂，食材多种多样。直接生硬的表达法不能很好表达这些菜肴的丰富内涵，甚至会让人啼笑皆非。比如，”叫花鸡”(Jiaohua Chicken，a whole chicken roasted in caked mud)若译成”Beggar’s Chicken”则完全没有体现这道菜的由来及做法。相传明末清初时，常熟一个乞丐偶然间得到一只鸡，苦于没有炊具和调料，只能将鸡处理后放入泥土中煨烤，鸡熟后敲掉泥壳，香气四溢，成为一道美味佳肴。又如，“木须肉”被译为”Wood mustache meat”（木头胡子肉），这种译法让人不知所云，更没有体现这道菜的主要原料。笔者认为将其译为”Stir-fried pork with eggs and black fungus”比较恰当合理。(张扬 2016, 48)<br /> <br /> ====1.2 The Lack of Unified Translation Standards====<br /> At present there is no uniform international standard for the translation of Chinese dish nayanmes, which leads to the emergence of multiple translation versions in the book market and restaurants. It brings inconvenience and trouble to foreigners and seriously affects the spread of Chinese catering culture. For example, there are several different translation versions of &quot;麻婆豆腐&quot; in China: bean curd with minced pork in hot sauce; Mapo Tofu; tofu made by woman with freckles. The last translation is not very appropriate and easy to cause disgust. Foreigners are familiar with the translation of &quot;Mapo Tofu&quot; and have already accepted it, so it is acceptable not to explain it. The first translation is to make people salivate. It reflects the method and raw materials of this dish. There are also many ways to translate &quot;宫保鸡丁&quot;, including &quot;Kung Pao chicken&quot;, &quot;fried diced chicken in Sichuan style&quot; or &quot;sauteed chicken cubes with chili and peanuts&quot;. So many translation versions will not only make readers confused, but also fail to reflect the characteristics and cultural connotation of Chinese dish names. Therefore, the translation of the unified dish names is one of the problems to be solved in correctly understanding Chinese cooking culture. (Lin Hong 1991, 41)<br /> <br /> 目前，国际上没有关于中国菜名翻译的统一的标准，这导致在图书市场和餐厅内出现多个翻译版本，给外国人就餐带来不便与麻烦，严重影响了中国饮食文化的传播。例如，国内“麻婆豆腐”有以下几种不同的翻译：Bean curd with minced pork in hot sauce; Mapo tofu; Tofu made by woman with freckles.笔者认为，最后一种译法不是很贴切，容易引起反感。外国人已熟知并接受”Mapo tofu”的译法，故不解释亦可。第一种译法较为形象，体现了菜肴的做法和原料，让人垂涎欲滴。“宫保鸡丁”五花八门的译法包括”Kung Pao Chicken”, “Fried diced chicken in Sichuan style” 或”Sautéed chicken cubes with chili and peanuts”. 如此多的译名不仅会引起读者思维上的混乱，而且没有很好地体现中国菜名的特点与文化内涵。由此可见，统一菜名的翻译是正确领略中国饮食文化亟待解决的问题之一。 (林红 1991, 41)<br /> <br /> ====1.3 The Neglect of Cultural Connotations of Dishes====<br /> The differences between Chinese and Western cultures lead to the differences between Chinese and Western catering cultures, which in the final analysis stems from the different attitudes towards rationality and sensibility. Chinese people have strong perceptual thinking, so they pursue beauty and artistry. Chinese dishes are full of color, fragrance and other cultural connotations. Westerners pay more attention to rationality, truth and science. The names of Western dishes are easy to understand, and the raw materials and nutrients are relatively clear. For example, onion soup in French style(法式洋葱汤) is used in Western food, while &quot;stewed snake and chicken&quot;(龙凤呈祥) in Chinese food is the soup stewed with snake and chicken. Snake is regarded as a small dragon (Jiao 蛟) in China, and there is a folk saying that pheasant flies on the branch and becomes a phoenix(野鸡飞上枝头变凤凰). Therefore, the snake is compared to the dragon, and the chicken to the Phoenix, which is used to bless and praise things and others. The main ingredient of &quot;more than every year&quot;(年年有余) is fish. &quot;Yu&quot;(余) in Chinese refers to surplus, which is homophonic with &quot;fish”(鱼), which expresses people's good wishes for a prosperous family and surplus every year. If foreigners do not understand the Chinese culture implied in these dishes, they will find this kind of translation very strange. Therefore, cultural factors must be taken into account in translating Chinese dishes to avoid misunderstanding. (Wang Junjian 2017，107)<br /> <br /> 中西文化的差异导致中西饮食文化的不同，而这种差异归根结底源于双方对待理性和感性的不同态度。中国人感性思维较强，故而追求美和艺术性，中餐讲究色香味俱全，通常含有祝福、美好等文化内涵。西方人则更注重理性、真理和科学，西餐菜名通俗易懂，原料和营养成分较为清楚。比如，西餐中的Onion soup in French style(法式洋葱汤),而中餐中的”龙凤呈祥”（Stewed snake and chicken）是用蛇和鸡炖的汤。蛇在中国视为小龙（蛟），且民间有“野鸡飞上枝头变凤凰”的俗语。故把蛇比作龙，鸡比作凤凰，用作对事物和他人的祝福和赞美。”年年有余”（More than every year）的主要食材是鱼，“余”在汉语中指剩余，与“鱼”谐音，表达人们对家业发达、年年有余的美好愿望。如果外国人不了解这些菜隐含的中国文化，则会觉得这种翻译很奇怪。因此，在翻译中国菜名时必须考虑文化因素，避免造成误解。(王君健 2017,107)<br /> <br /> To a large extent, the above problems are caused by the fact that people pay attention to the intuitive feelings in the process of translation, ignore the cultural connotations of dish names, and use inappropriate translation methods. I will try to solve these problems by adopting translation strategies of domestication and foreignization from the linguistic and cultural levels. Next, I will introduce the two translation strategies and analyzes how to use them to improve the quality of translation in the process of translating Hunan cuisine into English. (Xia Ying 2016, 259+273)<br /> <br /> 以上问题很大程度上是因为人们在翻译过程中注重直观的感受，忽略菜名蕴含的文化底蕴，使用不恰当的翻译方法造成的。笔者试图从语言和文化层面采用归化和异化翻译策略来解决这些问题。接下来将介绍着这两种翻译策略并分析在湘菜英译过程中如何运用它们来提高翻译质量。(夏瑛 2016, 259+273) <br /> <br /> ===2. Translation Strategies of Domestication and Foreignization ===<br /> <br /> ====2.1 Definitions of Domestication and Foreignization====<br /> Domestication and foreignization are two different translation strategies in the process of translation. These two terms were first put forward by Lawrence Venuti in his book Translator's Invisibility according to the theory of German philosopher Schleiermacher. (Wang Shaofei 2006,30) Domestication refers to a translation strategy that localizes the source language, takes the target language or target language readers as the destination, and adopts the expressions that the readers are used to convey the content of the original text. It can help readers better understand the translation and enhance its readability and appreciation. Foreignization in the process of translation considers the linguistic characteristics of foreign cultures, absorbs foreign language expressions. It requires translators to approach the author and adopt the corresponding source language expressions to convey the content of the original text. It means that we should take the source culture as the destination. The purpose of using foreignization is to consider the differences of national cultures, preserve and reflect characteristics of foreign cultures and their language styles, and to retain the exotic sentiment for the target readers.（Su Songlonghua 2011）<br /> <br /> “归化”和“异化”是翻译过程中两种不同的翻译策略。这两个术语最初是由劳伦斯韦努蒂( Lawrence Venuti) 根据德国哲学家施莱尔马赫( Schleiermarcher) 的理论在他的著作《译者的隐身》中提出的。(王少飞，2006, 30) 归化指把源语本土化，以目标语或译文读者为归宿，采取目标语读者所习惯的表达方式来传达原文的内容的一种翻译策略。归化翻译要求译者向目的语的读者靠拢。归化翻译有助于读者更好地理解译文，增强译文的可读性和欣赏性。异化在翻译上迁就外来文化的语言特点，吸纳外语表达方式，要求译者向作者靠拢，采取相应于作者所使用的源语表达方式，来传达原文的内容，即以源语文化为归宿。使用异化策略的目的在于考虑民族文化的差异性、保存和反映异域民族特征和语言风格特色，为译文读者保留异国情调。（百度百科,宿松龙华，2011）<br /> <br /> ====2.2 Two Levels of Domestication and Foreignization====<br /> Foreignization and domestication should be investigated from the level of language form and cultural content. (Zhang Zhizhong 2005,46) On the one hand, at the linguistic level adopting the translation strategy of foreignization is beneficial to enrich the expression of the target language, but only in a few cases the purpose of translation is to show the language form of the source language. Domestication, because of its reader-oriented characteristics, can ensure that the translation is easy to understand, and it is favored by readers. Therefore, at the language level domestication is the mainstay and foreignization is the supplement. On the other hand, on the cultural level foreignization can retain the cultural elements and connotations contained in the source language as much as possible, which helps to spread foreign cultures, and its advantages are greater than domestication. However, it is impossible to completely adopt the foreignization strategy, because there are too large cultural differences in cross-cultural communication, and it is necessary to use domestication to remove communication barriers. Therefore, at the cultural level the principle of foreignization as the mainstay and domestication as the supplement is adopted. In addition, using domestication strategies at the language level can clearly express the meaning of the original text, which helps to better reflect the cultural elements expressed by the use of foreignization at the cultural level. In short, when the source language has distinctive national characteristics, the use of a combination of translation strategies of domestication and foreignization can maximize strengths,avoid weaknesses and promote cultural transmission.(Shen Sangshuang，Wang Shuqiong 2017, 87)<br /> <br /> 谈论异化和归化，应从语言形式和文化内容层面考察。（张智中，2005,46）一方面，在语言层面上，采取异化翻译策略有利于丰富目的语的表达方式，但是只有在少数情况下翻译的目的是展现源语的语言形式。而归化由于读者导向性的特点能保证译文通俗易懂，受到广大读者的青睐。故而在语言层面提倡主要采用归化策略，异化策略辅助的原则。另一方面，在文化层面上，异化能尽可能保留源语中蕴藏的文化元素和内涵，有助于传播异国文化，其优势大于归化。但是，完全采用异化策略是不可能的，因为在跨文化交际中存在文化差异过大的情况，需要采用归化来扫除交流障碍。因此，在文化层面上采用异化为主，归化为辅的原则。此外，在语言层面上采取归化策略能清楚的表达原文意思，有助于更好地体现在文化层面采用异化策略所表达的文化元素。总之，当源语具有鲜明的民族特色时，采用归化和异化结合的翻译策略能够扬长避短，促进文化传播。(沈桑爽，王淑琼，2017，87）<br /> <br /> Theoretically speaking, foreignization and domestication are two opposite translation strategies. However, they are closely related and interact with each other in specific translation practices and applications. When domestication and foreignization are applied in the translation of Chinese dish names, the translator should deal with the relationship between the readers and the author. On the one hand, from the perspective of readers we should try our best to use their habitual expressions and consider their way of thinking and understanding ability to make sure that they can understand the translation. On the other hand, we should pay attention to retaining the essence of Chinese traditional culture contained in Chinese dish names, so as not to blindly please readers without knowing to change. This is the basic requirement of a qualified translator of Chinese dish names. (Su Songlonghua 2011)<br /> <br /> 从理论上看异化和归化这两种翻译策略是对立的，然而在具体的翻译实践和应用中二者有紧密的联系，且相互作用。在中国菜名翻译中应用归化和异化翻译策略时，译者应处理好读者与作者之间的关系。一方面，应从读者的角度出发尽可能用其惯用的表达方式，考虑他们的思维方式和理解能力，以达到他们能明白翻译内容的目的。另一方面，应注意保留中国菜名中所蕴含的中国传统文化精髓，做到既不一味取悦读者，也不不知变通（一成不变），这是一位合格的中国菜名翻译者的基本素养。( 百度百科 宿松龙华 2011)<br /> <br /> ===3. Application of Domestication and Foreignization in English Translation of Hunan Cuisine===<br /> <br /> ====3.1 Composition and Nomenclature of Hunan Cuisine====<br /> As one of the eight major cuisines in China, Hunan cuisine has the unique characteristics of color, flavor and taste of Chinese dishes, and its naming also shows different styles. Hunan cuisine can be generally divided into realistic dishes and freehand dishes, which describe their mood. The first type of dishes directly reflects the cooking elements. The second one usually uses rhetorical skills to endow dishes with certain cultural connotations according to their own composition. If foreigners don't understand Chinese culture,from literal translation they don't know the specific methods and raw materials of this kind of dishes, so it is difficult to understand their meanings. (Chen Wei 2007，108)<br /> <br /> 湘菜作为中国八大菜系之一，具有中国菜肴独有的色香味俱全的特点，其命名亦显示不同的风格。湘菜一般可分为写实型菜肴和写意型菜肴，写实型菜肴直接体现烹饪要素。写意型佳肴则通常使用修辞手法，根据其本身的组成赋予菜肴一定的文化内涵。如果外国人不了解中国的文化，单从字面翻译他们不知道这类菜肴具体做法和原料，难以理解其具体含义。(陈蔚 2007，108)<br /> <br /> =====3.1.1 Realistic Dishes=====<br /> Realistic dishes are often named according to the combination of cooking elements. The cooking elements of Hunan cuisine mainly include raw materials(原料), seasonings(调料), knife techniques(刀法), taste(口味) and cooking methods(烹饪方法). Common main ingredients embody fish, meat, chicken, etc.; seasonings involve star anise(八角), cinnamon(桂皮), green onion(葱), ginger(姜), garlic(蒜); knife techniques are various, such as slicing(切片), shredding(切丝), cutting into wicker shapes(切柳) ; the taste is famous for its sour and spicy(酸辣), fresh and tender(鲜嫩), crisp and fragrant(酥脆) taste; the cooking methods are mainly sauted(爆), simmered(煨), stewed(炖), fried(炒), braised(烩) and steamed(蒸). The common combination methods include following three types: cooking materials + methods + knife method, such as sauted shredded pork with green pepper(青椒肉丝); seasoning + raw materials, such as bullfrog with ginger sauce and pepper(姜辣牛蛙), hot and sour radish strips(酸辣萝卜条); taste + cooking method + raw materials, such as smoked fish in five flavors(五香熏鱼). (Chen Wei 2007, 108)<br /> <br /> 写实型菜一般根据其菜肴烹饪要素的组合命名，湘菜的烹饪要素主要包括原料、调料、刀法、口味和烹饪方法。常见的主料包括鱼、肉、鸡等；调料有八角、桂皮、葱、姜、蒜；种类繁多的刀法如，切片、切丝、切柳等；口味以酸辣、鲜嫩、酥脆、香熏著称；烹饪方法以爆、煨、炖、炒、烩、蒸为主。常见的组合方式包括以下三种：烹饪原料+方法+刀法，如青椒肉丝（Sauteed Shredded Pork with Green Pepper）；调料+原料，如姜辣牛蛙（Bullfrog with ginger sauce and pepper ）、酸辣萝卜条（Hot and sour radish strips）；口味+烹饪方法+原料，如五香熏鱼（Smoked fish in five flavors)。(陈蔚 2007，108)<br /> <br /> =====3.1.2 Freehand Dishes=====<br /> There are two types of freehand dishes. The first one is named according to the raw materials, colors, shapes or origin places of the dishes, which not only contains rich historical and cultural backgrounds and local flavors, but also expresses good wishes for good luck and has Chinese characteristics. These dishes are often named after allusions, legends or use metaphors, such as steamed glutinous rice ball (with meat / sugar in it)(姊妹团子), hotpot of snakeheaded fish slices as butterflies out of the soup(蝴蝶飘海). The second one refers to the names of people and place names related to dishes, which has distinctive local characteristics, such as Mao's braised pork(毛氏红烧肉), braised chestnut with green cabbage(板栗烧菜心), Changde rice noodles(常德米粉) and Lixian County stewed pork gut(澧县肠子). (Chen Wei 2007，108)<br /> <br /> 写意型菜包括两种类型。第一种根据菜肴的原料、色形或产地取名，使其不仅蕴含丰富的历史文化背景和地方风味，也表达了吉祥美好的祝愿，更具有中国特色。这些菜常以典故、传说命名或使用隐喻等修辞手法，如姊妹团子（Steamed Glutinous Rice Ball (with meat/sugar in it)）、蝴蝶飘海(Hotpot of snakeheaded fish<br /> slices as butterflies out of the soup)。第二种引用与菜肴相关的人名、地名命名，具有鲜明的地方特色，如毛氏红烧肉（Mao's braised pork）、板栗烧菜心（Braised chestnut with green cabbage）、常德米粉(Changde rice noodles)，澧县肠子(Lixian county stewed pork gut)。(陈蔚 2007，108)<br /> <br /> According to the composition and nomenclature of Hunan cuisine and the high acceptability and comprehensibility of domestication and foreignization, translation strategies of domestication-based and foreignization-assisted translation of realistic Chinese dish names reproduces the original style well. The strategies of adopting foreignization as the main and domestication as the supplement for the English translation of freehand dish names can better convey the interesting characteristics of Chinese cuisine and the broad and profound cultural heritage. In the following I will use exemplification to analyze it from different perspectives. (Jiang Jun 2017, 203)<br /> <br /> 根据湘菜构成及命名方法和归化和异化的可接受度高和可理解性强的特点，翻译写实型中国菜名时采用归化为主、异化为辅的翻译策略很好地再现原作的风格，而针对写意型菜名英译采用异化为主、归化为辅的策略能较好地传达中餐妙趣横生的特征及博大精深的文化底蕴。下面我将从不同的角度使用例证法具体分析。 (姜君 2017, 203)<br /> <br /> ====3.2 At the Language Level Domestication is the Mainstay and Domestication is the Supplement====<br /> Domestication at the language level means that the English translation of Hunan dishes should use common and appropriate expressions in English to convey the meaning of Chinese dish names at different levels of linguistics such as vocabulary, semantics, and grammar, so as to ensure the acceptability of English translation of dish names for foreigners. (Shen Sangshuang，Wang Shuqiong 2017, 88)<br /> <br /> 语言层面的归化指湘菜的英译要在词汇、语义、语法等语言学的不同层面上，使用英语中常见、贴切的表达方式传达中国菜名的含义，以确保英译菜名在外国人中的接受度。(沈桑爽，王淑琼 2017, 88)<br /> <br /> =====3.2.1 Domestication at Lexical Level=====<br /> “童子鸡”can be translated as “Tender chicken”(嫩滑的鸡肉), but it cannot be translated as “chicken without sexual life”(没有性生活的鸡). According to this literal translation, “童子鸡” refers to chickens that have not mate. However, this dish originally emphasized that the chicken is tender and tastes very good, not the age of the chicken. Therefore, when translating “童子鸡”, the strategy of domestication is used at the lexical level. The word “Tender” is used to express the concept of “童子”, which means that the chicken is not mature enough. It expresses the essence of this dish vividly and avoids misunderstanding. This method is also applicable to the English translation of “鱼香肉丝”. “Shredded pork with garlic sauce or Fish-flavored shredded pork in hot sauce”(蒜蓉猪肉丝或鱼香肉丝) refers to shredded pork mixed with minced garlic. The “fish fragrance”(鱼香) of this dish does not refer to the fragrance of fish meat, but a complex flavor composed of various seasonings such as pickled pepper, sugar and vinegar. The above-mentioned translation not only retains the original meaning of Chinese, but also arouses foreigners' associations with the smell of fish. (Lin Hong 1991, 41)<br /> <br /> “童子鸡”可译为Tender chicken(嫩滑的鸡肉)，但不能译成“chicken without sexual life”。按照这种字面翻译，“童子鸡”指的是没有交配的小鸡。然而，这道菜原本强调的是鸡肉很嫩，口感十分好，而非鸡的年龄。因此翻译“童子鸡”时在词汇层面使用归化策略，用tender表示“童子”这个概念，指鸡尚未发育成熟，可传神地表达这道菜的本质，避免误解。这种方法同样适用于“鱼香肉丝”的英译。“鱼香肉丝”（Shredded pork with garlic sauce or Fish-flavored shredded pork in hot sauce）指混合着蒜末的肉丝。这道菜的“鱼香”并非指鱼肉的香味，而是一种用泡椒、糖、醋等多种调料组成的复合味道。上述译法即保留了中文的原意，又能引起外国人对鱼香味的联想。(林红 1991, 41)<br /> <br /> In addition, pinyin can be used in English translation of dishes with Chinese characteristics which have been included in major foreign English dictionaries, such as wonton(馄饨), tofu(豆腐), jiaozi(饺子) and Shaomai(烧卖). These dishes are traditional Chinese food which has been widely accepted by foreigners. Moreover, the use of pinyin can promote Chinese and Chinese cooking culture. (Shen Sangshuang, Wang Shuqiong 2017, 88)<br /> <br /> 此外，具有中国特色且被国外主要英文字典收录的，使用汉语方言拼音或音译拼写的菜名，英译时可使用拼音，如“馄饨”（Wonton）、“豆腐”（Tofu）、“饺子”（Jiaozi）、“烧卖”(Shaomai)等。这些菜肴都是已被外国人普遍接受的中国传统食品，使用拼音能推广汉语和中国饮食文化。(沈桑爽，王淑琼 2017, 88)<br /> <br /> =====3.2.2 Domestication at Semantic Level=====<br /> Domestication at semantic level is conducive to convey the meaning of dish names simply and clearly. For example, “一卵孵双凤” can be translated as “two phoenix were hatched from an egg (two chickens, winter bamboo shoots and mushrooms steamed in watermelon)”. From the above translation you can clearly understand the main ingredients and cooking methods of this dish, so as not to be confused by its name. (Zhang Yang 2016, 48) In another example, “金鱼戏莲” is made with squid as the main ingredient. The squid rolls resemble goldfish, playing among the lotus clusters composed of eggs, shrimps and green beans. The name of the dish comes from it. If this dish is directly translated as “goldfish plays with lotus” with the use of foreignization, it is difficult for people to figure out what it means. Therefore, “Oil-fried squid files and steamed shrimp meat, albumen and lima bean to mean”(金鱼戏莲) vividly expresses the essence of this dish, and a vivid and interesting picture can be constructed in the reader's mind through the representation of the image of “floating lotus”(浮莲).Similar examples include “stewed assorted meats/hotchpotch” (全家福), “hotpot of snakeheaded fish slices as butterflies out of the soup” (蝴蝶飘海) and “steamed whole hen with litchi, longan, jujube, lotus and medlar”(五元神仙鸡). (Zhang Yanping, Zhang Weiping 2016, 120)<br /> <br /> 语义上的归化有利于简单明了地传达菜名的含义。例如，“一卵孵双凤”可译为Two phoenix were hatched from an egg(two chickens, winter bamboo shoots and mushrooms steamed in watermelon).从上述翻译可以十分清楚地了解这道菜的主要食材和制作方法，从而不会再被菜名弄得一头雾水。 （张扬 2016，48）又如，“金鱼戏莲”以鱿鱼为主料制作而成，鱿鱼卷似金鱼，嬉戏于由鸡蛋、虾仁和青豆组成的群莲中，菜名由此而来。如果采用异化策略直接译为Goldfish plays with lotus,外国人很难弄明白这指的是什么。故用Oil-fried squid files and steamed shrimp meat, albumen and lima bean表示“金鱼戏莲”,既十分形象地表达了这道菜的本质，又通过“浮莲”意象的再现，能在读者脑海里构建一幅生动有趣的画面。类似的例子还包括“全家福”（Stewed assorted meats/hotchpotch）、“五元神仙鸡”（Steamed whole hen with litchi, longan, jujube, lotus and medlar）、“蝴蝶飘海”（Hotpot of snakeheaded fish slices as butterflies out of the soup）。 (张艳萍, 张伟平 2016, 120)<br /> <br /> =====3.2.3 Domestication at Grammatical Level=====<br /> The domestication of Hunan cuisine at the grammatical level is mainly reflected in the use of prepositions and verb past participles in English translation of dish names. There are various cooking methods for Hunan cuisine, including simmer, stew, steam, fry, smoke, and the past participle is usually used in the translation. Such as “Dongting spicy salted duck” (洞庭酱板鸭), “Dongting barbecued mandarin fish”(网油叉烧洞庭桂鱼), and “fried winter bamboo shoots”(油辣冬笋尖).Dishes with main ingredients and supplemented by ingredients, seasonings, and soups are generally translated by prepositions, such as “preserved egg with hot pepper”(尖椒皮蛋),“fragments of garlic bolt without using knife”(手撕蒜苗), “Yongzhou fried duck pieces together with its blood and balsam pear” (永州血鸭) and “braised pig knuckle in brown sauce” (走油猪腿). (Shen Sangshuang, Wang Shuqiong 2017, 88)<br /> <br /> 湘菜在语法层面的归化主要体现在英译菜名时介词和动词过去分词的使用方面。湘菜多种多样的烹调方法，包括煨simmer、炖stew、蒸steam、炒fry、熏smoke，在译文中通常用过去分词。如“洞庭酱板鸭”（Dongting spicy salted duck ）、“网油叉烧洞庭桂鱼”（Dongting barbecued mandarin fish）、“油辣冬笋尖”（Fried winter bamboo shoots）。而以主料为主，配料、调料、汤汁为辅的菜肴一般会使用介词翻译，如“尖椒皮蛋”（Preserved Egg with Hot Pepper）、“手撕蒜苗”（Fragments of garlic bolt without using knife）、“永州血鸭”（Yongzhou fried duck pieces together with its blood and balsam pear）、“走油猪蹄”（Braised pig knuckle in brown sauce）。 (沈桑爽，王淑琼 2017, 88)<br /> <br /> ====3.3 At the Cultural Level Foreignization is the Mainstay and Domestication is the Supplement====<br /> As we all know, the exchange of food culture in cross-cultural communication is closely connected with daily life. Chinese dishes are both delicacy and art. They have profound cultural heritage and aesthetic value. There are many dishes named after allusions, legends and dishes with names of people and places in Hunan cuisine. Only when people understand their cultural background can they be translated into English more successfully. At the cultural level the translation strategies of foreignization as the mainstay and domestication as the supplement helps to inform customers of the taste, cooking method and ingredients of the dishes to the greatest extent, and accurately convey the cultural elements of the dishes. In my opinion, to use the foreignization translation strategy to translate Chinese food must first understand the characteristics of the naming of Western food. According to the famous French chef Auguste Escoffier, Western dishes are usually named after people, places, gods, historical events, and main ingredients. Comparing the naming and composition characteristics of Hunan cuisine and Western cuisine, it can be seen that when translating freehand Chinese cuisine names, the taste, ingredients, cooking methods and necessary knowledge background of the dishes must be reflected. So understanding the characteristics of Western dishes names is beneficial to the translation of Chinese freehand dish names. (Zhou Yonghong 2008, 101)<br /> <br /> 众所周知，跨文化交际中饮食文化的交流与日常生活紧密相连。中国菜品既是佳肴又是艺术品，其具有深厚的文化底蕴和审美价值。湘菜中有许多以典故、传说命名的菜肴以及带人名和地名的菜肴，人们了解其文化背景，才能较成功地将其译为英语。文化层面采取异化为主，归化为辅的翻译策略有助于最大程度告知顾客菜肴的口味、烹饪法和食材，精准传递菜品的文化元素。我认为，使用异化的翻译策略翻译中餐首先要了解西餐的命名的特点。法国名厨Auguste Escoffier 的认为，西餐菜肴通常用人名、地名、神灵、历史事件以及主要原料等命名。对比湘菜和西餐命名和构成特点，可知翻译写意型中餐菜名时需要体现菜名的口味、食材、烹饪方法以及必要的知识背景。由此可见，了解西餐菜名的特点有利于翻译中国写意型菜名的翻译。(周永红 2008, 101)<br /> <br /> =====3.3.1 Dishes Named after Allusions and Legends=====<br /> 以典故、传说命名的菜肴<br /> There are many dishes named after allusions and legends in Chinese and Western cuisine. These dishes have historical and cultural origins and are not suitable for literal translation. For example, the famous French dish Veronique（薇洛妮克）is named after the mythical goddess. The white juice symbolizes her beautiful appearance, and the white grapes next to it symbolize her tears.“姊妹团子” is a local snack in Hunan Province. It is made by grinding the finest glutinous rice into a fine powder, and the inset is a meat filling made of raw materials such as fresh meat, mushrooms, monosodium glutamate and sesame oil. The shape is a long cone with a pointed top and a flat bottom. After being steamed, it looks like a small white pagoda. The origin of this dish is as follows: in the early 1920s the young and beautiful Jiang sisters set up a stall selling glutinous rice dumplings in the polder of the Fire Palace in Changsha. The dumplings they made were delicious and beautiful, and people were full of praise for it. The translation “Steamed glutinous rice ball (with meat/sugar in it)” points out that the main raw material of this dish is rice ball, the auxiliary materials are meat and sugar, and the cooking method is steam, which makes it clear at a glance (operations12, 2008)<br /> <br /> 中餐和西餐中有不少以典故、传说命名的菜肴。这些菜有历史文化渊源，不适合采用直译的方法。例如，法国名菜Veronique（薇洛妮克）以神话女神命名，白汁与象征着她的美丽容貌，配在旁边的白色提子象征着她的眼泪。“姊妹团子”是湖南省地方特色小吃。其制作时用上等糯米磨成细粉，内陷是由鲜肉、香菇、味精、芝麻油等原料构成的肉馅。外形是尖顶平底长型锥体，蒸熟后像一座白色的小宝塔。这道菜肴的由来如下：本世纪20年代初在长沙火宫殿的圩场上年轻漂亮的姜氏姐妹摆了一个卖团子的摊子，她们制作的团子既好吃又好看，人们对此赞不绝口。译文“Steamed glutinous rice ball (with meat/sugar in it)”指出此菜主要原料是rice ball、辅料为meat和sugar,烹饪方法为steam,让人一目了然。(百度百科operations12, 2008)<br /> <br /> “湘西土匪鸭”is a dish named after an allusion. It is said that a woman surnamed Zhang(张氏) opened a restaurant in Xiangxi (湘西，the west of Hunan province), but her business was not very good due to the large area and sparse population. To make matters worse, her ducks raised in the house are fierce and domineering, ruining the crops every day, not laying eggs properly and causing Zhang to hold the bamboo poles and rush and scold them every day: “You damn ducks, you are like bandits!” She was so angry with these ducks to kill all of them. Because these wild ducks are delicious and Zhang's cooking skills are good, the ducks she burns are soft and tender, and they are delicious, attracting people to smell the fragrance and attracting a large number of guests. Someone asked what this dish was called. Because of the ducks Zhang was extremely angry at that time, and she casually replied: “What kind of dish? Wild ducks!” Since then this dish has become famous. (百度百科) If we use the translation strategy of domestication to translate this dish as “Brigand in Xiangxi ducks”, it is incredible. Translating “湘西土匪鸭” into “Xiangxi wild ducks” not only allows guests to understand the special ingredients of the dish, but it embodies the legendary story of Xiangxi. (Zhang Yanping, Zhang Weiping 2016, 121-122)<br /> <br /> “湘西土匪鸭”是以典故命名的菜肴。传说湘西以前一个姓张的妇人开了一家餐馆，由于地广人稀，生意不太好。更糟糕的是，家中饲养的鸭子凶悍霸道，天天糟蹋庄稼，不好好下蛋，害得张氏天天拿着竹竿又赶又骂:“你们这些该死的鸭子，简直像土匪!。她一气之下把这些鸭子全杀了。由于这些爱撒野的鸭子肉质鲜美，且张氏厨艺很好，她烧的鸭子酥软嫩滑，鲜香绝伦，引得食客闻香而至,吸引大量的客人。有人问这叫什么菜，张氏气极，随口答：“什么菜/土匪鸭!”从此这道菜名声大震。(百度百科)若使用归化的翻译策略将这道菜译为“Brigand in Xiangxi ducks”让人匪夷所思。把“湘西土匪鸭”译成“Xiangxi wild duck”不仅能让客人了解菜的特殊食材，而且体现了湘西这个传奇的故事。 (张艳萍, 张伟平 2016, 121-122)<br /> <br /> =====3.3.2 Dish Names with Place Names and People's Names=====<br /> 带地名和人名的菜名<br /> There are usually two translation methods for the name of a dish with a person's name and a place name in the name of a western dish: dish name + place + style; place /person’s name + dish name. For example, Macedonia de fruta(马其顿水果) uses the second translation method, indicating the origin and ingredients of the dish name. This is a classic dessert in Spanish restaurants. All kinds of fruits are cut into small pieces and then mixed with sugar water or juice. It's a little like Chinese fruit with sugar. The name of this dish is related to the Great Alexander of the Macedonian Empire in the fourth century BC. At the age of 30 Alexander established the largest empire in the history of the time and promoted the integration of races, cultures and languages throughout the empire. In the 18th century the French called things that combined various elements &quot;Macedonia&quot;. Therefore, this candied fruit chowder is named &quot;Fruit Macedonia&quot;.“攸县香干”is a famous characteristic traditional soy product in Hunan Province, which originated in Youxian County, Hunan Province(湖南省攸县). This dish tastes smooth and tender. Tofu is easy to taste and has an aftertaste after eating. It is a home-cooked dish which is suitable for all ages. The translation &quot;Dried tofu, Youxian style&quot; uses the foreignization translation strategy to point out from the cultural level that the raw material of the dishes is dried tofu, and it reflects the local characteristics of Youxian County. (zzpingic1130, 2010)<br /> <br /> 西式菜名中带人名和地名的菜名通常有两种翻译方法：菜名+地名+style ; 地名/人名+菜名。例如，Macedonia de fruta(马其顿水果)的译文使用了第二种翻译方法，指明菜名的产地和原料. 这是西班牙餐馆中一道经典的饭后甜点。各种水果切成小丁后，伴上糖水或果汁，有点像咱们中国的糖渍水果。这道菜名和公元前四世纪的马其顿帝国的亚历山大大帝有关。亚历山大大帝在30岁时就建立了当时史上最大的帝国，并促进帝国内各地的种族、文化、语言等的大融合。到了18世纪，法国人就把融合了各种各样元素的事物称之为“马其顿”。因此，这道糖渍水果大杂烩就取名为“水果马其顿”了。“攸县香干”是湖南省著名的特色传统豆制品，起源于湖南省攸县境内。这道菜口感滑嫩、韧性足、口味纯、细而不腻，有点劲道。豆腐很容易入味，吃完后有回味，是一道老少适宜的家常菜。译文“Dried tofu ，Youxian style”采用异化的翻译策略从文化层面指出了菜的原料是烘干的豆腐，而且体现攸县的地方特色。 (百度百科 zzpingic1130, 2010)<br /> <br /> “玉麟香腰”was created by the chef of Peng Yulin(彭玉麟), a famous official in Hengyang(衡阳,a city of Hunan province) in the Qing Dynasty, and the name of the dish came from this. The main ingredient is pork loin. There are a variety of snacks in a bowl. The dishes are divided into seven layers, stacked one after another and shaped like a pagoda(宝塔). It's also known as “pagoda fragrant waist”(宝塔香腰). If this dish is translated as &quot;sweet pig kidney&quot;, it is difficult to explain its cultural heritage, and it does not show the beauty of this dish's visual “step by step”(步步高升) like a pagoda. “玉麟香腰”can be translated into English as “Yulin’s best homely dish”. According to legend, when Peng Yulin returned home to banquet his fellow villagers, he used “玉麟香腰” as the first dish. “Peng Yulin's best family banquet dishes”(彭玉麟最好的家宴菜) can ingeniously explain the origin of this dish and undoubtedly explain why this dish is also called “touwan”(头碗，the first dish). The English translation of the name of the dish implies “top”(顶级，最好). It seems to mean “to reach the highest level”(登塔至级). Translation of “Yulin’s best homely dish” not only conforms to the psychological world of diners, but also fully considers the audience’s cognitive needs and aesthetic expectations. （Zhang Yanping，Zhang Weiping，2016,121-122）<br /> <br /> “玉麟香腰”是清代衡阳名官彭玉麟家厨创作而成，菜名由此而来。其主要食材是猪腰，一个碗里有多种小吃，菜分七层，层层堆砌，形状象宝塔，又名“宝塔香腰”。若将此菜译为“Sweet pig kidney”则很难解释它的文化底蕴，亦没有呈现这道菜视觉上“步步高升”如宝塔的美感。，“玉麟香腰”可以英译成 Yulin’s Best Homely Dish，因相传彭玉麟回乡宴请父老乡亲时，为表示丰盛，第一道菜就用的是“玉麟香腰”。“彭玉麟最好的家宴菜”能巧妙地解释了此菜的起源，无疑说明了此菜又称为“头碗”的缘由，且菜名英译中“最好”有蕴含“顶级”，似“登塔至级”之意：菜英译名 Yulin’s Best Homely Dish 不仅顺应了食客的心理世界，也充分考虑到受众的认知需要与审美期待。（张艳萍，张伟平，2016,121-122）<br /> <br /> ====3.4 Limitations of Domestication and Foreignization in English Translation of Hunan Cuisine====<br /> Translation strategies that adopt the combination of domestication and foreignization can ensure the clarity of English translation of Hunan cuisine and retain its cultural connotation, but there are still shortcomings, which are mainly reflected in the following three aspects. Firstly, foreignization requires translators to move closer to readers and try their best to use their familiar and accustomed expressions, but sometimes it is difficult to find corresponding words in the target language, especially when we translate the culturally loaded words. For example, the dishes which represent happiness and lucky in Chinese include “四喜丸子”, “百鸟朝凤” and “全家福”. When we translate these dishes from Chinese into English, we don't know which words should be used to convey auspicious and beautiful meanings on the basis of accurately expressing the meaning of them. Secondly, due to the limitation of menu capacity, the meaning of Chinese dishes named after allusions, legends, and myths can’t be fully expressed. If it is literally translated or transliterated, the guests may be very confused. The choice of transliteration and annotation is too much content, which violates the principle of concise menus. For example, if we translate“佛跳墙” into “Fotiaoqiang” or “Buddha jumping the wall”, it does not reflect the essence of this dish. “Fotiaoqiang-steamed abalone with shark’s fin and fish maw in broth” is more appropriate, but not concise enough. Thirdly, due to the variety of cooking methods and seasonings in China, when translating Hunan cuisine into English the use of domestication is beneficial to people who understand Chinese food culture, but for most foreigners who do not know or are not familiar with these cooking methods and seasonings this type of translation will increase the difficulty of understanding.(Fan Jiwen 2016, 13-14) For example,“干锅烧明虾” and “红烧肉” both have the word “burn”(烧), but the translations are completely different. They should be translated as follows: “Fried prawns with pepper sauce” and “braised pork with brown sauce”. The cooking method of the first dish is “fried”(煎), and the second dish is “stewed”（炖）.（Zhang Yang，2016,48）<br /> <br /> 采用归化和异化结合的翻译策略能最大限度地保证湘菜译文清晰明了，保留其蕴含的文化内涵，但仍有不足，主要体现在以下三个方面。第一，异化要求译者向读者靠拢，尽可能用他们熟悉和习惯的表达方式，但有时候很难在目的语中找到对应的词语，尤其是文化负载词的翻译。比如汉语中表示吉祥的菜包括“四喜丸子”、“百鸟朝凤”、“全家福”，翻译时在准确表达菜名含义的基础上不知道该用什么词来传达吉祥美好的意思。第二，由于菜单容量的限制，以典故、传说、神话等命名的中国菜肴的含义不能完全表达。如果直译或者音译，客人可能会十分困惑。选择音译加注解的方式则内容太多，违背菜单简洁的原则。例如，“佛跳墙”如果译成“Fotiaoqiang”or “Buddha jumping the wall”未体现这道菜的本质。“Fotiaoqiang-steamed abalone with shark’s fin and fish maw in broth”比较贴切，但不够精简。第三，由于中国的烹饪方法和调料多种多样，英译时使用归化的翻译策略对于了解中国饮食文化的人来说是有利的，但是对于大部分不知道或者不熟悉这些烹饪方法和调料的外国人来说，这类的译文会增加他们的理解难度。(范继文 2016, 13-14) 比如， “干锅烧明虾”与“红烧肉”都有“烧”字，但是译法却是完全相同的，应该分别翻译如下：“Fried Prawns with Pepper Sauce”与“Braised Pork with Brown Sauce”。第一道菜的烹饪方法是“煎”，第二道菜则是“炖”。（张扬，2016,48）<br /> <br /> ===Conclusion===<br /> Although foreignization and domestication are theoretically opposite, they are complementary and indispensable in the process of English translation of Chinese dish names. Taking translation strategies of domestication and foreignization from the linguistic and cultural levels can not only be faithful to the original, but also embody the rich cultural connotations and Chinese elements contained in the dish names. Therefore, the English translation of Chinese dish names is an indispensable part of cross-cultural communication and an important link in spreading Chinese traditional culture. I hope this chapter can provide some valuable reference for future research on the English translation of Chinese dish names. (Wang Yingying, Zhang Yu 2009, 58)<br /> <br /> 尽管异化与归化在理论上是对立的，但在中国菜名英译过程中二者的作用是相辅相成，缺一不可的。针对写实型和写意型的菜肴从语言和文化层面采取异化和归化的翻译策略不仅能够尽可能地忠于原文，还可以体现菜名中蕴含的丰富文化内涵和中国元素。由此可见，中国菜名的英译是跨文化交际中不可或缺的一部分，是传播中国传统文化的重要环节。希望本文能为未来中国菜名英译研究提供一些有价值的参考。 (王瑛瑛， 张瑜 2009, 58)<br /> <br /> ===References===<br /> *Chen Wei. 陈蔚. (2007). “从中式菜名的英译看异化与归化策略的运用” [ Application of Foreignization and Domestication in the Translation of Chinese Dish Names]. “黄石理工学院学报” [Journal of Huangshi Institute of Technology] (1):107-108.<br /> *Fan Jiwen. 范继文. (2016). “归化异化理论视角下的中式菜名英译研究——以川菜菜名翻译为例” [A study on the English translation of Chinese Dish Names from the Perspective of Domestication and Foreignization-Taking Chuan Cuisine as an Example]. Tianjin: 天津财经大学 [Tianjin University of Finance and Economics].<br /> *Lin Hong. 林红. (1991). “浅析中国菜名的英译问题” [A Study on the Problems of English Translation of Chinese Dish Names]. “四川烹饪高等专科学校学报” [Journal of Sichuan Culinary College] (2):41-42.<br /> *Jiang Jun. 姜君. (2017). “浅析异化与归化视角下的中餐菜名英译” [A Study on the English Translation of Chinese Dish Names from the Perspective of Foreignization and Domestication]. “语言文化” [Language and culture](3):203.<br /> *Operations (2008.3.10). 姊妹团子. [Steamed Glutinous Rice Ball]. &quot;Baidu Encyclopedia&quot;. https://baike.baidu.com/item/姊妹团子.<br /> *Su Songlonghua. 宿松龙华. (2011.1.13). 归化异化. [Domestication and Foreignization]. “Baidu Encyclopedia”. https://baike.baidu.com/item/归化异化.<br /> *Shen Sangshuang, Wang Shuqiong. 沈桑爽，王淑琼. (2017). “传统杭帮菜名称英译的归化与异化翻译策略研究” [A Study on the Translation Strategies of Domestication and Foreignization in the English Translation of the Names of Traditional Hangbang Dishes]. “安徽文学” [Anhui Literature] (8):87-88+104.<br /> *Wang Junjian. 王君健. (2017). “中国菜名翻译现状与思考” [Translation Status and Thoughts of Chinese Dish Names]. “海外英语” [Overseas English] (11):107-108.<br /> *Wang Shaofei. 王少飞. (2006). “文学翻译的异化与优化” [Foreignization and Optimization of Literary Translation]. Beijing: 对外经济贸易大学 [Foreign Economic and Trade University].<br /> *Wang Yingying, Zhang Yu. 王瑛瑛，张瑜. “异化与归化策略在中国菜名翻译中的应用” [The Application of Foreignization and Domestication Strategies in the Translation of Chinese Dishes]. “商洛学院学报” [Journal of Shangluo University] (3):54-58.<br /> *Xiong Bing. 熊兵. (2014). “翻译研究中的概念混淆——以‘翻译策略’、‘翻译方法’和‘翻译技巧’为例” [Conceptual Confusion in Translation Studies: a Case Study of &quot;Translation Strategies&quot;, &quot;Translation Methods&quot; and &quot;Translation Skills&quot;]. “中国翻译” [China Translators Journal] (3):82-88.<br /> *Xia Ying. 夏瑛. (2016). “浅谈中国菜名英译中存在的一些问题及对策研究” [A Study on the Problems and Measures in the English Translation of Chinese Dish Names]. “科技视界” [The Vision of Science and Technology] (26):259+273.<br /> *Zhang Yang. 张扬. (2016). “中餐菜名的英译研究——以湘菜菜名为个案” [A Study on the English Translation of Chinese Dishes: Taking Hunan Cuisine as an Example]. “英语广场” [English Square] (6):47-48.<br /> *Zhou Yonghong. 周永红. (2008). “接受美学视阈下的湘菜翻译探讨” [A Study on the Translation of Hunan Cuisine from the Perspective of Reception Aesthetics]. “贵州工业大学学报” [Journal of Guizhou University of Technology] (1):101-102+105.<br /> *Zhang Yanping, Zhang Weiping. 张艳萍，张伟平. (2016). “基于语料库的湘菜菜名英译研究” [A Corpus-based Study on the English Translation of Hunan Dishes]. “南华大学学报” [Journal of Nanhua University] (1):119-122.<br /> *Zzpingic1130 (2010.8.7). 攸县香干. [Dried Tofu, Youxian Style]. “Baidu Encyclopedia”. https://baike.baidu.com/item/攸县香干.<br /> *Zhang Zhizhong. 张志中. (2005). “兼容并蓄 双层操作——异化归化之我见” [Inclusive and Double Operation -- My View on Foreignization and Domestication]. “语言与翻译” [Language and translation] (2):44-48.</div>

Qu Miao https://bou.de/u/index.php?title=20201215_cultexam_2&diff=112430 2020-12-14T11:26:33Z

<p>Qu Miao: /* The Liquor Culture of China 瞿淼 Student No.202070080604 */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638==<br /> <br /> &lt;center&gt;康浩宇 Kang Haoyu&lt;/center&gt;<br /> <br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）<br /> <br /> ===References===<br /> <br /> [1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.<br /> <br /> [2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52<br /> <br /> [3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.<br /> <br /> [4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.<br /> <br /> [5] 习近平, 决胜全面建成小康社会 夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.<br /> <br /> [6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.<br /> <br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ===Answers===<br /> <br /> 1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.<br /> <br /> 2. Revolutionary culture and advanced socialist culture are two major components of red culture<br /> <br /> 3. Four. Authority, courage, honor and revolution.<br /> <br /> 4. Three. History value, civilization value and economic value.<br /> <br /> 5. Bayi Nanchang Uprising Memorial Tower<br /> <br /> ==Landscape, The Ancient Tea Horse Road - Lei Fangyuan 雷方圆==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.(Zou Jingyi 2018,131)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.<br /> 3. The ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.<br /> 4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.<br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. <br /> Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.(Kang Yuming2020,281-283)<br /> <br /> Shanxi- Tibet tea horse road (wade ancient road), was formed in the Han dynasty through the efforts of the Shanxi merchants and the ancient southwest border tea and horse. During the Ming and Qing dynasties, the government controlled tea traffickin along the tea trafficking sub-region, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:02, 7 December 2020 (UTC)Li Lili<br /> <br /> ====Historical Value====<br /> The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.(Li Gang 2011,113-117)<br /> <br /> 1.The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.<br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.<br /> 3.Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.<br /> 4.Religious Propagation Road<br /> With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.<br /> 5. The Path of National Spirituality<br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.<br /> 6.The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.<br /> 7.The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.<br /> 8.The road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Ji Jing2016,354-355)<br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?<br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> [1]邹怡情,张依玫.作为文化线路的茶马古道遗产保护研究[J].北京规划建设,2018(04):131-140.<br /> <br /> [2]康昱明,李金峰.甘肃茶马古道文化线路遗产探究[J].农村经济与科技,2020,31(11):281-283.<br /> <br /> [3]李刚,李薇.论历史上三条茶马古道的联系及历史地位[J].西北大学学报(哲学社会科学版),2011,41(04):113-117.<br /> <br /> [4]纪静.茶马古道的兴起及其价值研究[J].福建茶叶,2016,38(07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 09:06, 14 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Puppets - Li Lili 李丽丽==<br /> ===Shadow Puppets Li Lili No.202070080594===<br /> ====The Origin of Shadow Play====<br /> Shadow play has a history of more than 2000 years from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid. So he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story written in Hanshu is considered to be the earliest origin of shadow play. There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development in Bianjing of the Northern Song Dynasty is closely related to Bianjing’s superior geographical environment, the development of commodity trade and commercial transportation at that time.(Wei Liqun 2018,13-14)<br /> <br /> ====Introduction====<br /> More than 2,000 years ago, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks” , “waving a sword and a spear, ” or even “smoking ”by puppeteer holding and moving manipulating rods on its body. Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc.(Wang Yexia 2012,1-3)<br /> <br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. The “head” is the most important part of a shadow puppet and its total component number is about four times that of the “body”. A shadow puppet’s “head”. And the “body” can be mixed and matched with each other. (Wang Yexia 2012,29-33)<br /> <br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged person are short beard, but the elderly man are long beard. The decorative designs on the shadow puppets are very important and match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character. The black is a sign of a just, honest and selfless personality. The yellow shows a brave and irascible character, also are used in fantasy plays to represent people with magic power. To make a shadow puppet move flexibly, a complete figure often has many components such as a head, a chest,a belly, two legs, two arms, two elbows, two hands. (Wang Yexia 2012,9-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to work. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. After the end of the &quot;Cultural Revolution&quot;, shadow puppet art recovered rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation of the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.<br /> <br /> ===References：===<br /> 王业霞 《皮影戏》 北京：高等教育出版社 2012 Wang Yexia [Shadow Play] Beijing: [Higher Education Publishing House] 2012<br /> <br /> 魏力群 《小书大传承-皮影》 重庆：重庆出版社 2018 Wei Liqun [&quot;Small Book, Big Heritage - Shadow Play&quot;] Chongqing: [Chongqing Publishing House] 2018<br /> <br /> 朱恒夫 中国皮影戏的历史，现状与剧目特征[J] 浙江艺术职业学院学报 2020(18) Zhu [Hengfu The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre][J] [Journal of Zhejiang Arts Vocational College] 2020(18)<br /> <br /> ===Words and Expressions===<br /> shadow puppet皮影戏 <br /> paper cutting 剪纸<br /> ventriloquism 口技<br /> manipulating rod 操纵杆<br /> five facial features 五官<br /> sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> Cultural Revolution 文化大革命<br /> intangible cultural heritage 非物质文化遗产<br /> <br /> <br /> ===Questions===<br /> 1.When is the earliest shadow puppet’s record?<br /> <br /> 2.What art of forms do shadow play use?<br /> <br /> 3. What does a red head stand for in a play?<br /> <br /> 4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> <br /> ===Answers===<br /> 1.Song dynasty.<br /> <br /> 2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> <br /> 3.The red is symbol of a heroic and upstanding character.<br /> <br /> 4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴==<br /> <br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. <br /> <br /> However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. <br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; (Li Xiaoyu 2010, 33) the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. (Tan Su 2012, 68) &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society.<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization.<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. (Li Chengzong 2002, 67) On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. <br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. (Wang Jie 2004, 82-83) Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves.<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83) <br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication.<br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. <br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. <br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. <br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. <br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. <br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House.<br /> <br /> ==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> ===Answers===<br /> <br /> 1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.It was broadcast in December 1990.<br /> <br /> 3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.&quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot;<br /> <br /> ===References===<br /> <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:00, 13 December 2020 (UTC)--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧， 202070080597==<br /> <br /> '''相声 Crosstalk'''<br /> <br /> ===The Development of Crosstalk===<br /> <br /> Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)<br /> <br /> <br /> Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)<br /> <br /> ===Four Basic Skills in Crosstalk===<br /> <br /> Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)<br /> <br /> ===Characteristics of Crosstalk===<br /> <br /> First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements”. This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)<br /> <br /> Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)<br /> <br /> <br /> “Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)<br /> <br /> Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)<br /> <br /> ===Famous Artists of CrossTalk===<br /> <br /> In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )<br /> <br /> ===Terms and Expressions===<br /> <br /> speaking, imitating, teasing and singing 说学逗唱<br /> <br /> Taiping lyrics 太平歌词<br /> <br /> Baofu 包袱<br /> <br /> Drama Talks 《戏剧杂谈》<br /> <br /> Drunkenness 《醉酒》<br /> <br /> Selling Tickets 《卖挂票》<br /> <br /> ===Questions===<br /> <br /> 1.When did crosstalk form its format?<br /> <br /> 2.What is Taiping lyrics?<br /> <br /> 3.Who was regarded as the “ancestor”of crosstalk art ?<br /> <br /> 4.What are the four basic skills of crosstalk?<br /> <br /> ===Answers===<br /> <br /> 1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.<br /> <br /> 2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.<br /> <br /> 3.Zhu Shaowen.<br /> <br /> 4.They are speaking, imitating, teasing and singing.<br /> <br /> ===References===<br /> <br /> 1.Hou Baolin，Xue Baokun，1982，《相声溯源》，People's Education Press<br /> 2.https://cul.sohu.com/20090619/n264630449.shtml<br /> 3.https://baike.so.com/doc/1925383-2037001.html<br /> 4.https://baijiahao.baidu.com/s?id=1590742532351773378<br /> <br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO - Liu Yi 刘艺 202070080640 MTI===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2]<br /> <br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4]<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> ==Liu Yiyu 刘怡瑜 专业 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==<br /> <br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.” History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. (Fan Jinshi 2010，170)The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. <br /> <br /> After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96.( Fan Jinshi 2010, 175) In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting. <br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University兰州大学.<br /> <br /> MA Shichang.(2010).Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang.MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].中原文物 Cultural Relics in Central Plain,No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Four State-level Cultural Relics Luo Weijia罗维嘉 Student No.202070080600==<br /> <br /> ===Four State-level Cultural Relics===<br /> <br /> China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.<br /> <br /> ====Houmuwu Ding====<br /> <br /> In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority. For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment.<br /> <br /> Simuwu Ding,or Houmuwu Ding, was a very precious cultural relic, found in 1937 in Anyang of Henan Province (Zhang Peng:86-89).It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing. <br /> <br /> Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices. <br /> <br /> Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Zhang Peng:86-89).<br /> <br /> Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties.<br /> <br /> ==== The Chime Bells of Marquis Yi ====<br /> <br /> The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound.<br /> <br /> The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum(Gao Nan:29). <br /> <br /> There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg (Gao Nan:29). It is extremely rare tosee a set with so many bells of such weight and size. <br /> <br /> The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen:1-2). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure. <br /> <br /> After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music. <br /> <br /> ==== Jade Suit with Gold Thread ====<br /> <br /> Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”.<br /> <br /> The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread.<br /> <br /> The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen:38-39). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD). <br /> <br /> In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen:38-39). <br /> <br /> Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280).<br /> <br /> ==== Bronze Galloping Horse ====<br /> <br /> In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure.<br /> <br /> The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian:10-11). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists. <br /> <br /> In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers. <br /> <br /> Bronze Galloping Horse is believed to be a portrayal of the &quot;heavenly steed&quot; of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum.<br /> <br /> ===Terms and Expressions===<br /> <br /> Houmuwu Ding 后母戊鼎<br /> <br /> Simuwu Ding 司母戊鼎<br /> <br /> Emperor Wuding of the Shang Dynasty 商王武丁<br /> <br /> taotie 饕餮<br /> <br /> National Museum of China 中国国家博物馆<br /> <br /> chime bells/bian zhong 编钟<br /> <br /> Marquis Yi 曾侯乙<br /> <br /> The Chime Bells of Marquis Yi 曾侯乙编钟<br /> <br /> Bianzhong Yuewu 《编钟乐舞》<br /> <br /> Hubei Museum 湖北省博物馆<br /> <br /> Jade Suit with Gold Thread 金缕玉衣<br /> <br /> Jade Suit Sewn with Silver Thread 银缕玉衣<br /> <br /> Jade Suit Sewn with Copper Thread 铜缕玉衣<br /> <br /> Bronze Galloping Horse 铜奔马/ 马踏飞燕<br /> <br /> Gansu Provincial Museum 甘肃省博物馆<br /> <br /> ===Questions===<br /> <br /> 1. What does ding symbolize?<br /> <br /> 2. When was Houmuwu Ding produced?<br /> <br /> 3.How many bells do the chime bells of Marquis Yi contain?<br /> <br /> 4.What is the size of the largest bell?<br /> <br /> 5.What kind of thread was used to link pieces of four-square jade?<br /> <br /> 6.When did the Jade Suit with Gold Thread unearth?<br /> <br /> 7.What is ingenious about the Galloping Horse?<br /> <br /> 8.Where is Bronze Galloping Horse preserved now?<br /> <br /> ===Answers===<br /> <br /> 1.Ding was a symbol of imperial power. <br /> <br /> 2.It was produced in the late Shang Dynasty more than 3000 years ago. <br /> <br /> 3.They contain 65 bells.<br /> <br /> 4.The largest bell exceeds 1.5m in height and weighs more than 200kg.<br /> <br /> 5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.<br /> <br /> 6.It unearthed in 1968.<br /> <br /> 7.It is that one of its hind feet is stepping on a flying swallow. <br /> <br /> 8.It is now preserved in the Gansu Provincial Museum.<br /> <br /> ===References===<br /> <br /> [1]Zhang Peng 张鹏.(2020).青铜大师杜廼松:“司母戊鼎”名称不容置疑[No Doubt about the Name of Simuwu Ding].中国民族博览 (09):86-89.<br /> <br /> [2]Wan Quanwen 万全文.(2020).曾侯乙编钟[The Chime Bells of Marquis Yi].文史知识 (11):1-2.<br /> <br /> [3]Gao Nan 高楠.(2020).音乐中的国家宝藏——曾侯乙编钟[National Treasure in Music].琴童 (01):29.<br /> <br /> [4]Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 [The Study of Jade Suit with Gold Thread Unearthed in Mancheng].文物鉴定与鉴赏 (03):38-39.<br /> <br /> [5]Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究[The Study of the Bronze Sculpture ——the Galloping Horse].艺术品鉴, (26):10-11.<br /> <br /> == The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panaroma view of the Forbidden City.jpg|300px|thumb|left|A Panaroma view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602 &lt;span style=&quot;color:red&quot;&gt;专业 is missing&lt;/span&gt;==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents. &lt;span style=&quot;color:red&quot;&gt;quotation is missing&lt;/span&gt;--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:15, 14 December 2020 (UTC)<br /> <br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603专业 is missing--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 08:16, 14 December 2020 (UTC)Mo Ling==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper.<br /> After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> *李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010<br /> <br /> ==Phyo, Su Kyi==<br /> Chinese Clothing== Phyo, Su Kyi, Student No-20191108000<br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.“Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press,2016.<br /> <br /> <br /> 2.Mei Hua, `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress2010<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ===Chinese traditional dance===<br /> <br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604==<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12) <br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore, drinking vessels as part of the liquor culture also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康<br /> <br /> 2.Chinese Dionysus 中国酒神<br /> <br /> 3.husked sorghum rice 秫米饭<br /> <br /> 4.Baishui 白水县（陕西渭南市辖县）<br /> <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县）<br /> <br /> 6.fermented wine 发酵酒<br /> <br /> 7.Distilled liquor 蒸馏酒<br /> <br /> 8.Yellow rice wine 黄酒<br /> <br /> 9.Shaoxing Wine 绍兴酒 <br /> <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> <br /> 11.Mellow Wine 醇香酒 <br /> <br /> 12.Dongwu Rice Wine 东吴老酒<br /> <br /> 13.Liquor and Spirits 白酒 <br /> <br /> 14.Kweichow Moutai 贵州茅台<br /> <br /> 15.sauce-flavor type 酱香型 <br /> <br /> 16.light flavor type 清香型 <br /> <br /> 17.strong flavor type 浓香型 <br /> <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> <br /> 19.the Peiligang culture period裴李岗文化时期 <br /> <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> <br /> 21.Zun 樽 <br /> <br /> 22.injection vessel and bowl 注子和注碗<br /> <br /> 23.drinking order 行酒令<br /> <br /> ====Questions====<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> == China Railway High-Speed ​​(CRH) - Rajabov, Anushervon student NO. 201921080005==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> Introduction <br /> <br /> High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot; <br /> <br /> Definition and terminology <br /> <br /> High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高 铁; Gāotiě; &quot;High-speed rail&quot;) are commonly used trains E In class D trains (动 车; Dòngchē; &quot;Electrical multiple unit&quot;) are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains. <br /> <br /> Influence on airlines<br /> <br /> The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. <br /> Technologies <br /> Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐 号; Traditional Chinese: 和 諧 號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.<br /> <br /> 4 + 4 HSR network <br /> <br /> The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines. <br /> <br /> Advantages <br /> <br /> HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.<br /> <br /> Wenzhou accident <br /> <br /> On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.<br /> <br /> Terms and expressions<br /> <br /> 高 铁 - High-speed rail<br /> 动 车 - Electrical multiple unit<br /> 和 諧 號 – Harmony<br /> 復興號 - Rejuvenation<br /> <br /> Questions <br /> <br /> 1. What does the World Bank research say?<br /> 2. What forced China's domestic airlines to cut airfares and cancel regional flights?<br /> 3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?<br /> 4. What caused the accident?<br /> 5. What are the benefits of HSR?<br /> <br /> Answers<br /> <br /> 1. The World Bank study has shown that &quot;a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality.&quot; <br /> 2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.<br /> 3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. <br /> 4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.<br /> 5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.<br /> <br /> References<br /> <br /> ==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004==<br /> ===Introduction===<br /> China is a very big country with a large population, multi-ethnic, and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between these dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019, 124)<br /> <br /> ==Putonghua and Dialects==<br /> <br /> Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25) <br /> It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126) <br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)<br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)<br /> <br /> ==Ancient Chinese and Modern Chinese ==<br /> Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127) <br /> <br /> By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)<br /> <br /> ==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==<br /> Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)<br /> There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.<br /> Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)<br /> Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)<br /> An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)<br /> <br /> ==Language policy==<br /> While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).<br /> <br /> ==Conclusion.== <br /> Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.<br /> <br /> ==References==<br /> <br /> Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.<br /> Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.<br /> The Contemporary Chinese Dictionary Chinese -English Edition 2002)<br /> ===Terms and expressions===<br /> Lingo: 林戈<br /> Putonghua: 普通话<br /> Await student:等待学生<br /> Pinyin: 等待学生<br /> Lofty: 崇高：<br /> Vernacular: 白话：<br /> Swine: 猪：<br /> ===Questions===<br /> 1. Why Putonghua is spoken in United Nations Organization?<br /> 2. How many people speak Putonghua in China and around the world?<br /> 3 .Why Chinese government is promoted Putonghua among many others languages?<br /> ===Answers===<br /> 1. Because it is an important means of communication between China and foreign countries.<br /> 2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.<br /> 3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.</div>

Qu Miao https://bou.de/u/index.php?title=20201214_trans&diff=112111 2020-12-14T07:17:57Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> In fact, reportage research and composition along with organizing and performing in roving theatrical troupes became one of the principal modes of ”internship” for young writers in the socialist educational system as it emerged in Yan’an.<br /> <br /> Yang Shuo, Liu Baiyu, and Qin Mu were all in their twenties at this time, so they had limited literary experience before the 1940s. Thus for Liu and Yang, the Yan’an years helped define for them what literature is supposed to be from process to product. Qin Mu, however, never went to Yan’an; he spent the entire war in Guangdong, Guangxi and Guizhou. Thus though he had experience with some of these procedures of production in progressive circles in those areas, Qin Mu was not saturated in this kind of cultural environment.<br /> <br /> 事实上，在延安出现的社会主义教育体系中，报道文学的研究与创作和组织并参演剧团演出一起，成为青年作家的主要“实习”方式之一。<br /> <br /> 事实上，在延安时，研究撰写报道文学和组织参演剧团演出，成为当时社会主义教育体系中青年作家的主要“实习”方式之一。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 06:12, 14 December 2020 (UTC)<br /> <br /> 杨朔，刘白羽和秦牧当时都是二十来岁，所以他们在四十年代前的文学经验有限。对于刘白羽和杨朔而言，那段延安时光帮助他们定义了文学是如何由形成到产出的。秦牧却没有去过延安，他的整个战争时期都是在广东，广西和贵州度过的。因此，即便他在一些抗战区域有相关经验，秦牧仍然是没有被这种文化环境所浸染的。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:39, 13 December 2020 (UTC)<br /> <br /> 杨朔，刘白羽和秦牧当时都是二十来岁，在十九世纪四十年代前，他们还没有太多文学创作经验。因此对于刘白羽和杨朔而言，那段延安时光让他们明白文学从形成到完成是一个什么样的过程。然而，秦牧从没有去过延安，整个战争时期他都是在广东、广西和贵州度过的。因此，即便他在一些抗战区域有相关经验，秦牧没有受到这种文化环境的熏陶。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 06:21, 14 December 2020 (UTC)<br /> <br /> ==Chang Huiyue 常慧月==<br /> Once socialism or communism took the position of power (as in Yan’an during the war against Japan and then throughout the PRC after 1949) critical prose writing (whether essays or reportage) as it had been practiced during wartime became much more dubious from the point of view of cultural officials, and nonfiction needed to become a vehicle of literary celebration of public, historical achievements.[ See for example Yang Shuo, ”Qian jin, gangtie de dajun” (March Forth, Great Army of Steel, 1949), Zhonghua sanwen zhencang ben, Yang Shuo juan (Beijing: Renmin wenxue chubanshe, 1998) 25-33; ”Pingchang de ren” (An ordinary man, 1951) 25-33; ”Pingchang de ren” (An ordinary man, 1951), Yang Shuo juan 13-17, ”Gebi tan shang de chuntian” (Springtime on the Gobi, 1953), Yang Shuo juan 29-33. ] This is precisely the familiar dilemma of Ding Ling, coming into Yan’an society well trained as a keen critic of her environment. It was an awkward transition, except for those who came into the socialist educational cultural system while still relatively young. To them the business of literature was that of constructing an unprecedented new vision.<br /> <br /> 社会主义或者说共产主义曾经处于主导地位（如抗日时期的延安，然后贯穿1949中国成立以来整个时期）批判散文写作（无论是小品文还是报告文学）可以说，它已经在战时经过多次实践，从文化官员的角度来说，它变得更加不可信。纪实文学需要成为公众庆祝和历史成就的文学工具【如：杨朔《钢铁的大军》（前进，钢铁的大军，1949），中华散文珍藏本，杨朔卷（北京：人民文学出版社，1998）25-33；《平常的人》（平常的人，1951）25-33；杨朔卷13-17，《戈壁滩上的春天》（戈壁滩上的春天，1953），阳朔卷29-33】。这恰好是丁玲的困境，参加延安协会，作为同一批人中受到良好训练的敏锐批评家。除了那些参加社会主义教育文化系统但是相对年轻的人，这是一次尴尬的转变。对他们来说，文学事业正在建造一个前所未有的新视野。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 12:37, 13 December 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> '''Writers’ changing roles changed literary prose'''<br /> <br /> Each of the three authors I am discussing here was born between 1913 and 1919, only a few short years after the fall of the Qing dynasty and the establishment of the Republic of China. They were all in their late teens and early twenties at the outbreak of the war against Japan. Being roughly the same age, they shared the same historical and cultural atmosphere, but being in different locations, engaged in the war in different capacities, their transition into the aesthetics of incongruous lyricism took different paths and thus embodied different tensions.<br /> <br /> '''作者的角色变化改变了文学散文的面貌'''<br /> <br /> 我在此探讨的三位作家都出生于1913至1919年间，距清王朝灭亡和中华民国建立仅短短几年时间。抗日战争爆发时，三人都是十几岁到二十几岁。他们年龄相仿，有着相同的历史、文化氛围，但由于身在不同的地方，以不同的身份参加战争，他们向不协调抒情美学转型的路径不同，从而表现出不同的张力。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:09, 11 December 2020 (UTC)<br /> <br /> '''作家角色的变化改变了散文的面貌'''<br /> <br /> 我在此探讨的三位作家都出生于1913至1919年之间，是清王朝覆灭和中华民国建立后的短短几年。抗日战争爆发时，三人都是十几岁到二十出头。他们年龄相仿，处于相同的历史和文化氛围下，但由于身在不同的地方，以不同的方式参与战争，他们向不协调抒情美学转型的路径不同，从而表现出不同的张力。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 10:55, 13 December 2020 (UTC)<br /> <br /> ==Chen Hui 陈惠==<br /> Yang Shuo[ 1913-1968, orig. Yang Shujin(?), of Penglai County in Shandong.] is probably the most ”standard” of the three from the point of view of the Communist Party in that he went to Yan’an early (winter 1937) and worked under the direction of the party’s cultural apparatus for the duration of the war there, in the northwest, and in Guangzhou. Like the reportage writer Huang Gang, he was of the right age for this Yan’an-based period to be his principal formative and educational experience, deeply conditioning his approach and attitude toward writing in the 1950s and 1960s. That being said, Yang Shuo was more concerned with issues of literary quality and symbolic meaning than others writing under the direction of the CP, and this concern colored even his most famous works with puzzling tones of ambivalence and reservation.<br /> ==Chen Jiangning 陈江宁==<br /> Liu Baiyu[ 1916-?, orig. Liu Yuzan, of Beijing. See Niu Yunqing, Liu Baiyu pingzhuan (Chongqing: Chongqing chubanshe, 1995).] arrived in Yan’an relatively early too, and was quickly immersed in its literary activism. Only weeks after his arrival, and though Liu was only 22 at the time, Mao Zedong personally assigned him to lead a five-person escort for the American marine observer Evans Carson to visit the guerilla areas in Northern China (one of a variety of types of ”cultural worker” assignments in the communist base areas). Despite this promising start and occasional contact with Mao, Liu published works that incurred the wrath of some critics and officials, became a target in the Yan’an zhengfeng campaign after Mao’s Talks, and underwent a process of mutual and self-criticism at the Central Party School.<br /> 刘柏宇[1916-?, 源自. 刘玉赞，北京. 参见牛云清, 刘柏宇 平专（重庆：重庆出版社，1995).]抵达延安也很早，并很快就投入到了当地的文学活动中去。在他抵达数周后，尽管刘当时才22岁，毛泽东亲自派他带领一个五人护卫队，并陪同美国海军观察员埃文斯·卡森参观中国北部的游击地区（一个派遣各种类型“文化工作者”的共产党基地）。尽管开了一个充满前景的好头以及偶尔会与毛主席接触，刘出版的作品还是引起了某些批评家和政府工作人员的不满，因此，他在毛泽东讲话后成了延安正风运动的目标，并在中央党校进行了互相批评以及自我批评的过程。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 15:33, 13 December 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> Though the result of this painful process was apparently ”successful” (Liu went on to hold important cultural administrative positions in the PRC), it also alienated him from certain elements in the literary community and led him to take an aggressively authoritarian role as the Party secretary of the Writers’ Assocation during the Anti-Rightist Campaign in 1957 and 58. This alienation is occasionally revealed in his sanwen works from that point on.<br /> <br /> Qin Mu[ 1919-199?, orig. Lin Juefu, b. Singapore, of Chenghai County in Guangdong. See Huang Zhuocai, Weng Guangyu and Ai Zhiping, Qin Mu pingzhuan (Guangzhou: Huacheng chubanshe, 1989).] is one more step removed because he did not share the Yan’an experience with Yang and Liu. Though he was active in the literary resistance during the war against Japan, and though his biographers insist that he originally planned to go to Yan’an as early as 1938, he never went there (Huang, Weng and Ai, 1989, 26-27). <br /> ==Chen Jingjing 陈静静==<br /> Because he did belong to the age cohort and had the same basic inclinations, he did come into contact with the same organizations (the Communist Party, Wenxie) that the others did, and indeed could even have met Yang Shuo in Canton when Yang was sent there on assignment in 1938. He also engaged in similar types of literary intervention, organizing and performing traveling anti-Japanese theater in the countryside, accompanying troops in the field as a writer, and publishing anti-Japanese and anti-KMT/US zawen in Rear or KMT area newspapers. But his experience during the war was not a community experience: Qin at first alone and later with his wife underwent the trials and tribulations of a writer at wartime as an individual, making his own decisions and contacting organizations only when the opportunity presented itself and he wished to do so.<br /> <br /> 因为他确实属于同龄人并且具有相同的基本倾向，他也确实和其他人一样和同一个组织如共产党，文协有过接触，而且有可能甚至已经在1938年杨朔被派往广州执行任务时就已经见过杨朔了。他也参与了类似的文学干预活动，在乡村组织并参演巡回的抗日戏剧，以作家身份随同军队前往战场，并在后方或国民党报上发表了抗日及反抗国民党或美国的杂文。但他在这次战争中的经历并不是一次团体经历，秦牧一开始是一个人，之后和他的妻子作为个人作家在战争时期经历了考验和磨难，在此期间独立做出决定，只在机会到来之时或者需要时才会与组织联系。<br /> <br /> 因为他与别人年纪相仿， 基本倾向相同，也都与共产党，文协等组织有过接触，而且有可能甚至已经在1938年杨朔被派往广州执行任务时就已经见过杨朔了。他也参与了类似的文学干预活动，在乡村组织并参演巡回的抗日戏剧，以作家身份随同军队前往战场，并在后方或国民党报上发表了抗日，反抗国民党或抗美的杂文。但他在这次战争中的经历并不是一次团体经历，秦牧一开始是一个人，之后和他的妻子作为个人作家在战争时期经历了考验和磨难，在此期间独立做出决定，只在机会到来之时或者需要时才会与组织联系。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:05, 13 December 2020 (UTC)<br /> <br /> ==Chen Sha 陈莎==<br /> Thus there is an especially independent streak about him that made relations between him and the Writer’s Association after 1949 somewhat strained. He was attacked in the 1957 zhengfeng movement, and it was not until 1962 that he joined the Communist Party.<br /> <br /> Thus each of these writers exhibited different tensions as they approached writing after 1949, and particularly during and after the Hundred Flowers Campaign. All of them, however, adopted sanwen as a vehicle to express themselves, and while these essays at time seem on the surface to be pat or fulsome propaganda.<br /> <br /> 因此，他有一种特别独立的特质，这一特质使得他在1949年后与作家协会的关系有些紧张。他在1957年的正风运动中遭到攻击，且直到1962年才加入共产党。<br /> <br /> 因此，1949年后，尤其是百花运动期间和百花运动之后，每一位作家在接触到写作时都会表现出不同程度的紧张。然而,他们都以散文为载体来表达自己,尽管有时这些文章似乎表面上是适度的或过度的宣传。<br /> <br /> ==Chen Sunfu 谌孙福==<br /> '''Procedures and interests of socialist essays'''<br /> <br /> The sanwen of the late 1950s and early 1960s, because of a variety of different such personal and larger cultural tensions, manifest various kinds of ”incongruous lyricism.” All three of these writers had their essays included in textbooks for junior high school and high school during the 1960s and 70s. But these canonic texts represented only the completion of a gradual process of adjustment and must be viewed alongside earlier, less well-known efforts by these authors as well as their works in other genres, particularly fiction.<br /> <br /> 社会散文的发展阶段和关注点<br /> <br /> 由于不同的个人冲突和更严重的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样“不和谐的抒情性”。这三位作家的散文均已收录进20世纪六七十年代的中学教材中。这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来看待那些经典文本。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 07:41, 9 December 2020 (UTC)<br /> <br /> 由于各种各样的个人冲突乃至文化冲突，20世纪50年代末至60年代初的散文呈现出多样的“不和谐的抒情性”。在20世纪六七十年代的中学和高中教材中，这三位作家的散文均编撰进了课本。然而这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来分析那些经典文本。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 9 December 2020 (UTC)Mo Ling<br /> <br /> 社会散文的发展和关注点<br /> <br /> 由于各种个人冲突和愈发剧烈的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样的“不和谐的抒情性”。20世纪六七十年代，这三位作家的三位都被收录进中学教材中。而这些经典文本仅代表调整工作的逐步完成，要正确的看待这些经典文本，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:42, 10 December 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> '''Friction with leftist aesthetics'''<br /> <br /> In the late 1950s and early 1960s the term sanwen was more frequently associated with ”lyricism” (shuqing) and opposed to ”expository” (shuoli) prose essays. In practice, this is indicated by long descriptive passages, the frequent use of direct address to the reader in the second person as well as rhetorically loaded interrogative, imperative and expressive particles. At particularly rhapsodic moments, socialist sanwen texts take on a fu-like rhetoric, syntactic parallelism and a piling up of listed concrete objects and rich varieties of adverbs and adjectives. One is attempted to associate this attempt at of verbal profusion with certain Republican period stylists like Zhu Ziqing and Yu Pingbo, but the socialist version is much more extravagant both in verbiage and emotional exhibitionism.<br /> <br /> 与左派美学的摩擦<br /> <br /> 在20世纪50年代末和60年代初，“散文”一词更多地与“抒情性”(抒情)联系在一起，而非“说理性”(说理)。在实践中，这表现在冗长的描述性段落，经常使用第二人称直接称呼读者，以及修辞性的疑问句、祈使句和表达性助词。在狂热表达的时候，社会主义性散文呈现出一种赋式的修辞、句法上的排比，具象堆砌以及华丽的词藻。有人试着将这种语言丰富的尝试与朱自清和俞平伯等某些民国时期风格明显的散文家联系起来，但社会主义性散文在语言和情感显露方面更加丰富。<br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:31, 13 December 2020 (UTC)<br /> <br /> ==Cheng Yusi 成于思==<br /> On the level of imagery, a general fascination with images of light, fire and torches left over from the war period[ Particularly evident in Liu Baiyu’s reportage works from the late 1940s.] remains but in part gives way to a new interest in flower imagery in the 1950s.[ Qin Mu’s essays and some of Yang Shuo’s are filled with varieties of flowers and plants, enjoyed in themselves and as symbols of other things. ] Finally a strategy common to all three writers is to conceive of a vista or an experience as a living landscape painting, emphasizing a magnitude of vision and the accompanying emotional exhilaration. In some cases, these highly visual essays are accompanied with illustrations uncannily consistent with the texts’ visualization of the landscape.<br /> <br /> 从意象层面来看，人们对战争时期遗留下来的光，火及火把等意象十分着迷的现象仍然存在（在刘白羽1940年代后期的报道文学作品中尤为显著），不过到1950年代后兴趣点开始转向于花卉意象。（秦牧的散文作品以及杨朔的部分作品中充满花卉植物等意象，这些意象自成一体，同时具有象征之意）。最后，三位作家的共同策略是将远景或某种经验想象成为一副写生风景画，强调视觉的重要性及随之而来的欣喜和振奋之情。在某些情况下，这些充满视觉冲击的文章配有插图，而插图与充满视觉化风景的文章之间出奇地吻合。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 06:27, 14 December 2020 (UTC)<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> '''Yang Shuo'''<br /> <br /> Yang Shuo’s 1959 essay ”The Highest Peak of Taishan”[ Taishan jiding, wr. 1959, from Haishi. Yang, 125-129.] features this kind of overt reference to landscape painting. The text simply narrates the author’s ascent of the famous Shandong mountain, but the narrative structure of the climb is interwoven with a figurative structure consisting of three elements. The first is the traditional landscape painting motif: ”All the way from the foothills, looking closely at the mountain landscape, I felt like what was before me was not the lord of the Five Famous Mountains, but more like a green and blue landscape painting of astounding size,” (Yang, 125) an idea he develops as a conceit with figurative descriptive language. Second, Yang writes ”after a while, I began to feel that I was not only looking at a landscape painting, but randomly flipping through a historical manuscript.” (Yang, 126)<br /> <br /> '''杨朔'''<br /> <br /> 杨朔于1959年创作的散文《泰山极顶》[《泰山极顶》创作于1959年，选自《海市》。 杨，125-129。]就是这种对山水画的公开引用。 文字只是讲述了作者在著名的山东山峰上的登顶，但攀登的叙事结构与由三个要素组成的形象结构交织在一起。 第一个是传统的山水画主题：“一路上从山脚往上爬，细看山景，我觉得挂在眼前的不是五岳独尊的泰山，却像一幅规模惊人的青绿山水画。”（Yang，125）。他将这种想法发展为一种比喻性的描述性语言。然后杨写道：“一时间，我又觉得自己不仅是在看画卷，却又象是在零零乱乱翻着一卷历史稿本。” （杨，126）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:29, 13 December 2020 (UTC)<br /> <br /> 杨朔于1959年创作的散文《泰山极顶》[《泰山极顶》创作于1959年，选自《海市》。 杨，125-129。]就是大谈山水画的典范。 虽然文章只是讲述了作者登顶著名的泰山的过程，但攀登的叙事结构与由三个要素组成的比喻结构交相辉映。 第一个是传统的山水画主题：“一路上从山脚往上爬，细看山景，我觉得挂在眼前的不是五岳独尊的泰山，却像一幅规模惊人的青绿山水画。”（Yang，125）。他将这种想法发展为一种富有形象和描述性语言的巧妙构思。第二个要素：杨写道“一时间，我又觉得自己不仅是在看画卷，却又象是在零零乱乱翻着一卷历史稿本。” （杨，126）--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 07:02, 14 December 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> This in reference to the calligraphy of famous visitors to the mountain carved into its sides and the legends and stories about them. The third and last layer of figuration is the sense that the author is not climbing a mountain, but climbing into the sky.<br /> <br /> The touristy desire to see the sunrise from Taishan’s peak introduced at the essay’s outset and which teases the reader occasionally throughout the text is deftly frustrated in the rhetorical pursuit of what to the author is a higher aim: the recontainment of a Taishan travelogue into the extolling of the historical achievements of socialism. Once he has passed through the Southern Gate of Heaven, the author sees the Shandong landscape spread out at his feet, but what he notices are the grand commune wheat fields (amber waves of grain) as opposed to patchwork agricultural quilt of yore, and smoky plumes in the distance are not scattered homes but factories.<br /> <br /> 这指的是著名游客在山上刻的书法以及他们的传说和故事。该比喻的第三层，也是最后一层指的意象不是作者在爬山，而是在攀向天空。 <br /> <br /> 文章一开始就介绍了游客想从泰山山顶看日出的期望，这种期望偶尔会在整篇文章中戏弄读者，但在追求对作者来说是更高的目标的过程中，这种期望被巧妙地挫败了，即将泰山游记重新纳入那些值得赞美的社会主义历史成就中。一旦穿过南天门，作者就能看到在他脚下绵延的山东风景，但他注意到的不是往昔像被子一样拼凑的田块，而是壮观的公社麦田(琥珀色的谷浪)，远处像羽毛般的迷雾也不是分散的家庭，而是工厂。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:37, 10 December 2020 (UTC)<br /> <br /> 山的两侧雕刻了著名游客的书法，这里参考了他们的书法，以及他们的传奇故事。第三层比喻，也是最后一层比喻，意不在于作者爬山，而是在于攀登高空。<br /> <br /> 文章一开始就介绍：游客想从泰山顶观赏日出，然而在整篇文章中，作者为了追求更高目标：将泰山游记重塑为对社会主义历史成就的颂扬，灵活使用修辞，有时会逗弄读者，让读者受挫。游客一旦穿过南天门，作者就能看到整个山东省的美景在他脚下，但是作者却把注意力放在宽阔的公社麦田（琥珀色的麦浪），麦田对面是一块块农田，还有从远处飘散的羽毛似的迷雾，这迷雾不是从飘出来的，而是从工厂里出来的。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:11, 11 December 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> Though the weather had been clear at night near the peak when the party went to bed early in order to get up in time for the sunrise, fog and rain overnight linger to create an overcast sky at dawn. But author’s socialist/communist landscape epiphany of the previous evening eclipses the banal tourist wish for a beautiful sunrise – he has seen ”another kind of” (metaphysical) sunrise, that of the Chinese people/nation on the horizon.<br /> <br /> In his essay about Kunming’s camellias,[ ”Chahua fu” (Ode to the Camellia) written 1961, from Dongfeng di yi zhi. Yang 134-37.] Yang Shuo opens with a discussion with an artist friend about what kind of painting would show the face of the ”motherland” (zuguo). He then turns to his trip to Kunming after returning from travels abroad.<br /> <br /> 为了（第二天）能按时起来看日出，游客们很早就上床睡觉了，夜晚在靠近顶峰的地方，天气很是晴朗，但是在黎明时分，一夜之间水雾缭绕，天空乌云密布 。但作者前一天晚上对的社会主义/共产主义景观的顿悟，使平庸的游客对期望看到美丽日出的愿望黯然失色--他看到了地平线上的中国人/民族的“另一种”（形而上的）日出。<br /> <br /> 在他关于昆明的山茶花的文章中，[《茶花赋》写于1961年，摘自《东风第一枝》. 杨134-37] 杨朔开篇就写道与一位画家朋友讨论什么样的画能展示 &quot;祖国&quot;的面貌。 接着，他转而谈到从国外旅行回来后的昆明之行。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 15:12, 13 December 2020 (UTC)<br /> <br /> 顶峰附近晚上的天气已经晴朗，为了第二天能够早起赶上日出，这时聚会早早就结束了。雨雾逗留一整夜，黎明时变得灰蒙蒙的。但是作者前一天傍晚的社会主义/共产主义景观顿悟掩盖了普通游客对美丽日出的渴望，他看到了“另一种”（抽象的）日出，即地平线上的中国人/民族的日出。<br /> <br /> 杨朔写关于昆明插茶花的散文时 [《茶花赋》出自《东风第一枝》杨朔134-37]，他先与一位艺术家朋友讨论哪种描绘可以展现“祖国”的面貌。之后，他谈论了从国外旅行回来后的昆明之行。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 15:36, 13 December 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> Especially as a ”northerner” he is struck by the beauty of the red camellia flowers around the city and in Huating Temple, where he is escorted by Jin Zhiwen, the landscaper. His attention is drawn to one variety called ”Child’s Face” tongmian. As is almost invariably the case in Yang Shuo essays, the subject he has chosen becomes an opportunity for the author to contemplate the symbolic resonances of its characteristics – in this case the camellia’s sensitivity to proper care, environment and natural enemies, but also the fact that great trees centuries old have been carefully cultivated with hundreds and even thousands of blossoms. A detailed description of the gardener himself provides the author with the key to the signified:<br /> <br /> 特别是作为一个北方人，他完全被这座城市周围，以及华亭寺内美丽的山茶花迷住了，在那里，景观设计师金志文护送着他。他的注意力也被一种名叫“孩童脸”的通棉所吸引。杨朔的散文中，大多总是如此，他选择的主题让作者有机会思考其特征，产生象征性共鸣-这种情况下，山茶花需要适当照顾，对环境和自然天敌很敏感，但事实也如此，百年老树都受到精心培育，开出数百甚至数千朵花。对园丁本人详尽描述也是作者了解其重要意义的关键。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:48, 11 December 2020 (UTC)<br /> <br /> 特别是作为一个北方人，他完全被遍布在这座城市周围，以及华亭寺内的美丽山茶花迷住了，这一路有该市景观设计师金志文陪同着他。他的注意力也被一种名叫“孩童脸”的通棉所吸引。杨朔的散文中，大多总是如此，他选择的主题让作者有机会思考其特征，产生象征性共鸣-这种情况下，山茶花需要适当照顾，对环境和自然天敌很敏感，但事实也如此，百年老树都受到精心培育，开出数百甚至数千朵花。园丁本人的详尽描述也是作者了解所指之物的关键。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 11:58, 13 December 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> I fervently gazed at his hands, hands covered with mud-stained calluses. Then I looked at his face, the wrinkles at the corners of his eyes were cut deep, and it was not necessary to ask about his background: I could guess that he was a middle aged man who had been through a lot. If he waled away from you and into the crowd, he would vanish immediately and it would be very hard to find him again – he was just that kind of very ordinary laborer. But it is just this kind of person, month after month, year after year, exerting mind and body, cultivating flowers and plants with all his effort, beautifying our lives. This is how beauty is created. (Yang, 136)<br /> <br /> 我热切地注视着他的双手，那双手满是带泥的茧子。然后我看了看他的脸，他眼角的皱纹已经很深了。我没有必要再追问他的背景，因为我可以猜出他是一个饱受风霜的中年男人。如果他现在转身离开钻进人群里，他会很快消失在人海中，要再找到他就很难了——他就是这样一个十分普通的劳动者。但是正是这样普通的劳动者日复一日，年复一年的辛勤劳作，用身心浇灌花朵和树木，美化我们的生活。美就是这样被创造出来的。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:02, 11 December 2020 (UTC)<br /> <br /> 我热切地注视着他的手，那双手布满了沾满泥土的老茧。 然后我看了看他的脸，他眼角的皱纹很深。不用问他的背景， 我可以猜到他是一个饱经沧桑的中年男人。 如果他从你身边晃晃悠悠地走到人群中，他就会立刻消失在人海中，再想找到他就很难了--他就是那种很普通的劳动者。 但就是这样一个人，月复一月，年复一年，耗费着身心，用他的全部心血培育着花草，美化着我们的生活。 美就是这样被创造出来的。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 06:59, 13 December 2020 (UTC)<br /> <br /> ==Gong Yumian 龚钰冕==<br /> When author observes a group of schoolchildren who have come to see the camellias, the bond is cemented and the ”paint the face of the nation” riddle is solved – paint the Child Face Camelia.<br /> <br /> What is incongruous in Yang Shuo’s lyricism, in many other examples in addition to these, is that no matter how transparent the symbolism and fervent the message of his essay, there is almost always slight ambivalence introduced by negative elements at the fringes: why does the glorification of socialist progress in ”Taishan’s Highest Peak” have to come at the expense of the famous sunrise? What has Jin Zhiren ”been through” that has deepened his wrinkles, and why should that pain be related to the creation of beauty?<br /> <br /> 当作者观察到一群来观赏山茶花的小学生时，山茶花和孩童们之间的联系就建立了，“怎样画出祖国的面貌特色”这个谜题也就解开了——画童子面茶花。<br /> <br /> 在杨朔的抒情诗中，除了这些例子外，还有许多不协调之处，就是无论他的文章的象征意义多么明显，感情多么热烈，几乎总是在负面因素的带动下产生矛盾：为什么在“泰山最高峰”上颂扬社会主义进步，却要以壮观的日出为代价？普之仁“经历”了什么，使他的皱纹加深了？为什么这种痛苦与创造美感有关？--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 05:41, 14 December 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> '''Liu Baiyu'''<br /> <br /> Liu Baiyu’s transition toward sanwen in the PRC came from the direction of reportage literature. Liu had established some reputation as a novelist on the literary scene through key connections he had made with Ba Jin, Zhang Tianyi, Ye Yiqun and other major figures in the 1930s. But by 1949 it was his reportage collections, including Around the Northeast, The Light Shines Down on Shenyang, Cutting across the Central Plains, and The Torches Glow Red in the Yangtse River that were some of the best known works by a communist writer during the civil war in the late 1940s.<br /> <br /> 刘白羽在国内向三文的转型，来自于报告文学的方向。 刘白羽在30年代通过与巴金、张天翼、叶逸群等主要人物的关键联系，在文坛上建立了一定的小说家声誉。 但到了1949年，他的报告文学集《东北各地》、《光照沈阳》、《横切中原》、《火把在扬子江边发红》等，才是40年代末内战时期共产党作家最著名的作品。<br /> <br /> <br /> '''刘白羽'''<br /> <br /> 刘白羽在国内向散文的转型，来自于报告文学的方向。 刘白羽在30年代通过与巴金、张天翼、叶逸群等主要人物的关键联系，在文坛上建立了一定的小说家声誉。 但到了1949年，他的报告文学集《东北各地》、《光照沈阳》、《横切中原》、《火把在扬子江边发红》等，才是40年代末内战时期共产党作家最著名的作品。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 04:38, 14 December 2020 (UTC)<br /> <br /> ==Guan Qinqing 管钦清==<br /> The late 1950s text ”Lamplight” revisits the experience of the battlefield in a much more peaceful China. ”Lamplight” has a forceful, shrill rhetoric in its development of the image of glowing light through a number of different contexts, from war to socialist economic construction without losing the sense of militant struggle that informed the image of light for Liu from the beginning. [”Denghuo” (Lamplight), Liu Baiyu, Hong manao ji (Red agate) (Beijing: Wenhua yishu chubanshe, 1983) 5-11. ] Evidently Liu, though he holds influential positions in the literary establishment of the time, feels alienated by certain elements on the literary scene, particularly in regard to the stigmatization of the experience of the battlefield:<br /> <br /> 20世纪50年代末的中国岁月静好，现世安稳；而彼时《灯火》的诞生则带我们重回马革裹尸的战场。《灯火》，以抗战时期到社会主义经济建设时期的不同发展阶段为背景，通过强有力的、入木三分的修辞手段，刻画了灯火的形象，将刘白羽最初想要透过灯火告诉我们的激进斗争意识很好地嵌入其中。[《灯火》（Lamplight),刘白羽，《红玛瑙集》（Red agate)(北京：文化艺术出版社，1983）5-11.]显而易见，刘白羽虽然在当时的文学界影响力颇大，但他仍与文学界的某些观点格格不入，特别是在对战场的污名化方面：--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:49, 14 December 2020 (UTC)<br /> <br /> 20世纪50年代末的中国岁月静好，现世安稳；而彼时《灯火》的诞生则带我们重回战场。《灯火》以抗战时期到社会主义经济建设时期的不同阶段为背景，通过有力的、入木三分的修辞手段，刻画了灯火的形象，将刘白羽最初想要透过灯火告诉我们的激进斗争意识很好地嵌入其中。[《灯火》（Lamplight),刘白羽，《红玛瑙集》（Red agate)(北京：文化艺术出版社，1983）5-11.] 显而易见，刘白羽虽然在当时的文学界影响颇大，但仍与文学界的某些观点格格不入，特别是在战场的污名化方面：--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 05:40, 14 December 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> . . . nowadays some people treat the subject of war, regardless of right or wrong, regardless of green red black or white always make it look bloody, dark and horrible! They call this ”through the soldier’s eyes,” ”foxhole realism” Hai! This makes those of us who have strapped puttees on our calves and have had the smell of gunpowder about the shoulders want to laugh our heads off. What can you do? There are brave soldiers who fight for what’s right; there are counter-revolutionary murderers; and there are cowardly traitors. Since there are different kinds of soldiers, there have to be different soldier points of view, and there must be different kinds of ”foxhole reality.” Perhaps there are those who would criticize me: how did I get from lamplight to this argument about war, aren’t I getting way off track? Actually, no. The lamplight I am talking about may be a small matter, but it really is a reality of life at war. Getting back to the subject, on the chill wilderness of the Songhua river, trudging through winter snows, wading through summer rapids, from lamplight I was able to understand a certain kind of warmth. (Liu, 7-8)<br /> <br /> ...现如今，有些人对待战争话题上，无论对错，不分黑白，总把它们弄得血腥，黑暗又恐怖！他们称之为“通过士兵的眼睛”，“现实主义散兵坑”！这让我们那些腿上绑着绑腿，肩上扛着火药捧腹大笑。你可以做些什么？有勇敢的士兵为正义而战；有反革命的凶手；并且有懦弱的叛国贼。有不同种类的战士就应该有不同种的观点，还得要有不同种类的“现实主义散兵坑”。也许有些人会批评我：我怎么能从那些明亮的地方得出这些关于战争的言论，那我不是跑题了吗？其实上并没有。我在说的点也许是个小问题，但这确实映射出的是战争中实际生活。回到主题，在松花江寒冷的荒野上，穿越冬日的雪地，穿越夏日的急流，从光照下，我能够体会到某种温暖。--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:30, 13 December 2020 (UTC)<br /> <br /> ==Guo Lu 郭露==<br /> &quot;The Brilliance of Spring,&quot;[”Qingchun de shanguang,” written 1959, in Hong manao ji, 23-33.] a lengthy, fu-like essay extolling ten years of socialism in China, manifests many of the distinguishing characteristics of Liu’s post-1949 sanwen. Though written in the wake of the Anti-Rightist Campaign, it casts no shadow on the essay and though there is flower imagery, significantly, it does not emphasize diversity (as in ”hundred flowers”). At about 6,000 characters, it is also much longer than most of Yang Shuo’s essays, which are usually about half that long, particularly those most revered and anthologized. ”The Brilliance of Spring” does not start out with a clearly-defined topic; the occasion or motivation of its composition did not become obvious to me until near the end.<br /> <br /> &quot;春光灿烂&quot;（又名《青春的闪光》，写于1959年，载自《红玛瑙集》，23-33页。）这是一篇颂扬中国十年来社会主义发展的长篇巨作，表现了1949年后其散文的显著特点。即使写于反右运动之后，但其并未受其影响，虽然辞藻华丽，但并未没有强调多样性（如 &quot;百花齐放&quot;）。文章字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在3000字左右，尤其是那些最受推崇的散文和文集。 &quot;春光灿烂 &quot;一开始并没有明确的主题，制造结尾我才明白它的创作场合和动机。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:01, 9 December 2020 (UTC)<br /> <br /> &quot;春天的辉煌&quot;，[《庆春德山岗》，写于1959年，载《红玛瑙集》，23-33页。]这是一篇颂扬中国社会主义十年的长篇文章，表现了刘勰1949年后散文的许多显著特点。 虽然写于反右运动之后，但没有给文章蒙上阴影，虽然有花的意象，但显著的是，它没有强调多样性（如 &quot;百花&quot;）。 它的字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在一半左右，尤其是那些最受推崇的散文和文集。 &quot;春光灿烂 &quot;一开始并没有明确的主题，它的创作场合或动机直到接近尾声时我才明白。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:23, 9 December 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> The visualization with which the text begins juxtaposes a dawn construction scene complete with a handsome, rugged construction worker in Tian’anmen square with author’s memories of other occasions when he was ”right here, in this spot!” including most significantly, a vision of a Japanese tank rolling up from Qianmen, its treads gouging scars in the ground. Liu also includes memories of the entry of the People’s Liberation Army into Beijing, and the ceremony at which Mao Zedong officially established the People’s Republic, but the author moves from one impression-layer to the next vaguely and ambiguously, punctuated with the refrain ”Here! It was right here!”<br /> <br /> 这篇文章以视觉化形式开始，黎明时分，建筑工地上有一个帅气但是衣服破烂的建筑工人在天安门，伴随着作者其他场景的记忆，当他就在“那里，那个位置！”其中就一个很重要的回忆是，一个日本坦克从乾门进入，经过断层泥的地板。刘白羽还有些记忆是关于人民解放军回北京，和毛泽东宣布中国人民共和国成立大典的开幕式，但是作者仅是从一个印象层模糊的转到下一个，吃力的说：“那儿，就在那。”--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 13:18, 11 December 2020 (UTC)<br /> <br /> 这篇文章以视觉化形式呈现，黎明时分，天安门广场的建筑工地上有长相帅气但是衣服褴褛的工人，作者还想起其他场景，当他就在“那里，那个位置！” 其中就一个很重要的一段记忆就是，一个日本坦克从乾门进入，经过断层泥的地板。刘白羽还有人民解放军回北京和毛泽东宣布中国人民共和国成立大典的开幕式的记忆。但是作者仅是从一个印象层模糊的转到下一个，吃力的说：“那儿，就在那。”--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 01:51, 14 December 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> Liu makes a conspicuous gesture away from the scene of Tian’anmen to other significant spaces including oilfields in the Western deserts, a poignant scene of a mother sending her son off to the Korean war, Anshan the ”city of steel,” a humble Party meeting among lumberjacks taking place in a shack deep in the forest far from Beijing, and other sites of significant material and spiritual progress in the PRC. As the essay progresses, a new motif is picked up from the contemporary Tian’anmen scene and repeated with increasing frequency: the ”radiant red face and brilliant eyes” of the young socialist citizens whose verbal pictures Liu paints. There is much hyperbole and the extraordinary breadth of subject matter, convering ten years of socialist achievement packaged in spatial-visual tableaux, like a memorial display case or monument, which was the usual strategy of essays and reportage about the Korean War.<br /> <br /> 刘白羽很明显地从天安门这一场景转向其他的景色描写，包括西部沙漠的油田，一个母亲送别儿子去参加朝鲜战争的辛酸场景，“钢都”鞍山，远离北京的深山密林中召开的一次党员会议以及其他的中国的重要的物质遗迹以及以及精神进步。随着文章的不断推进，一个新的主题从当代天安门的场景中产生，并以越来越高的频率重复着。在刘白羽的描述中，年轻的社会主义公民“红光满面，双眼炯炯有神”的口头画面。夸张的成分越多，题材的广度就非同一般，将十年的社会主义成就用空间和视觉的表象来包装起来，就像纪念展柜或纪念碑一样，这是有关朝鲜战争的文章和报道的惯用策略。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 10:52, 11 December 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> Despite the desire to come into close contact with the masses through genuine experiences, it was more common for writers to come into contact with workers, peasants and soldiers through the organizational activities and connections of the Communist Party. In Liu Baiyu’s essays from the 1950s and 60s, you can feel the author incongruously straining to make the most of his experience (straining to maximize its feeling of authenticity) and the characters he describes.[ ”Xie zai taiyang chu sheng de shihou” (Written as the Sun Begins to Rise), Hong manao ji 34-52 [written 1959?]. ] On the level of subject matter, since the (model) workers etc. he writes about are models and leaders, already part of the (embodiments of the) local Communist Party administrative apparatus, they too are straining to give the correct impression, put the right spin on their experiences and ideas, to behave in the way expected of them.<br /> <br /> 尽管渴望通过真实的体验来密切联系群众，但作家更多的是通过共产党的组织活动和联系来接触工农兵。 读刘白羽在上个世纪五六十年代创作的文章中，你可以感觉到他为了使自身的经历（努力使其真实感最大化）和他所描述的人物发挥最大作用所做的努力是不太协调的。(《写在太阳初升的时候》，Hong manao ji 34-52 [写于1959年？]) 在主体层面上，由于他所写的（模范）工人等都是模范和领袖，已经是（体现）地方共产党行政机关的一部分，他们也在努力给人以正确的印象，把自己的经验和思想正确地表达出来，按照人们所期望的方式去做。--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 15:26, 13 December 2020 (UTC)<br /> <br /> ==Hu Baihui 胡百辉==<br /> '''Qin Mu'''<br /> <br /> Qin Mu’s case might be distinguishable from the others by virtue of the fact that he established himself as a satirical (zawen) columnist during the civil war, and of course satire in general had to go after 1949.[ Interestingly, Qin Mu continued to write zawen in the 1950s and beyond, publishing a very popular collection in 1960 entitled Yihai shibei (Gathering Shells by the Sea of Art). By then Qin’s zawen were not combative, but expository in nature, reflections on principles of artistic creation, so in a way Qin had redefined the zawen genre for himself. The sanwen collection Hua cheng was published at roughly the same time as Yihai shibei and was distinguished by the author himself as ”more lyrical” than the ”expository” pieces in Yihai shibei. Comparing the essays therein with those of Hua cheng, one is struck by formal differences (the Yihai shibei pieces are much shorter than those in Hua cheng) and by the almost complete lack of figurative or descriptive language in Yihai shibei. However difficult it might be for us to define the differences between zawen and sanwen now, it seems clear that Qin Mu had a clear idea in his own literary practice.] Fortunately he had been accustomed to making fun of Americans and the Guomindang which continued to be safe and politically correct targets in the 1950s, but he had to find positive things to write about as well, and considering his background and the ambiguity of his relationship with the Communist Party, this must have been a difficult transition for him, more difficult than it was for those who were already linked up with the party for years in Yan’an and other base areas.<br /> <br /> <br /> 秦牧的情况可能与其他人有所区别，因为他在内战期间确立了自己的讽刺专栏作家的地位，当然讽刺一般都要在1949年以后才开始。[有趣的是，秦牧在1950年代及以后继续写杂文，1960年出版了一本很受欢迎的诗集，名为《逸海市北》（艺术之海收集贝壳）。此时的秦杂文不是好斗的，而是本质上的说明文，是对艺术创作原则的反思，在某种程度上，秦对杂文体裁进行了重新定义。三文集《华城》与《逸海市北》大致同一时间出版，作者认为《华城集》比《逸海市北》中的“说明文”作品“更抒情”。与《华城》的散文相比，形式上的差异（亦海市北比《华城》短得多）以及《沂海市北》几乎完全没有比喻或描写的语言。不管现在如何界定扎文和三文之间的区别有多困难，秦穆在自己的文学实践中似乎有一个清晰的想法。]幸运的是，他习惯于取笑美国人和20世纪50年代仍然是安全和政治正确目标的国民党，但他必须找到积极的一面写的东西也要写，考虑到他的背景并且与共产党交好，这对他来说一定是一个艰难的过渡，比那些在延安等根据地已经与党联系多年的人来说，难度更大。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:46, 13 December 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> In his 1960 essay ”Earth,” (Tudi), Qin Mu makes a figurative connection between earth how handfuls of earth can serve as symbols of wealth, power, sovereignty, political positions. Part of the visualization involves (like Liu Baiyu) aerial views. As war with its arial reconnaisance and bombing transformed the concept of China’s space into a contiguous whole rather than a network of locales, the wider availability of air travel in the 1950s added a visual dimension to this contiguity that reinforces the connection between earth, China’s physical expance, the map of China, and the concept of nation:<br /> <br /> 秦牧在他1960年发表的论文《地球》（土地）中，将地球上的少数几个人如何象征着财富，权力，主权，政治地位作为形象的联系。 可视化的一部分涉及（如刘白玉）鸟瞰图。 随着战争的轰炸和轰炸将中国空间的概念转变为一个连续的整体，而不是一个地点网络，1950年代更广泛的航空旅行为这种连续性增加了视觉上的意义，从而加强了地球与中国物质扩张、中国地图和国家概念之间的联系 。<br /> --[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 03:57, 9 December 2020 (UTC)<br /> <br /> 在他1960年的文章《土地》中，秦牧把土地比喻成财富、权力、主权和政治地位的象征。部分可视化包括(如刘白玉)空中视图。随着战争的勘察和轰炸，中国的太空的概念转变成一个连续的整体,而不是一个地区的网络,航空旅行的更广泛的可用性在1950年代增加了一个视觉维度，强化了地球之间的联系,中国物质扩张,中国的地图,和国家的概念:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:11, 9 December 2020 (UTC)<br /> <br /> 秦牧在1960年的文章《地球》（Tudi）中，将地球如何撮合成财富、权力、主权、政治立场的象征做了形象化的联系。 部分视觉化涉及（像刘白羽一样）鸟瞰图。 由于战争的侦察和轰炸将中国的空间概念转化为一个连续的整体，而不是一个地点网络，20世纪50年代更广泛的航空旅行为这种连续性增加了一个视觉维度，加强了地球、中国的物理扩张、中国地图和国家概念之间的联系。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:47, 9 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> Once I gazed out an airplane window straight down upon the Pearl River delta; the heavens were crystal clear and I looked down and couldn’t help but cheer out loud because the Pearl River delta looked so magnificent that words couldn’t even describe it. The network of rivers and lakes shimmered in the sunlight while the earth looked like a piece of dark green velvet. The roads seemed as straight as if they had been sliced with a knife while the fields looked as neat as a chessboard. Wow! A hundred thousand years ago people looked to the skies for gods and miracles, but today the real miracle is taking place on the earth below.[ Qin Mu, Hua cheng (Guangzhou: Zuojia chubanshe, 1961) 17-18.]<br /> <br /> 一次，透过飞机窗外，我凝视着珠江三角洲：天空清澈见底，我低头一看，不禁大声欢呼起来，因为珠江三角洲看起来壮观无比，简直无可言喻。河流和湖泊交织着在阳光下闪烁，而大地看起来像一块深绿色的天鹅绒。道路看起来笔直的像是用刀子划的一样，而田野看起来像棋盘一样整齐。哇！十万年前，人们仰望天空寻找神灵和奇迹，但今天真正的奇迹发生在地下。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 12:51, 11 December 2020 (UTC)<br /> <br /> 有一次，我透过飞机的窗户凝视着珠江三角洲;天上一片清澈，我低头一看，不禁欢呼起来，因为珠江三角洲是如此的壮丽，无法用语言来形容。河流和湖泊交织在阳光下闪闪发光，而大地看起来就像一块深绿色的天鹅绒。道路笔直得好似用刀划过一样，田野整齐得像棋盘一样。哇!十万年前，人们仰望天空寻找神灵和奇迹，但今天真正的奇迹就发生在这片土地下。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:45, 12 December 2020 (UTC)<br /> <br /> 有一次，我透过飞机窗凝视珠江三角洲：天空万里无云、湛蓝如许。低头一看，我不禁欢呼起来！珠江三角洲实在太壮观了，简直妙不可言！河流和湖泊星罗棋布，在阳光下熠熠生辉；而大地看起来就像一块深绿色的天鹅绒。道路笔直得好似用刀刻画出来一般；田野块块分明，与棋盘别无二致。哇!十万年前，人们仰望天空寻找神明和奇迹，但今天真正的奇迹正发生在这片土地上。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 02:03, 14 December 2020 (UTC)<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> Many of Qin Mu’s essays in the collection Hua cheng (City of Flowers) imaginatively recreate an (occasionally ancient) historical scene, in a specific place the essay focuses on that the author is observing today (or at least gives that impression) like Liu Baiyu’s ”right here on this spot” refrain. In his 1956 essay ”Lyric on the Altar of the God of Grain,” the earthen, square altar referred to in the title is in Zhongshan park in Beijing, and was where aristocrats were traditionally enfoeffed by the emperor.[ Qin, 21-31.] In many ways, this is a continuation of the previous essay (”Earth”), extending reflections on the material symbolism of earth and the glorious wisdom of the ancients.<br /> <br /> 在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再现了一个历史场景（有时是古代的），即作者如今仍能观察到的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，是传统上皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是对前一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:22, 10 December 2020 (UTC)<br /> <br /> 在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再创造一个历史场景（有时是古代的），即作者如今正在观察的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，在古代是皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是上一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:42, 11 December 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> This essay distinguishes itself by its relentless return to the altar itself, its self-conscious admiration of the brilliance of the ancients (with overtones of ethnic and cultural pride and reconciliation with the premodern culture of China) as well as a shrilly specific emphasis on unity as territorial sovereignty (”Once we liberate Taiwan and a few coastal islands, [our territorial] unity’s scope will be even more unprecedented.” 30)<br /> <br /> Qin Mu is at his most characteristic, though, in writing educational essays (zhishi xiaopin). Also known as scientific xiaopin, the character of such writings would seem to be defined by their subject matter. [ Another writer of the post-Hundred Flowers period that writes a lot in this vein is Ma Nancun (Deng Tuo), whose popular Yanshan yehua column in Beijing Wanbao lasted for years and was published in four volumes in book form.] But I would like to suggest that the transmission of modern scientific knowledge in these texts is not an end in itself, but rather one answer to the question of ”what to write about?” in socialist sanwen. And it conveys (in addition to the knowledge or information), a certain scientistic, post-industrial atmosphere of enthusiasm that is a style as much as content.<br /> <br /> 这篇文章的与众不同之处在于，它不遗余力地回到祭坛本身，自觉地仰慕古人的辉煌(带有民族和文化自豪感以及与中国前现代文化结合的色彩)，且明确强调领土的主权统一。(&quot;一旦我们解放台湾和几个沿海岛屿，[我们的领土]统一的范围将更加空前绝后&quot;。30)<br /> <br /> 秦牧最有特色的是教育随笔（知识小品），也被称为科学随笔，这种随笔的特点由其主题决定。[ 百花齐放·百家争鸣期后，另一位在这方面写作较多的作家是马南邨(邓拓)，他在北京晚报上的《燕山夜话》专栏持续多年撰写文章，并出版了四卷书。] 但我想说的是，在这些文字中传递现代科学知识本身并不是目的，而是对社会散文中 &quot;写什么？&quot;这个问题的一个回答。而且它传达的（除了知识或信息外）是某种科学的、后工业化的热情环境，它展示风格的同时，也表达了内容。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:29, 11 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> Qin Mu’s ”Xing xia” (Under the Stars, 1958)[ Qin, 49-60.] begins as a sweeping exploration of stars, moving from the universal experience of gazing at the skies and wondering about the questions of existence to the cultural perspectives of the beliefs and lore of the ancients and finally to the scientific perspective of the astronomical knowledge gathered in recent centuries, decades and years that confirm the author’s faith in science and industrial modernity. The scientific knowledge in fact becomes a context or background against which to look back with some disdain at the superstitious quality of premodern beliefs, not only about the structure of the cosmos, but the extensions of such speculation into areas of human destiny and supernatural beliefs.<br /> <br /> 秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式开始，从凝视天空、疑惑存在问题的普遍经验，到古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 03:33, 10 December 2020 (UTC)<br /> <br /> 秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式作为开端，然后写到凝视天空、疑惑存在问题的普遍经验，又至古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:24, 10 December 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Reading this essay one can see that one of the keys to Qin Mu’s popularity lay not in his conspicuously Marxist-Leninist politics, but in his sweeping, timeless, universal and seemingly all-inclusive scope of vision and contemplation. Many or most of his essays give an exhilarating sense of vastness.<br /> <br /> But this essay does not reach its completion without being recontained, as are Yang Shuo’s landscape meditations, in a political context. Written in the early years of Soviet space exploration, it seems obvious to Qin Mu that Soviet success in this area and the US’s failure is a clear sign of the direction of history. He argues with almost excessive rhetorical force that the failure of space exploration and science in general under capitalism signifies the inability of the capitalist world view to free itself from outmoded beliefs, while socialism is easily and innocently aligned with scientific achievement and progress.<br /> <br /> 通过阅读这篇文章，我们不难发现秦牧的大受欢迎不是因为他显而易见的马克思列宁主义，而是其影响广泛的、永不过时的、普遍适用的以及几乎包罗万象的视野和深思。秦牧的许多或大部分文章都有种令人兴奋的广博感。<br /> 政治语境下，这篇文章如杨朔的《山水沉思录》一样，在重构的情况下才于苏联太空探索的早年间写就。在秦牧看来，这一领域中苏联的成功与美国的失败是历史的清晰指示。他以几乎过火的言辞声明，资本主义在太空探索以及一般科学的失败意味着资本主义世界观无法摆脱过时的信念，而社会主义则是容易且自然地与科学成果和进步结合在一起的。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:51, 14 December 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> Qin Mu’s often shrill diatribes on historical materialism and Marxism-Leninism in educational essays (zhishi xiaopin) like this one, or about the history of overseas Chinese or the cosmic theories of warring states philosophers is an incongruous, inverted reflection of Qin’s perennial status as an outsider to the PRC socialist literary orthodoxy, being victimized by literary officials like Liu Baiyu in the anti-rightist campaign and only being admitted to the Communist Party in 1962. It is in his attempts to contain an ambitious gaze that can encompass human and natural history and the furthest reaches of space in a historicized polemic about the supremacy of Marxism-Leninism in the post war years that the incongruity of Qin Mu’s lyricism manifests itself.<br /> <br /> 秦牧经常在教育论文中这样尖锐地抨击历史唯物主义和马列主义(知识小品文)，或海外华人史或战国哲学家的宇宙理论，认为这是一个不协调的，颠倒的反映。秦牧作为中国社会主义中正统的局外人，在反右运动中遭到刘白宇这样的文学官员迫害，直到1962年才被共产党接纳。他试图以一个包罗万象的视角，用抒情的方式表达对战后马克思主义主导地位的辩驳。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:59, 13 December 2020 (UTC)<br /> <br /> 秦牧在这样的教育论文（知识小品）中，经常尖锐地抨击历史唯物主义和马列主义，或是关于华侨历史或战国哲人的宇宙理论，认为这些是不协调的。秦牧作为中国社会主义文学正统派的局外人，在反右运动中受到刘白羽等文学官员的迫害，直到1962年才被共产党接纳。正是在他试图在一场关于战后马列主义至高无上的历史化论战中，包含一种能够涵盖人类历史和自然历史以及最遥远的空间的雄心勃勃的目光，秦牧抒情诗的不协调性才得以体现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:52, 13 December 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> '''Conclusion'''<br /> <br /> The question of whether the ”real” world corresponds to the world these authors describe and narrate is moot; through the act of seeing or imagining the world as they do, they helped create the socialist world. These authors did not slavishly obey orders, writing from formulae they were provided by superiors and other writers; they willingly engaged in the procedures of research and composition that were part and parcel of communist education and literary practice; what they wrote followed from their training, it was the logical and organic extension of that training. They helped write the socialist world into existence.<br /> <br /> '''结论'''<br /> <br /> &quot;真实&quot;世界是否与作者们描述和叙述的世界相符，这个问题是无意义的；通过观察或者想象这个世界，他们帮助创造了社会主义世界。这些作者不盲目地服从命令，按照上级和其他的作者提供的公式写作；他们自愿从事研究和写作，这些是共产主义教育和文学实践的重要组成部分。作者们所写的是训练之后的结果，是训练的逻辑和有机的延伸。他们帮助建立了社会主义世界。<br /> <br /> &quot;真实&quot;世界是否与作者们描述和叙述的世界相符，这个问题是没有意义的；通过向他们一样去观察或者想象这个世界，他们就帮助创造了社会主义世界，这些作者不盲目地服从命令，按照上级和其他的作者提供的模板进行写作；他们自愿从事研究和写作，这些是共产主义教育和文学实践的重要组成部分。他们帮助建立了社会主义世界，他们帮助把社会主义世界写成了现实。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 15:26, 13 December 2020 (UTC)<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> Slavoj Zizek’s interpretation of Pascal that belief can actually emerge from deliberately going through the motions of ritual and imitating the faithful, and Zizek’s further point that ”reality” in any society is produced by ideological fantasies peculiar to it, suggest a similar interpretation of socialist sanwen.[ Slavoj Zizek, The Sublime Object of Ideology (London: Verso, 1989) 38-43.] Going through the ritual motions of faith, the individual already believes without realizing it, he argues, and then it is only a matter of time before that belief gradually takes control of the conscious mind. But within that ideological fantasy that is the representation of social reality, there are at the fringes and in the shadows suggestions of the impossibility of the vision. What I have referred to as the ”incongruous” in Yang Shuo, Liu Baiyu and Qin Mu are those almost unconscious suggestions tainting the pristine vision.<br /> <br /> 斯拉沃伊·齐泽克对帕斯卡的解释是，信仰实际上可以从刻意通过仪式和对信徒的模仿中产生，齐泽克进一步指出，任何社会中的“现实”都是由它特有的意识形态幻想产生的，这暗示了对社会主义散文的类似解释。[斯拉瓦伊·齐泽克，《崇高的意识形态》(伦敦:Verso, 1989) 38-43]他认为，通过信仰的仪式活动，个体已经在没有意识到的情况下相信了它，而这种信仰对于意识的控制只是时间问题。但是在意识形态的幻想中，社会现实代表在边缘和阴影中暗示着这种幻想的不可能性。我所说的杨烁、刘白羽和秦木作品中的“不协调”，是指那些几乎无意识的玷污了原始视觉的暗示。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 15:35, 13 December 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> Reading literature from the first seventeen years of the People’s Republic of China requires as much attention to practices within the socialist orthodoxy as to dissidents and victims. Against the prevalent view that socialist literary culture in China was a self-contained system introduced from the Soviet Union as if into a vacuum, socialist sanwen speaks to the mutability of that literary culture and the voice of individual writers in its development, however much sanwen may have been used for propaganda and indoctrination, it retained an ambiguity and reserve inherent in the genre since before the War gainst Japan. Above all, I think this speaks to the enormous importance of various forms of sanwen in modern Chinese literary culture in general, and any general apprach to the modernn Chinese essay must further explore the legacy of socialist sanwen, particularly as today’s sanwen writers for the most part read the works of Yang Shuo, Liu Baiyu and Qin Mu in their middle school textbooks.<br /> <br /> 中华人民共和国成立后的十七年，阅读文学要求将足够的注意力放在社会主义正统者、持不同政见者以及深受两者折磨的人的实践之中。当时流行的观点是中国的社会主义文学是从苏联引进的一个真空的封闭系统，与此相反，社会主义散文展现了文学文化和不断发展的个体作家的声音的可变性，然而，在抗日战争之前，很多散文曾经可能被用来宣传和灌输观念，所以它含有该体裁内在的模棱两可和含蓄的特点。综上所述，我认为这体现了不同形式的散文在中国现代文学文化总体上极其重要，任何对中国现代散文的进行的总体研究必须进一步探索社会主义散文遗产，特别是现今大部分的的散文家都会在中学课本上阅读杨朔、刘白羽和秦牧的作品。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:59, 12 December 2020 (UTC)<br /> <br /> 中华人民共和国成立后的十七年，阅读文学要求将足够的注意力放在社会主义正统者、持不同政见者以及深受两者折磨的人的实践之中。当时流行的观点是就像至于一个真空环境之下一样，中国的社会主义文学是从苏联引进的一个自我封闭系统，与此相反，社会主义散文展现了文学文化和不断发展的个体作家的声音的可变性，然而，在抗日战争之前，很多散文曾经可能被用来宣传和灌输观念，所以它含有该体裁内在的模棱两可和含蓄的特点。综上所述，我认为这体现了不同形式的散文在中国现代文学文化总体上极其重要，任何对中国现代散文的进行的总体研究必须进一步探索社会主义散文遗产，特别是现今大部分的的散文家都会在中学课本上阅读杨朔、刘白羽和秦牧的作品。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 15:40, 13 December 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> '''Tradition as Construct and the Search for a Modern Identity: A Reading of Traditional Gestures in Modern Chinese Essays of Place ''' [ This article is an extended version of the paper “The Self in the Landscape: Chinese Essays of Place in the Republican Era (1912-1949)” delivered at the conference The Modern Chinese Literary Essay: Defining the Self in the 20th Century, held in Achern, Germany, August 25-27, 2000.]<br /> <br /> ''Alexandra R. Wagner''<br /> <br /> '''Abstract'''<br /> Zhu Ziqing’s “The Qinhuai River Amidst the Sound of Oars and Shadows of Lamps” (Jiangsheng dengyingli de qinhuaihe, 1923), Yu Dafu’s “Spring Day on Diaotai” (Diaotai de chunzhou, 1932), and Fang Lingru’s “Travel Notes from the Langya Mountain” (Langyashan youji, 1936) are three modern Chinese essays in which place and memory serve as the main textual and conceptual elements through which the writers’ negotiation of identity and search for meaning unfolds. Examining these “essays of place” with a focus on the dynamics between place, on the one hand, and personal as well as cultural memory, on the other, challenges the prevailing views of modern travel or landscape essays as either lyrical evocations of scenery, backdrops for personal experiences and thoughts, or sources for information on locations.<br /> <br /> ““作为建构的传统和对现代身份的寻求：对中国现代地方杂文中传统姿态的解读”” [本文是民国时期（1912-1949）中国地方散文《风景中的自我》的扩展版。在2000年8月25日至27日于德国阿彻恩举行的“中国现代文学论文：定义20世纪的自我”会议上发表。亚历山大·瓦格纳（Alexandra R.Wagner）<br /> <br /> '''摘要''' 朱自清的“桨声与灯影中的秦淮河”（桨声与灯影里的的秦淮河，1923年），郁达夫的“钓台春日”（钓台的春昼，1932），以及方令儒的“琅琊山” （琅琊山游记，1936年）是三篇中国现代散文，其中，地点和记忆是主要的文本和概念元素，通过这些文本和概念，作者进行了身份认同和对意义的寻求。审视这些“地方散文”，一方面侧重于地点与个人记忆以及文化记忆之间的动态关系，另一方面，挑战现代游记或风景散文的主流观点，认为它们要么是对风景的抒情，要么是个人经验和思想的背景，要么是地点信息的来源。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:13, 13 December 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> The aggregation of cultural and personal memory in these essays foregrounds the skepticism and uncertainty that characterize the mindset of Chinese writers situated in a transitional period moving from tradition to modernity. By questioning apparent meaning and literary convention, the essays are ultimately texts on writing as a continuous and open-ended exploration. <br /> <br /> Examining the “traditional gestures” central to the essays by Zhu, Yu, and Fang most prominently demonstrates this questioning of apparent meaning. Activities closely tied to places, such as climbing mountains, traversing lakes and rivers, and contemplating past history during visits to ruins and other sites are highly reminiscent of poetic onventions that have informed the long pre-modern literary history of travel and landscape writings.<br /> <br /> 这些文章中文化和个人记忆的聚合，凸显了处于传统向现代过渡时期的中国作家心态的怀疑和不确定性。通过对表面意义和文学传统的质疑，这些文章归根结底是关于写作的文本，是一种持续而开放的探索。<br /> <br /> 审视朱、余、方三家文章中的 &quot;传统姿态&quot;，最突出地体现了这种对表层意义的质疑。与地方密切相关的活动，如爬山、穿越湖泊、河流，以及在参观遗迹等过程中对过去历史的思考等，都让人高度联想到在漫长的前现代文学史上的游记和山水文章的诗学传统。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 05:41, 9 December 2020 (UTC)Lei Kuangxi<br /> <br /> 这些文章中文化记忆和个人记忆的聚集，突出了处于从传统向现代过渡时期的中国作家的怀疑和不确定性特征。通过对表面意义和文学传统的质疑，这些文章最终成为关于写作的文本，是一种持续的、开放式的探索。<br /> <br /> 对朱先生、于先生和方先生所著文章的核心“传统手势”的研究，最突出地证明了对表面意义的质疑。与地方紧密相连的活动，如爬山、穿越湖泊和河流，以及在参观遗迹和其他遗址时思考过去的历史，都让人联想到在漫长的前现代文学史的的游记和山水文章的诗学传统。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 07:19, 9 December 2020 (UTC)<br /> <br /> ==Li Haiquan 李海泉==<br /> As manifestations of cultural memory, such activities are more than simply concrete actions; they are gestures, i.e. “acts made as a sign of attitude.” These traditional gestures suggest an affinity between pre-modern and modern texts, yet at the same time, the essays consistently question the significance and consequence of this apparent affinity. This questioning is achieved, first, by the authors’ encounters with people inhabiting the landscape, second, by introducing elements of imperfection and incompletion throughout the essays, and, third, by the self-referential aspects of the essays.<br /> <br /> 作为文化记忆的表现形式，这些活动不仅仅是具体的行动。它们是手势，也就是“态度表征的行为”。这些传统手势表明了前现代文本和现代文本之间的密切关系，然而，同时这些文章始终对这种明显的亲和力的意义和结果存在质疑。这种质疑的实现，首先是通过作者与居住在这片风景中的人们的相遇；其次，通过在文章中引入不完美和不完善的元素；第三，通过文章的自我参照。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 01:57, 10 December 2020 (UTC)<br /> <br /> 作为文化记忆的表现形式，这种活动不仅仅是简单的具体行动，而是一种姿态，即 &quot;作为一种态度的标志而做出的行为&quot;。这些传统的姿态暗示了前现代和现代文本之间的密切关系，但与此同时，这些文章一直在质疑这种明显的密切关系的意义和后果。这种质疑的实现，一是通过作者与居住在风景中的人的相遇；二是通过在文章中引入不完美和不完整的元素；三是通过文章的自述来实现。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 03:36, 10 December 2020 (UTC)<br /> <br /> 作为文化记忆的体现，这些活动不仅仅是简单的具体行动； 它们是姿态，即“态度表征的行为”。 这些传统姿态暗示了前现代文本与现代文本之间的亲和力，但与此同时，论文也不断质疑这种明显亲和力的重要性和后果。 首先，作者与居住在风景中的人们相遇，然后是通过在论文中引入不完美和不完整的元素，其次是通过论文的自我参照。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:01, 11 December 2020 (UTC)<br /> <br /> 最为文化记忆的体现形式，这种活动不单单是具体的行动，它们更是一种姿态，也就是“用以表征态度的行为”。这些传统的姿态表明了前现代文本和现代文本之间的密切联系；然而，与此同时，这些文章也在不断地质疑这种表面联系的影响和结果。这种质疑，首先是通过作者与居住在当地的本地人的邂逅；其次是在全文中体现出一些不完美和不完整的因素；最后是通过文章的自我参照这三个步骤来实现的。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:19, 11 December 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> Adopting traditional gestures of contemplating place and past can be seen as an attempt to place the author in a privileged and thus assured position, offering him a way to authoritatively define himself within, yet separate from, his surroundings. However, encounters with people inhabiting the places make the author “interact” with these places. Rather than being objects of perception and contemplation only, places become parts of the perceiving and contemplating subject. The idea of place as distinct from the observer, providing a setting against which he can define himself as well as measure the changing times is deceptive.<br /> 采用传统的姿态来思考地方和过去，可以看作是将作者置于一种特权地位，从而保证他的地位，为其提供了一种根据周围环境给自己定义，但又与之分离的权威方式。然而，与居住在这些地方的人的相遇，使作者与这些地方产生了 &quot;互动&quot;。地方不只是感知和思考的对象，而是成为感知和思考主体的一部分。将地方与观察者区分开来，提供一个环境，让观察者可以据此来定义自己以及衡量时代的变化，这种想法是具有欺骗性的。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:38, 11 December 2020 (UTC)Li Lili<br /> <br /> 采用传统的姿态思考地方和过去，可以看作是将作者置于特权以及确定的地位的一种尝试，为其提供一种根据其周围环境，但又脱离其环境然而，给自己定义的权威性的方式。然而，和居住在这些地方的人相遇，使得作者和这些地方有了“互动”。地方除了作为感知和思考的物体，还成为了感知和思考主体的一部分。地点和观察者分离、提供观察者给自己下定义的背景、衡量时代的变化，这些想法都具有欺骗性。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 13:40, 12 December 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> In addition, elements of imperfection and incompletion disrupt the narrative in these essays and thus similarly question the reliability of traditional gestures in the search for stable definitions of selves. Self-referential aspects of the texts also draw attention to the essays’ constructedness, thus questioning the idea that the texts have a single, accurate (and thus authoritative) interpretation and significance.<br /> <br /> In sum, an “ironic” reading of the traditional gestures in these essays of place foregrounds the concept of tradition as a vital part and construct needed to engage in a discourse on tradition and modernity from which modern texts ultimately evolve.<br /> <br /> 此外，不完美和不完整的因素扰乱了这些文章的叙述，因此同样质疑传统姿态在寻找稳定的自我定义时的可靠性。文本的自我参照方面也引起了对文章的结构性的关注，从而质疑了文本具有单一、准确（因而具有权威性）的解释和意义的观点。<br /> 总而言之，对这些散文中传统姿态的“讽刺”解读，预示了传统的概念作为现代性话语的一个重要组成部分，现代性最终需要从这一部分演变而来。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 11:57, 11 December 2020 (UTC)<br /> <br /> 此外，不完美和不完整的因素扰乱了这些文章的叙述，从而同样质疑传统姿态在寻求稳定的自我定义方面的可靠性。文本的自我参照性也引起了人们对文章建构性的关注，从而对文本具有单一的、准确的（因为也是权威的）解释和意义的观点提出了质疑。<br /> <br /> 总之，对于这些地方性文章中传统姿态的“讽刺”解读，凸显了传统概念是参与传统与现代文本所需的重要部分和建构，而现代文本最终也是在这个基础上发展起来的。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 09:14, 12 December 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> Zhu Ziqing’s “The Qinhuai River Amidst Sounds of Oars and Shadows of Lamps” (''Qinhuaihe''), Yu Dafu’s “Spring Day on Diaotai” (''Diaotai''), and Fang Lingru’s “Travel Notes from Langya Mountain” (''Langyashan''), are three notable essays of place in which place and memory serve as the main conceptual elements through which the writers’ negotiation of identity and meaning unfolds. By questioning apparent meaning and literary convention, the texts become ultimately texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays. <br /> <br /> In the essays, the authors engage in activities such as climbing mountains, traversing rivers, and contemplating history and historical figures while visiting ruins and other sites. <br /> <br /> Zhu Ziqing’s ''Jiangsheng dengyingli de Qinhuaihe'', written in 1923, was first published in the January 25, 1924 issue of ''Dongfang zazhi'' (Eastern Miscellany, founded in 1904). （文献无需翻译） <br /> <br /> Yu Dafu’s ''Diaotai de chunzhou'', written in August 1932, first appeared in the inaugural issue of the journal ''Lunyu'' (Analects), on September 16, 1932. <br /> <br /> Fang Lingru’s ''Langyashan youji'' was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）<br /> <br /> In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）<br /> <br /> 朱自清的《浆声灯影里的秦淮河》（《秦淮河》）、郁达夫的《钓鱼台的春昼》（《钓鱼台》）和方令孺的《琅琊山游记》（ 《琅琊山》）是三篇有关地点的著名散文。在这几篇文章中，地点和回忆是主要的概念性元素，作者通过这些元素来具体展开关于身份认同以及具体含义的阐述。通过质疑明显的含义和文学习俗，这些文本最终象征着作者的不懈努力与探索，因此成为了文本的开放性文本。<br /> <br /> 在这几篇散文中，作者在参观历史遗址时都参加了诸如爬山、过河、对历史以及历史人物进行深思的活动。<br /> <br /> Zhu Ziqing’s ''Jiangsheng dengyingli de Qinhuaihe'', written in 1923, was first published in the January 25, 1924 issue of ''Dongfang zazhi'' (Eastern Miscellany, founded in 1904). （文献无需翻译） <br /> <br /> Yu Dafu’s ''Diaotai de chunzhou'', written in August 1932, first appeared in the inaugural issue of the journal ''Lunyu'' (Analects), on September 16, 1932. <br /> <br /> Fang Lingru’s ''Langyashan youji'' was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）<br /> <br /> In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 11:26, 8 December 2020 (UTC)<br /> <br /> 朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓鱼台上的春昼》（钓鱼台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。<br /> <br /> 在这些散文中，作者在参观遗址和其他地方时，还参与了登山、穿越河流、思考历史和历史人物等活动。<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 04:52, 9 December 2020 (UTC)Xiao Yining<br /> <br /> 朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓台上的春昼》（钓台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:53, 10 December 2020 (UTC)<br /> <br /> 朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓台的春昼》（钓台）、方令儒的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:10, 13 December 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> For example, all three essays contain elements reminiscent of the poetic convention of contemplating the past (''huaigu''), often conveying regret over gone times and places. Images exposing the transience of human life in an enduring landscape suggest the writer’s uncertainty about the present and future, implying his desire to find a more lasting place within his existing surroundings. <br /> <br /> In their apparent affinity to poetic conventions, traditional gestures seem to promise the writer a degree of authority and certainty in observing and interpreting surroundings and thus in determining his position and role in them. An ''ironic'' understanding and reading of such gestures in Zhu, Yu, and Fang's essays however, exposes the concept of tradition as construct indispensable for a discourse on modernity. <br /> <br /> Evoking and sharing the cultural memory of place writing, Zhu, Yu, and Fang’s essays not only contain, but also constitute traditional gestures.（文献无需翻译） <br /> <br /> FFor a concise explication of this poetic convention, see Hans H. Frankel, ''The Flowering Plum and the Palace Lady: Interpretations of Chinese Poetry'' (New Haven and London, 1976), chapter 9 “Contemplation of the Past.”（文献无需翻译）<br /> <br /> 例如，这三篇文章都包含了凝视过去的诗学传统的元素（怀古），常常表达对逝去的时光和地方的遗憾。在一幅经久不衰的风景画中，展现人类生命的无常，暗示着作者对现在和未来的不确定性，暗示着他希望在现有的环境中找到一个更永恒的地点。<br /> <br /> 传统的姿态与诗歌的传统有明显的亲近感，它似乎给了作者一定程度的权威性和确定性来观察和解释周围的环境，从而确定自己在其中的定位和角色。然而，通过对朱自清、郁达夫和方灵如的文章中这些姿态的反讽地理解和解读，揭示了传统观念构筑现代性话语所不可或缺的。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 05:50, 13 December 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> <br /> Modern texts evolve from a questioning and reassessment of well-established meaning and value, rather than from a mere rejection of what are perceived to be traditional notions, customs, and ideals. Once tradition is divested of its absolute claim and subject to interpretation and reconstruction, modernity can emerge. <br /> <br /> Generally, the term “gesture” describes an activity as “something done to convey one’s intentions or attitude.” The traveler’s activities are more than actions that have an obvious purpose, such as getting to a location or viewing a certain site. Roland Barthes’ notion of gestures in writing and writing as gesture suggests the multiplicity of meaning within essays of place and ultimately bears out the idea of essays of place as texts on writing. In ''The Responsibility of Forms'', Roland Barthes describes “gesture” in art as<br /> <br /> “Gesture.” Def.2. ''Oxford American Dictionary''. New York: Avon Books, 1980. （文献无需翻译）<br /> <br /> ''The Oxford English Dictionary'' defines “gesture” as “a move or course of action undertaken as an expression of feeling or as a formality; especially a demonstration of friendly feeling, usually with the purpose of eliciting a favorable response from another.” Def.4.b. ''The Oxford English Dictionary''. 2nd Ed. (Clarendon Press: Oxford, 1989).（文献无需翻译）<br /> 现代文本从对已确立的意义和价值的质疑和重新评估演变而来，而不仅仅是对被认为是传统观念、习俗和理想的排斥。一旦剥夺了传统的绝对权利，接受了解释和重建，现代性就会出现。<br /> <br /> 一般来说，“手势”指的是“为了传达某人的意图或态度的行动。旅行者的活动不仅仅是有明显目的的行动，比如到达某个地点或参观某个地点。罗兰·巴特关于书写中的手势和作为手势的书写的概念暗示了地点散文中意义的多样性，并最终证明了地点散文作为写作文本的观点。在《形式的责任》一书中，罗兰·巴特将艺术中的“姿态”描述为一种行为的多余。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 15:12, 13 December 2020 (UTC)<br /> <br /> ==Li Yongshan 李泳珊==<br /> [s]omething like the surplus of an action. The action is transitive, it seeks only to provoke an object, a result; the gesture is the indeterminate and inexhaustible total of reasons, pulsions, indolences which surround the action with an atmosphere [. . .]. Hence, let us distinguish the message, which seeks to produce information, and the sign, which seeks to produce an intellection, from the gesture, which produces all the rest (the “surplus”) without necessarily seeking to produce anything. <br /> <br /> Traversing mountains and lakes are activities with a concrete objective. As “gestures” or “surplus action,” those activities are signs of attitudes that in Zhu, Yu, and Fang’s essays ultimately serve to constantly question and change meaning by providing possibility instead of demarcation of meaning and signification. <br /> <br /> Barthes, Roland. “''[Readings: Gesture] Cy Twombly: Works on Paper.” The Responsibility of Forms''. By Barthes. Trans. Richard Howard, (Berkeley and Los Angeles: University of California Press, 1985) 160.（文献无需翻译）<br /> <br /> <br /> According to Roland Barthes, every text is ultimately a product of gestures Discussing the work of American painter Cy Twombly (b. 1928), Roland Barthes furthermore says about the workings of gestures:（文献无需翻译） <br /> <br /> [t]he artist [ . . . ] is by status an “operator” of gestures: he seeks to produce an effect and at the same time seeks no such thing; the effects he produces he has not obligatorily sought out; they are reversed, inadvertent effects which turn back upon him and thereupon provoke certain modifications, deviations, mitigations of the line, of the stroke. Thus in gesture is abolished the distinction between cause and effect, motivation and goal, expression and persuasion (Barthes 160).（文献无需翻译）<br /> 类似于一种行为的盈余。动作是及物性的，它只寻求刺激一个对象，一个结果;手势是一种不确定的、无穷无尽的原因、脉动、懒惰的总和，它以一种气氛围绕着动作[…]。因此，让我们把寻求产生信息的信息和寻求产生智力的符号，与无需寻求产生任何东西而产生其余一切(“剩余”)的手势区分开来。<br /> 穿越山脉和湖泊是有具体目标的活动。这些作为“姿态”或“剩余行动”的活动，在朱、于、方的文章中，最终是一种态度的标志，通过提供可能性而不是界定意义和意义，来不断地质疑和改变意义。<br /> <br /> 根据Roland Barthes的说法，每一篇文章最终都是手势的产物，讨论了美国画家Cy Twombly (b. 1928)的作品，Roland Barthes进一步谈到了手势的作用:<br /> <br /> 艺术家[…]就身份而言，他是一个手势的“操作者”:他试图产生一种效果，但同时又不寻求这种效果;他所产生的效果他并没有义务去寻求;它们是颠倒的，无意的影响，反过来影响到他，并因此引起某些修改，偏差，线条和笔划的缓和。因此，手势废除了因果、动机和目标、表情和说服之间的区别(Barthes 160)。--[[User:Li Yongshan|Li Yongshan]] ([[User talk:Li Yongshan|talk]]) 05:46, 14 December 2020 (UTC)<br /> <br /> ==Li Yu 李玉==<br /> <br /> Zhu Ziqing’s ''Qinhuaihe'' describes a pleasure excursion on the Qinhuai River he and his friend Yu Pingbo embark on one summer evening. Singsong girls and their musicians, offering their services to passengers in the roaming boats, provide popular entertainment on the river. Zhu and Yu try to enjoy the atmosphere produced by a combination of natural scenery, history, lantern lights, and sound of oars and of music. Despite mingling with other boats whose passengers happily solicit the singsong girls’ services, they remain passive observers. Zhu's narrative culminates in his and Yu’s direct encounter with the singsong girls, who approach them to solicit business. This encounter mortifies and confounds Zhu, turning the trip into a disconcerting experience. Both Zhu and Yu reject the singsong girls’ solicitations, and soon after the encounter, they head back to the pier. <br /> ==Lin Min 林敏==<br /> Yu Dafu’s ''Diaotai'' describes his travels in the countryside after having hurriedly left Shanghai to avoid being rounded up by Nationalist forces in the spring of 1931. Watching boats taking locals to their ancestral graves, Yu decides to visit his hometown in time for the Qingming festival. After only a few days with relatives and friends however, he becomes restless and leaves for a trip to Diaotai (Fishing Terrace) on Fuchun Mountain. He stops over at Tonglu for the night and despite the late hour climbs Tongjun Mountain located across the river. The next day, Yu visits the memorial hall on Fuchun Mountain dedicated to the Eastern Han recluse Yan Ziling and then climbs the famous Diaotai.<br /> <br /> 郁达夫的《钓台的春昼》一书中，描写了1931年春天他为逃避国民党军队的抓捕，匆匆离开上海后在乡下的旅行的故事。郁达夫看见船只把过世的当地人带回祖墓埋葬，于是他决定在清明节前回到家乡。 然而，与亲戚和朋友团圆几天之后，他变得躁动不安，便前往富春山钓台旅行。 他停留在桐庐过夜，尽管天色已晚，他爬上横跨在河面的桐郡山。 第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:51, 10 December 2020 (UTC)<br /> <br /> 郁达夫的《钓台的春昼》描述了他在1931年春天为避免被国民党军队围捕，匆忙离开上海后在农村的旅行。看着载着当地人去往他们祖坟的船只，郁达夫决定在清明节的时候回家乡看看。然而，在与亲戚朋友相处几天后，他变得焦躁不安，便前往富春山的钓台。他在桐庐停留了一夜，尽管时间已晚，他还是爬上了河对岸的桐君山。第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:50, 10 December 2020 (UTC)<br /> <br /> ==Lin Xin 林鑫==<br /> Fang Lingru and a group of friends visit various historic sites scattered in the mountains they traverse during a spring outing. The most famous site is the pavilion named by Ouyang Xiu and celebrated in his famous ''An Account of the Pavilion of the Drunken Old Man'' (Zuiweng ting ji). The group decides to stay overnight at the ''Temple of Cultivation'' (Kaihua si), located deeper in the mountains, and spends the rest of the day touring the mountains and their cultural imprints guided by a monk. In the evening, the friends enjoy the nocturnal atmosphere and quietude of temple and mountains. The next day, the day of the Qingming festival, the group tours two more mountains before returning to Nanjing in the evening.<br /> <br /> 在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜，并在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，又游览了两座山，傍晚时分才返回南京。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 06:36, 10 December 2020 (UTC)<br /> <br /> <br /> 在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜。在休息之前，众人在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，大家又游览了两座山，傍晚时分才返回南京。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:48, 10 December 2020 (UTC)Liu Yiyu<br /> <br /> ==Ling Zijin 凌子瑾==<br /> All three essays contain attempts to adopt gestures of contemplating times and places while traversing varied landscapes. Yet, three elements in the essays destabilize significance and consequence of those gestures, undermining their power to confirm identities and signaling the questioning nature of the texts. These three elements are first the authors’ encounters with people inhabiting the landscape, second, elements of incompletion and ambiguity that unsettle the traditional gestures, and, third, as supplementary elements, the essays’ self-referential strategies. The following readings of Zhu, Yu, and Fang’s essays explain and illustrate one of each of these elements respectively.<br /> 这三篇文章都试图在穿越不同的风景时采用思考时间和地点的姿态。然而，文章中的三个因素动摇了这些姿态的意义和后果，削弱了它们确认身份的力量，并暗示了文本的质疑本质。这三个要素，一是作者与居住在这片风景中的人的接触，二是对传统姿态的不完善和模糊，三是作为补充的自我参照策略。以下阅读朱、于和方的文章，分别解释和说明这些元素中的一个。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 11:47, 13 December 2020 (UTC)<br /> <br /> 这三篇文章在穿越不同情景时，都试图采用思考时间和地点的姿态。然而，文章中的三个因素动摇了这些姿态的意义和结果，削弱了它们确认身份的力量，并暗示了文本的质疑本质。这三个要素，一是作者与居住在这片风景中的人的接触，二是对传统姿态的描述的不完善和模糊，三是作为补充的自我参照策略。以下阅读朱、于和方的文章，分别解释和说明这些元素。--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 03:21, 14 December 2020 (UTC)Meng Ying<br /> <br /> ==Liu Bo 刘博==<br /> '''Encounters with People in Zhu Ziqing’s Qinhuaihe'''<br /> <br /> Encounters with people populating the landscape have two effects. First, these encounters force the author to interact with the landscape. It becomes impossible for him to demarcate his position and identity by contemplating places from an autonomous vantage point. Zhu and Yu’s encounter with the singsong girls is the central human encounter in Zhu’s ''Qinhuaihe''. Initially, the singsong girls’ presence on the river does not appear to displease or disconcert Zhu. However, he maintains this sanguine perception by keeping a distance to the singers’ boats. The distance allows him to assume the traditional gesture of traversing a river to take in and contemplate its scenery and history from an independent viewpoint.<br /> <br /> It is important to point out that a clear distinction between traveler and landscape does not mean the travelers’ disassociation from his surroundings. Rather it points to the clear demarcation of positions and roles necessary to form a stable unified whole from two distinct units.(文献无需翻译)<br /> <br /> '''朱自清的《秦淮河》中的相遇'''<br /> <br /> 与居住在风景中的人的相遇有两个效果。首先，这中相遇迫使作者与场景互动。这样他就不能通过从对自己有利的视角来划分自己的位置和身份。 朱自清、郁达夫二人与歌女的相遇，是朱自清《秦淮河》中最核心的人际交往。起初，歌女们在江上的出现，似乎并没有让朱自清感到不快或不安。然而，他通过与歌女们的船保持一定的距离来维持这种乐观的看法。这种距离使他能够以一种传统的姿态在江上穿行，以独立的视角来欣赏和思考江上的风景和历史。<br /> <br /> 需要指出的是，旅行者与风景的明确区分，并不意味着旅行者与周围环境的脱离。相反，它指向的是明确的位置和角色的划分，这对于从两个不同的环境中形成一个稳定的统一整体是必要的。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 06:51, 13 December 2020 (UTC)<br /> <br /> <br /> '“朱自清的《秦淮河》的相遇”<br /> <br /> 遇到有人居住的景观有两个影响。首先，这些遭遇迫使作者与景观互动。对于他来说，通过从自治的有利位置考虑地点来划分自己的位置和身份变得不可能。朱和俞与歌星女孩的相遇是朱的《秦淮河》中人类的主要相遇。最初，歌星女孩在河上的存在似乎并没有使朱朱感到不悦或不安。但是，他通过与歌手的船保持一定距离来保持这种乐观的感觉。距离使他能够采取传统的穿越河流的姿势，从一个独立的角度来欣赏和思考河流的风景和历史。<br /> <br /> 重要的是要指出，旅行者与风景之间的明显区别并不意味着旅行者与周围环境脱节。相反，它指出了从两个截然不同的单元形成一个稳定的统一整体所需的职位和角色的明确划分。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:05, 13 December 2020 (UTC)Ou Rong<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> The encounter with the singsong girls witnessed by other passengers unsettles gesture and atmosphere. By diminishing the safe distance between writer and observed place (which so far included the singers), the encounter forces Zhu to play an active role in his surroundings. The singers step out of the landscape picture, and Zhu becomes part of the place against his will.<br /> Ironically, however, the ensuing interaction nevertheless exposes an unbridgeable gap between author and people inhabiting the landscape. Zhu’s confrontation with the singsong girls reinforces an experience of distance, misapprehension, and alienation rooted in the dilemma of modern intellectuals.<br /> <br /> 朱自清与歌星女孩的相遇是在其他路人的围观下，这使得气氛紧张起来，他的行为也变得不安。 通过减少作家和被观察者之间的安全距离（到目前为止，包括歌手在内），相遇迫使朱自清在他的世界中发挥了积极作用。 歌手们走出了画面，而朱自清成为了其中的一部分，这是违背了他的意愿的。<br /> 然而，具有讽刺意味的是，随后的互动却暴露了作者与居住在画面中的人们之间不可逾越的鸿沟。朱自清与歌星女孩的对峙加强了距离感，误解和疏离感，这些都根植于现代知识分子所遇到的困境中。--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 15:00, 13 December 2020 (UTC)<br /> <br /> 在其他路人的围观下朱自清与歌星女孩相遇了，这使得气氛紧张，他也变得不安。通过减少作家和被观察者之间的安全距离（到目前为止，包括歌手在内），相遇迫使朱自清在他的世界中发挥了积极作用。 歌手们走出了画面，而朱自清成为了其中的一部分，这是违背他的意愿的。<br /> 然而，讽刺的是，随后的互动却暴露了作者与居住在画面中的人们之间不可逾越的鸿沟。朱自清与歌星女孩的对峙强化了源自现代知识分子困境的距离感，误解和疏离感。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 17:10, 13 December 2020 (UTC)<br /> <br /> ==Liu Liu 刘柳==<br /> Zhu is both tempted by the offer and ashamed about even entertaining such a sentiment. Being publicly approached by women who sell their services to men and confronting his inner conflicting emotion embarrasses Zhu, who considers himself a moral and modern individual professing to condemn the exploitation of underprivileged social groups. <br /> <br /> The text moves from the portrayal of external space and atmosphere to a detailed self-dissection of Zhu's psyche and thoughts, a strikingly modern feature. As Zhu's progressive sensibilities interfere with acting out his desire, this psychological passage further disrupts the cohesion of the text as traditional gesture.<br /> <br /> 朱自清受到诱惑的同时又为自己的这种情绪感到羞愧。朱自清自认为是高尚现代的人，他公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪和内心的矛盾情绪，朱自清却感到尴尬。<br /> <br /> 文本从对外部空间和氛围的描写，转向对朱自清的心理和思想细致的自我剖析，具有显著的现代特征。由于朱自清的进步情感干扰了他的欲望的表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:30, 9 December 2020 (UTC)<br /> <br /> 朱自清在受到诱惑的同时，又为自己的这种情绪感到羞愧。他自认为是高尚的现代人，会公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪，他的内心极为矛盾，感觉十分尴尬，<br /> <br /> 文本通过对外部空间和氛围的描写，以及对朱自清的内心思想的自我剖析，均具有显著的现代特征。由于朱自清的先进情感干扰了他的欲望表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:05, 9 December 2020 (UTC)<br /> <br /> 朱自清在受到诱惑的同时，又为自己的这种情绪感到羞愧。他自认为是高尚的现代的人，他公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪，他的内心极为矛盾，也十分地尴尬。<br /> <br /> 文本通过对外部空间和氛围的描写，转向对朱自清的内心思想的自我剖析，具有显著的现代特征。朱自清的先进思想抑制了他的欲望，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 15:09, 13 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> The encounter quickly deflates and undermines Zhu's attempt to adopt traditional gestures, causing confusion and conflict rather than reassurance of positions and identities in the river’s ultimately unpredictable space. Zhu’s experience of place is marked by a tension arising from an attempt to assert his independent position within his surroundings, the futility of the attempt, and the concurrent impossibility to become part of his surroundings.<br /> <br /> Significantly, only when Zhu’s inner conflict has abated somewhat, he and Yu are rewarded. On their way back, they pass a boat with a solitary singer coming toward them.<br /> <br /> 这一遭遇使朱自清很快打消了采用传统姿态的想法，在秦淮河上他的内心并没有得到安宁，而是充满困惑和冲突。朱自清在此地体验到的紧张感，来自他试图在周围的环境中坚持自己的身份，但这种尝试是徒劳的，于是他也不可能融入秦淮河的夜景中。<br /> <br /> 只有当朱自清的内心冲突有所缓和时，他和俞平伯才怡然自若。在回去的路上，他们经过一只载妓的板船，妓女在船上唱着清歌。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:22, 14 December 2020 (UTC)<br /> <br /> 这一遭遇使朱自清很快打消了采用传统姿态的想法，在秦淮河上他的内心并没有得到安宁，而是充满困惑和冲突。朱自清在此地感受到的紧张，来自他试图在周围的环境中坚持自己的身份，但这种尝试是徒劳的，因此他也不可能融入秦淮河的夜景中。<br /> <br /> 只有当朱自清的内心冲突有所缓和时，他和俞平伯才怡然自若。在回去的路上，他们经过一只载妓的板船，妓女在船上唱着清歌。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:54, 14 December 2020 (UTC)<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> <br /> The singer is sitting in the bow of the unlit boat, singing only to herself. This unexpected episode has an at least temporarily redeeming quality for Zhu. However, his feeling of contentment lasts only a fleeting instant, and soon he and Yu are back in the bustling amusement district. Importantly, Zhu and Yu do not truly encounter the solitary singer. Possibly, the singer did not even notice them. This brief moment comes closest to successfully adopting a traditional gesture. As long as they maintain a distance, fulfilling the significance of the gesture seems possible. Ultimately however, Zhu, not in control of the gesture, is unable to prolong this moment.<br /> <br /> 歌者坐在没有灯光的船头，只对自己唱歌。这个意外的插曲，对朱棣来说，至少有一种短暂的满足。然而，他的满足感只持续了一瞬间，很快他就和余先生回到了繁华的游乐区。其实朱和宇并没有真正遇到那个孤独的歌手。也有可能歌手根本没有注意到他们。但这短暂的一瞬间最接近传统的姿态。只要他们保持一定的距离，传递这个姿态的意义似乎是可能的。然而最终由于朱先生没有保持好这一姿态，他没能延长这个瞬间。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:49, 13 December 2020 (UTC)<br /> <br /> 歌妓坐在没有灯光的船头，独自唱着歌。对朱自清来说，这个意外的插曲暂时弥补了之前的遗憾，然而，这种满足感只持续了一瞬间，很快他就和俞平伯回到了繁华的闹市。其实二人并没有真的遇到那个孤独的歌妓，也有可能歌妓根本没有注意到他们，但这短暂的一瞬间最接近传统的语言姿势。只要他们保持一定的距离，这个姿态的意义似乎就有可能被传达出来，然而最终由于朱自清没有维持这一姿态，所以没能延长这个瞬间。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 15:12, 13 December 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> He is left in utter despondency. Threat and intimidation Zhu experiences are signified well by the way he perceives his surroundings immediately after passing the lone singer’s boat. Passing under a tall bridge, it seems to Zhu “as if the darkness was opening its huge mouth, about to swallow [their] boat.” Zhu is left in a no-man’s-land between private desire and modern awareness.<br /> <br /> <br /> '''Incompletion and Ambiguity in Yu Dafu’s ''Diaotai'''''<br /> <br /> Elements of incompletion and ambiguity further question the significance of traditional gestures. By unsettling the essay’s narrative, these elements suggest an ironic reading of the texts that undermines the reliability of traditional gestures when searching for stable definitions of selves and surroundings.<br /> <br /> 他陷入了彻底的绝望。朱棣棣所经历的威胁和恐吓，从他经过独唱者的船后立即感知周围环境的方式就可以看出。经过一座高高的桥下，在朱棣看来，&quot;仿佛黑暗张开了巨口，要把他们的船吞掉&quot;。 朱先生在私欲与现代意识之间陷入了无人区。<br /> <br /> '''郁达夫的''钓鱼台''的不完整与模糊'''<br /> <br /> 不完整和模棱两可的元素进一步质疑传统手势的意义。这些元素使文章的叙事变得不稳定，暗示了对文本的反讽性解读，破坏了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:20, 9 December 2020 (UTC)<br /> <br /> 他陷入了深深的怅惘。经过歌舫后，他立即感知到周围环境变化，从这里就可以看出朱自清所感受到的压迫和不安。船过大中桥时，朱自清写道，&quot;如黑暗张着巨口，要将我们的船吞了下去&quot;。 朱先生在私欲与现代意识之间陷入了无人区。<br /> <br /> '''郁达夫《钓台的春昼》的不完整性与模糊性'''<br /> <br /> 不完整性和模棱性的要素对传统手势的意义提出更多的质疑。通过打乱文章的叙述方式，这些要素暗示了对文本的反讽性解读，削弱了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:55, 10 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> Obstacles in Yu Dafu’s path paired with a restlessness he experiences in places destabilize the gestures he tries to adopt. The significance of his trip remains ambiguous.<br /> <br /> The evening before reaching Diaotai, Yu sets out to climb Tongjun Mountain to visit a Daoist temple. Upon disembarking from the ferryboat, he immediately falls over a loose rock on the dark and rugged mountain path. The image of a stumbling Yu on his solitary endeavor to climb the mountain at night is almost comical. His idea to climb the mountain at this hour appears unreasonable and undermines any effect the attempt to adopt a traditional gesture might have.<br /> <br /> 郁达夫道路上的障碍，再加上与他在一些地方感到了不安，这都打破了他之前想要的姿态。他此行的意义依然模糊不清。<br /> <br /> 在到达钓鱼台的前一天傍晚，郁达夫出发去爬桐君山，去一座道观。一下了渡船，在一条崎岖漆黑的山路上，他摔倒在了一块松动的石头上。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候爬山的想法显得很不合理，也打破了他想要的任何意义。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:19, 10 December 2020 (UTC)Liu Yiyu<br /> <br /> 出现在郁达夫道路上的障碍，再加上他在一些地方感到的不安，都打破了他之前想要的姿态。他此行的意义依然模糊不清。<br /> <br /> 在到达钓鱼台的前一天傍晚，为了参观一座道观，郁达夫出发去爬桐君山。一下了渡船，在一条崎岖漆黑的山路上，他被一块松动的石头绊倒了。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候爬山的想法显得很不合理，也破坏了采用传统姿态可能产生的任何影响。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:38, 13 December 2020 (UTC)<br /> <br /> 路上的崎岖加上内心的不安，使得郁达夫上山的一路都走得不平稳。他此行的意义也模糊不清。<br /> <br /> 在到达钓台的前一天傍晚，郁达夫启程桐君山参观一座道观。一下渡船，山路崎岖漆黑，他被一块乱石绊倒了。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候选择去爬山似乎不可理喻，而正常的行走也几乎不可能了。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:22, 14 December 2020 (UTC)<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> The ferryman hands Yu a pack of matches to help him find the way. At first, Yu is “groping [his] way up the mountain,” but as he approaches the top, moonlight begins to illuminate his path. A vast sky and a broad vista into the distance and onto the town seem to increase Yu’s chances of adopting the traditional gesture of contemplating place and past. As he approaches the temple however, an apparently locked gate in the low wall surrounding it obstructs Yu’s progress. After pacing up and down for a while not knowing what to do, he finally tries the gate, and surprisingly it opens. Ironically, Yu’s trip is delayed and almost cut short not by a locked gate but by his indecision and hesitation.<br /> <br /> 渡船人递给他一包火柴帮他找路。一开始，郁正“摸索着上山”，但当他接近山顶时，月光开始照亮他的道路。辽阔的天空和小镇的广阔景色似乎增加了郁采用传统方式思考地方和过去的机会。然而，当他走近庙宇时，四周低矮的墙壁中一扇明显锁着的门阻碍了他的前进。在不知所措地踱来踱去后，他最终尝试开门，而门惊喜地被打开了。更具有讽刺意味的是郁的行程延误，不是因为一扇紧锁的大门，而是因为他的犹豫不决。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:29, 13 December 2020 (UTC)<br /> <br /> 船夫递给他一盒火柴帮助他找到路。起初，于是“摸索着上山”，但当他接近山顶时，月光开始照亮他的道路。广阔的天空和广阔的视野延伸到远处的城镇，似乎增加了俞正声采用传统的姿态，思考地点和过去的机会。然而，当他接近寺庙时，围绕寺庙的矮墙中一个明显被锁住的门阻碍了他的前进。他踱来踱去，不知如何是好，最后他试了试大门，结果门开了。具有讽刺意味的是，于的行程被推迟，甚至几乎被缩短，不是因为一扇锁着的门，而是因为他的优柔寡断和犹豫。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 11:50, 13 December 2020 (UTC)<br /> <br /> ==Lou Cancan 娄灿灿==<br /> Although he finds the temple gates indeed securely shut for the night, Yu is at this point quite content to sit on the wall adjacent to the gate from where he can overlook the river and enjoy the scenery. He gazes at the stars, clouds, and moon above and the lights of the boats below gently wavering in the wind. At last, Yu’s position allows him to contemplate place and past from an elevated and independent vantage point. The unparalleled scenery of Tongjun Mountain inspires Yu to contemplate the lives of the Eastern Han (25-220 A.D.) recluse Yan Ziling and that of the two Dai brothers, Dai Bo and Dai Yong of the Easter Jin (317-420), who made this area their home.<br /> <br /> 虽然他发现寺庙的门夜晚确实是紧紧关着的，但此时他还是很满足于坐在与门相邻的城墙上，从那里他可以俯瞰河流，欣赏风景。他凝视着天上的星星、云朵和月亮，以及下面在风中轻轻摇曳的船只的灯光。最后，郁达夫的位置让他能够从一个更高的、独立的有利位置思考过去。同郡山无与伦比的风景激发了郁达夫对东汉(公元25-220年)隐士严子陵和东晋(317-420年)戴波和戴勇的生活的思考，他们把这里作为自己的家。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:53, 13 December 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> Yu fully appreciates and identifies with their decision to lead a hermit’s life foreshadowing his own life of seclusion soon to begin. The clapper of the night watch in town finally wakes Yu to reality. Startled, he runs back head over heels to the boat. This abrupt ending to Yu’s reverie and his sudden anxiety to get back to the boat sharply contrast with the reflective atmosphere and sentiment of the passage. The traditional gesture is abruptly terminated. Like the clapper startling Yu, this abrupt ending to the nightly scene startles the reader.<br /> <br /> 郁达夫完全理解并尊重他们隐居的决定，并预示着自己的隐居生活即将开始。镇上守夜的钟声把将他唤醒。他吓了一跳，背对着船跑去。他的遐想戛然而止，突然急着要回到船上，与这段文字中反映出来的气氛和情感形成了鲜明的对比。传统的手势突然终止了。就像钟声将他惊动一般，这个突然结束的夜景让读者大吃一惊。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:49, 14 December 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> On the boat to Diaotai, Yu, tired from admiring the scenery, falls asleep and dreams of a gathering with some old friends in an inn along the river. The text does not make it explicitly clear that Yu is dreaming. This becomes fully clear only when the boatman wakes Yu as they approach Diaotai. <br /> <br /> In his dream, the friends chat and make merry, but after all has been said and done, the atmosphere turns cheerless and awkward. At the center of the dream is a poem Yu composed a few years ago at a similar occasion. It is a political poem written in traditional septa-syllabic regulated verse style, lamenting the chaotic state of the country and expressing the dissatisfaction of intellectuals with the government.<br /> <br /> 在去钓鱼台的船上，赏风景赏累了，他睡着了，梦见和几个老朋友在河边的客栈里聚会。文中并没有明确表示郁达夫是在做梦，只有当船夫在接近钓鱼台的时候把他叫醒，这才变得完全清楚。--<br /> <br /> 在他的梦里，朋友们聊天，嬉戏，但这一切都结束后，气氛变得不愉快和尴尬起来。梦的中心是一首郁达夫几年前在类似场合写的一首诗。这是一首以传统的中隔音节律诗体写成的政治诗，哀叹国家的混乱状态，表达知识分子对政府的不满。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:48, 13 December 2020 (UTC)<br /> <br /> <br /> 在去钓鱼台的船上，郁达夫疲于赏景，而后进入梦乡。他梦见和几个老朋友在河边的客栈里聚会。文中并未表明这是郁达夫在做梦，只有当船夫在临近钓鱼台叫醒他时，一切才水落石出。<br /> 在他的梦境里，朋友们一起聊天、嬉戏，但当一切都结束后，气氛变得无趣且尴尬。梦的中心出现郁达夫几年前在类似场合写的一首诗。这是一首以传统的中隔音节律诗体写成的政治诗，其哀叹国家的混沌，表达知识分子对政府部门的不满。<br /> --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:42, 13 December 2020 (UTC)<br /> <br /> <br /> 在去钓台的船上，郁达夫赏景后觉得疲倦，而后进入梦乡。他梦见和几个老朋友在河边的客栈里聚会。文中并未表明这是郁达夫在做梦，只有当船夫在临近钓台叫醒他时，一切才水落石出。<br /> <br /> 在他的梦境里，朋友们一起聊天、嬉戏，但当一切都结束后，气氛变得无趣且尴尬。梦中出现郁达夫几年前在类似场合写的一首诗。这是一首以传统的中隔音节律诗体写成的政治诗，其哀叹国家的混沌，表达知识分子对政府部门的不满。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:27, 14 December 2020 (UTC)<br /> <br /> ==Ma Juan 马娟==<br /> One prominent traditional image in the poem is the loyal official who, “feigning madness,” (yang kuang) speaks the truth that goes unheeded. Here, a well-known traditional gesture is embedded in a text within a text. Before the gesture can come to full fruition, however, it is again terminated, this time by the boatman who wakes Yu.<br /> <br /> 在这首诗中，一个突出的传统形象是这个忠诚的官员，他假装疯狂（佯狂）地说出了未被注意的真理。这里，一个众所众知的传统手势被嵌入到文本中的文本中。然而，在做这个手势之前，他这一次再次被叫醒于的船夫终止了。<br /> <br /> Significantly, Yu's perception of his surrounding has completely changed. Before falling asleep, he saw green mountains encasing the clear river and sandbanks with blossoming flowers; in short, tranquil and picturesque scenery. As the boat approaches Diaotai, however, “river and mountain scenery all around had suddenly changed.” (文献无需翻译)<br /> <br /> 很明显，于对他周围的看法改变了。在入睡之前，他看见连绵的青山环绕清澈的河流，沙洲上百花盛开，总之就是一幅祥和的如画风景。然而，当船接近钓台时，周围的山水画已经不知不觉间改变了。<br /> <br /> Zhu Ziqing, “Jiangsheng dengyingli de qinhuaihe,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 95.(文献无需翻译)<br /> <br /> Yu Dafu, “Diaotai de chunzhou,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 204.<br /> <br /> Yu Dafu, 206(文献无需翻译)--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 10:44, 13 December 2020 (UTC)--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:30, 14 December 2020 (UTC)<br /> <br /> ==Ma Shuya 马淑雅==<br /> The river has narrowed and the mountains have moved extremely close, “as if ahead was no further way.” The towering mountains create an oppressively lonely atmosphere, in which even the sound of the oars seems disheartened; the echo is audible only after a long while, amplifying the “ancient silence,” the “silence of extinction” enveloping the boat. The sun is gone, and only a soughing wind comes and goes. <br /> <br /> The surrounding has turned ominous. Yu’s anticipation turns into apprehension. Compared to his reverie on Tongjun Mountain, Yu now perceives Diaotai as desolate and gloomy, eerily echoing the chaos and tumult evoked in his poem. He describes dilapidated stone structures overgrown with weeds.<br /> ==Ma Zhixing 马智星==<br /> Approaching Yan Ziling’s ancestral hall, now no more than decrepit walls and broken tiles, Yu begins to feel “a little afraid, afraid to encounter the ghost of Master Yan, old and dried-up like strips from a towel gourd.” Yu’s rapidly growing skepticism and discomfort upon approaching the setting further suggest the impossibility to find meaning and identity by adopting traditional gestures in places.<br /> <br /> On the Fishing Terrace, Yu is curiously reminded of a postcard depicting the William Tell Memorial Hall and its scenery in Switzerland. The colors of mountains and rivers he sees from Diaotai are strikingly similar to those on the “collotype postcard.”<br /> <br /> ==Meng Ying 孟莹==<br /> However, in the scenery he views from Diaotai, “the variations are a little greater, the surrounding in all directions is just a little more jumbled and chaotic, that’s all, but this is actually a plus, enough to represent the East’s desolate beauty of national degeneration.” Ironically, Yu’s comparison between the postcard picture and his view stresses the similarities between the colors of the landscapes only. He views a place that in its very structure carries the marks of present crisis. Associating his description of the scenery with Switzerland generally associated with national stability and social order only intensifies the image of national chaos and debility.<br /> 然而，他身临钓台，亲看其景，却感叹与明信片上所见差别极大，周围更加荒芜杂乱，仅此而已。但此情此景实际上更说明了东方民族堕落的冷落之美。讽刺地是，余秋雨对明信片和实景的对比只是更加强调了景色色彩的相似性而已。他观的这个地方，本身就自带现今危难的印记。把他对景色的描述和代表国家稳定秩序的瑞士联系在一起只是徒增国家衰弱混乱的印象罢了。--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 03:14, 14 December 2020 (UTC)Meng Ying<br /> <br /> ==Mo Ling 莫玲==<br /> Superficially conforming to the traditional gesture of contemplating (and lamenting) place and past, the comparison here is not one between present and past, but one between two presents. Yu's view evokes scenery on a foreign postcard, which in its modern photographic quality and miniature size cannot evoke the past, challenging the idea of a traditional gesture. <br /> <br /> After having had some wine in the hall, Yu walks up to the Buddhist shrine whose derelict walls are covered with poems, most of them of poor quality. In a corner near the ceiling, he finds an inscription by the Qing loyalist and fellow villager Xia Lingfeng (Xia Zhenwu, 1854-1930), whose commitment Yu admires despite objecting to Xia’s political convictions. Yu inscribes the poem from his dream next to Xia’s.<br /> <br /> 这里的对比并非介于今昔之间，而是两个现在时间的对比，从表面上看，这与传统的伤怀表达方式不谋而合。余想起了外国明信片上的风景，其现代摄影质量和微型尺寸无法唤起过去，因而挑战了传统的表达方式。<br /> <br /> 在祠堂里喝了点酒后，俞走到佛龛前，佛龛斑驳的墙壁上满是诗词，其中大部分文采平平。在天花板附近的一个角落里，他发现了一首由夏灵凤（夏振武，1854-1930）题的词，夏灵凤是清朝的拥护者，也是本村的村民。尽管余反对夏灵凤的政治信念，但他仍然钦佩他的忠诚。因而余在夏灵凤的词旁边也作了一首诗。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:32, 9 December 2020 (UTC)Mo Ling<br /> <br /> 虽然表面上符合传统的伤怀表现手法，但这里并非今昔对比，而是两个现时的比较。余秋雨的观点让人联想到外国明信片上的风景，以其现代摄影的质量和微型尺寸无法唤起过去，挑战了传统的表达方式。<br /> <br /> 在祠堂里喝了点酒后，余秋雨走到佛龛前，佛堂废弃的墙壁上挂满了诗词，其中大都文采平平。在天花板附近的一个角落里，他发现了清朝忠臣、同乡夏灵凤（夏振武，1854-1930）的题词，虽反对夏的政治立场，但他还是很欣赏夏的忠诚，因将梦中的诗词题在夏的旁边。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 07:05, 10 December 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> Initially, Yu's act of inscribing the poem suggests that he sympathizes and identifies with Xia. However, since Yu does object to the substance of Xia’s ideals and motives, the gesture of writing a poem next to Xia’s only stresses the ambiguity of such an act. With the gesture of inscribing his poem along with others of inferior quality and next to that of a Qing loyalist Yu willingly obscures his own political stance and inadvertently questions the relevance of his act. The traditional-style poem placed in an obscure corner on the wall as one among many is ineffective, and the gesture of inscribing it loses its significance. Yu’s position and role in his time and place remains ambiguous and difficult to define. Ironically, while Yu’s essay saves the poem and its context from obscurity, it also exposes the very ambiguity of his act.<br /> ==Nie Xiaolou 聂晓楼==<br /> '''Self-referential strategy in Fang Lingru’s ''Langyashan'''''<br /> <br /> By foregrounding a texts’ constructedness, self-referential strategies question the idea of a texts’ definite and authoritative meaning. Suggesting the texts’ plurality of meaning further substantiates their significance in negotiating perspectives, positions, and identities.<br /> <br /> Concluding the narration of her two-day trip, Fang Lingru writes: “There are still many more scenic spots and ancient sites on Langya Mountain; if it’s meant to be, I’ll come another time to visit again. ''There is nothing more I can add to this piece'' (my emphasis).” <br /> <br /> Fang Lingru, “Langyashan youji,” ''Zhongguo xiandai youji xuan'', eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 148.<br /> <br /> 方令孺《琅琊山游记》中的自我指称策略<br /> 自我指称策略通过凸显文本的建构性对文本明确、权威的意义提出了质疑。该策略指出，文本意义的多元性进一步证实了它们在谈判视角、立场和身份上的重要性。方令孺在对其两天旅行的叙述结尾处写道：“琅琊山上仍有许多名胜古迹；如果命中注定，我还会再来一次。我没有什么可以补充的了(我的重点)。”<br /> 方令孺,《琅琊山游记》, 编著，马忠林，杨国璋, 王钟华, 北京:中国旅游出版社, 1982:148.--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 02:39, 14 December 2020 (UTC)Nie Xiaolou<br /> <br /> ==Ou Rong 欧蓉==<br /> Yet, she goes on to recommend a particular dish and wine the group had at a restaurant in Chuzhou before returning to Nanjing. This rather banal and anticlimactic addendum to her narrative is then followed by two more paragraphs, describing her sentiments upon returning home. <br /> <br /> When I got home, it was already ten o’clock at night, and a fine drizzle filled the air. Just before leaving, the old monk Shangkuan had tied three Spring Azalea sprigs to my rickshaw, which I planted immediately upon coming home. Now the twigs have already developed tender sprouts; by this time next year, they will blossom. XX named them “Bodhi Shangkuan.”<br /> <br /> 然而，在返回南京之前，她继续推荐该伙人在滁州一家饭店享用过的特殊菜肴和美酒。然后，在她叙述的这个平淡而滑稽的附录中再加上了两段，描述了她回家后的情绪。<br /> <br /> 当我回到家时，已经是晚上十点了，细雨蒙蒙。临走时，老和尚尚宽把三只杜鹃花春天的小树枝绑在了我的人力车上，我刚回家时就把它们种了下来。现在，树枝已经长出嫩芽了。到明年这个时候，它们将会开花。 XX将其命名为“菩提上宽”。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:02, 13 December 2020 (UTC)Ou Rong<br /> <br /> 然而，在返回南京前，她继续给这些人推荐他们此前在滁州一家饭店已经吃过的特别菜肴和美酒。她的叙述非常乏味且跟着一个虎头蛇尾的附录。之后，这段叙述之后又加了两端来描写她回家后的感受。<br /> 当我回到家，已经深夜十点了，且下着淅淅沥沥的小雨。在离开前，老和尚上宽把三个春季的杜鹃花小枝绑在了我的人力车上，一回家我就立即把它们种了。现在，这些小枝已经长出嫩芽了。明年这个时候，它们就会开花了。XX给其取名为“菩提上宽”--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:06, 13 December 2020 (UTC)<br /> <br /> 然而，在返回南京前，她继续给这些人推荐他们此前在滁州一家饭店已经吃过的一种特别的菜肴和葡萄酒。对她的叙述进行这种乏味且虎头蛇尾的补充之后，她又加了两段来描写她回家后的感受。<br /> 当我回到家，已经深夜十点了，且下着淅淅沥沥的小雨。在离开前，老和尚上宽把三个春季的杜鹃花小枝绑在了我的人力车上，一回家我就立即把它们种了。现在，这些小枝已经长出嫩芽了。明年这个时候，它们就会开花了。XX给其取名为“菩提上宽”----[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 02:46, 14 December 2020 (UTC)Nie Xiaolou<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> I’ve been feeling extremely tired lately, but thinking back to the trip into the mountains, I can say that it was flawless, and I have no regrets. <br /> <br /> It is a cliché to state at the end of a text that nothing can be added. Fang’s appended restaurant and food recommendation suggests her eagerness to relate every detail from the trip. However, extending her narrative by two paragraphs, she effectively contradicts her own assertion that everything worth saying has been said. This contradiction and the contrast between her matter-of-fact-style in which she ostensibly ends the essay and the intimate tone and personal content of the concluding paragraphs highlight the act of writing and constructing the text.<br /> ==Ouyang Ling 欧阳玲==<br /> The final paragraphs further question the effect of adopting traditional gestures to find stable meaning and purpose in and through one’s surroundings. For Fang the gesture of translating visits to sites and ruins into detailed description evoke the past is not sufficient. Her encounter with the monk ultimately renders her experience on Langya Mountain significant. The flowers she received from him signify the possibility of growth, nurturing, and encouragement. By contrast, the significance of the sites themselves remains ambiguous.<br /> <br /> 文中最后几段，方令孺进一步质疑了传统手势的效果，在传统手势中，文章的意义和目的仅仅通过环境体现出来。对方令孺来说，如果运用简单的翻译手势，只是详细描述到访的琅琊山遗址是远远不够的，因为与那名僧人的相遇才是她琅琊山一行最有意义的事情，她从僧人那里收到的花代表着生长的可能性、象征着养护和激励，相比之下，琅琊山遗址本身的意义确是模糊不清的。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:49, 10 December 2020 (UTC)Ouyang Ling<br /> <br /> 在文中最后几段，方令孺进一步质疑了采用传统手势在环境中寻找稳定意义和目的而产生的效果。对方令孺来说，只对到访的琅琊山遗址进行详细描述是远远不够的。遇见这名僧人让她的琅琊山一行意义非凡。她从僧人那里收到的花象征着成长、呵护和鼓励。相比之下，琅琊山遗址本身的意义仍然是模糊的。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 04:54, 11 December 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> The last two paragraphs of Fang’s essay complete the framework of personal reflection that encases the largely dispassionate narration of her trip. Personal memory is the ultimate locus of meaningful experience and the creative force underlying the essay. Exhausting facts and details in representing an experience does not bring a text to its end despite assertions to the contrary. Fang’s last sentence suggests that remembering the trip in close connection with the human encounter constitutes a source of satisfaction for her, rather than the emulation of traditional gestures that seem to promise an authoritative rendition of place and time. <br /> ==Peng Juan 彭娟==<br /> Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.<br /> <br /> Conclusion<br /> The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits.<br /> Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.<br /> <br /> '''Conclusion'''<br /> <br /> The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits.<br /> 她的记忆和文章如同植物一般，充满活力且不断变化着。她宣布文本的结束，为相同文本的延续所破坏。方舟子论文中的提到的自我参照策略最终肯定了可能性和潜能，而非完整性和终结性。最终的结论就是，在朱、余、方的散文中采用的传统诗歌节奏并没有消除作者的不确定性和矛盾心理。在每篇文章中，不同的因素素质疑这些姿态的可靠性和意义，突出了作家的经验和地位在其所参观过地方的模糊性。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 08:01, 13 December 2020 (UTC)pengjuan<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> Traditionally, the poet contemplating place and past was a solitary figure estranged from his times and surroundings, often questioning the present state of affairs. From the perspective of literary history, however, sharing this gesture and its variations with other poets in a long line of succession offered writers a way to secure rather than question their role and identity. Through canon formation and the writing of literary history, acts and themes such as contemplating places and past came to be understood as customary endeavors gaining and increasing their significance from their perceived continuity. Such understanding is part of the ''construction of traditions'' to legitimize poetic authority and continuity, or - as during the May Fourth movement - change and eradication. <br /> <br /> Relevant to the argument here is the idea of canon formation and the way it works. The argument does by no means suggest that all texts based on or containing certain traditional gestures and conventions are indeed similar and unchanged over the long pre-modern period. Nor does it suggest that in pre-modern travel and landscape writings the writer can indeed successfully confirm his identity and role through following the conventions of his time. （文献无需翻译）<br /> <br /> 传统上，这位诗人考虑的地方和过去是一个与他的时代和周围环境疏远的孤独人物，经常质疑现在的事态。但是，从文学史的角度来看，与其他诗人一路相继分享这种姿态及其变化，为作家提供了一种确保而不是质疑其角色和身份的方式。 通过教规的形成和文学史的写作，诸如冥想地点和过去之类的行为和主题被理解为习惯性的努力，这些努力和主题从其连续性中获得并增加了其重要性。种理解是使诗歌权威和连续性合法化的“传统建构”的一部分，或者像在“五四”运动中那样，改变和根除。<br /> <br /> 与这里的论点相关的是佳能形成的思想及其运作方式。 该论点绝不暗示所有基于或包含某些传统手势和约定的文本在很长的前现代时期中确实是相似且不变的。 它也没有暗示在前现代的旅行和风景画中，作家确实可以通过遵循当时的惯例成功地确认其身份和作用。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:02, 10 December 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> Instead of confirming the writer’s authority as mediator and interpreter of time and place, traditional gestures in modern essays such as Zhu, Yu, and Fang’s foreground his precarious role and position within his time and place. Attempting to adopt traditional gestures ultimately exposes the gestures as constructs that do not provide an indisputable way of understanding and representing surroundings and one’s position and role in them. <br /> <br /> By deconstructing the cultural and literary traditions, May Fourth intellectuals and writers tried to establish a practical dichotomy between conservative past and progressive present and future to confer authority upon the modern text.<br /> <br /> 朱、俞、方等人的现代散文没有肯定作者作为时间、地点的中间人和译者的权威，而是强调作者在时间和地点中的不稳定角色和地位。采用传统手势最终会将手势揭示为一种构造，而这种构造并没有为再现环境及理解手势的地位和作用提供一种无可争辩的方式。<br /> <br /> 通过解构文化和文学传统，五四知识分子和作家试图在保守的过去与激进的现在甚至未来之间建立一种实用的赋予现代文本权威性的二分法。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 04:53, 11 December 2020 (UTC)<br /> <br /> 朱自清、郁达夫和方令孺等人在现代散文中的传统姿态非但没有确认作家作为时间、地点的中间人和译者的权威，反而凸显了他们在时间和地点中不稳定的角色和地位。试图采用传统姿态最终揭示作家姿态的方式称之为建构，这种建构并不能为理解和再现境以及作家在其中的地位和角色提供一种无可争议的方式。<br /> <br /> 五四知识分子和作家通过对文化和文学传统的解构，试图在保守的过去和进步的现在与未来之间建立一种赋予现代文本权威的实用二分法。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:03, 11 December 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> As the above readings show however, modern texts inevitably comprise a ''discourse'' on what is made out to be tradition and modernity. This discourse inscribes, negotiates, and transforms tradition within the modern text albeit in an ever varying and irrepressible way. The texts’ complexity, subtexts, and plurality of meaning arises from a ''negotiation'' between familiar conventions and new and modern perspectives in search of identities, roles, and positions in a changing time and place. Ultimately, the texts are texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays.<br /> ==Peng Yuzhi 彭育志==<br /> '''From Historical Narrative to the World of Prose: The Essayistic Mode in Contemporary Chinese Literature'''<br /> <br /> ''Wang Ban''<br /> <br /> '''Abstract'''<br /> <br /> As a genre, the essay in contemporary China can be seen as a symptom of the decline of historical consciousness and narrative. This comes through most sharply when compared with the previously established literary paradigm: the Chinese novel in the realistic mode. For many decades the fiction of revolutionary realism served as ideological apparatus and medium for providing coherent temporal perceptions about past, present, and future.<br /> <br /> '''从历史叙事到散文世界: 当代中国文学的散文模式'''<br /> <br /> ''王班''<br /> <br /> '''摘要'''<br /> <br /> 散文作为一种体裁在当代中国被视作历史意识和叙事走向衰弱的象征。当将其与先前建立的文学典范—现实主义模式的中文小说对比时，这一点尤为明显。数十年来，革命现实主义的小说都是意识形态的工具和媒介，它为提供连贯的对于过去，现在和未来的时间观念而服务。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 11:41, 11 December 2020 (UTC)<br /> <br /> '''从历史叙事到散文世界:中国当代文学的散文化模式'''<br /> <br /> ''王班''<br /> <br /> '''摘要'''<br /> <br /> 散文作为一种文学体裁，在当代中国被视为是一种历史意识和叙事意识衰落的表现。与之前确立的文学范式——现实主义模式下的中国小说相比，这一点表现得最为明显。几十年来，革命现实主义小说一直作为一种意识形态工具和媒介，提供了关于过去、现在和未来的连贯的时间感知。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 06:00, 13 December 2020 (UTC)<br /> <br /> '''从历史性叙事到散文世界：中国当代文学的散文模式'''<br /> <br /> ''王班''<br /> <br /> '''摘要'''<br /> <br /> 散文是一种文学体裁，中国当代的散文可以被视为历史性意识和叙事的衰落象征。与之前已建立的文学范式对比可明显得出这个结果：现实主义模式下的中国小说。许多年来，小说中革命性的现实主义是作为对过去，现在和未来提供连贯短暂的感知力的意识形态的结构和中介而服务的。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 10:00, 13 December 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> The realistic novel's central assumption is epic best described by Georg Lukacs, who construes the epic form as a projected ideal that is realizable through narrated social and historical actions. Little thought needs to be taken to see that a revolutionary epic is a strenuous but finally triumphant harmony of ideal and reality. The rise of the essay in the recent decades epitomizes the turn of literary writing from the epic coherence of ideal and life to the dispersed and fragmented sensory or sensual pleasures and sheer appreciation of images or anecdotes.<br /> ==Qu Miao 瞿淼==<br /> The essay retreats from historical consciousness and responds warmly and lightheartedly to the advent of consumer culture. It is designed to satisfy the modest needs of the urban consumer whose sensibility is becoming “essayistic,” prosaic, ahistorical and everyday, preoccupied with the most intimate and quotidian matters. This paper takes a look back at Eileen Chang's thinking on the essay and attempts to trace the linkage between the modern essay and the rise of urban consumer culture. Then through an analysis of Wang Anyi's novella ''The Story of Our Uncle'' (Shushu de gushi), I demonstrate how the retreat from historical consciousness to what I would call the essayistic structure of feeling is dramatized by Wang's groping, explorative essay/fiction.<br /> <br /> 这篇文章摆脱了历史意识，对消费文化的到来做出了热情而轻松的回应。 它旨在满足城市消费者的适度需求，因为他们的敏感性正变得“散文化”，平淡无奇，历史悠久，每天都在忙于处理最私密和琐碎的事情。 本文回顾了张爱玲的论文思想，并试图追溯现代论文与城市消费文化兴起之间的联系。 然后，通过分析王安忆的中篇小说《叔叔的故事》，我展示了王的摸索，探索性论文/小说如何戏剧性地从历史意识退缩到我所说的感觉的文章结构。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 07:17, 14 December 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> The main character Uncle's career illustrates the waning of historical consciousness. This paper seeks to point out that the essay's ambivalence lies in its freedom from the straitjacket of the grand narrative and in its contribution to the withering of historical consciousness in the rising consumer culture in China. <br /> <br /> '''The Essay and the Novel'''<br /> <br /> The essay as a cultural form can be grasped in its relation to the novel. In twentieth-century China the novel in the epic, realistic mode had been the dominant form of literature and a pivotal ideological apparatus--probably up to the mid-1980s. The Chinese realistic novel can be construed as epic in the way formulated by Georg Lukács.<br /> <br /> 主人公叔叔的事业说明了历史意识的减弱。 本文力求指出，散文的矛盾之处在于其摆脱了宏大叙事的束缚，并且对中国崛起的消费文化中历史意识的衰落做出了贡献。<br /> <br /> '''散文与小说'''<br /> <br /> 散文作为一种文化形式，可以与小说联系起来。 在20世纪的中国，可能直到1980年代中期为止，史诗般的现实主义小说一直是文学的主要形式和重要的意识形态工具。中国现实主义小说可以用乔治·卢卡奇（GeorgLukács）的方式解释为史诗。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 03:25, 14 December 2020 (UTC)<br /> <br /> ==Sagara Seydou ==<br /> Its epic characteristic lies in its historical scope and teleology, its engagement with social and political issues, its intertwining of the individual's fate with collective projects, its aesthetics of the exemplary hero, and its striving for transcendence within everyday immanence. The novel of socialist realism in the Mao era strove to achieve an imaginary unity of transcendent ideals and quotidian reality. It depicts a universe in which the world and the self “never become permanent strangers to one another” (Lukács 29) and the individual's growth is of one piece with communal destiny. In the post-Mao era, often dubbed the New Period, works of fiction appeared to be different but were still imbued with an epic impulse. <br /> ==Shi Diwen 石迪文==<br /> It is true that the 1980s saw the emphatic upsurge of interest in the subjectivity of the autonomous individual, but far from an atomistic ego of appetitive self-interest, fictional characters were still figured as the subject of history. For all its seeming revolt against the previously dominant mode, the image of the newly awakened modern self in the fiction of the New Period went hand in hand with the socio-historical process of socialist modernization, individuals serving as agents of this process. Thus, Fredric Jameson's concept of national allegory--in which the individual's fate tells a larger story of collective destiny – was well received in Chinese criticism and made to apply with equal ease to the realistic novel of the Mao era as well as those advocating reforms. <br /> <br /> Critics have noted that in the 1980s thought emancipation movement (sixiang jiefang), the fundamental literary mode and historical consciousness were derived from the Hegelian-Marxist version of the unity of subject and object, the individual and history. So the self that was upheld was not an autonomous self cut off from the collectivity of social processes, but was assimilated and modeled by the requirements of the modernization drive. See Qi Shuyu, 103-104.（文献无需翻译）<br /> <br /> <br /> 诚然，在20世纪80年代，人们对自主个体的主体性产生了浓厚的兴趣，但小说中的人物角色远不是出于利己主义的欲望，而是仍然被视为历史的主体。新时期小说中新觉醒的现代自我的形象与社会主义现代化的社会历史进程携手前行，个人充当了这一进程的代理人。因此,詹姆逊的国家概念的寓言——个人的命运讲述一个更大的集体命运——在中国大受好评的批评,使平等轻松地应用于毛泽东时代的现实主义小说,以及那些鼓吹改革。<br /> 批评家们注意到，在20世纪80年代的思想解放运动中，主体与客体、个体与历史统一的黑格尔-马克思主义版本衍生出了基本的文学模式和历史意识。因此，所维护的自我并不是一个脱离社会过程的集体的自主的自我，而是被现代化进程的要求同化和塑造的自我。可见 Qi Shuyu, 103-104.--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 06:46, 13 December 2020 (UTC)<br /> <br /> ==Shi Haiyao 石海瑶==<br /> If this view of the novel sounds anachronistic to contemporary China, we may justify it by a reference to the striven-for unity of revolutionary ideals and social reality, of theory and practice, a prominent tenet in the utopian legacy of Marxism. As literary counterpart of this projected unity the Chinese realistic novel presents a mythical and epic structure in which dream and history, individual and collective become one. In Lukács the epic is contracted with the novel, because the latter is a form stripped of the former’s immediate and unproblematic unity of ideal and reality (56).<br /> <br /> 如果这部小说的观点在当代中国听起来不合时宜，我们可以通过引用革命理想和社会现实、理论和实践的统一来证明其合理性，这是马克思主义乌托邦遗产中的一个突出宗旨。作为这种统一性的文学对应物，中国现实主义小说呈现出一种神话和史诗结构，在这种结构中，梦想和历史、个人和集体成为一体。 在卢卡斯看来，史诗是缩略的小说，因为后者是一种脱胎于前者的直接的、没有问题的理想与现实的统一的形式(56)。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:41, 13 December 2020 (UTC)<br /> <br /> 如果这部小说的观点在当代中国听上去不合时宜，那么我们可以参照争取革命理想与社会现实、理论与实践的统一来证明其正确性，这是马克思主义乌托邦遗产中一个突出的信条。作为这种统一性的文学对应物，中国现实主义小说呈现出一种梦想与历史、个人与集体合一的神话史诗结构。在卢卡斯看来，史诗与小说紧密相连，因为后者是一种剥离了前者直接的、毫无问题的理想与现实统一的形式（56）。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 14:01, 13 December 2020 (UTC)<br /> <br /> 如果这部小说的观点在当代中国听上去不合时宜，那么我们可以参照马克思主义乌托邦遗产中一个突出的信条，即争取革命理想与社会现实、理论与实践的统一。作为这种统一性的文学对应物，中国现实主义小说呈现出一种梦幻与历史、个人与集体合一的神话史诗结构。在卢卡奇，史诗与小说紧密相连，因为后者脱离了前者直接而毫无疑问的理想与现实的统一（56）。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 03:49, 14 December 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> In other words, the novel in the Western realistic tradition is troubled by the intrusion of time, which causes fractures in the epic, time-defying harmony between self and collectivity, dream and actuality. But Lukács still insists that the novel is a kind of epic, because it strives to close the fissures created by the gap of time, hence potentially able to attain the epic status on a higher level. <br /> <br /> The gap between ideal and reality is minimized in the Chinese novel, which appears to be more epic than the realistic novel in the West. The novel of revolutionary realism is closer to poetry, marked with tremendous lyricism, as Charles Laughlin notes with regard to the socialist sanwen in his essay “Incongruous Lyricism” in this volume.<br /> <br /> 换句话说，西方现实主义传统小说因受到时间的侵扰而困扰，这种侵扰导致自我与集体、梦境与现实之间的史诗性、时间性和谐出现裂痕。但是卢卡斯仍然坚持小说也是一种史诗，因为小说试图对时间差造成的断裂进行修复，因此有潜在可能达到更高层次的史诗地位。<br /> <br /> 在中国小说里，理想和现实的差距被最小化，中国小说看起来似乎比西方的现实小说更加具有史诗性质。革命现实主义小说更接近于诗，同时巨大的抒情性为标志，正如查尔斯·劳夫林在本卷文章“不协调的抒情诗”中提到的社会主义散文那样。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 14:48, 12 December 2020 (UTC)<br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> It would not seem incongruous when lyrical exuberance, equated with revolutionary idealism and utopianism, is maximized in the novel as a way to transcend and close the gap between a historical time marked by imperialist invasions, sufferings, and poverty on the one hand, and the ultimate ideal of communism culminating in the epic harmony of ideal and reality, theory and practice, on the other. The novel in this mode is supposed to be more than a text you read, curled up in your couch in a snowy winter night in solitary comfort. It was ideological, educational, edifying, its grand narrative projecting material praxis. It aimed to instigate you to go out into the streets or impoverished villages and get organized with other fellow humans to make history.<br /> <br /> 和革命现实主义和乌托邦主义一样，慷慨激昂的抒情小说中一方面最大化地弥合了历史上帝国主义入侵时期苦难和贫穷之间的差距，另一方面，实现共产主义最终理想，实现理想与现实、理论与实践的史诗般的和谐。这种模式的小说应该远不止我们在寒冬飘雪的夜晚舒舒服服地蜷缩在沙发上阅读的文本。而是意识形态的、教育性的、启迪式的宏大叙事题材实践。这种小说旨在促使你上街或到贫穷的村庄，和其他人们组织起来创造历史。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 15:59, 13 December 2020 (UTC)<br /> <br /> 小说中的抒情繁荣被等同于革命唯心主义和乌托邦主义时，似乎就显得格格不入，其一方面最大化地弥合了历史上帝国主义入侵时期导致的苦难和贫穷；另一方面，实现了共产主义最终理想，实现了理想与现实、理论与实践的史诗般的和谐。这种模式下的小说不是我们在寒冬飘雪的夜晚，舒服蜷缩在沙发上看的那类小说。而是意识形态的、教育性的、启发性的，其宏大的叙事投射了物质实践。 它的目的是鼓励您走上街头或走进贫困的村庄，并与其他同伴一起创造历史。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 03:40, 14 December 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> The rise of the essay in contemporary China is a sign that the novel in the epic mode has become an endangered species. This is not merely the problem of genre, nor am I suggesting that readers are flocking to essays and abandoning novels. My point is that the novel as a medium of envisioning social life and registering experiences of temporality is giving way to the essay, or more generally to the essayistic structure of sensibility. I play with the idea of essayistic in order to refer to the essay as a canonical textual form as well as those discursive moments in other literary genres embodying an “essayistic” quality and a “prosaic” structure of feeling.<br /> <br /> 散文在当代中国的兴起，标志着史诗模式下的小说已经面临濒危。这不仅仅是体裁的问题，我也不是在建议读者们蜂拥去写散文而放弃小说。我的观点是，小说作为一种想象社会生活和记录时间体验的媒介，正在让位于散文，或者更普遍地，让位于感性的散文结构。为了使散文成为一种规范的文本形式，以及其他文学体裁中体现“散文学”质量和“散文学”结构的话语性瞬间，我运用了散文论的思想。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 17:50, 13 December 2020 (UTC)<br /> <br /> 散文在当代中国的兴起，意味着史诗类型小说的下坡。这不仅是题材问题，我也不是说建议读者们一股脑地去阅读散文作品而将小说抛诸脑后。我的意思是，小说作为一种想象社会生活和记录时间体验的媒介，正在让位于散文，更笼统地说就是在让位于感性的散文式结构。为了使散文成为一种规范的文本形式，以及其他文学体裁中体现“散文学”质量和“散文学”结构的话语性瞬间，我运用了散文论的思想。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 04:00, 14 December 2020 (UTC)<br /> <br /> ==Tan Xingyue 谭星越==<br /> One crucial point to made is that this emotional structure accords with the everyday sensibility of a city-dweller and consumer. This is one reason why it is instructive to contract the essayistic with the novel. The essay deals with a prosaic and mundane world. In Hayden White’s recapturing of Hegel’s distinction of poetry and prose, “The world in which prosaic utterance developed must be supposed to have been one in which experience had become atomized and denuded of its ideality and immediately apprehended significance, and voided of its richness and vitality” (87).This prosaic world of fragmented experience is to the Chinese novel as the Lukácsian novel is to the epic: a fall from an original oneness. In contemporary China, neither the novel nor poetry seems to be a means of closing this widened gap. My purpose in the essay is to examine the position of the essayistic in relation to the novel, and the related sensibilities in relation to history.<br /> <br /> 关键的一点是，这种情感结构与城市居民和消费者的日常情感相符。这就是为什么说把散文家和小说联系起来是有益的。散文处理的是一个平淡且平凡的世界。在海登怀特对黑格尔的诗歌和散文的区分的重述中，他指出，&quot;在散文性语句发展的世界里，经验已经被原子化，它的理想性和即刻领会的重要性被剥夺，它的丰富性和生命力丧失&quot;（87）。这个由碎片化经验构成的散文性世界对于中国小说来说就像卢卡斯小说对于史诗的意义一样：从原始的单一性中堕落。在当代中国，无论是小说还是诗歌，似乎都不是弥合这一差距的手段。本文旨在考察散文家在小说中的地位，以及与历史相关的情感。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 07:39, 13 December 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> The Hegelian Marxist perspective I sketched earlier is helpful here for understanding the shift from the novel to the essay. For Hegel art is necessary because it strives for a seamless, organic apotheosis of transcendent spirit and mundane reality. This view, though historical, can lead to two contradictory conclusions. In Hegel art is historical because it is a stage of the Spirit's journey to its self-realization. As art evolves as historically transitory forms of the Spirit, the movement of history leads to the abolition of certain forms of art, or the demise of art altogether. On this account the novel would be a casualty of the Spirit’s historical movement and self-realization. For Hegel art becomes problematic and obsolete because the “world of prose” has attained the empirical form erstwhile aspired to by art. In the world of prose, the Spirit has realized itself both in thought and in socio-political praxis, exemplified by the Prussian state.<br /> 我前面所概述的黑格尔马克思主义观点有助于理解从小说到散文的转变。对于黑格尔来说，艺术是必要的，因为它努力实现超越精神和世俗现实的无缝、系统的神化。 这一观点虽然是历史的，但可以得出两个相互矛盾的结论。 黑格尔认为艺术是历史性的，因为它是圣灵走向自我实现过程中的一个阶段。 当艺术演变为历史上短暂的精神形式时，历史运动导致某些形式的艺术被废除或者完全消亡。 因此，小说将成为圣灵历史运动和自我实现的牺牲品。对于黑格尔来说，艺术变得有疑问和过时，因为“散文世界”已经达到了过去艺术所渴望的经验形式。 在散文的世界中，圣灵在思想和社会政治实践中都实现了自己，普鲁士国家就是例证。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 11:35, 13 December 2020 (UTC)<br /> 我前面所概述的黑格尔马克思主义观点有助于理解从小说到散文的转变。对于黑格尔来说，艺术是必要的，因为它努力实现超越精神和世俗现实的无缝、系统的神化。 这一观点虽然是历史的，但可以得出两个相互矛盾的结论。 黑格尔认为艺术是历史性的，因为它是圣灵走向自我实现过程中的一个阶段。 当艺术演变为历史上短暂的精神形式时，历史运动导致某些形式的艺术被废除或者完全消亡。 因此，小说将成为圣灵历史运动和自我实现的牺牲品。对于黑格尔来说，艺术变得困难重重且过时，因为“散文世界”已经达到了过去艺术所渴望的经验形式。在散文的世界中，圣灵在思想和社会政治实践中都实现了自己，普鲁士国家就是例证。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:57, 13 December 2020 (UTC)Xu Jia<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> The polity embodied by the Prussian state is for Hegel is the epitome of theory put into practice, a real image of realized art. As Luckács remarked of Hegel, “Thus art becomes problematic precisely because reality has become non-problematic” (Lukács 17).<br /> <br /> Lukács, however, draws a contrary lesson from this historical, or more precisely the “end-of-history,” “end of art” thesis. Taking issue with Hegel's view of art as “aestheticized” body politic, Lukacs argues that the problem of the novel is a mirror image of a world gone out of joint. In modern times the novel is still alive as the impulse of art is still pressing. The novel is aesthetically and epistemologically vital and necessary not because the established reality has achieved what art can only dream. On the contrary, the novel is a desperate attempt to patch up a broken reality and inject little doses of meaning into a world emptied of spontaneous and totalisable significance.<br /> <br /> 普鲁士国家所体现的政体是黑格尔是付诸实践的理论缩影，是现实艺术的真实形象。 正如拉克奇（Luckács）评论的黑格尔的那样，“正是因为现实变得没有问题，艺术才成为问题所在”（卢卡奇17）。<br /> 然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点得到了截然不同的教训。 卢卡奇对黑格尔将艺术视为“审美化的”身体政治的观点持怀疑态度，他认为这本小说的问题是一个脱离世界的镜像。 在现代，由于艺术的冲动仍在继续，小说仍然活着。 这部小说在美学和认识论上至关重要，并且不是必需的，因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 06:46, 9 December 2020 (UTC)<br /> <br /> 对于黑格尔来说，普鲁士王国代表的政体是理论成为现实的缩影，是现实艺术的真正形象。正如卢卡奇(Luckács)评价黑格尔时所说的：“正是因为现实变得没有问题，艺术就成了问题所在。”（卢卡奇 17）<br /> 然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点中得到了截然不同的教训。卢卡奇不认同黑格尔“将艺术看作美学政体”的观点，他认为这部小说的问题是一个脱离世界的镜像。艺术的冲击力仍在继续，因此现代小说依然保持着其生命力。这部小说在美学和认识论上至关重要，这是必需的，并不是因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 07:59, 9 December 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> Therein lies its modern irony, the irony of dreaming the perfection of the world while knowing acutely the impossibility of perfection. Interestingly, Lukács' insight into the ironic, self-reflexive nature of the novel provides a glimpse on the condition of the essay. In the Chinese realistic novel, to be sure, the historical totality of communist utopia emerging out of a mundane reality is the shining symbol of inspiration, bearing a superficial resemblance to the Hegelian realization of Spirit in the state. But the faith in the final triumph of communist utopia and the attainment of a fully emancipated society is presumed by the novelistic discourse as law-like and predetermined, hence realistic and inevitable. Thus the decline of the novel, the novel in the epic mode, can be read as the decline of the grand, Marxist narrative of historical teleology. In contrast, the rise of the essay harbingers a more fragmentary, disjoint, and private form of signifying practice that is springing up in the cracks and gaps of a fallen reality, a world out of joint.<br /> <br /> 它的现代讽刺性就在于此，在梦想完美世界的同时，又深知完美的不可能。有趣的是，卢卡奇对小说的反讽性、自省性的洞察，让我们得以一窥这篇文章的状况。在中国现实主义小说中，可以肯定的是，从世俗现实中涌现出来的共产主义乌托邦的历史总体性是灵感的光辉象征，表面上与黑格尔的精神在国家中的实现有着的相似之处。但对共产主义乌托邦的最终胜利和全面解放社会的实现的信念，却被小说话语假定为规律性的、预设性的，因而具有现实性和必然性。因此，小说、史诗模式的小说的衰落，可以理解为宏大的马克思主义的历史叙事的衰落。相比之下，散文的兴起则预示着一种更为支离破碎、彼此分离和私人化的表意实践形式，这种形式正在一个堕落的现实世界的裂缝和缝隙中涌现。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 04:49, 14 December 2020 (UTC)<br /> <br /> ==Tang Ming 唐铭==<br /> The world out of joint is a compelling image of today's China going commercialized, globalized, and fragmented in all aspects of life. The phrase “out of joint' here is meant to denote both the explosive vitality and disorienting chaos, the drama and trauma of the Chinese scene unfolding in the past decade. To grasp China as a vast market place, a rising consumer society, an emergent culture of mass media and spectacles, I refer the reader to numerous reports by journalists, economists, and a vast number of essays written by writers who have recently turned to the personal essay as a forum. Literature, as a historical vision and ideological apparatus, is hanging in the balance.<br /> <br /> 脱节是当今中国在生活各个方面走向商业化、全球化和碎片化的一个引人注目的形象特点。在这里，“脱节”一词意指蓬勃发展的活力和令人困惑的混乱，以及过去十年中中国社会的戏剧性和创伤。要了解中国是一个巨大的市场，一个正在崛起的消费社会，一个新兴的大众媒体文化和奇观，我建议读者参考大量的记者、经济学家的报道，以及大量的文章，这些文章的作者最近转向个人文章作为论坛。文学作为一种历史的视野和意识形态的工具，悬而不保。<br /> --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 04:46, 10 December 2020 (UTC)Tang Ming<br /> 失控的世界是当今中国走向商业化、全球化和生活各方面碎片化的一个引人注目的形象。 这里的 &quot;失控 &quot;一词，既是指活力无限，也是指混乱不堪，以及过去十年中国社会戏剧性的创伤。 要了解中国这个庞大的市场、崛起的消费社会、新兴的大众传媒和文化奇观，我推荐读者阅读众多记者、经济学家的报告，以及近来转而以个人散文为阵地的作家所写的大量文章。 文学，作为一种历史眼光和意识形态的工具，正处于悬而未决的状态。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:59, 11 December 2020 (UTC)Li Lili<br /> <br /> ==Tang Yiran 汤伊然==<br /> Like many other spheres of culture, it has become commodified and entered the marketplace, being packaged into one more item in the mass media and entertainment industry. This altered social context is crucial to understanding the essay as a literary form and a cultural medium of expression in contemporary China. But this link between the culture of commodity and the essay, or the essayistic mode of writing and feeling, is not a brand new phenomenon of the last decade.<br /> <br /> For a tracing of the historical linkage we may turn to the earlier period in modern literary history. Eileen Chang's essays and her reflection on the essay form are the compelling and successful instance of the marriage between the essay and mass culture. Nicole Huang’s paper in this volume looks at some aspects of this marriage as manifest in Chang’s essay.<br /> <br /> 像许多其他文化领域一样，它已经商品化并进入市场，在大众传媒和娱乐业被包装成一个又一个项目。这种变化的社会语境对于理解散文作为当代中国的一种文学形式和文化表达媒介至关重要。但是，商品文化与散文，或者说散文写作和感受的方式之间的这种联系，并不是最近十年出现的一种全新现象。<br /> <br /> 为了追溯这一历史联系，我们可以追溯到现代文学史的早期。张爱玲的散文及其对散文形式的反思，是散文与大众文化联姻的成功范例。黄妮可在这本书中的论文着眼于这段婚姻的某些方面，这在张爱玲的文章中有所体现。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 06:24, 14 December 2020 (UTC)<br /> <br /> ==Tao Ye 陶冶==<br /> This marriage finds its new manifestations in the work of the contemporary writer Wang Anyi, who is writing in a renewed urban context in many ways similar to that of Chiang. An analysis of Eileen Chang's thinking on the essay will help us understand Wang's work. Eileen Chang's views give the essay form a clear shape as it emerged in an urban and consumer culture. Wang Anyi's essays and especially the essayistic moments in her fiction mark the return of this consumer-oriented genre under new historical circumstances.<br /> <br /> '''Eileen Chang and the Essay in the Urban Setting'''<br /> <br /> The story and essay writer Eileen Chang has been seen as one source for Wang Anyi's work. Although Eileen Chang wrote fictions of urban life set in Shanghai and Hong Kong in a mixture of traditional and modernist styles, her writing is a sharp contrast and an antidote to the grand narrative of the May Fourth Enlightenment and revolution in modern Chinese literature.<br /> <br /> This view of Hegel's on art is evoked by Lukács in his preface to ''The Theory of the Novel'', 11-23.<br /> 这种结合在当代作家王安忆的作品中有了新的表现，王安忆在一个更新的城市语境中写作，在很多方面与蒋介石相似。分析张爱玲对这篇文章的思考，有助于我们理解王的作品。张爱玲的观点使这篇文章在城市和消费文化中形成了清晰的轮廓。王安忆的散文，尤其是小说中的散文时刻，标志着这一以消费为导向的文体在新的历史条件下的回归。<br /> 《张爱玲与都市背景下的散文》<br /> 故事和散文作家张爱玲被认为是王安忆作品的来源之一。尽管张爱玲的小说以上海和香港为背景，融合了传统和现代主义风格，但她的作品形成了鲜明对比，是中国现代文学中“五四”启蒙和革命宏大叙事的一剂解药。<br /> 卢卡奇在《小说理论》的序言11-23中唤起了黑格尔对艺术的这种观点。--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 06:53, 14 December 2020 (UTC)Tao Ye<br /> <br /> ==Wang Meiling 王美玲==<br /> Her stories relish the irrelevancies, minor manias, trivia, and anxieties and depict random episodes of the urbanite's life. The intriguing depiction of the narrow romance and personality of the petty urbanites, ''xiaoshimin'', is her forte and attraction. The prose of life in a cramped and congested urban setting is not only the hallmark of her fiction, but also constitutes the major themes of her essays. While her essays correspond to and illuminate her fiction, her thoughts on essay writing serve to highlight the aesthetic quality of the essayistic in modern Chinese literature. <br /> <br /> Eileen Chang's essay collection ''Floating Words'' (sometimes translated as ”Written on Walter”) is a compelling example of the essay as it emerged in Chinese urban culture. In the opening essay entitled “The Child Utters his Words without Constraints” (Tongyan wuji) she equates her essays to the chatty, whimsical, and willful airing of pent-up feelings whenever and wherever she can, like an unrestrained child.<br /> <br /> 她的故事津津乐道于无关紧要的小事、小躁动、小琐事、小焦虑，描写都市人生活中的随机事件。对都市小资的狭隘浪漫和个性''小资''的描写耐人寻味，是她的强项和魅力所在。散文式描写在狭窄拥挤的城市环境中的生活，不仅是她小说的特点，也构成了她散文的主要主题。她的散文在对应和照应她的小说的同时，她对散文写作的思考也起到了凸显中国现代文学中散文主义审美品质的作用。<br /> 张爱玲的散文集《流言》（有时译为《写在沃尔特上》）是中国城市文化中出现的散文的一个引人注目的例子。 在散文集的开篇《童言无忌》一文中，她仿佛在散文中随意畅聊、异想天开、任性地宣泄压抑的感情，像一个无拘无束的孩子。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 03:22, 14 December 2020 (UTC)<br /> <br /> ==Wang Xuan 王轩==<br /> Writers like her, she says, have little to do with earth-quaking, epoch-making historical events and should drop the dream of immortality attainable from self-portrayal by writing a popular autobiography. The satisfaction and salvation for a writer are writing “bits and pieces about matters concerning oneself” (7). The matters of self-concern, as Chang continues, include money, dress, eating, important personages and their grotesque undersides, and family relations. Within a few pages of this first essay we have a range of sundry themes expressing interest in consumer habit, survival in the city, personal and social relations in an increasingly compartmentalized urban culture. Running down the table of contents of this essay collection, we have trouble classifying what the essays focus on, except to say that they essay opinion and play around with perceptions just about anything in city life. They touch upon whatever flickers through the mind, passes in view, appeals to the senses, any stereotypical or routine scenes or acts in the urban setting.<br /> <br /> 她说，像她这样的作家，与惊天动地、划时代的历史事件没有多大关系，应该通过写一本流行的自传，放弃从自我描绘中获得永生的梦想。对一个作家来说，满足和拯救是写“关于自己的事情的点点滴滴”。如常所说，自我关注的问题包括金钱、衣着、饮食、重要人物及其怪异的下体，以及家庭关系。在这篇第一篇文章的几页里，我们有各种各样的主题，表达了人们对消费习惯、在城市中的生存、在日益分化的城市文化中的个人和社会关系的兴趣。纵观这篇论文集的目录，我们很难将这些文章的重点分类，只说它们是在写观点，在城市生活中玩弄感知。他们触及任何在脑海中闪过的东西，经过视线的东西，吸引感官的东西，任何在城市环境中的陈规的或常规的场景或行为。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 05:42, 14 December 2020 (UTC)Wang Xuan<br /> <br /> <br /> 她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯的兴趣，在城市的生存，个人和社会关系在一个日益分割的城市文化。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及任何在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:37, 10 December 2020 (UTC)Xiao Shuangling<br /> <br /> 她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯，在城市中生存，在一个日益分割的城市文化中个人和社会的关系的兴趣。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及一切在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 05:17, 11 December 2020 (UTC)<br /> <br /> ==Wang Yu 王煜==<br /> There are, to give a taste of their randomness and miscellany, pieces about living in an apartment, beating up people, private and intimate words, shallow impressions about art, changing dresses, woman, rains, the umbrellas, even about a routine act of going upstairs. <br /> <br /> While it is surely impossible to box these essays into a general category and abstract a unifying principle, Eileen Chang points beyond this charmed collection of essays to the grand historical narrative and thus provides a useful reference point for what the essay refuses to do. If it is not clear what the essay is, Chang shows what it is not. She sees the essay in its withdrawal from and rejection of historical discourse and in its all-consuming absorption in the mundane and fragmented urban scenes. The nature of the essay seems to lie in its irrelevance to history as a literary principle:<br /> <br /> 为了展现他们的随意和杂乱，有很多关于公寓生活，打架斗殴，私密话语的碎片，对于艺术，服饰变换，女性，雨天，雨伞，甚至上楼这种日常动作的浅谈。<br /> <br /> 当然这些文章不可能被归入一个大概范畴，从而抽象为一个统一的原则，但张爱玲在这本迷人的散文集之外，指出了宏大的历史性叙事，从而为这篇文章不能做的事情提供了一个有用的参考点。如果不明白某篇文章是什么，张会说明这篇文章不是什么。她认为这篇文章是对历史话语的回避和拒绝，是对世俗和支离破碎的城市场景的全身心地投入。这篇文章的本质似乎在于它与作为文学原则的历史无关：--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 06:00, 13 December 2020 (UTC)<br /> <br /> 为了让人感受到它们的随意性和杂乱感，有关于公寓生活，打架斗殴，私密话语等碎片化场景，有关于艺术、换衣服、女人、雨、雨伞等浅薄印象，甚至有关于上楼的这种日常动作，都被记录下了。<br /> <br /> 虽然肯定不可能把这些文章归入一个大类，抽象出一个统一的原则，但张爱玲却把这本充满魅力的文章集指向了宏大的历史叙事之外，从而为散文拒绝做的事情提供了一个有益的参考点。如果不清楚散文是什么，张爱玲就说明它不是什么。她看到了散文对历史话语的抽离和拒绝，看到了散文对平凡而零碎的城市场景的全盘吸收。散文的本质似乎在于，作为一种文学原则，它与历史无关。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 07:56, 13 December 2020 (UTC)<br /> <br /> ==Wang Yuan 王源==<br /> I have no desire to write history, nor am I qualified to make judgement on the historian's perceptions. But privately I hope they would say more things that are irrelevant. Reality as such is not systematic; it is like seven or eight chatter-boxes sounding simultaneously, creating confusion. But amidst this incomprehensible sound and fury there occur moments of illumination, poignant and bright, enabling us to hear the tune and understand a bit, only to be swallowed up by the thickening darkness. Painters, writers, and composers connect these chancy, fragmented discoveries and create artistic wholes. (41)<br /> <br /> As a fiction writer Chang does not believe in artistic perfection. She creates “imperfect” and flawed characters in her fiction, as she repeatedly claims. In her essays she holds it important to write about the irrelevancies, for, as she proclaims, all life' charms are to be found in the irrelevancies. (42)<br /> <br /> ==Wei Honglang 韦洪朗==<br /> Eileen Chang's thinking on the essay reflects certain aspects of Chinese modernity that provides a context for understanding the essay form as an increasingly prominent cultural medium. The essay for her is a writing practice opposed to the historically oriented and politically charged literature, to the teleological historical narrative, and to the monumental work of art. Formalistically the essay is random, self-contradictory, expressive, and therapeutic. Eileen Chang's essays are a radical departure from Lu Xun's miscellaneous essay (''zawen''). Despite its similarly disjoint, personal, and casual form, the ''zawen'' à la Lu Xun is polemic, militant, acid, socially and political engaged. It seizes upon the small and transitory but its gaze goes past them to the culturally and historically significant. This engaged character puts the ''zawen'' in a close lineage with the didactic tradition of May Fourth literature aimed at raising readers' consciousness or jolting them out of the half-sleep of tradition and convention.<br /> <br /> 张爱玲对散文的思考反映了中国现代性的某些方面，这为理解作为日益突出的文化媒介的散文形式提供了一个语境。对她来说，这篇散文是一种与历史导向和充满政治色彩的文学、目的论的历史叙事和不朽的艺术作品相对立的写作实践。从形式上来说，这篇散文是任意性的、自相矛盾的但又富有表现力和治疗性。张爱玲的文章是对鲁迅杂文的彻底背离。尽管鲁迅笔下的“杂文”体现出类似的不连贯性、个人化和随意的形式，但它是论战性的、激进的、尖刻的、社会的和政治的。鲁迅的文章捕捉到的是渺小而短暂的事物，但其目光越过它们，投向其背后体现的文化性和历史性。这个引人入胜的特点将“杂文”与五四文学的说教传统紧密联系在一起，旨在提高读者的意识，试图将他们从传统和习俗的沉睡中唤醒。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 08:00, 13 December 2020 (UTC)<br /> <br /> ==Wei Yafei 魏亚菲==<br /> The rise of consumer mentality, urban culture, and the new role of the writer as a professional breadwinner brought to prominence the values of entertainment, charm, taste, performance, charisma, and glamour--values inherent to urban culture with a good appetite for entertainment, images, and spectacles. This emergent socio-historical context was overshadowed and marginalized by the dominant political ideology and historical narrative in the decades after Eileen Chang's short-lived popularity. <br /> <br /> Andrew Jones of UC-Berkeley is at work to translate Eileen Chang’s essay collection into English and he uses the phrase “Written on Water.”<br /> <br /> In his recent book ''Shanghai Modern'' Professor Leo Lee has admirably traced Eileen Chang's writing and the commercial urban culture she was immersed in. See the Chapter “Eileen Chang: Romances in a Fallen City,” 267-303.<br /> <br /> 消费者心态，城市文化以及职业性养家糊口的新角色：作家的兴起，突显了娱乐，魅力，品味，表演，魅力和诱惑力的价值，这些都是城市文化所固有的价值，并且它们对于 娱乐，印象和景象有着不错的需求。 在张爱玲昙花一现之后的几十年中，这种新兴的社会历史背景被占主导地位的政治意识形态和历史叙事所掩盖和边缘化。<br /> <br /> 加州大学伯克利分校的安德鲁·琼斯（Andrew Jones）正在将张爱玲的论文集翻译成英文，并使用了“在水上的书写”一词。<br /> <br /> 在他最近的著作《上海现代》中，leo教授怀有钦佩地追溯了张爱玲的著作以及她所沉浸的商业城市文化。请参见《张爱玲：堕落的浪漫》 267-303章。--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 14:51, 13 December 2020 (UTC)Weiyafei<br /> <br /> ==Wen Sixing 文偲荇==<br /> In the 1990s and in Wang Anyi's work, this historical context re-emerged with sharpness and vengeance. I will argue that the fate of the essay or the aesthetic quality of the essayistic cannot be understood without considering the revival of urban and consumer culture and its increasing detachment from the historical consciousness.<br /> <br /> '''Telling a Story Where There is no Story to Tell'''<br /> <br /> Wang Anyi's work in the 1990s shows how deeply the urban mass culture has penetrated and transformed literature. The novel in the epic mode depends upon some preconceived story pattern which delivers ideological and historical convictions about temporal perceptions of past, present, and future. One symptom of the shift from the novel to the essay is the acute sense of lack of story, the sense that the archetypal stories that writers used to rely on to generate their narratives are no longer convincing.<br /> <br /> 20世纪90年代，在王安忆的作品中，这一历史语境以尖锐和复仇的笔触重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。<br /> “在没有故事可讲的地方讲故事”<br /> 王安忆90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式提供了意识形态和历史信念，关于对过去、现在和未来的短暂感知。从小说到散文的转变的一个典型是故事的严重缺失，作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 04:00, 9 December 2020 (UTC)<br /> ----<br /> <br /> 在20世纪90年代，以及在王安忆的作品中，这一历史语境以充满尖锐的笔调和复仇的情感重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。<br /> “在没有故事可讲的地方讲故事”<br /> 王安忆20世纪90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式传达了意识形态观念和历史观念，这些观念与对过去、现在和未来的短暂感知有关。从小说到散文的转变的一个典型表现是严重缺失故事的敏锐感觉，即作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:12, 9 December 2020 (UTC)<br /> <br /> <br /> 在20世纪90年代，在王安忆的作品中，这一历史语境以充满尖锐的笔调和复仇的情感再现了。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。<br /> “在没有故事可讲的地方讲故事”<br /> 王安忆20世纪90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式传达了意识形态观念和历史观念，这些观念与对过去、现在和未来的短暂感知有关。从小说到散文的转变的一个典型表现是严重缺失故事的敏锐感觉，即作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 14:53, 13 December 2020 (UTC)Weiyafei<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> For Wang Anyi this poverty of stories is directly linked to the urban setting. The title of one of her essays on literature “The City Has no Story to Tell” (Chengshi wu gushi) highlights the disappearance of sharable, communicable narratives in the city's amorphous atmosphere and the anonymous urban crowd. This essay makes quite clear the sociological transformations that have given rise to the generic shift from story to non-story, or from narrative fiction to the essayistic mode. In it Wang sets up a contrast between the village community and urban social organization. The tightly knit rural communities, such as villages and small towns, are the nurturing ground for sharable stories. As the social relations are largely those of family, kinship or clan, human contact and communication are more intimate and primarily face to face. Individuals act out their life stories in a pre-given trajectory and within a received social network of work, authority, and hierarchy.<br /> <br /> ==Wu Kai 吴恺==<br /> The stories both told and lived, recounted over and again against a backdrop of traditional orientation and self-evident norms. Traditional values and age-old customs shape the stories people tell each other and assure their intelligibility and guarantee cultural continuity. In short, the temporal and spatial perceptions are inherited and sedimented over time and can be repeated in new stories. <br /> <br /> This argument about village community brings to mind Benjamin's critique of the modern novel and re-evaluation of the communal storyteller. The village community is embedded in an inexhaustible fund of stories and exemplified by the culturally cohesive role of the storyteller. Benjamin's familiar argument takes on new significance when the contract between village and city is construed as a metaphoric tension between the self-assured story-telling in the epic mode of the Chinese novel and the disappearance of the story in the city.<br /> <br /> 这些故事讲述和生活，在传统取向和不言而喻的规范的背景下一遍又一遍地叙述。传统价值观和古老的风俗习惯塑造了人们相互讲述的故事，保证了故事的可理解性和文化的连续性。简言之，时间和空间的感知是随着时间的推移而继承和沉淀的，并且可以在新的故事中重复。<br /> <br /> 关于乡村社区的论点让我想到了本杰明对现代小说的批判和对公共叙事者的重新评价。 乡村社区被埋在无穷无尽的故事基金中，并以讲故事者的文化凝聚力为例。 当乡村与城市之间的契约被解释为中国小说史诗模式中的自我保证的故事讲述与城市中故事的消失之间的隐喻张力时，本杰明的熟悉论点具有新的意义。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:54, 11 December 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> More importantly, the tension foregrounds the accelerated modernization process that has rendered almost obsolete, in less than a decade, the relatively habitual and time-worn socio-psychic infrastructure. It brings into sharp focus the market oriented, amorphous urban setting where the individual becomes atomic individuals, cut loose from the social moorings of kinship, community, and family, from lineage and history. Thrown into the competitive marketplace and transient impersonal relations, the individual has to rely on his or her own ingenuity and resources.. Since they come from different areas and are isolated from each other in the compartmentalized life spheres and specialized work, urban dwellers only have their own vastly different stories to tell, stories which are narrowly biographical and not readily meaningful to other people. There are more stories to tell, it is true, but the apparent multiplication of stories imply the poverty of a communicable story.<br /> <br /> 更重要的是，紧张局势预示着加速的现代化进程，在不到十年的时间里，这一进程几乎淘汰了相对熟悉的社会心理基础设施，现在它已显得陈旧不堪。这种局势给以市场导向的形势和未定型的城镇环境带来了极大的关注度，在这里，独立的个体变得微不足道，疏远亲属、社区和家庭关系，疏离血缘关系和历史关系。 人们被迫投入竞争激烈的市场，投身于短暂的没有人情味的关系里，他们必须依靠自己的天赋和资源。因为来自不同的地方，他们与彼此因生活领域和特定工作而相互隔离，住在城市的人只能说说关于自己的截然不同的故事，这些故事只限于谈论自己，所以对于其他人没有可读性，也无意义。的确，是有很多的故事可以说，但是故事的激增也暗示了好传播故事的缺乏。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 09:45, 13 December 2020 (UTC)<br /> <br /> 更重要的是，紧张局势预示着加速的现代化进程，在不到十年的时间里，这一进程几乎淘汰了相对熟悉的社会心理基础设施。这种局势给以市场导向的形势和未定型的城镇环境带来了极大的关注度：在这里，独立的个体变得微不足道；疏远亲属、社区和家庭关系，疏离血缘关系和历史关系。 人们被迫投入竞争激烈的市场，投身于短暂的没有人情味的关系里，这些人必须依靠自己的天赋和资源。来自不同的地方的他们与彼此因生活领域和特定工作而相互隔离，住在城市的人只能说说关于自己的截然不同的故事，这些故事只限于谈论自己，所以对于其他人没有可读性，也无意义。的确，是有很多的故事可以说，但是故事的激增也暗示了好传播故事的缺乏。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 05:48, 14 December 2020 (UTC)Wang Xuan<br /> <br /> ==Wu Qiong 吴琼==<br /> This is what Wang means by saying there is lack of stories in the city. The endlessly varied confusion and lack of common interest lead to disjoint, fragmentary, anecdotal, performance-driven forms of writing often found in essays written for the consumer's relaxed state of mind, or mindlessness after a nice dinner.<br /> <br /> '''From the Historical to the Essayistic: the Fall of the Intellectual'''<br /> <br /> Wang Anyi's ''The Story of Our Uncle'' illustrates the transition from the historically and ideological oriented literature to a form that could be characterized as essayistic. The novella was written in 1990, a time of drastic change for Chinese society and culture as a whole. From a culture dominated by an ideologically oriented and centralized state China was moving quickly into a brave new world of frenzied economic development, investment, consumerism, and pop culture. Something fundamental had drastically shaken the basic fabrics of Chinese society.<br /> <br /> 这就是王先生所说的城市缺少故事的意思。 无穷无尽的各种困惑和缺乏共同的兴趣，导致了不连贯的、零碎的、轶事的、以表现为目的的写作形式，这些写作形式常常出现在为消费者轻松的心境而写的散文中，或者在一顿丰盛的晚餐后的无心之作中。<br /> <br /> '''从历史主义到文章主义：知识分子的堕落'''。<br /> <br /> 王安忆的''舅舅的故事''说明了从历史性、意识形态性的文学向可称为散文性的形式过渡。这篇小说写于1990年，正是中国社会和整个文化发生剧烈变化的时期。 中国从一个以意识形态为导向、以中央集权为主导的文化，迅速进入一个经济疯狂发展、投资、消费主义和流行文化的勇敢新世界。 一些根本性的东西已经极大地动摇了中国社会的基本结构。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 12:26, 9 December 2020 (UTC)<br /> <br /> 王安忆的''叔叔的故事''表明了文学的形式由历史导向和意识形态导向往散文导向的过渡。这篇小说写于1990年，正是中国社会和整个文化发生剧烈变化的时期。 中国从一个以意识形态为导向、以中央集权为主导的文化，迅速进入一个经济疯狂发展、充盈着投资、消费主义和流行文化的崭新世界。 一些根本性的东西已经极大地动摇了中国社会的基本架构。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 06:53, 12 December 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> ''The Story of Our Uncle'' registered a very sensitive aspect of the epoch-making changes in China. Rather than interpret this novella as a literary text, I will look at it as a document tracing a shift in literary and social history. Focusing on a novelist's career, the novella delineates the qualitative shift in the value and function of literature in a time when ideology and politics were giving way to the market, economic development, and consumerism--all under the rubric of modernization. From the vicissitudes of a writer we may see how the novel as a cultural form loses its ground and how literary sensibility shifts to the essayistic. This generic shift provides a glimpse onto the fundamental social transformations in the 1990s.<br /> <br /> 《我们叔叔的故事》反映了中国划时代变化的一个非常敏感的方面。与其把这部中篇小说解读为文学文本，不如把它看作是一部追溯文学和社会历史变迁的文献。这部中篇小说以小说家的职业生涯为主线，描绘了在意识形态和政治逐渐让位于市场、经济发展和消费主义的时代，文学的价值和功能发生了质的转变，所有这些均为响应现代化的号召。从一个作家跌宕起伏的人生经历中，我们可以看到小说作为一种文化形式是如何失势的，文学情感是如何转向散文主义的。这种常见的转变让我们看到了20世纪90年代的基本社会变革。<br /> <br /> Critics have noticed the presence of essayistic quality in Wang's writing, especially in her fiction.In ''The Story of Our Uncle'', one finds the essayistic prevailing over narrative.<br /> <br /> 评论家们已经发现了王安忆散文创作的本质，这一特点在科幻小说中表现突出。在《我们叔叔的故事》中人们发现散文的比重多余叙事。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:47, 12 December 2020 (UTC)<br /> <br /> <br /> 《叔叔的故事》记录了中国划时代变化的一个非常敏感的方面。与其将这部中篇小说解读为一个文学文本，不如将其视为一部追溯文学和社会历史变迁的文献。这部中篇小说以一个小说家的职业生涯为主线，描绘了在意识形态和政治让位于市场、经济发展和消费主义的现代化背景之下，文学的价值和功能发生了质的变化。从一个作家经历的沧桑巨变中，我们可以看到小说作为一种文化形式是如何失去地位的，文学感召力又是如何向散文主义转变的。这种普遍性的转变让我们看到20世纪90年代社会的根本性变化。<br /> 评论家们注意到了王安忆在创作的作品，尤其是她的小说中存在散文性。在《叔叔的故事》中，人们发现散文的成分多于叙事的成分。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 02:43, 13 December 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> The text reads more like an essay-- rambling, random, analytical, disjoint, gossipy, chatty--than a straight narration, a fact acknowledged by the author herself. In this narrative-essay a young writer on behalf of his generation attempts make a biographical assessment of an older writer they call our uncle. One would be disappointed to expect an engaging action or dramatic story. Though the text retains the outward, apparent shape of a novella it is a hybrid composed of diverse genres, with literary and art criticisms, gossip, conjecture, history, philosophizing, anecdotes, and stories all rolled into one. The narrator suggests that this novella is an essay in the double sense of textual form and playful, explorative literary exercise. He proclaims in the opening paragraph that this is a story assembled out of a hodgepodge of elements, and there is no way to distinguish truth from falsehood.<br /> <br /> 这篇文章读起来更像是一篇散文——散漫、随意、有条理、絮絮叨叨、喋喋不休——而不是直接的叙述，这一点作者也承认。在这篇叙述-散文中，一位年轻作者代表他这一代人试图对一位他们称之为叔叔的老作家进行传记性评价。如果有人以为这会是一个引人入胜的行动或者一个戏剧性的故事，那么他就要失望了。尽管文本保留了小说的外在明显特征，但是它是一个由不同体彩杂糅成的混合体，集文学、艺术批判、八卦、猜测、历史、哲学、轶事和故事于一体。叙述者认为，这篇小说是一篇具有双重意义的散文，既有文本形式，又有充满游戏趣味和探索性的文学练习。他开篇就宣称，这个故事是各种元素糅合而成的大杂烩，无法区分真假。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:48, 12 December 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> “Many blanks need to be filled up with imagination and inference,” and the story is filled with “subjective coloring” (181). The subjective, arbitrary, even whimsical character of the text is further associated, as the narrator notes, with the mode of production that writers have adopted as they are geared toward an emergent literary market. Writers, the narrator says, are people who spend their time making up stories. One day “we started circulating his (Uncle's) maxims.” To the laborers like us the maxims are significant, for they are capital in commodity production and can produce surplus value, which can put back to expanded reproduction. ''The Story of Our Uncle'' is thus premised on fragmentary axioms, an arbitrary principle of composition, random fantasy, and the form of commodity.<br /> <br /> “许多空白需要想象和推断来填补”整个故事充满主观色彩.(181)正如叙述者所写“作家为了融入日益繁盛的文学市场，作品总有着一些主观，任意甚至任性的色彩”；作者是花时间编故事的人。有一天，“我们会开始传播他(叔叔)的格言。”对于像我们这样的劳动者来说，这些格言很重要，因为他们是商品生产的资本，可以生产剩余价值，这些剩余价值可以扩大再生产。因此，《我们叔叔的故事》是以支离破碎的公理、任意的构成原则、随机的幻想和商品的形式为前提的。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 08:54, 11 December 2020 (UTC)Wu Zijia<br /> <br /> “许多空白需要想象和推断来填补”整个故事充满主观色彩.(181)正如叙述者所写“作家为了融入日益繁盛的文学市场，作品总有着一些主观，任意甚至任性的色彩”；作者是花时间编故事的人。有一天，“我们会开始流传他(叔叔)的格言。”对于像我们这样的劳动者来说，这些格言很重要，因为他们是商品生产的资本，可以生产剩余价值，这些剩余价值可以扩大再生产。因此，《我们叔叔的故事》是以支离破碎的公理、任意的创作原则、随机的幻想和商品的形式为前提的。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:53, 12 December 2020 (UTC)<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> In a strictly formalistic sense, Wang's text complies with the usual comments and generalizations on the essay as a literary form. In Theodore Adorno's well-known essay entitled “The Essay as Form” we find numerous descriptions well suited to an analysis of the essay in the Chinese context. Adorno pits the essay against the institutional system of philosophy, the discourse of scientific positivism, and its attendant socio-cultural condition of reification. The essay is envisaged as an ''enfant terrible'' or a serious playboy seeking the utopia space of the pleasure principle. Thus the essay turns up its nose to the notions of totality, completeness, systematicity, the universal and the eternal. It is marked by fragments, excessive fantasy and interpretation, exploration, and experiments. Its supposed form is actually formlessness. Abandoning the rigid conceptual schemata, it seeks and engages the object in its historical specificity and quotidian trivia.<br /> <br /> 从严格的形式主义意义上讲，王的文本符合论文中通常的评论和概括的文学形式。 在西奥多·阿多诺（Theodore Adorno）著名的论文《作为形式的散文》中，我们发现了许多非常适合在中国语境下对论文进行分析的描述。 阿多诺将这篇论文与哲学的制度体系，科学实证主义的话语以及随之而来的社会文化条件化相提并论。 这篇文章被认为是“恐怖的婴儿”或寻求娱乐原则的乌托邦空间的严肃的花花公子。 因此，本文对整体性，完整性，系统性，普遍性和永恒性的概念大加赞赏。 它的特点是碎片，过多的幻想和解释，探索和实验。 它的假定形式实际上是无形式。 它摒弃了僵化的概念图式，而是以对象的历史特殊性和“琐事琐事”来寻找和参与对象。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:35, 10 December 2020 (UTC)Xiao Shuangling<br /> <br /> 从严格的形式主义上讲，王的文本遵循了对散文作为一种文学形式的评论和概括。在西奥多·阿多诺（Theodore Adorno）著名的论文《文章的形式》中，我们发现许多描述都很适合在中国语境下对这篇文章进行分析。阿多诺将该文与哲学的制度体系，科学实证主义的话语以及随之而来物化的社会文化环境相对比。人们将这篇文章设想为“恐怖的婴儿”或是一个严肃的花花公子在追寻享乐主义的乌托邦。因此，文章对整体性，完整性，系统性，普遍性和永恒性加以批判。该文碎片化，充斥着幻想，过度解释，探索性和实验性；没有预设的形式，摒弃了僵化的概念图式；追求写作的历史特殊性和日常性。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:19, 10 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Xiao Ting 肖婷==<br /> While Adorno's comments are apt and in tune with much of Eileen Chang and Wang Anyi's musings on the essay, the philosophical framework in Adorno that the essay rebels against is different: the essay is up against the high-minded conceptual tyranny of Western philosophical tradition. In the Chinese literary convention the essay is not so clearly defined against something so established. Its polemic pole, I have tried to argue throughout this essay, is to be identified as the Enlightenment and Marxist paradigm of teleological history and its literary counterpart: the novel of revolutionary realism. <br /> <br /> The essay is a literary exploration trying to break out of the conceptual and discursive straitjacket. Adorno quotes Max Bense and says that the essay “is distinguished from a treatise:<br /> <br /> 虽然阿多诺的评论很贴切，与张爱玲、王安忆对散文的很多思索是一致的，但散文在阿多诺那里所反抗的哲学框架是不同的：散文是与西方哲学传统的高高在上的概念暴政对抗的。 在中国的文学传统中，散文所反抗的东西并不是那么明确的。 我试图通过这篇文章论证：散文应被认定为启蒙运动和马克思主义的心学史范式及其文学的对应物：革命现实主义小说。 <br /> <br /> 本文是试图突破观念和话语束缚的文学探索。 阿多诺引用马克斯-本塞的话说，散文 &quot;区别于论著。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:00, 11 December 2020 (UTC)Xiao Ting<br /> <br /> 虽然阿多诺的评论是恰当的，符合张爱玲和王安忆对散文的思考，但阿多诺的哲学框架是不同的：散文反对西方哲学传统高高在上的概念暴政。 在中国的文学传统中，散文并没有如此明确地定义反对既定的东西。我试图用本文论证，散文被认为是目的论历史的启蒙运动和马克思主义范式及其文学对应物：革命现实主义小说。<br /> 本文是一次试图打破概念和话语束缚的文学探索。 阿多诺引用了马克斯·本塞的话说，“这篇文章有别于一部专著：--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:52, 13 December 2020 (UTC)<br /> <br /> ==Xiao Xi 肖茜==<br /> The person who writes essayistically is the one who composes as he experiments, who turns his object around, questions it, feels it, tests it, reflects on it, who attacks it from different sides and assembles what he sees in his mind's eye and puts into words what the object allows one to see under the condition created in the course of writing. (17)<br /> <br /> The dropping of a grand, complete vision and opting for the incomplete, trivial, and the experimental are what makes for the essay. The German word Versuch, attempt or essay, Adorno writes, is the place where “thought's utopian vision of hitting the bullseye is united with the consciousness of its own fallibility and provisional character” (16). This “indicates . . . something about the form, something to be taken all the more seriously in that it takes place not systematically but rather as a characteristic of an intention groping its way” (16).<br /> <br /> See Wu Liang and Wang Anyi, “A Conversation on Reality and Fiction,” in Wang Anyi, Reality and Fiction (Jishi yu xugou) 325.<br /> <br /> Adorno, 3-23.<br /> 散文式写作的人是在实验中创作的人，他把客体转过来，质疑它，感受它，检验它，思考它，他从不同的角度攻击它，把他在脑海中看到的东西组合起来把客体在写作过程中创造的条件下允许人们看到的东西用文字表达出来。(17)<br /> 放弃宏大的、完整的愿景，选择不完整的、琐碎的、实验性的，是这篇文章的组成部分。德语单词Versuch，尝试或文章，阿多诺写道，是“思想命中靶心的乌托邦愿景与意识到自身的错误和临时特性相结合的地方”。这“表明……一些关于形式的东西，一些需要更加认真对待的东西因为它不是系统地发生的而是作为一种意图的特征去探索它的方式。<br /> 参见吴亮和王安忆《现实与小说的对话》，载于《王安忆:现实与小说》(季实余序购)325页。<br /> <br /> 阿多诺,3-23。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 09:23, 13 December 2020 (UTC)Xiao Xi<br /> <br /> ==Xiao Yining 肖伊宁==<br /> An intention groping its way into the mysteries of the Uncle's life aptly describes the essayistic quality of Wang's novella. As a text assembled out of disparate materials-- hearsay, gossips, and guesswork, fantasy, and conjecture, the narrative enacts a wide array of pre-given discourses and narrative patterns to grope at the “real” life of the Uncle. These discourses and narratives are in their own turn commented on as objects of inquiry and critique on a “meta” level and treated as options in an experimental writing. As an intellectual the Uncle is typical of hundreds of thousands others persecuted in the political campaigns whose suffering and re-instatement in the post-Cultural Revolution period is now a cliche. But at the very outset the novella unpacks the myth of the suffering intellectual into forking paths of narrative.<br /> <br /> 探索叔叔生活之谜的意图恰如其分地描述了王中篇小说的散文主义特质。作为一个由传闻、闲话、猜测、幻想和猜想这样不同的材料组合而成的文本,叙事中出现了大量预先设定的话语和叙事模式，以探索叔叔的“真实”生活。这些话语和叙述在“元”层面上作为探究和评判的对象被评论，并在实验性写作中被视为可选择的事物。作为一名知识分子，叔叔是在政治运动中遭受迫害的数十万人中的典型，他们在后文革时期的痛苦和恢复现在已成陈词滥调。但从一开始，这部中篇小说就把受苦知识分子的故事解构成了分岔的叙事路径。<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 04:28, 9 December 2020 (UTC)Xiao Yining<br /> <br /> 一种试图探索叔叔生活奥秘的意图恰当地描述了王的小说的本质特征。作为一篇由不同材料-道听途说，流言，猜测，幻想和猜想-拼凑而成的文本，叙事赋予了大量预先给定的话语和叙事模式，以摸索叔叔的“真实”生活。这些论述和叙述依次被评论为“元”层面上的探究和批判对象，并在实验写作中被视为选项。作为一个知识分子，叔叔是成千上万在政治运动中受到迫害的人中的典型，他们在后文革时期的痛苦和重生现在已经是老生常谈了。但从一开始，中篇小说就将饱受苦难的知识分子的神话展开，开辟了叙事的道路。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 12:00, 9 December 2020 (UTC)<br /> <br /> ==Xie Fan 解帆==<br /> One can make up a narrative of the Uncle on his way to the place of exile, for instance, by recourse to a tragic-sublime scenario of political victims echoing Dostoevesky. Riding in a beat-up truck drudging through the vast, snowy Siberian landscape in the Northwest plateau, the victim/hero would ponder the significance of life and fate with an elderly wise man. One could also cast the Uncle in a lackluster, comic or even grotesque light, reduced to a mere creature of survival, trapped in a narrow village life. Like thousands of other writers, Uncle was persecuted and exiled because of his writing. But this fabled story of the tragic-heroic writer is again playfully retouched into three different versions by Uncles' own retelling after the fact. In the first telling, his persecution is a political story, indicting the tyranny of the political system. Then it is an existential story, intimating the mysterious and ironical workings of fate.Thirdly, it is a prophetic story, in the fashion of an Aesop fable, full of prescience and bodings of catastrophe.<br /> <br /> 比如，人们可以利用陀思妥耶夫斯基式的政治受害者的悲情场景来编造一个叔叔流亡的故事。主人公坐在一辆破旧的卡车上，在广阔的、被白雪覆盖的东北高原上艰难前行，和一位智叟一起思考生命的意义。同样，人们也可以把叔叔塑造成一个毫无生气、滑稽甚至怪诞的形象，一个在小村庄中艰难求生的人。像其他成千上万的作家一样，遭到迫害和流放。但是这个英雄悲剧作家的传奇故事经过叔叔的叙述后，被幽默地改编成三个不同的版本。在第一个叙述中，他受到的迫害是一个政治故事，控诉政治制度中的暴政。其次，这是一个存在主义故事，暗示着命运的神秘和讽刺。第三，这是一个预言性故事，以伊索寓言的方式，充满了预言和大灾难的预兆。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 11:15, 11 December 2020 (UTC)<br /> 比如，人们可以通过陀思妥耶夫斯基式的政治受害者的悲情场景来编造一个叔叔去流亡地的故事。主人公坐在一辆破旧的卡车上，在广阔的、白雪覆盖的东北高原上艰难前行，他会和一位睿智的老人一起思考生命和命运的意义。人们也可以把叔叔塑造成一个毫无生气、滑稽甚至怪诞的形象，沦为一个被困在狭小乡村生活中的求生之物。像其他成千上万的作家一样，遭到迫害和流放。但是这个英雄悲剧作家的传奇故事在叔父们在事后的复述后又被幽默地改编成三个不同的版本。在第一个叙述中，他受到的迫害是一个政治故事，控诉政治制度的暴政。第二，这是一个存在主义的故事，暗示着命运的神秘和讽刺。第三，这是一个预言性的故事，以伊索寓言的方式，充满了预言和大灾难的预兆。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 09:26, 13 December 2020 (UTC)Xiao Xi<br /> <br /> ==Xie Ziyi 谢子熠==<br /> This intention groping its way into the Uncle's life draws upon various types of narrative patterns and aesthetic resources. This is by no means a literary embellishment for pure rhetorical variety or pleasure. The narration is saddled with the difficulties of understanding and getting the Uncle's life's straight. The difficulty is not the usual generational gap, but reflects different historical experiences and memory that separate the young from the old. This difference not only drives a wedge into the writers as a group, but also gives rise to the divergence of generic practice and the aesthetics informing it. This divergence is the key to understanding the essay and the essayistic.<br /> <br /> 进入叔叔生活的这种意图利用了各种类型的叙事模式和美学资源。 这绝不是纯粹的修辞变奏或娱乐的文学装饰。 叙述难于理解和理解叔叔的生活。 困难不是通常的代沟，而是反映了将年轻人与老年人区分开的不同的历史经验和记忆。 这种差异不仅使作为一个整体的作家成为楔子，而且引起了通用实践和为其提供信息的美学的差异。 这种差异是理解论文和论文论的关键。<br /> --[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 11:03, 11 December 2020 (UTC)<br /> <br /> 这种对叔父生活的探索，借鉴了各种类型的叙事模式和审美资源。这绝不是一种纯粹的修辞变化或乐趣的文学修饰。故事的叙述充满了理解和理解叔叔生活的困难。困难不是通常的代沟，而是反映了不同的历史经验和记忆，把年轻人和老年人分开。这种差异不仅导致了作家群体的分裂，而且导致了一般实践和审美观的分歧。这种分歧是理解散文和散文家的关键。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 11:06, 11 December 2020 (UTC)<br /> <br /> 这旨在用各种类型的叙事模式和审美资源探索叔叔的生活。这绝不是纯粹为了变换修辞或者获得乐趣而进行的文学修饰，而是叙述着理解叔叔生活的困难。困难不是普通的代沟，反映了年轻人和老年人的不同历史经历和记忆。这种差异不仅将作家群分裂开来，而且也导致了共性实践与传达共性实践的美学的分歧。这种分歧是理解散文和散文论的关键。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 11:27, 11 December 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> The older generation, having experienced political persecution and historical traumas at the first hand, is deeply grounded in a historical consciousness and a teleological narrative. The Uncle is intensely committed to writing literature as praxis for social change. His meteoric rise to the leading writer in the aftermath of the Cultural Revolution indicates that the position of what Gramsci called the “organic” intellectual remains strong, even thriving. The popularity of his novels shows that a work of literature can make a tremendous hit and is an effective medium for criticizing the flaws of the system and raising the social, political consciousness of readers. It revives the legacy of the New Literature of May Fourth and is rightly re-baptized as the literature of the New Period (xin shiqi wenxue). It is the voice of the farsighted and the vanguard in China's modernization drive. Despite all his traumas and sufferings, the Uncle's generation, writers in their forties and over in the narrative time, remains firm in their belief in the organic totality of socio-historical process and the people's capacity in steering the course of history. Literature is simply one vehicle that carries this historical mission.<br /> <br /> 老一辈人亲身经历过政治迫害和历史创伤，有着较强的历史意识和目的性叙述能力。叔叔致力于以文学写作推动社会变革。他在 &quot;文革 &quot;后一跃成为领军作家，说明葛兰西所说的 &quot;有机 &quot;知识分子的地位依然稳固，甚至是蒸蒸日上。他创作的小说大受欢迎，这表明一部文学作品可以引起巨大的轰动，是批判制度缺陷，提高读者社会意识、政治意识的有效媒介。他的小说重扬了 &quot;五四 &quot;新文学的遗风，重新受洗为新时期文学。它是有远见之人的发声，是中国现代化进程中的先锋。叔叔那一代四十多岁的作家，在这段叙述时间里，尽管经历了种种创伤和苦难，但他们仍然坚信社会历史进程的有机整体性和人民引导历史进程的能力。文学只是承载这一历史使命的载体。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:46, 13 December 2020 (UTC)Xu Jia<br /> <br /> 老一辈人亲身经历过政治迫害和历史创伤，有着较强的历史意识和目的性叙述能力。叔叔致力于文学写作以推动社会变革。&quot;文革 &quot;后，他在一跃成为领军作家，说明葛兰西所说的 &quot;有机 &quot;知识分子的地位依然稳固，甚至是蒸蒸日上。他创作的小说大受欢迎，这表明一部文学作品可以引起巨大的轰动，它是批判制度缺陷，提高读者社会意识、政治意识的有效媒介。叔叔的小说重扬了 &quot;五四 &quot;新文学的遗风，重新受洗为新时期文学。它是有远见之人的传声筒，是中国现代化进程中的先锋。叔叔那一代四十多岁的作家，在这段叙述时间里，尽管经历了种种创伤和苦难，但他们仍然坚信社会历史进程的有机整体性和人民引导历史进程的能力。文学只是承载这一历史使命的载体。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 17:43, 13 December 2020 (UTC)<br /> <br /> ==Xu Jing 许晶==<br /> The historical consciousness embodied by the Uncle is to find its corresponding form in an epic mode of writing: the realistic novel. The Uncle's general outlook on the world is epic in the Lukácsian sense. The young narrator captures this ''Weltanschauung'' very accurately: <br /> <br /> The political life of the past few decades has filled up his personal experience and life. This enables Uncle to keep his worldview firmly anchored to reality and politics. The state and government encompass the whole world for him and form the vast backdrop for human activity. Patterns of people's behavior and conduct are but representatives of social life. The concept of culture sounds very abstract and empty to him. For him art should also perform real and political functions. (214-215)<br /> <br /> 叔叔所体现的历史意识是为了在史诗般的写作方式中找到其对应的形式：写实小说。 在卢卡奇的意味上，叔叔对世界的总体观是史诗般的。这位年轻的叙述者非常准确地捕捉到了这个世界观：<br /> <br /> 叔叔过去几十年个人经历和生活被政治所充斥，这使他能够将自己世界观牢牢地依托于现实和政治。 国家和政府围绕着他的全世界，并构成了人类活动的广阔背景，人们的行为方式只是社会生活的代表。对他来说，文化的概念听起来很抽象，十分空洞的，甚至认为艺术还应该发挥现实和政治作用。（214-215）--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 17:39, 13 December 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> The young generation, in contrast, is not so firmly grounded. Growing up in a period when the dominant ideology is in decline, they are left floating in the winds of various imported ideologies and newfangled isms. Creatures of the newly emergent market and players of nihilistic intellectual fashions, they produce literature without any commitment to a socio-historical mission. Literature is but a playful, aesthetic game unburdened with any responsibility and weighty purposes. Art has become an artful, artsy activity, floating free of socio-historical grounding. Literary activity to them means, more specifically, attending pen conferences, pursuing hot fashions, innovating fresh forms and tastes, brandishing new theories, making up sensational and marketable stories. All this also leads to the enhancement of a writer's charisma and even sexual appeal. Indeed, to the young generation it is old fashioned to see literature as having historical or social significance; literature becomes more and more sexy and commercial.<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> The story of the Uncle is an allegory of withdrawal from history and the dangers involved, exemplified in his crisis-ridden metamorphosis from a historically grounded writer to a playful artist, from novelist to essay writer. The Uncle's earlier success thrusts him to the status of literary celebrity and stardom: he becomes a prominent figure in the media. As the younger writers pursue fashions and cater to new consumers with playful, entertaining, artsy literary goods, the Uncle feels the need to catch up. His new position as a glamorous writer allows him to become a globetrotter. At the invitation of literary and academic circles and literary institutions around world eager to know a newly opened China, he journeys from country to country giving talks and socializing at literary cocktail parties. Increasingly, sightseeing and superficial impressions of exotic foreign countries become the only materials he can summon: he becomes a tourist and a writer of travelogue.<br /> 叔叔的故事寓意着从历史和其中的危险中脱身，从一个历史背景鲜明的作家变身成为爱打趣的艺术家，从一个小说家变成了散文作家，他经历了重重危机。叔叔的早期成功让他成为了文学名人，常常出现在媒体上。年轻作家追求时尚，他们创作有趣的，充满娱乐性，艺术性的作品来迎合消费者，叔叔觉得自己也该随上大流。作为知名的作家，他的新职位让他有机会环球旅行。文学和学术圈以及文学机构都想要了解刚刚开放的中国，他往返与不同国家进行演讲，参加各种酒会。渐渐地，他能写得的只有观光旅行和对异国的简单印象，于是他就成为了旅行家和游记作家。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:37, 10 December 2020 (UTC)Xu Mengdie<br /> <br /> <br /> 《叔叔的故事》寓意着从历史和其中的危险中脱身，从一个历史背景鲜明的作家变身成为爱打趣的艺术家，从一个小说家变成了散文作家，他经历了重重危机。《叔叔的故事》早期成功让他成为了文学名人，常常出现在媒体上。年轻作家追求时尚，他们创作有趣的，充满娱乐性，艺术性的作品来迎合消费者，《叔叔的故事》也该随上大流。作为知名的作家，他的新职位让他有机会环球旅行。文学和学术圈以及文学机构都想要了解刚刚开放的中国，他往返与不同国家进行演讲，参加各种酒会。渐渐地，他能写得的只有观光旅行和对异国的简单印象，于是他就成为了旅行家和游记作家。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 12:00, 13 December 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> Going along with the role of a player in an increasingly cosmopolitan, global, and consumer oriented literary market is a new philosophy of writing, which favors a showy, playful, essayistic quality at the expense of the epic, social and historical. The Uncle is reborn, the younger narrator rightly observes, into a new life, and into an enclosed new realm of pure artistic creativity. He addresses serious social problems playfully in the style of black humor and through anachronistic narrative techniques. He becomes more and more detached from the grave political issues of the day. His new outlook is derived from a purely aesthetic principle.<br /> <br /> 在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者正确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:35, 9 December 2020 (UTC)Xu Pengfei<br /> <br /> 在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者恰好观察到，文叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 06:50, 9 December 2020 (UTC)<br /> <br /> 在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和随笔性。年轻的叙述者精确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭式的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，戏谑般地处理严重的社会问题。他与越来越疏远当今严肃的政治问题。他的新观点是由纯粹的美学原则衍生而来。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 02:21, 10 December 2020 (UTC)<br /> <br /> 不断扩张的都市化，全球化，顾客为导向的市场，一种新的写作理念应运而生，它以牺牲史诗性，社会性和历史性为代价，追求炫耀性、趣味性、和散文性。年轻的叙述者恰好观察到，文叔再生了，他进入了一个新的生活，进入到一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和 不合时宜的叙述技巧，玩笑般的对待严重的社会问题。他与当今严重的的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 13:36, 11 December 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> Emptied of historical substance and filled up with fragmentary and rambling impressions in his global trips, both life and writing of the Uncle thin out into personal, irrelevant, discontinuous fragments. His writing begins to take on the essayistic quality, and borders on sheer images or simulacra, getting closer and closer to those of the younger generation. Real human relations are “only a literary conceit.” (227), he echoes the younger generation. Within the aesthetic shelter the “Uncle can no longer become excited or moved and is immune to suffering.” Tragic suffering is now only a literary category, and “the awareness of this is the hallmark of Uncle's becoming a pure writer” (225). Parallel with this essayistic quality is the Uncle's changed life style. His is more taken with things he would have considered vulgar, low, or quotidian;<br /> <br /> 生活和写作都被历史的内涵掏空，随之被全球旅行中的零碎和漫不经心填满，让叔叔自己变成了个人的、无关紧要的、不连续的碎片。他的写作开始有了散文的气质，并接近于纯粹的影像或模拟，越来越接近年轻一代的人。真实的人与人之间的关系“只是一种文学上的臆想”。(227)，他与年轻一代遥相呼应。在审美的庇护下，“大叔再也不能变得兴奋或感动，而且对苦难免疫”。悲剧性的苦难现在只是一个文学范畴，“对这一点的认识是大叔成为一个纯粹作家的标志”（225）。与这种文章化特质并行的是大叔的生活方式的改变。他的更多的是对那些他认为庸俗、低级、庸常的东西的接受。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:11, 11 December 2020 (UTC)Yang Chenting<br /> <br /> 在他的环球旅行中，历史的物质被清空，而充满了零碎的、漫无边际的印象，关于叔叔的生活和写作都逐渐变成个人的、无关的、不连续的片段。他的作品开始呈现出散文式的品质，接近纯粹的影像或拟像，越来越接近年轻一代的作品。真正的人际关系“只是一种文学幻想”。(227)，他回应了年轻一代。在美学的庇护下，“叔叔不再激动或感动，对痛苦免疫。”悲剧的痛苦现在只是一个文学类别，“意识到这一点是叔叔成为一个纯粹作家的标志”(225)。与这种随笔风格相对应的是叔叔生活方式的改变。他更喜欢那些他认为庸俗、低俗或司空见惯的事情;--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 14:02, 13 December 2020 (UTC)<br /> <br /> ==Yang Hairong 杨海容==<br /> he becomes more listless and yuppish. He has developed a strong interest in women and sexual intrigues and conquests; he indulges in vulgarity and trivial pursuits, exulting in money and showy, exotic collectibles. In short, he metamorphoses from an image of the epic novelist and organic intellectual to a middle class, professional writer, whose favored form is the essay and whose lifestyle takes on the “essayistic” quality of a ramble for self-pleasure.<br /> <br /> The transformation in the Uncle reflects the retreat of literature from a historically grounded medium to a form light-hearted, playful entertainment and a theatrical performance. The problem with this change, as the novella's ending suggests, is that it is self-deceptive. Despite the Uncle's willful creation of an aesthetic cocoon, history manages to intrude in the end as return of the repressed, in the person of his murderous son. His son embodies all the painful memory and disgraceful experience of the Uncle's life, unfit for the epic treatment in his novels and repressed in his ethereal, airtight, essayistic experiments.<br /> <br /> <br /> 他变得更加无精打采而又热情洋溢。他对女性以及性爱和征服产生了浓厚的兴趣。他沉迷于庸俗和琐碎的追求，对金钱和艳丽的异国情调的收藏品狂喜不已。简而言之，他从史诗般的小说家和有机知识分子的形象变成了中产阶级专业作家，他的偏爱形式是随笔，其生活方式具有自我满足的“随笔”性质。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:56, 13 December 2020 (UTC)<br /> <br /> 《叔叔》的转变反映了文学从一种历史根基的媒介退缩到一种轻松、有趣的娱乐和戏剧表演的形式。正如中篇小说的结尾所暗示的那样，这种变化的问题在于它是自欺欺人的。尽管《叔叔》蓄意创造了一个美丽的茧，但由于被压抑者的归还，他的杀手之子最终还是入侵了历史。他的儿子体现了《叔叔》创造中所有的痛苦记忆和可耻的经历，不适合他小说中的史诗般的治疗方式，而对他空灵、透气、杂文主义的实验则表现出压抑。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:56, 13 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> The son's attempted murder of his father signifies the revenge of a history that the Uncle is trying to shut off from the serene, trouble-free aesthetic realm. Our concern, however, is not with the interpretation of the story per se, but with the way the Uncle's fate indicates the shift in literary form. If the Uncle's story apparently traces the trajectory of a novelist to a writer who not only writes travelogues and essays but also is imbued with essayistic sensibility, then the essay in contemporary China is a release from the epic form of writing and historical discourse. It is a release into the literary market and consumer taste, a response to the pervasive secularization of life and rising consumerism.<br /> <br /> 儿子企图谋杀他父亲的行为象征着一段历史的复仇，而这段历史是叔叔试图将其与宁静、无烦恼的美学领域隔离开来的。然而，我们关心的不是故事本身的解释，而是叔叔的命运如何预示着文学形式的转变。如果“叔叔”的故事明显地将小说家的轨迹追溯到一个作家，他不仅写游记和散文，而且充满了散文情感，那么当代中国的散文就是从史诗形式的写作和历史话语中解放出来的。这是对文学市场和消费品味的释放，是对生活普遍世俗化和消费主义抬头的回应。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 11:59, 9 December 2020 (UTC)<br /> <br /> 儿子企图谋杀他的父亲这一行为象征着一段极具历史意义的复仇，叔父试图从宁静、无忧无虑的美学领域中脱离出来。然而，我们的关注点不在于对故事本身的解读，而是叔父的命运如何预示着文学形式的转变。如果说《叔叔的故事》追溯了一个小说家转变为作家的轨迹——在写游记和随笔的同时，倾注了散文式的细腻情感——那么当代中国的随笔就是史诗写作和历史话语的一种释放。这是对文学市场和消费者口味的一种释放，是对无处不在的生活世俗化和消费主义抬头的回应。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:02, 9 December 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> It comes as the image of a loosening up of the previous, ideologically controlled life, which is now becoming more private, more disjoint and fragmented, more removed from the totalistic social and political process. Yet history has not become the simulacrum to play with, as envisioned by the younger narrator or the Uncle himself as he catches up with the fashions. China’s social reality does not square so nicely with the essayistic playfulness one may wish. Thus the essay as a cultural form is caught in a tension between withdrawal from the burden of history and the possible return of the repressed.<br /> <br /> 它是一种对以前的被控制意识形态的生活的解放，它现在变得更私人，更脱节和碎片化，更远离极权主义的社会和政治进程。然而，历史并不是像年轻的叙述者或叔叔自己在追赶时尚时想象的那样可操控的。中国的社会现实与人们所希望的散文式的嬉闹并不那么吻合。因此，散文作为一种文化形式，处于一种从历史的负担中解脱出来与可能回归压迫状态之间的张力之中。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 17:01, 13 December 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> '''Mulish Essays: the Genre of ''Zawen'' in Contemporary China<br /> '''<br /> <br /> ''Mary Scoggin''<br /> <br /> '''Abstract'''<br /> <br /> Tone in an essay is an ironic figure of speech; how can you channel that which is carried in sound through the ink of print? This paper illustrates the trope of tone through the particularly ,sonorous' work of ShaoYanxiang, an official poet who in retirement is better known for the essays in which he collapses poetry into polemic, his ''zawen''. The distinct and beleaguered social and cultural space for ''zawen'' in contemporary China reveals the mechanics, ideology and significance of tone in Chinese writing. Even more than other literary genres, ''zawen'' depends upon something within the earthy noise of moody, mulish voices to carry its messages. Like most poetry, but unlike most fiction and drama, ''zawen'' is itself a first person voice, not a representation of voices.<br /> <br /> 拗口的文章：当代中国“杂文”的体裁<br /> <br /> 玛丽·斯高格<br /> <br /> 文章中的语气是一种讽刺的修辞手法;你怎么能通过印刷的油墨来引导声音中所携带的东西呢?本文通过邵云翔的《诗文》来说明这种修辞手法。邵云翔是一位官方诗人，他退休后以将诗歌化为论战体的杂文而闻名。在当代中国，“杂文”独特而又备受围攻的社会文化空间，揭示了“调”在汉语写作中的机制、意识形态和意义。与其他文学体裁相比，“杂文”更依赖于泥土般的喧嚣、忧郁、固执的声音来传达它的信息。像大多数诗歌一样，但又不像大多数小说和戏剧，“杂文”本身是第一人称的声音，而不是声音的代表。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:36, 12 December 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> Yet unlike poetry, which may need to be at least imagined to be read out loud, repeated and savored for full effect, ''zawen'''s ideal is to appear for a fleeting moment on the back page of a newspaper, to be received with the accompaniment of an enigmatic laugh, sigh or snort from the reader, and then thrown away quickly, before anyone can find their seat and sit in it, or take offence. While readers love and hate their morally and politically provocative ''zawen-of-the-moment'', writers string zawen across stretches of time and publishing organs to construct heavily intertextualized conversations.<br /> <br /> 诗歌至少需要大声朗读，重复和品尝才能真正达到效果，而与诗歌不同的是，杂文在报纸的背面短暂地露面，读者边看边发出神秘笑声，叹息声或鼻息声，还没等读者找到座位坐下，就迅速将其扔掉。读者对道德和政治上具有挑衅性的“当下杂文”又爱又恨，而作者跨越式的书写杂文，并通过出版机构来建立大量互文性的对话。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 17:10, 13 December 2020 (UTC)<br /> <br /> ==Yao Cheng 姚诚==<br /> Eventually they even preserve ''zawen'', long after the dizzying minutia of allusions, jokes and digs are forgotten, often compiling a career's worth of them into small print runs of volumes that they give away to friends and admirers as discursive portraits of themselves. Lu Xun's genre of the ,dagger and spear' is thus not only a sly political weapon, but also a complex sculpture of the self, chiseled by the cantankerous tones of social dialogue.<br /> <br /> In contemporary textbooks and manuals of Chinese essay composition, the “miscellaneous essay,” [literally, “mixed essay,” referred to as ''zawen'' hereafter] is presented as a particularly “Chinese” essay genre within a global view of universal literary categorization.<br /> <br /> 杂文中的典故，笑话和挖苦的细节常令人茫然，在这些细节被人遗忘之后，“杂文这一体裁最终得以保存”， 读者经常将自身职业价值汇编成一些小册当做是自己的离散描述杂文，然后将分小册发给朋友和仰慕者。 因此，鲁迅的“匕首与长矛”流派不仅是狡猾的政治武器，而且是复杂的自我雕塑，为社交对话的残酷语调所勾勒。<br /> <br /> 在当代中国散文写作的教科书和手册中，“杂文”（直译为“杂文”，以下简称杂文）在全球普遍文学分类的全球视野中被视为一种特别的“中国”散文类型。 --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:24, 10 December 2020 (UTC)<br /> <br /> 最终，作者们甚至能在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，仍然保留着&quot;杂文&quot;。他们常常把自己职业生涯的价值编成小本子，作为自己的话语肖像送给朋友和仰慕者。因此，鲁迅的 &quot;匕首和长矛 &quot;流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。<br /> 在当代中国散文的教科书和手册中，&quot;杂文&quot;[字面意思是 &quot;杂文&quot;，以下简称杂文]被作为一种极具 &quot;中国性&quot;的文章体裁，呈现在普遍的文学分类的全球视野中。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 06:19, 11 December 2020 (UTC)<br /> <br /> 最后，在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，他们甚至仍然保存着杂文，常常把他们职业生涯的价值编成小本子，作为自己的语录送给朋友和崇拜者。因此，鲁迅的“匕首和长矛”流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。<br /> 在当代中国作文的教科书和手册中，“混杂的文章”，【字面意思是“杂文”，以下简称杂文】被作为一种特别“中国”的文章体裁，呈现在普遍的文学分类的全球视野中。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:16, 11 December 2020 (UTC)Yang Chenting<br /> <br /> ==Yao Jia 姚佳==<br /> Lu Xun, the genre's initial back-handed champion, quipped sardonically that although he searched the standard encyclopedia thoroughly, he was unable to locate the genre of “tsa-wen” in any authoritative foreign classification. Lu Xun's sarcasm includes both defiance and self-conscious uneasiness about a writing practice that Chinese circumstances, he felt, rendered peculiar and unseemly upon a world stage. Compare the comments of a recent critic of ''zawen'':<br /> <br /> In Chinese affairs, there is a strange phenomenon that has held true until the present time, and that is; the value of any certain thing has to be established by a foreigner or by some common foreign publication.<br /> <br /> 鲁迅是这一文体的最初的反对者。他曾讽刺说，他翻遍了标准的百科全书，但在任何权威的外国分类中都找不到 &quot;tsa-wen &quot;这一文体。 鲁迅的讽刺既有对一种写作方式的蔑视，也包含了自觉的不安，他认为中国的环境使这种写作方式在世界舞台上变得奇特而不雅。 比较最近的一位批评家对''杂文''的评论：<br /> <br /> 在中国的事务中，有一种奇怪的现象一直持续到现在，那就是：任何一件事物的价值都必须由外国人或一些外国的普通出版物来确定。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 01:56, 11 December 2020 (UTC)<br /> <br /> 鲁迅一开始就反对这一文体。他曾讽刺道，即使翻遍了标准的百科全书，也无法在任何权威的外国分类中都找到 &quot;tsa-wen &quot;这一文体。 鲁迅的讽刺既含有对这一文体的蔑视，也带着一丝不安，他认为中国当时的环境让这一文体在世界舞台上变得奇特而不雅。 比较一位批评家对''杂文''最近的评论：<br /> <br /> 在中国，有一“怪象”一直持续到现在，那就是：任何一件事物的价值都必须由外国人或一些外国的普通出版物来确定。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:07, 12 December 2020 (UTC)Xiao Ting<br /> <br /> ==Yi Huan 易欢==<br /> As for this thing called modern Chinese ''zawen'', because its Chinese characteristics are too strong, Westerners truly have a hard time understanding them, and thus have difficulty in researching this subject... the American writer Pearl Buck said something like: 'this thing called ''zawen'' is too peculiar, you really cannot understand it.' That is why only Chinese people themselves can evaluate this phenomenon called zawen. (Yan Xiu in Zhang Hua [all translations by Scoggin unless otherwise noted])<br /> In this passage, Yan Xiu, an eminent writer and critic, articulated Lu Xun's defiance of the foreign authority to categorize essay genre in a relatively explicit way, while also maintaining a typical ''zawen''-esque playfulness of style. He continues his commentary;<br /> 至于称这一文体为现代中国“杂文”， 是因为其浓烈的中国特性。西方人理解起来，确实困难。因此杂文研究对他们来说也很难。美国作家赛珍珠曾说过：“这一文体称为“杂文”， 太过独特，这真的太难以理解了。这就是为什么只有中国人自己能评析“杂文”这一事物。（张华笔下的严修[除注释之外，其他所有部分为奚慕里翻译]）<br /> 在这篇文章中，作为一个赫赫有名的作家与评论家，严修以一种相对直率的方式,明晰地表达出鲁迅蔑视以外国权威标准对散文体裁分名别类。然而严修也保留了类似“杂文”式，典型的轻松趣味风格。他进一步进行他的评述：--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 01:05, 14 December 2020 (UTC)<br /> <br /> ==Yi Zichu 义子楚==<br /> But we do not need to worry about this long period of neglect in which foreigners do not recognize ''zawen.'' Even if a foreigner were to burst his/her mind researching Chinese zawen, I am afraid that they would not be able to research anything out of it even if they researched themselves flat broke and starving. But Chinese people all understand them easily. If they were not able to maintain the abiding appreciation and understanding of Chinese readers, this practice would have been lost. The historical reasons and significance for the creation and propagation of ''zawen'' in China are worth serious research and theorizing (ibid.).<br /> <br /> Bravely dismissing the risk of bankruptcy, I do propose to research and theorize the culture of this funny genre of essay in all of its supposed inscrutability.<br /> 但是，我们不必担心长期以来外国人不承认杂文。虽然外国人来研究研究中国的杂文会大打折扣，因为他们无法研究其中的任何内容，尽管他们也研究自己的破产和饥饿。但杂文对中国人来说都很容易理解。 如果外国人不能保持对中国读者的长期欣赏和理解，这种事情便会不复存在。在中国创造和传播杂文的历史原因和意义值得认真研究和理论化（同上）。<br /> 虽然没有了破产的风险，但我真的建议去研究和论证这种有趣论文类型的文化，因为它具有所有假定的不可理解性。<br /> --[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 02:26, 12 December 2020 (UTC)<br /> <br /> 但我们不必担心这种外国人长期不承认杂文的情况。即使一个外国人产生了其研究杂文的心思，恐怕他们自己研究得身无分文，饿死也研究不出来什么。但中国人都很容易理解他们。如果他们不能保持中国读者对他们的欣赏和理解，这种做法就会失传。杂文在中国产生和传播的历史原因和意义，是值得认真研究和理论化的（同上）。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:48, 13 December 2020 (UTC)<br /> <br /> 虽然长期以来，外国人都不承认中国杂文，但我们也不必为此忧心忡忡。即使一个外国人突发奇想地要研究杂文，恐怕研究到身无分文，饥肠辘辘，他/她也研究不出什么东西，而我们中国人理解起杂文却很轻松。但如果中国读者不能理解或一直赏析杂文的话，那么其也将不复存在了。杂文在中国产生和传播的历史原因与意义就很值得认真地研究并理论化。（同上）。<br /> 杂文晦涩难懂，但也是富于趣味的一种散文体裁。因此在免于破产的风险下，我真的建议大家勇敢地研究并对这一文化形成理论。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 01:55, 14 December 2020 (UTC)<br /> <br /> ==You Yuting 游雨婷==<br /> One ubiquitous characterization of zawen from textbooks and manuals is built upon the metaphor of the mule. This metaphor suggests a number of qualities, including hybrid vigor and strength, stubborn bad-temper, and resilience in the face of obstacles. Mules kick, spit and bray with distinctive exuberance. ''Zawen'' are often considered an awkward combination of “part-poetry, part politics” (Lin). Cross-bred traits extend the qualities of a mule; ''zawen'' are bred to toil at the most difficult of human labor, they are strong, hard-working and rather famously unloved creatures, best known for their expressive obstinance. <br /> <br /> So how does an essay kick, spit and bray? In Chinese theoretical discussion of ''zawen'' the metaphor moves from kinetics to sound; ''zawen'''s kick is located in its “tone,” a term taken from music, although the sound here is can be distinctly unlovely.<br /> <br /> 从教科书和手册中对杂文的一个普遍的描述是建立在骡子的隐喻之上的。这个比喻暗示了一些品质，包括混杂的活力和力量，顽固的坏脾气，以及面对障碍时的弹性。骡子的踢腿、吐口水和嘶叫有着独特的活力。“杂文”通常被认为是“部分诗歌，部分政治”的笨拙组合(林)。杂交的特性拓展了骡子的品质；杂文是被培养来从事最艰难的人类劳动的，他们强壮、勤劳，而且是出了名的不被喜爱的生物，最出名的是他们表现出的固执。<br /> <br /> 那么，一篇文章是如何鞭笞、唾弃和咒骂的呢?在汉语“杂文”的理论探讨中，隐喻由动力转向声音；“杂文”的“踢腿”在它的“语气”，一个来自音乐的术语，尽管这里的声音可能明显是不可爱的。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:44, 11 December 2020 (UTC)<br /> <br /> 教科书和手册中对杂文的一个普遍的描述是建立在骡子的隐喻之上的。这个比喻表明了它的一些品质，包括混杂的活力和力量，顽固的坏脾气，以及面对障碍时的耐性。骡子的踢腿、吐口水和嘶叫有着独特的活力。“杂文”通常被认为是“部分诗歌，部分政治”的笨拙组合(林)。杂交的特性拓展了骡子的品质；杂文是被培养来从事最艰难的人类劳动的，他们强壮、勤劳，而且是出了名的不被喜爱的生物，最出名的是他们表现出的固执。<br /> <br /> 那么，一篇文章是如何鞭笞、唾弃和咒骂的呢?在汉语“杂文”的理论探讨中，隐喻由动力转向声音；“杂文”的“踢腿”在它的“语气”，一个来自音乐的术语，尽管这里的声音可能明显是不可爱的。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 08:49, 13 December 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> Elsewhere I have examined the function of “tone” through the lens of the published record of debate over tone between literary editors (see Scoggin 2001). I have posited the idea that approaches to writing ''zawen'' fall into two interdependent strategies, one overt and one covert, both blending the tactics of politics and poetics in perfect measure. Overt ''zawen'' are relatively bold and obvious in their churlish tone, reflecting confidence in a tolerant audience. Covert ''zawen'' are sometimes difficult to identify, disguised or hidden within other genre of writing, but still drawing upon the distinctive tones of ''zawen'' through intertextuality and other tricks. <br /> <br /> Below, I examine the mechanics of ''zawen'' tone through contrasting these two style of ''zawen'' issuing from a single pen, that of poet and noted ''zawen'' writer Shao Yanxiang.<br /> <br /> 在其他地方，我通过已发表的文学编辑之间关于语气的争论记录（见Scoggin 2001）来考察“语气”的功能。我认为，杂文的写作方法可以分为两种相互依存的策略，一种是显性的，另一种是隐性的，两者都是政治策略和诗学策略的完美结合。公开的杂文相对大胆和明显的粗鲁语气，反映出对一个宽容的观众的信心。隐性扎文有时很难识别，伪装或隐藏在其他文体中，但仍然通过互文性和其他技巧利用扎文的独特音调。<br /> 下面，我通过对比诗人、著名杂文作家邵燕祥这两种杂文的风格，来探讨杂文声调的形成机制。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 08:34, 13 December 2020 (UTC)<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> The two essays discussed below form opposites sides of a spectrum of variable transparency, and vastly differing publishing circumstances, although they were composed only months apart by the same individual, one before and one after a specific political event in China. I argue here that unifying the two ''zawen'' is a particular subset of modal tropes, qualified as the verbal equivalent to a mule's kick, bite or bray. The expression of this unclearly delineated but distinctive subset of modal tropes is the single central mission of ''zawen'' as a genre in Chinese literature and society. Chinese theoretical debates over “tone” specifically address the function of this kind of modal trope. While sometimes as bald and direct, as in the overt ''zawen'' “Pei pei pei! ”?discussed below, many zawen conceal their weapons, depending upon contextual circumstances of publishing to pack their punch, as does the essay “East Station,” also discussed below.<br /> <br /> 下面讨论的这两篇文章形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章是由同一个人撰写的，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸”?中，许多杂文隐藏他们的武器，根据发表的语境环境进行重击，正如文章《东站》，也将在下面讨论。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 07:09, 9 December 2020 (UTC)<br /> <br /> 下面讨论的这两篇文章从相反的角度形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章由同一个人撰写，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸！”?中，许多杂文隐藏起他们的武器，根据发表的语境环境进行重击，正如将在下面讨论的文章《东站》。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 11:34, 9 December 2020 (UTC)Xu Pengfei<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> Both types of ''zawen'' should be read “ethnographically,” in concrete social and historical circumstances. After covering some of the primary textual elements of ''zawen'', I will demonstrate the significance of more subtle contextual gestures of ''zawen'', which must be read out of the process of submitting and publishing ''zawen''. Through the contrast of these two essays, I will explicate and generalize about the formation and mechanics and of tone in modern Chinese literary history, and offer a thesis upon the reception of Chinese literature in Western scholarship as well.<br /> <br /> 杂文的两种类型都应该置于具体的社会和历史环境下，以“民族志”的方式解读。在介绍杂文一些基本的文章要素后，我会揭示杂文更细微的语境姿态的意义，而这个只能从提交和出版杂文的过程中解读出来。通过对比这两篇文章，我会我将对中国现代文学史上基调的形成、机制和基调进行阐述和概括，并就西方学术界接纳中国文学这件事发表一篇论文。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:05, 9 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> An Demonstrative Sample – “'Pei Pei Pei!'?”<br /> ''<br /> A friend from outside literary circles asked me to find him some “pei pei pei!” essays to read, and I had to stare at him blankly with nothing to say. He then explained that he had read in a newspaper that a certain provincial leader had announced at a banquet that there should be no more “pei pei pei – ing” all over the place, and so clearly there must be pei pei pei-ing all over the place. (Shao 1993, 181)<br /> So begins an essay entitled “呸呸呸!”? composed in February of 1989. I will return to the circumstances of publication shortly, but first I will demonstrate the trope of tone through this representative sample ''zawen.<br /> ''<br /> <br /> <br /> 一个“呸呸呸！”的示例<br /> 一个文学圈外的朋友让我给他找来一些呸呸呸的文章来读一读，我只好面无表情地看着他，无话可说。他就解释说，他在报纸上看到某省领导在一次宴会上宣布，各地不应再说“呸！呸！呸！”了，所以很明显到处都在说呸！呸！呸！。(邵1993，181) 1989年2月创作的一篇题为《呸呸呸！》的文章是由此开始的。关于发表时的情形，我将在不久后再谈，但首先我会通过这篇有代表性的杂文样本来解释语气的特例。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 02:26, 13 December 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> A word like “Pei!” contains what we can call a modal trope, a figure of speech that captures mood and emotion, expressing not only subjunctive or declamatory mood, as adverbial modal tropes such as “could” and “should” may do in English, but also more subtly embedded mood in the semantics of lexical items (the meanings in words) expressing outrage, joy, command, sarcasm, threat, pathos, irony (Friedrich, 30-32). Usually modal tropes work together with other functions of language but in the case of “pei!” the modal trope is more nearly pure, it stands primarily for the emotional tone it communicates. A parallel sample in English might be something like “tut, tut, tut!” although “tut” fails to pack the censorious reproach of the Chinese “pei!”<br /> <br /> 像“呸！”一词包含一种我们可以称之为情态比喻的修辞手法，反应了说话人的心情和情绪，不仅表达了虚拟语气或宣告语气，和英语中的“可以”和“应该”这样的副词情态作用一样，而且更巧妙地将语气嵌入表达愤怒、喜悦的词汇项（单词中的含义）的语义中，用以表达命令，讽刺，威胁，悲伤，讽刺的情感（弗里德里希，30-32）。情态比喻通常与语言的其他功能共同作用，但在“呸！”这一例子中，情态比喻更接近其本身的作用，主要代表它所传达的情感基调。一个类似的英语例子可能是“tut, tut, tut!”（“啧啧，啧啧，啧啧！），但是“tut, tut”未能涵盖中文里“呸”的挑剔责备之意。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 06:07, 12 December 2020 (UTC)<br /> 像“呸！”一词包含一种我们可以称之为情态比喻的修辞手法，反应了说话人的语气和情感，不仅表达了虚拟语气或感叹语气，和英语中的“可以”和“应该”这样的副词情态作用一样，而且更巧妙地将语气嵌入表达愤怒、喜悦、命令、讽刺、威胁、伤感、反讽的词汇项（单词中的含义）的语义中（弗里德里希，30-32）。情态比喻通常与语言的其他功能共同作用，但在“呸！”这一例子中，情态比喻更接近其本身的作用，主要代表它所传达的情感基调。英语中一个类似的例子可能是“tut, tut, tut!”（“啧啧，啧啧，啧啧！），但是“tut, tut”未能涵盖中文里“呸”的挑剔责备之意。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:39, 12 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> In the case of this title, modal functions are reinforced by several formal tropes. Note the repetition (three pei's!) and the complex punctuation consisting of an exclamation point and a question mark, separated by quotation marks. In the case of “Pei pei pei!”?, the ''zawen'''s own voice is not the primary expression of the tone of disgust. The quotation marks invoke disgust only to distance it, while the question mark further challenges it. The title alone demonstrates modal function with very little distraction; one character, two repetitions and three punctuation marks move this title in several modally intense directions at once with almost no referential content at all.<br /> <br /> 就此标题而言，几个正式比喻加强了情态功能。注意引号将”呸！呸！呸！“以及由一个感叹号和一个问句组成的复杂标点分离开来。在”呸呸呸“的例子中，厌恶的语气并不主要是由”杂文“本身表达出来的，引号引起的厌恶只是为了疏远它，然而问号进一步挑战了它。标题本身只是用小小的娱乐意味展示了情态功能；一个汉字，两个重复和三个标点符号同时动摇了此标题的情态强度方向。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:32, 12 December 2020 (UTC)<br /> <br /> 就此标题而言，几个正式比喻加强了情态功能。注意重复“呸！呸！呸！”以及由一个感叹号和一个问句组成的复杂标点分离开来。在“呸呸呸”这一例子中，厌恶的语气并不主要由“杂文”本身表达，引号引起的厌恶只是为了疏远它，然而问号进一步挑战了它。标题本身只是用小小的娱乐意味展示了情态功能；一个汉字，两个重复和三个标点符号同时动摇了此标题的情态强度方向。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:20, 12 December 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> “Pei pei pei!”? performs a transparent metadiscursive comment upon ''zawen'', in this case defending the extracurricular genre favored by declasse intellectuals like Shao Yanxiang, himself, a “retired” poet who had resigned with bitterness from his career at the central Chinese poetry journal ''Shikan'', and devoted his post official career to writing zawen. Upon learning of this unnamed “provincial leader's” complaint about “pei pei pei”-ing, and sensing that he himself bore some responsibility for this reportedly lamentable state of affairs, Shao writes that he discovered that the provincial leader had indeed characterized a kind of caustic, sarcastic disparaging discourse about the party, the nationality and the people, as “pei pei pei-ing all over the place” and that he had further warned that this kind of talk was spreading a mood of despair and hopelessness.<br /> <br /> “呸呸呸！”是一种显而易见对杂文的不着边际的评价，这种情况下支持课外的流派是下层知识分子，例如邵燕心，他本身是怀着悲痛的心从中国核心诗歌期刊《诗刊》辞职，并全身心将写杂文作为其正式职业。在看到某不知名的省级干部“呸呸呸”的不满评价，同时也感受到自己对这种令人大失所望的事所担负的责任，邵写下他所发现的，这位省级干部的确对党、民族以及人民写有挖苦、讽刺、非难的文章，就像“到处都在呸呸呸”一样，他进一步发出警告，这样的言论正传播一种绝望沮丧的氛围。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 02:54, 14 December 2020 (UTC)<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> In the remainder of this essay Shao ridicules said provincial leader's complaint as circular, admitting no culpability on the part of his own fellow ''zawen''-writing social critics. <br /> <br /> The tone of “Pei pei pei!”? is that of pointed irony, expressed recursively upon three levels. The first level is located in the words themselves, including the use of “pei” I have described above. This “first order” irony, as I have described it (Scoggin 1997), is an elementary type of sarcasm, a part of the conventional rhetoric of any language, written or spoken, and not usually misunderstood by a competent interpreter.<br /> <br /> 在文章的剩余部分绍讥讽道省领导的申诉是一个闭环，不承认他的同伴所写的社会批判性杂文有任何的罪恶。<br /> <br /> “呸呸呸”的语气是尖锐的讽刺，递进的传达着三个层次的含义。第一层含义是基于词语本身，包括我在前面所提到的“呸”的使用。正如我所描述的那样（Scoggin 1997），这种“一阶”讽刺是讽刺的一种基本类型，是任何语言的传统修辞学的一部分，无论书面或口语，通常都不会被有能力的口译员误解。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 09:34, 12 December 2020 (UTC)<br /> <br /> 在文章的剩余部分绍讥讽道省领导的申诉是一个闭环，不承认他的同伴所写的社会批判性杂文有任何的罪恶。<br /> <br /> “呸呸呸”的语气是尖锐的讽刺，以递进的方式传达着三个层次的含义。第一层含义是基于词语本身，包括我在前面所提到的“呸”的使用。正如我所描述的那样（Scoggin 1997），这种“一阶”讽刺是讽刺的一种基本类型，是任何语言的传统修辞学的一部分，无论书面或口语，通常都不会被有能力的口译员所误解。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:46, 11 December 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> Other examples of this level of tone in “Pei pei pei!”? would include the attitude of “stupidity” Shao Yanxiang assumes when he claims that he looks for pei pei pei ing “all over the place” but cannot find any at all, and the repeated use of expressions he lifted from the pointedly unnamed “provincial leader's” talk, including the primary charge of “mockery, sarcasm and scornful dismissal” Shao is refuting, and also the leader's assertion of “discipline and rectification,” which Shao has skillfully turned into a counter charge. <br /> <br /> A second level of irony requires contextual knowledge on the part of the reader. This includes assumptions that would be obvious to most readers.<br /> <br /> “呸呸呸!”？中这种程度的语气的例子包括，邵彦祥在“到处”寻找呸呸呸，却一无所获时所采取的“愚蠢”的态度，以及他从完全不知名的“省级领导”的谈话中反复使用的表达方式，包括主要的“嘲笑、讽刺和轻蔑的解雇”，邵逸祥反驳道，还有领导对“纪律严明”的断言，邵巧妙地把这句话变成了反击。<br /> <br /> 第二层次的反讽需要读者的语境知识。这包括对大多数读者来说显而易见的假设。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 05:03, 11 December 2020 (UTC)<br /> <br /> “呸呸呸！”中这种音调水平的其他示例吗？其中包括”愚蠢”的态度，邵燕翔宣称当他在“到处”寻找呸呸呸的时候，却在哪儿也找不见它了，以及从完全不知名的“省领导的”的讲话中，他指出了那些重复的使用，包括邵伟反驳的主要指控“嘲弄，嘲讽和轻蔑”，以及领导人对“纪律和整顿”的主张，邵伟已巧妙地将其反驳。<br /> <br /> 第二层次的反讽需要需要该部分读者的语境知识。这包括了对于大多数读者来说都显而易见的假设。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 13:06, 12 December 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> For example, Shao Yanxiang claims that he has never heard of the idea that “literary publications should be of assistance in stabilizing the people's minds, increasing faith, and not demoralizing the people's will.” But just such a position has clearly been long-standing socialist policy for many kinds of public writing, including media news and literature. References to historical events in terms like the cultural revolution tones of “newspaper [published] by all the people” and Han Shaogong's controversial Post-Mao short story “Ba Ba Ba” fall somewhere in between the first and second levels of ironic tone. <br /> <br /> A third level, which I have labeled “indexical irony,” makes use of immediately contextual information such as the actual publishing outlet of the essay (in this case, the mainstream ''Literature Journal'' essay column “Literature and the People's Lives,” which Shao mentions at the end of the article) and Shao's own writing persona.<br /> <br /> 例如，邵彦祥声称他从未听说过“文学出版物应在稳定人民思想，增进信仰，不使人民意志消沉方面有所帮助”这一思想。 但是，这种立场显然已经成为包括媒体新闻和文学在内的许多公共写作的长期社会主义政策。 对历史事件的引用，例如“全民[报纸]的文化大革命”和韩少功备受争议的毛泽东短篇小说“八八八”，都介于第一和第二讽刺语调之间。<br /> <br /> 第三个层次，我称之为 &quot;索引性反讽&quot;，利用文章的实际出版渠道（在这里，邵在文章结尾提到的主流''文学报''散文专栏 &quot;文学与百姓生活&quot;）和邵自己的写作人设等即时语境信息。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:13, 9 December 2020 (UTC)<br /> <br /> 比如，邵燕祥声称，他从来没有听说过 &quot;文艺刊物要对稳定民心、增加信仰、不挫伤民心意志有帮助 &quot;的观点。 但就这样的立场，显然是包括媒体新闻和文学在内的多种公开写作的长期社会主义政策。 像 &quot;全民办报（出版）&quot;的文革调子和韩少功的争议性后毛短篇小说《巴巴》等词语对历史事件的提及，都属于第一和第二层次的反讽调子。 <br /> <br /> 第三层次，我称之为 &quot;索引性反讽&quot;，利用文章的实际出版渠道（在这里，邵逸夫在文章结尾提到的主流''文学报''散文专栏《文学与人民生活》）和邵逸夫自己的写作人设等即时语境信息。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:17, 9 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> ''Zawen'' often make extensive use of this third, intimately contextualized level. In this case Shao claims that he can find no “pei pei pei” articles, but many readers would recognize that he himself is well known for writing ''zawen'' that would certainly qualify.<br /> <br /> In “Pei pei pei!”? Shao Yanxiang has deliberately sought out an accusation that he then counters with withering acerbity. Complaint, combat and disgust are just the beginning of the range of contentious moods that ''zawen'' represent. ''Zawen'' accuse, retaliate, needle, and snarl; but as I will demonstrate shortly, they can also moan and sigh with considerable subtly. Either way they clothe all this, quite often, in word games of subterfuge and indirectness, which -- beyond the intellectual puzzle of circumlocution also common in other genres of verbal art -- carries the weight of ''zawen'''s mission in the singular feature of tone.<br /> <br /> <br /> “杂文”常常广泛运用第三层次，即与语境化紧密联系的层次。在这种情况下，邵燕祥声称他找不到“呸呸呸”的文章，但许多读者都知道，他本人以写“杂文”而闻名，这肯定是符合条件的。<br /> <br /> “呸呸呸!”? 邵燕祥故意找人指责他，然后用尖酸刻薄之语加以反驳。抱怨、战斗和厌恶只是“杂文”所代表的一系列有争议情绪的开始。“杂文”是指责、报复、针锋相对、咆哮的；但正如我稍后将演示的那样，它们也可以相当巧妙地呻吟和叹息。不管怎样，他们常常把这一切穿插在诡辩和间接的文字游戏中，这一点——除了在其他语言艺术流派中常见的迂回曲折的智力谜团之外——承载着“杂文”的使命，即声调的独特特征。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 03:01, 12 December 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> As a ''zawen'' writer, the “provincial leader's” complaint is exactly the sort of accusation intellectuals like Shao Yanxiang are accustomed to facing. His defense links the ''zawen'' mission to many others we could find in diverse settings; he is also answering, for example, Spiro Agnew's famous condemnation of “nattering nabobs of negativism” in American public discourse, and displaying the cross-cultural breadth of a “Jeremiad,” evident in the travel-worthy allusion of the very term, rooted in biblical texts. In this and other ''zawen'', Shao defends the contemporary Chinese genre of zawen as genre of protest and complaint. He borrows the insult of a critic to distinguish thoughtless emotional battering from the carefully aimed spar, which is both his own ideal and the standard mission of the genre of ''zawen.''<br /> 作为一个“杂文”作家，对于来自“省领导”的批评，像邵彦翔这样的知识分子已经习惯面对。他对领导做出的解释让人们把写杂文和我们可以在不同环境中找到的其他任务联系起来;例如，他还解释了斯皮罗·阿格纽(Spiro Agnew)为什么要谴责美国公共演讲中著名的”喋喋不休的消极主义者，并说明了这种悲哀在跨文化上，在这个源自圣经的术语的典当中的广泛性。在这篇杂文和他其他的作品中，邵表示当代中国的杂文是用来表达抗议和不满的文体。他借用了批评家的侮辱言论来区分无意识的情感伤害和有意的争吵，这既是他自己的理想，也是“杂文”应该表现的。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 15:08, 11 December 2020 (UTC)”<br /> <br /> 作为一名“杂文”作家，“省领导”的抱怨正是像邵燕祥这样的知识分子习惯面对的那种指责。他对领导做出的解释让人们把写杂文和我们在不同环境中可以找到的许多其他任务联系起来；例如，他还回答了斯皮罗·阿格纽（Spiro Agnew）在美国公共话语中对“消极主义的喋喋不休”出名的谴责，并展示了&quot;耶利米德&quot;的跨文化广度，这一术语在源于圣经文本的关于旅行的字词中显而易见。 在《杂文》和其他杂文中，邵燕祥为当代中国的杂文流派做辩护，认为杂文是抗议和抱怨的流派。他借用批评家的侮辱来区分思想上的情感打击和精心策划的争吵，这既是他自己的理想， 也是 “杂文” 流派的标准使命。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 09:05, 12 December 2020 (UTC)<br /> <br /> ==Zhang Qi 张琪==<br /> '''A Restrained Sample – “East Station”'''<br /> <br /> I have outlined how one essay demonstrates the function of ''zawen'' in a particularly transparent way, but some of the best and most effective zawen are covert operations. On the opposite side of spectrum of transparency, we can place a relatively understated and “essay-like” ''zawen'', also by Shao Yanxiang. “East Station” was submitted for a national ''zawen'' competition in a southern evening newspaper in 1994. It was judged too “sensitive” to publish by the zawen editor, but nevertheless it was privately noted by the editors as the unofficial winner of the competition. At first glance there is very little to mark it as a ''zawen'' at all, not to mention a seditious ''zawen''.<br /> <br /> 受约束的样本–“东站”'''<br /> <br /> 我已经概述了一篇文章如何以一种特别透明的方式展示“ 杂文”的功能，但是一些最好，最有效的杂文是秘密行动。 在透明度范围的另一面，我们可以放一个相对低调的，也像邵燕香一样的“散文式”“ 杂文”。 1994年，“东方站”在南方晚报上提交给全国“ 杂文”竞赛。它被杂文编辑认为过于“敏感”而无法出版，但编辑私下指出它是非官方的比赛获胜者。乍一看，几乎没有什么可以将其标记为“ 杂文”的，更不用说煽动性的“ 杂文”了。--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 05:47, 10 December 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> It is a rather lyrical survey of historical images centering upon refugees, migrants, political and literary figures on their passages to and from Beijing. It does, however, contain a few of the indications of first level irony that traditionally mark a ''zawen'', such as a “quotation” placed for its jarring effect, as in the opening passage below.<br /> <br /> Thirty years ago in Beijing, if you mentioned “East Station,” everybody would know that referred the Beijing East Station that lies to the outer East Side of Front Gate. Today this unremarkable construction, built in a half-westernized architectural style and sandwiched between the tall buildings of this noisy and busy city, supports a little sign that reads “Railway Workers Club.” It is already an “ancient artifact,” long gone are the prosperous and glorious days of old.<br /> <br /> 此文是以流民，移民，政治和文学人物往返北京为中心的历史形象的抒情研究。然而，它确实包含了一些传统上标记“杂文”的第一层讽刺的暗示，例如为了其刺耳效果而放置的“引语”，如下面的开头段落所示。<br /> 三十年前的北京，如果提到“东站”，大家都会知道是指位于正门外东侧的北京东站。如今，这座半西化建筑风格的不起眼的建筑，夹在喧嚣闹市的高楼大厦之间，支撑着一块“铁路工人俱乐部”的小牌子，已是“古文物”，昔日的繁华辉煌早已一去不复返了。<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> The somber opening paragraph is in part marked as a zawen by the appearance of snapshot “quote,” in which what might have been a significant icon of Beijing history is reduced to a cheesy “Railway workers club” sign hanging on a architecturally half-breed building not even worthy of preservation. Other ironic comments of this sort include Shao's sarcastic reference to Guo Moruo;<br /> <br /> And in March of 1949, when Guo Moruo and his democrats gathered together and arrived in Beijing, they were received with grand ceremonious welcome; the tears they wept were of joy. At the time, he composed a poem “How much of the people's blood was spilled for this honor.<br /> <br /> 沉闷的开场白部分是由快照“引文”的出现而标记为杂文的，其中可能是北京历史上的一个重要标志，被简化为一个俗气的“铁路工人俱乐部”标志，悬挂在一座半成品建筑上，甚至不值得保存。 其他类似的讽刺评论包括邵逸夫讽刺郭沫若；<br /> 1949年3月，当郭沫若和他的民主党人齐聚北京时，他们受到了隆重的欢迎，他们流下的泪水是喜悦的。当时，他写了一首诗“为了这个荣誉，人民的洒了多少鲜血。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 13:02, 13 December 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> Thinking of it, the tears fall, and happy laughter is unable to articulate in sound.” -- I do not know why, but this poem was not collected in any of his later collections.<br /> <br /> In a similar but more deeply contextualized vein would be Shao Yanxiang's allusion to Tu Fu's escape during the An Lu Shan rebellion during the Tang Dynasty contained in the quoted term “fortuitous rescue.” Shao's general structure in this piece is a recurring cyclical allegory that parallels the Japanese, the Nationalists and the Communists in bitter condemnation of the last, as only one more invasive army disturbing the lives of ordinary Chinese people. The People's Traffic Police also take their place in this cycle, a silly reminder that we are still in the realm of ''zawen''.<br /> <br /> 想到这一点，眼泪就掉了，开心的笑声无法表达出来。” -我不知道为什么，但是这首诗在他后来的任何收藏中都没有。<br /> <br /> 在引述的“幸运的救援”一词中，邵衍祥对唐复安禄山叛乱期间杜甫的逃亡的暗示与之相似但更为深刻的脉络。 邵军在这篇文章中的总体结构是一个反复出现的周期性寓言，它与日本人，国民党和共产主义者在最后一个人的严厉谴责中并驾齐驱，因为只有一支侵略军干扰了普通中国人民的生活。 人民交警也在这个周期中取代了他们的位置，愚蠢地提醒我们，我们仍然处在“杂文”领域。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 05:37, 14 December 2020 (UTC)<br /> <br /> ==Zhang Yu 张瑜==<br /> Obviously this kind of first and second-level rhetorical sarcasm and historical irony alone is not enough to define an essay as a ''zawen'', but the difficulty of assigning an essay its genre is also no obstacle; ambiguous “mixedness” is part of ''zawen'''s identity. This covert zawen depends most fundamentally upon indexical irony, to an extent that surpasses “Pei Pei Pei!”?, above. One crucial feature that makes “East Station” a ''zawen'' is the entirely untextual fact that Shao Yanxiang submitted it in a competition specifically designated for ''zawen'' in a provincial evening newspaper. The editors did not reject the piece as “non-''zawen'',” on the contrary, they complained that it contained too much of the requisite ''zawen'' pique. In order to understand this, we must again go beyond the actual words of the piece.<br /> <br /> 仅从一级和二级讽喻修辞及历史讽刺角度分析显然不足以将一篇文章定义为“杂文”，但将一篇文章分类的难题也不是什么障碍；含糊“混杂”是“杂文”的特点之一。杂文的隐蔽性更多地依赖于索引性讽刺，在某种程度上来说，它超越了“呸呸呸！”。把《东站》这篇文章归为“杂文”的一个关键因素是由于其完全无文本性这一事实，邵燕祥在地方晚报“杂文”特辑上发表这篇文章。编者也不否认这篇文章不是一篇“杂文”；相反地，他们抱怨这篇文章涵盖太多“杂文”必不可少的气息。为了解这一点，我们必须再次透过文字本身来看这篇文章。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:49, 9 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> In a late night conversation in which the managing editor and two guests including myself drank beer and discussed the ''zawen'' competition to which “East Station” was submitted, the editor mused about the publication that wasn't. She said;<br /> <br /> Actually Shao Yanxiang submitted two manuscripts, but I had to return one. (Reaching around to a drawer) Well, I wanted to return it to him, but then I couldn't bear to. The original is still here, I wonder if you will understand? It requires some background...At the time it was the head editor that rejected the manuscript. He also felt badly, but there was no question but that it could not be printed, because it would certainly cause trouble...This happens with your friends, but I really felt uncomfortable about this one.<br /> <br /> 在那个深夜，总编辑与包括我在内的两位客人喝了啤酒，我们还讨论了杂文竞赛，有本参赛的书叫“东站”。想到那本未出版的书。 编辑陷入了深思，她说：<br /> <br /> 实际上邵炎祥上交了两份手稿，但我必须退回一份。 （她接着走到抽屉边）是的，我想把这份还给他，但我还是不忍心。 原稿还在这里，我想知道你们是否会明白？ 这需要对当时的背景有一些了解...当时是首席编辑拒绝了手稿。 他也感到难受，但无疑这本书不能被印刷出来，因为到时候肯定会引起麻烦……他是你们的朋友，但是我真的对此感到不舒服。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 07:44, 13 December 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> Because this essay was just written so well. He just wrote about the East Station, but he used Beijing East Station to talk about his view on everything. (Scoggin Fieldnotes) <br /> <br /> She continued to discuss the essays that were just too “that way” (''neige le'') as they came in for the competition. “One day the police came and looked through that box all afternoon!” she added. The managing editor's two guests that evening jumped on her comment, “They what!?” But she retained the appearance of serenely refusing to interpret this police visit as a sinister gesture.<br /> It was just manuscripts, why should they look at those? They said they were just reading, there were two of them, I really don't know, I guess they enjoyed reading them too.(ibid)<br /> <br /> 因为这篇作文实在是写得太好了。他只是写了东站，但是他用北京东站来谈他对一切的看法。(史可法场记)<br /> <br /> 她继续谈论参赛的散文，认为文章太&quot;那样&quot;了。她继续说道：“有一天，警察来了，整个下午都在翻阅那个盒子！”当晚，主编的两位客人突然评论道：“他们干什么！”但她平静地拒绝将这次警察访问解释为一种险恶姿态的外貌。<br /> 这只是手稿， 他们为什么要看那些？他们说他们只是在读书， 有两个， 我真的不清楚， 我想他们也喜欢读吧。（同上）--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:17, 12 December 2020 (UTC)<br /> <br /> 因为这篇文章写得太好了。他只是写了东站，但他用北京东站谈他对一切的看法。(史可法场记)<br /> 她继续谈论参赛的散文，认为文章太&quot;那样&quot;（奈格乐）了。她继续说道：“有一天，警察来了，整个下午都在翻阅那个盒子！”当晚，总编辑的两位客人突然说道，“他们在干什么！？”但她仍然保持着平静的样子，拒绝把这次警方的访问解释为一种邪恶的姿态。<br /> 这只是手稿，他们为什么要看那些？他们说他们只是在看书，有两个，我真的不知道，我想他们也喜欢看吧。（同上）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:14, 13 December 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> When she finally found the manuscript (tucked away where snooping police would not have found it) she decided to give it to me. She said she had called Shao Yanxiang to tell him that they could not print it, and even though he had said he understood, she still hated to bring the matter to his attention again by sending the essay back to him, and now it seemed too late. Since I was also acquainted with him, and clearly admired him, giving the manuscript to me as research material seemed to her to be a fitting conclusion to the whole matter. <br /> <br /> In the original manuscript of “East Station” is signed, as is the custom, with the date it was composed at the bottom, “September 13, 1989.” Although it was submitted to the newspaper in 1994, in a private note scrawled to the editors, Shao added; “Please don't cut or change this date.<br /> <br /> 当她终于找到手稿时（藏在窥探警察找不到的地方），她决定把它给我。她说，她曾打电话给邵燕祥，告诉他，他们不能打印。即使他说，他理解，她仍然不愿意再次提请他注意的问题，把文章给他，现在似乎为时已晚。由于我也认识他，显然很敬佩他，把手稿给我作为研究材料，在她看来是整个事情最合适的结果。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 08:34, 12 December 2020 (UTC)<br /> <br /> 在原稿上签着“东站”，按照习俗，与日期“1989年9月13日”一起在底部。虽然1994年它提交给了该报，但用一份私人便条向编辑们草草写了字，但邵补充说：“请不要剪掉或更改此日期。”--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 08:34, 12 December 2020 (UTC)<br /> <br /> 终于她找到了手稿，并且决定把它给我。她说，她曾打电话给邵燕祥，告诉他，这本书不能印刷出版。邵燕祥说他理解，但她还是不愿意把手稿还给他，以免让他再次想起这件事，但现在似乎为时已晚。由于我也和他熟识，并且显然很敬佩他，把手稿给我当做研究材料，在她看来是最好的选择。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 07:51, 13 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> The new railway station began operation in 1959, and this fits in parallel with 'more that thirty years ago' at the beginning of the essay.” The emphasis upon these dates forces a new consideration of the essay as a whole. Suddenly the parallel between Nationalist, Japanese and Communist cycles of refuge and expulsion he mentions are rendered a sinister reference to a modern “rebellion” in the spring and summer of 1989. The date heightens the threat of Shao's concluding two sentences; “Today will also become history. And every inch of Beijing earth will provide proof of its history.” The scrawled note links 30 years, 1989, “today,” and the defiant “inches of proof” that mark East Station as a zawen, even beyond the micro structure of submission channels. For all its elusively distant tone, East Station suddenly became a pointed, angry, and, even in 1994, unpublishable ''zawen''.<br /> <br /> 新火车站于1959年开始运营，这与文章开头的'三十多年前'相吻合&quot;。对这些日期的强调，迫使我们对文章的整体进行新的考虑。突然间，他提到的国民党、日本和共产党的避难和驱逐周期之间的平衡，被恶意渲染成1989年春夏的现代 &quot;叛乱 &quot;。这个日期强调了邵的最后两句话：“今天也将成为历史。而北京大地的每一寸土地都将为其历史提供证明。&quot; 这张潦草的纸条将30年、1989年、&quot;今天 &quot;和不顾一切的 &quot;寸土寸金 &quot;联系在一起，这标志着东站作为一个杂文，甚至超越了提交渠道的微观结构。尽管东站的语气难以捉摸，但它突然变成了一个尖锐的、愤怒的、甚至在1994年还无法出版的杂文。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:15, 9 December 2020 (UTC)<br /> <br /> 新火车站于1959年开始运营，与本文开头的“三十多年前”相适应。” 对这些日期的强调迫使我们对论文作为一个整体进行新的考虑。 他提到，国民党，日本人和共产党人的避难和驱逐循环之间的相似之处突然变成了对1989年春夏的现代“叛乱”的阴险参考。这一日期加剧了邵的结论的威胁。 今天也将成为历史。 北京的每一寸土地都将提供其历史的证明。” 散乱的笔记将1989年的30年（今天）与挑衅的“几分证据”联系起来，这标志着东站成为杂文，甚至超出了提交渠道的微观结构。 尽管遥不可及，但东站突然变得尖锐，愤怒，甚至在1994年，也无法发表“杂文”。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:18, 9 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> '''A Larger Trend: Revealing Ugly Truth through Troubled Tones'''<br /> <br /> It is almost a matter of definition, then, that discordant, troubling tones are the characteristic, even of the most beautiful ''zawen''. I have not illustrated “ugly” ''zawen'' here, but they do exist, and in profusion. Many ''zawen'' are suffused in a preachy, pedantic tone that is sometimes quite off-putting to Chinese and non-Chinese readers alike. And yet, like the larger category of essays in Chinese literature, ''zawen'' remain a popular staple in the literary supplements of Chinese newspapers, and many prominent writers turn later in their career to writing ''zawen''. In contemporary history the “mule” genre of ''zawen'' has also played a significant political role far beyond its humble posture (see Scoggin 1997).<br /> <br /> 一个更大的趋势。通过烦恼的语气来揭示丑陋的真相。<br /> 那么，这几乎是一个定义的问题，不和谐的、令人不安的音调是特征，即使是最美丽的杂文也是如此。我在这里没有说明 &quot;丑陋 &quot;的杂文，但它们确实存在，而且数量很多。很多文都充斥着一种说教的、迂腐的语气，有时让中国和非中国的读者都很不喜欢。然而，就像中国文学中更大的散文类别一样，杂文仍然是中国报刊文学副刊中的热门主打，许多著名作家在其职业生涯的后期都会转向写杂文。在当代历史上，&quot;骡子 &quot;文体也发挥了重要的政治作用，远远超出了它的卑微姿态（见Scoggin 1997）。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 08:57, 10 December 2020 (UTC)<br /> <br /> '''一个更大的趋势：用混乱的声音揭示丑陋的真相'''<br /> 这几乎是一个定义的问题，那么，不和谐的、麻烦的音调是特点，即使是最美丽的杂文也如此。我在这里没有说明“丑陋的”杂文，但它们确确实实存在，而且数量繁多。许多杂文充斥着一种说教、迂腐的语气，这对中国和外国读者来说有时是相当令人讨厌的。然而，与中国文学中较大的一类散文一样，杂文仍然是中国报纸文学副刊的主要内容，许多著名作家在后来的职业生涯中都转向写杂文。在当代历史上，“骡子”类型的杂文也发挥了重要的政治作用，远远超出了其谦卑的姿态（see Scoggin 1997）。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 13:13, 13 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> What is it about this genre that draws prominent writers, and commands significant attention of the Chinese readership? The answer lies, I think, in assumptions about the mechanics of tone rooted in Chinese literary history. To examine this problem we need to leave particular zawen behind and examine a larger picture that views Chinese literature via the globalized perspective that contemporary Chinese critics take.<br /> <br /> ''Zawen'' as a category causes problems for Chinese as well as non Chinese classification, but there is a revealing divide between Western and Chinese treatment of zawen. With few exceptions, ''zawen'' has been neglected as a subject of the study of Chinese literature from outside of China until recently (the Achern conference on the Modern Chinese Literary Essay being a rare exception, with several papers devoted to zawen.)<br /> <br /> 这种类型吸引了杰出的作家，并引起了中国读者的极大关注？我认为答案在于中国文学史的机械性假设。要审视这一问题，我们需要抛开特定的杂文，从当代中国批评家的全球化视角审视中国文学。<br /> “杂文”作为一个范畴，给汉语和非汉语的分类都带来了问题，但中西方对“杂文”的处理有着明显的分歧。“杂文”是近年来国外华文文学研究中一个被忽视的课题，但也有少数例外（阿奇恩中国现代文学随笔会议是一个罕见的例外，有几篇论文专门讨论了扎文）。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 13:48, 13 December 2020 (UTC)<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> While the problem of the status of zawen is not important in itself, I propose difficulties with this particular genre can reflect larger issues of significance to the study of Chinese literature and culture more generally. ''Zawen'' can highlight some special features of Chinese writing that are latent in other, more respectable forms of Chinese literature and culture. My research on ''zawen'' showed many instances of zawen being held up as a unique outgrowth of Chinese particularities, such as a fondness for brevity in verbal art, a tendency to take intellectuals more seriously than they are taken in contemporary societies elsewhere, as well as a few “perversions” that are supposedly unique to China, such as political tyranny that is strikingly detail-oriented, or collective aversion to verbal performance that is too straightforward (Scoggin 1997).<br /> 尽管杂文现状问题本身不是很重要，但是在更大层面上，即站在研究中国文学与文化的角度上看，克服掉研究这种特别类型的困难还是有很大意义的。“杂文”可以突显中国写作的一些独特特征，这些特征潜在于中国文学与文化中的其他更为体面的类型里面。在我对于“杂文”的研究里，展现了很多可证实杂文作为中国人性格发展结果的例子，比如说，喜爱口头表达的简洁，较比现代社会，以前的文人墨客被看得更重，以及一些中国独有的“反常”现象，比如明显关注细节的政治暴政或者对于过于直白的口头表现的集体厌恶。--[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 08:51, 13 December 2020 (UTC)Zhou Shiqing<br /> <br /> ==Zhou Shuyao 周书尧==<br /> Some of these claims for Chinese exceptionalism may be overblown; but I think that the genre, driven by what I argue is its central mission of tone, makes observable certain strains and practices that have acted as stumbling blocks to international research on other aspects of Chinese culture. <br /> <br /> Chief among those obstacles to the study of Chinese literature is what I call the “bad literature” complaint.[ For recent affirmations of this complaint, see Huters 1990, McDougall 1997, Link, 2000. Earlier views in American sinology tie &quot;bad literature&quot; directly to the effects of political tyranny. ] Summarizing several quite different lines of argument, the suggestion is that with all the promise of Chinese literature holds as a naturally poetic language, with rich, revered and well-preserved traditions, with the particular visual and grammatical advantages of the Chinese character and linguistic structure, and further with dedicated literary “troops” to use the modern Chinese metaphor for institutions of organized and supported writers, modern Chinese literature has failed to produce truly great literature.<br /> <br /> 这些对中国例外论的主张也许有些夸大其词。但我认为，在我所说的语调中心使命的推动下，这一体裁产生了一些明显的张力和做法，它们成为了国际上对中国文化其他方面研究的绊脚石。<br /> 在中国文学研究的这些障碍中，最主要的是我所说的“糟糕文学”抱怨。[最近对这一投诉的肯定，见胡志德1990，麦独,1997，林克，2000，美国汉学早期的观点将“糟糕文学”与政治暴政直接联系在一起。]总结几条截然不同的论据，我们的建议是，尽管中国文学的所有希望都是一种自然诗意的语言，有着丰富、受人尊敬和保存完好的传统，具有汉字和语言结构的独特视觉和语法优势，而且还具有专门的文学作品“军队”，用现代汉语比喻制度中有组织、有支持的作家，中国现代文学未能产生真正伟大的文学作品。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:01, 13 December 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> Obviously this generalization is subject to objection at many, if not all of its points. I would argue, however, that the consistency with which similar arguments emerge, defensible or not, points to themes of some significance. Complaints frequently accrue over the following literary practices;<br /> <br /> 1)Indulging in churlish tones, including hectoring, scolding and otherwise “yelling” in print<br /> <br /> 2)Adhering to one or another “politically correct line” <br /> <br /> 3)Participating in personal squabbles and vendettas, sometimes involving extraliterary persecution of both writers and targets <br /> <br /> 4)Exhibiting an “obsession” with China, and an oversized sense of responsibility for its fate<br /> <br /> 显然，这一概括在许多方面(如果不是全部观点的话)都遭到反对。然而，我要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加;<br /> 1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫”<br /> 2)坚持自己的“政治正确路线”<br /> 3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害<br /> 4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:00, 9 December 2020 (UTC)<br /> <br /> 显然，这一概括在许多方面(如果不是全部观点的话)都会遭到反对。然而，我（在此）要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加;<br /> 1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫”<br /> 2)坚持自己的“政治正确路线”<br /> 3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害<br /> 4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 04:03, 9 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> Interestingly, these complaints of “bad literature” are usually not strongly refuted by Chinese literary critics. Fair, true or not, this sort of summary criticism of the Jeremiah complex in Chinese literature in general is relevant to my discussion because these very faults that warrant the most notice are deliberately magnified in the genre of ''zawen'', and may be, I believe, essentially outgrowths of an almost unconscious commitment to the type of tone that defines the ''zawen'' genre most purely. I argue that what has happened here is that readers and analysts have failed to recognize a literary strategy that reflects deeper ideas about how tone is supposed to operate in verbal practice.<br /> <br /> 有趣的是，中国文学评论家通常不会强烈反驳这些对“烂文学”的抱怨。不管是否公平与真实,在中国文学中，这种耶利米情结的总结批评大体上和我的研究是相关的,因为这些最值得注意的错误在&quot; 杂文&quot;中被故意放大了。我认为,这本质上也许是纯粹对定义“杂文”体裁语气类型的无意识承诺的发展。我认为，这里的问题在于，读者和分析人士未能认识到一种文学策略，这种策略反映了语气在口头练习中应该如何发挥作用的更深层次的观点。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:08, 10 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> These “off” tones are not just flaws and mistakes resulting from tyranny or exaggeration, nor are they mere signs of amateur literary expression, the struggles of a culture trying to modernize. Instead they are held to be nearly involuntary markers, not of beauty, but what we will have to call for lack of a better word, “truth,” revealed by critical examination of shortcomings and problems that appear to stem from, again for lack of a better word, “culture.” Culture, in the high modern ideology adopted more or less wholesale in contemporary Chinese theoretical systems is opposed to the neutral modernity of newspaper editorials and literary short stories and the other canonical genres of modern writing practices.<br /> <br /> 这种坏文学不仅仅只是暴政或者夸张修辞之下的残缺产物，也不只是一种业余文学的表达或者一种挣扎着现代化的文化的表现。取而代之的是，它们被认为是近乎非自愿的标记，不是美感，而是我们必须呼吁缺少一个更好的词“真相”，这是通过对缺点和问题的严格审查而发现的，再次是由于缺乏 更好的词是“文化”。 在当代中国理论体系中或多或少采用了高度现代意识形态的文化，反对报纸社论和文学短篇小说以及现代写作实践的其他典型流派的中性现代性。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:42, 14 December 2020 (UTC)<br /> <br /> 这些“低沉”的语调并不仅仅是专制或夸张造成的缺陷或错误，也不仅仅是一种业余文学的表达或者一种文化试图现代化的表现。相反，他们被认为几乎是无意识的标记，不是关于美，而是我们将不得不呼吁的，缺少一个更好的词——“真相”，这是通过对缺点和问题的批判性研究揭示的，这些问题似乎源于，同样缺乏一个更好的词——“文化”。 在当代中国理论体系中或多或少采用了高度现代意识形态的文化，反对报纸社论和文学短篇小说以及现代写作实践的其他典型流派的中性现代性。<br /> --[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 05:18, 14 December 2020 (UTC)<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> Culture is not general, it is particular and peculiar, and Chinese culture exerts a powerfully perverse influence upon most genres of literature practiced in China.<br /> <br /> Examining tone in the broader context of Chinese culture reveals some of particular ways that social exchange, reference and the other mundane duties that plain (neutral, modern) words are supposed to carry out, must be crosscut with characteristically Chinese tone in order to communicate with the authority of truth, in explicit defiance of social requirements for polite and face-saving locutions held to be necessary in a uniquely Chinese way. Thus, complaint about “bad literature,” from a Chinese perspective may not be a mere reflection of failure but, rather, an expression of protest, a modal trope, mule's kick that works with stubborn tenacity to reveal unpleasant truths.<br /> <br /> 文化不是普遍的，而是特殊又独特的，中国文化对中国过去大多数流派的实用文学产生了强大的反常影响。<br /> <br /> 在更广泛的中国文化语境中考察语气揭示了一些特定的社会交换的方式，必须以具有中国特色的格调横切，参照语和普通词语（中性，现代）词语应该承担的角色必须与具有特色的汉语语调相交汇以便与真理的权威沟通。显然，这无视以独特的中国方式所必需的礼貌和爱面子的社会要求。因此，从中国人的角度来看:对“不良文学”的抱怨可能不仅仅是失败的反映，而是一种抗议的表达，一种情感化的的比喻，一种用顽强的韧性来揭示令人不快事实的骡踢。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 02:51, 13 December 2020 (UTC)<br /> ……而中国文化对以往在中国文学中应用过的体裁有这颠覆性的影响。<br /> 考察语气在更广泛的中国文化语境中揭示了一些特殊的方式，为了与真理的权威进行交流，社会交换、引用和其他一些应使用朴实的（中性的、现代的）词语的普通的义务中，必须与典型的汉语语调相交。--[[User:Li Yongshan|Li Yongshan]] ([[User talk:Li Yongshan|talk]]) 06:01, 14 December 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> ''Zawen'' provide frequent commentary on precisely this issue. Lan Ling, a major opponent of “New Tone” zawen theory provides a characteristically provocative commentary on writing “the ugly truth” through zawen. In an essay that asks why such a fuss is made when a “upright and esteemed elderly writer” pronounces that he intends now to speak/write “the truth,” (he refers to Ba Jin, see ''Suiganlu'') Lan Ling demonstrates the difficulty of establishing truth through his own experience:<br /> <br /> It was several decades ago that they “struggled” me saying I was “reactionary.” I responded, “I am fundamentally not reactionary (''fandong''), in fact, I am actionary (''zhengdong'').” They said, “There you go with sophistry, you are lying, who has ever heard of such a thing as 'actionary'?” … But if what I said was false, that of course meant that what they said was true, and thus my political label was accomplished: “reactionary.” After several decades this conclusion was overturned and rectified, so now what I had said became the truth. (Lan, 85).<br /> <br /> ''杂文''正是在这个问题上经常进行评论。 蓝翎是 &quot;新调 &quot;杂文理论的主要反对者，通过写杂文 &quot;丑陋的真相 &quot;，提出了富有争议评论。 在一篇文章中，他问道，为什么当一个 &quot;正直而受人尊敬的老作家 &quot;宣布他现在打算说/写 &quot;真理 &quot;时，人们会如此大惊小怪，(他指的是巴金，见''随感录'')，蓝翎以自己的经验证明了确立真理的困难。<br /> <br /> 那是几十年前，他们 &quot;斗争 &quot;我，说我是 &quot;反动派&quot;。我回答说：&quot;我根本不是反动的，事实上，我是行动的&quot;。 他们说：&quot;你又在狡辩了，你在撒谎，谁听说过'行动派'这种东西？&quot; ......但如果我说的是假话，那当然就意味着他们说的是真的，这样我的政治标签就完成了。&quot;反动派&quot; 几十年后，这个结论被推翻和纠正了，所以现在我说的话成了真理。 （兰，85）。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 05:52, 14 December 2020 (UTC)<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> The irony and false fatalism of this ''zawen'' is characteristic of its style. In this essay he claims to give up distinguishing the truth of his own speech; “No matter how difficult it is, this miserable person [I] still want to speak, and as for whether it is true or not, let someone else go analyze it.” (Lan, 85) Lan Ling reveals that he has created, in the heat of struggle, a misnomer; there is no such word as “actionary.” But, in the end, in its awkward and involuntary way, his retort rings true, what way is there to be, if not reactionary? Displaying all four characteristics of the “bad literature” complaint I have listed above, this piece is still an admired ''zawen''. It is the moody, but honest, kick of the mule.<br /> <br /> 这种“杂文”中的反讽和错误的宿命论是其风格的特点。在这篇文章中他宣称放弃了甄别言论中的真伪；“不管有多困难，这个可怜的人[我]仍然想说，至于说的真假，就让别人去分析去吧。”（兰，85）兰陵表示，在激烈的斗争中，他出现过用词不当的情况；就比如没有像“actionary”这样的词。”但是最后他的反驳以笨拙和不自觉的方式听起来像是真的，即使不是反动派的话，还能是哪种呢？这篇文章展示了我以上所列举的“不良文学”的全部的四个特点，它仍然是一篇受人敬佩的“杂文”。它令人悲伤，但是真诚又执拗。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:25, 9 December 2020 (UTC)<br /> <br /> 这类杂文的风格特点是讽刺和虚假的宿命论。在这篇文章中，他声称要放弃辨别自身言论的真假，&quot;无论多么困难，这个可怜的人（我）还是要说，至于说的是不是真的，就让别人去分析吧&quot;。(兰，85)兰陵透露，他在斗争的热潮中，创造了一个误区，没有 ’行动力‘这个词。”但是，最后，他以笨拙和不由自主的方式作出的反驳，听起来又像真的，如果不是反动性，还能有什么方式呢？这篇文章表现出我上面所批判列举的 &quot;劣质文学 &quot;的四个特征，但它仍然是一篇令人钦佩的杂文。它是有情调的，却诚实有执拗。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 09:09, 10 December 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> ''Tone in Historical Context''<br /> <br /> As evidence that it is the modal trope that inspired the genre of zawen from its inception, I conclude this essay with a brief look at historical manifestations of tone. It is key, and often part of the Chinese subtext, that the notion of tone (discussed alternately ''diao, yin, yun'') ultimately originates beyond words, in music. Even as a metaphor that must obliterate the acoustic qualities of sound when applied to written Chinese, tone maintains ties to the power of something that is in, or is like, sound, emphasizing physical, oral, informal and emotional qualities that are not part the rational process of exposition, this is the “poetry” of ''zawen''. Tone plays a role in a tremendous range of social events that surround and comprise writing. It occurs in the figure of music as a central metaphor in the most influential theories of literature and poetry.<br /> <br /> 历史背景下的音调<br /> <br /> 为了证明这是情态修辞启发了扎文这一体裁的产生，我在这篇文章的结尾简要介绍了音调在历史中的表现。音调的概念（也是人们讨论的“调”，“音”，“韵”）最终源于音乐中的文字，这很关键，而且这也经常是中文潜台词的一部分。即使它作为一个隐喻，在应用于中文书写时，它必须消除声音的声学品质，但语气仍与声音中或类似声音的事物保持联系，强调客观，口头，非正式和情感方面的品质，而这并不是声音的一部分。理性的阐释过程，这就是杂文的“诗”。音调在围绕和组成写作的众多社交活动中发挥着作用。它出现在音乐人物中，成为最有影响力的文学和诗歌理论中的中心隐喻。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 10:32, 13 December 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> For example, spoiled music can signal a larger or more abstract disturbance; in the classic novel Dream of the Red Chamber a heroine breaks a string on a instrument and sees her impending death; in a well known folk story a high ranking official Yu Boya hits a sour note and knows that a potential assassin is lurking in the woods, listening. Music figures centrally in the Confucian Great Preface to the Book of Odes:<br /> <br /> The affections emerge in sounds; when those sounds have patterning they are called “tones” [音] The tones of a well-managed aged are at rest and happy; its government is balanced. The tones of an age of turmoil are bitter and full of anger; its government is perverse. The tones of a ruined state are filled with lament and brooding; its people are in difficulty (Translated in Owen).<br /> <br /> 例如，被破坏的音乐能预示更大或更抽象的不安。在经典小说《红楼梦》中，女主人公弄断了乐器上的一根弦，看到了自己即将到来的死亡。在一个广为人知的民间故事中，高官俞伯牙拨弄出了一个尖锐的音符，便知道有一个刺客正潜伏在树林里。音乐在儒家的《诗经大序》中占有核心地位。<br /> <br /> 情感显现在声音里，当这些声音有了图式，就叫 &quot;音&quot;。在太平盛世里，音调是安然而欢快的，政通人和。在动荡年代里，音调是苦涩而充满愤怒的，政府是不作为的。破国的音调充满了哀叹和忧郁，人民处于水深火热之中（欧文译）。</div>

Qu Miao https://bou.de/u/index.php?title=20201207_cult&diff=112102 2020-12-14T07:13:00Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Alsied, Saffana==<br /> 1.Buddhism was said to be founded in India in the 6th century BC by Siddhartha Gautama, son of a nobleman and member of the Kshatriya caste, near the present borders of India and Nepal. He is also known by the titles Skamania (the sage of the Sakya family) and Tathagata (the follower of truth). <br /> <br /> 佛教据说是在公元前6世纪由印度贵族之子和Kshatriya种姓成员Siddhartha Gautama在印度和尼泊尔目前的边界附近建立的。 他还以头衔Skakania（萨迦家族的圣贤）和Tathagata（真理的追随者）而闻名。<br /> <br /> 2. According to Taoism, the cosmos is a magnitude of harmony and order. It is active, not static. Its state is one of change and variation, perpetually becoming and fading away, and contracting and expanding. Tao guides its function as an ordering principle. Within Tao, the two elementary powers, Yin and Yang, function by reciprocal action. They are the two polar opposites into which all things can be classified. Thus dark and light, life and death, male and female, good and evil, strong and weak are all manifestations of Yin and Yang. <br /> <br /> 根据道教，宇宙是和谐与秩序的一个层面。 它是活动的，不是静态的。 它的状态是变化和变异的一种，永久地变成和逐渐消失，以及收缩和扩展。 陶指导其功能，作为订购原则。 在道内部，阴和阳这两个基本能力是通过相互作用起作用的。 它们是可以将所有事物归为两类的两个极端。 因此，黑暗与光明，生与死，男女，善与恶，强与弱都是阴阳的表现。<br /> <br /> 3.The name of Islam is derived from the word “salam” with the connotation of the “the peace which comes by surrendering to God.” Islam was founded by the Arab prophet Mohammed. For people of Islamic faith, there is only one God, Allah. The name derives from joining “al” which means “the” with “Illah” which means “God”. Chinese Moslems live mostly in Xinjiang Uygur Autonomous Region and Ningxia Hui Autonomous Region. They form ethnic groups in 4 autonomous prefectures and 13 autonomous counties. <br /> <br /> 根据道教，宇宙是和谐与秩序的一个层面。 它是活动的，不是静态的。 它的状态是变化和变异的一种，永久地变成和逐渐消失，以及收缩和扩展。 陶指导其功能，作为订购原则。 在道内部，阴和阳这两个基本能力是通过相互作用起作用的。 它们是可以将所有事物归为两类的两个极端。 因此，黑暗与光明，生与死，男女，善与恶，强与弱都是阴阳的表现。<br /> <br /> 4. Among the major divisions of Christianity, the Eastern Orthodox Church and the Roman Catholic Church agree in most points of doctrine and worship, but the various communions of the former do not accept the supremacy of the Church of Rome and its bishop, the pope. Accordingly, although those communions accept many of the doctrines enunciated by the Roman Catholic Church since their separation in 1054, they do not consider such doctrines very essential to Christianity.<br /> <br /> <br /> 在基督教的主要分裂中，东正教教会和罗马天主教教会在教义和礼拜的大多数方面都达成了一致，但前者的各种共融并不接受罗马教会及其主教教皇的最高统治权。 因此，尽管自从1054年分离以来，这些教会就接受了罗马天主教阐明的许多教义，但他们并不认为这些教义对基督教非常重要。<br /> <br /> ==Cao Runxin 曹润鑫==<br /> 1.6世纪，佛教从中国经朝鲜传入日本，此后一直成为日本的主要宗教。<br /> <br /> Buddhism was introduced to Japan from China via Korea in the 6th century AD and has been the main religion of Japan ever since.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 10:09, 13 December 2020 (UTC)<br /> <br /> Buddhism, originally born in China, was later introduced to Japan by Korean people in the 6th century AD and become the main religion in this country ever since.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 07:12, 14 December 2020 (UTC) (从中国经朝鲜传入日本, 不知道可不可以这么翻译）<br /> <br /> 2.近代中国学者多数认为：道家与道教是两个既相互联系又有区别的概念。<br /> <br /> Most modern Chinese scholars believe that Taoism and Daoism are two concepts that are both interrelated and distinct.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 10:09, 13 December 2020 (UTC)<br /> <br /> 3.穆罕默德在早期的宣教中，告诫人们放弃多神信仰和偶像崇拜，宣称真主是宇宙万物的创造者，是唯一的主宰，要求人们信奉独一无二的真主。<br /> <br /> In his early preaching, Muhammad admonished people to abandon polytheism and idolatry, proclaimed that God is the creator of all things in the universe and the only Lord, and asked people to believe in the one and only God.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 10:09, 13 December 2020 (UTC)<br /> <br /> 4.上帝的创造以及人作为上帝的形象：世界是上帝创造的，上帝照着自己的形象造人。<br /> <br /> God's creation and man as the image of God: The world was created by God, and God made man in His own image.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 10:04, 13 December 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> <br /> 1.佛教解释了生命的真相，它对世上种种不公正以及不平等现象（人生的痛苦）作出了解释，并提供了修行解脱的道路，使人走向真正的幸福。<br /> <br /> Buddhism explains the truth of life, as well as all the injustices and inequalities (the pain of life) around the world. And it provides paths for people to spiritual liberation, which leads them to true happiness. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:19, 11 December 2020 (UTC) <br /> <br /> 2.道教理论的最普遍图形表示就是阴和阳循环的圆形图像，它代表了宇宙中相反事物的平衡关系，当它们都平等地呈现出来，所有的一切都会平静。当其中一个超过另一个的时候，就会出现混淆。<br /> <br /> The most common image of Taoist theology is the circular ''yin''-''yang'' figure which represents the balance of opposites in the universe. When they are equally presented, all is in a tranquil state. When one is outweighed by the other, there are confusion and disarray. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:19, 11 December 2020 (UTC)<br /> <br /> 3.伊斯兰教认为《古兰经》是“神圣的语言”，是伊斯兰教信仰和教义的最高准则，是伊斯兰教法的渊源和立法的首要依据，是穆斯林道德行为的重要准绳，也是伊斯兰教各学科和各派别学说赖以建立的理论基础。<br /> <br /> Islam believes that ''The Koran'' is the supreme principle of its belief and doctrine, the origin of Islamic law and the primary basis for legislation. It is an important criterion for Muslims' moral behavior, and is also the theoretical foundation on which various disciplines and sects of Islam rely. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:19, 11 December 2020 (UTC)<br /> <br /> 4.原罪思想，使得治理国家的办法应依托于制度，依托于法律，实现了从“人治”到“法治”的飞跃，不仅如此，赎罪的观念，引起了资本主义精神的产生，推动了西方资本主义的发展。<br /> <br /> The thoughts of original sin made the way of governing the country rely on the system and the law, achieving a leap from &quot;rule of man&quot; to &quot;rule of law&quot;. In addition, the concept of atonement gave rise to the spirit of capitalism and promoted the development of Western capitalism. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:19, 11 December 2020 (UTC)<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> 1.佛陀涅槃后，弟子们奉行四谛，八正道等基本教义，在教团生活中维持着他在世时的惯例。<br /> <br /> After the Buddha’s nirvana, his disciplines followed the basic doctrines of the Four Noble Truths and the Eight-fold Noble Way so as to maintain the conventions of his lifetime. <br /> <br /> 2.道教主张以清静无为，不争寡欲的态度对待世俗生活，以“我命在我不在天”的精神进行修炼。<br /> <br /> Taoism claims that we should let things take their own course and keep ourselves from desires in the secular life, and dominate our own destiny in the process of practicing austerities.<br /> <br /> 3.各氏族部落各据一方，逐水草而居，彼此之间经常为争夺牧场，水源，土地而发生战争。<br /> <br /> The clans occupy various areas by the water and grass, but will frequently launch wars for pasture, water and land. <br /> <br /> 4.神爱世人，甚至将他的独生子（耶稣基督）赐给他们，叫一切信他的，不至灭亡，反得永生。<br /> <br /> God loves people so much that he even bestows his only son-Jesus Christ to them and whoever believes in him will not perish but instead have a eternal life.<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> 1. One significant difference between Chinese Buddhism and original Buddhist teachings is the belief that Buddha is not just a teacher who taught followers what to do, but a god to be prayed to for help and salvation. <br /> <br /> 中国佛教与原始佛教教义之间的一个重要区别是，人们相信佛陀不仅是向跟随者传教如何做的老师，而且是向上帝祈祷以寻求帮助和救赎的老师。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 20:22, 12 December 2020 (UTC)<br /> <br /> 2. At Taoist temples, people may worship Taoist idols that represent a historical figure, an immortal, or a folk god. <br /> <br /> 在道观中，人们可能会崇拜代表历史人物，神仙或民间神灵的道教神像。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 20:22, 12 December 2020 (UTC)<br /> <br /> 3. In 1910, it was estimated that Muslims made up about 1 or 2 percent of the population of China (about 7 million people).<br /> <br /> 据估计，在1910年，穆斯林约占中国人口的1-2％（约700万人）--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 20:22, 12 December 2020 (UTC)<br /> <br /> 4. Chinese Christians must believe that a man born thousands of years ago and thousands of kilometers away to an unknown alien people was the Son of God. <br /> <br /> 中国基督徒必须相信，一个千百年前出生在千里之外与一个陌生的外星人相伴的人是上帝的儿子。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 20:22, 12 December 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> 1. 佛教在西汉时期（公元前206年—公元24年）经丝绸之路传入中国。经过500多年的跌宕起伏，它在唐朝达到了顶峰。<br /> <br /> Buddhism had been introduced to China via the Silk Road during the Western Han Dynasty (206 BC—24 AD). After five hundred years of peaks and troughs, it reached its height during the Tang Dynasty.<br /> <br /> 2. 道教是中国土生土长的宗教，已经影响了中国人两千多年。道教有三个起源，最古老的是“黄帝”传说。第二个来源是庄子的作品。但最著名的是老子的《道德经》。道家强调自由、自然、修身养性，甚至追求永生。道教对中国文化的许多领域都产生了深刻而持久的影响，包括艺术、哲学、医学和美食，并在东亚地区广泛流传。<br /> <br /> Taoism is a Chinese native religion that has shaped Chinese life for more than 2,000 years. There are three sources of Taoism's origin, with the oldest being the legend of &quot;Yellow Emperor&quot;. The second source in Zhuangzi's works, while the most famous one is Laozi's Dao De Jing. Taoism emphasizes freedom, nature, self-cultivation and even pursues immortality. Taoism has had a deep and lasting influence in many fields of Chinese culture, including the arts, philosophy, medicine, and cuisine. It has also spread widely throughout East Asia.<br /> <br /> 3. 在伊斯兰文化中，几何无处不在。在清真寺、宗教学校、宫殿和私人房屋里，你都能觅得它的踪迹。这个传统始于公元8世纪的伊斯兰教早期，那时的工匠们借鉴了罗马和波斯文化中已经存在的图案，用它们转化出新的的视觉效果。<br /> <br /> In Islamic culture, geometry is everywhere. You can find it in mosques, madrasas, palaces and private homes. This tradition began in the 8th century CE during the early history of Islam, when craftsmen took preexisting motifs from Roman and Persian cultures and developed them into new forms of visual expression.<br /> <br /> 4. 基督教开始的时候只是犹太教的一个分支。最早的基督教徒根本没想过创办新的宗教, 他们自视为追随犹太教弥赛亚教义的犹太人。只是后来在许多非犹太人改变信仰之后, 基督教才脱离犹太教, 自成一体。<br /> <br /> Christianity began life as a Jewish sect. Far from attempting to find a new religion, the first Christians viewed themselves as Jews following the teachings of the Jewish Messiah . It was only later, after many non-Jews converted, that Christianity became a religion distinct from Judaism.<br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 11:48, 13 December 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> 1.“阿弥陀佛”是一个梵语词，字面意思为无限的光和无限的生命。他是极乐世界里的佛，在极乐世界里，众生都享受着无限的幸福。<br /> <br /> “Amitabha” is a Sanskrit word literally meaning boundless light and boundless life. He is the Buddha in the Land of Ultimate Bliss, in which all beings enjoy unbound happiness.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 10:59, 10 December 2020 (UTC)<br /> <br /> 2. 万物负阴而抱阳，冲气以为和。<br /> <br /> The created universe carries the yin at its back and the yang in front, through the union of the pervading principles it reaches harmony.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 10:59, 10 December 2020 (UTC)<br /> <br /> 3. 截止到2009年底，世界人口约68亿人口中,穆斯林总人数是15.7亿,分布在204个国家和地区，占全世界的23%。<br /> <br /> By the end of 2009, of the world's population of about 6.8 billion, the total number of Muslims was 1.57 billion, distributed in 204 countries and regions, accounting for 23% of the world's total population.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 10:59, 10 December 2020 (UTC)<br /> <br /> 4. 耶稣，又名耶稣基督，是基督教的中心人物，被大多数基督教会尊为上帝的儿子和上帝的化身。<br /> <br /> Jesus, known as Jesus Christ, is the central figure of Christianity and is revered by most Christian churches as the Son of God and the incarnation of God. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 10:59, 10 December 2020 (UTC)<br /> <br /> 1. “Amitabha” is a Sanskrit word, literally meaning endless light and forever life. He is the Buddha in the Land of Ultimate Bliss, in which all beings enjoy unbound happiness.<br /> <br /> 2. The created universe carries the yin at its back and the yang in front, through the union of the pervading principles it reaches harmony.<br /> <br /> 3. By the end of 2009, the world’s population was about 6.8 billion, of which the total number of Muslims was 1.57 billion, in 204 countries and regions, accounting for 23% of the world’s population.<br /> <br /> 4. Jesus, known as Jesus Christ, is the central figure of Christianity, revered by most Christian churches as the Son of God and the incarnation of God. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 06:42, 11 December 2020 (UTC)Yang Chenting<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 1. 佛教传播到每一个地区以后，由于受到当地社会、政治、文化的影响，形式和内容都有相应的变化，形成许多宗派。<br /> <br /> After Buddhism spreading to every region, because of the influence of local society, politics and culture, its form and content have changed accordingly and formed many sects.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:13, 11 December 2020 (UTC)<br /> <br /> 2. 在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。<br /> <br /> Among the five major religions in China, Taoism is the only religion originated in China and founded by the Chinese, so it is also called native religion. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:13, 11 December 2020 (UTC)<br /> <br /> 3. 伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> The Islam is from the religion of a single ethnic group in the Arab region to the religion of multi-ethnic belief in the world, and it is the result of the wide spread of the Arab Islamic countries through various channels, such as continuous expansion, business exchanges, cultural exchanges, and sending missionaries to all parts of the world.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:13, 11 December 2020 (UTC)<br /> <br /> 4.早期基督教神学家通过发挥基督教的基本教义，依托当时流行的哲学载体，构造出更加复杂的教义体系。<br /> <br /> Early Christian theologians constructed a more complex doctrine system by giving full play to the basic teachings of Christianity and relying on the popular philosophical carriers at that time. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:13, 11 December 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> <br /> 1、佛教中常说的烦恼，就从妄想中来。妄想爱情美好，妄想荣华富贵，妄想健康长寿，当达不到这些标准的时候，烦恼就来了。<br /> <br /> Buddhism says that people's worries come from their desires such as the desire for beautiful love, money, health and longevity. If they cannot reach their desires, worries come.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:32, 11 December 2020 (UTC)<br /> <br /> 2、老子以「道」作为最初本源和内在支配者，认为世间万物存在着互联、互动的密切关系。<br /> <br /> Lao zi suggests that Tao is the original source and inner ruler, and everything in the world has close interconnection and interaction with each other.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:32, 11 December 2020 (UTC)<br /> <br /> 3、伊斯兰教自创兴迄今已有1400多年的历史，它作为一种宗教信仰、意识形态和文化体系，传入世界各地后，与当地传统文化相互影响和融合，在不同历史条件下，对许多国家和民族的社会发展、政治结构、经济形态、文化风尚、伦理道德、生活方式等都发生了不同程度的影响。<br /> <br /> Islam boasts a long history of more than 1400 years so far. As a religion, ideology and cultural system, it has made influences to different extends on the social development, political structure, economic form, culture, ethic and life style of many countries as well as nations at different stages through the mutual influence and integration with local cultures after it was spread worldwide. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:32, 11 December 2020 (UTC)<br /> <br /> 4、圣经又分为两部分:《旧约》和《新约》，《旧约》与《新约》以耶稣出生为界限划分，前者主要侧重于对犹太民族历史的讲述以及犹太人对于其真神的讲述。<br /> <br /> The Bible has two part:&quot;The Old Testament&quot;, &quot;The New Testament&quot;, which was divided by the birth of Jesus. The former emphasizes on telling the history of Jewish people and their talks about the true god.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:32, 11 December 2020 (UTC)<br /> <br /> ==Grosheva, Anna==<br /> <br /> 1. Mahayana Buddhism was originally founded during the Kushan Empire and spread to China where various school sects were developed; before spreading further and becoming popular in other Asian countries like Japan. <br /> <br /> 大乘佛教最初是在库山帝国时期建立的，并传播到发展了各种学派的中国。 在进一步传播并在日本等其他亚洲国家流行之前。 --[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:12, 12 December 2020 (UTC)<br /> <br /> 大乘佛教最初是在库山帝国时期建立的，并传播到了中国，并在中国发展了各种学派。之后，进一步传播到了日本等其他亚洲国家，并且很受欢迎。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:11, 13 December 2020 (UTC)<br /> <br /> 2. Taoism is basically a term for China’s indigenous philosophies and religious beliefs, and as defined this way, it has always been China’s main religion that colors all the others. <br /> <br /> 道教从根本上说是中国本土哲学和宗教信仰的术语，按照这种定义，道教一直是中国的主要宗教，为所有其他宗教增色。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:12, 12 December 2020 (UTC)<br /> <br /> 道教从根本上说是指代中国本土哲学和宗教信仰的术语，按照这种定义，道教一直是中国的主要宗教，并为所有其他宗教增色。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:11, 13 December 2020 (UTC)<br /> <br /> 3. Thus less than 20 years after the death of the prophet, Islam was officially introduced and started to become established as a new religion and culture in China. <br /> <br /> 因此，在先知死后不到20年的时间里，伊斯兰教就被正式引入并开始在中国确立为一种新的宗教和文化。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:12, 12 December 2020 (UTC)<br /> <br /> 因此，在先知死后不到20年的时间里，伊斯兰教就被正式引入中国，并在此开始建立一种新的宗教和文化。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:11, 13 December 2020 (UTC)<br /> <br /> 4. Unlike other Chinese religious adherents, Christians in China become Christians by the change of faith and not by birth. <br /> <br /> 与其他中国宗教信奉者不同，中国的基督徒通过改变信仰而不是出生而成为基督徒。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:12, 12 December 2020 (UTC)<br /> <br /> 与其他中国宗教信奉者不同，中国的基督徒加入基督教是通过改变信仰而不是出生。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:11, 13 December 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> 1.隋唐佛教的发展，对文学、艺术也提供了绝佳的题材与灵感，当时文人学士对於佛教的磅礴精深与僧侣的精神修养，产生崇高的敬意，归向者颇多，如韩愈、白居易、柳宗元、王维、李翱、裴休等，都与佛教有深厚的因缘，因此蕴含佛教哲理的诗文创作也应运而生。<br /> <br /> The development of Buddhism in the Sui and Tang dynasties also provided excellent subjects and inspiration for literature and art. The literati and scholars at that time had a high respect for the majestic depth of Buddhism and the spiritual cultivation of monks, and there were many of them, such as Han Yu, Bai Juyi, Liu Zongyuan, Wang Wei, Li Ao, Pei Xiu, etc. They all had a deep connection with Buddhism, and therefore poems and writings containing Buddhist philosophies came into being.<br /> <br /> 2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。<br /> <br /> Among the five major religions in China, Taoism is the only religion that originated in China and was founded by Chinese people, so it is also known as an indigenous religion. Taoism has had a profound impact on the politics, economy and culture of our ancient times ， serving as one of the three spiritual pillars of the ruling class.<br /> <br /> 3.基督宗教发端于公元1世纪罗马帝国统治下巴勒斯坦地区的犹太团体。1至5世纪是基督宗教创立并从以色列传向希腊罗马文化区域的时期，是基督宗教发展的早期阶段，是使徒和早期教父建立基督宗教基本教义和神学学说的时期。<br /> <br /> The Christian religion began with the Jewish community in Palestine under the Roman Empire in the 1st century A.D. The period from the 1st to the 5th centuries, when the Christian religion was founded and spread from Israel to the Greco-Roman cultural region, was the early stage of its development, when the apostles and early fathers established the basic doctrines and theological doctrines of the Christian religion<br /> <br /> 4.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> The development of Islam from a regional Arab mono-ethnic religion to a world-wide multi-ethnic religion is the result of the widespread spread of Islam in Arab countries through continuous foreign expansion, business contacts, cultural exchanges and the sending of missionaries to various parts of the world.<br /> <br /> ==Guan Qinqing 管钦清==<br /> <br /> 1.佛教是一种约有三亿人信仰的世界性宗教。这个词来自于“菩堤”，意思是“觉悟”。佛教大约起源于2500年前，是悉达多乔达摩(称为佛陀)在35岁时觉悟后所发起的。<br /> <br /> Buddhism is a religion to about 300 million people around the world.The word comes from&quot;budhi&quot;，which means &quot;to awaken&quot;. It has its origins about 2, 500 years ago when Siddhartha Gotama, known as the Buddha,was himself awakened (enlightened) at the age of 35.<br /> <br /> 2.道教是中国土生土长的宗教，已经影响了中国人两千多年。道教有三个起源，最古老的是“黄帝”传说。第二个来源是庄子的作品。但最著名的是老子的《道德经》。道家强调自由、自然、修身养性，甚至追求永生。道教对中国文化的许多领域都产生了深刻而持久的影响，包括艺术、哲学、医学和美食，并在东亚地区广泛流传。<br /> <br /> Taoism is a Chinese native religion that has shaped Chinese life for more than 2,000 years. There are three sources of Taoism's origin, with the oldest being the legend of &quot;YellowEmperor&quot;. The second source in Zhuangzi's works, while the most famous one is Laozi's, Dao De Jing. Taoism emphasizes freedom, nature, self-cultivation, and even pursues immortality. Taoism has had a deep and lasting influence in many fields of Chinese culture, including the arts, philosophy, medicine, and cuisine. It has also spread widely throughout East Asia.<br /> <br /> 3.伊斯兰教自创兴迄今已有1400多年的历史，它作为一种宗教信仰、意识形态和文化体系，传入世界各地后，与当地传统文化相互影响和融合，在不同历史条件下，对许多国家和民族的社会发展、政治结构、经济形态、文化风尚、伦理道德、生活方式等都发生了不同程度的影响。<br /> <br /> Islam has a history of more than 1,400 years. As a religious belief, ideology and cultural system, it has been introduced to all parts of the world and interacted and integrated with the local traditional culture. Under different historical conditions, it has affected many countries on their social development, political structure, economic form, cultural customs, ethics and morality, lifestyle, etc.<br /> <br /> 4.我们一般认为基督教的基本教义都是出自于《圣经》。历史上的教会以信经、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。此外，历代神学家企图结合其时代的观念阐释和辨明基督教的信仰要理。很多神学家的著作也是阐发基督教基本教义的宝贵资源。<br /> <br /> We generally think that the basic doctrines of Christianity are derived from the Bible. The churches in history have made many essential generalizations of the basic doctrines of Christianity in various forms such as creeds and confession texts, and they are also regarded as the source of doctrines by scholars studying doctrinal studies today. In addition, theologians of the past dynasties attempt to interpret and discern the principles of Christian faith in combination with the concepts of their times. The works of many theologians are also valuable resources for elucidating the basic doctrines of Christianity.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 04:27, 14 December 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> 1.佛教在西汉时期（公元前206年——公元24年）经丝绸之路传入中国，经过500多年的跌宕起伏，在唐朝达到了顶峰。<br /> <br /> Buddhism had been introduced to China via the Silk Road during the Western Han Dynasty (206 BC—24 AD), reaching its height during the tang Dynasty.After five hundred years of peaks and troughs.<br /> <br /> 2.一开始，道教只在平民中受欢迎，晋朝(265—420)时开始在上层社会得到广泛流行，在之后的北齐和北凉，道教得到了当权者的恩惠并一度在朝堂上扮演重要角色。<br /> <br /> At first, Taoism only gain the popularity among civilians and during the Jin Dynasty (265—420) it became a prevalence in the upper society, and in the succession of Northern Qi and Northern Liang, Taoism gained good graces of the ruler and once play a critical role in court.<br /> <br /> 3.每年都有众多的朝圣者去麦加朝拜。因此,“ 麦加”这个词 后来就被收入英语, 引申为“ 人们渴望拜访的地方。<br /> <br /> Every year numerous pilgrims go to Mecca to pay homage. Thus the word“Mecca”has come into English language, meaning“place one aspires to visit”.<br /> <br /> 4.尽管基督教与犹太教具有很多共同点, 但这两个宗教在像上帝与人的关系等基本问题上有着差别明显。<br /> Although Christianity shares much with Judaism, these two faiths differ significantly with respect to such fundamental issues as God’s relationship with humanity. --[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 14:54, 13 December 2020 (UTC)<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> ==Guo Lu 郭露==<br /> <br /> 1.禅宗主张因材施教。它除了要对信徒给予面对面的传教说法之外，还要通过一些动作以及手势来教导信徒。这些特点都让禅宗能够避免走进教条主义以及形式主义等不好的方向，也因此能够长久地在民间得到发展和深入。<br /> <br /> Zen Buddhism prefers teaching people according to his or her ability. In addition to giving face-to-face instruction to its adherents, it also teaches through gestures. All these characteristics have enabled Zen to avoid going in the wrong direction of dogmatism and formalism, so as to develop and deepen its popularity in the long run.<br /> <br /> Zen Buddhism advocates teaching according to the ability of the student. In addition to giving face-to-face instruction, it also teaches through gestures and gestures to its followers. These characteristics allow Zen to avoid going in the bad direction of dogmatism and formalism, and thus to develop and deepen its popularity in the long run.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:18, 9 December 2020 (UTC)<br /> <br /> <br /> 2.道教理论的最普遍图形表示就是阴和阳循环的圆形图像。它代表了宇宙中相反事物的平衡关系。当它们都平等地呈现出来，所有一切都会平静。当其中一个超过另一个的时候，就会出现混淆和混乱。阴和阳是信徒追随的原型，有助于让个人去凝视他或她的生命状态。<br /> <br /> The most common graphic representation of Taoist theology is the circular Yin Yang figure. It represents the balance of opposites in the universe. When they are equally present, all is calm. When one is outweighed by the other, there is confusion and disarray. The Yin and Yang are a model that the faithful follow, an aid that allows each person to contemplate the state of his or her lives.<br /> <br /> The most universal graphic representation of Taoist theory is the circular image of the yin and yang cycles. It represents the balance of opposite things in the universe. When they are all equally represented, all is calm. When one outweighs the other, there is confusion and chaos. The yin and the yang are archetypes followed by the devotee, helping the individual to gaze at his or her life state.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:18, 9 December 2020 (UTC)<br /> <br /> <br /> 3.伊斯兰教是世界三大宗教之一，伊斯兰教世界的国家遍布亚、非两个大洲，总体算来也有大约五十个。此外，在各大洲很多国家里都有信仰伊斯兰教的人民（穆斯林）。这些国家包括一些西方国家诸如英、美、俄、法、德等国家。<br /> <br /> Islam is one of the three major religions in the world, it covers Asia and Africa with about fifty Islamic countries. In addition, there are many countries in the world that have people who believe in Islam (Muslim). These countries include some western countries, such as the UK, the US, Russia, France and Germany.<br /> <br /> Islam is one of the three major religions of the world, and the countries of the Islamic world are spread over two continents, Asia and Africa, and there are about fifty countries in total. In addition, Islam is practiced by people (Muslims) in many countries on all continents. These countries include some Western countries such as the United Kingdom, the United States, Russia, France, and Germany.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:18, 9 December 2020 (UTC)<br /> <br /> 4.基督教对西方文明产生了非常大的影响。自由、平等、博爱为中心的人文主义传统，使得“生而平等”观点深入人心，成为《独立宣言》《人权宣言》 中的核心，成为后来西方民主政治的- -种长远的精神推动力。<br /> <br /> Christianity had a profound impact on Western civilization. Its humanist tradition, which focused on freedom，equality and fraternity, made the idea of &quot;born equal&quot; popular in the world. It not only became the core of &quot;Declaration of Independence&quot; and &quot;Declaration of Human Rights&quot;，but also a long-term spiritual driving force of the Western democracy.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:47, 9 December 2020 (UTC)<br /> <br /> Christianity has had a great influence on Western civilization. The humanist tradition centered on freedom, equality, and fraternity made the idea of &quot;all men are created equal&quot; deeply rooted in people's hearts, and became the core of the Declaration of Independence and the Declaration of Human Rights, as well as the long-term spiritual impetus for Western democratic politics.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:18, 9 December 2020 (UTC)<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> 1.Buddhism was said to be founded in India in the 6th century BC by Siddhartha Gautama, son of a nobleman and member of the Kshatriya caste, near the present borders of India and Nepal. <br /> <br /> 据信佛教是在公元前6世纪由印度贵族之子，克萨特里亚种姓的成员悉达多·豪达玛（Siddhartha Gautama）在印度建立的，大约在公元前6世纪，在当今印度和尼泊尔的边界附近。<br /> <br /> 2.There are two types of Buddhism in China, Mahayana (Big Raft) Buddhism and Hinayana (Little Raft) Buddhism.<br /> <br /> 在中国，佛教有两种类型，大乘佛教（大木筏）和小乘佛教（小木筏）。<br /> <br /> 3.Mahayana Buddhism was introduced into regions inhabited by the Han people, the largest ethnic group in China, in the first century. <br /> <br /> 大乘佛教在公元一世纪被传入中国最大的民族汉族居住的地区。<br /> <br /> 4.Taoism is the only major religion that came exclusively from Chinese roots and grew to maturity in Chinese soil. <br /> <br /> 道教是唯一完全起源于中国的宗教，并在中国土壤中逐渐成熟。<br /> <br /> ==He Changqi 何长琦==<br /> 1. 严格地说，佛教起始于尼泊尔，发展在中国，又远传于日本、韩国。而佛教在印度本土由于受到印度教及后来传入印度的伊斯兰教的排挤，约在公元八、九百年左右，在印度本土消失。而能保留佛教并发展佛教的中国就成了当今世界佛教的真正故乡。<br /> <br /> Strictly speaking, Buddhism began in Nepal, developed in China, and spread as far as Japan and Korea. Buddhism, on the other hand, disappeared in India itself around 800 or 900 A.D. due to the ostracism of Hinduism and later Islam, which was spread to India. China, which was able to retain Buddhism and develop it, became the true home of Buddhism in the world today.<br /> <br /> 2.道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一.<br /> Taoism had a profound impact on the politics, economy and culture in ancient China and was one of the three spiritual pillars of the ruling class.<br /> <br /> 3. 伊斯兰教自创兴迄今已有1400多年的历史，它作为一种宗教信仰、意识形态和文化体系，传入世界各地后，与当地传统文化相互影响和融合，在不同历史条件下，对许多国家和民族的社会发展、政治结构、经济形态、文化风尚、伦理道德、生活方式等都发生了不同程度的影响<br /> <br /> As a religious belief, ideology and cultural system,Islam has spread to different parts of the world and has influenced and integrated with local traditional cultures, influencing the social development, political structure, economic forms, cultural customs, ethics and morals, and lifestyles of many countries and nations in different degrees under different historical conditions.<br /> <br /> 4.由于历史原因，在华人中长期以来都习惯只把新教称为基督教。大陆的新教教会也从不称自己为新教，而只称基督教或耶稣教，而将罗马公教称为天主教，正教称为东正教。<br /> <br /> For historical reasons, it has long been customary among the Chinese to refer to Protestantism only as Christianity. The Protestant churches on the mainland of China also never call themselves Protestant, but only Christian or Jesuit, while the Roman Catholic Church is referred to as Catholic and the Orthodox Church as Orthodox.--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 01:58, 14 December 2020 (UTC)<br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> 1.公元前6世纪至前5世纪，释迦牟尼于古印度创建佛教。以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。<br /> <br /> From the 6th century BC to the 5th century BC, Sakyamuni founded Buddhism in ancient India. Since then, it has been widely spread in Asia and all over the world, and has had a significant impact on the social, political and cultural life of many countries.<br /> <br /> 2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。<br /> <br /> Among the five major religions in China, Taoism is the only religion originated in China and founded by Chinese people, so it is also known as local religion. Taoism had a profound impact on the politics, economy and culture of ancient China, and was one of the three spiritual pillars of the ruling class.<br /> <br /> 3.伊斯兰教是世界性的宗教之一，与佛教、基督教并称为世界三大宗教。信奉伊斯兰教的人统称为“穆斯林”(意为“顺从者”)。7世纪初兴起于阿拉伯半岛，由麦加人穆罕默德(约570—632)创传。主要传播于亚洲、非洲，以西亚、北非、中亚、南亚次大陆和东南亚最为盛行。<br /> <br /> Islam, together with Buddhism and Christianity, is one of the world's three religions. People who believe in Islam are collectively referred to as &quot;Muslims&quot; (meaning &quot;followers&quot;). It originated in the Arabian Peninsula in the early 7th century and was created by Muhammad (570-632) of Mecca. It mainly spreads in Asia and Africa, especially in West Asia, North Africa, Central Asia, South Asian subcontinent and Southeast Asia.<br /> <br /> 4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。此外，历代神学家企图结合其时代的观念阐释和辨明基督教的信仰要理。很多神学家的著作也是阐发基督教基本教义的宝贵资源。<br /> <br /> Christianity generally believes that its basic doctrines are derived from the Bible. The church in history has made a lot of concise summary of the basic doctrines of Christianity in various forms, such as creed, creed and epistemology, which is also regarded as the source of doctrine by scholars who study dogmatics today. In addition, the theologians of all ages tried to explain and distinguish the Christian faith principle according to the concept of their times. The works of many theologians are also valuable resources for elucidating the basic tenets of Christianity.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:06, 13 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> <br /> 1. 道教理论的最普遍图形表示就是阴和阳循环的圆形图像。它代表了宇宙中相反事物的平衡关系。当它们都平等地呈现出来。所有一切都会平静。当其中一个超过另一个的时候，就会出现混淆和混乱。阴和阳是信徒追随的原型，有助于让一个人去凝视他或她的生命状态。<br /> <br /> 1. The most common graphic representation of Taoist theology is the circular Yin Yang figure. It represents the balance of opposites in the universe. When they are equally present, all is calm. When one is outweighed by the other, there is confusion and disarray. The Yin and Yang are a model that the faithfull follow, an aid that allows each person to contemplate the state of his or her lives.<br /> <br /> 1. The most common graphic representation of Taoist theology is the circular image of the Yin and Yang. It represents the balance of opposites in the universe. When they are equally presented, all is calm. When one is outweighed by the other, there is confusion and disarray. The Yin and Yang are the archetypes followed by disciple, helping each person to contemplate the state of his or her lives.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:59, 11 December 2020 (UTC)<br /> <br /> <br /> 2. 佛教与基督教、伊斯兰教并称的世界三大宗教之一。公元前6世纪至前5世纪，释迦牟尼创建于古印度。以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。<br /> <br /> 2. Buddhism, together with Christianity and Islam, is one of the three major religions in the world. Sakyamuni founded it in ancient India from the 6th century BC to the 5th century BC. After that, it was widely spread in Asia and all over the world, and had a great influence on the social, political and cultural life of many countries.<br /> <br /> 2. 佛教是与基督教、伊斯兰教并称的世界三大宗教之一。在公元前6世纪至前5世纪由释迦牟尼创建于古印度，之后广泛传播于亚洲及世界各地，对许多国家的社会、政治和文化生活产生过重大影响。<br /> <br /> Buddhism, enjoying equal popularity with Christianity and Islam, is one of the three major religions in the world. Sakyamuni founded it in ancient India from the 6th century BC to the 5th century BC. After that, it was widely spread in Asia and all over the world, making a great impact on the social, political and cultural life of many countries.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 13:12, 9 December 2020 (UTC)Mo Ling<br /> <br /> 2. Buddhism, together with Christianity and Islam, is one of the three major religions in the world. It was founded by Sakyamuni in ancient India from the 6th century BC to the 5th century BC and later widely spreaded in Asia and all over the world, having a great influence on the social, political and cultural life of many countries.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:59, 11 December 2020 (UTC)<br /> <br /> <br /> 3. 伊斯兰教的名字来源于阿拉伯语的音译。它的本义是服从，它的信徒叫穆斯林。伊斯兰教成立于7世纪初，是世界三大宗教之一。<br /> <br /> 3. The name of Islam derives from the transliteration in Arabic. Its original meaning is obedience, and its believers are called muslem. Islamism was established at the beginning of the 7th century and ranked one of three major religions in the world. <br /> <br /> The word Islam is a transliteration of an Arabic word. Its essence is obedience, and its followers are called Muslims. Founded in the early 7th century, Islam is one of the three major religions in the world. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:38, 9 December 2020 (UTC)<br /> <br /> 4. 基督教是亚伯拉罕的一神论宗教，以耶稣基督的生活和教义为基础，如新约中所述。基督教是世界上最大的宗教，有超过24亿信徒，被称为基督徒。基督徒相信耶稣是上帝的儿子，是人类的救世主，他作为基督或弥赛亚的到来在旧约中被预言。<br /> <br /> 4. Christianity is an Abrahamic monotheistic religion based on the life and teachings of Jesus Christ as presented in the New Testament. Christianity is the world's largest religion, with over 2.4 billion adherents, known as Christians. Christians believe that Jesus is the Son of God and the savior of humanity whose coming as Christ or the Messiah was prophesied in the Old Testament.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 09:18, 9 December 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> 印度佛教最初传入中国，因文化背景全然不同，故被视为与当时流行的黄老神仙方术同类，仅通行於少数的王公贵族之间。<br /> <br /> Because of different cultural background, the Indian Buddhism was considered to be similar to the Huanglao in China, consequently only popular among a small number of nobles.<br /> <br /> When Indian Buddhism was first introduced into China, because of its different cultural background, it was regarded as the same as Huang Lao, which was popular at that time, and only popular among a small number of nobles.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:10, 13 December 2020 (UTC)<br /> <br /> 新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。<br /> <br /> After the founding of the Republic of China, through the democratic reform of the religious system, the Taoism gained a new life and gradually embarked on a path adapting to the socialist society. Since the reform and opening up, under the guidance of the Party and government's religious policies in the new era, Taoism has taken on an unprecedented new look, making positive contributions to the economic development, social harmony, the unification of China and the world peace.<br /> <br /> 伊斯兰教反对偶像崇拜，所以清真寺内没有任何由人形和动物形组成的偶像图案。寺内装饰大多以阿拉伯文、几何图纹和花卉画纹组成抽象图案为主。<br /> <br /> Islam is against idol worship, so there are no idol motifs consisting of human or animal shapes in the mosques, most of which are decorated with abstract designs consisting of Arabic, geometric patterns and floral paintings.<br /> <br /> Islam rejects idolatry, so the mosques are not decorated with any human or animal figures. The interior of the mosque is mostly decorated with abstract designs consisting of Arabic, geometric and floral motifs.--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 02:01, 14 December 2020 (UTC)<br /> <br /> 由于新教（反对教）教义强调只能信上帝，不能拜其他偶像，因此与&quot;祭奠祖先&quot;等很多中国传统习俗产生了很大抵触，使得基督教之前在中国一直没有得到很好的传播和发展，直到后来来中国传教的刚恒毅（1876年－1958年）与雷鸣远神父解释中国人祭祖敬孔礼并不违背教会的信仰，中国人这么地做是为了向已亡的父母和祖先表达尊敬。教宗碧岳十二世因而在1939年12月8日删除了祭祖敬孔的禁令，才解决了这一问题。然而，新教一直也不接受中国人拜祖先。<br /> <br /> There was a great conflict between Christianity and many traditional Chinese customs such as &quot;ancestor worship&quot;, for the Protestant demands that only God can be believed in and no other idols can be worshipped, so Christianity did not spread and develop well in China until later when the missionary Gang Hengyi (1876-1958) and the priest Lei Mingyuan explained to the Chinese that the ritual of the Confession of Confucius is not contrary to the beliefs of the Church because it is done by the Chinese to show respect to their late parents and ancestors. Pope Pius XII therefore solved the problem by removing the ban on ancestor worship on December 8, 1939. However, Chinese ancestor worship has always been unacceptable to Protestants.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 13:52, 11 December 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> 1.He converted to Buddhism at the age of 18.<br /> <br /> 他在18岁时皈依了佛教。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:39, 14 December 2020 (UTC)<br /> <br /> 2.Daoism is the science of how the universe works.<br /> <br /> 道学是思索万物运行规律的科学。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:39, 14 December 2020 (UTC)<br /> <br /> 3.Islam is the religion of the Muslims, which was started by Mohammed.<br /> <br /> 伊斯兰教由穆罕默德创立，教徒是穆斯林。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:39, 14 December 2020 (UTC)<br /> <br /> 4.Christianity is a religion that is based on the teachings of Jesus Christ and the belief that he was the son of God.<br /> <br /> 基督教基于上帝之子耶稣的教义。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:39, 14 December 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> 1.禅宗主张心性本净，佛性本有，觉悟不假外求，舍离文字义解，直彻心源。<br /> <br /> Zen advocates that the mind and nature are pure, the Buddha's nature is original, enlightenment is achieved by oneself, and the interpretation of words is left, leading to the heart.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:18, 13 December 2020 (UTC)<br /> <br /> Zen advocates that the mind and nature are pure, the Buddhata is inherent, enlightenment is achieved by oneself, and the interpretation of words is left, leading to the heart.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:47, 14 December 2020 (UTC)<br /> <br /> 2. 道教以道为最高信仰，把《道德经》奉为经典，尊道贵德。认为道是产生天地万物的本源，宇宙、阴阳和万象万物都是由道化生的。德即“得”，道体现在人和万物中即是德。人和万物都是由道生由德育，所以应尊道贵德。<br /> <br /> Taoism takes Tao as its highest belief, regards the Tao Te Ching as a classic, and respects the virtue of Taoism. It is believed that Tao is the origin of everything in heaven and earth, and everything in the universe, yin and yang is transformed by Tao. Tao means &quot;getting&quot;, and morality is embodied in man and all things. People and all things are born by Tao and moral education, so we should respect Tao and noble virtue.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:18, 13 December 2020 (UTC)<br /> <br /> 3. 《古兰经》是伊斯兰教唯一的根本经典。<br /> <br /> The Koran is the only fundamental classic of Islam.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:18, 13 December 2020 (UTC)<br /> <br /> 4. 后人为纪念耶稣的诞生，便定十二月二十五为圣诞节，年年望弥撒，纪念耶稣的出世。<br /> <br /> Later generations, in order to commemorate the birth of Jesus, set December 25th as Christmas, and observed Mass every year to commemorate the birth of Jesus.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:18, 13 December 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> 1.佛教自汉代传入中国,并逐渐与儒道并行互融,成为中国文化有机而重要的组成部分,对中国文化的影响至深至远。<br /> <br /> Since its introduction to China in the Han Dynasty, Buddhism has gradually become an organic and important part of Chinese culture in parallel with Confucianism and Taoism, and has had a profound and far-reaching impact on Chinese culture.<br /> <br /> <br /> 2.道教文化体现着中国人的哲学思维、认知观念、价值取向、 审美情趣，正如鲁迅先生所说，每一个中国人在意识深处都是一个道教徒。<br /> <br /> Taoist culture embodies the philosophical thinking, cognitive concepts, values, and aesthetic interests of the Chinese people, and as Mr. Lu Xun said, every Chinese person is a Taoist deep in his or her consciousness.<br /> <br /> 3.新疆伊斯兰教作为中国的宗教,坚持中国化方向,进行中国化改造是历史必然,符合客观规律。<br /> <br /> As a Chinese religion, it is historically inevitable for Xinjiang Islam to adhere to the direction of Chineseness and undergo Chineseness transformation, which is in line with objective laws.<br /> <br /> 4.自唐代传入中国以来,基督教在华传播的历程伴随着问题与挑战,在很长的历史时期中基督教与中国既有的哲学、宗教与伦理体系(包括儒家思想、道教、中国佛教以及鬼神和祖先崇拜的&quot;中国民间宗教&quot;)互动,同时通过适应和文化融入的方式努力将自身&quot;本土化&quot;与&quot;中国化&quot;。<br /> <br /> Since its introduction to China in the Tang Dynasty, the spread of Christianity in China has been accompanied by problems and challenges, and over a long historical period Christianity has interacted with China's established philosophical, religious, and ethical systems (including Confucianism, Taoism, Chinese Buddhism, and the &quot;Chinese folk religions&quot; of ghosts, gods, and ancestor worship) while trying to &quot;localize&quot; and &quot;sinicize&quot; itself through adaptation and cultural integration.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:22, 13 December 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> 1、三大宗教中，以基督教人数最多，伊斯兰教次之，佛教最后，虽然人数各有不同，但是各个宗教的信徒都是平等的。虽说是三大宗教，但三大宗教提倡和平共处，可以相互交流文化。慈悲，博爱，和平，是这三大宗教的真谛。同时这也是所有宗教的共同目标。<br /> <br /> Among the three major religions, Christianity has the largest number of people, followed by Islam and Buddhism last. Although the number of people varies, the followers of each religion are equal.Despite they are the three major religions, but they promote peaceful coexistence and mutual cultural exchange. Compassion, love and peace are the true meaning of these three religions. This is also the common goal of all religions.<br /> <br /> In terms of the number of believer, Christianity ranks the first, followed by Islam and Buddhism the last. Varied in number, the followers of each religion are equal. Despite of different beliefs, the three major religions called for peaceful coexistence and mutual cultural exchanges. Compassion, love and peace are the essence and common goal of these three religions. --[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 16:12, 11 December 2020 (UTC)<br /> <br /> 2、约在公历纪元前后，佛教传入中国。在汉代被视为神仙方术的一种。至南北朝时传播于全国，出现了很多学派。隋唐时期进入鼎盛阶段，形成了很多具有中国民族特点的宗派。<br /> <br /> Buddhism was introduced into China around the time of the Gregorian calendar. During the Han Dynasty, it was regarded as a form of divine magic. By the time of the Northern and Southern Dynasties, it spread throughout the country and many schools of thought emerged. During the Sui and Tang dynasties, it reached its peak and many sects with Chinese national characteristics were formed.<br /> <br /> 3、在基督教早期阶段，教会曾实行财产共有，外界视其为一种秘密性的宗教组织。犹太人视教会为离经判道的异端，常常向罗马当局控告他们。<br /> <br /> In the early stages of Christianity, the Church was a community of shared property and was seen by others as a secret religious organization. The Jews regarded the church as a deviant heresy and often brought charges against them to the Roman authorities.<br /> <br /> 4、伊斯兰教要求人们信仰真主并服从真主，从心灵深处信仰真主的存在和伟大，同时要求在行为上要表现出顺从真主的意志，力行一定的功修，把信仰和行为的实践联合起来，达到增强信仰、巩固信仰的目的。<br /> <br /> Islam requires people to believe in God and obey Him, to believe in His existence and greatness from the depths of their hearts, and to demonstrate obedience to His will in their actions, to perform certain practices, and to unite their faith with the practice of their actions in order to strengthen their faith and consolidate it.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:08, 11 December 2020 (UTC)Lei Kuangxi<br /> <br /> Islam requires people to believe in Allah and obey Him, to believe in His existence and greatness from the depths of their hearts, and to demonstrate obedience to His will in their actions, to perform certain practices, and to unite their faith with the practice of their actions in order to strengthen and consolidate their faith.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 16:12, 11 December 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> 1．中国佛教译经事业的历时久远，可说是世界文化史上首屈一指的大业，而所译经论卷帙的庞复，诚为世界文化的瑰宝。<br /> Chinese Buddhism's translation with a long history can be said to be one of the greatest undertakings in the history of world culture, and the vast number of translated scriptures is truly a treasure of world culture.<br /> <br /> Chinese Buddhist scripture translation has a long history, and it can be said to be a major cause in the history of world culture. The Pangfu of the translated scriptures is truly a treasure of world culture. --[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:14, 12 December 2020 (UTC)<br /> <br /> 2．新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。<br /> After the founding of People’s Republic of China, through the democratic reform of the religious system, Chinese Taoism was reborn and gradually made its way in line with the socialist society. Since the reform and opening up, under the guidance of the Party’s and government's new religious policy, Chinese Taoism has taken on an unprecedented new look, and thus has made a positive contribution to promoting economic development, social harmony, the unification of China, and world peace.<br /> <br /> 3．基督教文化是属于扩张型的，其哲学观念认为时间是有始有终的，而空间是无限可重复的，所以欧洲人最早猜测出地球是圆的。<br /> Christian culture is expansive, and its philosophy holds that time has a beginning and an end, while space is infinitely repeatable, so Europeans first guessed that the earth is round.<br /> <br /> 4．伊斯兰教的形成是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> The Islam came from its wide spread in Arab countries through expansion, trade, cultural exchange, sending missionaries to the world and other means.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:40, 11 December 2020 (UTC)Li Lili<br /> <br /> The formation of Islam is the result of the widespread dissemination of Arab Islamic countries through various channels such as continuous external expansion, business exchanges, cultural exchanges, and sending missionaries to all over the world.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 20:14, 12 December 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> 1. 佛教僧侣并不扮演牧师的角色——他们并非人神的中介——其律例也不诉诸超自然的力量或权威。其次，简化物质，佛教认为对物质的执着是造成痛苦的根源，因为没有什么是永恒的。<br /> <br /> Buddhist monks have no priestly role--they are not intermediaries between God and mankind--and their ordination confers no supernatural powers or authority. In addition, to simplify it, Buddhists believe that attachment- the clinging onto objects- is what causes suffering because nothing will last forever. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:33, 9 December 2020 (UTC)<br /> <br /> Buddhist monks have no priestly role--they are not intermediaries between God and mankind--and their ordination confers no supernatural powers or authority. In addition, Buddihism also simplify substance. It regards clinging onto objects as the causes suffering because nothing will last forever.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:06, 11 December 2020 (UTC)<br /> <br /> <br /> 2. 作为早期道教的重要经典，《太平经》蕴含着丰富的美学思想，对后世道教美学产生过深远影响。《太平经》不仅记载了我国古代最早的道教音乐理论，而且对乐律与人的身心健康的关系给予了相当的重视。<br /> <br /> As an important classic of early Taoism, Scripture of the Great Peace reserves plenty of aesthetic thoughts and had profoundly influenced the Taoist aesthetics. Scripture of the Great Peace not only records the earliest Taoist musical theories of our ancient country, but also attaches importance to the relation between music and physical and psychological health .--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:33, 9 December 2020 (UTC)<br /> <br /> 3. 伊斯兰系阿拉伯语音译，愿意为“顺从”“和平”。信奉伊斯兰教的人统称为“穆斯林”。伊斯兰教至今已有1400多年的历史，它传入世界各地后，对许多国家和民族的社会发展、政治结构、经济形态等都产生了不同程度的影响。<br /> <br /> Islam is an Arabic word meaning “obedience ”and “peace”. People who believe in it are called “Muslims”. Islam has a history of more than 1400 years. After its introduction to other parts of the world, it has posed varying degrees of influence on the social development, political structure, economic form and others. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:33, 9 December 2020 (UTC)<br /> <br /> 4. 在西方天主教的传统中，白色代表喜庆，其他地区，白色在婚礼和葬礼上代表了不同的意义。 《圣经》是天主教徒奉为圣言的经典、必读之书。它不仅是一部宗教经典，也是世界文化和知识宝库的一部杰作。<br /> <br /> According to Catholic tradition in the West, white represents happiness; in other areas, white embodied different significance at weddings and funerals. The Bible is a classic and required reading for Catholics. It is more than a religious classic, but also a masterpiece of the world’s culture and intellectual treasures. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:33, 9 December 2020 (UTC)<br /> <br /> According to Catholic tradition in the West, white represents happiness, while in other areas, it embodied different significance at weddings and funerals. The Bible is a classic and required book for Catholics. It is more than a religious classic, but also a masterpiece of the world’s culture and intellectual treasures.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 08:06, 11 December 2020 (UTC)<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1.佛教传播到每一个地区以后，由于受到当地社会、政治、文化的影响，形式和内容都有相应的变化，形成许多宗派。<br /> <br /> Due to local social, political, and cultural influences, the form and content of Buddhism will change accordingly when spread to every region, resulting in the formation of many sects.<br /> <br /> After its spreading to other regions, forms and contents saw changes and various sects were formed. The reason is that Buddhism was influenced by different local social, political and cultural environments. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:48, 9 December 2020 (UTC)<br /> <br /> 2.新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。<br /> <br /> After the founding of People’s Republic of China, Chinese Taoism was reborn through democratic reforms of religious system, and gradually embarked on a path compatible with the socialist society. Since the reform and opening up, Chinese Taoism has taken on an unprecedented new look thanks to religious policies carried out by Chinese Communist Party and the government, which has made positive contributions to promoting economic development, social harmony, national reunification and world peace.<br /> <br /> 3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> Islam has developed from a single -ethnic religion in Arab region to a multi-ethnic one in the world,which is a result of the wide spread of Islam of Islamic states in Arab in many ways, such as continuous expansion, trade and cultural exchange and the dispatch of missionaries all over the world.<br /> <br /> Islam has developed from a exclusive religion in Arab region to a multi-ethnic one in the world,which is a result of efforts from Islam of Islamic states in Arab in many ways, from continuous expansion, trade and cultural exchange to the dispatch of missionaries all over the world.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 10:25, 10 December 2020 (UTC)Liu Yiyu<br /> <br /> 4.历史上的教会以信经、信条等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。此外，神学家们企图结合其时代的观念阐释和辨明基督教的信仰要理。<br /> <br /> The churches in history have provided many concise summaries of the basic doctrine of Christianity in the form of creed, tenet, etc., which are considered the origin of doctrine by today's scholars of dogmatics.What’s more, theologians have attempted to elucidate and discern the essentials of the belief in Christianity combing with the concepts of their time.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:34, 9 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> 1. 尽管美猴王并不为东北亚以外的人民所熟知，但很多英国人的记忆中都存有那部19世纪70年代深受追捧的电视剧《西游记》。<br /> Even though the Monkey King is less well-known outside the North-East Asia, many British prople foundly remember a cult 1970s TV series called Monkey.<br /> <br /> 2. 在基督教和佛教中，钟声往往和新年相关。<br /> In the Christian and Buddhist religions, bells are often connected with the New Year.<br /> <br /> 3. 道教信徒完全不相信神。<br /> The Taoists don't believe in God at all.<br /> <br /> ==Liu Yi 刘艺==<br /> 1、创始人释迦牟尼生于今尼泊尔境内的蓝毗尼，是释迦族的一个王子。关于他的生卒年，在南、北传佛教中，至今仍有种种不同的说法，一般认为生于公元前6至前5世纪间。他在青少年时即感到人世变幻无常，深思解脱人生苦难之道。29岁出家修行。得道成佛。<br /> <br /> The founder, Sakyamuni, was born in Lumbini in present-day Nepal and was a prince of the Sakya tribe. There are still different theories about his birth and death dates in Northern and Southern Buddhism, but it is generally believed that he was born between the 6th and 5th centuries BC. At the age of 29, he became a monk and practiced Buddhism. He became a monk and became a Buddha.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:16, 9 December 2020 (UTC)<br /> <br /> The founder, Sakyamuni, was born in Lumbini in present-day Nepal and was a prince of the Sakya tribe. There are still different theories about his birth and death dates in Northern and Southern Buddhism, but it is generally believed that he was born between the 6th and 5th centuries BC. At the age of 29, he became a monk and practiced Buddhism. --[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:51, 12 December 2020 (UTC)<br /> <br /> 2、解放前的道教中充满着浓厚的封建气息，对广大道教徒进行爱国主义教育，改革宫观封建经济，废除道教中的封建残余，与反动会道门划清界限，成为道教在新中国面临的重大任务。<br /> 新中国成立后，广大道教徒拥护社会主义制度，拥护共产党的领导。<br /> <br /> Before the liberation of the People's Republic of China (PRC), Taoism was full of feudalism. It was a major task for Taoists in the new PRC to educate themselves about patriotism, reform the feudal economy of the palaces, abolish the feudal remnants of Taoism, and clear the boundaries with the reactionary Taoists.<br /> Since the founding of New China, the majority of Taoists have embraced the socialist system and the leadership of the Communist Party.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:16, 9 December 2020 (UTC)<br /> <br /> Before the liberation of the People's Republic of China (PRC), Taoism was full of feudalism. It was a major task for Taoists in the new PRC to educate themselves about patriotism, reform the feudal economy of the palaces, abolish the feudal remnants of Taoism, and clear the boundaries with the reactionary Taoists.<br /> After the founding of new China, the majority of Taoists have given support to the socialist system and the leadership of the Communist Party.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:52, 12 December 2020 (UTC)<br /> <br /> 3、伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> The development of Islam from a mono-ethnic religion in the Arab region to a multi-ethnic religion in the world is the result of the spread of Islam in Arab countries through expansion, trade, cultural exchange, and sending missionaries to all parts of the world.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:16, 9 December 2020 (UTC)<br /> <br /> Developing from a single ethnic religion in the Arab region, Islam finally became a multi-ethnic religion in the world, which was the result of the extensive spread of Arab Islamic countries through foreign expansion, business contacts, cultural exchanges, and the dispatch of missionaries to all over the world.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:43, 9 December 2020 (UTC)<br /> <br /> The development of Islam from the religion of a single nation in the Arab region to a religion of multi-ethnic beliefs in the world is the result of the extensive spread of the Arab Islamic countries through various channels, such as continuous expansion, business exchanges, cultural exchanges, sending missionaries to all over the world.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:51, 12 December 2020 (UTC)<br /> <br /> 4、基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。此外，历代神学家企图结合其时代的观念阐释和辨明基督教的信仰要理。<br /> <br /> Christianity is generally believed to derive its basic doctrines from the Bible. The historical church has provided many concise summaries of the basic doctrines of Christianity in the form of creeds, epistles, confessions, and other forms, which are also regarded as sources of doctrine by scholars of doctrine today. In addition, theologians throughout the ages have attempted to explain and discern the essentials of the Christian faith in light of the concepts of their time.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:16, 9 December 2020 (UTC)<br /> <br /> Christianity generally believe that its basic doctrines derive from the Bible. The historical church has provided many concise summaries of the basic doctrines of Christianity in the form of creeds, epistles, confessions, and other forms, which are also regarded as sources of doctrine by scholars of doctrine today. In addition, theologians throughout the ages have attempted to explain and discern the essentials of the Christian faith in light of the concepts of their time.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:51, 12 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> 1. 隋唐佛教的兴盛繁荣，除得力於佛教本身在南北朝所奠定的稳固基础外，更有赖於国家的统一强盛及护持提倡。<br /> The prosperity of Buddhism in the Sui and Tang dynasties not only resulted from the solid foundation of Buddhism in the Northern and Southern Dynasties, but also from the unification of the state and the promotion of its support.<br /> <br /> 2. 建国前的道教中充满着浓厚的封建气息，对广大道教徒进行爱国主义教育，废除道教中的封建残余，与反动会道门划清界限，成为道教在新中国面临的重大任务。<br /> The Taoism before 1949 was full of feudalism. It became a major task for Taoism in the new China to educate the Taoists on patriotism, abolish the feudal remnants in Taoism, and draw a clear line with the reactionary Taoism sects.<br /> <br /> 3. 伊斯兰教反对偶像崇拜，所以清真寺内没有任何由人形和动物形组成的偶像图案。寺内装饰大多以阿拉伯文、几何图纹和花卉画纹组成抽象图案为主。<br /> Islam is against idol worship. Therefore, the mosque does not have any idol pictures made of human and animal shape. Most of the mosques are ornamented with abstract designs featuring Arabic, geometric and floral patterns.<br /> <br /> 4. 基督徒看重信徒间的交通。跟随基督是学效他的慈爱、公义与服侍人的榜样。要做到这些，必须在人际关系中具体表现出来；而这种机会得在教会中去找。<br /> Christians attach importance to fellowship among believers. To follow Christ is to learn from his love, justice and service to others. And those believers should practice it in human relationships; and such opportunities have to be found in the church.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 10:20, 10 December 2020 (UTC)Liu Yiyu<br /> <br /> 1.The prosperity of Buddhism in Sui and Tang Dynasties depends not only on the solid foundation laid by Buddhism itself in the Southern and Northern Dynasties, but also on the unity, prosperity and advocacy of the country.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 11:49, 10 December 2020 (UTC)<br /> <br /> 2.Before the founding of the People's Republic of China, Taoism was full of strong feudal atmosphere. It was an important task for Taoism in New China to carry out patriotic education for Taoist believers, abolish feudal remnants of Taoism and draw a clear line with reactionary sects.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 11:49, 10 December 2020 (UTC)<br /> <br /> 3.Islam opposes idolatry, so there are no idol patterns composed of human and animal in mosques. Most of the decorations in the temple are mainly abstract patterns composed of Arabic, geometric patterns and flower patterns.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 11:49, 10 December 2020 (UTC)<br /> <br /> 4.Christians value the communication between its believers. To follow Christ is to learn from his love, justice and service to others. To do this, we must practise it in interpersonal relationships; and this kind of opportunity has to be found in the church.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 11:49, 10 December 2020 (UTC)<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> 1.中国佛寺建筑与印度相同，没有殿堂，建塔藏舍利。后来建殿堂供奉佛像，殿堂与塔并重，但塔依然在殿堂之前。唐宋时期，佛寺发展以殿堂为主的布局。<br /> Chinese buddhist temple architecture is the same as India's, there is no temple, building pagoda and collecting relics. Later, the temple was built to worship the Buddha. The temple and the tower were equal, but the tower was still before the temple. In the Tang and Song Dynasties, the temple of Buddhism developed in the form of halls.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:27, 13 December 2020 (UTC)<br /> <br /> 2.东汉末年出现大量道教组织，著名的有太平道、五斗米道。张道陵正式创立教团组织，距今已有1800年历史。<br /> In the late Eastern Han Dynasty, a large number of Taoist organizations appeared, including the famous Taiping Taoism and the Daodoumi Taoism. It has a history of 1800 years since the official founding of the organization by Zhang Daoling.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:27, 13 December 2020 (UTC)<br /> <br /> 3.伊斯兰系阿拉伯语音译，公元七世纪由麦加人穆罕默德在阿拉伯半岛上首先兴起，原意为“顺从”、“和平”，指顺从和信仰创造宇宙的独一无二的主宰安拉，以求得和平与安宁。<br /> Islam originated in The Arabian Peninsula by Muhammad in the 7th century. Its original meaning is &quot;obedience&quot; and &quot;peace&quot;. It refers to obeying and believing in Allah, the unique master who created the universe, in order to seek peace and tranquility.<br /> <br /> 4.基督教是对奉耶稣基督为救世主的各教派统称，亦称基督宗教。公元1世纪，发源于罗马的巴勒斯坦省（今日的以色列、巴勒斯坦和约旦地区）。它建立的根基是耶稣基督的诞生、传道、死亡与复活。基督教主要包括：天主教、新教、东正教三大教派和其他一些较小教派。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:27, 13 December 2020 (UTC)<br /> <br /> Christianity is a collective name for all denominations that worship Jesus Christ as the Savior, also known as Christianity.The Roman province of Palestine (present-day Israel, Palestine, and Jordan) in the 1st century AD. It is based on the birth, preaching, death and resurrection of Jesus Christ. Christianity mainly includes: Catholic, Protestant, Orthodox three denominations and some other smaller denominations.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:27, 13 December 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> 1.禅宗主张因材施教。它除了要对信徒给予面对面的传教说法之外，还要通过一些动作以及手势来教导信徒。这些特点都让禅宗能够避免走进教条主义以及形式主义等不好的方向，也因此能够长久地在民间得到发展和深入。<br /> <br /> Zen Buddhism prefers teaching people according to his or her ability. In addition to giving face-to-face instruction to its adherents, it also teaches through gestures. All these characteristics have enabled Zen to avoid going in the wrong direction of dogmatism and formalism, so as to develop and deepen its popularity in the long run.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:39, 14 December 2020 (UTC)<br /> <br /> 2.道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一. <br /> <br /> Taoism had a profound impact on the politics, economy and culture in ancient China and was one of the three spiritual pillars of the ruling class.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:39, 14 December 2020 (UTC)<br /> <br /> 3.伊斯兰教的名字来源于阿拉伯语的音译。它的本义是服从，它的信徒叫穆斯林。伊斯兰教成立于7世纪初，是世界三大宗教之一。<br /> <br /> The name of Islam derives from the transliteration in Arabic. Its original meaning is obedience, and its believers are called muslem. Islamism was established at the beginning of the 7th century and ranked one of three major religions in the world.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:39, 14 December 2020 (UTC)<br /> <br /> 4.基督教是基于上帝之子耶稣的教义。<br /> <br /> Christianity is a religion that is based on the teachings of Jesus Christ and the belief that he was the son of God.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:39, 14 December 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> 1.佛教创立后，在印度几经演变。佛陀及其直传弟子所宣扬的佛教，称为根本佛教。佛陀涅槃后，弟子们奉行四谛、八正道等基本教义，在教团生活中维持着他在世时的惯例。由于佛陀在世时于不同场合对不同的对象有着不同的说法，弟子们对此便产生不同的理解。<br /> <br /> After the foundation of Buddhism, it has experienced several changes in India. The Buddhism advocated by Buddha and his direct disciples is called fundamental Buddhism. After the nirvana of the Buddha, the disciples pursued the basic doctrines of the four truths and the eight righteous doctrines, and maintained the conventions of his lifetime in the life of groups. Because Buddha had different views on different objects in different situations, so the disciples had different understandings about it.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:43, 13 December 2020 (UTC)<br /> <br /> 2.新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。道教在反右斗争、大跃进、人民公社化等政治运动中受到波及。<br /> <br /> After the founding of the people's Republic of China, some unreasonable systems and bad habits of Taoism in the old society were reformed, making the Taoism take on a new look. The establishment of the Chinese Taoist Association has realized the great union of Taoists in China, and the majority of taoists who love the nation have begun to work together for the development of Taoism which has been affected by the Anti-Rightist Movement, the Great Leap Forward, the People's Commune and other political movements.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:43, 13 December 2020 (UTC)<br /> <br /> 3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> The development of Islam from the religion of a single nation in the Arab region to a religion of multi-ethnic beliefs in the world is the result of the extensive spread of the Arab Islamic countries through various channels, such as continuous expansion, business exchanges, cultural exchanges, sending missionaries to all over the world.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:43, 13 December 2020 (UTC)<br /> <br /> 4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。<br /> <br /> Christianity generally believes that its basic doctrines are derived from the Bible. The church in history has made a lot of concise summary of the basic doctrines of Christianity in various forms, such as creed, creed and epistemology, which is also regarded as the source of doctrine by scholars who study dogmatics today.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:43, 13 December 2020 (UTC)<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.佛事仪式原是释迦时代所行的宗教活动，传到中国后演变为满足信众需求的经忏、佛事活动。主要有各种忏法、水陆法会、盂兰盆会、焰口等。<br /> <br /> The Buddhist ceremony was originally a religious activity in the Sakyamuni era. After it was introduced to China, it evolved into a Buddhist activity to meet the needs of believers. The main activities include repentance rituals, water and land assembly, Yulan ceremony, Yankou, etc.<br /> <br /> Buddhist rituals were originally religious activities practiced during the time of Sakya, but after their arrival in China, they evolved into sutra confessions and Buddhist rituals to meet the needs of the faithful. The main rituals include various confessions, water and land rituals, Bon rituals, and fireworks.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:45, 9 December 2020 (UTC)<br /> <br /> 2.后经魏晋南北朝数百年的改造发展，道教的经典教义、修持方术、科戒仪范渐趋完备，新兴道派滋生繁衍，并得到统治者的承认，演变为成熟的正统宗教。<br /> <br /> After hundreds of years of transformation and development in the Wei, Jin, Southern and Northern dynasties, the classic doctrines, practicing methods, discipline and etiquette of Taoism became more and more complete, and the new Taoism school emerged and prospered, which was recognized by the rulers, and evolved into a mature orthodox religion.<br /> <br /> 3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> The development of Islam from the religion of a single nation in the Arab region to a religion of multi-ethnic beliefs in the world is the result of the extensive spread of the Arab Islamic countries through various channels, such as continuous expansion, business exchanges, cultural exchanges, and the dispatch of missionaries to all over the world.<br /> <br /> The development of Islam from a mono-ethnic religion in the Arab region to a multi-ethnic religion in the world is the result of the spread of Islam in Arab countries through expansion, trade, cultural exchange, and sending missionaries to all parts of the world.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:45, 9 December 2020 (UTC)<br /> <br /> 4.基督教作为一神论的特色是基督教的神是“三位一体”的神，同一个上帝具有三个位格：圣父、圣子和圣灵。<br /> <br /> The characteristic of Christianity as monotheism is that the God of Christianity is &quot;Trinity&quot; God, and a single God has three personalities: the Father,the Son and the Holy Ghost.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 13:04, 9 December 2020 (UTC)Mo Ling<br /> <br /> The distinctive feature of Christianity as monotheism is that the Christian God is a &quot;triune&quot; God, the same God in three persons: the Father, the Son, and the Holy Spirit.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:45, 9 December 2020 (UTC)<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> 1.中国佛教经南北朝时期的拓展发扬，随着隋唐的统一，在政治稳定、经济繁荣、文化融和及帝王的护持等条件下，使得佛教经典翻译更有系统，义理更为明确。<br /> <br /> After Buddhism was extended and developed in the Southern and Northern Dynasties, along with the unity of China in Sui and Tang dynasties, a more complete system and theories were elaborated in a clearer way in the translation of Buddhist scriptures due to the political stability, buoyant economy, cultural integration and the emperors’ support. <br /> <br /> 2.道教从创教之初，就以老子的《道德经》为根本经典，将其中“道”和“德”作为基本的信仰。道教认为“道”是宇宙万物的本原和主宰，无所不在，无所不包，万物都是从“道”演化而来的。<br /> <br /> Since Taoism was set up, it has regarded the Tao Te Ching by Laozi as its keystone work and considered the Tao, the Way and the Te, the Morality as its fundamental belief. Taoism emphasized the “Tao” is the source and principle of the universe; it exists everywhere and contains everything; it is the origin of everything that exists.<br /> <br /> 3.伊斯兰教既然认为安拉为人类造化了大地上的一切，所以就允许而且要求所有的穆斯林尽可能利用大地上的物质把自己装饰得美观一些、衣着讲究一些，因为这同享受安拉所创造的一切佳美的食物一样是对安拉恩赐的接纳。<br /> <br /> Since Islam believes Allah created everything in the earth, all Muslims are required to make the most of the material to beautify and dress themselves, which is regarded as an acceptance of Allah’s gift, just like enjoying all the good food created by Allah.<br /> <br /> 4.康熙末年，因天主教会内部发生的可否允许中国内地教徒祭祖的“礼仪之争”相持日久，逐步升级为罗马教廷与中国朝廷的政治冲突，康熙帝断然对在华传教采取限禁措施。<br /> <br /> In the last years of reign of Kangxi, there was a long-standing debate within the Catholic Church on whether to allow the Christians in mainland China to offer sacrifices to their ancestors. This debate gradually escalated into a political conflict between the Vatican and the Chinese imperial court, so the Emperors Kangxi resolutely put forward restrictions and a ban on missionary work in China.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 06:31, 10 December 2020 (UTC)Ouyang Ling<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> 1.约在19世纪末和20世纪初，佛教先后传入欧洲和北美。1906年英国成立“英国佛教协会”，欧洲佛教徒开始有自己的组织。以后英、法、德、瑞士、瑞典、捷克斯洛伐克、匈牙利等国都有佛教僧团和研究机构。佛教传入美国后，又北传加拿大，南传巴西、秘鲁、阿根廷等国。<br /> <br /> Around the end of the 19th century and the beginning of the 20th century, Buddhism was introduced to Europe and North America successively. In 1906, Britain established the &quot;British Buddhist Association&quot;, and European Buddhists began to have their own organizations. In the future, Britain, France, Germany, Switzerland, Sweden, Czechoslovakia, Hungary and other countries will have Buddhist monks and research institutions. After Buddhism was introduced to the United States, it spread to Canada in the north and Brazil, Peru, Argentina and other countries in the south.<br /> <br /> 2.新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。<br /> <br /> After the founding of New China, through the democratic reform of the religious system, Taoism in China gained a new life and gradually embarked on a path compatible with socialist society.<br /> <br /> After the founding of the People’s Republic of China, through the democratic reform of religious system, Taoism of China was resurrected and gradually embarked a path compatible with the socialist society.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:33, 11 December 2020 (UTC)Xiao Ting <br /> <br /> After the founding of the People’s Republic of China, through the democratic reform of religious system, Taoism of China was resurrected and gradually embarked on a path compatible with the socialist society.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 03:07, 13 December 2020 (UTC)<br /> <br /> 3.据统计，全世界穆斯林约有16亿人口（2018年），占同期世界人口总数的23.4％。在亚非40多个伊斯兰国家中，穆斯林占全国总人口的大多数。一些国家将伊斯兰教定为国教。<br /> <br /> According to statistics, there are approximately 1.6 billion Muslims in the world (2018), accounting for 23.4% of the total world population in the same period. In more than 40 Islamic countries in Asia and Africa, Muslims account for the majority of the country's total population. Some countries have designated Islam as the state religion.<br /> <br /> According to statistics, there are approximately 1.6 billion Muslims in the world (2018), accounting for 23.4% of the total world population during the period . In more than 40 Islamic countries in Asia and Africa, Muslims account for the majority of the country's total population. Some countries have designated Islam as their state religion.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:33, 11 December 2020 (UTC)Xiao Ting <br /> <br /> 4.由于历史原因，在华人中长期以来都习惯只把新教称为基督教。大陆的新教教会也从不称自己为新教，而只称基督教或耶稣教，而将罗马公教称为天主教，正教称为东正教。<br /> <br /> Due to historical reasons, it has long been accustomed to call Protestantism only Christianity among Chinese. The Protestant churches on the mainland never call themselves Protestant, but only Christianity or Jesus, and the Roman Catholic Church and the Orthodox Church are called Eastern Orthodox.--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 06:29, 10 December 2020 (UTC)<br /> <br /> ==Phyo, Su Kyi==<br /> 1-一种源自Siddhārtha Gotama教义的东亚和中亚宗教，苦难是生活中固有的，可以通过培养智慧，美德和专注力来摆脱苦难。<br /> <br /> A religion of eastern and central Asia growing out of the teaching of Siddhārtha Gautama that suffering is inherent in life and that one can be liberated from it by cultivating wisdom, virtue, and concentration.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 12:18, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> 2-道教或道教是中国血统的哲学传统，强调与道家和谐相处。道是大多数中国哲学流派的基本思想。然而，在道教中，它表示的原则是存在的一切的来源，模式和实质。<br /> <br /> Taoism, or Daoism, is a philosophical tradition of Chinese origin which emphasizes living in harmony with the Tao. The Tao is a fundamental idea in most Chinese philosophical schools; in Taoism, however, it denotes the principle that is the source, pattern and substance of everything that exists.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 12:18, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> 3-伊斯兰教是一种亚伯拉罕式的一神教，教导人们穆罕默德是上帝的最终和最终的使者。它是世界上第二大宗教，有18亿追随者，占世界人口的24.1％，被称为穆斯林。穆斯林占49个国家人口的绝大多数。<br /> <br /> Islam is an Abrahamic monotheistic religion teaching that Muhammad is the final and ultimate messenger of God. It is the world's second-largest religion with 1.8 billion followers or 24.1% of the world's population, known as Muslims. Muslims make up a majority of the population in 49 countries. --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 12:18, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> Islam, as an Abrahamic monotheistic religion, teaches people that Muhammad is the ultimate messenger of God. As the world's second-largest religion, it has 1.8 billion followers, accounting for 24.1% of the world's population, known as Muslims. Muslims make up a majority of the population in 49 countries.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:51, 9 December 2020 (UTC)<br /> <br /> 4-基督教是一种拿撒勒人耶稣的生活和教导为基础的亚伯拉罕一神教。它的信徒被称为基督徒，他们相信耶稣是基督，弥赛亚的到来是在希伯来圣经中被预言的，该圣经在基督教中被称为旧约，并在新约中被记载。<br /> <br /> Christianity is an Abrahamic monotheistic religion based on the life and teachings of Jesus of Nazareth. Its adherents, known as Christians, believe that Jesus is the Christ, whose coming as the Messiah was prophesied in the Hebrew Bible, called the Old Testament in Christianity, and chronicled in the New Testament.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 12:18, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> 1.佛教由Suddhadhon和Rani Mahamaya的儿子Siddhartha Gautama于公元前6日在印度（菩提伽耶）建立。<br /> Buddhism was founded in india (Bodh Gaya) in 6th BC by Siddhartha Gautama son of Suddhadhan and Rani Mahamaya.<br /> <br /> 2.大乘佛教是由中国最大的民族汉朝传入的。<br /> Mahayana Buddhism was introduced by the Han Dynasty, the largest ethnic group in china.<br /> <br /> 3.小乘佛教是公元前9世纪从缅甸传入的。<br /> Hinayana Buddhism was introduced from Burma, in 9th century BC.<br /> <br /> 4.喇嘛教是藏族土著宗教引入的一种佛教形式。<br /> Lamaism is a form of Buddhism introduces by indigenous Tibetan religion.<br /> <br /> 5.道教是最初来自中国人民的唯一宗教。 它起源于顺帝皇帝统治时期的汉朝。<br /> Taoism is the only religion originally came from Chinese people. It originated of the Han dynasty during the reign of Emperor Shundi.<br /> <br /> 6.伊斯兰教由阿拉伯先知穆罕默德创立。 对于具有伊斯兰信仰的穆斯林人民来说，只有一位真主真主。<br /> Islam was founded by the Arab prophet Muhammad. For Muslim people with Islamic faith, there is only one Allah.<br /> <br /> 7.基督教起源于耶稣的事奉，犹太人的老师和治疗者。 基督教是世界上最大的宗教，约有21亿追随者。<br /> Christianity originated from the ministry of Jesus, the teacher and healer of the Jews. Christianity is the largest religion in the world, with approximately 2.1 billion followers.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 19:22, 12 December 2020 (UTC)<br /> <br /> ==Qu Miao 瞿淼==<br /> 1.约在19世纪末和20世纪初，佛教先后传入欧洲和北美。1906年英国成立“英国佛教协会”，欧洲佛教徒开始有自己的组织。以后英、法、德、瑞士、瑞典、捷克斯洛伐克、匈牙利等国都有佛教僧团和研究机构。佛教传入美国后，又北传加拿大，南传巴西、秘鲁、阿根廷等国。<br /> <br /> 1. Around the end of the 19th century and the beginning of the 20th century, Buddhism was introduced to Europe and North America successively. In 1906, Britain established the &quot;British Buddhist Association&quot;, and European Buddhists began to have their own organizations. In the future, Britain, France, Germany, Switzerland, Sweden, Czechoslovakia, Hungary and other countries will have Buddhist monks and research institutions. After Buddhism was introduced to the United States, it spread to Canada in the north and Brazil, Peru, Argentina and other countries in the south.<br /> <br /> 2. 作为早期道教的重要经典，《太平经》蕴含着丰富的美学思想，对后世道教美学产生过深远影响。《太平经》不仅记载了我国古代最早的道教音乐理论，而且对乐律与人的身心健康的关系给予了相当的重视。<br /> 2. As an important classic of early Taoism, &quot;Tai Ping Jing&quot; contains rich aesthetic thoughts, which had a profound influence on later Taoist aesthetics. &quot;Tai Ping Jing&quot; not only records the earliest Taoist music theory in ancient my country, but also pays considerable attention to the relationship between music rhythm and people's physical and mental health.<br /> <br /> 3.神爱世人，甚至将他的独生子（耶稣基督）赐给他们，叫一切信他的，不至灭亡，反得永生.<br /> 3. God loves the world and even gave his only begotten Son (Jesus Christ) to them, so that everyone who believes in him will not perish but have eternal life.<br /> <br /> 4.开光是道教特有的一种宗教科仪，道教认为凡是所塑的神像都要经过一道程序，即装藏。<br /> 4. Consecration is a religious ritual peculiar to Taoism. Taoism believes that all statues made must go through a process, that is, to hide.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 07:12, 14 December 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> 1. Mahayana Buddhism was introduced into regions inhabited by the Han people, the largest ethnic group in China, in the first century.<br /> <br /> 大乘佛教于一世纪传入中国最大的民族汉族居住的地区。<br /> <br /> 2. Taoism is the only major religion that came exclusively from Chinese roots and grew to maturity in Chinese soil.<br /> <br /> 道教是唯一完全起源于中国的宗教，并在中国土壤中逐渐成熟。<br /> <br /> 3. Islam was officially introduced into China by Arabian envoys. Throughout the dynasties, many came over land to Emperor Gaozong of the Tang Dynasty.<br /> <br /> 伊斯兰由阿拉伯特使正式引入中国。 在整个王朝中，许多人来到了唐朝的高宗皇帝手中。<br /> <br /> 4. Christianity is a religion centered in Jesus Christ as the supreme revelation of God and Lord of His followers, and is based on His teaching.<br /> <br /> 基督教是以耶稣基督为中心的一种宗教，是上帝及其信徒的至高启示，是建立在他的教导基础上的。--[[User:RAJABOV ANUSHERVON 10|RAJABOV ANUSHERVON 10]] ([[User talk:RAJABOV ANUSHERVON 10|talk]]) 00:39, 14 December 2020 (UTC)<br /> <br /> ==Seydou, Sagara==<br /> <br /> ==Shi Haiyao 石海瑶==<br /> 1.佛教始于印度，距今已有两千五百多年的历史。佛是梵语，翻译成汉语是觉悟，觉悟超越生死、断尽烦恼，使众生得到解脱、脱离苦海。<br /> <br /> With a history of more than 2500 years, Buddhism began in India. Buddha is a Sanskrit word that translates into Chinese as enlightenment, which transcends life and death, cuts off worries, and liberates sentient beings from the sea of suffering.<br /> <br /> With a history of more than 2500 years, Buddhism was born in India. Buddha is a Sanskrit word that can be translated into Chinese as enlightenment, which transcends life and death, cuts off worries, and liberates sentient beings from the suffering.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 04:30, 14 December 2020 (UTC)<br /> <br /> 2.道教音乐，是中国宗教音乐之一。道教音乐是道教仪式中不可缺少的内容，它具有烘托、渲染宗教气氛，增强信仰者对神仙世界的向往和对神仙的崇敬。道教音乐吸取了中国古代宫廷音乐和传统民间音乐的精华，渗入道教信仰的特色，形成道教音乐的独特艺术风格，也是中国传统音乐的重要组成部份。<br /> <br /> As one of the Chinese religious music. Taoist music is an indispensable element of Taoist rituals, which has the function of setting and rendering the religious atmosphere and enhancing the believers' yearning for the immortal world and reverence for the gods. Taoist music has absorbed the essence of ancient Chinese court music and traditional folk music, and infiltrated the characteristics of Taoist beliefs, forming the unique artistic style of Taoist music, which is also an important part of traditional Chinese music.<br /> <br /> As one of the Chinese religious music. Taoist music is an indispensable element of Taoist rituals, which has the function of setting and rendering the religious atmosphere and enhancing the believers' yearning for the immortal world and reverence for the gods. Taoist music has absorbed the essence of ancient Chinese court music and traditional folk music, and has been infused with the characteristics of Taoist beliefs, forming the unique artistic style of Taoist music, which is also an important part of traditional Chinese music.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 04:30, 14 December 2020 (UTC)<br /> <br /> 3.伊斯兰教礼仪，是伊斯兰穆斯林遵守的行为规范。《古兰经》是伊斯兰教的唯一经典，也是指导穆斯林行为的规范。<br /> <br /> Islamic rituals, which are the codes of conduct observed by Islamic Muslims. The ''Koran'' is the only classic of Islam and the norm that guides the behavior of Muslims.<br /> <br /> Islamic rituals are the codes of conduct observed by Islamic Muslims. The ''Koran'' is the only classic of Islam and the norm that guides the behavior of Muslims.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 04:30, 14 December 2020 (UTC)<br /> <br /> <br /> 4.我们要遵行另一个原则：我们不是寻求自己的意愿，而是跟随上帝的旨意，并为了荣耀他而活。我们要忘却自我，学习顺服上帝和他的命令，成为忠于他的人。因为当圣经要求我们放下一切的挂念时，它不仅要我们除去对财富、权力、利益的非分之想，而且要根除一切企求属世荣耀的野心及渴慕，及其他不能为人知的歪念。<br /> <br /> We are to follow another principle: we are not to seek our own will, but to follow God's will and live for his glory. We are to forget self, learn to obey God and his commands, and become faithful to him. For when the Bible asks us to let go of all our preoccupations, it does not only ask us to remove all thoughts of wealth, power, and profit, but also to eradicate all ambitions and desires for worldly glory, and other perverse thoughts that cannot be known to man.<br /> <br /> We must follow another principle: we are not to seek our own will, but to follow God's will and live for his glory. We are to forget self, learn to obey God and his commands, and become faithful to him. For when the Bible asks us to let go of all our preoccupations, it does not only ask us to remove all thoughts of wealth, power, and profit, but also to eradicate all ambitions and desires for worldly glory, and other perverse thoughts that cannot be known to man.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 04:30, 14 December 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> <br /> 1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。<br /> <br /> The spread of Buddhism to Asian countries can be divided into two routes: in its south direction, it was spread to Sri Lanka at first, then from Sri lanka to Myanmar, Thailand, Cambodia and Laos and other countries. In its north direction, it was spread to China via Pamir Plateau and then from China to the North Korea, Japan, Vietnam and other countries.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:24, 12 December 2020 (UTC)<br /> <br /> 2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。<br /> Among the five religions of China, Daoism is the only one that originated from China and established by the Chinese. That’s why it is called indigenous religion. Daoism has had profound impact on ancient China’s politics, economic and culture and was one of the three spiritual pillars of the ruling class. After the founding of People’s Republic of China, Daoism was revitalized through democratic reform in religions system and started to set out on the path of adapting to socialist society.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:24, 12 December 2020 (UTC)<br /> <br /> Among the five religions of China, Daoism is the only one that originated from China and established by the Chinese， thus being called indigenous religion. Daoism has had profound impact on ancient China’s politics, economy and culture and was one of the three spiritual pillars of the ruling class. After the founding of People’s Republic of China, Daoism was revitalized through democratic reform in religions system and started to set out on the path of adapting to socialist society.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:22, 13 December 2020 (UTC)<br /> <br /> 3.穆罕默德早年失学替人放牧，12岁时跟随伯父及商队，曾到叙利亚、巴勒斯坦和地中海东岸一带经商，广泛接触和目睹了阿拉伯半岛和叙利亚地区的社会状况，了解到半岛原始宗教、犹太教、基督教的情况，为他后来的传教活动提供了大量社会知识和宗教素材。<br /> When he was little, Muhammad dropped out of school and herded animals for people. At the age of 12, he followed his uncle and caravan of merchants to do business in areas such as Syria, Palestine, Mediterranean East Coast, where he had extensive contact with and witnessed social conditions of the Arabian Peninsula and Syria region, and learned about the primitive religions of Peninsula, Judaism and Christianity. All these provided a great amount of social knowledge and religious materials to his preach afterwards.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:24, 12 December 2020 (UTC)<br /> <br /> 4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。此外，历代神学家企图结合其时代的观念阐释和辨明基督教的信仰要理。<br /> Generally speaking, Christians think that they derive their basic doctrines from the Bible. The historical churches have made many concise summaries of the basic doctrines in the form of creeds, tenets, confessions, etc. , which are seen as sources of doctrines by scholars studying doctrines. In addition, many theologians throughout the ages have attempted to explain and distinguish key points of beliefs of Christian faith in the light of the ideas of their time.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:24, 12 December 2020 (UTC)<br /> <br /> Generally speaking, it is believed that the basic doctrines of Christianity derive from the Bible. Historical churches have given many concise summaries of the basic doctrines in the form of creeds, tenets and confessions, which are regarded as the source of doctrines by scholars studying dogmatics. Besides, theologians throughout the ages attempted to expound and clarify the essential points of beliefs of Christain faith in the light of the concepts of their time.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:43, 13 December 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> 1. 佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。<br /> <br /> The spread of Buddhism to Asia can be divided into two routes: Southward to Sri Lanka, then from Sri Lanka to Burma, Thailand, Cambodia, Laos, and other countries. In the north, Buddhism spread to China via the Pamir High Plain, and then from China to Korea, Japan, Vietnam, and other countries.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:23, 10 December 2020 (UTC)<br /> <br /> The spread of Buddhism to Asia can be divided into two routes: Southward to Sri Lanka, then from Sri Lanka to Burma, Thailand, Cambodia, Laos, and other countries. In the north, Buddhism spread to China via the Pamirs Plateau, and then from China to Korea, Japan, Vietnam, and other countries.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 13:56, 13 December 2020 (UTC)Ouyang Ling<br /> <br /> 2. 新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。道教在反右斗争、大跃进、人民公社化等政治运动中受到波及。<br /> <br /> After the founding of New China, some of the unreasonable systems and bad habits of Taoism in the old society were reformed, and Taoism was given a new face. The founding of the Chinese Taoist Association brought about a great union of Taoists throughout the country, and the majority of patriotic Taoists began to work together for the development of Taoism. Taoism was affected by the Anti-Rightist Struggle, the Great Leap Forward, the Communization of the People's Republics and other political movements.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:23, 10 December 2020 (UTC)<br /> <br /> After the founding of New China, some of the unreasonable systems and bad habits of Taoism in the old society were reformed, and Taoism was given a new face. The founding of the Chinese Taoist Association brought about a great union of Taoists throughout the country, and the majority of patriotic Taoists began to work together for the development of Taoism. Taoism was affected by the Anti-Rightist Struggle, the Great Leap Forward, the Movement of People's Commune and other political movements.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 13:56, 13 December 2020 (UTC)Ouyang Ling<br /> <br /> 3. 穆罕默德是一位杰出的历史人物。生于麦加城古莱什部落哈希姆家族。他自幼父母双亡，由祖父和伯父抚养。早年失学替人放牧，12岁时跟随伯父及商队，曾到叙利亚、巴勒斯坦和地中海东岸一带经商，广泛接触和目睹了阿拉伯半岛和叙利亚地区的社会状况，了解到半岛原始宗教、犹太教、基督教的情况，为他后来的传教活动提供了大量社会知识和宗教素材。<br /> <br /> Muhammad is an outstanding historical figure. He was born into the H1ashemite family of the Quraysh tribe in the city of Mecca. His parents died at an early age and he was raised by his grandfather and uncle. At the age of 12, he followed his uncle and his caravan to Syria, Palestine and the eastern shore of the Mediterranean Sea, where he was exposed to and witnessed the social conditions in the Arabian Peninsula and Syria, and learned about the primitive religions of the Peninsula, Judaism and Christianity, which provided him with a great deal of social knowledge and religious materials for his later missionary activities.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:23, 10 December 2020 (UTC)<br /> <br /> Muhammad is an outstanding historical figure. He was born into the H1ashemite family of the Quraysh tribe in the city of Mecca. His parents died when he was was a kid and he was raised by his grandfather and uncle since then. At the age of 12, he followed his uncle and his caravan to Syria, Palestine and the eastern shore of the Mediterranean Sea, where he was exposed to and witnessed the social conditions in the Arabian Peninsula and Syria, and learned about the primitive religions of the Peninsula, Judaism and Christianity, which provided him with a great deal of social knowledge and religious materials for his later missionary activities.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 13:56, 13 December 2020 (UTC)Ouyang Ling<br /> <br /> 4. 宗教改革运动直接的导火线是教宗利奥十世以修建罗马圣彼得大教堂为名，于1517年派多明我会修士台彻尔到德国去兜售赎罪券，此事激起极大反感，据传马丁·路德于同年10月31日在维滕贝格教堂门前张贴反对兜售赎罪券的《九十五条论纲》,揭开这场宗教改革运动的序幕。<br /> <br /> The direct trigger for the Reformation movement was Pope Leo X's sending of the Dominican friar Thacher to Germany in 1517 to sell atonement tickets under the guise of building St. Peter's Basilica in Rome, which aroused such disgust that Martin Luther is said to have opened the Reformation movement by posting a &quot;95 Theses&quot; against the sale of atonement tickets in front of the Wittenberg church on October 31 of the same year.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:23, 10 December 2020 (UTC)<br /> <br /> The direct trigger for the Reformation movement was Pope Leo X's sending of the Dominican friar Thacher to Germany in 1517 to sell atonement tickets under the guise of building St. Peter's Basilica in Rome, which aroused such disgust that Martin Luther is said to have opened the Reformation movement by posting a &quot;95 Theses&quot; against the sale of atonement tickets in front of the Wittenberg Church on October 31 of the same year.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 13:56, 13 December 2020 (UTC)Ouyang Ling<br /> <br /> ==Tang Bei 汤蓓==<br /> 1.佛教是中国人得主要信仰之一，它相信轮回，认为有生命得东西会一直在六道中循环。佛教得一些教义包含着丰富得辩证思维内容，同时它给人们带来了新视野和新文体，因此，佛教是中国历史上灿烂辉煌得文化遗产之一。<br /> <br /> Buddhism is one of the chief beliefs of Chinese people. And it believes in samsara, which means that living beings are always circling around the six spheres. The doctrines of Buddhism contains abundant dialectical thoughts in thinking mode, and it brings us a new vision and a literary style. Therefore, Buddhism is one of the splendid and magnificent cultural heritages in Chinese history.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 11:16, 13 December 2020 (UTC)<br /> <br /> 2.道家思想的核心是“道”，老子用“道”来说明宇宙万物的产生和演变，认为人们在思想和行为上都要遵循“道”的规律，一切都要顺其自然。<br /> <br /> The “Tao”, as the core of Taoism, was applied by Laozi to explain the origin and evolution of universe. Laozi maintained that the law of the “Tao” should be applied to guide people’s thinking as well as behavior, and everything should be in accordance with the nature.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 11:16, 13 December 2020 (UTC)<br /> <br /> 3.佛教、基督教、伊斯兰教，都是外来的宗教，中国都容纳了这些外来的不同文化。而且还主动走出去学习，吸纳不同地不同名族的异质文化。<br /> <br /> Buddhism, Christianity, Islam, were foreign religions, and accommodated by Chinese cultures. Furthermore, Chinese take the initiative to go out to learn and absorb in cultural heterogeneity of different regions and different ethnic.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 11:16, 13 December 2020 (UTC)<br /> <br /> 4.儒家思想的核心是“仁”，主张仁爱之心是处理人际关系的有效方法。孟子认为统治者应爱护人民，保障人民权利。荀子强调社会秩序和个人的努力。作为中国古代传统思想的主要流派，儒家思想对中国人的思想观念特别是价值观念有着极其深远的影响。<br /> <br /> The core of Confucianism is benevolence, which maintains that the effective way to harmonize interpersonal relationship is benevolence. Mencius advocated that the rulers should love people and guarantee people’s rights. Xunzi laid emphasis on social order and individual effort. As the main school of the traditional Chinese thinking in ancient times, Confucianism has an extremely far-reaching influence on Chinese ideology,values in particular.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 11:16, 13 December 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> 1.菩提本无树，明镜亦无台。本来无一物，何处惹尘埃。<br /> <br /> There was no bodhi tree, and it was not a bright mirror stage. It was all empty. No way for dust!--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 06:18, 14 December 2020 (UTC)<br /> <br /> 2.道生一，一生二，二生三，三生万物。万物负阴而抱阳，冲气以为和。<br /> <br /> Tao is unique and contains Yin Qi and Yang Qi. The intersection of Yin and Yang reaches an appropriate state in which all things are created. All things turn from Yin to Yang and thus form a new harmonious body through continuous interactions of the two.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 06:18, 14 December 2020 (UTC)<br /> <br /> 3.意念者，念念不忘于主，忘者丧心也，念者仁心也。<br /> <br /> Those who are devout and determined will always hold Allah in mind and become a kind person, whereas those who don’t will lose humanity.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 06:18, 14 December 2020 (UTC) <br /> <br /> 4.“生命在他里头，这生命就是人的光。光照在黑暗里，黑暗却不接受光。”<br /> <br /> “Life is in him and also the light of him. The light shines in the darkness, but the darkness rejects the light.”--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 06:18, 14 December 2020 (UTC)<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> 1.佛教发源于印度，其後能在中国弘传生根，便是通过经典的翻译。从东汉末年到唐代中叶，译经事业由初创到隆盛，历八百年之久。中国佛教译经事业的历时久远，可说是世界文化史上首屈一指的大业，而所译经论卷帙的庞复，诚为世界文化的瑰宝。<br /> <br /> Buddhism originated in India, and later took root in China through the translation of the classics. From the end of the Eastern Han Dynasty to the middle of the Tang Dynasty, the translation of scriptures lasted for 800 years from its inception to its flourishing. The long history of Chinese Buddhist sutra translation is one of the greatest in the history of world culture, and the volume of sutras translated is a treasure of world culture.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:41, 12 December 2020 (UTC)<br /> <br /> 2.新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。<br /> <br /> After the founding of New China, some unreasonable systems and bad practices that existed in Taoism in the old society were reformed, and Taoism took on a new face. The establishment of the Chinese Taoist Association realized the unification of Taoists nationwide, and the majority of patriotic Taoists began to work together for the development of Taoism.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:41, 12 December 2020 (UTC)<br /> <br /> 3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> The development of Islam from a regional Arab mono-ethnic religion to a world-wide multi-ethnic religion is the result of the widespread spread of the Arab Islamic countries through continuous foreign expansion, business contacts, cultural exchanges, and the sending of missionaries to various parts of the world.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:41, 12 December 2020 (UTC)<br /> <br /> 4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。<br /> <br /> Christianity is generally believed to derive its basic doctrines from the Bible. The historical Church has given many concise summaries of the basic doctrines of Christianity in the form of creeds, creeds, confessions, etc., which are also regarded as the source of doctrine by scholars studying doctrine today.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 12:41, 12 December 2020 (UTC)<br /> <br /> ==Wang Xuan 王轩==<br /> 1. 佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。<br /> Buddhism spread to all parts of Asia in two ways: first to Sri Lanka in the south, and then to Myanmar, Thailand, Cambodia, Laos and other countries from Sri Lanka. It was introduced to China through the Pamir Plateau in the north, and then to Korea, Japan, Vietnam and other countries from China.<br /> <br /> 2. 道教在中国发展的几千年来,形成了自己特有的文化.道教文化极其高雅,极其通俗。亦其中一部分已演化为民间世俗，成为劳动群众精神生活的组成部分。<br /> With the development of Taoism in China for thousands of years, it has formed its own unique culture, which is extremely elegant and popular. Some of them have evolved into folk customs and become part of the spiritual life of the working people.<br /> <br /> Taoism has developed its own unique culture in China for thousands of years. Taoism culture is extremely elegant and popular. Part of it has evolved into folk and secular, becoming a part of the spiritual life of the working people.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:44, 13 December 2020 (UTC)Xiao Shuangling<br /> <br /> 3. 伊斯兰教的兴起，是阿拉伯半岛各部落要求改变社会经济状况和实现政治统一的反映。穆罕默德顺应了历史发展的需要，创传伊斯兰教，在宗教革命的旗帜下，领导了阿拉伯的社会变革运动，统一了阿拉伯半岛。<br /> The rise of Islam is a reflection of the demands of various tribes in the Arabian Peninsula to change their social and economic conditions and achieve political unity. Muhammad complied with the needs of historical development, created and spread Islam. Under the banner of religious revolution, he led the Arab social change movement and unified the Arabian Peninsula.<br /> <br /> The rise of Islam is a reflection of the demands of various tribes in the Arabian Peninsula to change their socio-economic conditions and achieve political unity. Muhammad conformed to the needs of historical development, created Islam, led the Arab social transformation movement under the banner of religious revolution, and unified the Arabian Peninsula.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:44, 13 December 2020 (UTC)Xiao Shuangling<br /> <br /> 4. 基督宗教发端于公元1世纪罗马帝国统治下巴勒斯坦地区的犹太团体。1至5世纪是基督宗教创立并从以色列传向希腊罗马文化区域的时期，是基督宗教发展的早期阶段，是使徒和早期教父建立基督宗教基本教义和神学学说的时期。这一时期常被称为基督宗教发展上的第一个阶段。<br /> Christianity originated in the Jewish community in Palestine under the rule of Roman Empire in the first century. From the 1st to the 5th century, Christianity was founded and spread from Israel to the Greek and Roman cultural areas. It was the early stage of the development of Christianity. It was the period when the apostles and early fathers established the basic doctrines and theological theories of Christianity. This period is often called the first stage in the development of Christianity.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 09:25, 12 December 2020 (UTC)Wang Xuan<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> 1.由于传入的时间、途径、地区和民族文化、社会历史背景的不同，中国佛教形成三大系，即汉传佛教（汉语系）、藏传佛教（藏语系）和云南地区 [1] 上座部佛教（巴利语系）。<br /> As a result of differences in time, route, region, ethnic culture, and socio-historical background, Chinese Buddhism has formed three major lineages, namely, Han Buddhism (Chinese), Tibetan Buddhism (Tibetan), and Shangban Buddhism (Pali) in Yunnan.<br /> <br /> As a result of differences in time, routes, region, ethnic culture, and socio-historical background, Chinese Buddhism has formed three major lineages, namely, Han Buddhism (Chinese), Tibetan Buddhism (Tibetan), and Shangban Buddhism (Pali) in Yunnan.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 09:37, 12 December 2020 (UTC)Wang Xuan<br /> <br /> 2.道教继承和发展了先秦道家思想，将“道”作为最高信仰，从中演化出最高经典，最上道术及最高的神灵，构建了庞大的经典道术神仙体系。道教认为道可以修得，修炼的目的是得道成仙，最终目标是形神俱妙，与道合真。<br /> Taoism inherits and develops the ideas of the pre-Qin Taoists, taking &quot;Tao&quot; as the highest belief, from which the highest classics, the highest Taoist techniques and the highest gods evolve, building a huge system of classical Taoism and immortality. Taoism believes that Tao can be cultivated, and that the purpose of cultivation is to attain immortality, with the ultimate goal of having both form and spirit, and being in harmony with Tao.<br /> <br /> 3.全世界穆斯林约有16亿人口（2018年），占同期世界人口总数的23.4％。在亚非40多个伊斯兰国家中，穆斯林占全国总人口的大多数。一些国家将伊斯兰教定为国教。<br /> There are approximately 1.6 billion Muslims in the world (2018), representing 23.4% of the world's population over the same period. In more than 40 Islamic countries in Asia and Africa, Muslims make up the majority of the total population. Some countries have made Islam the state religion.<br /> <br /> 4.基督教一般认为，上帝的三位一体：基督教作为一神论的特色是基督教的神是“三位一体”的神，同一个上帝具有三个位格：圣父、圣子和圣灵。<br /> Christianity generally holds that there is a trinity of God: Christianity as monotheism is characterized by the fact that the Christian God is a &quot;triune&quot; God, and that the same God has three persons: the Father, the Son, and the Holy Spirit.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:43, 9 December 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> 1.隋唐佛教因有帝王的护持，得以迅速发展，其兴盛繁荣表现在许多方面，如译经、著述、艺术等，尤其中国化佛教宗派的成立，更是重要的特色之一。<br /> <br /> Buddhist in Sui dynasty and Tang dynasty developed rapidly with support of emperors. Its prosperity was manifested in many ways, including scriptures, writings and art. The establishment of Chinese Buddhist sects in particular was one of the important features.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:28, 13 December 2020 (UTC)<br /> <br /> 2.解放前的道教中充满着浓厚的封建气息，对广大道教徒进行爱国主义教育，改革封建经济，废除道教中的封建残余，与反动会道门划清界限，成为道教在新中国面临的重大任务。<br /> <br /> Before the Liberation, Daoism was full of strong feudalism. So it became a major task for Taoism in the new China to launch patriotic education to Taoists, reform the feudal economy and abolish the feudal remnants in Taoism and draw a clear line with the reactionary Huidao Sect.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:28, 13 December 2020 (UTC)<br /> <br /> 3.《古兰经》是穆斯林最重要的典籍，对猪肉的禁令就来自于《古兰经》的第五章，这一章规定了穆斯林的饮食戒律，尤其是第三节，明确规定死物，血液，猪肉和各种不是按照伊斯兰教的方式宰杀的动物，穆斯林都不能吃。<br /> <br /> The Koran is the most important book for Muslims. And the prohibition on pork originates from the fifth chapter of this book, which sets out the dietary commandments for Muslims, especially the third verse. It clearly states that Muslims mustn’t eat any dead animals, blood, pork and all kinds of animals that are not slaughtered in the Islamic way.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:28, 13 December 2020 (UTC)<br /> <br /> 4.广义的基督教是指凡是信奉耶稣基督为救世主的所有教派，即包括了罗马公教、正教、新教三大派及其他一些小教派在内。<br /> <br /> In a broad sense, Christianity refers to all denominations which believe in Jesus Christ as their Savior, including the three major denominations-- Catholic, Orthodox and Protestant, and some other small ones.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:28, 13 December 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> 1.宗教是人类社会发展到一定历史阶段出现的一种文化现象，属于社会特殊意识形态。<br /> <br /> 1.Religion is a kind of cultural phenomenon that appears when human society develops to a certain historical stage, and it is a special social ideology.<br /> <br /> 1. Religion is a kind of cultural phenomenon in the development of human society at a certain historical stage, which belongs to the special ideology of society.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:57, 11 December 2020 (UTC)Li Lili<br /> <br /> Religion is a kind of cultural phenomenon in the development of human society at a certain historical stage, belonging to a special ideology of society.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 08:21, 12 December 2020 (UTC)<br /> <br /> 2.伊斯兰教是世界性的宗教之一，与佛教、基督教并称为世界三大宗教。伊斯兰系阿拉伯语音译，原意为“顺从”“和平”。信奉伊斯兰教的人统称为“穆斯林”(意为“顺从者”)。<br /> <br /> 2.Islam is one of three major religions in the world together with Buddhism and Christianity.It is an Arabic word meaning &quot;obedience&quot; and &quot;peace&quot;. People who have a religious belief of Islam are called &quot;Muslims&quot; (meaning &quot;obedient&quot;).<br /> 2. Islam, together with Buddhism and Christianity, is one of the world's three major religions. Islam is transliteration of Arabic and its original meaning is &quot;obedience&quot; and &quot;peace&quot;. People who believe in Islam are collectively referred to as &quot;Muslims&quot; (meaning &quot;followers&quot;).--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:57, 11 December 2020 (UTC)Li Lili<br /> <br /> 3.天主教强调罪与罚，天堂与地狱；基督教强调因信称义，和神之间的亲密关系，信奉耶稣。<br /> <br /> 3.Catholicism emphasizes sins and punishment,heaven and hell,while Christianism emphasizes honesty,intergrity,affinity of god ,and the firm belief of Jesus.<br /> 3. Catholicism emphasizes sin and punishment, heaven and hell; Christianity underlines righteousness by faith, close relationship with God, and believes in Jesus.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:57, 11 December 2020 (UTC)Li Lili<br /> <br /> 4.虽然学者们对确切的日期争论不休，但许多人都认为，释迦牟尼可能出生于公元前490年左右的印度北部（印度年表将其出生时间定为公元前448年）。他的父母属于刹帝利种姓，他的父亲是一位受人尊敬的首领。他虽然比较富有，但从小就接触到了人间疾苦。<br /> <br /> 4.While scholars debate the exact date, many agree that Siddhartha Gautama is probably born around 490 BCE in northern India (Indian chronology dates his birth to 448 BCE). His parents belong to the Shakya caste, and his father is a respected head of the community. Although he is relatively wealthy, Gautama is exposed to human suffering from an early age.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 09:13, 11 December 2020 (UTC)Wu Zijia<br /> <br /> 4. Although scholars have been arguing about the exact date, many people believe that Sakyamuni may have been born in northern India around 490 B.C. (the Indian chronology sets his date of birth as 448 BC). His parents belonged to the shatiri caste, and his father was a respected leader. Although he is relatively rich, he has been exposed to human suffering since childhood.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:57, 11 December 2020 (UTC)Li Lili<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> 1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。<br /> <br /> 1.Buddhism spread to all parts of Asia in two ways: first to Sri Lanka in the south, and then to Myanmar, Thailand, Cambodia, Laos and other countries from Sri Lanka. It was introduced to China through the Pamir Plateau in the north, and then to Korea, Japan, Vietnam and other countries from China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:29, 13 December 2020 (UTC)Xiao Shuangling<br /> <br /> 2.作为一种宗教实体，道教不仅有其独特的经典教义、神仙信仰和仪式活动，而且还有其宗教传承、教团组织、科戒制度、宗教活动场所。<br /> <br /> 2.As a religious entity, Taoism not only has its unique classic doctrines, fairy beliefs and ritual activities, but also its religious inheritance, religious group organization, discipline system, and religious activities venues.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:29, 13 December 2020 (UTC)Xiao Shuanngling<br /> <br /> 3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> 3.Islam developed from a single ethnic religion in The Arab region to a multi-ethnic religion in the world, which was the result of the extensive spread of Arab Islamic countries through foreign expansion, business contacts, cultural exchanges, and the dispatch of missionaries to all over the world.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:29, 13 December 2020 (UTC)Xiao Shuangling<br /> <br /> 4.1至5世纪是基督宗教创立并从以色列传向希腊罗马文化区域的时期，是基督宗教发展的早期阶段，是使徒和早期教父建立基督宗教基本教义和神学学说的时期。<br /> <br /> 4.The first to the fifth centuries were the period in which Christianity was founded and spread from Israel to the Greco-Roman cultural regions. It was the early stage in the development of Christianity and the period in which the apostles and early fathers established the basic doctrines and theology of Christianity.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 06:29, 13 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> 1. 峨眉山高出五岳、秀甲天下，山势雄伟、气象万千，素有“一山有四季，十里不同天”之妙喻。集自然风光与佛教文化为一体，著名的旅游胜地和佛教名山，1996年12月6日被列入《世界文化与自然遗产名录》。<br /> Higher than any of the five great mountains of China, the awe-inspiring, majestic and picturesque Mount Emei is the perfect place to experience all four seasons in one day. Because of its natural beauty and Buddhist cultural heritage, Mount Emei, a tourist destination and a noteworthy Buddhist mountain, was listed as one of UNESCO’s World Natural and Cultural Heritages sites on Dec.6, 1996.<br /> <br /> 2. 穆罕默德是一位杰出的历史人物。生于麦加城古莱什部落哈希姆家族。他自幼父母双亡，由祖父和伯父抚养。早年失学替人放牧，12岁时跟随伯父及商队，曾到叙利亚、巴勒斯坦和地中海东岸一带经商，广泛接触和目睹了阿拉伯半岛和叙利亚地区的社会状况，了解到半岛原始宗教、犹太教、基督教的情况，为他后来的传教活动提供了大量社会知识和宗教素材。<br /> <br /> Muhammad is an outstanding historical figure. Born into the Hashemite family of the Quraysh tribe in the city of Mecca , he was raised by his grandfather and uncle because his parents died when he was young . In his early years, he dropped out of school to graze for someone.At the age of 12, he followed his uncle and a caravan of merchants to Syria, Palestine and the eastern coast of the Mediterranean Sea, where he had extensive contact with and witnessed the social conditions of the Arabian Peninsula and Syria, and learned about the primitive religions of the Peninsula, Judaism and Christianity, which provided him with a great deal of social knowledge and religious materials for his later missionary activities.<br /> <br /> 3. 天主教是基督教的一个派别，和东正教、新教并称基督教三大教派。亦称“公教”，有时也被称为“旧教”以区分于基督教的新教。其领导中心设在梵蒂冈，首脑是教皇，掌握世界各地的传教事业，是大部分的天主教徒的精神领袖。<br /> <br /> Catholicism is one of the three major Christian denominations, along with the Orthodox and Protestant. It is also known as the &quot;Catholic Church&quot; and sometimes as the &quot;Old Church&quot; in order to be distinguished from Protestant Christianity. Its leadership is centered in the Vatican and is headed by the Pope, who is in charge of missionary work around the world and is the spiritual leader of most Catholics.<br /> <br /> 4.新中国成立后，广大道教徒拥护社会主义制度，拥护共产党的领导。他们自发成立学习小组，开展爱国主义、社会主义和时事政治的学习，发表《反帝爱国宣言》，开展捐献运动支援抗美援朝。<br /> After the founding of People’s Republic of China,the majority of Taoists embraced the socialist system and the leadership of the Communist Party. They set up study groups on their own initiative, conducted studies on the doctrine of patriotism and socialism and current affairs and politics, issued the Anti-Imperialist Patriotic Manifesto, and carried out donation campaigns to support the Korean War.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:58, 11 December 2020 (UTC)Xiao Ting<br /> <br /> &lt;math&gt;Insert formula here&lt;/math&gt;<br /> <br /> ==Xie Fan 解帆==<br /> <br /> 1.佛教信徒依照悉达多所悟到修行方法，发现生命和宇宙的真相，最终超越生死和苦、断尽一切烦恼，得到究竟解脱。<br /> <br /> Based on Siddhartha's enlightenment, Buddhist believers hope to discover the truth of life and the universe, and finally be free from all the troubles brought by life and death. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:07, 11 December 2020 (UTC)<br /> <br /> 2.在五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。<br /> <br /> Among the five major religions, Taoism is the only one that originated in China and was founded by the Chinese, so it is also regarded as China's native religion.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:07, 11 December 2020 (UTC)<br /> <br /> Taoism is the only one that originated in China and was founded by the Chinese among the five major religions, so it is also known as the native religion.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:27, 12 December 2020 (UTC)<br /> <br /> 3.伊斯兰教是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> Islam is the fruit of the wide spread of Islamic countries through the continuous aggression and expansion, business contacts, cultural exchanges, and the dispatch of missionaries all over the world. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:07, 11 December 2020 (UTC)<br /> <br /> The widespread Islam results from the efforts of Islamic countries in terms of continuous aggression and expansion, business contacts, cultural exchanges, and the dispatch of missionaries all over the world.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:04, 13 December 2020 (UTC)Xu Jia<br /> <br /> 4.耶稣为救赎人类，被钉十字架而死，故尊十字架为信仰的标记。<br /> <br /> Jesus died by crucifixion for the redemption of mankind, so Christians honored the cross as a sign of faith.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:07, 11 December 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> 1.纵观日本佛教，教理上多源自中国宗派而发展，然在修行实践上则趋于易行及通俗化，二十世纪后，日本佛教各大宗派更各自发展法会祝祷、办学教育、社会慈善、学术研究等，佛教事业欣欣向荣，尤以佛学研究堪称代表。<br /> <br /> Historically, the doctrines of Japanese Buddhism evolved from Han Buddhism and its practice turned to be easier and more secular. Since 20th century, Buddhist schools in Japan have greatly developed in rituals, education, charity, academic research, etc. Buddhism, particularly in Buddhist studies, is flourishing in the country.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:47, 13 December 2020 (UTC)Xu Jia<br /> <br /> <br /> 2.道教发源于中国本土，她以“道”作为最高信仰：道在有无之先，是生成宇宙万物的本体，但道之本身是窈冥难测的。<br /> <br /> Taoism, which originated in China, regards Tao as its supreme belief. Taoists believe that Tao is the first thing that came into being, and the essence that generated all things in the universe, but Tao itself is mysterious and unpredictable.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:47, 13 December 2020 (UTC)Xu Jia<br /> <br /> <br /> 3.阿拉伯语 &quot;伊斯兰教 &quot;的意思是自愿承认并积极服从唯一的真主安拉的指导命令。凡是以这种方式行事的人都被称为穆斯林，即承认并服从唯一的真主的人。<br /> <br /> The Arabic word islam means the willing recognition of and active submission to the guiding command of the One God, Allah. Whoever acts in this manner is called a muslim, one who acknowledges and submits to the sole, unique God.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:47, 13 December 2020 (UTC)Xu Jia<br /> <br /> <br /> 4.基督教的经典著作《圣经》也以其博大精深的思想内涵和丰富多彩的叙事模式，为西方艺术提供了取之不尽的精神资源。<br /> <br /> The Bible, the classic work of Christianity, has provided inexhaustible spiritual resources for Western art with its profound ideological connotations and colorful narrative patterns.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:47, 13 December 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许静==<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 1. 结束南北分裂局面而开展的隋唐，是中国历史上政治、经济、文化最强盛的朝代，也是中国佛教史上经典翻译、宗派竞立的巅峰时期，其影响不仅深入中国各阶层，而且远播至韩国(高丽、百济、新罗)、日本、越南，开启各国佛教的灿烂新页。<br /> <br /> 1. The Sui and Tang dynasties, which ended the division between the north and the south, were the most politically, economically and culturally powerful dynasties in Chinese history, also the peak period of classical translations and sects in the history of Chinese Buddhism, whose influence spread not only to all classes in China, but also to Korea (Koguryo, Silla and Paekche), Japan and Vietnam, opening a new page of Buddhism development in all countries.<br /> <br /> 2. 隋唐至北宋时期，由于统治阶级的尊崇，道教极为兴盛，社会影响极大，道教的哲学、养生术、符咒法、科仪规章也更为完善。<br /> <br /> 2. From the Sui and Tang dynasties to the Northern Song dynasties, Taoism flourished due to the respect of the ruling class, which influenced the society a lot. Besides, its philosophy, health preservation, spell and regulations were further implemented. <br /> <br /> 3. 伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> 3. Islam was developed from a mono-ethnic Arab religion to a world-wide multi-ethnic religion, due to the widespread spread of Islam in Arab countries through continuous expansion, business, cultural exchanges, and the sending of missionaries to various parts of the world.<br /> <br /> 4. 基督教新教主要宗派包括信义宗、长老宗、圣公宗、浸礼宗、公理宗、卫斯理宗等。除这些较大派别外，新教还分化为众多的小教派和教会团体。<br /> <br /> 4. The main denominations of Protestant Christianity include Lutheranism, Presbyterianism, Anglicanism, Baptism, Congregationalism, Wesleyanism, and so on. In addition to these large denominations, Protestantism is also divided into numerous smaller denominations and church groups.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 06:34, 11 December 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> 1.瑜伽行派传入中国是唐玄奘在大乘佛教时期入印求法，归国后创建了唯实宗，其思想根基主要来源于印度瑜伽行派。<br /> The introduction of the Yoga to China was when Xuanzang entered India to seek Dharma during the Mahayana Buddhism period. After returning to China, he founded the Wei Shi Sect. Its ideological foundation mainly comes from the Indian Yoga.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:52, 13 December 2020 (UTC)<br /> <br /> 2.“无为”是不妄为，不乱来的意思。是说统治者行为要顺应自然、社会发展的规律，并按照规律去定相应的法律、制度、不轻易变更，人们在这样的法律、制度下尽情发挥自己的聪明才干，努力去做。<br /> &quot;Effortless action&quot; means not to act rashly and not to mess around. It means that the behavior of the ruler should conform to the laws of nature and social development, and the corresponding laws and systems should be determined in accordance with the laws and not easily changed. People under such laws and systems can give full play to their talents and work hard.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:52, 13 December 2020 (UTC)<br /> <br /> 3.伊斯兰教认为《古兰经》是安拉“神圣的语言”，是一部“永久法典”。它是伊斯兰教信仰和教义的最高准则，是伊斯兰教法的渊源和立法的首要依据，是穆斯林社会生活、宗教生活和道德行为的准绳，也是伊斯兰教各学科和各派别学说赖以建立的理论基础。<br /> Islam believes that the &quot;Kuran&quot; is the &quot;sacred language&quot; of Allah and a &quot;permanent code.&quot; It is the highest standard of Islamic beliefs and teachings, the origin of Islamic law and the primary basis for legislation, the criterion of Muslim social life, religious life and moral behavior, and the theoretical basis on which the various disciplines and sects of Islam rely.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:52, 13 December 2020 (UTC)<br /> <br /> 4.路德派在教义上主要强调因信称义，认为人要得到上帝的拯救，不在于遵守教会的规条，而在于对上帝的信心；不在于个人的功德或善行，而在于上帝给人的恩赐。<br /> The Lutheran doctrine mainly emphasizes justification by faith, and believes that people's salvation from God does not lie in observing the rules of the church, but in faith in God; it does not lie in personal merit or good deeds, but in the gift that God gives to people.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:52, 13 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> 1.佛教的宇宙观是缘起论，即它认为--切事物都是因缘合和而起的。就认识问题而言，佛教认为，认识的成立必须具备三个因素:认识的器官或机能(根)、客观的对象(境)和主观的认识。<br /> <br /> Buddhism's world outlook is the theory of origin, that is, it believes that everything is the cause and effect.In terms of cognition, Buddhism believes that there must be three factors for the establishment of cognition: the organ or function of cognition (root), objective object (context) and subjective cognition.<br /> <br /> 2.伊斯兰国家：是指在全国总人口中大部分人都信奉伊斯兰教的国家。据有关资料介绍，在全世界180多个国家中，有69个伊斯兰国家，占全世界国家总数三分之一以上。<br /> <br /> A country in which the majority of the population of the country believes in Islam.According to relevant information, there are 69 Islamic countries out of more than 180 countries in the world, accounting for more than one third of the total number of countries in the world.<br /> <br /> Islamic countries refer to countries in which the majority of the population believe in Islam. According to relevant data, there are 69 Islamic countries out of 180 plus countries in the world, accounting for more than one third of the total number around the world.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:11, 11 December 2020 (UTC)<br /> <br /> 3.基督教信仰的对象为上帝，上帝(天主)是基督教的最高神。基督教宣称上帝是天地的主宰，是天地万物的唯一创造者。上帝虽然只有一个，但包括圣父、圣子、圣灵三个位格，三位一体，同受拜敬。<br /> <br /> The object of a Christian belief is God, the supreme God of Christianity.Christianity claims that God is the master of heaven and earth and the sole creator of all things.Although God has only one, it includes the Father, the Son, and the Holy Spirit.<br /> <br /> 4.道教是中国土生土长的宗教，它的理论广泛容纳了中国古代社会的宗教意识和学术思想，是古代宗教、民间巫术、神仙方术、阴阳五行及道家思想等汇聚、融合的产物，带着鲜明的中国特色。<br /> <br /> Taoism is a religion born and bred in China . Its theory widely contains the religious consciousness and academic thought of ancient Chinese society . It is the product of the convergence and fusion of ancient religion, folk witchcraft, celestial magic, yin and yang, five elements and Taoist thought.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 11:53, 9 December 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> 1、佛教是一种约有三亿人信仰的世界性宗教。这个词来自于'菩堤'，意思是'觉悟' 。佛教大约起源于2500年前，是悉达多乔达摩(称为佛陀)在35岁时觉悟后所发起的。<br /> <br /> Buddhism is a religion to about 300 million people around the world. The word comes from 'budhi', 'to awaken'. It originates from about 2,500 years ago when Siddhartha Gotama, known as the Buddha, was himself awakened (enlightened) at the age of 35.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:23, 12 December 2020 (UTC)<br /> <br /> 2、道教是中国固有的一种宗教，距今已有1800余年的历史。它深深扎根于中华沃土之中，具有鲜明的中国特色,并对中华文化的各个层面产生了深远影响。<br /> <br /> Taoism, an inherent religion of China, has a history of over 1800 years. It is deeply rooted in the Chinese fertile soil with distinct Chinese characteristics, and have a profound impact on all levels of Chinese culture.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:23, 12 December 2020 (UTC)<br /> <br /> 3、“伊斯兰”是阿拉伯语音译，本意为“顺服”。从宗教意义上讲，“伊斯兰”是指一种顺服惟一的主宰——安拉的旨意和戒律的宗教。其宗教徒称为“穆斯林”，意为顺服安拉意志的人。<br /> <br /> &quot;Islam&quot; is Arabic transliteration, intended for the&quot; obedience&quot;. From the religious sense,&quot; Islam&quot; refers to a kind of obedience -- only to dominate the will of Allah and the precepts of religion. Its religious believers are known as&quot; Muslim&quot;, meaning to the will of allah. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:23, 12 December 2020 (UTC)<br /> <br /> 4、基督教根源于犹太教，公元1世纪中叶耶稣创立。135年从犹太教中分裂出来成为独立的宗教。早期基督教曾受到罗马皇帝的残酷迫害和镇压。<br /> <br /> Christianity is rooted in Judaism and founded by Jesus in the middle of 1st century. And it split from Judaism as an independent religion in 135 years. Early Christianity had been subjected to cruel persecution and repression of Roman emperors.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:23, 12 December 2020 (UTC)<br /> <br /> Christianity is rooted in Judaism and founded by Jesus in the middle of 1st century. And it was split from Judaism as an independent religion in 135. Early Christianity had been subjected to cruel persecution and repression of Roman emperors.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:23, 13 December 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> 佛教与基督教、伊斯兰教并称的世界三大宗教之一。公元前6世纪至前5世纪，释迦牟尼创建于古印度。以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。<br /> <br /> Buddhism, Christianity, and Islam are the world's three major religions. From the 6th century BC to the 5th century BC, Shakyamuni was founded in ancient India. Since then, it has been widely spread in Asia and around the world, and has had a significant impact on the social, political and cultural life of many countries. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 17:09, 13 December 2020 (UTC)<br /> <br /> 隋唐至北宋时期，由于统治阶级的尊崇，道教极为兴盛，社会影响极大，道教的哲学、养生术、符咒法、科仪规章也更为完善。<br /> <br /> From the Sui and Tang Dynasties to the Northern Song Dynasty, due to the respect of the ruling class, Taoism was extremely prosperous and had a great social influence. Taoism's philosophy, health-preserving techniques, spells, and ritual regulations were also more perfect. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 17:09, 13 December 2020 (UTC)<br /> <br /> 阿拉伯地区日益加剧的社会危机，外族的不断入侵，促进了阿拉伯人的觉醒，社会各阶级都在寻求出路。<br /> <br /> The increasing social crisis in the Arab region and the constant invasion of foreigners have promoted the awakening of Arabs, and all classes of society are seeking a way out. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 17:09, 13 December 2020 (UTC)<br /> <br /> 由于历史原因，在华人中长期以来都习惯只把新教称为基督教。大陆的新教教会也从不称自己为新教，而只称基督教或耶稣教，而将罗马公教称为天主教，正教称为东正教。<br /> <br /> Due to historical reasons, it has long been accustomed to call Protestantism only Christianity among Chinese. The Protestant churches on the mainland never call themselves Protestant, but only Christianity or Jesus, and the Roman Catholic Church is called Catholicism, and the Orthodox Church is called Eastern Orthodox. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 17:09, 13 December 2020 (UTC)<br /> <br /> ==Yi Zichu 义子楚==<br /> 1. 公元313年，罗马帝国皇帝君士坦丁一世发布“米兰敕令”，宣布基督教可与所有其他宗教同享自由，不受歧视。从此基督教成为官方认可的合法宗教。<br /> In 313, the Roman Emperor Constantine I issued &quot;Edict of Milan&quot;, declared common freedom with Christianity and all other religions, without discrimination. Since then, Christianity became an official recognition of the legitimate religion. <br /> 2. l6 世纪，随着西欧民族国家和市民阶级的兴起，爆发了反对罗马教皇封建统治的宗教改革运动，后陆续分化出脱离天主教会的一些新宗派，称为“新教”。所以，基督教是天主教、东正教和新教的总称。<br /> In the 16 century, with the rise of Western European nation-state and public class, Rome, the Reformation movement broke out against rule of the Pope. After these, some of the new sect, known as the &quot;Protestant&quot;, were split from the Catholic Church. So, Christianity is general of Catholic, Orthodox and Protestan.<br /> 3. 佛教是一种约有三亿人信仰的世界性宗教。这个词来自于'菩堤’，意思是'觉悟’。佛教大约起源于2500年前，是悉达多乔达摩(称为佛陀)在35岁时觉悟后所发起的<br /> Buddhism is a religion to about 300 million people around the world. The word comes from '&quot;budhi', 'to awaken'. It has its origins about 2,500 years ago when Siddhartha Gotama, known as the Buddha, was himself awakened (enlightened) at the age of35.<br /> --[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:12, 12 December 2020 (UTC)<br /> <br /> ==You Yuting 游雨婷==<br /> 1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。<br /> <br /> The spread of Buddhism throughout Asia can be roughly divided into two routes: the south route, to Sri Lanka first, then from Sri Lanka to Myanmar, Thailand, Cambodia, Laos and other countries.<br /> <br /> 2.道教界积极开展公益慈善活动，在长江流域特大洪水、汶川地震等重大灾难发生后，都及时组织祈福法会和捐款捐物活动，以道教特有方式为救灾工作作出贡献。<br /> <br /> Taoism has actively carried out public welfare and charity activities. After the catastrophic floods in the Yangtze River basin and the Wenchuan earthquake, Taoism organized prayer meetings and donation activities in a timely manner, contributing to the relief work in a unique Daoist way.<br /> <br /> 3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> Islam developed from a single ethnic religion in The Arab region to a multi-ethnic religion in the world, which was the product of the extensive spread of Arab Islamic countries through foreign expansion, business contacts, cultural exchanges, and the dispatch of missionaries to all over the world.<br /> <br /> 4.基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信条、认信文等多种形式对基督教的基本教义作出了很多精要的概括。<br /> <br /> Christianity is generally believed to originate its basic teachings from the Bible. The church in history has made many essential summaries of the basic tenets of Christianity in various forms, such as creed and epistle.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:35, 11 December 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> 1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。<br /> <br /> Buddhism spread to all parts of Asia in two ways: first to Sri Lanka in the south, and then to Myanmar, Thailand, Cambodia, Laos and other countries from Sri Lanka. It was introduced to China through the Pamir Plateau in the north, and then to Korea, Japan, Vietnam and other countries from China.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:20, 13 December 2020 (UTC)<br /> <br /> 2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。<br /> <br /> Among the five major religions in China, Taoism is the only religion originated in China and founded by Chinese people, so it is also known as local religion. Taoism had a profound impact on the politics, economy and culture of ancient China, and was one of the three spiritual pillars of the ruling class. After the founding of the people's Republic of China, through the democratic reform of the religious system, Chinese Taoism gained a new life and gradually embarked on the road to adapt to the socialist society.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:20, 13 December 2020 (UTC)<br /> <br /> 3.伊斯兰教的兴起，是阿拉伯半岛各部落要求改变社会经济状况和实现政治统一的反映。穆罕默德顺应了历史发展的需要，创传伊斯兰教，在宗教革命的旗帜下，领导了阿拉伯的社会变革运动，统一了阿拉伯半岛。<br /> <br /> The birth of Islam is a reflection of the demands of various tribes in the Arabian Peninsula to change their social and economic conditions and achieve political unity. Muhammad complied with the needs of historical development, created and spread Islam. Under the banner of religious revolution, he led the Arab social change movement and unified the Arabian Peninsula.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:20, 13 December 2020 (UTC)<br /> <br /> 4.基督宗教是一个一神论的宗教，指所有相信主耶稣基督为救主的教会。虽然耶稣基督所建立的是一个合一的基督教会,但基督教在历史进程中却分化为许多派别，主要有天主教、东正教、新教三大传统教派。<br /> <br /> Christianity is a monotheistic religion, which refers to all the churches that believe in the Lord Jesus Christ as the Savior. Although the church established by Jesus Christ is a United Christian Church, Christianity has been divided into many factions in the historical process, including three traditional sects, namely Catholicism, Orthodox Church and Protestantism.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 09:20, 13 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> 佛教传播到每一个地区以后，由于受到当地社会、政治、文化的影响，形式和内容都有相应的变化，形成许多宗派。<br /> <br /> After the spread of Buddhism to every part of the world, due to the locally social, political and cultural influence, its form and content have changed accordingly, thus giving birth to many sects.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:35, 9 December 2020 (UTC)<br /> <br /> After its spreading to other regions, forms and contents saw changes and various sects were formed. The reason is that Buddhism was influenced by different local social, political and cultural environments. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:50, 9 December 2020 (UTC)<br /> <br /> 明清两代，随着中国封建社会进入晚期，道教发展陷入停滞僵化。近代中国道教承明清余绪，除个别时期，一直处于低谷。<br /> <br /> In the Ming and Qing dynasties, with the entering of the late period of feudal society in China, the development of Taoism stagnated and ossified. Taoism in modern China, inheriting fruit in the Ming and Qing Dynasties, except for a few periods, has been at a low ebb.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:35, 9 December 2020 (UTC)<br /> <br /> 伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> Developing from a single ethnic religion in the Arab region, Islam finally became a multi-ethnic religion in the world, which was the result of the extensive spread of Arab Islamic countries through foreign expansion, business contacts, cultural exchanges, and the dispatch of missionaries to all over the world.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:35, 9 December 2020 (UTC)<br /> <br /> 基督教一般认为，其基本教义都是出自于《圣经》。历史上的教会以信经、认信文等多种形式对基督教的基本教义作出了很多精要的概括,也被今天研究教义学的学者视为教义的渊源。<br /> <br /> It is generally believed in Christianity that its basic teachings derived from the ''Bible''. The church in history has made many essential summaries of the basic doctrines of Christianity in various forms, such as creed and epistles, which are also regarded as the source of the doctrines by scholars studying the doctrines today.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:35, 9 December 2020 (UTC)<br /> <br /> It is generally believed in Christianity that its basic teachings derived from the ''Bible''. The churches in history have made many summaries of the basic doctrines of Christianity in various forms, such as creed and epistles, which are also regarded as the source of the doctrines studyed today.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:50, 9 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> 1.与世界其他主要宗教不同的是，佛教是唯一基于全人类所共知的苦难而产生发展起来的。佛教使哲学和宗教思想发生了根本转变。<br /> Uniquely among the great world religions, Buddhism is rooted only in the universal experience of suffering known to all human beings. Buddhism have revolutionized philosophical and religious thought.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:50, 13 December 2020 (UTC)<br /> <br /> 2.儒道两家各有偏重又相互补充，相反相成地融合为共同的和谐美的思想。<br /> Confucianism and Daoism oppose and complement and fuse into the thought of beauty of harmony.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:50, 13 December 2020 (UTC)<br /> <br /> 3.伊斯兰教是世界性的宗教之一，与佛教、基督教并称为世界三大宗教。截至到2009年底，世界人口约68亿人，穆斯林总人数是15.7亿，分布在204个国家和地区，占全世界的百分之二十三。<br /> Islam is one of the world’s religious, with Buddhism and Christianity as the three major religions in the world. By the end of 2009, the world population of 6 billion 800 million people, the total number of Muslims was 1 million 570 million, distributed in 204 countries and regions, accounting for twenty-three percent of the world.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:50, 13 December 2020 (UTC)<br /> <br /> 4.基督教对西方文明产生了非常大的影响，自由、平等、博爱、为中心的人文主义传统，使得“生而平等”观点深入人心，成为《独立宣言》《人权宣言》的核心，成为后来西方民主政治的一种长远的精神推动力。<br /> Christianity had a very big impact to Western civilization. Humanist tradition, as the center of freedom, equality, and fraternity, enjoyed “born equal” popular support, became heart of “Declaration of Independence,” “Declaration of Human Rights”, and a long-term spiritual driving force of the Western democratic. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:50, 13 December 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> religio一语，最原始之意义是指对超自然事物之畏怖、不安等感情而言，其后则有成为感情对象的超自然之事物，及成为感情外在表现的仪礼之意，由之更进而指团体性与组织性之信仰、教义、仪礼之体系。<br /> The original meaning of word “religio” is that the feelings such as fear and unstable towards supernatural things, then it refers to supernatural things with feelings, and etiquette which is feeling appear to be, and further refers to the system of faith, tenet, and etiquette in groups and organizations.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 03:56, 14 December 2020 (UTC)<br /> <br /> <br /> 耶稣出来传道，宣讲天国的福音，劝人悔改，转离恶行。他的教训和所行的神迹，在民众中得到极大的回应。<br /> Jesus preached the gospel of heaven, persuading people to repent and turning away from deviltry. His lessons and miracles were greatly responded to by the people.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 03:56, 14 December 2020 (UTC)<br /> <br /> 伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> The development of Islam from the religion of a single nation in the Arab region to a religion of multi-ethnic beliefs in the world is the result of the extensive spread of the Arab Islamic countries through various channels, such as continuous expansion, business exchanges, cultural exchanges, sending missionaries to all over the world.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 03:56, 14 December 2020 (UTC)<br /> <br /> 自19世纪下半叶，跨越传统教派的福音派教会异军突起，形成巨大影响。<br /> Since the second half of the 19th century, evangelical churches, which span traditional sects, have sprung up and formed a great influence.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 03:56, 14 December 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> 1.佛教传播到每一个地区以后，由于受到当地社会、政治、文化的影响，形式和内容都有相应的变化，形成许多宗派。<br /> <br /> After Buddhism spread to each region, due to local social, political, and cultural influences, there were corresponding changes in form and content, resulting in the formation of many sects.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 9 December 2020 (UTC)<br /> <br /> After Buddhism spread to every region, due to the influence of local society, politics, and culture, the form and content have changed accordingly, forming many sects.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:18, 9 December 2020 (UTC)<br /> <br /> After Buddhism spread to every region, due to the influence of local social and political culture, its form and content changed accordingly, and many sects formed--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:31, 11 December 2020 (UTC)<br /> 2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。<br /> <br /> Since the reform and opening up, under the guidance of the party and government’s religious policies in the new era, Taoism in China has shown an unprecedented new atmosphere, and has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 9 December 2020 (UTC)<br /> <br /> Since the reform and opening up, under the guidance of the Party and government's new religious policy, Chinese Taoism has taken on an unprecedented new look, making positive contributions to promoting economic development, social harmony, the unification of the motherland, and world peace.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:18, 9 December 2020 (UTC)<br /> <br /> 3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> Islam has developed from a regional single-ethnic religion in the Arab region to a religion of multi-ethnic beliefs in the world. It is widely spread by Arab Islamic countries through continuous expansion, business exchanges, cultural exchanges, and missions to the world. the result of.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 9 December 2020 (UTC)<br /> <br /> The development of Islam from a mono-ethnic religion in the Arab region to a multi-ethnic religion in the world is the result of the spread of Islam in Arab countries through expansion, trade, cultural exchange, and sending missionaries to all parts of the world.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:18, 9 December 2020 (UTC)<br /> <br /> 4.虽然耶稣基督所建立的是一个合一的基督教会,但基督教在历史进程中却分化为许多派别，2013年全世界范围当中有超过一万个基督教派，主流的派别主要有天主教、基督新教、东正教三大传统教派，以及一些在信仰人数上虽不如传统教派多，但也有了相当的规模的非传统教派，如:摩门教。<br /> <br /> Although Jesus Christ established a united Christian church, Christianity has divided into many sects in the course of history. In 2013, there were more than 10,000 Christian sects worldwide. The mainstream sects are mainly Catholicism, Protestantism, The three traditional sects of Eastern Orthodox Church, and some non-traditional sects that are not as large as traditional sects in the number of believers, such as Mormonism.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 9 December 2020 (UTC)<br /> <br /> Although Jesus Christ established a unified Christian Church, Christianity has been divided into many denominations over the course of history; in 2013 there were more than 10,000 Christian denominations worldwide, with the dominant denominations being the three traditional denominations of Catholicism, Protestantism, and Orthodoxy, as well as some non-traditional denominations that are not as numerous as the traditional denominations, but have grown in size, such as Mormonism. --[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:18, 9 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> 1. 目前佛教已传播到世界各大洲。但主要仍集中在东亚和东南亚一带，这个地区的佛教信徒人数远远超过其他宗教信徒。<br /> <br /> At this moment, Buddhism has spread to all continents of the world. However, it is still concentrated in East Asia and Southeast Asia, where the number of Buddhists is far more than that of other religions. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:52, 12 December 2020 (UTC)<br /> <br /> 2. 道教是我国土生土长的宗教，是在汉代黄老道家思想基础上，吸收古代神仙家的方术和民间巫术及鬼神信仰，于东汉末年形成的。<br /> <br /> Taoism, a native-born religion in China, was formed at the end of the Eastern Han Dynasty by absorbing the ancient alchemy, folk witchcraft and belief in ghosts and gods on the basis of Taoist thought of Huang Lao in Han Dynasty. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:52, 12 December 2020 (UTC)<br /> <br /> 3. 伊斯兰教有着一套具有自己从教特色的体系，它在神学信仰、政治主张、经济思想、道德规范等各方面所提倡的行为规范是每一个穆斯林都必须遵守的。<br /> <br /> Islam has a system with its own religious characteristics. Every Muslim must abide by the code of conduct it advocates in theological belief, political opinion, economic thought and moral standards. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:52, 12 December 2020 (UTC)<br /> <br /> 4. 天主教在教会体制上遵循“圣统制”，即各地的天主教会以罗马主教为尊，受罗马教宗管理，神权事务由罗马教宗授权，在天主教会看来，罗马教宗就是上帝在世的代表，是继承了耶稣门徒的传统，上帝授权他来管理教会。<br /> <br /> Catholicism follows the “Hierarchy” in its church system, that is, the Catholic churches everywhere respect the Bishop of Rome and are under the management of the Pope, and the theocracy affairs are authorized by the Pope. In the view of the Catholic Church, the Roman Pope is the representative of God in the world, inheriting the tradition of Jesus' disciples, and God authorized him to manage the church. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:52, 12 December 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> 玄奘少时家境贫困，跟着哥哥在洛阳净土寺，学习佛经。后来他从兰州出发，经河西走廊，到达瓜州，想要从那里出境，沿着我们现在所讲的“丝绸之路”去印度求法。<br /> When he was young, Xuanzang came from a poor family and followed his brother to study Buddhist sutras in The Jingtui Temple in Luoyang. Later, he set out from Lanzhou and reached Guazhou through the Hexi Corridor. He wanted to leave from there and go to India to seek dharma along the Silk Road we now speak。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:30, 11 December 2020 (UTC)<br /> <br /> 道教是中国的本土宗教，以历史唯物主义作为指导。道教从东汉诞生并演变，至近代大约有两千多年。<br /> Taoism is the indigenous religion of China, which was guided by historical materialism from the birth and evolution of The Eastern Han Dynasty to the modern times over two thousand years--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:30, 11 December 2020 (UTC)<br /> Islam<br /> 伊斯兰教主要分布地区有中东和北非等地。在我国，伊斯兰教也被称之为清真教。<br /> Islam is mainly found in the Middle East and North Africa. It is also called “Qingzhen”in China。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:30, 11 December 2020 (UTC)<br /> Christianity<br /> 基督教发源于巴勒斯坦地区犹太人社会，创始人是耶稣。基督教在人类的发展史上有着不可替代的作用，尤其是当今的西方社会，许多发达国家都以基督教文化为主导。<br /> Christianity originated from the Jewish society in Palestine, and its founder was Jesus Christ. Christianity has played an irreplaceable role in the development history of mankind, especially in today's Western society, where many developed countries are dominated by Christian culture。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 14:30, 11 December 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> 1. 佛教四大名山闻名遐迩，鲜为人知的是中国还有一座山——终南山，堪称佛教诸宗的祖山，大乘佛教九宗中有六宗祖庭集于此处。佛教进入中国初期，并没有宗派之分，而当佛教走入山川形胜的终南秘境，仰对峰峦、俯拾河溪，却体会出更多佛法的真味。<br /> <br /> The four famous Buddhist mountains are well known. What is little known is that there is another mountain in China-Zhongnan Mountain, which can be called the ancestral mountain of all Buddhist sects. Six of the nine Mahayana Buddhist sects are gathered here. In the early days of Buddhism's entry into China, there was no sectarian distinction. However, when Buddhism entered the secret land of the south, where mountains and rivers prevailed, it realized more of the true flavor of Buddhism. <br /> --[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 15:01, 9 December 2020 (UTC)<br /> <br /> 2. 道教深深扎根于民间，体现着百姓最朴素的信仰——衣食住行的每个诉求，都可以在道教神灵那里得以满足。在中国道教石窟中，你依然能感受到道教在中国人日常生活中的重要。<br /> <br /> Taoism is deeply rooted in the people and embodies the most simple belief of the people-every demand for food, clothing, housing and transportation can be satisfied by Taoist gods. In the Chinese Taoist grottoes, you can still feel the importance of Taoism in the daily life of the Chinese people. <br /> <br /> 3. 清真寺是伊斯兰教进行宗教活动的中心，主要是供信徒礼拜之处。伊斯兰教，发源于阿拉伯半岛的麦加，信奉独一无二的造物主安拉，信徒被称作穆斯林。它和基督教一样，是外来的宗教。<br /> <br /> Mosque is the center of Islamic religious activities, mainly for believers to worship. Islam, which originated in Mecca on the Arabian Peninsula, believes in the unique Creator Allah and its followers are called Muslims. Like Christianity, it is a foreign religion. <br /> <br /> 4. 以“耶稣基督”诞辰为记的圣诞节，是属于基督教的节日。这个现今世界上最大的宗教信仰，建立在一个丰满的神话体系上，在这些故事中，不仅有曲折动人的情节，还充满了爱与人情味儿。 <br /> Christmas, which is marked by the birth of Jesus Christ, is a Christian festival. The largest religious belief in the world today is based on a full myth system. In these stories, there are not only tortuous and touching plots, but also full of love and human touch. <br /> --[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 15:01, 9 December 2020 (UTC)Zhang Weihong<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 1,佛教与基督教、伊斯兰教并称的世界三大宗教之一。公元前6世纪至前5世纪，释迦牟尼创建于古印度。以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。<br /> <br /> Buddhism together with Christianity and Islam is one of the world's three major religions. Between the 6th century BC and the 5th century BC, Shakyamuni found Buddhism in ancient India. Since then, it has been widely spread in Asia and around the world and has had a significant impact on the social, political and cultural life of many countries.<br /> <br /> 2.明清两代，随着中国封建社会进入晚期，道教发展陷入停滞僵化。新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。<br /> <br /> During the Ming and Qing dynasties, as China's feudal society entered its late stage, the development of Taoism fell into stagnation and ossification. After the founding of Republic of China, some unreasonable systems and bad habits in Taoism in the old society were reformed, and Taoism took on a new look.<br /> <br /> 3. 阿拉伯地区日益加剧的社会危机，外族的不断入侵，促进了阿拉伯人的觉醒，社会各阶级都在寻求出路。<br /> <br /> The increasing social crisis in the Arab region and the constant invasion of foreigners have promoted the awakening of Arabs. All classes of society are seeking a way out.<br /> <br /> 4. 大陆的新教教会也从不称自己为新教，而只称基督教或耶稣教，而将罗马公教称为天主教，正教称为东正教。<br /> <br /> The Protestants in the mainland never call themselves Protestants, but only Christians or Jesus, and the Roman Catholic Church is called Catholicism, and the Orthodox Church is called Eastern Orthodox--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 05:32, 14 December 2020 (UTC).<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.佛教中国本土化在隋唐时期已初步完成，而儒、释、道三教的合流则在两宋时期。<br /> <br /> The localization of Buddhism in China has preliminarily finished in the Sui and Tang Dynasties, while the confluence of Confucianism, Buddhism and Taoism was in the Song Dynasty.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:36, 9 December 2020 (UTC) <br /> <br /> The localization of Buddhism in China has preliminarily completed in the Sui and Tang Dynasties, while the confluence of Confucianism, Buddhism and Taoism was in the Song Dynasty.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:36, 11 December 2020 (UTC)<br /> <br /> 2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。<br /> <br /> Under the guidance of religious policy published by party and government in the new era, China’s Daoism has emerged an unprecedented new look since the reform and opening-up. It made positive contribution to promoting economic development, harmonious society, national unity and world peace.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:36, 9 December 2020 (UTC)<br /> <br /> 3.伊斯兰教是科学的宗教，它鼓励人们通过真科学对宇宙、世界进行认识和思考，从而使信仰更加坚固。<br /> <br /> Islam, as a scientific religion, encourages people to understand and reflect on the universe and the world through authentic science, making the belief more stable.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:36, 9 December 2020 (UTC)<br /> <br /> Islam, as a scientific religion, encourages people to understand and reflect on the universe and the world through authentic science, thus making the belief more stable.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 03:03, 10 December 2020 (UTC)<br /> <br /> Islam, as a scientific religion, encourages people to understand and reflect on the universe and the world through authentic science, making their beliefs more stable.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 07:55, 13 December 2020 (UTC)<br /> <br /> 4.在基督教早期阶段，教会曾实行财产共有，外界视其为一种秘密性的宗教组织。<br /> In the early stage of Christianity, the church ever implemented the policy of common ownership. However, the outside world regarded it as a secret religious organization.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:36, 9 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 公元前6世纪至前5世纪，佛教创建于古印度。以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。<br /> <br /> In the 6th century BC or the 5th century BC, Buddhism was founded in ancient India. Since then, it has been widely spread in Asia and around the world, and has had a significant impact on the social, political and cultural life of many countries.<br /> <br /> 道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。<br /> <br /> Taoism is the only religion that originated in China and was founded by the Chinese, so it is also called the local religion.<br /> <br /> 伊斯兰教公元七世纪由麦加人穆罕默德在阿拉伯半岛上首先兴起，公元7世纪中叶自西亚、中东传入中国。<br /> <br /> Islam first emerged on the Arabian Peninsula by Mecca, Muhammad, in the seventh century AD, and was introduced to China from West Asia and the Middle East in the middle of the seventh century.<br /> <br /> 基督教是对奉耶稣基督为救世主的各教派统称，亦称基督宗教。基督教与佛教、伊斯兰教并称三大宗教。<br /> <br /> Christianity is the collective name for all denominations that hold Jesus Christ as the savior, also known as the Christian religion. Christianity, Buddhism, and Islam are called the three major religions.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 08:02, 13 December 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> 1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。<br /> <br /> The spread of Buddhism throughout Asia can be roughly divided into two routes: southward to Sri Lanka first, and from Sri Lanka to Myanmar, Thailand, Cambodia, Laos and other countries. The northward spread to China via the Pamir Plateau, and then from China to Korea, Japan, Vietnam and other countries.<br /> <br /> 2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。<br /> <br /> Since the reform and opening up, under the guidance of the religious policies of the Party and the government in the new era, Taoism in China, in an unprecedented new atmosphere, has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.<br /> <br /> 3.伊斯兰教自创兴迄今已有1400多年的历史，它作为一种宗教信仰、意识形态和文化体系，传入世界各地后，与当地传统文化相互影响和融合，在不同历史条件下，对许多国家和民族的社会发展、政治结构、经济形态、文化风尚、伦理道德、生活方式等都发生了不同程度的影响。<br /> <br /> Islam has a history of more than 1400 years since its inception. As a religious belief, ideology and cultural system, it has influenced and integrated with local traditional culture after it was introduced into various parts of the world. Under different historical conditions, it has influenced the social development, political structure, economic form, cultural fashion, ethics and morality, lifestyle of many countries and nationalities to varying degrees.<br /> <br /> 4.基督宗教各派都信奉耶稣基督为救主，都以《圣经》，又称《新旧约全书》为经典，其中《新约》各章节都相同，而《旧约》有所不同，东正教和天主教的内容比新教（基督教）要多几章。<br /> <br /> All denominations of the Christian religion believe in Jesus Christ as their Savior, and all use the Bible, also known as the Old and New Testaments, as their classics, with all chapters of the New Testament being the same and the Old Testament being different as the Orthodox and Catholics having a few more chapters than the Protestants (Christianity).--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:09, 12 December 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> 1.佛教产生于印度,最迟于东汉明帝时期传入内地。在魏晋南北朝时期快速发展,基于佛教思想意识体系完备,中国皇帝大力支持和寺院经济基础雄厚等原因,逐渐在中国广泛流传。<br /> <br /> Buddhism grew out of India and was introduced to the mainland at least by the reign of the Ming emperor in the Eastern Han dynasty. In the Wei, Jin and Southern and Northern dynasties, Buddhism developed rapidly and spread extensively and gradually in China due to complete Buddhist ideology systems, great support from Chinese emperors and strong economic fundamentals of temples.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 07:59, 12 December 2020 (UTC)<br /> <br /> Buddhism, emerging in India, was introduced to the mainland at least by the reign of the Ming emperor in the Eastern Han dynasty. In the Wei and Jin Dynasties, and Southern and Northern dynasties, Buddhism developed rapidly. With complete Buddhist ideology systems, great support from Chinese emperors and strong economic fundamentals of temples, it began to spreading extensively in China at that time.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:12, 12 December 2020 (UTC)<br /> <br /> 2.经过一千多年发展,道教已经形成了系统的养生理论与操作方法,得到社会的一定认可。在养生旅游蓬勃发展的今天,道教养生旅游成为养生旅游的重要形式之一,但就目前国内道教养生旅游开发来看,多处景区对道教养生文化资源的开发还有待深入,养生旅游产品特色不足。<br /> <br /> After more than one thousand years of development, Taoism has formed its own systematic regiment and operational methods, which obtain certain approvals from the whole society. At present, with the booming development of wellness tourism, Taoism health tourism is one of the significant forms of health tourism. However, considering from the present development of domestic health tourism, many scenic spots still have a long way to go for developing Taoist health-keeping culture for lacking of characteristics of products.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 07:59, 12 December 2020 (UTC)<br /> <br /> After more than one thousand years of development, Taoism has formed a system of health theory and operation methods, which has been recognized by the society. With the vigorous development of health tourism today, Taoist health tourism has become one of the important forms of health tourism. However, as far as the development of domestic Taoist health tourism is concerned, the tapping of Taoist health culture resources in many scenic spots remains to be deepened, and the characteristics of health tourism products are insufficient.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 13 December 2020 (UTC)<br /> <br /> 3.伊斯兰教自唐朝传入中国,到明清时完成了中国化进程,形成了回族这一特殊的民族。<br /> <br /> Islam was introduced to China from the Tang dynasty and completed its process of Sinicization in the Ming and Qing dynasties, forming the Hui, such a special ethnic group.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 07:59, 12 December 2020 (UTC)<br /> <br /> 4.在世界基督教的历史中,依托于欧洲文明的西方基督教成为基督教史的主流,具有同样深厚渊源的东方基督教却在历史长河中湮没不闻。<br /> <br /> In the world history of Christianity, the western Christianity based on European civilizations has become the mainstream of the history of Christianity while the eastern Christianity possessing the same profound origin has disappeared in the history.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 07:58, 12 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> 1.佛教于公元前6世纪至前5世纪，释迦牟尼创建于古印度，以后广泛传播于亚洲及世界各地，对许多国家的社会政治和文化生活产生过重大影响。<br /> <br /> Buddhism was founded by Siddhartha Gautama in ancient India between the 6th and 5th centuries B.C. It spread widely throughout Asia and the rest of the world, and had a significant impact on the socio-political and cultural life of many countries.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:05, 9 December 2020 (UTC)<br /> <br /> Buddhism was founded in ancient India from the 6th century BC to the 5th century BC by Siddhartha Gautama. After that, it spread widely in Asia and all over the world, and had a significant impact on the social, political and cultural life of many countries.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:12, 9 December 2020 (UTC)<br /> <br /> 2.道教是一种多神教，沿袭了中国古代对于日月、星辰、河海山岳以及祖先亡灵都奉祖的信仰习惯，形成了一个包括天神、地祗和人鬼的复杂的神灵系统。<br /> <br /> Taoism is a polytheistic religion, inheriting the ancient Chinese belief in the sun, moon, stars, rivers, oceans and mountains, as well as the spirits of ancestors and the dead, and has formed a complex system of gods and spirits, including the gods of heaven, earth, humans and ghosts.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:05, 9 December 2020 (UTC)<br /> <br /> 3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> The development of Islam from a mono-ethnic religion in the Arab region to a multi-ethnic religion in the world is the result of the spread of Islam in Arab countries through expansion, trade, cultural exchange, and sending missionaries to all parts of the world.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:05, 9 December 2020 (UTC)<br /> <br /> Islam has developed from a regional single-ethnic religion in the Arab region to a religion of multi-ethnic beliefs in the world. It is widely spread by Arab Islamic countries through continuous expansion, business exchanges, cultural exchanges, and missions to the world. the result of.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:12, 9 December 2020 (UTC)<br /> <br /> 4.基督教文化是一种以基督教为其存在基础和凝聚精神的文化形态，包括其崇拜上帝和耶稣基督的宗教信仰体系，以及相关的精神价值和道德伦理观念。<br /> <br /> Christian culture is a cultural form that has Christianity as its foundation and unifying spirit, including its religious belief system of worshipping God and Jesus Christ, as well as the related spiritual values and moral and ethical concepts.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:05, 9 December 2020 (UTC)<br /> <br /> Christian culture is a cultural form that takes Christianity as its basis of existence and a cohesive spirit, including its religious belief system of worshiping God and Jesus Christ, as well as related spiritual values and moral and ethical concepts.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:12, 9 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> 1.佛教向亚洲各地传播，大致可分为两条路线：南向最先传入斯里兰卡，又由斯里兰卡传入缅甸、泰国、柬埔寨、老挝等国。北传经帕米尔高原传入中国，再由中国传入朝鲜、日本、越南等国。<br /> <br /> The spread of Buddhism throughout Asia can be roughly divided into two routes: in the south to Sri Lanka first, and from Sri Lanka to Myanmar, Thailand, Cambodia, Laos and other countries. North spread through the Pamir plateau into China, and then from China into Korea, Japan, Vietnam and other countries.<br /> <br /> The spread of Buddhism throughout Asia can be roughly divided into two routes: in the south to Sri Lanka first, and from Sri Lanka to Myanmar, Thailand, Cambodia, Laos and other countries. In the north way, it was spread through the Pamir plateau into China, and then from China into Korea, Japan, Vietnam and other countries.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:40, 13 December 2020 (UTC)<br /> <br /> 2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。<br /> <br /> Among the five major religions in China, Taoism is the only one that originated in China and was founded by the Chinese, so it is also known as the native religion. Taoism had a profound influence on the politics, economy and culture of ancient China and was one of the three spiritual pillars of the ruling class.<br /> <br /> 3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> Islam developed from a single ethnic religion in The Arab region to a multi-ethnic religion in the world, which was the result of the extensive spread of Arab Islamic countries through foreign expansion, business contacts, cultural exchanges, and the dispatch of missionaries to all over the world.<br /> <br /> 4.到了476年，罗马帝国在内部的矛盾和外族的入侵下分裂为以意大利的罗马城为中心的西罗马和以君士坦丁堡为首都的东罗马。随着东西罗马的分裂，基督宗教也开始分裂为罗马天主教和东正教。<br /> <br /> In 476, due to internal conflicts and foreign invasions, the Roman Empire was divided into two empires, the west and the east, Italy and Constantinople as the capital respectively. With the division, Christianity began to split into Roman Catholicism and the Orthodox Eastern Church.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:40, 13 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> 1.佛教典籍共分为经、律、论三藏。“藏”的原意是可以盛放东西的竹箧，有容纳、收藏的含义，佛教用以概括全部佛教典籍。经是释迦本人所说的教义；律是佛陀为教徒制定的必须遵守的规则及其解释；论是为阐明经、律而作的各种理论的解释和研究。<br /> <br /> Buddhist scriptures are divided into three types: sutra, the law and the theory. The original meaning of &quot;Zang&quot; is a bamboo scaffold that can hold things, thus it has the meaning of containing and storing, used by Buddhism to summarize all Buddhist classics. Sutras are the doctrines that Sakyamuni himself said; laws are the rules and explanations that the must be followed by Budda's followers; theory is the interpretation and research accomplishment of various theories to clarify sutras and laws.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:10, 14 December 2020 (UTC)<br /> <br /> 2.道教以“道”为最高信仰。“道”无形无象，而又生育天地万物。“道”在人和万物中的显现就是“德”。故万物莫不尊道而贵德。道散则为气，聚则为神。神仙既是道的化身，又是得道的楷模。神仙以济世度人为宗旨。故道教徒既信道德，又拜神仙。<br /> <br /> Taoism takes &quot;Tao&quot; as its highest belief. &quot;Tao&quot; is invisible, yet it gives birth to all things in the world. The manifestation of &quot;Tao&quot; in people and everything is &quot;Virtue&quot;. Therefore, all things respect the Tao and the Virtue. When Dao scatters, it will be Qi (means air); gathers, be God. The gods are not only the incarnation of Tao, but also the models of attaining Tao. The purpose of immortals is to save the world and save people. Therefore, Taoists believe in virtue and worship gods.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:10, 14 December 2020 (UTC)<br /> <br /> 3.伊斯兰教由阿拉伯地区性单一民族的宗教发展成世界性的多民族信仰的宗教，是阿拉伯伊斯兰国家通过不断对外扩张、经商交往、文化交流、向世界各地派出传教士等多种途径而得到广泛传播的结果。<br /> <br /> Islam has developed from a regional single-ethnic religion in the Arab region to a religion of multi-ethnic beliefs in the world. It is widely spread by Arab Islamic countries through continuous expansion, business exchanges, cultural exchanges, and sending missionaries to the world.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:10, 14 December 2020 (UTC)<br /> <br /> 4.基督的两性：基督既是完全的神，又是完全的人，兼具完全的神性和完全的人性。<br /> <br /> The two natures of Christ: Christ is both a perfect God and a perfect man, with both perfect divinity and perfect humanity.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:10, 14 December 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> 佛教于公元1世纪左右传入中国，对中国文化产生了极为深远的影响，中国艺术的发展，也深深打上了佛教的烙印，留下了灿烂的佛教艺术作品。<br /> <br /> Buddhism was introduced to China around the 1st century A.D. It had an extremely profound impact on Chinese culture, and the development of Chinese art was deeply branded by Buddhism, leaving behind splendid works of Buddhist art.<br /> <br /> 道教是我国三大宗教之一，在传统文化中占有重要地位，创立于1800多年前的东汉时期。它经历了魏晋的发展成熟，隋唐的繁荣兴盛，宋朝的鼎盛，元朝的分化合流，明清走向世俗化，并逐渐衰落。<br /> <br /> Daoism, founded more than 1800 years ago during the Eastern Han Dynasty, occupies an important place in traditional culture as one of the three major religions in China. After underwent development and maturity in the Wei and Jin Dynasties, prosperity and flourishing in the Sui and Tang Dynasties, its heyday in the Song Dynasty, divergence and merging in the Yuan Dynasty, secularization in the Ming and Qing Dynasties, it gradually decline.<br /> <br /> <br /> &quot;要坚持新疆伊斯兰教中国化方向，实现宗教健康发展。”这是习近平总书记对新形势下做好新疆宗教工作提出的新要求新目标新任务，为做好新时代新疆宗教工作、推进新疆伊斯兰教中国化进程提供了根本遵循。<br /> <br /> &quot;We must adhere to the Sinicization of Islam in Xinjiang and realize its healthy development.&quot; This is General Secretary Xi Jinping’s new requirement, goal, and task for doing well in Xinjiang’s religious work under the new situation, which provides a fundamental guideline to the process of Sinicization of Islam.<br /> <br /> 基督教文化对于英美文学创作一直有着深远影响,这在路易莎·梅·奥尔科特基于自身经历所创作的《小妇人》中对马奇家四姐妹的塑造上也得到了清晰体现。<br /> <br /> Christian culture has always had a profound influence on English and American literature, and this is clearly reflected in the portrayal of the four March sisters in Louisa May Alcott's Little Women, which is based on her own experience.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> 1.藏传佛教法器类繁多，具有浓厚的神秘色彩。这些法器大体可以分为礼敬、称赞、供养、持验、护魔、劝导六大类。每件法器都有其不同的宗教含义，有的法器兼有数种用途。<br /> <br /> There are many kinds of magical instruments in Tibetan Buddhism, which are full of mystery. These implements can be roughly divided into six categories: homage, praise, support, holding, magic protection, persuasion. Each has its own religious meaning, and some serve several purposes.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 10:21, 13 December 2020 (UTC)<br /> <br /> 2.道教文学艺术就是以宣传道教教义、神仙长生思想以及反映其宗教生活为题材的内容的各种形式的文学艺术作品。文学艺术可以扩大道教的社会影响，进而提高道教的宗教素质。反过来，道教的神仙信仰也给中国文学艺术的发展巨大的影响。<br /> <br /> Taoist literature and art are all kinds of literature and art works with the theme of promoting Taoist Doctrine, immortal and longevity thought and reflecting religious life. Literature and art can enlarge the social influence of Taoism, and then improve the religious quality of Taoism. In turn, the immortal belief of Taoism also to the Chinese literature and art development profound influence.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 10:21, 13 December 2020 (UTC)<br /> <br /> 3.穆罕默德在早期的宣教中，告诫人们放弃多神信仰和偶像崇拜，宣称真主是宇宙万物的创造者，是唯一的主宰，要求人们信奉独一无二的真主。<br /> <br /> In Muhammad's early preachings,he exhorted people to abandon polytheism and idolatry, declaring that God is the creator of all things in the universe and the only master, and asking people to believe in the one and only God.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 10:21, 13 December 2020 (UTC)<br /> <br /> 4.三位一体，基督教教义，谓上帝只有一个，但包括圣父、圣子耶稣基督和圣灵三个位格。三者虽位格有别，而本质绝无分别，同受钦崇，同享尊荣，同为永恒。三位一体把《圣经》中所记述的对上帝本性的认识的三个中心要素放在一起，即：神创造世界、神藉着耶稣基督救助人类、神藉着圣灵与基督徒和教会同在。<br /> <br /> The Trinity, a Christian doctrine that there is only one God but includes the father, the son Jesus, and the Holy Spirit. Although the three positions are different, but there is no difference in nature. The Trinity brings together the three central elements of biblical knowledge of the nature of God: God’s creation of the world, God’s salvation through Jesus, and God’s presence with Christians and the church through the Holy Spirit.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 10:21, 13 December 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> 1.佛教经由两条路径传入中国，一支由古印度经西域传入中原地区，尔后传入朝鲜半岛、越南、日本等处，称北传佛教。另一支则由东南亚传至中国南方，为南传佛教，但其影响力不及于中原，因此并不被包括在汉传佛教中。<br /> <br /> Buddhism was introduced into China through two routes, one was introduced into the Central Plains from ancient India via the Western Regions, and then into the Korean Peninsula, Vietnam, Japan and other places, called Northern Buddhism. The other one was spread from Southeast Asia to southern China as Southern Buddhism, but its influence was not as great as that of the Central Plains, so it was not included in Chinese Buddhism.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 12:28, 10 December 2020 (UTC)Zou Xinyu<br /> <br /> Buddhism was introduced to China through two routes: one was from ancient India to the Central Plains via the Western region, and then to the Korean Peninsula, Vietnam, and Japan, called Northern Buddhism. The other one came from Southeast Asia to Southern China, called Southern Buddhism, but its influence was not as good as in the Central Plains, so it was not included in the Chinese Buddhism. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:36, 11 December 2020 (UTC)<br /> <br /> 2.开光是道教特有的一种宗教科仪，道教认为凡是所塑的神像都要经过一道程序，即装藏。<br /> <br /> Consecration is a religious ritual peculiar to Taoism. Taoism believes that all statues of gods must go through a process, which is to hide.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 12:28, 10 December 2020 (UTC)Zou Xinyu<br /> <br /> Consecration (refers to invite benevolent spirit ) is a religious ritual unique to Taoism. Taoism believes that all statues of deities go through a process called ''zhuangzang'', which refers to a hole is left behind the statue and when consecrating, the monk will put scriptures, jewels, grains, and metal lungs and livers in and seal the hole. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:36, 11 December 2020 (UTC)<br /> <br /> 3.“伊斯兰”系阿拉伯语音译，意为“顺从”、“和平”，指顺从和信仰创造宇宙的独一无二的主宰安拉及其意志，信奉伊斯兰教的人统称为“穆斯林”，意为“顺从者”。<br /> <br /> &quot;Islam&quot; is an Arabic transliteration, meaning &quot;obedience&quot; and &quot;peace&quot;. It refers to obedience and belief in the unique ruler of Allah and its will that created the universe. People who believe in Islam are collectively referred to as &quot;Muslims&quot;, meaning &quot;submissive &quot;.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 12:28, 10 December 2020 (UTC)Zou Xinyu<br /> <br /> &quot;Islam&quot; is a transliterated word of the Arabic, meaning &quot;obedience&quot; and &quot;peace&quot; which refers to obedience to and faith in Allah and his will, the unique master who created the universe. Those who believe in Islam are known as &quot;Muslims&quot;, meaning &quot;the obedient&quot;. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:36, 11 December 2020 (UTC)<br /> <br /> 4.“基督”是希腊语的弥赛亚（救世主），当时在犹太人中传布着一种弥赛亚的预言，大致是说，犹太人将要出一个像古代名王大卫（公元前11世纪的一位犹太民族英雄，建立犹太王国，定都耶路撒冷）那样的民族救世主，实现“上帝的国”。<br /> <br /> &quot;Christ&quot; is the Greek Messiah (Savior). At that time, a Messianic prophecy was preached among the Jews. It roughly means that the Jews will have a national savior like the ancient king David (a Jewish national hero in the 11th century BC who established the Jewish kingdom and set the capital in Jerusalem), and realize the &quot;kingdom of God&quot;.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 12:28, 10 December 2020 (UTC)Zou Xinyu<br /> <br /> &quot;Christ&quot; is the Greek word for Messiah (Savior). At that time, there was a Messianic prophecy spreading among the Jews that the Jews would have a national savior like the ancient king David (a Jewish national hero of the 11th century BC who founded the Jewish kingdom and set its capital in Jerusalem),and realize the &quot;Kingdom of God&quot;. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:36, 11 December 2020 (UTC)<br /> <br /> ==Zubareva, Ekaterina==<br /> <br /> 1.The religion’s founder, Buddha, is considered an extraordinary man, but not a god.<br /> <br /> 宗教的创始人佛陀被认为是非凡的人，但不是神。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 05:32, 14 December 2020 (UTC)<br /> <br /> 2.Ancient philosophy-Taoism-was founded in the 4th century AD. B.C. Philosopher Lao Tzu.<br /> <br /> 古代哲学学说-道教-始建于公元4世纪。 公元前。 哲学家老子。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 05:32, 14 December 2020 (UTC)<br /> <br /> 3.The Hui Muslims of Shaanxi supported the revolutionaries and the Hui Muslims of Gansu supported the Qing. <br /> <br /> 陕西的回族人支持革命者，甘肃的回族人支持清政府。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 05:32, 14 December 2020 (UTC)<br /> <br /> 4.Christianity in China appeared in the 7th century, during the Tang dynasty, but did not take root until it was reintroduced in the 16th century by Jesuit missionaries.<br /> <br /> 在中国，基督教出现于7世纪的唐朝时期，但直到16世纪耶稣会传教士重新引入基督教之后，基督教才生根发芽。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 05:32, 14 December 2020 (UTC)</div>

Qu Miao https://bou.de/u/index.php?title=20201215_cultexam_2&diff=110455 2020-12-12T06:23:23Z

<p>Qu Miao: /* Bibliography */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, student no.==<br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ===References===<br /> &lt;span style=&quot;color:red&quot;&gt;'''References missing.'''&lt;/span&gt;<br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> ===Answers===<br /> <br /> ==Landscape, The Ancient Tea Horse Road - Lei Fangyuan 雷方圆==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.(Baidu Baike)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> <br /> 2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.((Baidu Baike)<br /> <br /> 3. the ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.(Baidu Baike)<br /> <br /> 4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.(Baidu Baike)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. <br /> <br /> Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.<br /> <br /> Shanxi- Tibet tea horse road (wade ancient road), was formed in the Han dynasty through the efforts of the Shanxi merchants and the ancient southwest border tea and horse. During the Ming and Qing dynasties, the government controlled tea traffickin along the tea trafficking sub-region, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:02, 7 December 2020 (UTC)Li Lili<br /> <br /> ====Historical Value====<br /> The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.(Baidu Baike)<br /> <br /> 1.The Golden Road of Tourism<br /> <br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.(Baidu Baike)<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> <br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Baidu Baike)<br /> <br /> 3.Migration Corridor of National Cultures<br /> <br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.(Baidu Baike)<br /> <br /> 4.Religious Propagation Road<br /> <br /> With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.(Baidu Baike)<br /> <br /> 5. The Path of National Spirituality<br /> <br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Baidu Baike)<br /> 6.The Road of National Unity and Integration<br /> <br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.(Baidu Baike)<br /> <br /> 7.The Road of Securing the Borders<br /> <br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.(Baidu Baike)<br /> <br /> 8.The road to economic development<br /> <br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Baidu Baike)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 03:42, 29 November 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?<br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> The Chinese text rooted in Baidu Baike. The website as following:https://baike.baidu.com.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:15, 8 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Puppets - Li Lili 李丽丽==<br /> ===Shadow Puppets Li Lili No.202070080594===<br /> ====The Origin of Shadow Play====<br /> Shadow play has a history of more than 2000 years from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid. So he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story written in Hanshu is considered to be the earliest origin of shadow play. There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development in Bianjing of the Northern Song Dynasty is closely related to Bianjing’s superior geographical environment, the development of commodity trade and commercial transportation at that time.(Wei Liqun 2018,13-14)<br /> <br /> ====Introduction====<br /> More than 2,000 years ago, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks” , “waving a sword and a spear, ” or even “smoking ”by puppeteer holding and moving manipulating rods on its body. Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc.(Wang Yexia 2012,1-3)<br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. The “head” is the most important part of a shadow puppet and its total component number is about four times that of the “body”. A shadow puppet’s “head”. And the “body” can be mixed and matched with each other. (Wang Yexia 2012,29-33)<br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged person are short beard, but the elderly man are long beard. The decorative designs on the shadow puppets are very important and match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character. The black is a sign of a just, honest and selfless personality. The yellow shows a brave and irascible character, also are used in fantasy plays to represent people with magic power. To make a shadow puppet move flexibly, a complete figure often has many components such as a head, a chest,a belly, two legs, two arms, two elbows, two hands. (Wang Yexia 2012,9-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to work. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. After the end of the &quot;Cultural Revolution&quot;, shadow puppet art recovered rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation of the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.<br /> <br /> ===References：===<br /> 王业霞 《皮影戏》 北京：高等教育出版社 2012 Wang Yexia [Shadow Play] Beijing: [Higher Education Publishing House] 2012<br /> 魏力群 《小书大传承-皮影》 重庆：重庆出版社 2018 Wei Liqun [&quot;Small Book, Big Heritage - Shadow Play&quot;] Chongqing: [Chongqing Publishing House] 2018<br /> 朱恒夫 中国皮影戏的历史，现状与剧目特征[J] 浙江艺术职业学院学报 2020(18) Zhu [Hengfu The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre][J] [Journal of Zhejiang Arts Vocational College] 2020(18)<br /> <br /> ===Words and Expressions===<br /> shadow puppet皮影戏 <br /> paper cutting 剪纸<br /> ventriloquism 口技<br /> manipulating rod 操纵杆<br /> five facial features 五官<br /> sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> Cultural Revolution 文化大革命<br /> intangible cultural heritage 非物质文化遗产<br /> <br /> <br /> ===Questions===<br /> 1.When is the earliest shadow puppet’s record?<br /> <br /> 2.What art of forms do shadow play use?<br /> <br /> 3. What does a red head stand for in a play?<br /> <br /> 4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> <br /> ===Answers===<br /> 1.Song dynasty.<br /> <br /> 2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> <br /> 3.The red is symbol of a heroic and upstanding character.<br /> <br /> 4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴==<br /> <br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. <br /> <br /> However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. <br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; (Li Xiaoyu 2010, 33) the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. (Tan Su 2012, 68) &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society.<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization.<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. (Li Chengzong 2002, 67) On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. <br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. (Wang Jie 2004, 82-83) Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves.<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83) <br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication.<br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. <br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. <br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. <br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. <br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. <br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House.<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> It was broadcast in December 1990.<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> ''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> &quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot; <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:19, 9 November 2020 (UTC)<br /> <br /> ===Answers===<br /> ===References===<br /> ==Liu Ou 刘欧==<br /> <br /> ===相声 Cross Talk===<br /> <br /> ===The History of Cross Talk===<br /> <br /> Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate other's voices, also known as neighboring cross talk. It was evolved and further developed from the folk music in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng （1850—1861）and Emperor Tongzhi（1861—1874）period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 06:33, 23 November 2020 (UTC)<br /> <br /> ===Famous Artists of Cross Talk===<br /> <br /> ===Answers===<br /> ===References===<br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.<br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded. Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular. The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Cho Chikun (1997). Go: A Complete Introduction to the Game. Tokyo: Kiseido Publishers. ISBN 978-4-906574-50-6.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> [6]百度百科：围棋<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.” History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. (Fan Jinshi 2010，170)The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. <br /> <br /> After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96.( Fan Jinshi 2010, 175) In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting. <br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University兰州大学.<br /> <br /> MA Shichang.(2010).Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang.MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].中原文物 Cultural Relics in Central Plain,No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> ====Civil Service Examination System====<br /> <br /> --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 08:27, 2 November 2020 (UTC)<br /> <br /> == The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panaroma view of the Forbidden City.jpg|300px|thumb|left|A Panaroma view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.<br /> <br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it.<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 Student No.202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture.<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper.<br /> After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> <br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> <br /> *Durrenberger, E. Paul, 1989. &quot;Lisu Religion&quot;, Southeast Asia Publications Occasional Papers No. 13, DeKalb: Northern Illinois University.<br /> <br /> ==Phyo, Su Kyi==<br /> Chinese Clothing== Phyo, Su Kyi, Student No-20191108000<br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.“Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press,2016.<br /> <br /> <br /> 2.Mei Hua, `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress2010<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> Chinese traditional dance--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 02:46, 12 November 2020 (UTC)<br /> <br /> &lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;&lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;==Phyo, Su Kyi==<br /> Chinese Traditional women clothing<br /> 1- History of Chinese clothing<br /> History of Chinese clothing China has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization.<br /> A- Chinese Clothing during Qin and Han Dynasties (221 B.C - 220 A.D)<br /> The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established many social systems, including one for uniforms to distinguish people's ranks and social positions. China's complete code of costume and trappings was established in the Han Dynasty (206BC-220AD). The yarn-dyeing, embroidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.<br /> B-Chinese Clothing during Wei,Jin, South and North Dynasties(220-589)<br /> Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589). Before 265, the cultures and esthetic views of the peoples in north and south China merged because of the moves initiated by frequent wars. Many philosophical schools of thought influenced both people's lives and the conceptions of clothing design.<br /> C- Chinese Clothing during Tang Dynasty(618-907)<br /> The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.<br /> D-Chinese Clothing during Song, Yuan, Ming Dynasties<br /> Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and elegant.During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the People on Horseback, was in power. The style of clothing was mainly a combination of Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in design.Dramatic changes took place during the Ming Dynasty (1368-1644). A new conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.<br /> E- Chinese Clothing during Qing Dynasty<br /> During the Qing Dynasty (1644-1911), clothes became elegant, poised, and glorious. During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious heritage for traditional Chinese clothes.<br /> F-Chinese Clothing from 1930s till Modern Era<br /> Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to 1960s, Qipao(Cheongsam) survives as everyday wear in Hong Kong until the late 1960s. <br /> <br /> Terms and Expressions <br /> Questions <br /> References.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 17:37, 25 November 2020 (UTC)Phyo Su Kyi<br /> <br /> ===Answers===<br /> ===References===<br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604==<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore, drinking vessels as part of the liquor culture also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康 <br /> 2.Chinese Dionysus 中国酒神<br /> 3.husked sorghum rice 秫米饭 <br /> 4.Baishui 白水县（陕西渭南市辖县） <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县） <br /> 6.fermented wine 发酵酒<br /> 7.Distilled liquor 蒸馏酒 <br /> 8.Yellow rice wine 黄酒<br /> 9.Shaoxing Wine 绍兴酒 <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> 11.Mellow Wine 醇香酒 <br /> 12.Dongwu Rice Wine 东吴老酒<br /> 13.Liquor and Spirits 白酒 <br /> 14.Kweichow Moutai 贵州茅台<br /> 15.sauce-flavor type 酱香型 <br /> 16.light flavor type 清香型 <br /> 17.strong flavor type 浓香型 <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> 19.the Peiligang culture period裴李岗文化时期 <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> 21.Zun 樽 <br /> 22.injection vessel and bowl 注子和注碗<br /> 23.drinking order 行酒令<br /> <br /> ====Questions====<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> *Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.<br /> <br /> *Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.<br /> <br /> *Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.<br /> <br /> *Yang Li 杨 利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.<br /> <br /> *Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.<br /> <br /> *Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.<br /> <br /> *Wng Jianguo&amp;Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.<br /> <br /> *Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> China Railway High-Speed ​​(CRH) is a high-speed rail service operated by the China Railway. The introduction of the CRH series was an important part of the 6th National Rail Acceleration, which took place on April 18, 2007. By the end of 2018, China Railway High Speed ​​served all provinces in China except Taiwan and covered over 29,000 km. (18,000 miles) the length of passenger routes, which make up about two-thirds of the world's high-speed rail routes served by commercial enterprises. It is the most widely used rail transport in the world, with 1.713 billion flights in 2017, bringing the total cumulative number of flights to 7 billion. More than 1000 sets of rolling stock are operated under the CRH brand, including the Hexie CRH1 / 2A / 5, which are rated for a top speed of 250 km / h (160 mph), and the CRH2C / 3 has a top speed of 350 km / h. ( 220 mph). The in-house developed CRH380A has a maximum test speed of 416.6 km / h (258.9 mph) at a commercial speed of 350 km / h.The fastest CRH380BL train reaches a maximum test speed of 487.3 km / h (302.8 mph) ). In 2017, China Standardized EMU brand, including CR400AF / BF and CR200J, joined China Railway High Speed ​​and is designated Fuxing along with the letters CR (China Railway). With gradual planning, the CR brand will replace the existing CRH brand in service. Depending on the speed, there are 3 categories of high-speed trains: G, D and C (G and some C are the fastest at 350 km / h, D at 250 km / h and C at 200 km / h). <br /> High speed rail network. <br /> High speed rail services were first introduced in 2007 on CRH rolling stock. They operate on existing lines that have been upgraded to speeds of up to 250 km / h (160 mph), and on newer dedicated high-speed routes rated up to 350 km / h (220 mph). <br /> CRH service on dedicated high-speed lines<br /> <br /> ===Answers===<br /> ===References===<br /> ==Language, The Chinese Language - Seydou, Sagara, student no. &lt;span style=&quot;color:red&quot;&gt;'''no. missing'''&lt;/span&gt; ==<br /> <br /> ===Introduction===<br /> Chinese is a very big country with large population. Each may have its own lingo, or dialects. There are great differences between these dialects. If people in different places use their dialects to talk, they may not be able to understand each, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries.<br /> Putonghua is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> According to statistics, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> &lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> --[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 14:09, 6 December 2020 (UTC)<br /> --[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 02:24, 20 November 2020 (UTC)<br /> <br /> ===1 Putonghua and Dialects===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> ===2 Ancient Chinese and Modern Chinese ===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> <br /> ===3 Idiomatic Phrases - Idioms, Common Sayings, and Allegorical Sayings===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> <br /> ===4 Language Policy===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> <br /> <br /> <br /> ===References===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> <br /> ===Terms and Expressions===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> <br /> ===Questions===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> <br /> ===Answers===</div>

Qu Miao https://bou.de/u/index.php?title=20201215_cultexam_2&diff=110302 2020-12-11T15:11:56Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> *Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> *You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &quot;Longevity Noodles&quot;) or Text B (&quot;Mooncakes&quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&quot;Festival Meals&quot;) and arrange it accordingly.<br /> *In the topic, please write the category, then the topic - your name and student no.<br /> *For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. <br /> *Add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Please also add a list &quot;Terms and Expressions&quot;.<br /> *Please add a &quot;Questions&quot; section.<br /> *Please add a &quot;Answers&quot; section.<br /> <br /> ==Chinese Red Culture - Kang Haoyu 康浩宇, student no.==<br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====1. Development====<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====2. Symbols====<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====3. Values====<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====4. Red Culture in Nanchang====<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ===References===<br /> &lt;span style=&quot;color:red&quot;&gt;'''References missing.'''&lt;/span&gt;<br /> <br /> ===Terms and Expressions===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> ===Answers===<br /> <br /> ==Landscape, The Ancient Tea Horse Road - Lei Fangyuan 雷方圆==<br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.(Baidu Baike)<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> <br /> 2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.((Baidu Baike)<br /> <br /> 3. the ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.(Baidu Baike)<br /> <br /> 4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.(Baidu Baike)<br /> <br /> There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. <br /> <br /> Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.<br /> <br /> Shanxi- Tibet tea horse road (wade ancient road), was formed in the Han dynasty through the efforts of the Shanxi merchants and the ancient southwest border tea and horse. During the Ming and Qing dynasties, the government controlled tea traffickin along the tea trafficking sub-region, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 03:02, 7 December 2020 (UTC)Li Lili<br /> <br /> ====Historical Value====<br /> The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.(Baidu Baike)<br /> <br /> 1.The Golden Road of Tourism<br /> <br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.(Baidu Baike)<br /> <br /> 2. Ancient Roads for the Propagation of Civilization<br /> <br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Baidu Baike)<br /> <br /> 3.Migration Corridor of National Cultures<br /> <br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.(Baidu Baike)<br /> <br /> 4.Religious Propagation Road<br /> <br /> With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.(Baidu Baike)<br /> <br /> 5. The Path of National Spirituality<br /> <br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Baidu Baike)<br /> 6.The Road of National Unity and Integration<br /> <br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.(Baidu Baike)<br /> <br /> 7.The Road of Securing the Borders<br /> <br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.(Baidu Baike)<br /> <br /> 8.The road to economic development<br /> <br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Baidu Baike)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 03:42, 29 November 2020 (UTC)<br /> <br /> ===Terms and Expressions===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 3.What is the historical value?<br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)<br /> <br /> ===Answers===<br /> <br /> 1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. <br /> <br /> 2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.<br /> <br /> 3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. <br /> <br /> ===References===<br /> The Chinese text rooted in Baidu Baike. The website as following:https://baike.baidu.com.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:15, 8 December 2020 (UTC)<br /> <br /> ==Literature, Novels - Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> ====Introduction====<br /> At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as &quot;the four great condemnation novels of the late Qing Dynasty&quot;. They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.<br /> The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, &quot;the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much&quot;, they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.<br /> <br /> ==== Nie Hai Hua====<br /> Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.<br /> The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.<br /> As a historical novel, Nie Hai Hua draws on the spirit of the ancient &quot;good history&quot; of China to portray its characters. At the same time, it draws on the satirical approach of &quot;The History of Confucianism&quot; in which &quot;the fair-minded accuse the evils of the times&quot;, commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.<br /> <br /> ==== the Travels of an Old Man====<br /> The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.<br /> The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those &quot;Qing officials&quot; who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. <br /> The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.<br /> <br /> ==== The Records of Officialdom Exposure====<br /> The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.<br /> The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named &quot;expedition bandits&quot;, but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.<br /> The novel's writing method is modelled on &quot;The Scholars&quot; and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.<br /> <br /> ==== 20 years witness strange present situation====<br /> The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.<br /> The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.<br /> The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: &quot;nine deaths and a lifetime&quot; is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.<br /> <br /> ==== Conclution====<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four satirical novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> ===Reference===<br /> https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin<br /> <br /> ===Terms and Expressions===<br /> The Records of Officialdom Exposure 《官场现形记》<br /> <br /> The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》<br /> <br /> the Travels of an Old Man 《老残游记》<br /> <br /> Nai Hai Hua 《孽海花》<br /> <br /> The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说<br /> <br /> ===Questions===<br /> 1、what are The Four Great Condemnation Novels of the late Qing dynasty ?<br /> <br /> 2、which novel is modeled the &quot;The Scholars&quot;?<br /> <br /> 3、what’s the common characteristic of these four novels? <br /> <br /> 4、what other satirical novels do you know?<br /> <br /> ===Answers===<br /> 1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.<br /> <br /> 2、The Records of Officialdom Exposure<br /> <br /> 3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.<br /> <br /> 4、E.g.The Scholars<br /> <br /> ==Shadow Puppets - Li Lili 李丽丽==<br /> ===Shadow Puppets Li Lili No.202070080594===<br /> ====The Origin of Shadow Play====<br /> Shadow play has a history of more than 2000 years from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid. So he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story written in Hanshu is considered to be the earliest origin of shadow play. There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development in Bianjing of the Northern Song Dynasty is closely related to Bianjing’s superior geographical environment, the development of commodity trade and commercial transportation at that time.(Wei Liqun 2018,13-14)<br /> <br /> ====Introduction====<br /> More than 2,000 years ago, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks” , “waving a sword and a spear, ” or even “smoking ”by puppeteer holding and moving manipulating rods on its body. Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc.(Wang Yexia 2012,1-3)<br /> So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. The “head” is the most important part of a shadow puppet and its total component number is about four times that of the “body”. A shadow puppet’s “head”. And the “body” can be mixed and matched with each other. (Wang Yexia 2012,29-33)<br /> The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged person are short beard, but the elderly man are long beard. The decorative designs on the shadow puppets are very important and match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character. The black is a sign of a just, honest and selfless personality. The yellow shows a brave and irascible character, also are used in fantasy plays to represent people with magic power. To make a shadow puppet move flexibly, a complete figure often has many components such as a head, a chest,a belly, two legs, two arms, two elbows, two hands. (Wang Yexia 2012,9-16)<br /> <br /> ====The Present Situation of Contemporary Shadow Play====<br /> Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the &quot;Cultural Revolution&quot;, the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to work. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. After the end of the &quot;Cultural Revolution&quot;, shadow puppet art recovered rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation of the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）<br /> In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the &quot;list of representative works of human intangible cultural heritage&quot;.<br /> <br /> ===References：===<br /> 王业霞 《皮影戏》 北京：高等教育出版社 2012 Wang Yexia [Shadow Play] Beijing: [Higher Education Publishing House] 2012<br /> 魏力群 《小书大传承-皮影》 重庆：重庆出版社 2018 Wei Liqun [&quot;Small Book, Big Heritage - Shadow Play&quot;] Chongqing: [Chongqing Publishing House] 2018<br /> 朱恒夫 中国皮影戏的历史，现状与剧目特征[J] 浙江艺术职业学院学报 2020(18) Zhu [Hengfu The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre][J] [Journal of Zhejiang Arts Vocational College] 2020(18)<br /> <br /> ===Words and Expressions===<br /> shadow puppet皮影戏 <br /> paper cutting 剪纸<br /> ventriloquism 口技<br /> manipulating rod 操纵杆<br /> five facial features 五官<br /> sharp eyebrows and almond-shaped eyes 尖眉杏眼<br /> Cultural Revolution 文化大革命<br /> intangible cultural heritage 非物质文化遗产<br /> <br /> <br /> ===Questions===<br /> 1.When is the earliest shadow puppet’s record?<br /> <br /> 2.What art of forms do shadow play use?<br /> <br /> 3. What does a red head stand for in a play?<br /> <br /> 4.When is it put on the list of intangible cultural heritage&quot;.<br /> <br /> <br /> ===Answers===<br /> 1.Song dynasty.<br /> <br /> 2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.<br /> <br /> 3.The red is symbol of a heroic and upstanding character.<br /> <br /> 4. On November 27, 2011.<br /> <br /> ==Confucian Culture - Li Liqin 李丽琴==<br /> <br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> <br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)<br /> <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)<br /> <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68) After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)<br /> <br /> ==== Analysis of Confucian Culture ====<br /> <br /> ===== Intelligence Development =====<br /> <br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19) For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. <br /> <br /> However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. <br /> <br /> =====Spiritual Guidance =====<br /> <br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)<br /> <br /> =====Order Construction =====<br /> <br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)<br /> <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; (Li Xiaoyu 2010, 33) the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)<br /> <br /> ====The Contemporary Value of Confucian Culture ====<br /> <br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)<br /> <br /> =====Ideological and Political Education =====<br /> <br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)<br /> <br /> ===== Modern Economic Construction=====<br /> <br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)<br /> <br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65) Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. (Tan Su 2012, 68) &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society.<br /> <br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66) Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization.<br /> <br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. (Li Chengzong 2002, 67) On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.<br /> <br /> ===== Legal Construction =====<br /> <br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33) Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. <br /> <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2) In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)<br /> <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. (Wang Jie 2004, 82-83) Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves.<br /> <br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83) <br /> <br /> ====The Confucius Institute ====<br /> <br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30) Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication.<br /> <br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31) Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)<br /> <br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)<br /> <br /> ====Terms and Expressions ====<br /> <br /> 儒家 Confucian school<br /> <br /> 儒学 Confucianism<br /> <br /> 儒教 Confucian religion <br /> <br /> 兼爱 Universal love<br /> <br /> 恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage<br /> <br /> 仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith<br /> <br /> 学而优则仕 A good scholar will make an official<br /> <br /> 四书五经 the Four Books and Five Classics<br /> <br /> 天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.<br /> <br /> 天下兴亡，匹夫有责 Everyone being responsible for the fate of his country<br /> <br /> ====Questions ====<br /> <br /> 1. What’s the central ideas of Confucian culture?<br /> <br /> 2. What’s the difference among Confucian school, Confucianism and Confucian religion?<br /> <br /> 3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?<br /> <br /> 4. What’s the Six Classical Arts?<br /> <br /> 5. What you think of the ancient influence of Confucianism?<br /> <br /> 6. Do you think Confucian culture still has its contemporary values in China? And why?<br /> <br /> 7. What do you think of the current situation of the development of the Confucian institute?<br /> <br /> ===Answers===<br /> <br /> 1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.<br /> <br /> 2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.<br /> <br /> 3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic. <br /> <br /> 4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）. <br /> <br /> 5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints. <br /> <br /> 6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.<br /> <br /> 7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it. <br /> <br /> ===References===<br /> <br /> Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. <br /> <br /> Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. <br /> <br /> Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.<br /> <br /> Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. <br /> <br /> Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. <br /> <br /> Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. <br /> <br /> Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C．<br /> <br /> Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House.<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> ====Ch'ien Chung-shu====<br /> <br /> Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called &quot;South Rao and North Qian&quot;. He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.<br /> <br /> As a realistic satirical novel, ''Fortress Besieged'' is known as &quot;The New Scholars&quot; in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, &quot;In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. &quot;The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those &quot;hairless and two-legged animals&quot; and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these &quot;latest style&quot; literati. Yang Jiang said, &quot;The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. &quot;The meaning of &quot;fortress besieged&quot; is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.<br /> <br /> Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life''(1941), the collection of short stories ''Humans·Beasts·Ghosts''(1946), and the novel ''Fortress Besieged''(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.<br /> <br /> Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.<br /> <br /> November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.<br /> <br /> ====Terms and Expressions====<br /> <br /> ''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》<br /> <br /> ''Fortress Besieged'' 《围城》<br /> <br /> Kuomintang-controlled areas 国统区<br /> <br /> ''Written in the Margins of Life'' 《写在人生边上》<br /> <br /> ''Humans·Beasts·Ghosts'' 《人·兽·鬼》<br /> <br /> ''Limited Views:Essays on Ideas and Letters'' 《管锥编》<br /> <br /> ''Patchwork:Essays on Art and Literature'' 《谈艺录》<br /> <br /> the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日<br /> <br /> ''Academic Life of Qian Zhongshu '' 《钱钟书的学术人生》<br /> <br /> ====Questions====<br /> <br /> 1.What is Ch'ien Chung-shu's representative work? When was it published?<br /> <br /> Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.<br /> <br /> 2.When was the TV series ''Fortress Besieged'' broadcast?<br /> <br /> It was broadcast in December 1990.<br /> <br /> 3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?<br /> <br /> ''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.<br /> <br /> 4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?<br /> <br /> Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.<br /> <br /> 5.Which sentence is your favoriate in ''Fortress Besieged''? <br /> <br /> &quot;I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate.&quot; <br /> --[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:19, 9 November 2020 (UTC)<br /> <br /> ===Answers===<br /> ===References===<br /> ==Liu Ou 刘欧==<br /> <br /> ===相声 Cross Talk===<br /> <br /> ===The History of Cross Talk===<br /> <br /> Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate other's voices, also known as neighboring cross talk. It was evolved and further developed from the folk music in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng （1850—1861）and Emperor Tongzhi（1861—1874）period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 06:33, 23 November 2020 (UTC)<br /> <br /> ===Famous Artists of Cross Talk===<br /> <br /> ===Answers===<br /> ===References===<br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> ===GO===<br /> Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.<br /> A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded. Such groups are said to be unconditionally alive.<br /> <br /> The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the &quot;life status&quot; of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better &quot;shape&quot;) will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.<br /> <br /> Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.<br /> <br /> In the opening stages of the game, players typically establish positions (or &quot;bases&quot;) in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called &quot;joseki&quot; and are often studied independently.<br /> <br /> &quot;Dame&quot; are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. &quot;Seki&quot; are mutually alive pairs of white and black groups where neither has two eyes. A &quot;ko&quot; (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be &quot;taken back&quot; and returned to its original position.[30] Some &quot;ko fights&quot; may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as &quot;picnic kos&quot; when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko. <br /> <br /> Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.<br /> <br /> Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:<br /> • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open &quot;point&quot; (an intersection, called a &quot;liberty&quot;) directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point (&quot;liberty&quot;) next to it. Stones or groups of stones which lose their last liberty are removed from the board.<br /> • Rule 2 (the &quot;ko rule&quot;) states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.<br /> Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.<br /> Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.<br /> <br /> Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.<br /> <br /> The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular. The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.<br /> <br /> <br /> ===Terms and Expressions===<br /> Go 围棋 heuristic 启发式的<br /> adversarial game 对抗性游戏 intersection 交叉点<br /> board 棋盘 black 黑棋<br /> formation 阵型 white 白棋<br /> move 走棋 scoring rule 计分规则<br /> liberty 自由度 player 棋手<br /> <br /> <br /> ===Questions===<br /> 1, What’s the basic principle of Go?<br /> <br /> <br /> 2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？<br /> <br /> <br /> 3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)<br /> <br /> ===Answers===<br /> 1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.<br /> <br /> 2,The rule of liberty and the &quot;ko rule&quot;.<br /> <br /> 3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)<br /> <br /> ===References===<br /> [1]Cho Chikun (1997). Go: A Complete Introduction to the Game. Tokyo: Kiseido Publishers. ISBN 978-4-906574-50-6.<br /> <br /> [2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16<br /> <br /> [3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.<br /> <br /> [4]British Go Association, Comparison of some go rules, retrieved 2007-12-20<br /> <br /> [5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.<br /> <br /> [6]百度百科：围棋<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> ===The Four Most Handsome men in Ancient China===<br /> It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.<br /> These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60） <br /> <br /> The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: &quot;No more and no less.&quot; The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）<br /> <br /> Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60） <br /> <br /> Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）<br /> <br /> Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.” History Retold as a Mirror for rulers authored by Sima Guang goes into detail: &quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot; Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）<br /> ===Terms and Expressions===<br /> Pan An 潘安<br /> <br /> King Lanling 兰陵王<br /> <br /> Ji Kang 嵇康 <br /> <br /> Wei Jie 卫玠 <br /> <br /> throwing fruit to fill a carriage 掷果盈车<br /> <br /> scholar 秀才<br /> <br /> expatiation 铺陈<br /> <br /> Book of Northern Qi Dynasty 《北齐书》<br /> <br /> the Warring States Period 战国时期<br /> <br /> Book of Han 《汉书》<br /> <br /> Nine Discriminations 《九辨》<br /> <br /> The Fu poetry of Wind 《风赋》<br /> <br /> The Fu poetry of Goddess 《神女赋》<br /> <br /> the goddess of Wushan Mountain 巫山神女<br /> <br /> metaphysician 玄学家<br /> <br /> a noted talker 清谈名士<br /> <br /> History Retold as a Mirror for rulers 《资治通鉴》<br /> <br /> Widow's Fu 《寡妇赋》<br /> <br /> Mourning Poem 《悼亡诗》<br /> ===Questions===<br /> 1.Who are the four most handsome men at ancient time in China?<br /> <br /> 2.Who is Gao Changgong?<br /> <br /> 3.How did Lanlin King die?<br /> <br /> 4.What works did Song Yu compose?<br /> <br /> 5.Who are the two shining pearls in Ci lyric according to the passage?<br /> <br /> 6.What History Retold as a Mirror for rulers comment on Wei Jie?<br /> <br /> ===Answers===<br /> 1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.<br /> <br /> 2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. <br /> <br /> 3.In the end, a glass of poisonous wine ended the life of the Lanling King. <br /> <br /> 4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.<br /> <br /> 5.Qu Yuan and Song Yu<br /> <br /> 6.&quot;Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior...&quot;<br /> <br /> ===References===<br /> [1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.<br /> <br /> [2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ===Answers===<br /> ===References===<br /> ==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599==<br /> <br /> ===Mogao Grottoes===<br /> <br /> ===Introduction===<br /> <br /> The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. (Fan Jinshi 2010，170)The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)<br /> <br /> ====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====<br /> <br /> ===History===<br /> <br /> Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) <br /> <br /> By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. <br /> <br /> After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9) During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)<br /> <br /> ====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====<br /> <br /> ===Art===<br /> <br /> The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163) <br /> <br /> ====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]==== <br /> <br /> ====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====<br /> <br /> The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96.( Fan Jinshi 2010, 175) In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting. <br /> <br /> ====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====<br /> <br /> ====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====<br /> <br /> <br /> By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)<br /> <br /> ====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====<br /> <br /> ===Terms and Expressions===<br /> <br /> hermit 隐士<br /> <br /> stupas 舍利塔<br /> <br /> Emperor Wuzong 唐武宗<br /> <br /> Vihara 精舍<br /> <br /> Chaitya 支提窟<br /> <br /> stucco 灰泥<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> Sutras 佛经<br /> <br /> ===Questions===<br /> <br /> 1.What do Dunhuang Grottoes refer to?<br /> <br /> 2.Who built the first cave and when?<br /> <br /> 3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?<br /> <br /> 4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?<br /> <br /> 5.What are the characteristics of the statues in Sui Dynasty?<br /> <br /> ===Answers===<br /> <br /> 1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.<br /> <br /> 2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.<br /> <br /> 3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.<br /> <br /> 4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.<br /> <br /> 5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.<br /> <br /> ===References===<br /> <br /> Fan Jinshi 樊锦诗.(2010). 敦煌石窟 [The Caves of Dunhuang]. Gansu: The Dunhuang Academy敦煌研究院. <br /> <br /> Gao Xiujun 高秀军.(2016). 敦煌莫高窟第55窟研究 [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University兰州大学.<br /> <br /> MA Shichang.(2010).Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang.MA Shichang,27(2),303-317.<br /> <br /> Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因 [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House上海古籍出版社.<br /> <br /> Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].中原文物 Cultural Relics in Central Plain,No.215,118-128.<br /> <br /> Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.<br /> <br /> Suemori Kaoru. (2020).&quot;Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns&quot;. Kyoto: Hozokan. <br /> <br /> DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.<br /> <br /> Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.<br /> <br /> https://books.google.ru/books?hl=zh-CN&amp;lr=&amp;id=vYPNqlAMZWAC&amp;oi=fnd&amp;pg=PP7&amp;dq=info:9v6pr21oST8J:scholar.google.com/&amp;ots=s-uXhnyDBp&amp;sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&amp;redir_esc=y#v=onepage&amp;q&amp;f=false<br /> <br /> https://en.m.wikipedia.org/wiki/Mogao_Caves<br /> <br /> https://scholar.google.com/scholar?hl=zh-CN&amp;as_sdt=0%2C5&amp;q=mogao+grottoes&amp;oq=<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> ====Civil Service Examination System====<br /> <br /> --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 08:27, 2 November 2020 (UTC)<br /> <br /> == The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601==<br /> <br /> ===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ====I.Introduction==== <br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)<br /> ====[[File:A Panaroma view of the Forbidden City.jpg|300px|thumb|left|A Panaroma view of the Forbidden City]]====<br /> <br /> ====II.The Name of the Forbidden City====<br /> The common English name &quot;Forbidden City&quot; is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of &quot;harmony between man and nature&quot; was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or &quot;Purple&quot;, refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the &quot;son of heaven&quot; who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the &quot;Former Palace&quot;. The museum which is based in these buildings is known as the &quot;Palace Museum&quot; (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).<br /> <br /> ====III.The History of the Forbidden City====<br /> <br /> When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&amp;Qu Wanlin2006, 11.7)<br /> <br /> <br /> ====IV.The Structure of the Forbidden City==== <br /> Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)<br /> Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.<br /> <br /> ====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====<br /> <br /> ====VI The Collections of the Forbidden City==== <br /> The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei &amp; Wang Shuo 2005,6-22) <br /> The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by &quot;Gu&quot;, &quot;Xin&quot; and &quot;Shu&quot;. Except for the ancient books and documents, all the other collections are labeled with &quot;Gu&quot; and &quot;Xin&quot;. The number of ordinary cultural relics begins with the word &quot;Zi&quot;, and the ceramic specimens begin with the word &quot;Biao&quot;. The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)<br /> <br /> ====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====<br /> ====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====<br /> ====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====<br /> ====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====<br /> <br /> ====Terms and Expressions==== <br /> palace complex 宫殿群<br /> <br /> central axis 中心轴<br /> <br /> the Palace Museum故宫博物院<br /> <br /> the Yong Le Emperor 永乐皇帝<br /> <br /> key cultural relics under national protection 国家重点文物保护单位<br /> <br /> world cultural heritage 世界文化遗产<br /> <br /> harmony between man and nature 天人合一<br /> <br /> the imperial garden 御花园<br /> <br /> the Hall of Supreme Harmony 太和殿<br /> <br /> the Hall of Central Harmony 中和殿<br /> <br /> the Hall of Preserving Harmony 保和殿<br /> <br /> Palace of Heavenly Purity (乾清宮)<br /> <br /> Hall of Union 交泰宫<br /> <br /> Palace of Earthly Tranquility 坤宁宫<br /> <br /> Han Banquet map 韩熙载夜宴图<br /> <br /> Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑<br /> <br /> Mirror with the Twelve Astrological Emblems十二生肖镜<br /> <br /> Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶<br /> <br /> ====Questions====<br /> 1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?<br /> <br /> 2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> 3.How many emperors have been lived in the Forbidden City?<br /> <br /> 4.How long did it take to build the Forbidden City?<br /> <br /> 5.Why some parts of national treasures are in the National Palace Museum in Taipei now.<br /> <br /> 6. What two parts can the Forbidden City be divided into?<br /> <br /> 7.When was the Palace Museum established?<br /> <br /> ===Answers===<br /> 1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star<br /> <br /> 2.In 1897.<br /> <br /> 3.24 emperors.<br /> <br /> 4.14 years.<br /> <br /> 5.Because both museums descend from the same institution but were split after the Chinese Civil War.<br /> <br /> 6.They are the Outer Court and Inner Court.<br /> <br /> 7.The Palace Museum was then established in the Forbidden City in 1925<br /> <br /> ===References===<br /> <br /> Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.<br /> <br /> UNESCO(2007). &quot;UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang&quot;.<br /> <br /> Li Xieping 李燮平. (1997) &quot;紫禁城&quot;名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.<br /> <br /> Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.<br /> <br /> Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.<br /> <br /> Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.<br /> <br /> Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74. <br /> <br /> Li Wei&amp;Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html <br /> <br /> The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html<br /> <br /> Xie Mengyin &amp; Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html<br /> <br /> ==Chinese Marriage Customs Mo Ling 莫玲 202070080602==<br /> &lt;center&gt; 莫玲 Mo Ling &lt;/center&gt;<br /> <br /> ===Chinese Marriage Customs===<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.<br /> <br /> ===Six Procedures===<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)<br /> <br /> ===Customs===<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)<br /> <br /> On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)<br /> <br /> After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)<br /> <br /> ===Development===<br /> <br /> As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi &amp; Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows a unique Chinese characteristics.<br /> <br /> ===References===<br /> <br /> Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.<br /> <br /> Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.<br /> <br /> Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.<br /> <br /> ===Terms and Expressions===<br /> <br /> Na Cai 纳彩 <br /> <br /> Wen Ming 问名<br /> <br /> Na Ji 纳吉 <br /> <br /> Na Zheng 纳征<br /> <br /> Qing Qi 纳征 <br /> <br /> Qin Ying 亲迎<br /> <br /> Huimen 回门 <br /> <br /> Guiling 归宁 <br /> <br /> betrothal presents 彩礼<br /> <br /> the central room 堂屋<br /> <br /> bridal chamber 婚房<br /> <br /> “eight characters” of the birth moment 生辰八字<br /> <br /> ===Questions===<br /> <br /> 1.How many procedures are needed from the negotiation to the completion of marriage?<br /> <br /> 2.Did the ancient young people have the rights to decide their own marriage or not and why?<br /> <br /> 3.What is the kneeling etiquettes?<br /> <br /> 4.When the couple have to return to the girl’s home?<br /> <br /> 5.What changes have been made nowadays?<br /> <br /> 6.Please list some new wedding customs.<br /> <br /> ===Answers===<br /> <br /> 1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.<br /> <br /> 2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.<br /> <br /> 3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.<br /> <br /> 4.At the third day of the wedding ceremony.<br /> <br /> 5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.<br /> <br /> 6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====<br /> <br /> ==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603==<br /> <br /> ===Twelve Animals of the Chinese Zodiac===<br /> <br /> <br /> <br /> [[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people. <br /> <br /> ====Origin====<br /> <br /> Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).<br /> <br /> ====Folk Culture and Belief ====<br /> <br /> The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. <br /> <br /> The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40). <br /> <br /> Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).<br /> <br /> Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.<br /> <br /> ====Conclusion====<br /> <br /> Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it.<br /> <br /> ===References===<br /> 《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.<br /> <br /> Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science &amp; Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.<br /> <br /> ===Terms and Expressions=== <br /> <br /> Jade Emperor 玉皇大帝<br /> <br /> Ten Heavenly Stems 十天干<br /> <br /> Twelve Earthly Branches 十二地支<br /> <br /> Five Elements 五行<br /> <br /> Metal, Wood, Water, Fire and Earth 金木水火土<br /> <br /> Eight Characters 八字<br /> <br /> ===Questions===<br /> <br /> 1.How long is the history of Chinese zodiac?<br /> <br /> 2.What are the twelve zodiac signs in order? <br /> <br /> 3.From what time the Earthly Branches was used to record time?<br /> <br /> 4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?<br /> <br /> 5.Which zodiac animal is mostly praised in China?<br /> <br /> 6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?<br /> <br /> 7.Which pair of animals that are natural enemies according to Chinese folk culture?<br /> <br /> ===Answers===<br /> <br /> 1.More than 2200 years.<br /> <br /> 2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.<br /> <br /> 3.Han Dynasty.<br /> <br /> 4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.<br /> <br /> 5.Dragon.<br /> <br /> 6.Tiger and pig, rabbit and dog and dragon and rooster. <br /> <br /> 7.Dragon and tiger.<br /> <br /> ==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 Student No.202070080641==<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====Introduction of Lisu people and Daogan festival====<br /> <br /> The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.<br /> <br /> [[File:Example1.left.jpg|300px|thumb|left]]<br /> <br /> There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)<br /> <br /> The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture.<br /> <br /> Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).<br /> <br /> [[File:Example2.left.jpg|300px|thumb|left]]<br /> <br /> ====Legend====<br /> <br /> During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the &quot;Up and down the mountain&quot; event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.<br /> <br /> ====Meaning====<br /> <br /> Going up to the knife mountain and going down to the sea of ​​fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.<br /> <br /> ====Performing====<br /> <br /> [[File:Example3.left.jpg|300px|thumb|left]]<br /> <br /> Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper.<br /> After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.<br /> <br /> ====Development====<br /> <br /> According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the &quot;firewalking&quot; ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.<br /> <br /> ====Terms and Expressions====<br /> <br /> 1.Lisu people 傈僳族<br /> <br /> 2.&quot;Up and down the mountain&quot; event 上刀山，下火海<br /> <br /> 3.The Lisu tribe 傈僳族<br /> <br /> 4.clan 氏族<br /> <br /> 5.primitive times 原始时期<br /> <br /> ====Questions====<br /> <br /> 1.How many Lisu people live in Yunnan and Sichuan？<br /> <br /> 2.How many clans make up the Lisu people？<br /> <br /> 3.Who united with the local people of Li clan and soon expelled the invaders？<br /> <br /> 4.Which day is the Daogan Festival？<br /> <br /> 5.What musical instruments do they play under the knife pole?<br /> <br /> ====Answers====<br /> <br /> 1.About 730,000 Lisu people. <br /> <br /> 2.The Lisu tribe consists of more than 58 different clans.<br /> <br /> 3.Wang Ji.<br /> <br /> 4.15th day of the first month of the lunar calendar every year.<br /> <br /> 5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.<br /> <br /> ====References====<br /> <br /> *Ernst, Gabriel (21 October 2019). &quot;'We try to not be Thai': the everyday resistance of ethnic minorities&quot;<br /> <br /> *&quot;Yunnan Province of China Government Web&quot;. Eng.yn.gov.cn.<br /> <br /> *Durrenberger, E. Paul, 1989. &quot;Lisu Religion&quot;, Southeast Asia Publications Occasional Papers No. 13, DeKalb: Northern Illinois University.<br /> <br /> ==Phyo, Su Kyi==<br /> Chinese Clothing== Phyo, Su Kyi, Student No-20191108000<br /> <br /> Introduction<br /> <br /> Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)<br /> <br /> Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)<br /> <br /> A-Chinese traditional clothing<br /> <br /> Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)<br /> <br /> Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)<br /> <br /> Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)<br /> <br /> ==Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes&quot; in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)<br /> <br /> ==Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)<br /> <br /> ==Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)<br /> <br /> ==Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)<br /> <br /> B-Chinese Traditional Clothing Elements<br /> <br /> There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)<br /> <br /> Trems and Expressions<br /> <br /> 历史-history, <br /> <br /> 期-period, <br /> <br /> 世代-generations, <br /> <br /> 服装-clothing, <br /> <br /> 设计师-designers , <br /> <br /> 装饰-ornamentation<br /> <br /> 中国服饰- Chinese clothing<br /> <br /> 服饰-Costumes <br /> <br /> 传统服装-Traditional clothing<br /> <br /> 服装设计-Clothing design<br /> <br /> 时尚设计-Fashion design <br /> <br /> 几代服装设计师-Generations of clothing designers <br /> <br /> 中国西装-Chinese Suit<br /> <br /> 旗袍-Cheongsam<br /> <br /> 中山装-Chinese Tunic Suit <br /> <br /> 中国传统元素-Chinese traditional elements <br /> <br /> ===Questions ===<br /> <br /> 1-What’s archaeological findings in Chinese fashions through the ages?<br /> <br /> 2-What's Traditional Clothing?<br /> <br /> 3-What's Traditional culture indispensable?<br /> <br /> 4-How is means Han Fu?<br /> <br /> 5-What's the popular Chinese attire?<br /> <br /> 6-How called was Chinese Tunic Suit?<br /> <br /> 7-What'are include Chinese traditional elements? <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi<br /> <br /> ==Answers===<br /> 1- A wealth of archaeological findings coupled with ancient mythology, poetry,<br /> and songs enable us to see the development of distinctive chinese fanshions through the ages.<br /> <br /> 2-Traditional clothingis the clothing which can reflect the traditional clothing<br /> culture with Chinese characteristics.<br /> <br /> 3-Chineset traditional culture is an indispensablevsource of inspirationin fashion<br /> design.<br /> <br /> 4-Han Fu is fu means clothes in Chinese. <br /> <br /> 5-Cheongsam is the most popular Chinese attire inthe world today.<br /> <br /> 6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.<br /> <br /> 7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.<br /> <br /> --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ===References===<br /> <br /> 1.Jiangsu.“Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,<br /> <br /> Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press,2016.<br /> <br /> <br /> 2.Mei Hua, `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork<br /> www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896<br /> Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress2010<br /> <br /> 3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm<br /> <br /> 4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> Chinese traditional dance--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 02:46, 12 November 2020 (UTC)<br /> <br /> &lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;&lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;==Phyo, Su Kyi==<br /> Chinese Traditional women clothing<br /> 1- History of Chinese clothing<br /> History of Chinese clothing China has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization.<br /> A- Chinese Clothing during Qin and Han Dynasties (221 B.C - 220 A.D)<br /> The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established many social systems, including one for uniforms to distinguish people's ranks and social positions. China's complete code of costume and trappings was established in the Han Dynasty (206BC-220AD). The yarn-dyeing, embroidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.<br /> B-Chinese Clothing during Wei,Jin, South and North Dynasties(220-589)<br /> Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589). Before 265, the cultures and esthetic views of the peoples in north and south China merged because of the moves initiated by frequent wars. Many philosophical schools of thought influenced both people's lives and the conceptions of clothing design.<br /> C- Chinese Clothing during Tang Dynasty(618-907)<br /> The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.<br /> D-Chinese Clothing during Song, Yuan, Ming Dynasties<br /> Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and elegant.During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the People on Horseback, was in power. The style of clothing was mainly a combination of Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in design.Dramatic changes took place during the Ming Dynasty (1368-1644). A new conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.<br /> E- Chinese Clothing during Qing Dynasty<br /> During the Qing Dynasty (1644-1911), clothes became elegant, poised, and glorious. During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious heritage for traditional Chinese clothes.<br /> F-Chinese Clothing from 1930s till Modern Era<br /> Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to 1960s, Qipao(Cheongsam) survives as everyday wear in Hong Kong until the late 1960s. <br /> <br /> Terms and Expressions <br /> Questions <br /> References.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 17:37, 25 November 2020 (UTC)Phyo Su Kyi<br /> <br /> ===Answers===<br /> ===References===<br /> ==The Liquor Culture of China 瞿淼 Student No.202070080604==<br /> --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ====1.The Origin of liquor in China====<br /> <br /> With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.<br /> As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”<br /> <br /> ====2.The Types of liquor in Ancient China====<br /> With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.<br /> <br /> Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.<br /> <br /> Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by &quot;prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup&quot;. Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the &quot;Moutai traditional brewing process&quot; in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage.<br /> <br /> ====3.The Types of Drinking Vessel in Ancient China====<br /> Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore, drinking vessels as part of the liquor culture also have a long history and varied appearances.<br /> <br /> In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific. In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.<br /> <br /> ====4.Drinking Order====<br /> As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture&quot;.<br /> <br /> ====Terms and Expressions====<br /> 1.Du Kang 杜康 <br /> 2.Chinese Dionysus 中国酒神<br /> 3.husked sorghum rice 秫米饭 <br /> 4.Baishui 白水县（陕西渭南市辖县） <br /> 5.Ruyang 汝阳县（河南省洛阳市下辖县） <br /> 6.fermented wine 发酵酒<br /> 7.Distilled liquor 蒸馏酒 <br /> 8.Yellow rice wine 黄酒<br /> 9.Shaoxing Wine 绍兴酒 <br /> 10.Jiujiang Old Seal Wine 九江成年封缸酒<br /> 11.Mellow Wine 醇香酒 <br /> 12.Dongwu Rice Wine 东吴老酒<br /> 13.Liquor and Spirits 白酒 <br /> 14.Kweichow Moutai 贵州茅台<br /> 15.sauce-flavor type 酱香型 <br /> 16.light flavor type 清香型 <br /> 17.strong flavor type 浓香型 <br /> 18.Daqu sauce-flavored liquor 大曲酱香型白酒<br /> 19.the Peiligang culture period裴李岗文化时期 <br /> 20.the Xia Erlitou culture period 夏二里头文化时期<br /> 21.Zun 樽 <br /> 22.injection vessel and bowl 注子和注碗<br /> 23.drinking order 行酒令<br /> <br /> ====Questions====<br /> <br /> 1.Who is generally believed to invent liquor in China? <br /> <br /> 2.What is the most prominent of Shaoxing Wine?<br /> <br /> 3.How to use the matching combination of injection vessel and bowl in the Song dynasty?<br /> <br /> 4.How do literati often make drinking orders in China?<br /> <br /> ====Answers====<br /> <br /> 1.Du Kang<br /> <br /> 2.It’s fragrance improves with age.<br /> <br /> 3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.<br /> <br /> 4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.<br /> <br /> ====Bibliography====<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> China Railway High-Speed ​​(CRH) is a high-speed rail service operated by the China Railway. The introduction of the CRH series was an important part of the 6th National Rail Acceleration, which took place on April 18, 2007. By the end of 2018, China Railway High Speed ​​served all provinces in China except Taiwan and covered over 29,000 km. (18,000 miles) the length of passenger routes, which make up about two-thirds of the world's high-speed rail routes served by commercial enterprises. It is the most widely used rail transport in the world, with 1.713 billion flights in 2017, bringing the total cumulative number of flights to 7 billion. More than 1000 sets of rolling stock are operated under the CRH brand, including the Hexie CRH1 / 2A / 5, which are rated for a top speed of 250 km / h (160 mph), and the CRH2C / 3 has a top speed of 350 km / h. ( 220 mph). The in-house developed CRH380A has a maximum test speed of 416.6 km / h (258.9 mph) at a commercial speed of 350 km / h.The fastest CRH380BL train reaches a maximum test speed of 487.3 km / h (302.8 mph) ). In 2017, China Standardized EMU brand, including CR400AF / BF and CR200J, joined China Railway High Speed ​​and is designated Fuxing along with the letters CR (China Railway). With gradual planning, the CR brand will replace the existing CRH brand in service. Depending on the speed, there are 3 categories of high-speed trains: G, D and C (G and some C are the fastest at 350 km / h, D at 250 km / h and C at 200 km / h). <br /> High speed rail network. <br /> High speed rail services were first introduced in 2007 on CRH rolling stock. They operate on existing lines that have been upgraded to speeds of up to 250 km / h (160 mph), and on newer dedicated high-speed routes rated up to 350 km / h (220 mph). <br /> CRH service on dedicated high-speed lines<br /> <br /> ===Answers===<br /> ===References===<br /> ==Language, The Chinese Language - Seydou, Sagara, student no. &lt;span style=&quot;color:red&quot;&gt;'''no. missing'''&lt;/span&gt; ==<br /> <br /> ===Introduction===<br /> Chinese is a very big country with large population. Each may have its own lingo, or dialects. There are great differences between these dialects. If people in different places use their dialects to talk, they may not be able to understand each, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries.<br /> Putonghua is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> According to statistics, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> &lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> <br /> Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua.&lt;span style=&quot;color:red&quot;&gt;'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''&lt;/span&gt;<br /> --[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 14:09, 6 December 2020 (UTC)<br /> --[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 02:24, 20 November 2020 (UTC)<br /> <br /> ===1 Putonghua and Dialects===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> ===2 Ancient Chinese and Modern Chinese ===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> <br /> ===3 Idiomatic Phrases - Idioms, Common Sayings, and Allegorical Sayings===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> <br /> ===4 Language Policy===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> <br /> <br /> <br /> ===References===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> <br /> ===Terms and Expressions===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> <br /> ===Questions===<br /> &lt;span style=&quot;color:red&quot;&gt;'''Text missing.'''&lt;/span&gt;<br /> <br /> ===Answers===</div>

Qu Miao https://bou.de/u/index.php?title=History_of_Translation_Studies_6&diff=110278 2020-12-11T14:32:15Z

<p>Qu Miao: /* How to keep &quot;Chineseness &quot; in Idiom Translation from Chinese to English 瞿淼 Qu Miao */</p> <hr /> <div>这里是《翻译学史》的书稿第六部分(Part 6)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> *Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> *Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]<br /> *Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].<br /> <br /> ='''Foreignization and Domestication'''=<br /> <br /> <br /> ==Domestication and Foreignization in Translation from the Perspective of Functionalist Approaches 汤蓓 Tang Bei==<br /> <br /> ==='''Abstract'''===<br /> Translation is purposeful and trans-cultural communication. And domestication and foreignization are two strategies to cope with cultural differences in translation. This thesis attempts to explain the choice of demestication and foreignization in translation by case studies from the perspective of functionalist approaches.<br /> <br /> ==='''Key words'''===<br /> domestication; foreignization;functionalist<br /> <br /> ==='''摘要'''===<br /> 翻译是一种有目的的跨文化交际，处理翻译的文化差异可以使用两种方法：归化和异化。本文从德国功能派翻译理论出发，利用该理论的主要观点，从翻译功能的角度分析译者在翻译过程中对翻译的两大策略——归化与异化的选择做出解释。<br /> <br /> ==='''关键词'''===<br /> 归化；异化；功能<br /> <br /> ==='''Introduction'''===<br /> Translation, bridging the world of different cultures together, is a cross-cultural activity to the essence as well as an important medium to promote cultural communication. However, due to the differences between materials, customs, religions, thoughts, living environments and language systems, cultural gaps, independent of man’s will, exist objectively, which cause the main difficulties in cultural communication. Only by adopting proper translation strategies can translators reduce cultural conflicts and effectively achieve cultural communication. There are arguments in translation circles on which translation strategy is the better one to remove cultural confusion and promote cultural communication. Domestication and foreignization are two points at issue. Some are for domestication, and some are for foreignization.<br /> <br /> In 1970s, the German functionalist approaches emerged. “Functionalist” means focusing on the function or functions of texts and translations. Functionalism is a broad term for various theories that approach translation in this way. Although Skopostheory has played a major role in the development of this trend. For the functionalist, translation is a purposeful activity, Nord had mentioned that a complex action designed to achieve a particular purpose.(Nord,1997) .The top-ranking rule for any translation is thus the “Skopos rule”, that is “the end justifies the means” (Nord 1997:29). Plus Holz-Manttari’s theory of tranlational action, Reiss’s text typology, the functionalism is intended to solve the eternal dilemma of many issues in translation studies, and the strategies of domestication and foreignization are without exception.<br /> <br /> From the perspective of functionalist approaches, the choice of translation strategies depends on the functions of the texts, the Skopos. To achieve the prospective purposes, the translator has the freedom to choose the method he needs domestication or foreignization, or both. The functionalist approaches provided a perspective of translation studies.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:24, 11 December 2020 (UTC)<br /> <br /> ===Chapter1: Brief Introduction of Domestication and Foreignization===<br /> ====Definition of Domestication and Foreignization====<br /> Domestication and foreignization, two different yet functionally related strategies, the two terms were formally put forward by Laurence Venuti, aiming at explaining two kinds of translation strategies in The Translator’s Invisibility in 1995. Venuti claimed that he traced the root of the terms back to Friedrich Schleiermacher’s famous notion about translation. Schleiermacher, a German theologian and philosopher, said in a lecture in 1813 on the different methods of translation, which stated that “There are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him” (Venuti 1995:37).<br /> <br /> According to Venuti, “domestication means bringing the foreign culture closely to the reader in the target culture, making the text recognizable and familiar. Foreignization, on the other hand, means taking the reader over to the foreign culture and making him or her see the differences” (Venuti 1995:148).<br /> <br /> Mark Schuttleworth and Moria Cowie defined domestication and foreignization in the following way: “Domesticating translation is a term used by Venuti to describe the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL readers”, while “Foreignizing translation is a term used by Venuti to designate the type of translation in which a TT is produced which deliberately breaks target conventions by retaining something of the foreignness of the original”. (Schaffner 1995:21)<br /> <br /> To sum up above, the conclusion can be drawn like this: domestication refers to a reader-oriented translation which makes use of acceptable expressions in the target culture to make the target text easy to understand and suitable for the target text readers. Foreignization translation is a culture-oriented translation, which tries to retain the charm of the original text as much as possible in order to preserve the flavour of the original text.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:26, 11 December 2020 (UTC)<br /> <br /> ====Supporter of Domestication and Foreignization====<br /> Eugene. A. Nida, a famous American translation theorist dedicated to the communicative function of translation, is widely considered to be the most important supporter for domestication. Nida understands the concepts of domestication and foreignization as “dynamic or functional equivalence” and “formal equivalence” or “formal correspondence”. Dynamic equivalence is a principle of translation. According to this principle, the translators translate the original text with the purpose of making the impact of target language wording on the target culture readers. (Nida&amp;Taber, 1969:200). He argues that, “Under normal circumstances, translators always change the form of the original text ,but as long as the conversion rules change the consistency of transfer in the context of the source language to follow the rules and follow the anti-conversion target language, then the information is retained, and translation is faithful”. (Nida, 1964:118) Nida divides equivalence into two levels : the lowest level and the highest level of equivalence. The lowest level on the translation is of important and basic requirements; while the highest level on the translation is the ideal, and is therefore difficult to achieve. If the translator is unable to achieve the lowest level of equivalence, it is not enough. He also states that: “The purpose of dynamic equivalence in the translation is to achieve natural expression and to link the receptor and relevant behavior patterns within receptor’s cultural context.” (Nida, 1964:165) The natural expression indicates fluency is very important to this translation theory. Apparently, domestication in Nida’s works is involved in this fluency. Nida and other proponents of domestication have their own reasons: First, it is not only unrealistic, but also dangerous for translators to try to impose the linguistic and cultural norms of the source text on the target text. Language barriers and cultural barriers should be overcome in a good translation. Second, since translation is an important and necessary medium in both cross-linguistic and cross-cultural communication, the behavior patterns of the target culture should absorb some parts of the source culture in translation. Third, the language of the translated text should be natural, authentic and understandable, which is one of the requirements of translation. This requirement aims to avoid the misunderstanding caused by the target audience because of the language barriers. Domestication is considered to be the most important from the perspective of “natural expression” in Nida translations.<br /> <br /> While Venuti, who is the famous representative of the foreignization school questioned Nida’s translation strategy, and proposed his own “resistant strategy” against the dominant fluency. He argues that “cultural differences will be contained in fluent translation strategy, which in fact is a practice of cultural imperialism” (Venuti, 1995:20). Venuti points out that foreignizing strategy of resistance is a pressure on those values to show the linguistic and cultural differences between the original and the translated text. By resisting the dominant cultural values, the role of resistant strategy in questioning, changing and destroying the native cultural norms is positive. With the destruction of the cultural norms of the target language, foreignization translation maintains foreignness and culture unique. Venuti sees domestication as a way for a strong culture to exert cultural hegemony over a weak culture. Considering the cultural inequality, domestication has more significance. Thus, “the foreignization translation in English can be a form which is based on the interests of democratic geopolitical relations. Venuti’s foreignizating strategy of resistance has a positive impact on studies about translation. He focuses translation not only on the language level, nor only view domestication and foreignization as translation strategies.Venuti and other proponents of foreignization argue reasons as following: First of all, “cultural authenticity” which embodies the characteristics of a foreign culture is one of the basic principles of foreignization translation. Only through the destruction of cultural norms of the target language, can foreignization maintain foreignness and cultural characteristics of foreign text. The supporters for foreignization hold that the target readers want to feel exoticism of the translated text. The translators should present a new cultural identity to the readers, because that is the purpose of the reader to read translated works. Thus readers may know the real outside world through translated works. The translators should have confidence in the readers’ intelligence and imagination to appreciate cultural differences. Third, the exchange and dissemination of culture should be one of the main purposes of the translation. The introduction of authentic exotic culture promotes cultural exchanges. Only when translation can transfer the source linguistic phenomenon and cultural phenomenon, can it be seen as faithful translation. Cultural communication can improve the development and prosperity of the local culture by means of foreignization translation. The local culture can be greatly enriched by absorbing nutritious heterogeneous culture. The culture of a nation will become energetic and influential through an open and receptive attitude towards foreignness.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:28, 11 December 2020 (UTC)<br /> <br /> ====My Understanding on Domestication and Foreignization====<br /> As it is known that the argument about domestication and foreignization has a long period history. In these arguments, the translators always focus on one while ignores the another. In fact, domestication and foreignization have both its advantages and disadvantages. Actually, we should learn these two kinds of strategies from the perspective of a neutral standpoint. From above mentioned, it can be concluded that domestication can effectively avoid the misunderstanding of the original text by cultural differences. Translation is a kind of cultural exchange, and the main task of the translator is to establish effective communication between different cultures by eliminating cultural conflicts. Such communication may be effective in the source culture, but may not be effective in the target culture. The target audience can easily interpret the translated text in terms of their familiar cultural norms. If the information in the translation is within the understanding of the target audience, this translation can better convey the message. If not, the message may be misunderstood. While in foreignization, it can be concluded that the target readers want to experience a foreign culture. In other words, it is usually presumed that understanding foreign culture is one of the main purposes of the target readers in reading translated works. Generally speaking, foreignization is relatively smoother, simpler, clearer and more conventional, and can entertain ordinary readers and achieve a lively effect because the expression and style of such translation are familiar to the target readers. Foreignization is somewhat clumsy, unnatural and unfamiliar, and can be used to introduce foreign culture, history and philosophy, and let readers feel the exotic culture and customs. However, foreign cultural images and language features may cause information overload for readers. In a word, both domestication and foreignization have its advantages and disadvantages so it is hard to say which one is better. So we need a theoretical framework to guide us how to choose the translation strategy.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:29, 11 December 2020 (UTC)<br /> <br /> ===Chapter2:Brief Introduction of Functionalist Approaches===<br /> ====Skopos Theory====<br /> Skopos theory was developed by Hans Vermeer in the late of 1970s. In the translation of non-literary text types such as scientific and academic papers, instructions for use, tourist guides, contracts etc, Vermeer came to realize that the contextual factors surrounding the translation cannot be ignored. These factors include the culture of the intended of the target text and of the client who has commissioned it, and, in particular, the function which the text is to perform in that culture for those readers. Later Vermeer and his followers continue to complete the theory and prove that it also can be applied to literary translation. Within the framework of Skopos theory, translation is not regarded as a process of transcoding, but as a specific form of human action. Like any other human action, translation has a purpose, and the word Skopos is used as a technical term for the purpose of a translation.<br /> <br /> The general and primary rule of Skopos theory is the skopos rule. Vermeer assumes that as a general rule it must be the intended purpose of the text that determines translation methods and strategies. Translation is determined by its purpose. It all depends on the Skopos of translation whether to employ domesticating or foreignizing strategy. The second general rule is the coherence rule. This rule stipulates that the target text must be sufficiently coherent to allow the intended users to comprehend it, given their assumed background knowledge and situational circumstances. The third general rule is the fidelity rule. The rule concerns intertextual coherence between translation, the outcome of translational action, and source text. It stipulates only that some relationship must remain between the two once the overriding principle of the first two rules have been satisfied. Among the three rules, the skopos rule plays the most important role while the other two should subject to it. In the Skopos theory, another important term is “translation brief” which specifies what kind of translation is needed. In the ideal situation, translator can decide what strategy to use by the translation brief given by the initiator.<br /> <br /> According to Skopos theory, a text is viewed as an “offer of information”(Reiss &amp;Vermeer 1984: 139) made by a producer to a recipient. Translation is a secondary offer of information, imitating a primary offer of information. Translation is the production of a functionally appropriate target text based on an existing source text, and the relationship between the two texts is specified according to the Skopos of the translation. It is up to the translator to decide what role a source text is to play in the translation action. The decisive factor is the specified Skopos. As a result, the status of the source text is much lower in Skopos theory than in equivalence-based theories.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:34, 11 December 2020 (UTC)<br /> <br /> ====Theory of Translational Action====<br /> The theory of translational action was developed by Holz-Manttari in1980s. The theory is based on the principles of action theory put forward by Wright and Rehbein and is designed to cover all forms of intercultural transfer. In her model, translational action is “the process of producing a message transmitter of a certain kind, designed to be employed in superordinate action systems in order to coordinate actional and communicative cooperation” or “a complex action designed to achieve a particular purpose” (Nord, 1997).The primary purpose of translational action is to enable cooperative, functionally adequate communication to take place across cultural barriers. Holz-Manttan pays special attention to the actional aspects of the translation process and she analyzes the roles of the participants (such as initiator,translator, user, message receiver) and the situational conditions (time, place, medium) in which their activities take place. In her model, the source text is viewed as a mere tool for the realization of communicative functions. It is a text to which a translation initiator, a client, has assigned the function of serving as source material for translational action. It is totally subordinate to its purpose and is afforded no intrinsic value, thus it may undergo radical modification in the interest of the targeted reader.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:36, 11 December 2020 (UTC)<br /> <br /> ====Text Typology====<br /> The text typology of functionalist approaches was developed by Reiss in the book cooperating with Vermeer in 1984. The theory is based on the “origin model” of language functions proposed by the German psychologist Karl Buhler in 1934. The three functions of his theory refer to the representation of objects and phenomena, the attitude of the text producer towards such phenomena, and the appeal to the text receiver that correspond broadly to Jackobson’s Reprecentational, Expressive and Conative functions. It is on this basis that Reiss distinguishes among the informative text, the expressive text and the operative text, each calling for particular sets of skills and strategies on the part of the translator. <br /> Reiss distinguishes between two forms of text categorization, which are located on different levels of abstraction: on one hand, text types are classified according to the dominant communicative function (basically informative, expressive or operative mentioned above); on the other hand, text genres or varieties are classified according to linguistic characteristics or conventions (like those of reference books, lectures, satires or advertisements). (Nord, 1997)--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:37, 11 December 2020 (UTC)<br /> <br /> ===Chapter3:The Choice of Domestication and Foreignization in Translation from the Perspective of Functionalist Approaches===<br /> ====From the Perspective of Skopoos Theory====<br /> The Skopos theory gets its name from the Greek word “Skopos” which means “purpose”. This approach to translation stresses the purpose of the translation, which determines the translation strategies to be adopted. A translatum i.e. the translated text is determined by its Skopos. Knowing why a text is to be translated and what its function is going to be in the target culture is important in this approach. Like the summary Nord made in 1997, Skopos theory seemed to be exactly the translational model that was needed since it was pragmatic, culture-oriented, consistent, practical, normative, comprehensive and expert. The main point of this functional approach is the following: it is not the source text as such, or its effects on the source-text recipient, or the function assigned to it by the author, that determines the translation process, as is postulated by equivalence-based translation theories, but the prospective function or Skopos of the target-text as determined by the initiator’s, i.e. client’s, needs. Consequently, the Skopos is largely constrained by the target text user and his situation and cultural background.<br /> <br /> There are some examples showing the function of Skopos rule. Translators’ choices of translation strategies are often decided by their purposes. Both Yang Xianyi and David Hawkes translated Hongloumeng, one of the four Chinese classical masterpieces. However, the two translators adopted totally different strategies. Yang tends to employ foreignizing translation while Hawkes domesticating translation. The translation of the title of Hongloumeng shows the difference. Yang translated the title into “A Dream of Red Mansions” while Hawkes chosen another name of the masterpiece, “The Story of the Stone”. For Hawkes, the Chinese traditional, noble red color won’t raise the same imagination in the westerners. Contrarily, it will be connected with blood, violence and so on. Therefore, he avoided translating the character literally and resorted to another English word “green” that has more pleasant meaning in English language. As a result, “怡红院” was translated as “the house of green delights” and “怡红公子”as “green boy” . Another domesticating example is the translation of “鸳鸯” , the mandarin duck which is the symbol of true love. He used “lovebird” to replaced the specific Chinese word. In order to make the translated text easier to understand, and “谋事在人，成事在天”were rendered as “Man proposes, God disposes”. The Chinese Buddhist “heaven” becomes the western Christian “God”. Hawkes’ purpose is to entertain his English readers and he adopted those easy-understood words and phrases in English culture in spite of sacrificing the original cultural connotation. Contrarily, Yang’s purpose is to introduce the luxuriant Chinese culture to the western world. That’s why so many words and phrases with culture-specification were maintained and translated literally. His expected readers are those who are willing to know Chinese culture and to absorb new expressions. Consequently he adopted a rather foreignizing method, attempting to maintain the exotic cultural factors of source text. Examples were seen as following:<br /> 1.俗语说的好：“一龙九种，种种个别。”未免人多了就有鱼龙混杂，下流人物在内。(第九回)<br /> “A dragon begets nice offspring, each one different.” And inevitably among so many boys there low types too, snakes mixed up with dragons.(Yang 202)<br /> “There are nice kinds of dragon and no two kinds are alike”. Where many are gathered together the wheat is sure to contain a certain amount of chaff; and this school was no exception in numbering some very ill-bred persons among its pupils.(Hawkes 206)<br /> 2.真是天有不测风云，人有旦夕祸福。(第十一回)<br /> “Truly, ‘Storms gather without warning in nature, and nature, and bad luck befalls men overnight’”.(Yang 291)<br /> “I know ‘the weather and human life are both unpredictable’.”(Hawkes 294)<br /> 3.俗话说得好：“杀人不过头点地。”(第十二回)<br /> Remeber the proverb “A murder can only lose his head.”(Yang 318)<br /> “You know what the proverb says: He who checks a moment’s rage, shall calm and carefree end his days.”(Hawkes 322)<br /> <br /> It is can concluded that cultural gaps between the source language and the target language is always a hard nut for a translator to crack. Every language has its own specific cultural connotation, and sometimes the contained meanings are very difficult to convey by another language in the process of translation. The famous Chinese anesthetist, translator Zhu Guangqian pointed out: “Because of the different cultural situation and living status, words refer to the same thing sometimes can bring about different imagination and esthetics. For instance, the English words fire, sea, Roland, castle, sport, shepherd, nightingale, race will different psychological reaction between the English and the Chinese people. For English people, have abundant cultural factors. On the other hand, the Chinese characters and words like风，月，江，湖，梅，菊，燕，碑，笛，僧，隐逸，礼，and阴阳can evoke special association of ideas among Chinese people which may not be comprehended easily by the English people.”(Zhu Guangqian 1984:335) Consequently, the translating strategies translators choose must be determined by the Skopos of translation. Based on this Skopos, translators can select either foreignization, oriented towards the SL culture or domestication, oriented towards the TL culture, or both.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:39, 11 December 2020 (UTC)<br /> <br /> ====From the Perspective of Translational Action====<br /> Translational action views translation as purpose-driven, outcome-oriented human interaction and it focuses on the process of translation as message-transmitter compounds involving intercultural transfer. Holz-Manttari says that translation is not only about translating words, sentences or texts but is in every case about guiding the intended co-operation over cultural barriers enabling functionally oriented communication. For her, translating is a form translational, intentional and interpersonal interaction. <br /> <br /> As a form of communicative action, translating is a form of translational interaction. Translational interaction takes place in situations that are limited in time and space. This means every situation has historical and cultural dimensions that condition the agents’ behavior, their knowledge and expectations of each other, their appraisal of the situation, and the standpoint from which they look at each other and at the world. As a result, translators, who enable communication to take place between members of different culture communities, are conditioned by these factors too. Their decision of translating strategy is without exception. In addition, translation is an intentional interaction. For translators, there is a choice to act one war or another.<br /> In Manttari’s model inter-linguistic translation is seen as a communicative process with a series of roles and players. The roles and players are: The initiator, the person, group or institution that starts off the translation process and determines its course by defining the purpose for which the target text is needed. (Nord,1997:20 )The commissioner, is the person who asks the translator to produce a target text for a particular purpose and addressee. Sometimes he may influence the very production of the target text by demanding a particular text format or terminology.The ST producer, the person who writes the ST;the TT producer, who is the translator;the TT user, who is the person who uses the TT; the TT receiver, who is the final recipient of the TT.<br /> These roles and players are interconnected through a complex network of mutual relation. Among these roles, the initiator and the translator are the most significant since it is the initiator who gives out the translation brief and thus determines translator's translation strategy. Sometimes the roles and players can be overlapped, one person playing the roles of several agents at the same time. For example, translator can be the initiator and TT producer at the same time if he is the person who wants to translate the source text into target culture, Yan Fu and Lin Shu are of this kind. In this situation, the translator can determine the translation strategy subjectively according to the purpose he wants to attain. They initiated the translation action themselves and had their prospective TT receivers in mind. Thus the intentions of the translators, the initiators and the aesthetical expectation of TT receivers together determined the translators to choose the strategy of domestication.<br /> Lin Yutang, a famous Chinese writer and translator, candidate of Nobel Prize for literature, once asked his friend Yu Dafu to translate his masterpiece A Moment in Peking that had achieved a great success in the English world. He sent him a detail explanation of the idioms and quotations from Chinese culture in detail. Unfortunately, the deal turned out to be unaccomplished. (Later,some translators translated it into Chinese. However, Lin felt unsatisfied with all these translated versions.) In this case, Lin is the source text producer and the initiator, he gave out the translation brief and largely determined the translating strategy. Lin’s other works, such as The Importance of Living, My Country and My People, are originally written in English and later translated into Chinese. Compared the English and the Chinese versions, we can find great differences, especially those concerning Chinese specific cultural phenomena. Then what led to these differences? What are the purposes of the initiator? The reasons probably lie in this: creating a work that can satisfy both English and Chinese readers. Since the English readers are not familiar with the Chinese culture, Lin described it in great details; while in its Chinese version, these details were omitted. In Lin’s translation of Chinese classics, such as Laozi and Zhuangzi’s Taoism, he also adopted the same routine and won a large number of readers. In another translated work The Six Chapters of a Floating Life《浮生六记》, he adopted both domesticating and foreignizing strategies. The examples are in the following:<br /> 余笑曰：“卿非解人，摸索在有意无意间耳，拥而狂探，田舍郎之所为也。”<br /> Beauty of caressing lies in doing naturally and half unconsciously. Only a country bumpkin will hug and caress a woman roughly. (Quoted in Meng Jiangang, 2002)<br /> 惠来以番饼二圆授余，即以赠曹。曹力却，受一圆而去。<br /> Hueilai gave me two Mexican dollars which 1 gave to Ts’ao, but Ts’ao would not take them, only after my insistence did he receive one dollar before going away.(Quoted in Meng Jiangang, 2002)<br /> <br /> In the two examples quoted above, Lin employed domesticating translation. The Chinese classics was translated into modern English and the cultural images were replaced, such as “田舍郎，番饼二圆”. The translation became fluent and transparent as if the translator was invisible. However, in order to introduce the profound Chinese culture, he also adopted foreignizing translation in the same text. The example is in the following:<br /> 其形削肩长颈，瘦不漏骨，眉弯目秀，顾盼神飞，惟两齿微露，似非佳相。<br /> Of a slender figure, she had drooping shoulders and a rather long neck, slim but not to the point of being skinny. Her eyebrows were arched and in her eyes there was a look of quick intelligence and soft refinement. The only defect was that her two font teeth slightly inclined forward, which was not a mark of good woman.(Quoted in Meng Jiangang, 2002)<br /> <br /> The lines described the appearance of a Chinese woman. However, the traditional Chinese beauty may not be beautiful in western culture; and it is difficult for the westerners to understand that “两齿微露” is a premonition of disaster. Lin made no explanation here since he believed western reader would interpret the cultural connotation according to the context. There is no doubt that he succeeds.The secret of his success is to focus on the function of the target text. Since translation is an intercultural action, different cultures can communicate smoothly by this means. In Lin’s case, he played the roles of source text producer, initiator and translator. Initiators can be a group or an institution. In order to achieve some kind of political purpose, government sometimes initiates a series of translation action and determines the translating strategies for translators. In addition, in order to get more benefit, publisher, the initiator, sometimes will set a translation brief for translators, and asks them to act accordingly. These phenomena are not uncommon in modern society. For example, many foreign romances are translated into Chinese in recent years. Some are domesticating while others are foreignizing. The reasons behind them probably lie in the publishers’ intention to satisfy their perspective readers. Translatorial action produces a TT that is functionally communicative and functionally suitable in the target culture. It places translation in its socio-cultural context, which includes the interplay between the translator and the institution that initiated it and stresses functionality.<br /> <br /> ====From the Perspective of Text Typology====<br /> <br /> ==='''Conclusion'''===<br /> ==='''References'''===<br /> <br /> ==The Application of Domestication and Foreignization in Howard Goldblatt’s Translation of Mo Yan’s Works 欧蓉 Ou Rong==<br />  <br /> 摘要：一直以来，中国文学的独特风格在世界文学中备受瞩目，在流向海外的过程中，翻译成为了跨文化沟通的桥梁与传播的媒介。莫言是中国著名代表作家，2012年获得诺贝尔文学奖，外国对其作品的翻译研究从未断过。葛浩文是美国著名中国当代文学翻译家，莫言所有作品的英译本都来自于他。本文旨在通过分析葛浩文在翻译莫言作品过程中体现的归化和异化，从而指出其过人之处，从而思考中国文学作品被英译时应注意的事项，加强与提高不同文化之间交流的理解度与流畅度。<br />  <br /> <br /> 关键词：归化；异化；葛浩文；莫言的作品<br />  <br /> <br /> Abstract: For a long time, owing to the unique style, Chinese literature has attracted much attention among world literature. In the process of flowing overseas, translation has become a bridge of cross-cultural communication and a medium of transmission. Mo Yan is a well-known representative Chinese writer, who won the Nobel Prize in Literature in 2012. The study on his works about translation abroad has never stopped. Howard Goldblatt is a famous American  translator specializing in contemporary Chinese literature, and all English versions of Mo Yan's works are from him. Through analyzing the domestication and foreignization that reflects in the translated version of Mo Yan's works by Howard Goldblatt, the thesis aims to point out the extraordinary of this application and consider the matters that should be paid attention to when translating Chinese literary works into English to strengthen the understanding and improve the fluency of the exchange between different cultures.<br />  <br /> <br /> Key words: Domestication; Foreignization; Howard Goldblatt; Mo Yan’s works<br />  <br /> <br /> 1.Introduction<br /> <br /> 2. Domestication and Foreignization<br /> <br /> 2.1. The Definition of Domestication<br /> <br /> 2.2 The Definition of Foreignization<br /> <br /> 3. Howard Goldblatt’s Translation Strategies on Chinese Literary Works<br /> <br /> 4. The Embodiment of Domestication and Foreignization in Mo Yan’s works<br /> <br /> 5. The Enlightenment under the Application for Translation<br /> <br /> 6.Conclusion<br /> <br /> Bibliography--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 15:39, 6 November 2020 (UTC)Ou Rong<br /> <br /> ==Domestication and Foreignization in the Course of Translation Under the Direction of Skopos TheorY 谭星越 Tan Xingyue==<br /> &lt;center&gt; 谭星越 Tan Xingyue,202020080642.&lt;/center&gt;<br /> ===Abstract===<br /> Domestication and foreignization were put forward by Lawrence Venuti, a famous translation theorist in America, in his book The Translator’s Invisibility: A History of Translation in 1995. Domesticating translation places emphasis on the target culture, which makes the original text more easily understood by the target-language readers, while foreignizing translation aims to produce the foreignness and cultural characteristics in the source text as much as possible.<br /> Skopos theory was proposed by Reiss and Vermeer in the 1970s, which held that the purpose of translation determines the translation strategy. This thesis takes Skopos Theory as the basis of theoretical research, and analyzes the application and practice of domestication and foreignization in the course of translation.<br /> <br /> ===Key Words===<br /> Skopos Theory, domestication, foreignization<br /> <br /> ===题目===<br /> 目的论视角下归化和异化在翻译过程中的应用<br /> <br /> ===摘要===<br /> 归化和异化这对翻译术语是由美国著名翻译理论学家劳伦斯韦努蒂（Lawrence Venuti）于1995年在《译者的隐身》中提出来的。归化翻译是一种倾向于译入语文化的翻译方法，使原文文本更加容易被目的语读者所接受。异化翻译则旨在尽可能地传递原文文本的异质性和文化特色。翻译目的论由赖斯和弗米尔于20世纪70年代提出，该理论认为翻译目的决定翻译策略。本文将以目的论作为理论研究的依据，分析归化和异化在翻译过程中的应用和实践。<br /> <br /> ===关键词===<br /> 目的论，归化，异化<br /> <br /> ===Introduction===<br /> In the context of economic globalization, cultural exchanges are becoming increasingly frequent among countries. Translation, turning an original or “source” text into a text in another language, is an effective way of cultural communication. As a bridge communicating between cultures, translation plays an implacable role in the interaction. Since translation requires constant language choosing according to different context of culture, different translation theories have been proposed. Traditional translation theories focused on the equivalence of meaning and form of language, and literal translation and free translation were the main approaches. In the 1990s, there was a “cultural turn” in translation. The study of translation was no longer limited to the linguistic level, which has greatly widened the theoretical scope of translation. Lawrence Venuti, an American translation theorist, proposed two translation strategies: Domestication and foreignization.<br /> In contemporary translation studies, Skopos Theory proposed by Vermeer is the landmark of functional approaches to translation, which is relatively accepted by the public. Vermeer (1987:26) held that translation is a kind of transformation behavior based on the original text and translation behavior is an intentional and purposeful behavior in a specific context.<br /> The thesis is comprised of five sections. The first part presents an introduction of this thesis. The second part discusses the origination and formulation of Skopos Theory and three rules of Skopos Theory, including skopos rule, coherence rule and fidelity rule. The third part gives a brief interpretation of the two translation methods: domestication and foreignization. The fourth part analyzes the application and practice of the two methods in the course of translation under the direction of Skopos Theory. The last part draws a conclusion for this thesis.<br /> <br /> ===Chapter 1 Skopos Theory===<br /> According to Gentlzer(1993:18), before the 1960s, translation was regarded as a kind of code-switching, reorganization and meaning equivalence of two languages. Under these circumstances, translation was listed as a branch of linguistics. For a long time, linguists devoted themselves to studying the translation methods, principles and standards in the linguistic range of research, without concerning the factors of external language, such as the author and reader, or the speaker and hearer. With going deep into the research work, a new theory based on the premise that linguistics is only a tool of translation study but not the object has been proposed. Proposers considered translation as a kind of communicative activity between human beings, in this case, pragmatic level should be given priority to translation study, and background knowledge such as the conventions, norms and habits of different cultures should not be ignored. This chapter will focus on the introduction to this new theory of translation study—Skopos Theory.<br /> ====1.1 Origination and formulation of Skopos Theory====<br /> The formulation and development of Skopos Theory has undergone four stages. The representative of the first stage was Katharina Reiss, who was one of the founders of Functional Approaches to translation. The early theories of Katharina Reiss were based on the concept of equivalence. Reiss(1984:21) advocated that the equivalence between translation had to shift its focus from word and sentence level to textual level and that translators should take translation strategies, language functions, discourse types and text genres into account in the process of translation. Based on the three characteristics of linguistic functions, Reiss divided texts into three types: informative type, expressive type and operative type. These three different types of texts respectively served the communication between content, the communication between artistically organized content and the communication between content with a persuasive character, as a result, translation strategies for different text types were proposed. But in later studies, she realized that equivalence between translation was an impossible-to-be-realized, therefore, Reiss revised her theory of Text Typology, and the analysis of text types was no longer the main reference of translation strategies. She held that the translator should give priority to the functional characteristics of the target text rather than the principle of equivalence, and in the whole process of translation, the communicative functions that the target language was expected to achieve should be of great significance in the cultural environment of the target language. Thus it can be seen that Reiss’s theory laid the foundation for the formulation of Skopos Theory of translation. <br /> <br /> In the second stage, Vermeer (1987:27) broke through the limitations of equivalence theory, and took textual purpose as the primary criterion for the translation process. He developed functional skopos theory and made outstanding contributions to functionalist translation theory. He tried to build a bridge between practice and theory, considering that translation was a transformation of language, and also a kind of human behavior. As we all know, any action has its goal or purpose, and leads to a result, a new situation or event. This was why Vermeer named his theory as “Skopos Theory”, which was proposed in the 1970s in German. “Skopos” was a word in Greek, which meant “aim”, “purpose”, “intention” or “function”. Generally, &quot;Skopos&quot; referred to the communicative purpose of the translation. According to Vermeer’s Theory, the text’s purpose must remain a high priority, which will directly affect all aspects of the translation process. According to Vermeer, there were three purposes of translation: the translator's purpose, the purpose of dissemination of the translation, and the specific purpose of the special translation strategy. It was the initiator of the translation act that determined the purpose of the translation. But the translator did not passively accept everything. He can also act as the initiator, directly participating in determining the purpose of the translation (Zhang Jinlan, 2004:35). Moreover, Skopos Theory claimed that the intended purpose of the translation determined the methods and strategies of translation and that three rules of translation should be observed: skopos rule, coherence rule and fidelity rule.<br /> <br /> Translation Action based on the communication theory and action theory was elaborated by Justa Holtz Manttari in the third stage of the development of Skopos Theory, which has expanded the scope of functional translation theory. She regarded translation as a person-to-person, purpose-driven and result-oriented interaction activity. Manttari conducted a detailed analysis of the participants and behavior in the translation processes, mainly including the initiator / client, the commissioner, the ST producer, the TT producer, the TT user and the TT receiver. (Manttarri,1984: 398)Translation was the transfer of complex information including texts, pictures, sounds and languages between different cultures. The purpose of translation action was to overcome cultural and language barriers, so as to achieve cultural communication. She insisted that adaptations, compilations, edits and information inquiries were of essentiality in the process of translation activities, and she even included editing, consulting, and other activities related to foreign cultures into the translation action. The translator produced &quot;message transmitter&quot; that met the specific needs of the recipient's cultural background according to the client's requirements. As long as the target text can be produced to meet the client's needs, the task of translation was complete. In other words, the translation needed not be equivalent to the original, which contrived the theory of Translation Action to be an extreme functional theory.<br /> <br /> In the fourth stage, Christian Nord (2001：12)proposed two kinds of translation strategies, in response to the fact that Manttari completely ignored the original text: (1)Documentary translation: it referred to record the information contained in the original text in the communication of target language; it emphasized the direct production of the original text regardless of the context of the target.(2) Instrumental translation: it referred to the translation that achieved different functions for the certain purposes in the target language culture. Nord's contribution to translation studies was many-sided, and she proposed the theory of Function plus Loyalty. Function referred to the factors that made the translation work in a predetermined way in the target language environment, while loyalty referred to the interpersonal relationship among the translator, the original author, the recipient of the translation, and the initiator of the translation. In Nord’s view, loyalty was a kind of concept that translators should be loyal to both the original text and the target of the translation, and that was different from the concept of fidelity or faithfulness which only focused on the relationship between the original and the translation.<br /> <br /> It can be seen from the above that the landmark theories of the German functionalist approach were: Katharina Reiss’ Text Typology, Hans Josef Vermeer’ Skopos Theory, Justa Holtz Manttari’ Theory of Translation Action and Nord's Function plus Loyalty.<br /> <br /> ====1.2 Three rules of the Skopos Theory====<br /> The Skopos Theory proposed by Vermeer is the most important theory of functional approaches to translation. There were three ways to understand this word &quot;skopos&quot;: the purpose of the translator; the communicative purpose of the text; the purpose to be achieved by using a special translation strategies. Usually, &quot;skopos&quot; referred to the communicative purpose of the text. (Zhang Jinlan, 2004:36). First, under an ideal situation, the initiator of the translation will give details of the elements in the process of translation, such as the recipient of the translation, the environment in which the translation was used, and the functions that the translation should achieve. According to Skopos Theory, the primary rule followed by all translators was the “skopos rule”: The translation purpose determined the translation methods and strategies. Second, coherence rule pointed that the translation must meet the criteria of intra-textual coherence and that translated text must be sufficiently coherent to allow the intended addressees to comprehend it, given that their assumed background knowledge and situation circumstances. Third, fidelity rule meant that the translated text should bear some relationship with the corresponding source text, and there should be intra-textual coherence between the original text and the translation. Intra-textual coherence was similar to what was commonly referred to as fidelity to the original, and the degree and form of fidelity were determined by the purpose of the translation and the translator's understanding of the original.<br /> <br /> ===Chapter 2 Domestication and Foreignization===<br /> As we all know, translation has shifted its emphasis from language conversion to cultural transformation. Translation is no longer only regarded as the transformation of language symbols, but a mode of cultural transformation. Since translation is closely related to culture, a problem naturally arises: how to deal with the cultural factors in the text, especially the text with great cultural differences between the source language and the target language. It is on the issue of how to deal with cultural differences in translation that there exist disagreements in the field of translation. Generally speaking, it can be divided into two opposite opinions, namely, domestication and foreignization.<br /> ====2.1 Domestication====<br /> Domestication is an important term in cultural criticism, cultural translation theory and cultural exchange. Due to the differences in geographical environment and social history, the differences between eastern and western cultures exist objectively. In other words, not every person in the west can understand the cultural symbols of the east. When dealing with various oriental materials, the oriental scholars in the west can only make some transformation based on some methods such as domestication or foreignization.<br /> <br /> Lawrence Venuti, a famous American translator, was the first person to introduce the term “domestication” in his book The Translator's Invisibility: A History of Translation. He proposed that domestication is an approach that the translator &quot;leaves the reader in peace, as much as possible, and moves the author towards him&quot; and that domesticating translation should abide by the current mainstream values of the target language and culture, openly adopt conservative assimilation methods to the translation of the original text, and cater to local canon, publishing trend and political needs. (Venuti, 2001:19)<br /> <br /> Schuttleworth and Cowie in their book Dictionary of Translation Studies defined “domestication” as “a term used to describe the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL readers. . .it is identified with a policy common in dominant cultures which are aggressively monolingual, unreceptive to the foreign, and which he describes as being accustomed to fluent translations that invisibly inscribe foreign text with [target language] values and provide readers with narcissistic experience of recognizing their own culture in a cultural other”.(Schuttleworth &amp; Cowie, 2004:59)<br /> <br /> Douglass Robinson, a Canadian translator who discussed domestication and foreignization from the perspective of postcolonial theory, defined domestication as a term used by translators who were strident advocates of foreignizing translation to describe the worst translation. This kind of translation adopts the way of domesticating the original text into the target culture and language values. Traditionally, this concept is often referred to as “free translation”. (Robinson, 1997:114)<br /> <br /> Domesticating translation, which emerged in the 17th century when the translation activities mainly focused on the introduction of religious classics, classical literary works and the dissemination of Enlightenment thoughts, has been playing a dominant role in British for a long time. There were lots of scholars who firmly advocated the domesticating translation. For example, one of the representatives Eugene Nida has put forward the famous dynamic equivalence and the theory of reader’s response. He proposed that translation should achieve dynamic equivalence, not only in the form of expression, but also in accordance with the norms of the target language. He believed that the cultural category of the target readers should be taken into consideration in terms of expression, choice of words and sentences, and writing style, which should conform to the reading habits and reading psychology of the target readers (Nida, 2003:159). Meanwhile, in the United States, domesticating translation occupied the dominant position in the field of translation in a very long period of time. At that time, the critics in the United States strongly criticized those poems that tried to faithfully convey the exotic flavor of the original text, and publishers also strongly rejected this kind of foreignizing translation, which made it hard to get the chance of publication. They thought that only domesticating translation is the authentic translation, and in this way the translation can be read as if it is created in the target language. The translators completely vanish in the kind of fluent, domesticating translation that has erased every trace of exoticism.<br /> <br /> In some sense, domestication aims to transform the cultural identity of “the other” into the identity of “I”, so that the thoughts, values and behaviors of “the other” conform to “my” standards. As a result, cultural standardization eliminates and replaces cultural differences, leading to the emergence of cultural supremacy or ethnocentrism which refer to the tendency of all countries and nationalities to regard their own way of life, beliefs, values and codes of conduct as superior to others. Homi Bhabha ever claimed that with the global expansionism of the strong culture of Europe and America, non-western countries have been placed in a narrow narrative of progress and development and their civilization described as decadent and autocratic (An Feng, 2004: 15). Under this circumstance, Vetinu proposed the foreignizing translation in order to achieve the deconstruction of ethnocentrism.<br /> <br /> ====2.2 Foreignization====<br /> Based on a thorough study of the history of translation in the West from the 17th century to the present, Venuti (2001:23) found that the adoption of domesticating translation strategies was the dominant practice in the history of western translation. Such a translation tradition implies the fact that translators take the western ideology as the standard and foreign texts are shaped by the values of western nationalism and imperialism. Venuti has challenged this kind of translation tradition and firmly advocated foreignizing translation.<br /> <br /> Venuti studied translation from the perspective of society and culture. His theory was directly derived from the German tradition of emphasizing foreignization, the influence of French thinker Derrida and the school of cultural studies. In the mid-18th century, German translators and writers have put other languages in the same position as German, and respect for foreign languages has become a guiding principle in the course of translation, from which people learn to adjust themselves to the heterogeneous elements in foreign texts. In the 19th and 20th century, attention to the foreignness of the original text has become an undercurrent in the study of German translation theory. During this period, the theorists were cautious and avoided the words of &quot;literal translation&quot; and &quot;free translation&quot;. They no longer focus on the unit of translation, but turn to the issue of the interpretation of cross-cultural text. For example, German scholar Schleiermacher ever stated:<br /> <br /> <br /> &quot;An inner necessity, in which a peculiar calling of our people [the Germans] express itself clearly enough, has driven us to translating en masse; we cannot go back and we must go on. Just as our soil itself has no doubt become richer and richer fertile and our climate milder and more pleasant only after much transplantations of foreign flora, just so we sense that our language, because we exercise it less owing to our Nordic sluggishness, can thrive in all its freshness and completely develop its own power only through the most many-sided contacts with what is foreign.&quot;(Schleiermacher, 2004:62)<br /> <br /> <br /> The German tradition of emphasizing “foreignness” (especially Schleiermacher's argument) provided the theorical basis and direction for Venuti's thoughts, then Derrida's &quot;Deconstruction&quot; philosophy provided a “strategy” for Venuti's translation theory. Derrida challenged all the traditional translation theories and practices with the concept of “differance” in his writing activity and deconstruction strategy. “Differance” is the source of uncertainty and difference. And the meaning of text is always be influenced by the temporization and spacing of the difference; therefore, meaning cannot be completely determined and the absolute translation of original text is always impossible (Graham, 1986:146). Deconstructive translation theory deconstructs the authority of the original text, and puts the translation on an equal and complementary position with the original, thus giving the translator more autonomy. Meanwhile, deconstructive translation theory emphasizes “difference”, and aims to achieve a deeper and more accurate understanding of the differences between languages through translation.<br /> <br /> On the basis of previous scholars' theories, combined with American modernist translation theory, Venuti developed the connotation of foreignizing translation at least from the following aspects(Zhang Jinghua，2009:68): (1) The &quot;heterogeneity&quot; of modernist foreignization comes not only from foreign languages and cultures, but also from those excluded and marginalized discourses in local discourses. (2) The modernist text in foreignizing translation develops the idea of &quot;translation autonomy&quot; and enriches the connotation of foreignization translation in ethical sense, which also conforms to the Frankfurt School's thought of &quot;artistic autonomy&quot; in translation literature.(3) The foreignization of modernism advocates to promote the renewal of the target-language system with the help of marginal languages such as new words and ancient words. (4) In the discourse strategy, foreignizing translation endows translators with more freedom, highlights the subjectivity of the translator, and no longer relies solely on the literal translation.<br /> <br /> ===Chapter 3 Translation Method under the Direction of Skopos Theory===<br /> Translation is not only a process of language conversion, but also a behavior of cross-cultural communication. Translation is the bridge of cultural integration. The negation and exclusion of foreign cultures are incompatible with the role of translation as a cultural bridge; however, the overall acceptance of foreign language will also lead the original language to lose its &quot;social identity&quot;. XIE(Xie Yao,2017:360) stated that the translation work inevitably bears its cultural imprint, and domestication and foreignization are main ways to lessen the conflict between source language culture and target language culture. Foreignization does a good job in keeping the culture and images for the source language, while domestication means removing all strangeness and foreignness of the source text and making the translation clearly readable. <br /> ====3.1 Target reader-oriented approach — domestication====<br /> If translators aim to produce equivalent translation, especially pragmatic equivalent translation to achieve communicative effect with fully understanding the semantic meaning and pragmatic meaning, and considering the acceptance and response of readers, the domesticating translation should be given priority. Therefore, one of the responsibilities of translators is to avoid cultural conflicts, which can lead to various forms of misunderstanding. When transplanting a text into another culture, the translator should carefully weigh the connotation of ideology in the culture. Therefore, we should try our best to transform the source language culture into the target language culture. At the same time, the translator is also a disseminator. In cross-cultural communication, he/she should eliminate barriers and deliver the meaning of the source culture to the readers of the target culture. Then, I will analyze the practice of domesticating translation combined with some examples.<br /> <br /> <br /> “煮茶非漫浪,要须其人与茶品相得。故其法每传于高流隐逸、有烟霞泉石磊磈于胸次间者。<br /> The art of tea brewing is not for roman' s sake. The moral state of the brewer should match well with the quality of the tea. That explains why the techniques of tea brewing are usually handed down only to eremitic wisdoms with lofty characters and peaceful mind.&quot; <br /> (Jiang &amp; Jiang，2009:36)<br /> <br /> <br /> “The art of tea brewing is not for roman' s sake”, the sentence pattern of this translation is obviously derived from “art for art's sake”, which reminds people of the aesthetic movement that appeared in the late 19th century in the field of British Art and Literature. “Art for art’s sake”, a slogan translated from the French “l’art pour l’art”, which was coined in the early 19th century by the French philosopher Victor Cousin. It expressed the belief held by many writers and artists, especially those associated with Aestheticism, that art needed no justification, and that it served no political, didactic, or other purposes. This form of expression has already been in the public eye for a long term. Therefore, the translator resorted to the domesticating method according to the cultural standards and traditions of the target language so that the information can be easily understood and accepted by the receptors. <br /> <br /> Then, I take the translation of “角楼”, an ancient architecture in China, as another example. The word “角楼” has a long history, which first appeared in the book History of the Three Kingdoms · Wei Shu. It was built on the corner rampart. Because the horizon from the “角楼” is very wide and the enemy's situation can be observed clearly. Therefore, “角楼” was used as an important facility of the defense project in ancient times. At present, there are four “角楼” in the Palace Museum in Beijing. The most common translation of “角楼” is “turret”. The word &quot;turret&quot; originates from the Latin word &quot;turris&quot;, which means a small tower that projects vertically from the wall of a building such as a medieval castle and is used to provide a projecting defensive position allowing covering fire to the adjacent wall. It can be seen that the meaning of the word is very similar to that of the “角楼”. Here, the translator adopts the domesticating strategy to try to find the equivalent words of the image “角楼” in the western culture. Many more examples could be mentioned. For instance, “肉夹馍” is a famous snack in Xi’an and has been listed as a cultural heritage, which is one of the delicacies for foreign tourists to taste in Xi'an. The official translation of “肉夹馍” in Xi'an is “Rougamo”. However, the more well-known or widely spread translations are &quot;Chinese hamburger&quot; and &quot;Chinese sandwich&quot;, because foreign tourists think that “肉夹馍”is a popular Chinese &quot;meat burger&quot; or &quot;meat sandwich&quot;, and the translation here adopts the domestication strategy.<br /> <br /> ====3.2 The purpose of source culture dissemination—foreignization====<br /> For the sake of spreading the source language culture, translator should adopt foreignization so as to promulgate the culture of the original language to the target readers to the largest degree, stimulate the readers to learn the unknown source culture, help to overcome the obstacles in cross-cultural communication, and finally facilitate cultural integration. Then, I will analyze the practice of foreignizing translation combined with some examples.<br /> <br /> <br /> “凡采茶,在二月、三月、四月之间。<br /> The second, third, fourth months of the lunar year are a proper time for almost all sorts of tea to get harvested.&quot; <br /> (Jiang &amp; Jiang, 2009:48)<br /> <br /> <br /> During the Tang Dynasty, there was no strict time requirements for tea plucking. In the Classics of Tea, Lu Yu said that the optimum time for tea plucking was between February and April in the lunar calendar, that is to say, it is between March and May according to the current solar calendar. In this sentence, the translator supplemented the cultural element “the lunar year” for accurate time expression. The lunar calendar was established in ancient China based on the operating cycle of the moon, which has been used for thousands of years, guiding the Chinese nation's spring planting, autumn harvest, daily life, containing the wisdom of harmonious coexistence between the Chinese people and nature, and inheriting the continuous national life culture. With the western learning introduced into China, the solar calendar has gradually become a common social calendar, and the lunar calendar is to a large extent an expression of life customs and the inheritance of folk customs. The translator used communicative translation strategies to explain the precise season of tea-picking to the target readers. From the perspective of cultural communication and the expectations of the target readers, the translator tried his best to make the target readers appreciate the exotic and unique cultural information of the source text in the process of compensating for cultural defaults. For publicity translation, the original text can be regarded as a collection of languages, and also a mirror of national history and culture. It can be said that any text is always loaded with certain cultural information to show its unique national cultural temperament. In order to achieve cultural exchange, translators convey the cultural information in the original text accurately and faithfully. This is a good example of foreignizing translation.<br /> <br /> Then, I take the translation of “谋事在人，成事在天”, an ancient proverb in The Dream of Red Mansions, as another example. David Hawkes translated it into “Man proposes, God disposes”. He quoted Western proverbs to express the central idea of the original sentence. However, his translation of “天” into “god” was based on his western mode of thinking. Hawkes' translation ignored the differences of religious and cultural information and failed to convey the cultural elements of the original text. However, Yang Xianyi translated this proverb into “Man proposes, Heaven disposes”. Besides, “阿弥陀佛” appeared many times in the novel, and Hawkes translated into “my Lord” or “my God” while Yang Xianyi translated into “Amida Buddha”, which showed the character's Buddhist belief. We can clearly see that Yang Xianyi employed the foreignizing translation. In the course of translation, foreignization is more favorable to show the cultural differences to the readers, and enable them to understand the Chinese religious and other cultural backgrounds more accurately.<br /> <br /> ===Conclusion===<br /> Based on Skopos Theory, combined with the prop criterions of skopos rule, this thesis studies the domestication and foreignization in the course of translation. It should be said that the two strategies, domestication and foreignization, are not opposite or even contradictory, but complementary in translation. Cultural transplantation would be successfully achieved with a variety of methods and models. With Skopos theory applied to make a comprehensive analysis of various factors involved in translation, we can conclude that translators can adopt the principles and methods of both domestication and foreignization. (Guo Jianzhong,1998:5)As for to what extent source culture must be preserved in the translation, how to preserve it, and to what extent source culture must be adjusted to adapt to the target culture, we have to make a choice based on our correct understanding of the nature and the purpose of translation and the demands of target readers. Therefore, it is important for translators to have a deep cultural awareness in the process of translation, and to be sensitive to the similarities and differences between the two cultures. In addition, once one kind of translation method has been employed in a particular text during the process of translation, the translator better keep this basic tendency as far as possible.<br /> <br /> ===References===<br /> *Gentzler, Edwin.(1993). ''Contemporary Translation Theories'' [M]. London: Routledge.<br /> <br /> *Graham, Joseph.(1986). ''Difference in Translation''[M]. Ithaca: Cornell University Press.<br /> <br /> *Justa Holz-Manttari.(1984). ''Translatorisches Handeln, Theorie und Methode''[M]. Distributor, Akateeminen Kirjakauppa.<br /> <br /> *Nida, Eugene. A. (2003). ''Toward a Science of Translating''[M]. Brill Academic Publishers.<br /> <br /> *Nord, Christiane.(2001). ''Translating as a Purposeful Activity: Functional Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Reiss, Katharine. &amp;Vermeer, Hans. J. (1984). ''Towards a General Theory of Translational Action: Skopos Theory Explained'' [M]. 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London and New York: Routledge.<br /> <br /> *An Feng安锋.(2004). 霍米·巴巴“后殖民理论研究”[D].[ Homi Bhabha’s Study on Postcolonial Theory ]. 北京语言大学Beijing Language and Culture University.<br /> <br /> *Guo Jianzhong郭建中.(1998).翻译中的文化因素:异化与归化[J].[Cultural Factors in Translation:Foreignization and Domestication].上海外国语大学学报Journal of Shanghai International Studies University (2):3-5.<br /> <br /> *Jiang Xin&amp;Jiang Yi（唐）陆羽，姜欣, 姜怡（译）. (2009).大中华文库·茶经[M]．[The Classics of Tea].湖南：湖南人民出版社Hunan People's Press．<br /> <br /> *Xie Yao 谢瑶.(2017).“一带一路”背景下中国茶文学作品的归化翻译与异化翻译[J].[Domesticating and Foreignizing Translation of Chinese Tea Literature in the Context of Belt and Road].福建茶叶Fujian Tea(2) :360-361．<br /> <br /> *Zhang Jinghua 张景华.(2009). 翻译伦理：韦努蒂翻译思想研究[M].[Ethics of Translation: A Study of Venuti's Thought on Translation]. 上海交通大学出版社Shanghai Jiao Tong University Press. <br /> <br /> *Zhang Jinlan张锦兰. (2004).目的论与翻译方法[J].[The Skopos Theory and Translation Method]. 中国科技翻译 Technology Translation in China(1):35-37.<br /> <br /> ==Study of domestication and foreignization in cross cultural translation 周罗平 Zhou Luoping==<br /> <br /> ===Abstract===<br /> Language is the carrier of culture and the medium of communication between cultures. Language and culture are closely connected. Nowadays, cultural exchanges are becoming increasingly frequent; hence, it’s particularly important to use translation to convey information between different cultures. Translation is a process not only about transforming one language into another, but also about noticing the history and cultural tradition behind languages. Therefore, in cross-cultural translation, translators should master two strategies to deal with culture: domestication and foreignization. This article will introduce domestication and foreignization and explore how to use them in cross-cultural translation.<br /> <br /> ===Key words===<br /> Domestication Foreignization Cross-cultural Translation<br /> <br /> ===题目===<br /> 跨文化翻译中归化和异化研究<br /> <br /> ===摘要===<br /> 语言是文化的载体，是文化间传播和交流的媒介。语言和文化之间密不可分。在文化交流日益频繁的今天，用翻译去传递不同文化之间的信息就显得格外重要。翻译不仅仅是将一种语言转化为另一种语言，更要关注不同语言背后所承载的历史背景和文化传统，故在跨文化翻译中，译者应掌握处理文化的两种翻译方法：归化和异化。本文将系统地介绍归化和异化这两种翻译策略，并探究在跨文化翻译中如何选择使用这两种翻译策略。<br /> <br /> ===关键词===<br /> 归化 异化 跨文化翻译--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 00:55, 1 November 2020 (UTC)<br /> <br /> ===Introduction===<br /> Influenced by different geographical environment, historical development and other factors, different nations and countries form their unique culture. Translation plays an important role in cross-cultural communication. The translator as the main body of translation activities should convey the culture of one language in another language. In this process, the translator is faced with how and to what extent to show the cultural connotation of source language; therefore, the translator is bound to face the choice between domestication and foreignization.<br /> <br /> Domestication, oriented by the target language culture, aims to eliminate the strangeness brought about by the source text, but it also reduces the opportunities for the target readers to contact with foreign cultures. While foreignization, oriented by the source language culture, aims to retain the unique style and cultural characteristics of the source language, but it will increase the reading difficulty. The best way is to combine domestication with foreignization. Therefore, the translator should fully consider the type of the text and the readers of the translation and then choose the translation strategies and methods reasonably.<br /> <br /> This paper will be divided into five parts. The first part is the introduction of this paper. The second part is the introduction of domestication and foreignization, as well as a brief introduction of the representatives of domestication and foreignization. The third part is an analysis of the factors that influence the choice of domestication and foreignization. The fourth part introduces the translation methods under domestication and foreignization. The fifth part is the conclusion.<br /> <br /> ===Chapter 1 Domestication and Foreignization===<br /> The terms domestication and foreignization were first put forward by Lawrence Venuti in his work The Translator’s Invisibility. The two concepts of foreignization and domestication are defined by Venuti based on Schleiermacher’s distinction between the two different translation orientations. Schleiermacher clearly pointed out that there can be only two ways of Translating. Either by keeping the author as still as possible, so as to lead the reader to the author; the other is to keep the reader as still as possible, thereby guiding the author to approach the reader. Venuti, on the basis of Schleiermacher’s distinction, called the former foreignization and the latter domestication (Jiang 2016，146-147).<br /> <br /> ====1.1 Introduction of Domestication====<br /> According to Venuti, domestication is actually an ethnocentric practice, bringing foreign texts into the cultural values of the target language and thus bringing the author back home (Venuti 2009, 20).Therefore, in the process of translation, the translator follows the target language culture and adopts conservative methods to assimilate the original text so as to meet the needs of the target language readers. <br /> <br /> In this sense, the biggest advantage of the domestication is that it makes the translated works more easily accepted by the target language readers and that readers can better understand the connotation of the source text. In addition, domestication well reflects the coexistence of different cultures in the process of communication, and shows that translators seek common ground when facing culture differences and conflicts. Of course, every coin has two sides. Domestication translation also has its shortcomings. When translators adopt domestication, they tend to assimilate part of the original content with different language style or unique national culture, which makes the translation lose the characteristics of the original text, thus affecting the communication and spread of different cultures and hinders readers’ understanding of foreign culture.<br /> <br /> Eugene Nida is the representative figure advocating domestication. Nida’s functional equivalence theory or dynamic equivalence theory shows that he is a supporter of domesticating translation. His dynamic equivalence theory shows that he pursues the most natural equivalence translation. He once said that “dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language” (Nida &amp; Taber 2004, 24). In other words, dynamic equivalence means that the reader’s response to the translation is consistent with that of the original. Nida’s dynamic equivalence theory fully considers the reader’s language culture and the reader’s ability to appreciate the translation. Therefore, in the course of translating, the translator should take the completely natural and smooth language expression as the goal. In order to make the translation natural and smooth, the translator must make some adjustments to the original text. Some heterogeneous cultures which are not accepted by readers should be eliminated as much as possible. Nida’s dynamic equivalence theory takes the reader into full consideration. It aims to eliminate the readers’ strangeness to the original content and let readers better understand the thought and meaning of the original text, which precisely reflects the characteristics of domesticating translation.<br /> <br /> ====1.2 Introduction of Foreignization====<br /> Foreignization is an ethnodeviant practice, keeping language and cultural differences of the original texts as far as possible and thus sending the reader abroad (Venuti 2009, 20). In other words, in order to show the cultural characteristics of the source work, translators use foreignising translation to retain the characteristics of the source text and try to keep the writing techniques used by the author of the source language. Hence, for the readers of the target language, the translation is exotic and unfamiliar. <br /> <br /> Same to the domestication, foreignization also has its advantages and disadvantages. Foreignization, by transplanting the culture of the source language into the culture of the target language, enriches the culture of the target language to a great extent. For example, the Chinese phrase “武装到牙齿” is translated as “armed to the teeth”, which greatly spreads Chinese culture and enriches the English and Chinese language culture. Of course, foreignization also has its limitations. Some cultural differences and language differences are difficult to overcome. If foreignization is adopted blindly in the process of translation, there will produce some translations that readers cannot understand and accept, and translation will also lose its function of cultural communication.<br /> <br /> Schleiermacher and Venuti are strong supporters of foreignization. Schleiermacher’s preferred strategy is to accommodate the reader to the author. He claims that translations need not be same as the original author writes in the source language. The translation does not conform to the general expression habits of the target language. He believes that a translator who knows the target language can help target readers who are not proficient in the foreign language but have a strong understanding of the original text. In order to achieve this goal, the translator must adopt the foreignization translation, emphasize the value of heterogeneous culture, and ensure the faithfulness to the original text by subordinating the words in the target text to the source language (Jiang 2016, 147). In this way, the translation can be faithful to the meaning of the original text and can introduce heterogeneous cultures and concepts to readers of target language.<br /> <br /> In his book The Translator’s Invisibility, Venuti expresses his understanding and support for foreignization translation in detail. He believes that foreignization translation is a kind of translation strategy that preserves and highlights the heterogeneity of the original text in the translation. Firstly, he believes that foreignization is reflected in the selection of translation materials. He mainly aims at the classic translation of literature and culture of the target language instead of scientific translation (Venuti 2009, 42). In the process of foreignising translation, the translator chooses a foreign text which is different from the mainstream culture of the target language, which can change the cultural composition of the target language. Secondly, foreignization translation is reflected in the language used by the translator in the process of translation (Venuti 2009, 23). This means that in the process of translation, the closer the language style of the translation is to the language style of the original, the more heterogeneous the readers will feel. Moreover, Venuti advocates that in the process of translation, the translator should use words that are not commonly used and non-standard. Translators should mix slang, neologism or archaic words to achieve heterogeneous effects. In this way, the foreignization style of translation highlights the heterogeneity of foreign texts and challenges and resists the mainstream culture of the target language. Thirdly, foreignization translation is embodied in cultural alienation (Venuti 2009, 21). By highlighting the cultural differences caused by language differences, foreignization translation promotes the development of cultural diversity, helps to resist the hegemony of European and American culture, and helps to promote the development of culture and language of weak and small nations. Fourthly, foreignising translation highlights and enhances the status of the translator, which changes the phenomenon that the smooth translation makes the translator invisible in the past, thus promoting translation research to gradually move to the academic center (Venuti 2009, 17). Venuti elaborates that smooth translation has long occupied the mainstream position in the history of western translation, and the fluency of translation has become the standard to judge whether a translation is good or not. Venuti challenged and questioned this phenomenon. The smooth translation covers up the translator’s intervention and interpretation of the original text, and covered up the language and cultural differences of the original work. Therefore, he put forward the concept of resistant translation to expound his translation thoughts. Resistant translation refers to a translation strategy that preserves some heterogeneity in literary translation. The object of resistance is the prevailing translation thought in British and American culture, that is, fluent translation is acceptable translation (Fang 2011, 100). Venuti challenges the dominant position of British and American culture and introduces the idea of weak culture by advocating resistant translation. Translation is not only a process of seeking similarities between languages and cultures, but also a process of facing the differences between languages and cultures. Translators cannot completely and thoroughly eliminate these differences. Therefore, a good translation must be the blending and collision of different cultures, from which the readers can better understand and perceive cultural diversity.<br /> <br /> ====1.3 Literal translation, free translation, domestication, and foreignization====<br /> There are a lot of discussions on the translation strategies of domestication and foreignization, and literal translation and free translation. Many people think that domestication is equal to free translation, while foreignization is equal to literal translation. I don’t think so. In this section, I will make a comparison and distinction between the two groups of translation concepts. <br /> <br /> Literal translation refers to the translation that maintains the content and style of the original text while following the norms of the target language. Literal translation starts with word to word translation (Shuttleworth &amp; Moira 2005, 129). However, due to the need to be consistent with the grammar of the target language, the final target text may also present the equivalence of phrase to phrase or clause to clause. Free translation, as opposed to literal translation, refers to the translation that reads naturally, rather than the type of translation that completely retains the wording of the source text. Free translation is usually oriented to the target language (Shuttleworth &amp; Moira 2005, 84).<br /> <br /> As mentioned before, domesticating translation covers up the differences between different cultures and weakens the strangeness of the original. The translation produced by domestication is very fluent and natural so that readers are able to read and understand the translation according to their own language expressions. Foreignising translation requires the translation to show the heterogeneity of the original text and convey the foreign cultural characteristics of the original text as far as possible so that the reader will feel a strange feeling when reading the translated text and sometimes they will have some misunderstanding or questions that are caused by exotic culture. <br /> <br /> Literal translation and free translation emphasize whether the translation is consistent with the original text in terms of language form and language style. Domestication and foreignization not only emphasizes the language level, but also pays attention to whether the values and cultural traditions conform to the expression habits of the target language countries. Additionally, it is worth mentioning that literal translation and free translation are static opposites. Whether the translation is faithful to the original is mainly seen from the linguistic unit. Domestication and foreignization is a pair of dynamic opposites (Lu 2018, 57). With the increasing frequency of cultural exchanges and the passage of time, the original foreignization will become domestication. Therefore, we cannot easily equate literal translation with foreignization, nor can we equate free translation with domestication.<br /> <br /> ===Chapter 2 Factors influencing the choice of domestication and foreignization===<br /> In cross-cultural translation, translators are always faced with the choice of domestication and foreignization. Then, how does the translator make a choice? This chapter will explore some factors that influence the choice of translation strategies of domestication and foreignization, and then discuss when to domesticate and when to foreignize the text.<br /> <br /> ====2.1 The type of the text==== <br /> Different text has its own function. When dealing with different kinds of texts, translators should choose different translation strategies to translate text and to better show the function of the text. Newmark, a famous translator, divides text into three types according to its content and style: expressive function, informational function, and vocative function.<br /> <br /> Expressive text mainly has literary value or shows the author’s unique writing style, including some serious literary works, such as some serious imaginative literature, authoritative statements and some literary works like personal letters, autobiography, and essay (Newmark 2001, 39). Expressive text emphasizes the expressive function of language. This kind of the text takes the authority of the original author into consideration and pays less attention to readers’ responses. Compared with other types of texts, expressive texts use artistic and beautiful language, with the purpose of creating artistic images, so that readers can be inspired and moved by the language in the process of reading (Wang 2008, 138). The characteristics of expressive texts require translators to translate not only meaning, but also the emotion in the process of translation, so as to reproduce the artistic characteristics of the original text to the greatest extent and make readers feel the artistic charm of the source text when reading the translated text. Therefore, the linguistic features and purposes of expressive texts require translators to use foreignization as much as possible to reflect the exotic flavor of the source language and reproduce the artistic features of the source text.<br /> <br /> Informative text is mainly to convey the original information to readers truthfully and smoothly, mainly including technical reports, articles in newspapers or periodical, general teaching materials, product descriptions and other text whose content is more important than form (Newmark 2001, 40). This kind of text is created without author’s personal emotion and its main function is to lead readers to know and understand information. These characteristics require translators to focus on the content of the text and uses simple or clear expression as far as possible to convey the content so that readers can fully accept the meaning; therefore, it’s better to use domestication as much as possible to reproduce the content of the original text instead of sticking to the language styles. <br /> <br /> Vocative text is mainly to call readers to take action, to think, and to make reaction, including notice, instruction, and advertisement. This type of text emphasizes the infective function of the language and it takes readers as center (Newmark 2001, 41). Vocative text emphasizes the readability of the text and the acceptability of the reader (Wang 2008, 139). It is necessary to put the readers of the target language in the first place and take their culture and receptivity into consideration, so that they can clearly get the information; therefore, when translating such texts, translators should grasp the cultural differences between different languages and put the cultural habits of target readers in the first place. Only in this way can readers truly think, feel, and act. Additionally, in the course of translation, translators should give full play to the linguistic advantages of the target language and should not be limited to the expression of the original text, so as to achieve the same effect as the original language as far as possible.<br /> <br /> According to Newmark, the division of text is not absolute, and most texts have all three functions at the same time with one or two of them dominate (Newmark 2001, 42). Hence, in the actual translation, domestication and foreignization should be combined. Domestication and foreignization are not always antithetical; on the contrary, they complement each other. When choosing foreignising translation strategy, the translator should pay attention to the smoothness and understandability of the target text. When choosing the domestication translation strategy, the translator should also pay attention not to lose the flavor and style of the original text. During translating, to a certain extent, the translator has freedom so the translator should give full play to the advantages of the two translation strategies. The translator can adopt domesticating translation to familiarize language expression and use foreignising translation to keep cultural elements.<br /> <br /> ====2.2 Readers of the target language====<br /> The translator choosing which translation strategy is not only influenced by the type of text, but also by the target readers. Reader is an important factor influencing the choice of domestication and foreignization so translator should take readers’ age, gender and educational level in the consideration in the course of translation. <br /> <br /> The translation under the domestication strategy is smooth and natural and it’s easier to be accepted by readers. Therefore, if the target readers of the translated text are young children or readers with low education level, the translator can use the domestication strategy more when translating, so that the readers can understand and accept the information of the translated text. However, the translation under the foreignization strategy aims at revealing the heterogeneity of the source culture, spreading foreign culture, and preserving the unique expression and original flavor of the original text. Such a translation may be awkward and difficult to understand. If the readers of the target text are highly educated, highly receptive, or have a certain understanding and cognition of the culture of the source language, the translator can use the foreignization strategy to show the style of the source text, so that the readers can better understand the foreign culture and broaden their horizon.<br /> <br /> Generally speaking, most works have a specific audience for reading. Different groups of readers have their own characteristics and different levels of comprehension; therefore, translators should take the factor of readers into consideration to choose domestication strategy or foreignization strategy in the actual translation. <br /> <br /> ===Chapter 3 The application of translation methods in domestication and foreignization===<br /> In cross-cultural translation, translating culturally-loaded expressions is difficult. Choosing appropriate ways to translate culturally-loaded expressions will not only keep the original favor, but also make readers of target language understand so in this part I will introduce some methods to translate culturally-loaded expressions under the domestication and foreignization strategy.<br /> <br /> ====3.1 Introduction of culturally-loaded expressions====<br /> Culturally-loaded words refer to words with certain cultural background or profound cultural implication, including proverbs, allusions, special characters’ names and current idioms and idioms that have been deposited in a certain historical stage (Fang 2011, 297). As culturally-loaded words have their own uniqueness, the following principles should be followed in the translation of culture-loaded words. According to Wang Zhenqi, first, the key implied meaning of the expression in the source text should be converted into non-implied meaning in translation. Second, the representation of the lexical meaning of the source language should be given priority to the representation of the form. Third, the context of the source words should be taken into full consideration in the choice of translation (Wang 2014, 97). Then, in the translation of such words, the translator takes cultural exchange as the purpose, evaluates the readers’ cultural reception and perceptivity, and adopts flexible and appropriate translation methods, so as to ensure that the translated text not only retains the cultural information and cultural color of the original text, but also has readability. There are different ways of translating culturally-loaded words because of their different forms and cultural meanings.<br /> <br /> ====3.2 Translation methods under the domestication strategy====<br /> Under the domestication translation strategy, there are three main methods to translate culturally-loaded expressions, namely: free translation, cultural substitution, and simplification.<br /> <br /> Free translation is a common way in translating culturally-loaded words. Free translation is to translate the cultural information in the source text as much as possible. If the translator only conveys literal meanings of the words that are rich in cultural information, sometimes they will confuse and even misunderstand readers. In order to better convey the meaning of the original text, the translator adopts free translation method to translate the real connotation of culturally-loaded words, fill the gap in the readers’ culture, and let readers understand the text more naturally and smoothly. For example, some color words in Chinese have lots of different symbolic meanings. The color purple in Chinese culture represents the spirit of saints and emperors, which is maybe unfamiliar to readers of other cultures. Hence, when translating the term “紫禁城”，in order to eliminate misunderstanding, the translator tends to adopt free translation to translate it as “the forbidden city” which shows its cultural meaning. <br /> <br /> In cross-cultural translation, the translator may face such difficulty that there is no corresponding word in the target language equaling to the culturally-loaded word in the source language. In this case, cultural substitution is a good choice. Cultural substitution, put forward by Beekman and Callow, is a method of dealing with things that exist in the source language but do not exist in the target language. It is defined as using things in target language to replace the things in source language culture that is unknown to readers of target language. In order to maintain the functional meanings, both things have the same function. There are three points to note when using. Firstly, do not replace history with didactic words; secondly, choose the one that suits best and not just the one with the most obvious function; thirdly, avoid functional conflicts between source language and target language(Fang 2011,104). For example, in order to let readers of target language better feel and understand the love of Romeo and Juliet, we will use cultural substitution methods and translate it into the love between Liang Shanbo and Zhu Yingtai, which eliminates the unfamiliarity of the cultural image in the source language and is the representation of domestication. Using the cultural images in the target culture, the translator enables the target readers to understand the foreign culture on the basis of their own culture, thus strengthening the understanding between different cultures.<br /> <br /> Simplication is also a good way to deal with culturally-loaded expressions translation. According to Wang, simplified translation is to translate the core meaning of culture-loaded words in the source language into a simple and clear target language (Wang 2014, 98). In cross-cultural translation, the translator may encounter such a situation when the long-winded concept of the original text can be simply expressed in the target language, such as using idiom, and such a translation is more acceptable to the target language readers. Therefore, it is very effective to use simplified translation which not only preserves the core concept of the original text, but also makes the translation acceptable.<br /> <br /> Free translation, cultural substitution and simplication are all translation methods to eliminate the strangeness caused by culturally-loaded words in the source language text and avoid readers’ confusion or misunderstanding. These domesticated text translation methods facilitate readers’ reading, better ensure that readers correctly understand the content of the source language text and experience the emotion of the source language text.<br /> <br /> ====3.3 Translation methods under the foreignization strategy====<br /> Under the foreignization translation strategy, there are five main methods to translate culturally-loaded words, namely: literal translation, literal translation plus annotation, transliteration, transliteration plus annotation, and cultural borrowing.<br /> <br /> Literal translation is loyal to the meaning and structure of the source text, directly translating the source language into the target language (Fang 2011, 104). With the increasingly frequent cultural exchanges, some loaded words and expressions have gradually become familiar to people. For example, the proverb “All roads lead to Rome” is directly translated as “条条大路通罗马” . “A near friend is better than a far-dwelling kinsman” is translated as “远亲不如近邻”. These culturally-loaded expressions are directly translated into the target language and Chinese readers can clearly understand the meanings.<br /> <br /> However, when literal translation can’t fully convey the original cultural information and readers have difficulty perceiving the meaning, the translator can add some annotation to explain the meaning of the culturally-loaded words on the basis of the literal translation. Annotations can be used to supplement background information, cultural traditions and other information for readers to understand. For example, the sentence “Now he was his valet, his dog, his man Friday” is translated as “如今他便成了他的听差，他的狗，他的忠仆星期五（星期五Friday是《鲁滨逊漂流记》中Robinson Crusoe的忠实奴仆）” . By adding the supplementary information, readers will know the meaning of this sentence clearly. Hence, for one thing, the translation preserves the original culture and promotes the communication between different cultures as well; for another, the readers of target language can better understand the cultural connotation and broaden their knowledge.<br /> <br /> Transliteration is a good and common way to translate culturally-loaded expressions. It uses letter symbols to represent letter symbols in another language system. When there is a big difference between the source language and the target language and there is a semantic gap, it is impossible to translate the semantic meaning (Fang 2011, 105). In this case, transliteration is the main translation method. The objects of transliteration are the names of people, places and newly generated terms. For instance, a city of America “Mount Pleasant” is translated as “芒特普莱森特” in Chinese. The Chinese Taoist thought “阴”and “阳” are translated as “Yin” and “Yang.” Through transliteration, readers of the target language can not only gain some understanding of the cultural knowledge of the source language, but also introduce new cultural concepts into the culture of the target language.<br /> <br /> Transliteration plus annotation is also often used in the translation of specific cultural words. The translator can add some annotation that can be in-text annotation or extra-text annotation to explain the meaning of the culturally-loaded words on the basis of the transliteration(Fang 2011, 105), so as to achieve the purpose of cultural information transmission. For example, the sentence “Like a son of Bacchus, he can drink up two battles of whisky at a breath” is translated as “他简直像巴克斯（巴克斯是古希腊神话中的酒神）的儿子，能一口气喝光两瓶威士忌”. The annotation gives a clear explanation of the connotation of culturally-loaded words. <br /> <br /> Cultural borrowing refers to some words in the source language, which can only be transferred into the target language word by word according to the literal meaning because no appropriate corresponding language can be found in the target language. The borrowed words may be unchanged or slightly altered, but their meaning must be clear and unmistakable in the target language text (Fang 2011, 304). For example, “as timid as a rabbit” can be translated as “胆小如兔”in Chinese. By cultural borrowing, this translation preserves the emotional image and cultural connotation of source language and the readers of target language can figure out the meaning of this expression. Therefore, when using cultural borrowing, the translator should not only keep the cultural image in source text but also let the reader of target language understand the image with exotic connotation.<br /> <br /> On the basis of preserving the culture and keeping the flavor of the original text, these five translation methods try their best to make readers understand the culture of the source language so as to let readers perceive the beauty of foreign culture and to introduce new expressions into target language.<br /> <br /> ===Conclusion=== <br /> Translation is an activity of communication between different languages and cultures. Different nations and countries have different ways of language expression because of their different cultures. In cross-cultural translation, translators should not only take on the responsibility of transmitting the source language culture and promoting the communication between different cultures, but also take the responsibility of making the target readers understand the connotation of the text, so as to make the translation readable and acceptable. This requires the translator to master the two translation strategies of domestication and foreignization, and grasp the balance between them.<br /> <br /> Domestication is helpful for the target language readers to understand the original text and avoid the obstacles caused by cultural differences; however, the translation approach to the readers’ language and culture will inevitably lose language features and cultural customs of the original text. Foreignization translation retains the expression habits and cultural characteristics of the source language, but is easy to increase the understanding difficulty of the target language readers, and may even cause misreading of the target language readers. With the frequent cultural exchanges, to some degree, people around the world are relatively familiar with each other’s cultural customs; therefore, on the premise that the target readers have no misunderstanding of the original text, the foreignization translation strategy can be appropriately adopted, which can enrich the target language culture and broaden the horizon of the target readers. <br /> <br /> Hence, in cross-cultural translation, translators had to deal with the problems of domestication and foreignization. Translators should consider some factors that influence the choice and choose appropriate translation methods to make domestication and foreignization complement each other, and retain the original flavor of the original text while ensuring the understanding of the target readers.<br /> <br /> ===References===<br /> *Fang Mengzhi方梦之.(2011)中国译学大辞典[A Dictionary of Translation Studies in China]. 上海外语教育出版社Shanghai Foreign Language Education Press.<br /> *Jiang Tong蒋童.(2016).韦努蒂翻译理论的谱系学研究[Genealogical study on Lawrence Venuti’s translation theory].商务印书馆The Commercial Press.<br /> *Lu Xiaojun 陆晓君. (2018) 归化和异化与直译和意译的比较[A Comparison between domestication and foreignization and literal translation and free translation]. 齐齐哈尔师范高等专科学校学报[Journal of Qiqihar Junior Teachers’ College](05) 55-57.<br /> *Newmark, P. (2011) A Textbook of Translation. Shanghai Foreign Language Education Press.<br /> *Nida, E.A. &amp; Taber C.R. (2004) The Theory and Practice of Translation. Shanghai Foreign Language Education Press.<br /> *Shuttleworth, M. &amp; Moira, C. (2005) Dictionary of Translation Studies.谭载喜译Translated by Tan Zaixi. Foreign Language Teaching and Research Press.<br /> *Venuti, L. (2009) The Translator’s Invisibility. 张景华译Translated by Zhang Jinghua. 外语教育与研究出版社Foreign Language Teaching and Research Press.<br /> *Wang Chan王婵.(2008). 纽马克翻译理论在不同文本类型中的体现[The Embodiment of Newmark’s translation in different text types].湖北师范学院学报（哲学社会科学版）Journal of Hubei Normal University(Philosophy and Social Science) (02) 138-140.<br /> *Wang Zhenqi王琪.(2014).文化负载词翻译方法浅议[A brief discussion on culturally-loaded word translation method ].长江大学学报(社科版)Journal of Yangtze University (Social Science) (01) 97-98.<br /> <br /> ==The Application of Domestication and Foreignization in the Translation of Chinese Allegorical Sayings 龚钰冕 Gong Yumian==<br /> <br /> ==='''Abstract'''=== <br /> Chinese Xiehouyu (allegorical saying) is a unique part of Chinese folk culture, and people are familiar with it. The translation of Chinese and English allegorical sayings is a kind of cross-cultural communication activity that spreads the Chinese national language and culture to the English world. In depth study of the connotation and translation methods of Chinese allegorical sayings has played a significant role in promoting and improving the Chinese-English translation and cross-cultural communication between Chinese and English. Based on the theory of domestication and foreignization, this paper attempts to analyze the types and components of Chinese allegorical sayings, and to explore their translation strategies.<br /> <br /> ==='''摘要'''===<br /> 汉语歇后语是中国民俗文化特有的一部分，人们耳熟能详。汉英歇后语翻译是一种将中华民族语言文化传播到英语世界的跨文化交流活动，深入学习研究汉语歇后语的内涵和翻译方法，对汉英语言的互译和跨文化交际都起到了很好的促进和提高作用。本文试图用归化和异化理论出发，分析汉语歇后语的类型及其构成，探讨汉语歇后语的翻译策略。<br /> <br /> ==='''Key words'''=== <br /> Chinese Allegorical Sayings, domestication and foreignization, translation strategy<br /> <br /> ==='''关键词'''===<br /> 汉语歇后语；归化和异化；翻译策略<br /> <br /> ==='''Introduction'''===<br /> Allegorical saying is a unique language form in Chinese idioms, which is full of cultural connotation and has a unique structural form. It has the characteristics of vivid and humorous language, rich in philosophy and enlightenment, which is widely spread and loved by the Chinese people. Chinese allegorical saying is not only widely used in spoken language of all social strata, but also can be seen everywhere in classical and modern literary works and articles.<br /> <br /> However, as a unique language form in Chinese, it is difficult to find the corresponding expression in other languages. Therefore, it has become a difficulty in the translation of Chinese idioms, which is undoubtedly a great challenge to the translator. Moreover, it is hard to reproduce the language style of Chinese allegorical saying and convey its rich cultural connotation. At the same time, the translation of allegorical saying helps the world to understand China and Chinese culture, which is conducive to the wide spread of Chinese culture. <br /> <br /> Domestication and foreignization are important strategies in translation. Besides, the correct application of domestication and foreignization in translating allegorical sayings will correctly and vividly introduce China's history and culture to foreign people to promote cultural exchanges. This paper attempts to analyze the types and components of Chinese allegorical sayings, and to explore their translation strategies. This paper has analyzed the connotations of domestication and foreignization, and attempts to summary the types and composition of Chinese allegorical sayings, and to explore their translation strategies.<br /> <br /> ===Chapter 1 An Overview of Domestication and Foreignization===<br /> <br /> ===Chapter 2 Composition of Chinese Allegorical Sayings===<br /> <br /> ===Chapter 3 Types of Chinese Allegorical Sayings===<br /> <br /> ===Chapter 4 The Application of Domestication and Foreignization in the Translation of Chinese Allegorical Sayings===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Reference'''===<br /> <br /> ==A Brief Analysis of Domestication and Foreignization in the Translation of Chinese Historical Idioms Zou Xinyu 邹鑫雨==<br /> <br /> &lt;center&gt; 邹鑫雨 Zou Xinyu, No.202070080633.&lt;/center&gt;--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 13:19, 10 December 2020 (UTC)Zou Xinyu<br /> <br /> ===Abstract===<br /> In Chinese idioms, the translation of Chinese historical idioms has something to do with cultural differences of English and Chinese. To appositely adjust cultural differences between English and Chinese, a large number of translators use two translation strategies: domestication and foreignization, when translating Chinese historical idioms. <br /> <br /> Domestication and foreignization are two kinds of translation strategies which are culture-oriented. This paper will make an introduction of the definition, characteristics and translation strategies of Chinese historical idioms in the first part, and then will introduce domestication and foreignization. Then, it will discuss the application of these two translation strategies to Chinese historical idioms by taking some examples so that the author of this paper can make a brief analysis of the relativity of these two translation strategies, domestication and foreignization, and learn how to select proper translation strategies to translate Chinese historical idioms. <br /> <br /> The study of the translation of Chinese historical idioms is conducive to the development of language, which will promote international exchanges and cooperation as well as the innovation of translation methods, thus deepening the organic integration of two translation strategies of domestication and foreignization in the translation of idioms and promoting the research and development of the dualism of translation.<br /> <br /> ===Key Words===<br /> Chinese historical idiom; Translation; Domestication; Foreignization<br /> <br /> ===题目===<br /> 浅析中国历史典故习语翻译的归化异化<br /> <br /> ===摘要===<br /> 在汉语习语中，有关中国历史典故的习语的翻译涉及到英汉文化差异。为了适当地调和英汉文化之间的差异，许多译者采用了归化和异化的翻译策略。<br /> <br /> 归化和异化是两种以文化为导向的翻译策略，本文第一部分先从含义、特点以及翻译策略方面对中国历史典故习语进行了介绍，紧接着在第二部分介绍归化异化两种策略，然后通过举例来探讨这两种翻译策略在中国历史典故习语翻译中的运用，从而分析出这两种翻译策略的相关性以及如何选取合适的翻译策略来翻译中国关于历史典故的习语。<br /> <br /> 对中国历史典故习语翻译的研究有利于语言的发展，促进国际间的交流与合作，推进翻译方法的革新，加深归化异化两种翻译策略在习语翻译中的有机融合，推动翻译二元论的研究与发展。<br /> <br /> ===关键词===<br /> 中国历史典故习语；翻译；归化；异化<br /> <br /> ===Chapter1 Introduction===<br /> Language is just like a long river which remains a reflection of an age, a people or a region, which means it contains thousands of tributaries. And as one of these tributaries, idioms are exactly a significant type of expressions in language. Idioms are extraordinary expressions which are created in the process of using language. In particular, Chinese and English are two languages of a long history and conclude lots of idioms. These idioms sometimes are obscure or explicit, and sometimes are serious or humorous. Not only are they short and simple, but also are they interesting and fascinating, giving people a feeling of beauty. Nevertheless, due to differences in geography, history, religion, custom and so on, idioms in Chinese and English carry forward with distinct national culture and cultural information, which has a close connection with their cultural traditions. Chinese idioms have a longer history than that of English and they are the essence of Chinese, having a great many types. This paper is mainly talking about Chinese historical idioms. There are so many idioms about Chinese historical allusions with simple structures and profound meanings. These idioms are not supposed to be understood or translated just from their words. Instead, there are so many cultural factors hiding behind them. In many Chinese idioms, cultural factors have been branded with distinct cultural colors. They are derived from a historical story or a story of characters. Their English translation, in fact, is not difficult. As long as one loves cultural factors, the translation can be natural. Idiom is an indispensable component of language. It combines various rhetorical devices and is a concentrated culture. An important part of history and culture is embodied in Chinese historical allusions and fable stories. They are the treasures of Chinese history and culture. They have a strong national color and distinctive cultural personality. They contain abundant historical and cultural information, which can reflect different historical and cultural characteristics at most. Many Chinese idioms come from historical allusions and fables such as &quot;东施效颦&quot;, &quot;名落孙山&quot;, &quot;三个臭皮匠，顶个诸葛亮&quot; and so on. Therefore, when translating idioms from Chinese into English, lots of aspects should be taken into consideration (Qiu Nengsheng, Qiu Xiaoqin, 2019, 51). <br /> <br /> Idiom translation is a difficult point in language translation. It is worthy of attention and exploration. The direct reflection of thought is language. Different languages are different tools and shells of thought, but the basis of thought is reality. Regardless of how differently people use the language, they always reflect real life, that is, different languages can reflect the same reality. Therefore, the content that people express in one language can also be expressed in another language. This is the basis of the translatability of idioms.<br /> <br /> Language and culture are inseparable. Language is the external manifestation of culture, which reflects the unique connotation of culture, and culture also plays a huge role in the development of language. An idiom is a unique and fixed expression that a language gradually produces during a particular historical period. It includes idioms, proverbs, and allusions, which are the essence of a national language and culture. The form of a idiom is concise and simple, and often reflects the extremely profound truth with an image and simple metaphor. The cultural information it carries is rich and concentrated, with very strong national characteristics. Therefore, translation is not just a code-switching between different languages, it is the exchange and transmission of various cultural information between different languages. Although the history and culture of each nation are very different, there are many similarities in people’s perceptions of the world. The human language and culture can reflect a common deep-seated “human commonality” as a whole. Therefore, due to cognitive reasons, many Chinese and English languages have similar meanings and forms, which fully reflects the similarities between different cultures in the human family. In this case, we can try to translate idioms in two translation strategies which can make the translation interesting and impressive, and give the reader a feeling of beauty.<br /> <br /> Firstly, the domestication translation strategy emphasizes the easy-to-understand characteristic in practice and tries to avoid ambiguous sentences or polysemy sentences. Therefore, when there is a cultural gap between the original text and the translation due to cultural differences, we need to process the language until the equivalent words are not found in the translated language, and turn them into cultural images that the readers are familiar with. Cultural differences between different languages require translators to maintain a high degree of cultural awareness in the translation process, because it is difficult to accurately reproduce the meaning of the original language in the translated language, which generally occurs in the original language and the translated language among the types of words. In this aspect of mitigating language and cultural contradictions, the domestication translation strategy has played a positive role. It effectively replaces the cultural and linguistic differences in the original text, making it easy for target readers to appreciate the content of the original text. However, due to over-emphasis on the fluency, the domestication translation strategy also exposes its flaws, which will result in the interception of the semantics of the original text, and sometimes even the misinterpretation of the semantics of the original text.<br /> Above we talked about the commonalities between Chinese and English. Now we will look at the differences between the two national languages and cultures. Idioms are the most quintessential part of a nation’s language. Therefore, the use of idioms necessarily reflects a strong nationality. Regardless of content or form, idioms are closely related to the history and culture of the country and can reflect the specific characteristics of the language. Language and culture are not static, they change over time. They are inclusive of foreign language and cultures, and can gradually transform the favorable factors in heterogeneous culture into organic parts of their own culture, and at the same time, culture can penetrate into other cultures and gradually affect them. In the early European and American cultures, the domestication translation strategy occupied a dominant position. It was not until the early 19th century that the foreignization translation strategy quietly rose in Germany, and this situation was broken. Schleiermacher is widely recognized as an advocate of alienation translation. In his view, the essence of translation is not “seeking the same”, but “reserving differences”. Only in this way can we maintain the strong exotic atmosphere of the translation as much as possible. The purpose of translation is not to gradually eliminate the differences between cultures, but to reflect cultural differences as much as possible in translation. The foreignization translation strategy can greatly enhance the reader’s awareness of intercultural communication, and make them realize the difference between different cultures, thus creating a strong interest in the culture of the translated language. For example, many culturally specific vocabularies cannot be translated according to the domestication translation strategy, because that will miss the meaning of the cultural word. At the 2008 Olympic Games, we also tried to translate the mascot Fuwa into an authentic English vocabulary. However, after various attempts, we could not find a satisfactory vocabulary to fully reflect the full cultural connotation of the vocabulary. Finally, we can only use the reserved Chinese pinyin. Alienation translation. This translation method has been welcomed by foreign friends who have a strong interest in Chinese traditional culture. Therefore, the foreignization translation strategy helps a country to promote its own traditional culture and to expand its international influence.<br /> <br /> We cannot treat the two translations of foreignization and domestication as a completely opposite set of concepts. Instead, they can work together to make the translation perfect. Both foreignization and domestication strategies have their own advantages and disadvantages, and they differ in their respective scope of application. In the translation of Chinese idioms, the translator must adopt a combination of foreignization and domestication, and analyze the specific situation and deal with it flexibly. Over-emphasizing any one of this two translation strategies can impair the readability of the translation. Therefore, foreignization and domestication are not mutually exclusive translation strategies, and we need to use these two translation strategies reasonably to make the translation very readable.<br /> <br /> ===Chapter2 Chinese Historical Idioms===<br /> The Chinese historical idiom is a relatively special linguistic group in Chinese idioms. It is not only concise, but also vivid, interesting, and profound. For example, &quot;叶公好龙&quot;, &quot;邯郸学步&quot;, &quot;说曹操，曹操到&quot;,etc. In the translation process, translators often habitually associate Chinese idioms with English idioms. These idioms carry the unique culture of Chinese nation and are closely related to the Chinese cultural traditions. They are a kind of idiom with historical allusions and usually possess implied metaphorical meanings. The definition of Chinese historical idioms makes us know we usually pay attention to their metaphorical meanings when we use them rather than just literally understand their meanings. In order to understand exactly the metaphorical meaning of the idiom of the allusion, the translator must have a profound cultural knowledge and understand China's long history and culture.<br /> <br /> Chinese historical idioms have a strong national character. China has been a big country dominated by agriculture since ancient times, and the agricultural population accounts for a large proportion. Therefore, a large part of Chinese idioms is related to agriculture, and its number far exceeds the agricultural shackles in its national language. They are the crystallization of the extremely rich wisdom accumulated by the working people in the productive labor for generations.<br /> <br /> Chinese historical idioms are not easy to be familiar with and accepted by the target readers. Behind the allusions of Chinese historical idioms, there is a profound Chinese traditional culture, which contains the content and meaning of a certain historical background, customs, religious beliefs, geographical location and lifestyle under the baptism of time. These allusions reflect the profound cultural heritage and connotation of the Chinese nation. Former Chibi Fu has many allusions with Chinese traditional culture, which brings great difficulties to translation because of cross-culture and cross-language. For example, &quot;万事俱备，只欠东风&quot; comes from the battle in the Three Kingdoms period – the battle of the Red Cliff, which evolved from the story of “Zhou Yu’s fire attack Cao Cao” in the Battle of the Red Sea in the Romance of the Three Kingdoms. &quot;八仙过海，各显神通&quot; reflects the content of Chinese traditional myths and legends. Chinese mythology only contains the Jade Emperor and all the gods, while the foreign countries only have God and the gods. It is difficult for readers who read the translation to understand these allusions of Chinese culture. Similarly, English allusions also have their own cultural color, with distinct national characteristics. English allusions are generally from Greek ancient Roman mythology, the Bible and literary works. For example, many of the allusions are from Shakespeare's literary works, and Shylock in The Merchant of Venice can be used to satirize the miserable who are mercenary and profitable. Also, English allusions come from people's daily life just like Chinese allusions, like &quot;to have two strikes against one&quot;, and its meaning is &quot;one is not good&quot; or &quot;the situation is not good&quot;. It turns out that in the baseball game, the player has missed two goals. If the third time is not hit again, he will be out of the game and cannot play it, that is, there are two hits in the three hits. The previously mentioned Chinese allusions may be unfamiliar to English readers, and at the same time, English allusions may be unfamiliar to Chinese readers. China and English-speaking countries have different histories and naturally derive different cultures and languages. Because of the differences between Chinese and Western cultures in many respects, readers of different cultural backgrounds have different understandings of allusions. For example, if you describe love, you can use &quot;the happy life of the cowherd and the weaver girl&quot; in China, and only use the &quot;happy life of the prince and the princess&quot; in foreign countries. The Cowherd and the Weaver Girl are the products of traditional Chinese culture, while the prince and the princess are the products of foreign traditional culture. Language is rooted in the fertile soil of culture and must be influenced by specific cultures. Therefore, in the land of China, there will be no happy love story between the prince and the princess; in the foreign land, there will be no love story between the cowherd and the weaver. Different environments create different cultures, different cultures create different language, and different language contains different allusions. As time went on, some changes occurred in the allusions. In daily life and literary works, variants of allusions emerge in an endless stream and appear in various forms. The author no longer directly quotes the allusion, but instead makes a different statement. Over time, it also possesses a special form of the allusion. For example, &quot;怒发冲冠&quot; is quoted from the Historical Records of Lian Po and Lin Xiangru, &quot;相如因持壁而立，倚柱，怒发上冲冠&quot;, which is the original form of &quot;怒发冲冠&quot;, indicating that the hair and the erected hat will rise up, and describes it as anger. &quot;朝三暮四&quot; comes from ''The Three Gorges of the Hillside Sheep in the Winter'':&quot;朝三暮四，昨今非是，痴儿不解荣枯事&quot;. The meaning has changed a little bit. The original metaphor of it is that one uses fraud to deceive people, now it is used like that the analogy is changeable and unpredictable. The dominant allusions have obvious allusions, such as &quot;刻舟求剑&quot;, &quot;守株待兔&quot;, &quot;破釜沉舟&quot;,etc., and can directly come up with the incidents and characters from the allusions. The dominance and recession of the allusions have brought certain difficulties to the translation. Some difficulties have arisen in determining the content and meaning of the allusions, which affects the quality of translation to a certain extent. The famous American esthetician and writer Zhu Guangqian once said that the most difficult thing to understand and translate foreign literature is the meaning of association. Then, for Chinese allusions, because of its rich associative meaning, its English translation is very difficult. The associative meaning of the allusion is difficult to analyze and grasp. It is closely related to the author's writing intention and plays a decisive role in the overall translation and detailed translation of the whole article.<br /> <br /> In summary, we can see that idioms and culture are related to certain ethnic groups. When studying idioms, it should be linked to its culture, nation, and history. This will help us to understand the idioms in depth and accurately translate them into English. Idioms are indispensable and expressive factors in language. Therefore, not only we regard them as a peculiar problem of translating literary works, but they are considered as one of the most important language problems in translation. With the opening-up to the outside world and the increasing exchanges between Chinese and English, the correct understanding and translation of Chinese idioms is an important subject step which is worthy of attention and researches.<br /> <br /> ====2.1 Characteristics of Chinese Historical Idioms====<br /> <br /> To correctly translate Chinese historical idioms into English, you must first understand the characteristics of Chinese idioms. There are abundant and colorful idioms in the Chinese language, reflecting the wisdom and life diversity of the working people for many years. It is created from labor and has a national character. Therefore, idioms are closely related to the historical background, economic life, geographical environment, customs, and mental state of a nation. The general idioms have appropriate metaphors and can cause associations, but this metaphor and association are determined by the real environment and society of certain ethnic groups. The life experiences of different ethnic groups are the same but different. The same is the reality between the Chinese and English peoples, and they are rumored in idioms. The Chinese historical idiom is a special component of language, and it is an important rhetorical device in language. Using appropriate idioms in your article can make it fascinating. The Chinese historical idiom is an independent, irregular and fixed factor in language. It often appears in a sentence in the form of a phrase or a short sentence, but it is mostly used as a component in a sentence, and sometimes it acts as a word. Even if some idioms can be analyzed literally and grammatically, they still appear as a whole in the sentence. Chinese historical idioms have the following characteristics:<br /> <br /> (1)Meaning independence<br /> <br /> Idioms are often independent in meaning, which means that its meaning is not the meaning of its words. For example, the literal meaning of the Chinese idiom &quot;expose foot&quot; (露出了脚) is &quot;expose the foot of the horse&quot; (露出马的脚), and its independent meaning is &quot;expose flaws&quot; (露出破绽). The literal meaning of &quot;开夜车&quot; is &quot;driving at night&quot; and its independent meaning is &quot;catch-up at night&quot; (夜里赶工). The literal meaning of &quot;落花流水&quot; is &quot;falling flowers and flowing water&quot;, and its independent meaning is &quot;defective&quot; or &quot;disastrous&quot;.<br /> <br /> (2)Breaking through grammar<br /> <br /> Chinese historical idioms often violate grammatical rules or logical reasoning. For example, Chinese historical idioms often use classical Chinese, thus they often contradict modern Chinese. Words in idioms that are not used in modern Chinese or that are equivalent in modern Chinese are a multi-syllable word. According to the vernacular, the words &quot;三心二意&quot; should say &quot;three hearts and two meanings&quot;, or &quot;inexplicable&quot;. In addition, there are many Chinese idioms that are not logically explained. For example, &quot;八道&quot; in &quot;瞎说八道&quot;; &quot;三心&quot; in &quot;三心二意&quot;; &quot;装蒜&quot;, &quot;倒霉&quot;, &quot;吃不开&quot;, &quot;蹩脚&quot;,etc. cannot be reasoned by words.<br /> <br /> (3)Self-contained<br /> <br /> Chinese historical idioms have their own integrity. The words in idioms are fixed and generally cannot be disassembled or exchanged. For example, in Chinese idioms, it can be said that &quot;雪中送炭&quot;, but cannot be said &quot;雪里送煤&quot; or &quot;雪里赠煤&quot;; &quot;乱七八糟&quot; cannot be changed into &quot;乱六七糟&quot;; &quot;露出马脚&quot; cannot be changed into &quot;露出牛脚&quot; or &quot;露出羊脚&quot;; &quot;老马识途&quot; can't be changed into &quot;老牛识途&quot; or &quot;老驴识途&quot;, although both of the cow and the donkey know the way; &quot;走狗&quot; cannot be changed into&quot;行狗&quot; or &quot;跑狗&quot;. <br /> <br /> ====2.2 Translation strategies of Chinese historical idioms====<br /> According to the above discussion, the characteristics of idioms can be summarized as: fixedness, diversity, nationality. Song Tianxi proposed in the Translation of New Concepts in English-Chinese Translation: when translating Chinese idioms, you should avoid looking at the meaning of the text. There are two main countermeasures. One is to read the interpretation of the dictionary and to understand the meaning of the idiom. The second is that the context is flexible and can’t be changed. It’s believed that translating Chinese idioms, like translating English idioms, not only requires a true understanding of the meaning of the original idioms, but also faithfully reflects the style and culture of the original text, while avoiding verbatim translation.<br /> <br /> The translation of Chinese idioms is limited by certain conditions. The successful translation is based on the existing vocabulary, grammar, and idioms in the target language. Even if the translation is based on the laws of the national language of the translation, the translation must not only be read. It is even more important to avoid misunderstanding in specific contexts.<br /> <br /> ===Domestication and Foreignization===<br /> <br /> Bla, bla, bla<br /> <br /> ===Analysis of Domestication and Foreignization in Chinese Historical Idiom Translation===<br /> <br /> ===Conclusion===<br /> <br /> Bla, bla, bla<br /> <br /> ===References===<br /> <br /> = '''Title Translation''' =<br /> <br /> <br /> ==A Study on the Translation of Movie Titles 陈惠 Chen Hui==<br /> <br /> == A Study on Movie Titles Translation from the Perspective of Skopos Theory 罗雨晴 Luo Yuqing ==<br /> <br /> &lt;center&gt;罗雨晴 Luo Yuqing No.202070080601&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> <br /> With the continuous advancement of globalization, more and more foreign films are introduced into China continuously. China's film market is huge and Watching films has become a popular way of entertainment for Chinese. Various kinds of films emerge in endlessly so that film titles are particularly important. The film title is the eye of the film, the highlight and essence of a film. A good film title can successfully attract people's attention, stimulate the desire to watch, and bring them into the cinema, which is the purpose of English film title translation. From the perspective of Skopos Theory, this paper will analyze the characteristics and functions of film titles, all kinds of existing translations, and puts forward some translation methods of English film titles, hoping to be helpful to the translation of film title translation.<br /> <br /> ==='''Key words'''===<br /> <br />  English film title translation; Skopos Theory; translation methods<br /> <br /> ==='''摘要'''===<br /> <br /> 随着全球化进程的不断推进，越来越多的外国电影源源不断地涌入中国，中国电影市场巨大，看电影已成为一种广受欢迎的娱乐消遣方式，各种电影层出不穷，因此电影片名就显得尤为的重要。电影片名是电影的眼睛，是一部电影的亮点与精华所在。一个好的电影名可以成功吸引人的眼球，激发大众观看欲望，将大众带入电影院。而英语电影片名的翻译目的就在此。本文主要将从目的论的视角出发，分析电影片名的特点与作用，对各种现有译名的进行分析，就此提出一些英文电影片名的翻译方法，希望能对电影片名的翻译工作有所帮助。<br /> <br /> ==='''关键词'''===<br /> <br /> 英语电影片名翻译； 目的论; 翻译方法<br /> <br /> ==='''Chapter1 Introduction'''===<br /> <br /> A film is like a book with pictures and sound. When reading books, we will imagine the scenes described in the books, while words in book will be presented in the form of images and sound in film. Most of films last about two hours. In these two hours, we can get in touch with something we are not familiar with in a relaxed way. Film brings us a variety of visual, auditory and other sensory pleasure. It is not only a way of entertainment, but also an important medium to spread culture. With the rapid development of economy, people pay more and more attention to the quality of life and cultural exchanges between different countries are closer than before. A large number of foreign films are pouring into China, trying to get a share of the Chinese market. Although there are close cultural exchanges, there are still cultural differences between China and the West. Therefore, the translation of film titles after the introduction of foreign films into China is very important. Although the translation of film titles seems to be a small project, it is not so easy to translate them well and to the point to let people can't wait to see the whole film. It is self-evident that the film title is the essence of a film. It not good enough to accurately summarizes the contents of the film, to attract the audience. The quality of the film title directly affects its dissemination in China, and its importance is self-evident. <br /> <br /> This paper proposes a Skopos Theory approach to the translation of film titles. The ultimate goal of film title translation is to attract attention as much as possible on the premise of accurately conveying the content of the film. Skopos Theory can provide a reasonable explanation for those film titles that are not translated according to the traditional translation theory. The Skopos Theory put forward by Hans Vermeer is the core theory of functional translation theory. Compared with some previous translation theories, this theory has some breakthroughs. The purpose of translation carries through the whole process of translation, and the purpose determining method is its biggest feature, which gives the translator a lot of space to adopt the translation method that he thinks is suitable.<br /> <br /> This thesis is composed of five chapters. Chapter one serves as an introduction, presenting the importance of the translation of English film title translation, the adaptability of the Skopos Theory and the structure of the thesis.Chapter two is a general analysis of English film title translation, including film genres and features and functions of English film title translation. Chapter three is a general introduction of Skopos Theory, consisting of its development, concept and three basic principle. Chapter four analyzes the existing film title translation from the perspective of Skopos Theory, and comes to the methods of film title translation. Chapter five draws a conclusion finally.<br /> <br /> ==='''Chapter2 A General Introduction of English Film Title'''===<br /> <br /> ====2.1 Film Genres ====<br /> According to He Ying in her article &quot;Theory and Method Guiding Film Title Translation&quot;, films are normally divided into three categories: science and educational film, documentary film, and feature film. Educational film spread scientific and technological knowledge. (He Ying 2001, 57)Documentary film is a kind of film or TV art form that takes real life as the creation material, takes real people as the object of expression, and processes and displays it artistically. It takes showing the truth as the essence and arouses people's thinking with reality. Feature film is a kind of film work which uses image and sound as means to narrate. Any film which is played by actors, has a certain plot and expresses a certain theme can be called a feature film. Feature films are often more easily accepted by all and have a large audience,so that this thesis confines its tentative study to the titles and the corresponding translations of English feature films. As for feature films, Tim Dirks categorized the main genres such as action films, adventure films comedy films, crime&amp;gangster films, drama films, epics or historical films, horror films, musical (dance）films, science fiction films, war (anti-war) films, and Westerns. Actually, a genre is always a vague term with no fixed boundaries and the referred types may overlap each other. Genres can be combined to form hybrid genres, (Tim Dirks,2003) such as ''Inglourious Basterds'' 《无耻混蛋》 which melts the genre of action and war，so does ''Saving Private Ryan''《拯救大兵瑞恩》. <br /> <br /> ====2.2 Features of English Film Title====<br /> <br /> ===== 2.2.1 Linguistic Features===== <br /> Foreign film titles are usually translated into Chinese with four characters and The translated titles are usually concise. It is not convenient for the audience to grasp the key points when they meet with long title and a short title can also contain many meanings. With the fierce competition in the film market, most of the audience just want to relax so that they prefer to watch films with accurate and concise expression of film titles. In addition, the use of four characters may be related to Chinese language habits that there are four character idioms in China. For example, ''Transformers'' 《变形金刚》, ''Captain America''《美国队长》, ''Escape Plan'' 《金蝉脱壳》, ''The Hunger Games'' 《饥饿游戏》, ''Once Upon a Time in America''《美国往事》.The translated titles of these foreign films are very concise and to the point, and the emphasis is on simplicity. They use vivid words to arouse the audience's interest. For example, the film Escape Plan is literally translated into Chinese as《金蝉脱壳》. The translator combines a Chinese idiom, golden cicada out of shell, which comes from the Xie Tianxiang written by Guan Hanqing. This idiom means when a cicada turns into an adult, one should take off a layer of shell, which draws an metaphor between people and cicada. (Baidu Encyclopaedia, golden cicada out of shell）And the film is about a prison designer who is locked into a high-pressure prison designed by himself and is ready to escape with other accomplices. The meaning the film and the idiom want to express is just the same, and the translated title is more vivid.<br /> <br /> =====2.2.2 Aesthetic Features ===== <br /> In fact, the translation of film titles is also a kind of literature. When foreign films are introduced into China, the translation of translated titles is equivalent to giving the film a life again. film titles can also be appreciated as the paintings do. The aesthetic translation of film titles will create a kind of artistic conception with a strong artistic quality. The translator will use a lot of rhetorical devices, such as metaphor, contrast, repetition, contradiction, exaggeration, parody, symbol and so on. Take film ''Hilary and Jackie''《她比烟花寂寞》 for example, the film mainly shows us a cello genius Jacqueline dupley's brilliant and extremely short life like fireworks, which reflects the extreme gorgeous beauty, the loneliness behind the streamer. The word &quot;fireworks&quot; is used symbolically. At first, some people may think this translation is kind of affected, but in fact it is quite consistent with this film’s content and touching. There are other wonderful examples, such as ''The Hours''《时时刻刻》, ''Sommersby''《似是故人来》, ''The Shape of Water''《水形物语》, ''Flipped''《怦然心动》, ''The Bridges of Madison County''《廊桥遗梦》, which are fabulous.<br /> <br /> =====2.2.3 Commercial Features=====<br /> Whether the translation of the film is concise or aesthetic, it is aim to attract the public to buy tickets. Film is the combination of art and commerce. A cinema film will not only express art or just for commercial purposes, It better to say that commercial films may pay more attention to box office, while literary and artistic films will pay more attention to artistic expression. A film is the painstaking efforts of all the workers. If no one appreciates it, it would be a pity. Therefore, attraction is indispensable in the translation of film titles. For example, there are some animated feature films made by Pixar. ''Finding Nemo''《海底总动员》,''Toy Story''《玩具总动员》,''The Incredibles''《超人总动员》,''Cars''《汽车总动员》. They all used the form《XX总动员》,which is a manifestation of business characteristics. Toy story, as an animated film, created a box office miracle and had a wide influence in China. Naturally, the audience was deeply impressed by this translation. Therefore, considering its popularity and attractiveness, the distributor will try to translate similar cartoons in this way. However, with more and more such translated titles, the public has already experienced aesthetic fatigue. This kind of translation may lose its original function, so it will be replaced by other translations later.<br /> <br /> ====2.3 Functions of English Film Title====<br /> <br /> =====2.3.1 Informative Function ===== <br /> The informative function is the basic function that any film title should possess.representative of a film, it is agreed that the film title should be of high-information value. A title without any informative value can be said meaningless.to enable the audience to get a thorough understanding of the film content. According to Newmark, the core of the informative function of language is external situation, the facts of a topic, reality outside language, including reported ideas or theories. (Newmark 2001, 40)In this thesis, the interpretation of the informative function is two-fold. <br /> A film tile should highly summarize the content of a film, which conveys a lot of information, such as the genre of film. Many film viewers tend to watch a certain type of film. When she chooses which film to watch in the cinema, the translation title of the film plays a very important role, such as ''Triangle'' 《恐怖游轮》,a psychological suspense film. The heroine experiences repeated asmsaras interacted with each other. The film shows the same people appearing in the same place and even chasing each other, which provides a variety of understanding for the play. The director said that the film has three endings, but they all lead to the same end point, that is, the final scene of the car accident, leaving Melissa in this endless cycle. The original translation is triangle in Chinese, which is actually about the closed reincarnation of a triangle. It can be said that the translation does not fully grasp the inner essence of the film. By contrast, 《迷失三角洲》 expresses this film’s theme more accurately, but the title 《恐怖游轮》 is more attractive. It makes the genre of the film more easy to get to. People will know that it is a thriller and suspense film at the sight of the title. Film title can not only let the audience know the type of the film, but also let the audience quickly know the relevant information of the film, such as time, place, character, what’s going on with characters. For example, Rise of the Planet of ''the Apes''《猩球崛起》，from the title , we can know that the film is telling stories about orangutans. ''12 Angry Men''《十二怒汉》, this title tells us that the main characters of the story are twelve men. ''Homeless to Harvard: the Liz Murray story'' 《风雨哈佛路》，this title let us know know that it tells the story of the protagonist's struggle at Harvard. ''Sleepless in Seattle''《西雅图夜未眠》, and from this title, we are ware of that the location of the story is mainly in Seattle.<br /> <br /> =====2.3.2 Aesthetic Function===== <br /> Peter Newmark once wrote: This is the language designed to please the senses, firstly through its actual or imagined sound and secondly through its metaphors. The rhythm, balance and contrasts of sentences, clauses and words also play their part. Their sound-effects consist of onomatopoeia, alliteration, assonance, rhythm, meter, intonation, stress (Newmark 2001, 42). These rhetorical devices make the form of film title diverse, rich in connotation, expand the meaning of the film space, enhance the aesthetic effect.<br /> Chinese and English are two different languages. Chinese pays attention to refining words, which is very consistent with the requirements of film title translation.Word refining pays attention to vivid, using language to render an atmosphere or artistic conception, and transmit this feeling to the Chinese audience.如''The Remains of the Day''《长日将尽》 This film is adapted from the novel of the same title British novelist of Japanese origin Kazuo Ishiguro, the film is an elegy about the decline of the aristocracy in the British Empire. The protagonist of the story recalls his life in the form of a diary. The most important thing is the relationship between him and his former colleague, the housekeeper Miss Ken Dunn. He was a loyal housekeeper in the noble family. He saw the vicissitudes of prosperity and tried to perfect his work. However, he always suppressed his feelings and saw miss Kendeng, who was waiting for no result, to marry away from home. This translation has successfully created a melancholy atmosphere. What’s more, a carefully designed film title can well perform the aesthetic function, creating such beauty as phonetic beauty and imaginational beauty. For example, ''Breathe''《一呼一吸》, this translation sounds rhythmic, if we just translate it into 《呼吸》，then it will lose the beauty of sound, in addition, four characters looks more neat visually. And there are other wonderful examples, such as ''Like Sunday, Like Rain''《如晴天，似雨天》, The Words《妙笔生花》.<br /> <br /> =====2.3.3 Vocative Function ===== <br /> A film title can show the audience with the relevant information about the film, and it can create an imaginative atmosphere for the audience and entertain them aesthetically. However, its vocative function is more important. That is to call upon the audience to buy tickets. According to Newmark, &quot;the core of the vocative function of language is the readership, the addressee&quot;(Newmark 2001, 41). According to Wei Jianhua, when the definition is applied to film titles, the addressees here refer to audiences. The vocative function of film titles is to draw the attention of audiences, make them psychologically interested and buy tickets. (Wei Jianhua2008, 121-122) Both informative and aesthetic functions serve the vocative function, since the prime and ultimate aim of film production is to win the hearts of audiences and be financially rewarded. Few titles are purely informative aesthetic or vocative. The three major functions are often integrated, with emphasis on one of them. Some translations of film titles are very eye-catching, such as ''Frozen''《冰雪奇缘》, if it is translated literally, it will become 《冰冻》, which is not vivid at all. However, 《冰雪奇缘》is full of sense of fairy tale, which gives people a lively and wonderful feeling, that is, realizes the value of information transmission, and also improves the publicity effect of the film. There are far more examples, such as ''Man on Fire''《怒火救援》, ''The Bourne Identity''《谍影重重》, ''The Matrix'' 《黑客帝国》, ''V for Vendetta''《V字仇杀队》.<br /> <br /> ==='''Chapter3 A General Introduction of Skopos Theory'''===<br /> ====3.1 The Development of Skopos Theory====<br /> Skopos Theory, originally written as Skopostheorie in German, is a major translation approach of German Functionalist School. &quot;Skopos&quot; means “ purpose ”or “ goal ” in Greek. “The 1970s and 1980s saw a move away from the static linguistic typologies of translation shifts and the emergence and flourishing in Germany of a functionalist and communicative to the analysis of translation (Munday 2016, 73) .” The Skopos Theory is one of the achievements of its development and the most important one.The development of the Skopos Theory experienced following four stages.<br /> Firstly,in the book “ Possibility and Limitations in Translation Criticism” , Katherine Rice first proposed functional translation theory. She believes that translators should put functional features first rather than information equivalence.<br /> Secondly, Hans Vermeer, a student of Reiss, broke away from the equivalence-based theories and set up the theoretical framework for &quot;Functional School&quot;: Skopos Theory. situation&quot;. In the framework of Vermeer's theory, every translation is directed at an intended audience, since to translate means “ to produce a text in a target setting for a target purpose and target addressees in target circumstances” (Vermeer 1987, 29). <br /> Thirdly, On the basic of Vermeer's research, Justa Holz Manttari further developed the<br /> functional theory. “ Manttari's theory is based on the principles of action theory and is cover all forms of intercultural transfer ” (Nord1991, 12-13). “ Manttari places special emphasis on the action aspect of the translation process, analyzing the roles of the participants (initiator, translator, user and message receiver) and the situational conditions (time, place and medium) in which their activities take place ” (Nord 1991, 13). Skopos Theory views translation as a complex activity intended to realize a specific purpose.<br /> Fourthly，Christina Nord summed up and perfected the theory of functionalism. She systematically expounds in English the internal and external factors to be considered in text analysis in translation and how to formulate translation strategies suitable for translation purposes on the basis of the functions of the original text. Christina Nord sorts out the functionalist theories and proposes that translators should follow the guiding principle of “ Function Plus Loyalty ” , thus perfecting the theory.<br /> <br /> =====3.2 Three Basic Rules of Skopos Theory=====<br /> The top-ranking rule for any translation is thus the “ skopos rule”, what Reiss and Vermeer described as “ the end justifies the means ” (Reiss &amp;Vermeer1984, 101). There are three possible kinds of purposes in the field of translation: (1) the translator's general purpose in the translation process (perhaps to earn a living); (2) the communicative purpose aimed at by the target text in the target situation (perhaps to instruct the reader); (3) the purpose aimed at by a particular translation strategy or procedure (for example, to translate literally in order to show the structural particularities of the source language). (Baidu Encyclopaedia , Skopos Theory)The skopos rule is summed up by Vermeer as “ the end justifies the means ”. He explains the skopos rule in the following way: Each text is produced.for a given purpose and should serve this purpose. The rule thus reads as follows: translate/ interpret/ speak/ write in a way that enables your text/translation to. function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.(Nord 2001, 29)<br /> Another important rule of Skopos Theory is the coherence rule, which means that &quot;a translation should be acceptable in a sense that it is coherent with the receivers situation&quot;. Focusing on the target readership and target culture, functionalists regard intra-textual coherence than inter-textual coherence, just as Nord put it, &quot;inter-textual coherence is considered subordinate to intra-textual coherence, and both are subordinated to the skopos rule.<br /> The third rule of Skopos Theory is fidelity rule. Fidelity rule means that there should be inter -textual coherence between the original text and the target text. This is equivalent to the so-called faithfulness to the original text in other translation theories, but the degree and form of faithfulness to the original text depends on the purpose of the translation and the translator's understanding of the original text.<br /> <br /> =====3.3 Function Plus Loyalty=====<br /> As mentioned above, the primary rule in Skopos Theory is the skopos rule, which defines that the translators can make changes of the word, style or form of the source text in the accordance with translation purpose. While the inter-textual coherence rule holds that the translated version should be loya1 to the source text. However, when the aim of the author is contrary to the aim of the translator, the inter-textual coherence rule should be abide by the skopos rule. As a result, there may appear the situation that there is no restriction for the change of source text. In order to improve the functionalism studies, Nord proposes the loyalty rule, which insists that the translator should be loyal to the author and audience: “ The audiences have the right to know what the translator has done for the original text and what kind of work produced by the translator. Translators cannot simply translate in a non-literal way without telling the target audience what they have done and why (Nord 2001, 125) ”.<br /> Function refers to the factors that make a target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship between the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients.<br /> All in all, This theory enriched Vermeer’s Skopos Theory, avoids sour-text sovereign and perfects radical functionalist.<br /> <br /> ====Chapter4 The Application of Skopos Theory in Film Title Translation====<br /> <br /> =====4.1 Skopos Theory's Guiding Role in English Film Title Translation=====<br /> A careful look at theory may show that it is significant in that it is different from traditional theories. It helps to free translators from the bondage of traditional theories by providing them a new way of thinking, broadens the scope of translation studies by increasing the range of possible translation strategies, and establishes a profound foundation, helping people to penetrate deeper into cultural and translation phenomena.Traditional translation theories tend to classify the translation of film titles into general literature translation. Equivalence theory plays an important role in traditional translation theories. However, the author believes that it is difficult to achieve the commercial effect required by the film title simply by emphasizing the equivalence between the original text and the translation. Therefore, it will be more appropriate to regard it as an advertisement translation. Since it is an advertisement translation, of course, the first thing to emphasize is the publicity effect. （Zheng Yuqi &amp; Wang Xiaodong，2006）For example, the Chinese translation of film titles is to make the Chinese translation attract the interest of Chinese readers in the Chinese market. In this way, Skopos Theory naturally plays a guiding role. Therefore, the first rule of Skopos Theory is skopos rule. The translation of film titles emphasizes the commercial nature, that is to say, it should be attractive enough. Therefore, we should not stay in the translation itself when translating film titles. The traditional equivalent translation theory can not be fully applied to the translation of film titles, so more effective translation theories are needed to guide it. Therefore, it has to be associated with the German functionalist translation theory with Skopos as its core. The most direct purpose of film title translation is the transmission of information. A good translation can highlight the content of the original film and make the audience better understand the theme information expressed and transmitted by the original film.If the translator could not produce a satisfactory version only on the base of the original title, he should consult the plot of the film.<br /> Let's look at an example in order to make this point clear. The film Thelma and Louise,Louise is a waitress in a cafe. She is busy all day and wants to travel. Her good friend Selma has been unhappy since she married a car salesman Daryl. She stayed at home all day, lonely and bored. One weekend, Persuaded by Louise again and again, she agreed to go on a pleasant trip with her. They parked their car in a bar in Arkansas for the night. The bar is full of young customers. The drunken Harun took a fancy to Selma and asked her to dance. Selma didn't listen to Louise's advice. She danced and drank with Harlan, and was taken outside to the parking lot. Harlan tried to harass her. After being rejected, Harun becomes violent and tries to force Selma to submit to him with violence. Louise came to the parking lot, found Selma in a critical condition, took out the pistol that Selma had brought in the luggage bag, and forced Harlem to let Selma go. Harlan began to curse and insult them. In his anger, Louis shot and killed him. In a flash, the two female partners on a vacation journey, embarked on a journey of despair that can not be turned back.In the Grand Canyon, Selma and Louise are determined to fight to the end and never give in. They smile and clasp hands,driving towards the cliff. Actually, this film mainly describe what happened to this two women and their growth process.''Thelma and Louise'', When translated into《末路狂花》, the audience can predict the stimulating effect that the film wants to express and convey the message of the film. If translated literally into 《塞尔玛与露易斯》, it will inevitably make people confused, unable to grasp the main meaning of the film, only two names can be known. Therefore, Skopos Theory plays an important role in the translation of film titles. There are many examples, ''Erin Brockovich'' 《永不妥协》, ''Fast &amp; Furious''《速度与激情》 ''Blade Runner''《银翼杀手》, ''Lord of Ring'' 《魔戒》, ''Inception''《盗梦空间》,''Top Gun''《壮志凌云》, These titles are not only translated from the source language into the target language, but also for the purpose of film sales, taking into account the information, aesthetic and other factors to form an attractive translation. <br /> <br /> ====4.2 Methods for Film Title Translation====<br /> <br /> =====4.2.1Transliteration=====<br /> Transliteration means to seek phonetic correspondence in terms of the translation to describe the English syllables through the corresponding Chinese characters carrying similar sounds. It relates to the conversion of different alphabets in different language system. Transliteration is usually applied this situations, when they are the name of persons and places and historical events. This method is often adopted in the film title translation because it has the obviously features in keeping the phonetic fluency of original film titles which express its strong exoticism, which can arouse the audience's curiosity to see the film. With the development of global communication, people become more and more interested in knowing other country’s culture, this method is becoming increasingly popular. For example，''Jane Eyre'' 《简爱》，''Dunkirk''《敦刻尔克》，''Hamlet''《哈姆雷特》, ''Emma''《爱玛》, ''Mulan''《木兰花》, ''Brooklyn''《布鲁克林》,''Manhattan''《曼哈顿》.Transliteration can enable the target audience to know more about the original history and culture. On the contrary, if they are translated in other ways, the viewers may take it as an ordinary film and may feel no interest in it, which will in turn do great harm to the box-office value of the film. However, this does not mean that transliteration should be adopted for any title which can be transliterated. If the original title can only provide little information and the audience can only contact with a foreign word, then transliteration can not achieve the effect that translation of film title should have.<br /> <br /> =====4.2.2 Literal Translation =====<br /> Functionalism does not exclude equivalence so long as it is adequate to &quot;a Skopos that requires that the target text serve the same communicative function or functions as the source text.&quot;（Nord 2004, 36). The merits of this method lie in its fidelity to the original meaning and cultural flavor of the original.The original title of many films is a high generalization of the content of the film, which can better realize its information function, aesthetic function and market function. It is necessary to be faithful to the theoretical basis of the original text. At this time, the literal translation of the title often inherits the simplicity and clarity of the original title, with large amount of information and easy to arouse the audience's curiosity. In the process of actual translation, the degree of overlap between Chinese and English in many film titles is astonishing, which can almost achieve word-for-word translation. For example, ''Blue Valentine''《蓝色情人节》,''Eat Pray Love''《美食、祈祷和恋爱》,''Darkest Hour''《至暗时刻》,''Hideen Figures''《隐藏人物》, ''Primal Fear''《一级恐惧》, ''Four Wedding and a Funeral''《四个婚礼和一个葬礼》, ''Pearl Harbor''《珍珠港》, ''Atonement''《赎罪》, ''Leap Year''《闰年》, ''Detachment''《超脱》. Besides, there are other way to use this method by changing the parts of the speech or adjusting the word order, for example, ''10 Things I Hate About You''《我恨你的十件事》''12 Years a Slave''《为奴十二年》, ''Life as We Know It''《我们所知道的生活》,to make it more specific, I will use this example ''A Star Is Born''《一个明星的诞生》，in the original title, the “born” is a verb, but when it is translated in to the Chinese title, the verb is changed into a noun to make this title look more balance. And in this example,''The Boy in the Striped Pajamas''《穿条纹睡衣的男孩》, the translator changed the original order to cater to the grammar of Chinese . What’s more, sometimes, the article like a or the will be deleted when translated into Chinese because it is not so important to viewer to catch the information about a certain film in some circumstances and by doing this, the title will look more concise, such as ''The Imitation Game''《模仿游戏》, ''A Beautiful Mind'' 《美丽心灵》, ''A Perfect World''《完美的世界》, ''The Social Network'' 《社交网络》.<br /> <br /> =====4.2.3 Liberal Translation=====<br /> Any translator with common sense of translation will not expect to find equivalent expressions in the target language all the time. Given this, translators may often adopt free translation. Free translation is an alternative approach that is used mainly to convey the meaning and the spirit of the original title without sticking to the form. (Feng qinhua2000, 36-44) Liberal translation preserve the content of the original title as much as possible at the cost of changing the form of the film title. In the specific operation, translators often use some techniques, such as addition, conversion and extension in particular so as to deeply convey the content of the original film and enhance the appeal of the title.（He Ying 2001, 57） A List of examples belong to this group, such as ''Coherence''《彗星来的那一夜》, ''The Secret Life of Walter Mitty''《白日梦想家》, ''Welcome''《非法入境》, ''Agro''《逃离德黑兰》, ''Silver Linings Playbook''《乌云背后的幸福线》, ''A Lot Like Love''《相见恨早》, ''If Only''《爱再来一次》, ''Temple Grandin''《自闭历程》, ''La La Land'' 《爱乐之城》,''Eternal Sunshine of the Spotless Mind''《暖暖内含光》,''Hacksaw Ridge''《血战钢锯岭》.<br /> <br /> =====4.2.4Combination of Transliteration and Literal Translation=====<br /> In addition to literal translation and transliteration, there is another way, that is, to combine literal translation and transliteration. This method is usually applicable to the original title containing the name of a person or place. Of course, this is not a perfunctory translation method, the title can still summarize the information of the whole film after being translated. For example, ''Becoming Jane''《成为简奥斯丁》, ''The Life of David Gale''《大卫·戈尔的一生》, ''Manchester by the Sea''《海边的曼彻斯特》, ''Notting Hill'' 《诺丁山》, ''A Rainy Day in New York''《纽约的一个雨天》, ''Maid in Manhattan''《曼哈顿女佣》,''Citizen Kane''《公民凯恩》, ''The Shawshank Redemption'' 《肖申克的救赎》, ''Schindler’List''《辛德勒的名单》.<br /> <br /> =====4.2.5 Combination of Literal Translation and Liberal Translation=====<br /> The combination of literal translation and liberal translation can be faithful to the original text to the greatest extent and attract the audience. Due to various reasons, the original titles of some English films only realize the information function of translated titles. In order to realize the various functions of translation, the translator sometimes retains the reasonable part of the original name, and then combines the need of the audience to complete the relevant information as far as possible. (He Aixiang2020, 103-107) There are some examples, such as ''Wonder''《奇迹男孩》, ''Whiplash''《爆裂鼓手》, ''Sully''《萨利机长》, ''I, Tonya''《我，花样女王》, ''Love Actually''《真爱至上》, ''Changeling''《换子疑云》, ''The Bucket List''《遗愿清单》, ''Before Sunrise''《爱在黎明破晓前》, ''Before Sunset''《爱在日落黄昏时》, ''Before Midnight''《爱在午夜降临前》, ''The Martian'' 《火星救援》.<br /> <br /> =====4.2.6 Re-creative Translation=====<br /> As mentioned above, re-creative translation is the last resort so far as the translation of English film titles is concerned. Sometimes, some titles are obscure and neither nor fowl after translation while others are very ordinary without attraction and this method aims not only transferring the informative value, but also reproducing the aesthetic and appellative value of the film. (Ma Yuanyuan 2010, 28-29)The following are good examples, such as ''North Country''《永不让步》, ''Rudy''《追梦赤子心》, ''Definitely，Maybe''《爱情三选一》, ''Up''《飞屋环游记》, ''Coco''《寻梦环游记》.<br /> <br /> ==='''Chapter5 Conclusion'''===<br /> This paper studies the translation of film titles from the perspective of Skopos Theory. Firstly, it analyzes the genres of films, the characteristics and functions of film titles translation. Secondly, it mainly introduces the development and rules of Skopos Theory. Finally, it analyzes the translation of film names under the Skopos Theory and puts forward some translation methods of film titles. Skopos Theory holds that the skopos rule is the primary rule, therefore, when translating film titles, translators have more initiative and they can use more diversified methods, which makes the film titles more commercial. However, there are still many shortcomings in this paper. For example, when analyzing the characteristics and functions of film titles, the aspect of cultural exchange is not taken into account. In the final translation method part, the summary is not in place, and the proposed method is not novel enough. I hope that in the further study, I can put forward a more applicable model of film title translation, and the last point is the lack of film data, the main purpose of film title translation is to attract more audience to buy tickets. If I can analyze the data of box office well, I can further evaluate whether the purpose of film title translation has been achieved. This paper is only limited to the author's understanding of the translation, thus some conclusions and analysis are still not profound enough. The author hopes that there will be more research results in the future, which can provide more abundant theories and methods to guide the translation of film titles.<br /> <br /> ==='''References'''=== <br /> He Yuan贺莺. (2001) 电影片名的翻译理论和方法 [Theories and Methods of Film Title Translation].外语教学Foreign Language Education (01) 56-60.<br /> <br /> Tim, Dirks.(2003) [Main Film Genres]. https://www.filmsite.org/genres.html<br /> <br /> Baidu Encyclopaedia 百度百科 金蝉脱壳 https://baike.baidu.com/item/金蝉脱壳/83303?fr=aladdin<br /> <br /> Newmark, Peter. (2001). [A Textbook of Translation]. Shanghai Foreign Language Education Press 41-44.<br /> <br /> Wei Jianhua韦建华. (2008). 英语电影片名翻译原则与方法探讨[On the Principles and Methods of English Film Title Translation].电影文学Movie Literature (03) 121-122.<br /> <br /> Munday, Jeremy .(2016). [Introducing Translation Studies:Theories and Application]. London and New York: Routledge 73.<br /> <br /> Vermeer, H. J.(1987). [What Does It Mean to Translate?]. Indian Journal of Applied Linguistics 13 (2) 25-33. <br /> <br /> Nord, C. (1991). [Translation as a Purposeful Activity--Functionalist Approaches Explained] .Shanghai Foreign Language Education Press 12-36&amp;129.<br /> <br /> Baidu Encyclopaedia 百度百科 翻译目的论https://baike.baidu.com/item/翻译目的论<br /> <br /> Reiss, K. &amp; Hans J. Vermeer, H. (1984). [Groundwork for a General Theory of Translation].Tubingen: Niemeyer 101.<br /> <br /> Zheng Yunqi &amp; WangXiaodong. 郑玉琪,王晓冬. (2006) 小议电影片名的英汉翻译原则[On the English-Chinese Translation of Movie Titles].中国翻译Chinese Translators Journal 27(02) 66-68.<br /> <br /> Feng Qinghua冯庆华. (2000). 实用翻译教程[A Practical Course Book on Translation].上海译文出版社Shanghai Translation Press.<br /> <br /> He Aixiang何爱香. ( 2020). 中国电影片名的新修辞翻译策略探究[Translation Strategies for Chinese Movie Titles --A Rhetoric Perspective]江南大学学报(人文社会版), Journal of Jiannan University (Humanities&amp;Social Sciences) 19(02) 103-107.<br /> <br /> Ma Yuanyuan马媛媛. (2010). 翻译目的论视角下的英文电影片名的汉译 [Translation of English Film Titles from the Perspective of Skopos Theory]. 黑龙江大学Heilongjiang University 28-29.<br /> <br /> Douban Movie website 豆瓣电影网 https://movie.douban.com/<br /> <br /> ='''Translation of Cultural Words'''=<br /> <br /> <br /> ==Translation of Culture-Loaded Words in Li Qingzhao's Ci-Poetry Based on Scopos Theory 周思庆 Zhou Siqing==<br /> &lt;center&gt;周思庆 Zhou Siqing 202020080673 &lt;/center&gt;<br /> ===Abstract===<br /> This paper attempts to illustrate the influence of Skopos theory on translation strategies and the influence of translation strategies on translation effect by analyzing the different translations of culture-loaded words in Li Qingzhao’s Ci-Poetry based on Scopos Theory according to Nida’s classification of culture-loaded words. This research is of great significance to refresh blood into the study of Li Qingzhao’s Ci Poems and promote excellent Chinese traditional culture to go abroad.<br /> <br /> ===Key word===<br /> culture-loaded word, Li Qingzhao, Scopos Theory<br /> <br /> ===题目===<br /> 从目的论看李清照词中的文化负载词英译<br /> <br /> ===摘要===<br /> 本文主要以目的论为指导，以奈达对文化负载词的分类为依据，从对不同英译版本的李清照词中文化负载词的翻译进行分析，说明目的论对翻译策略的影响以及翻译策略对译文效果的影响，旨在为李清照词的英译研究注入新鲜血液，推动中国优秀传统文化走向世界。<br /> <br /> ===关键词===<br /> 文化负载词， 李清照， 目的论<br /> <br /> ===Introduction===<br /> Li Qingzhao, is the representative of the graceful and restrained school well-known for her elegant, fresh and refined language as well as rich and vivid images. Her poetry is an unparalleled cultural treasure in the history of Chinese literature. Culture-loaded words are those words rich in cultural connotations.(Fu Guiying, 2013：3) Nida divided culture-loaded words into five categories, namely ecological, material, social, religious and linguistic culture-loaded words.(Nida, Eugene A, 1993:25) As the representative of the “German school”, Hans J. Vermeer proposed the Scopos Theory and continued the functionalist tradition. Analyzing the culture-loaded words in different translations of Li Qingzhao's Ci Poems according to Scopos theory is conducive for the readers to grasp the elegant style of Li Qingzhao's, to figure out the proper translation strategies, and to encourage more creation of excellent translation works.(Reiss and Vermeer, 1984:196)<br /> <br /> ===Chapter 1 Introduction of Li Qingzhao and her Ci-Poetry===<br /> ====1.1 Brief introduction of Li Qingzhao====<br /> Li Qingzhao, a well-known poetess in Song Dynasty, is the only woman who is generally compared with the most outstanding poets. As a female writer, she suffered a lot in that unstable age full of oppression and discrimination, but still kept a resolute and resistant attitude toward life no matter how much turns and twists in the process of struggle. Li Qingzhao was born in a rich and cultured family in 1083. Thanks to her father Li Gefei, the Minister of Rites, and her well-educated mother, she had a peaceful and favorable circumstance in her childhood and received a good education, which paved the path for her literary career. Unlike most ignorant women in that age, she had great talent in many aspects, such as painting and music, especially writing. She was a versatile writer whose Ci Poems and prose are both excellent. Her contribution in literature earned great fame for herself.(Fu Guiying, 2013：3)<br /> <br /> She married to Zhao Mingcheng, the son of a vice-president of the Board of Rides when she was eighteen years old. The marriage life was happy and idyllic in the early years. They collected and appreciated rare books, paintings and antiques together. However, their peaceful and harmonious life was ruined by the invasion of the Jurchens in 1127. They were forced to fled to the southern areas and separated with each other. The bulk of precious collections, including the ancient paintings, vessels, and books, lost during the fugitive way. Her husband was dispatched to a new official post in Zhe Jiang province and died on the way. Since then, Li Qingzhao lived lonely and homelessly in endless sorrow. The miserable and painful life experience didn't destroy her poetry proposition but deepened the theme of her literary works. The concern for the fate of the masses and country showed her great integrity and patriotic passion.(Fu Guiying, 2013：3)<br /> <br /> ====1.2 Development and characteristics of Li Qingzhao's Ci-Poetry====<br /> <br /> As a literary form, Song Ci, also called Ci Poems or long-short lines, emerged in Tang Dynasty and popularized in Song Dynasty. Ci Poems revolved from a kind of folk music used for expressing the emotions through its original melody. Li Qingzhao is regarded as the representative of the graceful and restrained party. Generally, Li Qingzhao's proposition of Ci Poems can be divided into two periods according to the critical historical events in Song Dynasty and her personal life experience. The former period works most depicted her delightful life as a young girl. The theme includes the praise of nature and beauty, her pure love to her husband, and the memories of the innocent childhood, such as Rumengling( 如 梦 令 ), Dian Jiangchun( 点 绛 唇 ), Jianzimulanhua( 减 字 木 兰 花 ) ， Cai Sangzi( 采 桑 子 ), Zuihuayin(醉花阴), Yijianmei(一剪梅) and so on. As for the latter period, her works changed dramatically because of the downfall of the Northern Song Dynasty as well as the death of her husband. The theme of her poems turned to homesickness, the grief for the instability of the nation and the melancholy meditation of the miserable life. She transmitted her feelings in the images implicitly rather than cry out her sorrow directly. The poems written in this period include Spring in Wulin(武陵春), Shengshengman(声声慢), Yongyule(永遇乐) and so on.(Fu Guiying, 2013：4)<br /> <br /> To conclude, her elegant and pure language and sensitive emotion were demonstrated in both of her literary period. Her Ci Poems are full of accurate and vivid images, leaving the readers a wide imagery space. No other poetess in Song Dynasty can replace her position in the Chinese history of literature.(Fu Guiying, 2013：4)<br /> <br /> ===Chapter 2 Introduction of Scopos theory===<br /> ====2.1 Historical development of Scopos theory====<br /> <br /> Functional approaches emerged in 1970s and developed through three stages: (1)Katharina Reiss introduced the functional category of translation criticism; (2) Hans J. Vermeer proposed Scopos theory; (3) Justa Holz-Manttari put forward the theory of translation action.(Zhang Chenxiang, 2007:32)<br /> <br /> In the first stage, Katharina Reiss proposed the text function and translation strategy, which paves the way for the Scopos theory. The theory foundation of Reiss’s theory is the functional equivalence theory, which aims to establish a model of translation criticicm based on the functional relationship between source text and target text (Zhang Chenxiang, 2007:32). Katharina Reiss divided text into three categories: expressive text, informative text and vocative text. The proposal of functional translation theory signifies that translation study gradually get rid of static linguistic typologies.(Zhang Chenxiang, 2007:32)<br /> <br /> In the second stage, Hans J. Vermeer established the initial theory of functional group, Scopos theory, further developing the functional translation theory. He pointed out that translation is a human activity and a kind of transformation. Every human activity has its purpose and will create certain consequence , a new situation or event or a new thing (Zhang Chenxiang, 2007:34). This is the origin of Scopos theory. Reiss mentioned that, “the source text can be assigned to a text type and a genre, and in making this assignment, the transoat0r can decide on the hierarchy of postulates which has to be observed during target-text production”. Vermeer thinks that translators needn’t be restrained to certain translation method, instead, the translators should consider the purpose of translation and the psychology of the target audience and use the translation strategies flexibly. In the process of translation, the translator can adapt literal translation or free translation according to the situation to make sure the expected effect can be realized. (Reiss and Vermeer, 1984:196)<br /> <br /> In the third stage, Justa Holz-Manttari developed Vermeer’s theory and proposed the theory of translation action 1n 1984. She avoid using the term “translation” and focus on the process of translation which concludes traditional translation and other text building activity. In Holz-Manttari’s model, translation is defined in a broader sense as “a complex action designed to achieve a particular purpose”, or an intercultural communication whose product is the target text which achieves appropriate function in a particular cultural context. According to the functional approach, all participants have certain functions or roles in the interaction. The TT addressees are crucial in specification of the purposes of translation(Nord, 2001:20).<br /> <br /> ====2.2 Basic rules of Scopos theory====<br /> <br /> In the Scopos theory, there are three basic rules, namely skopos theory, coherence rule and fidelity rule. Among the three rules, scopos rule is the most significant one. “Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precissely in the way they want it to function.” This rule can help solve the contradiction between literal translation and free translation. It means that the choosing of translation strategies depends on translation purpose. When the scopos focuses on the original language, as long as the features of the original culture is well expressed, literal translation or even word for word translation can be adopted.(Reiss and Vermeer, 1984: 98)<br /> <br /> The coherence rule is also named intra-textual coherence by functionalists. It requires that the translated text should make sense on the communicative situation in which it is received. It specifies that a translation should be acceptable in a sense that it is coherent with the receivers’ situation (Reiss and Vermeer, 1984: 100) Being coherent means being “part of the receiver’s situation”, so the cultural aspects should be taken into consideration. Besides, the target readers’ culture-specific world-knowledge, expectations and communicative needs are also important factors which may affect the way of handing a text, translators ought analyze these factors carefully. (Li Zhao, 2011:24)<br /> <br /> Since the source text is the offer of information , it should also be taken into account. Fidelity rule is also named “intertextual coherence”. This coherence balance the source text and the target text and the form and degree of such intertextual coherence are determined by the translator’s interpretation of the source text and the translation skopos. However, intertextual coherence is subordinate to intra-textual, and both of the two are subordinate to the skopos rule.(Li Zhao, 2011:28)<br /> <br /> ===Chapter 3 Introduction of culture-loaded words===<br /> ====3.1 Definition of culture-loaded words====<br /> <br /> Since Bassnett and Lefervere put forward the concept of “cultural turn” in 1990, the interaction between translation and culture has been drawn more attention. During the five thousand years’ civilization, China has accumulated its unique culture due to the unique geographical locations, living environments, historical background, etc. Many scholars has made different definitions to cultural loaded words. J. F Aixel gives these words another name “cultural-specific items” and defined them as: “some items appearing in the source text do not have equivalent items in the target reader’s cultural systems” (J. F Aixel, 1996:58). Later, Mona Baker defined culture-loaded words as: “The source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as ‘cultural-specific’.” This paper studies the translation of culture-loaded words according to Nida’s classification of cultural elements. Nida divided culture into five categories: ecological culture, material culture, social culture, religious culture and linguistic culture. This paper will analyze the culture-loaded words according to the five categories. (Baker, 2004:21)<br /> <br /> ====3.2 Classification of culture-loaded words====<br /> <br /> =====3.2.1 Ecological culture-loaded words=====<br /> <br /> Culture develops in certain ecological environment, so different region has different culture. Ecological culture-loaded words refer to those words that reflect the distinctive geographical conditions, the natural surroundings, feature of the climate, plants and animals, etc. in a language. Even the connotations of the same thing in western and eastern culture are different or even opposite. (Liao Huihua, 2010:9)<br /> <br /> For example, the “west wind” in China is totally different from that in western countries. Because China lies in the Eastern Hemisphere, with mountains to the west and oceans to the east. This location makes it dry and cold in autumn and winter when the west wind blows. Therefore, the west wind in Chinese culture often refers to the cold wind in autumn an winter, which is often used to describe the desolate, cold, and sometimes also compared to the decadent force of the fall of the sun with a derogatory meaning. Such as “古道西风瘦马” in Ma Zhiyyuan’s 《天净沙·秋思》. On the contrary, Britain is located in the western hemisphere, the west Atlantic island, and the east is the continent of Europe. When the west wind blows from the Atlantic Ocean, Britain is in the season of revival. Therefore, in English culture, the west wind is the symbol of hope and strength. For example, the Ode to the West Wind, a famous British poem, reflects this meaning. Obviously, through the above analysis, we know that “西风” and the west wind have the same conceptual meaning but have very different associative meaning due to different ecological environment. (Liao Huihua, 2010:9)<br /> <br /> =====3.2.2 Material culture-loaded words=====<br /> <br /> Material culture-loaded words include the words related to the economic life, daily supplies, commodities, food, transportation, etc. Different nations have different living habits, so the material products are quite different. For example: “旗袍”(qi pao), “麻将”(ma jiang),”馄饨”(Wonton), etc. (Liao Huihua, 2010:10)<br /> <br /> =====3.2.3 Social culture-loaded words=====<br /> <br /> The tradition, custom, living habit, social activity, etc. All belong to the category of social culture. Due to different historical background, political feature, tradition and custom, the social culture-loaded words formed and developed. For instance, “重阳节”(chong yang jie) is a traditional Chinese festival to give the blessings to the old people, which is familiar to Chinese but unfamiliar to foreigners.(Han Zhouwen, 2014:18)<br /> <br /> =====3.2.4 Religious culture-loaded words=====<br /> <br /> Religious culture is composed by the religious faith and and ideology under the different nation’s cultural background, which demonstrate in the difference in psychology and language behavior. Chinese people advocate Confucianism, Buddhism and Taoism whereas western people mainly believe in God. Therefore, the cross-cultural communication barriers and language translation barriers emerged. Religious culture-loaded words reflects the characteristics of religious beliefs, so it is quite difficult for the foreigners to understand the Chinese religious culture-loaded words. For example, western people believe in God while Chinese people believe in “天”(tian), “菩萨”(pu sa), “佛”(fo). (Han Zhouwen, 2014:23)<br /> <br /> =====3.2.5 Linguistic culture-loaded words=====<br /> <br /> Language as one part of culture also produces translation problems. Since the two languages belong to two different language systems, their different language features will be involved in translation. These particularities may be reflected in phonetics, morphemes, vocabulary and syntax. For example, reduplicative words and four-character words and expressions are frequently seen in Chinese but are rarely seen in English.(Han Zhouwen, 2014:24)<br /> <br /> ===Chapter 4 The application of Scopos theory in the translation of culture-loaded words===<br /> <br /> Chinese culture and western culture are so different due to different geographical location and historical background. And these differences also reflect in the two language systems, which is also known as cultural gap. In the process of translating Li Qingzhao’s Ci-Poetry, the translator may face all kinds of problems due to the cultural gap. In this chapter, the focus is on analyzing the suitable translation strategies from the perspective of Scopos theory.(Fu Guiying, 2013:56)<br /> <br /> ====4.1 Translation of ecological culture-loaded words====<br /> <br /> (1)梨花欲谢恐难禁。(《浣溪沙》）<br /> <br /> I am afraid pear blossoms cannot bear at all<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:25)<br /> <br /> O bright pods/ Of the pepper plant, you do not/ Need to bow and beg pardon./ I know you cannot hold back/ The passing day.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:66)<br /> <br /> Some plants and flowers have certain connotation in Chinese, which leaves the gap of further imagination. Snow is often compared to pear-blossom, which is a common metaphor in Chinese poetry, for example: “忽如一夜春风来，千树万树梨花开” is used to describe the beautiful snow-covered landscape. Here, Xu Yuanchong translated “梨花”into “pear blossoms”directly is to reproduce this often-used metaphor. Both the basic meaning and the cultural content have been well transmitted. Xu Yuanchong adopted literal translation to realize foreignization. In contrast, Kenneth Rexroth adopted demestication and free translation and translate “梨花” as “the pepper plant” to achieve the skopos of translation. Here, “the pepper plant” is used to serve as a substitution because it is a New Year decoration which shows the passion of spring. This passionate image can contrast the depressed mood of Li Qingzhao for the fleeting time.(Liao Huihua, 2010:40)<br /> <br /> (2)试问卷帘人，却道海棠依旧？（《如梦令》）<br /> <br /> I ask the maid rolling up the screen./ “The same crab-apple tree,”she says, “is seen”<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:34)<br /> <br /> I asked my maid as she rolled up the curtains,/ “Are the begonias still the same?”<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:44)<br /> <br /> In Chinese culture, “海棠” usually symbolizes bitter love. When people encounters twists and turns in love, they often use it to express the sad feeling of parting. Xu Yuanchong adopted literal translation and translated “海棠” into “crab-apple tree”, which maintain the traditional Chinese culture by employing foreignization. However, Kenneth Rexroth translated it into”begonias” by demestication, which makes this image more familiar to the target readers. The aim of Xu Yuanchong is to introduce Chinese culture to foreigners whereas the purpose of Kenneth Rexroth is to make the text be accepted by the taget readers, therefore, , sothe former uses foreignization but the latter uses demestication.(Liao Huihua, 2010:41)<br /> <br /> ====4.2 Translation of material culture-loaded words====<br /> <br /> (3)常记溪亭日暮 (《如梦令》)<br /> <br /> I oft remember what a happy day/ We passed in creekside arbour when it glooming.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:38)<br /> <br /> I remember in Hsi T’ing/ All the many times/ We got lost in the sunset.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:21)<br /> <br /> The meaning of “溪亭” can be interpreted as the name of a place in Ji’nan, Shandong Province or a pavilion by the river side. Therefore, different versions of this word appears according to the different understanding of this word. Xu Yuanchong translated it as “creekside arbour” by employing literal translation whereas Kenneth Rexroth translated it into “Hsi T’ing” according to its sound by using transliteration. The version “creekside arbour” is more acceptable by Chinese readers because it shows the basic meaning of this word. But the version “Hsi T’ing” is more understandable for foreigners because it’s just a name of a place.(Liao Huihua, 2010:48)<br /> <br /> (4)轻解罗裳，独上兰舟。(《一剪梅》)<br /> <br /> My silk robe doffed, I float/ Alone in orchid boat<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:49)<br /> <br /> I open/ My silk dress and float alone/ On the orchid boat.<br /> <br /> —translated by Kenneth Rexroth &amp; Chung Ling (Kenneth Rexroth,&amp; Chung Ling,1979:56)<br /> <br /> Generally speaking, “兰舟” refers to a small boat which is made of the trunk of a magnolia tree. <br /> However, both Xu Yuanchong and Kenneth Rexroth translated “兰舟” into “orchid boat” in order to reproduce the poetic language of the original text. If they translate it according to the literal meaning, the beautiful poetic language cannot be reproduced in the target language. So, they associated the boat with orchid, a kind of beautiful flower to achieve “literariness”, making poetry as poetic as possible.(Zheng Yanhong. 2001:129)<br /> <br /> ====4.3 Translation of social culture-loaded words====<br /> <br /> (5)海燕未来人斗草。(《浣溪沙》)<br /> <br /> The swallows not yet come, a game of grass we play.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:55)<br /> <br /> People are gathering wild flowers and herbs in the meadow.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:93)<br /> <br /> Viewed literally, “斗草” is mostly interpreted as “to fight with grass”. But actually, it refers to a particular custom on the Dragon Boat Festival according to the notes in various anthologies of Li Qingzhao. On the Dragon Boat Festival (the fifth day of May), people usually participate a kind of game in which every one need to gather flowers and plants to be the winner. Xu Yuanchong knows that “斗草” is a traditional game, so he adopted literal translation as “a game of grass we play”, which is direct and correct. While Kenneth Rexroth adopted amplification and translated it as”gathering wild flowers and herbs in the meadow” in order to create concrete scene for the target reader. Generally speaking, both the two versions realized the skopos of translating the cultural connotation of “斗草” by adopting different translation strategies.(Liao Huihua, 2010:49)<br /> <br /> (6)佳节又重阳(《醉花阴》)<br /> <br /> The Double Ninth comes now again.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:54)<br /> <br /> Again it is the Ninth of the Ninth Month.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:47)<br /> <br /> “重阳” is a traditional Chinese festival on the ninth day of the ninth lunar month. People would always miss their families and relatives on this day every year. Here, when this festival is coming around, the poetess feel sad and lonely because of the separation from her husband, Zhao Mingcheng. In Xu Yuanchong’s version, he translated it literally as The Double Ninth and made a annotation to explain the cultural meaning of this festival to make target readers know the background information about this term. The unique feature of the ST is fully conveyed in the TT through foreignization. The skopos of Xu Yuanchong is to maintain the original feature of Chinese culture as much as possible, so he adopted foreignization to achieve this goal. In contrast, Kenneth Rexroth translated it into “the Ninth of the Ninth Month”. Although the time of the event is translated, but the connotation of this festival is lost. Sometimes literal translation for words with rich connotation can cause cultural loss. Here, Rexroth omitted the cultural meaning because he thinks it is not necessary to add the burden of understanding the text. In this way, the target reader can easily understand the TT within their own knowledge.(Liao Huihua, 2010:49)<br /> <br /> ====4.4 Translation of religious culture-loaded words====<br /> <br /> (7)仿佛梦魂归帝所 (《渔家傲》)<br /> <br /> In leaf-like boat my soul to God’s abode would fly.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:62)<br /> <br /> I am rapt away to the place of the Supreme/ And hear the words of Heaven.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:33)<br /> <br /> As we all known, Chinese culture is much influenced by Taoism whereas western culture is much affected by Christianity. Here, “帝所” refers to the place of the Jade Emperor. Because western people are not familiar with the myths of Taoist culture, here “God” is be the substitution of “帝” in Xu Yuanchong’s version by literal translation. In contrast, Kenneth Rexroth translated it as “the place of the Supreme”, which means the Sovereign. We can see the religious devotion of the ST is neglected. To conclude, Xu Yuanchong’s version is more faithful to the original text because he aims to introduce Chinese culture to foreigners. Kenneth Rexroth translated it without Taoist culture because he aims to remove cultural barriers and make target readers easier to understand the meaning of the text.(Li Qing, 2005:148)<br /> <br /> (8)造化可能偏有意，故叫明月玲珑地。(《渔家傲》)<br /> <br /> You find a special favor in Creator’s eye,<br /> <br /> The moon caresses you with pure beams from on high.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:76)<br /> <br /> Making the bright moon shine splendid on your curving flesh.<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:45)<br /> <br /> In Xu Yuanchong’s version, “造化” is translated directly into “Creator” but in Kenneth Rexroth’s version, this image is deleted. In China, “上天”（heaven）is the governor of the universe under the influence of Taoism and Buddhism. “造化” is a unique concept in Taoist culture. Xu Yuanchong aims to maintain the Taoist culture and introduce it to foreigners. However, in western countries, Christianity is the mainstream of religious belief. Therefore, Kenneth Rexroth neglected this image to make the TT more acceptable western people who believes in Christianity. In summary, Xu Yuanchong focused more on the culture of the ST whereas Kenneth Rexroth payed more attention on the acceptability of the target reader.(Liao Huihua, 2010:45)<br /> <br /> ====4.5 Translation of linguistic culture-loaded words====<br /> <br /> (9) 寻寻觅觅，冷冷清清， 凄凄惨惨戚戚。(《声声慢》)<br /> <br /> I look for what I miss;<br /> <br /> I know not what it is.<br /> <br /> I feel so sad, so drear,<br /> <br /> So lonely, without cheer.<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:81)<br /> <br /> Search. Search. Seek. Seek.<br /> <br /> Cold. Cold. Clear. Clear.<br /> <br /> Sorrow. Sorrow. Pain. Pain.<br /> <br /> —translated by Kenneth Rexroth &amp; Chung Ling (Kenneth Rexroth,1979:78)<br /> <br /> Tune: Slow, Slow, Song is recognized as the representative of reduplication. The use of seven sequential reduplicative words add the powerfulness of the miserable tone. we can find some similarities between these reduplicative words such as “清清”, “凄凄” and “戚戚” sound quite similar or even the same, really strengthen the melodious effect of the language. Xu Yuanchong adopted free translation in order to reproduce the beautiful artistic conception in the ST. The form of reduplication is neglected but the sad atmosphere that the reduplicarive words create is reproduced. Rexroth use the literal translation to imitate the original reduplicative words. The repetition of the same word reproduces the sound of reduplication in ST, and words with one syllable are also very similar to Chinese character. But the sense is not well conveyed. The target readers fail to experience the painful atmosphere and the great sadness of the poetess in the TT.(Li Qing, 2005:149) <br /> <br /> (10) 小风疏雨萧萧地 (《孤雁儿》)<br /> <br /> A grizzling wind and drizzling rain<br /> <br /> —translated by Xu Yuanchong (Xu Yuanchong,2003:90)<br /> <br /> Small wind, fine rain, hsiao, Hsiao<br /> <br /> —translated by Kenneth Rexroth (Kenneth Rexroth,1979:56)<br /> <br /> In the ST, “萧萧” is a reduplicative word in order to foil the depressed and sad atmosphere. It is difficult to reproduce this unique structure in the TT. We can see in Xu Yuanchong’s version, he omitted the original form and tried to reproduce the beautiful sound and sense. The rhymes of “grizzling” and “drizzling” are the same. This internal rhyme can make compensation for the loss of reduplication. And the strong sad mood is fully conveyed. Here, foreignization is employed. Kenneth Rexroth focused on the reproduction of the form, so he adopted transliteration to maintain the form of reduplicative word. Although the sound and form are beautiful, in this way, the sad cultural conception may lose at the same time.(Li Qing, 2005:75)<br /> <br /> ===Conclusion===<br /> In this paper, the present author studies the translation of cultural-loaded words in Li Qingzhao’s Ci-Poetry from the perspective of Scopos theory. By contrast analysis, we can find that Xu Yuanchong and Kenneth Rexroth adopted different translation strategies: the former adopted foreignization whereas the latter adopted domestication because of their different translation skopos. Xu Yuanchong devoted himself to introduce excellent Chinese culture to foreigners and Kenneth Rexroth aimed to make target reader better understand the TT. This study still has some shortcomings. Although this paper can shed some light on the study of culture-loaded word, ti still has some limitations. If more samples of culture-loaded word are taken for the analysis, the study could be more comprehensive and systematic. Thus, the English translation of the culture-loaded words of her Ci poetry based on Skopos theory deserves further study. The author believes that wider cases will be involved in this study.((Liao Huihua, 2010:64)<br /> <br /> ===References===<br /> *Nida, Eugene A. (1993). ''Language, Culture and Translating''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Nord, Christiane. (2001). ''Translating as a Purposeful Activity: Functionalist Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> *Reiss, Katharina. (1971). ''Translation Criticism: The Potentials and Limitations: Categories and Criteria for Translation Quality Assessment''[M]. Manchester: St. Jerome Publishing.<br /> <br /> *Reiss, Katharina and Vermeer, Hans J. (1984). ''Groundwork for a General Theory of Translation''[M]. Tubingen: Niemeyer.<br /> <br /> *Rexroth, K. &amp; Chung L. (1979). ''Ching-chao: Complete Poems''[M]. New York: New Directions.<br /> <br /> *Vermeer, Hans J. A. (1996). ''Scopos Theory of Translation''[M]. Heidelberg: TEXT con TEXT-Ver-lag.<br /> <br /> *付桂英. (2013). “三美”理论指导下李清照词英译的美感再现[D].上海:上海外国语大学.<br /> <br /> * 韩周文. (2014). 《生死疲劳》中文化负载词的英译研究——以目的论为视角[D].福州:福建师范大学.<br /> <br /> *郦青. (2005). 李清照词英译对比研究[Contrast Study on LI Qingzhao's Ci-Poetry]. [D].上海:华东师范大学.<br /> <br /> *李照. (2001). 目的论视角下的文化负载词翻译——试评林语堂的《吾国与吾民》[Translation of Culture-loaded Words Based on Scopos Theory -Comments on Lin Yutang's &quot;Our Country and Our People&quot;]. [D].北京:首都师范大学.<br /> <br /> * 廖慧华. (2010). 从目的论角度对比分析《李清照词》中文化负载词的翻译[D].衡阳:南华大学.<br /> <br /> *王仲闻. (2019) 李清照集校注 [Annotation on the Collection of Li Qingzhao's Ci-Poetry]. [M].北京:人民文学出版社.<br /> <br /> *许渊冲. (2006). 翻译与艺术[Translation and Art]. [M].北京:五洲传播出版社.<br /> <br /> *许渊冲. (2003). 宋词三百首[Three Hundred Ci Poems of the Song Dynasty]. [M].北京:中国对外翻译出版社.<br /> <br /> *许渊冲. (2003). 文学与翻译[Literature and Translation]. [M].北京:北京大学出版社.<br /> <br /> *杨健. (2000). 李清照词英译研究[English Translation Studies on Li Qingzhao's Ci-Poetry]. [D].南宁:广西大学.<br /> <br /> *张沉香. (2007). 功能目的理论与应用翻译研究[Scopos Theory and Applied Translation Studies]. [M].长沙:湖南师范大学出版社.<br /> <br /> *郑燕虹. (2001). 风筝之线——评王公红、钟玲翻译的李清照诗词[The String of the Kite -Comments on Kenneth Rexroth and Chung Ling's Translation of Li Qingzhao's Ci-Poetry]. [J].外语学刊,160(3):125-129.<br /> <br /> ==A Study on Culture-loaded Words in ''Six Chapters of a Floating Life'' Translated by Lin Yutang from the Perspective of Domestication and Foreignization 蒋淇玮 Jiang Qiwei==<br /> <br /> ==='''Abstract'''===<br /> <br /> Six Chapters of a Floating Life is an autobiographical prose written by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines.<br /> Among the current English versions of this book, Lin Yutang's Six Chapters of a Floating Life is written first and the closest with the original version in style, which enables lots of foreign readers to catch a glimpse of the life of an obscure Chinese scholar.<br /> Six Chapters of a Floating Life is written in classical Chinese and has a long history, which both make the translation more difficult, especially the translation of its culture-loaded words.<br /> Culture-loaded words refer to words, phrases and idioms that demonstrate specific things in a culture. As we all know, China has a centuries-old history and rich civilization, possessing plenty of unique cultural phenomena, not to mention numerous culture-loaded words. In Six Chapters of a Floating Life, there are many culture-loaded words that are worthy of study.<br /> By consulting relevant materials, I find that there are only a few works analyzing cultural-loaded words in Six Chapters of a Floating Life from the perspective of domestication and foreignization.<br /> This pair of translation terms was put forward by Lawrence Venuti, a famous American translation theorist, in The Translator's Invisibility in 1995. As a matter of fact, domestication and foreignization are a unity of opposites and complement each other. Neither absolute domestication nor foreignization exists. There are different degrees of domestication and foreignization in all translation activities and works. Therefore, it is reasonable, scientific and feasible to analyze Mr. Lin’s translation from this perspective, which can fill certain research vacancy and benefit future studies in this field.<br /> Thus, in this thesis, the author will subdivide domestication and foreignization into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words.<br /> <br /> ==='''Key Words'''===<br /> <br /> domestication; foreignization; Six Chapters of a Floating Life; Lin Yutang; culture-loaded words<br /> <br /> ==='''摘要'''===<br /> <br /> 《浮生六记》是清代文人沈复于1808年所著的自传体散文，以真言诉真情，为历代读者所推崇。目前流传较广的《浮生六记》英译本中，林语堂先生的Six Chapters of a Floating Life成文最早且与沈复原文风格最为接近，让不少外国读者得以一窥中国一无名文人的若梦浮生。<br /> 沈复此书以文言文著就，加上距今年代较为久远，译者的翻译之路可谓困难重重，这其中文化负载词的处理更是值得反复推敲。文化负载词是标志某种文化中特有事物的词、词组和习语。众所周知，中华民族的历史文明源远流长，独有的文化现象数不胜数，应运而生的文化负载词自然不在少数。《浮生六记》一书中就有相当数目的文化负载词具有研究价值。<br /> 通过查阅相关资料，本人发现从归化和异化角度来解读林译中文化负载词的研究还少之又少。归化和异化这对翻译术语是由美国著名翻译理论学家劳伦斯·韦努蒂（Lawrence Venuti）于1995年在《译者的隐身》中提出的。作为两种翻译策略，归化和异化是对立统一、相辅相成的，绝对的归化和绝对的异化都是不存在的。所有的翻译活动及作品都存在不同程度的归化和异化现象，故而，从这一角度来分析林译具有合理性、科学性和可行性，且能填补一定的研究空缺，为之后的相关研究提供可参考的思路与借鉴。<br /> 因此，本文作者将聚焦这一文学经典，将归化与异化这两种翻译策略细分为不同的翻译方法，对林译中有代表性的文化负载词进行分析解读，以小见大，从词见章，进而证明归化与异化的翻译策略的指导性，找出林译在国内外成功的原因，指出其在中国文化“走出去”中所起的积极作用，并为文化负载词的翻译难题提供解题思路及开口，引起大众对于文化翻译的重视与思考。<br /> <br /> ==='''关键词'''===<br /> <br /> 归化，异化，《浮生六记》，林语堂，文化负载词<br /> <br /> ==='''Chapter One Introduction'''===<br /> <br /> With globalization surging ahead, cultural communication and exchange have become rising tides that no one can fight against. Chinese and English, as the language with the largest number of users and the language most widely used in this globe, are both crucial languages, which work as vital bridges in cultural world.<br /> However, as is known to all, China is a nation of age-old history and rich civilization. On her vast earth, there grows plenty of unique cultural phenomena. As a result, quite a number of culture-loaded words have been emerging. For culture-loaded words have their specific cultural connotations, it is hard to render them so that foreign readers could understand, which is a real and tough task for translators. <br /> Six Chapters of a Floating Life is an autobiographical prose written in classical Chinese by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines. In this book, there are many culture-loaded words, which are worth studying.<br /> Among the current English versions of it, Lin Yutang's Six Chapters of a Floating Life is written first and the closest with the original version in style, which enables lots of foreign readers to take a look at the life of an obscure Chinese scholar.<br /> Thus, in this thesis, under the guidance of translation strategies, domestication and foreignization, the author will subdivide them into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words.<br /> <br /> ==='''Chapter Two Literature Review'''===<br /> <br /> ====2.1 A Study on Six Chapters of a Floating Life====<br /> For the sake of carrying on this study, we must have a basic understanding of both our original and translated text sources: Six Chapters of a Floating Life. Hence we will have a brief review of its original version and English version translated by Mr. Lin in the following paragraphs. <br /> <br /> =====2.1.1 A Brief Review of Its Original Version=====<br /> Six Chapters of a Floating Life is an autobiographical prose written by Shen Fu, who was an unknown scholar in Qing dynasty, in the 13th year of Jiaqing (AD 1808). It includes six chapters, of which only four remain, recording Shen Fu’s wedded bliss, pleasures of life, ups and downs, travel experiences, experiences in Formosa and the way of life. The phrase in this book’s title &quot;floating life&quot; derives from a passage in Li Po's poem, “ Our floating life is like a dream; how often can one enjoy oneself ?”<br /> Shen Fu, whose courtesy name is Sanbai, and alternative name Meiyi, was born in Suzhou, Jiangsu province in China in the 28th year of Qianlong (AD 1763). He was a man of letters, who was once an assistant to ranking officials and a merchant.<br /> The remaining four chapters of Six Chapters of a Floating Life was accidentally found on the stall in Suzhou by a man called Yang Yinchuan. Yang passed it on to Wang Tao, his brother-in-law, who then published it with movable type in 1877. Subsequently, this book gradually established itself on the literary field.<br /> This book is a pure and fair record of Shen Fu's ordinary but difficult life, which is still full of unforgettable and beautiful moments. It is incredibly touching, for Mr. Shen wrote down his real experiences and sincere feelings in plain words naturally, without traces of sham.<br /> Nowadays, Six Chapters of a Floating Life has become a classic and owned a mass of readers. Many people even called it “little A Dream in Red Mansions” for its description of the conflicts in the feudal family and society, which highly affirms its literary value and achievements.<br /> <br /> =====2.1.2 A Brief Review of Its English Version Translated by Lin Yutang=====<br /> In the spring and summer time of 1935, Lin Yutang successively translated Six Chapters of a Floating Life into English and serialized them in the English magazines T'ien Hsia Monthly and Hsi Feng published in Shanghai. For the sake of better work, Mr. Lin has modified his translation no less than ten times. Now, his translation version has been acknowledged as the most popular one for it is the closest to the original text in terms of writing style.<br /> Lin Yutang once highly praised Shen Fu’s wife Yün, “Yün, I think, is one of the loveliest women in Chinese literature.” Mr. Lin said he translated the work for two reasons, one is to let the world know Yün by her name, and the other is that he has found lots of things in the simple life of this couple, the pursuit of beauty, the experience of ups and downs, and unswerving love for carefreeness.<br /> In February of 1999, Foreign Language Teaching and Research Press reprinted Six Chapters of a Floating Life with Mr. Lin’s translation in the form of picture book. Its introductory notes claim that the reprinting is first due to Mr. Lin’s translation work, which has contributed a lot in the promotion of Chinese culture, secondly Mr. Lin’s superb artistic attainments and extraordinary cultural accomplishments, and lastly his beautiful and skilled use of English language. It demonstrates that Mr. Lin's translation has a far-reaching influence.<br /> <br /> ====2.2 An Introduction of Culture-loaded Words====<br /> Here we will focus on another important item in this study: culture-loaded words. This introduction covers three aspects, including definition, categorization and previous studies on them in Six Chapters of a Floating Life, which enable us to distinguish, select and analyse culture-loaded words in future steps.<br /> <br /> =====2.2.1 Definition of Culture-loaded Words=====<br /> There are many definitions for culture-loaded words, and I have presented three different versions below. <br /> First, Mona Baker claims that &quot;the source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as `culture-specific' &quot; (2000:21). This definition mentions three fields, namely religion, custom and food, which are now recognized to be among the main sources of culture-loaded words. Second, it means that the cultural information words carry in the source language finds no equivalent in the target language (包慧南，2001：10). In this version, the focus is “no equivalent”, which reveals why it is significant to study the translation of culture-loaded words. For in numerous cases, there is no equivalent in the target language. Third, J.F. Aixelá, a Spanish translator and translation theorist, defines them as &quot;culture-specific items&quot; and states in his book Culture-specific Item in Translation that &quot;Some items appeared in the source text do not have equivalent items in the target readers' cultural system or these items have different textual status with those in the target readers' cultural system, thus leading to translation difficulty while transferring the function and meaning of the source text to the target text&quot; (张南峰，2004：19). From this definition, we are able to get a new perspective. Besides “no equivalent”, it makes a point that culture-loaded words can exist in the target cultural system but with different function and meaning.<br /> To sum up, as barriers to translation, culture-loaded words have no equivalent in other cultural systems and are marks and mirrors of a nation’s distinct environment, which are often seen in fields like religion, custom, food etc.<br /> <br /> =====2.2.2 Categorization of Culture-loaded Words===== <br /> Eugene Nida considers that &quot;if translators want to do a good job in cross-cultural translation, there are five types of cultural factors: 1) ecological culture; 2) material culture; 3) social culture; 4) religious culture; and 5) linguistic culture&quot;(胡壮麟、姜望琪，2002). In line with Nida's categorization of cultural factors, culture-loaded words can also be classified into five types accordingly, namely ecological culture-loaded words, religious culture-loaded words, material culture-loaded words, social culture-loaded words and linguistic culture-loaded words.<br /> This thesis will analyze Lin Yutang’s translation of culture-loaded words in Six Chapters of a Floating Life on the basis of Nida's categorization.<br /> <br /> =====2.2.3 Previous Studies on Translation of Culture-loaded Words in Six Chapters of a Floating Life=====<br /> Among those studies of the English versions of Shen Fu’s Six Chapters of a Floating Life, the studies of Mr. Lin’s account for a large proportion of it. In Quan Shulian’s article “Translator’s Cultural Orientation: Comparative Study of Translation of Culture-loaded Words in Six Chapters of a Floating Life”, she compares the translation of culture-loaded words done by Mr. Lin and Shirley Black and then claims that Shirley Black tends to use domestication while Mr. Lin applies foreignization more frequently. With a different focus, Li Yi, who has studied the culture-loaded words in Six Chapters of a Floating Life translated by Lin Yutang, analyzes the translation of culture-loaded words in three aspects: wording, Chinese idioms and the looks of women, and concludes that it is the purpose of translation determines which translation strategies to use and domestication and foreignization are a unity of opposites which should not be discussed apart. <br /> <br /> ==='''Chapter Three An Analysis of Translation Strategies Based on ''Six Chapters of a Floating Life'''''===<br /> <br /> ====3.1 Translation Strategy of Domestication====<br /> Domestication, as opposed to foreignization, refers to a translation strategy, which aims to translate the source text into target language in a transparent, fluent and natural style so as to minimize the strangeness for target readers.<br /> As free translation is the most widely used translation method pertaining to domestication, we will discuss it and its two branches paraphrase and idiomatic translation.<br /> <br /> =====3.1.1 Free Translation===== <br /> Free translation refers to a translation method that reproduces the transferred meaning of the source text, which can be further divided into paraphrase and idiomatic translation.<br /> <br /> =====3.1.1.1 Paraphrase===== <br /> When applying paraphrase, the translator translates the source text explanatorily, without application of collocations and idioms in the target language as replacement of those parts in the source text.<br /> <br /> 1a. 合卺后，并肩夜膳，……（沈复，2018：7）<br /> 1b. After the drinking of the customary twin cups between bride and groom, we sat down together at dinner… (Lin Yutang, 2019: 35)<br /> <br /> The Chinese phrase “合卺” refers to a characteristic part of ancient Chinese wedding ceremonies that the newlyweds drink cross-cupped wine in their wedding room. Foreign readers would have difficulty comprehending this phrase as there is no such a rite in their countries. Thus, Lin Yutang applies the translation method of paraphrase, explaining exactly what the custom is, which enables foreign readers to understand this special activity.<br /> <br /> 3.1.1.2 Idiomatic Translation<br /> Idiomatic translation is an explanatory method of translation as well, with application of collocations and idioms in the target language as replacement of the parts in the source text.<br /> <br /> 2a. 井井然未尝稍失。（沈复，2018：9）<br /> 2b. Whatever she did was done well, and it was difficult to find fault with her. (Lin Yutang, 2019: 40-41)<br /> <br /> “未尝稍失”means that someone handles things incredibly well, without anything wrong. And we can translate this Chinese phrase just in such an explanatory way, for it is clear and correct in meaning. But it is comparatively lengthy. That’s why here Mr. Lin adopts the English phrase “find fault with”, which is quite familiar to English users. For it conveys the meaning of the source text precisely and concisely, and improves the smoothness of foreign readers’ reading activity.<br /> <br /> ====3.2 Translation Strategy of Foreignization====<br /> Compared to domestication, foreignization refers to a translation strategy that retains the original expressions and differences between source and target languages to a larger extent. This translation strategy can offer foreign readers more exotic information if they are willing to explore, but the reading process is less natural and efficient. <br /> And foreignization consists of three translation methods, namely transliteration, word-for-word translation and literal translation, which will be presented below.<br /> <br /> =====3.2.1 Transliteration===== <br /> Transliteration refers to the rendering of alphabets, words or phrases in one language with symbols of similar or even the same pronunciations in another language.<br /> <br /> 3a. 服余衣，长一寸又半；于腰间折而缝之，外加马褂。（沈复，2018：31）<br /> 3b. As my gown was found to be an inch and a half too long, she tucked it round the waist and put on a makua on top. (Lin Yutang, 2019: 108)<br /> <br /> The Chinese phrase “马褂” refers to the mandarin jacket worn over a gown, which is a kind of special costume of Chinese characteristics. It is popular in Qing dynasty and the Republic of China. Originally, it’s worn by the Chinese Manchu people on horseback. “马” means “horse” in English. “褂” means a short gown. And that is the reason why this costume is called “马褂”in Chinese. Though foreign readers barely know this kind of clothes and its origin, Mr. Lin translates it as “makua” tersely according to its Chinese pronunciation, which offers foreign readers an opportunity to get a clue of the new item “makua” and shows his confidence of Chinese history and culture.<br /> <br /> =====3.2.2 Word-for-word Translation=====<br /> Word-for-word translation is the rendering of text in which a word is used to replace another in the source text without considering the differences between the two languages in morphology, syntax and semantics, so as to translate a word in accordance with the paraphrasing method.<br /> <br /> 4a. 一场，主考得香钱百文。（沈复，2018：57）<br /> 4b. The official examiner would get one hundred cash “incense money”. (Lin Yutang, 2019: 253)<br /> <br /> “Incense” translated into Chinese is “香”, while the English equivalent of “钱” is “money”. From this we can find that “incense money” is a word-for-word correspondence with “香钱”. There are much fewer people in English-speaking countries who are Buddhists, compared with China. So the concept of “incense money” may be strange to them. Here, Mr. Lin translates this phrase literally without transforming or considering morphological differences in two languages, which shows a brand-new concept to plentiful foreign readers. And it might arouse their interest to figure out what this phrase implies and what’s the culture connotation behind it.<br /> <br /> =====3.2.3 Literal Translation=====<br /> Literal translation, or directed translation, is the rendering of text in which a word is used to replace another word in the original text correspondingly, with consideration of the differences between the two languages in morphology, syntax and semantics, so as to enable the translation to conform to the lexical and syntactic norms of the target language.<br /> <br /> 5a. 急人之难，成人之事，嫁人之女，抚人之儿，指不胜屈，挥金如土，多为他人。（沈复，2018：63）<br /> 5b. He used to help people in trouble, bring up other people's sons and marry off other people's daughters in innumerable instances, spending money like dirt, all for the sake of other people. (Lin Yutang, 2019: 299)<br /> <br /> “挥金如土” in Chinese means to throw one’s money about. There is a set expression in English both in meaning and construction, which is “spending money like water”. But instead of the image “water”, which is more common and well-accepted among English people, Mr. Lin keeps the original image “dirt” in his translation. That’s because the image “dirt” is more acknowledged by Chinese people, who have been rooted in agriculture civilization and dealt with dirt all the time. Hence, the literal translation of “dirt” into English is able to let readers of different culture background grasp more of the source text and aware of the culture differences.<br /> <br /> ====3.3 A Brief Conclusion on the Translation Strategies==== <br /> In this Chapter, we have mainly discussed five translation methods based on Six Chapters of a Floating Life. Among them, two belong to the translation strategy of domestication while three the translation strategy of foreignization.<br /> The former instances from the book have proved that the application of the translation methods under domestication enables foreign readers to comprehend and accept literary works in a closer and more natural way, while the translation methods under foreignization provides them with a choice to feel the cultural differences and find out more valuable information. There is no absolute domestication or foreignization and no perfect choice of translation strategies. It is the purposes of translation that determine which translation strategy or methods to use. As to Mr. Lin, he has combined the usage of both the two superior strategies and their translation methods in his translation of Six Chapters of a Floating Life.<br /> <br /> ==='''Chapter Four An Analysis of the Translation of Culture-loaded Words in ''Six Chapters of a Floating Life'''''===<br /> <br /> ====4.1 Domestication Applied in Culture-loaded Words====<br /> In this part, we will center upon some culture-loaded words in Six Chapters of a Floating Life that are translated by Mr. Lin with the adoption of domestication.<br /> <br /> =====4.1.1 Free Translation of Culture-loaded Words=====<br /> As we have mentioned before, free translation is the most commonly used translation method pertaining to domestication and it includes paraphrase and idiomatic translation. Therefore, we will discuss them with examples of culture-loaded words in the book. <br /> <br /> ======4.1.1.1 Paraphrase of Culture-loaded Words======<br /> The following two examples are able to demonstrate the brilliant use of paraphrase by Mr. Lin in his translation of culture-loaded words.<br /> 6a. 自此耳鬓相磨，亲同形影。（沈复，2018：9）<br /> 6b. And so every day we rubbed shoulders together and clung to each other like an object and its shadow… (Lin Yutang, 2019: 42)<br /> <br /> The Chinese phrase “耳鬓相磨” is culture-loaded, which just derives from this book of Shen Fu. It literally means the rubbing of people’s ears and sideburns, whose extended meaning refers to the close relationship among people. Here Mr. Lin applies the new image of shoulders instead of the original images of ears and sideburns, for it would be hard for foreign audience to grasp the connection between ears and sideburns and the intimacy within them. Meanwhile, rubbing shoulders can accurately express the meaning of closeness in English. So he uses the phrase “rubbed shoulders” to convey the original meaning in an explanatory way.<br /> <br /> 7a. 粉颈 （沈复，2018：8）<br /> 7b. Beautiful white neck (Lin Yutang, 2019: 38)<br /> <br /> In China, scholars conventionally adopt the word “粉”, which is “pink” in English, to modify one’s face, neck, etc. to show that one’s skin is white touched with red. However, if translating the Chinese term “粉颈” literally, we will get the phrase “pink neck”. There is no doubt that it will be odd for foreign audience. Therefore, Mr. Lin uses “beautiful white” rather than “pink” to modify “neck”, which expresses the meaning of “粉” briefly and precisely without causing troubles to readers and makes their reading activities more natural and pleasant.<br /> <br /> ======4.1.1.2 Idiomatic Translation of Culture-loaded Words======<br /> The following example is able to demonstrate the fine use of idiomatic translation by Mr. Lin in his translation of culture-loaded words.<br /> <br /> 8a. 大醉而卧（沈复，2018：7）<br /> 8b. I fell asleep drunk like a fish. (Lin Yutang, 2019: 37)<br /> <br /> This four-character Chinese phrase means one is lying in a state of terrible drunkenness. In the processing of this phrase, Mr. Lin uses a set English phrase “drunk like a fish”, which describes that one is terribly drunk. The adoption of this ready-made phrase in translation does convey the meaning of the source text correctly and vividly, which makes it easy for foreign readers to catch on and picture the scene. From this we can see that wise use of idiomatic translation may yield twice the result with half the effort.<br /> <br /> ====4.2 Foreignization Applied in Culture-loaded Words====<br /> In this part, we will center on some culture-loaded words in Six Chapters of a Floating Life that are translated by Mr. Lin with the adoption of foreignization.<br /> <br /> =====4.2.1 Transliteration of Culture-loaded Words=====<br /> The following two examples are able to show the use of transliteration by Mr. Lin in his translation of culture-loaded words.<br /> <br /> 9a. 故上下呼芸为“三娘”。后忽呼为“三太太”……（沈复，2018：63）<br /> 9b. hence they used to call Yün “san niang” at home, but this was later suddenly changed into “san t'ai t'ai”. (Lin Yutang, 2019: 301)<br /> <br /> “San” refers to “number three” in Chinese. “Niang” generally means a young married woman in a big household, while “t’ai t’ai” suggests the mistress of an independent home. “Niang” and “t’ai t’ai” are two of those unique terms of addressing people in ancient Chinese society, so there are no equivalents in English. That’s why Mr. Lin chooses to introduce their Chinese sounds to foreign audience, which leaves them a hint to learn two interesting addresses with era characteristics and know the distinct Chinese system of addressing.<br /> 10a. 余则从之学画，写草篆，镌图章…… （沈复，2018：56）<br /> 10b. They would then either write “grass-script”, or “chüan-script” or carve seals… (Lin Yutang, 2019: 247)<br /> <br /> “篆书” refers to a style in Chinese calligraphy, often used on seals. If we translate the Chinese character “篆” literally into English it would be “seal”. However, Mr. Lin abandons the easy translation of “seal- script” and renders this calligraphy style as “chüan-script” according to its Chinese pronunciation, which exhibits an individual kind of Chinese writing style to foreign readers. There will be problems that most people who know little about China will feel difficult to understand this ancient “script”. And if they desire to figure it out, they need to do extra work beyond reading this book. Nevertheless, in this way, they have chances to know much more about China, which is an efficient way of spreading Chinese culture and driving cross-cultural communication.<br /> <br /> =====4.2.2 Word-for-word Translation of Culture-loaded Words=====<br /> The following example is able to show the masterly use of word-for-word translation by Mr. Lin in his translation of culture-loaded words.<br /> <br /> 11a. 芸笑曰：“白字有缘，将来恐白字连篇耳。”（沈复，2018：13）<br /> 11b. “It is all right,” Yün smiled and replied. “to have one's life bound up with the Po's, only I am afraid I shall be writing Po characters all my life.” (Lin Yutang, 2019: 54-55)<br /> <br /> The so-called Po characters are words written wrong. This kind of words indeed exists in Chinese writing system, but they are used in a wrong way by people for they are of similar pronunciations and forms while in different meanings. In translation of this sentence, Mr. Lin renders “白字”, which means misspelt words, as “Po characters” word for word. “Po” is close to the pronunciation of Chinese character “白”, while “character” literally means “字” in Chinese. Mr. Lin translates the culture-loaded phrase like this to demonstrate a new term to foreign readers, instead of “misspelt word” which is easy to grasp but lack of Chinese charm. In this way, foreign readers can be more conscious of the original cultural genes lie behind those English words.<br /> <br /> =====4.2.3 Literal Translation of Culture-loaded Words=====<br /> The last two examples will show the tactful use of literal translation by Mr. Lin in his translation of culture-loaded words.<br /> <br /> 12a. 但李诗宛如姑射仙子，有一种落花流水之趣，令人可爱。 <br /> （沈复，2018：12）<br /> 12b. but Li Po’s poems have the wayward charm of nymph. His lines come naturally like dropping petals and flowing waters, and are so much lovelier for their spontaneity. (Lin Yutang, 2019: 53)<br /> <br /> In Chinese, “落花流水” is an idiom, which usually refers to the beauty of the scenes is waning in the late spring or one is defeated utterly. But this phrase is used here to compliment Li Po’s poems’ fluency and naturalness. Even though this expression is full of Chinese features, it is not too hard for foreign readers to get its implication from the images of “dropping petals” and “flowing waters”. For we have a common sense about these two natural scenery that they are both in the state of harmony and fluency. So Mr. Lin’s adoption of the method of literal translation is quite appropriate here and leaves some space for readers to imagine and taste by themselves.<br /> <br /> 13a. 芸曰：“世传月下老人专司人间婚姻事……” （沈复，2018：27）<br /> 13b. “It is said that the Old Man under the Moon is in charge of matrimony,” said Yün. (Lin Yutang, 2019: 92)<br /> <br /> “月下老人” is the god of marriage who is in charge of human love relationships in Chinese mythology. This image is peculiar to China, so it stands to reason that there is no equivalent expression in other countries. When rendering this culture-loaded phrase, Mr. Lin chooses the method of literal translation with words of capitalized initial letters, which enables readers to feel that it is obviously a new culture symbol for them and the Old Man may be a Chinese god. Then it is up to the readers themselves if they want to search for some more information about this “Old Man under the Moon” or not. In this way, the translation becomes briefer and it rests with the readers concerning how much information they will get beyond the lines.<br /> <br /> ==='''Chapter Five Conclusion'''===<br /> <br /> Concerning the current fact that different cultural systems around the world are becoming increasingly connected, translation activities have been literally taking place at every moment. However, the cultural differences in different counties have made it an arduous task. In view of the tremendous differences between China and English-speaking countries, the translation works are no easy tasks as well.<br /> As symbols which carry lots of cultural information, culture-loaded words are obstacles in translation, for they have no equivalents in other languages. So when translating these words, translators need to be alert and adopt the most proper translation strategies and methods so as to achieve the translation purposes to the deepest extent.<br /> In this thesis, guided by domestication and foreignization, the author has discussed several culture-loaded words in Six Chapters of a Floating Life, which translated by Lin Yutang. Different from other theses focusing on this issue, the author probes it in five detailed translation methods under the two translation strategies we have mentioned before.<br /> Through the analysis of former examples, we can come to the point that domestication and foreignization are the unity of opposites. There is no standard answer that which translation strategy should be used in which circumstances. It is the purposes of translation that determine our choice. In the translation of Six Chapters of a Floating Life, Lin Yutang has proved this to us by using different translation methods in accordance with his purposes, which contributes to his translation success both at home and abroad and the cultural exchanges between China and other countries.<br /> In total, this thesis has basically fulfilled its tasks to prove the instructiveness of the translation strategies of domestication and foreignization, and find out the reasons why Lin Yutang’s translation version turns out to be a huge success and receives warm responses. At the same time, it points out that this translation has played an active role when Chinese culture steps out to the global stage, and provides reference for the translation of culture-loaded words.<br /> <br /> ==='''Bibliography'''===<br /> <br /> [1]. Lawrence, Venuti. The Translator’s Invisibility [M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> <br /> [2]. Eugene, A. Nida. Language and Culture: Contexts in Translating [M]. Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> <br /> [3]. Eugene, A. Nida. Toward a Science of Translating [M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> <br /> [4]. Mona, Baker. In Other Words: A Coursebook on Translation [M]. Beijing: Foreign Language Teaching and Research Press, 2000.<br /> <br /> [5]. 包惠南. 文化语境与语言翻译[M]. 北京：中国对外翻译出版公司，2001.<br /> <br /> [6]. 冯丽. 浅析文化视角下的林语堂译本《浮生六记》[J]. 漯河职业技术学院学报，2013(3)：116-117.<br /> <br /> [7]. 胡壮麟，姜望琪. 语言学高级教程[M]. 北京：北京大学出版社，2002.<br /> <br /> [8]. 刘艾莉. 认知翻译观视角下《围城》中文化负载词的翻译研究[MA]. 广东外语外贸大学硕士学位论文, 2015.<br /> <br /> [9]. 梁林歆，许明武. 国内外《浮生六记》英译研究：回顾与展望[J]. 外语教育研究，2017(4)：53-59.<br /> <br /> [10]. 李懿. 从归化和异化论林语堂《浮生六记》译本中文化词的翻译[J]. 英语广场·学术研究，2013(11)：43-44.<br /> <br /> [11]. 沈复. 《浮生六记》（双语版）[M]. 湖南：湖南文艺出版社，2019.<br /> <br /> [12]. 沈复. 《浮生六记》[M]. 浙江：浙江工商大学出版社，2018.<br /> <br /> [13]. 吴华玲. 林语堂中庸观在其译作中的审美再现——以林译《浮生六记》为例[J]. 云梦学刊，2010(3)：113-116.<br /> <br /> [14]. 王维维. 从形合与意合角度分析林语堂《浮生六记》译本[J]. 英语广场·学术研究, 2012(10)：46-47.<br /> <br /> [15]. 熊兵. 翻译研究中的概念混淆[J]. 中国翻译，2014(3)：82-88.<br /> <br /> [16]. 张南峰. 艾克拉西的文化专有项翻译策略评介[J]. 中国翻译，2004.<br /> <br /> [17]. 朱怡天. 《浮生六记》林语堂英译本中文化负载词的翻译[MA]. 上海外国语大学硕士学位论文, 2013.<br /> <br /> [18]. 翻译理论与翻译技巧论文集[C]. 北京：中国对外翻译出版公司选编，1983.<br /> <br /> ==How to Keep “Chineseness” in Idiom Translation from Chinese to English 瞿淼 202070080604 Qu Miao==<br /> <br /> ===Abstract===<br /> Idiom is a form of expression natural to a language, person, or group of people. With rich cultural information, Chinese idioms carry the characteristics of Chinese language and culture. In the translation of idoms from Chinese to English, “Chineseness” in idioms is often lost in the translation, since Chinese and English belong to different language systems so there exist great cultural differences between them. This article, from the perspective of domesticating and foreignizing, compares the different effects of the text translated repectively by domestication and foreignizing method and discusses the way to keep “Chineseness” in idiom translation form Chinese to English. And the article ends with the conclusion that in idiom translation from Chinese to English, it is advisable to translators should, according to the needs of a specific context, find a balance between foreignizing and domesticating, so that “Chineseness” in the original text is kept in translated text as much as possible. <br /> <br /> ===Key Words===<br /> idiom translation; cultural deficiency; cultural differences; foregnizing; domesticating<br /> <br /> ===汉语习语英译如何保持“中国性”===<br /> <br /> ===摘要===<br /> 俗语是流传在人民群众口头上的，结构相对稳定的通俗语句，一般包括谚语、歇后语、惯用语和俗成语。汉语俗语承载着中国语言文化特色，蕴含着丰富的文化信息。在汉英俗语翻译中，因为汉语和英语属于不同的语言系统，并且文化差异较大，所以常常出现译文丢失了中国特色的情况。本文从归化和异化的角度，对比了分别使用归化和异化翻译方法的译文的效果，讨论汉英俗语翻译保持中国特色的方法，得出结论，在中文习语的翻译过程中，译者应该根据特定语境的需要，在异化和归化之间找到一个平衡点，以此来最大限度地保持俗语的中国特色。<br /> <br /> ===关键词===<br /> 习语翻译；文化缺失；文化差异；异化；归化<br /> <br /> ===1. Introduction===<br /> An idiom is a set phrase of two or more words that means something different from the literal meaning of the individual words． ( Ammer，1997: vii) (习语是由两个或多个词组成的固定词组，它的意义不同于各个组成词的字面意义。) Generally speaking, idioms include colloquialisms, allegorical sayings, proverbs, slang, jargon and so on. The composition and semantics of idioms are very conventional, which is inseparable from the social and cultural background of idioms. Language is the carrier of culture, and idioms are an essential part of language. Idioms are deeply rooted in the social and cultural background where they are produced, and fully reflect the geographical environment, customs, religious beliefs and social, political, economic, and cultural systems in this background. Therefore, idioms are very national and cultural.<br /> <br /> As an effective means to promote cross-cultural communication, translation is a bridge connecting different languages and can enhance communication between different cultures. As the essence of national culture, the translation of idioms plays an increasing important role in promoting cultural exchanges, and the biggest difficulty in translation is how to deal with the cultural conventions of source idioms. For translators, idiom translation must not only be fluent and express meaning, but also realize the transfer of cultural connotations implied by idioms. Idioms in Chinese are the carriers that convey the rich connotations of the Chinese language. They have the characteristics of concise language, brilliant meaning, typical connotation, and wide range of uses. Since idioms are the most quintessential and typical part of Chinese culture and the shining pearl in Chinese culture, idiom translation is of great significance for achieving the most perfect state of communication between China and the West. Due to the differences between Chinese and Western cultures, there exist cultural deficiencies in the translation of Chinese idioms, which makes it difficult for people of different cultural backgrounds to establish coherent and unobstructed semantics when communicating. <br /> <br /> The first chapter of this article is an overview of Chinese idiom translation, analyzing the problems of Chinese idioms translation and the importance of keeping “Chineseness” in idiom translation. In the second chapter, this article discusses the reasons for cultural deficiency in Chinese idiom translation form four aspects: different emotional orientation, historical and cultural background, religious beliefs and ways of thinking. The third chapter is a comparative analysis of foreignizing and domesticating translation in idiom translation. This chapter begins with a brief introduction of foreignizing and domesticating translation method, and then compares the application of the two methods in idiom translation. At last, this article ends with the conclusion that translators should, according to the needs of a specific context, find a balance between foreignizing and domesticating.<br /> <br /> ===2. Chapter 1 An Overview of the Idiom Translation form Chinese to English===<br /> Chinese idioms are mainly created by the folk and widely circulate. From the expression content of Chinese idioms, it has a large connotation, rich and profound content, hence it is surely informative with a good expression effect. As for language structure, it is usually characterized by popularity and colloquialism. In view of the current situation of the translation of Chinese idioms, the cultural connotation is obviously missing due to the influence of cultural forms. Idiom is a window for foreigners to understand Chinese culture. Therefore, it is of significance to keep Chinese characteristics in the translation of Chinese idioms as much as possible to spread Chinese culture.<br /> <br /> ====1.1 The Problems of Idiom Translation form Chinese to English ====<br /> Chinese idioms involve many contents and cover a wide range of knowledge. There is no doubt that this colloquial language has the characteristics of popularity, reflecting common and commonly used factors in daily life, so that the meaning of Chinese idioms can be fully expressed.Chinese idiom is a kind of inheritance of folk culture. In the process of translation, it is affected by its own cultural form and historical factors, and there is a certain cultural deficiency, or &quot;loss of Chineseness“, in the translation of Chinese colloquial language.<br /> <br /> The manifestation of cultural deficiency in the translation of Chinese idioms is mainly due to the errors in the interpretation of the inherent meanings conveyed by the Chinese idioms, and the discrepancy in the intrinsic values between the translator and the original Chinese idioms after translation. As a result, the inheritance and development of culture are hindered, and there is a lack of comprehensive understanding in the process of foreign translation.The emergence of this phenomenon is a manifestation of cultural deficiency, and the contradiction of cultural mechanism orientation between readers and translators leads to the emergence of cultural deficiency.On the basis of the semantic meaning of the original text, the translation of Chinese colloquial language is in accordance with the linguistic environment and the operational environment of grammar. The translation process emphasizes the cultural inheritance and the expression of intrinsic value.It is precisely the collision between different cultures that causes the phenomenon of culture loss.<br /> <br /> ====1.2 The Importance of Keeping “Chineseness” in Chinese Idiom Translation to English====<br /> Idioms are the condensed and quintessence of human language. As the treasures of national culture, they carry the cultural information such as geography, history, religion and living habits of a country or a nation. Translation is a kind of cross-cultural communication activity, which conveys cultural characteristics. If it is separated from the culture of a nation, translation would miss its due role. Since the 1980s and 1990s, translation studies have ushered in a new stage, namely the shift of translation. Susan Bassnett is a representative of the school of &quot;cultural translation&quot;. Her view of cultural translation emphasizes the special status of culture in translation -- as language and culture are closely related, culture, rather than text, should be regarded as the basic unit of translation. In short, translation is by no means an act of pure language. It is deeply rooted in the culture in which the language is located. Translation is the communication within and between cultures, and translation equivalence is the cultural function equivalence between the source language and the target language. In a word, it is significant to keep Chinese characteristics in Chinese Idiom Translation to English as much as possible to spread Chinese culture.<br /> <br /> ===2. Chapter 2 The Reasons for the Loss of “Chineseness” in Idiom Translation from Chinese to English===<br /> Chinese and English have completely different cultural backgrounds. The cultural differences between the two are huge, which makes the Chinese and Western people have huge understanding barriers in language exchanges, especially idioms in traditional Chinese culture. Since idioms contains rich and profound cultural background knowledge, translators will inevitably encounter the problem of cultural deficiency in the process of idiom translation, transplanting one culture to another. The problem of cultural deficiency in idiom translation occurs frequently. The reasons for the Loss of “Chineseness” in Idiom Translation from Chinese to English are mainly reflected in the following four aspects.<br /> <br /> ====2.1 Different Emotional Orientation====<br /> Although there are many words that refer to the same thing in Chinese and English, the word may mean differently in different language contexts, for the same word may bear different associative meanings. For example, Chinese people and Westerns often have different understanding to color words. The semantic associations of the word &quot;yellow&quot; are different in English and Chinese cultures.In Chinese culture, yellow is the symbol of imperial power and status, so it plays an important role.For example, &quot;黄袍加身“（the yellow robe adds the body） refers to being an emperor.However, in modern Chinese, the word &quot;黄&quot; often has a derogatory meaning, which means lewdness and depravity. It forms many new words with other words and is widely used.For example: &quot;黄色影片&quot;, &quot;黄色书籍&quot; and so on, most of them are related to the concept of sex. Nevertheless, yellow represents justice, wisdom and glory in Western culture.In Western art St. Peter is dressed in yellow.Of course, yellow also has a bad symbolic meaning. It reminds people of the color of the clothes worn by Judas, who betrayed Jesus. Therefore, yellow can be used to express &quot;timid, unreliable, jealous, sensationalist, low-level sensationalism&quot; and other derodic meanings. But in English the word &quot;yellow&quot; doesn't have an obscene meaning. Chinese people has regarded the &quot;dragon&quot; as the symbol of the nation since ancient times, and the Chinese nation called themselves the &quot;descendant of the dragon&quot;. However, in western culture, &quot;dragon&quot; is a lizard with scales, wings and tails, an can breathe fire. It is a symbol of evil and cruelty. Therefore, if the Chinese idiom “望子成龙” was translated into “hope one’s children to become a dragon”, it would lead to great misunderstanding. But we translate it into “hope one’s children will have a bright future”, foreigners may not get the metaphoric meaning of the word “龙”. This is what we said the loss of “Chineseness”, namely, cultural deficiency.<br /> <br /> ====2.2 Different Historical and Cultural Background====<br /> Chinese culture has a long history and bears a profound and sophisticated cultural nature. As the essence of Chinese culture, Chinese idioms often contain many historical allusions. And idioms originated from literary quotation or historical events should not be conceived literally because they have deeper meanings. Without cultural background knowledge, it is not easy to understand this kind of idioms, not mention to translate them. For instance, the Chinese idiom “三顾茅庐”, which means repeatedly requesting somebody to take up a responsible post, derives from a historical story of Zhuge Liang. At the end of the Eastern Han Dynasty, Zhuge Liang lived in a thatched cottage in Longzhong. Xu Shu, a counsellor, recommended zhuge Liang to Liu Bei and said, zhuge Liang was a genius.In order to ask Zhuge Liang to help him conquer the war, Liu Bei went with Guan Yu and Zhang Fei to ask him to leave the mountain.However, Zhuge Liang was not at home, so Liu Bei had to leave his name and went back unhappy.A few days later, Liu Bei learned that Zhuge Liang had returned and went with Guan Yu and Zhang Fei against the wind and snow.But Zhuge Liang went out again, and Liu Bei and his men left again. Liu Bei went to Longzhong for the third time and finally met Zhuge Liang.In the conversation, Zhuge Liang made a very incisive analysis of the situation, which impressed Liu Bei. Liu Bei visited the thatched cottage three times, which greatly moved Zhuge Liang and he promised to go out to help him. Zhuge Liang helped Liu Bei win many victories and laid the foundation of the state of the Han dynasty for him. From this story comes the idiom. If we just translate “三顾茅庐” into “repeatedly to request somebody to take up a responsible post’ or “have visited the cottage thrice in succession to call on somebody repeatedly”, foreigners would not get the allusion of it, hence the Chinese characteristics is lost somehow. Likewise, the idioms like “班门弄斧” and “卧薪尝胆” are all relevant to some historical figures, who are known by all Chinese people but unfamiliar to foreigners. Only when they have learned something about Zhuge Liang, Lu Ban, and Gou Jian can they get the meaning of these idioms. And it is the profound historical and cultural backgrounds that make the Chinese idioms hard to translate.<br /> <br /> ====2.3 Different religious beliefs====<br /> As a special form of human culture, religion is produced and developed almost synchronously with human culture, and all ethnic groups have their own religious beliefs and cultures. Religion not only exerts a certain influence on people's values and ways of thinking, but also influences language expression. In the late Western Han Dynasty, Buddhism was introduced into China, and it has a history of more than one thousand years in China. Accompanied with the introduction of Buddhism came some idioms from Buddhism or related to Buddhism, such as “放下屠刀，立地成佛”, “苦海无边，回头是岸”, and “醍醐灌顶”. Most Chinese people believe in Buddhism and Taoism, while most Westerners believe in Christianity. In the context of two different religious cultures, translators often meet translation difficulties. Take “放下屠刀，立地成佛” as an example. The idiom &quot;放下屠刀&quot;(lay down the butcher's knife) does not refer to the butcher's knife that actually kills. The &quot;butcher's knife&quot; here refers to malice, evil deeds and all delusions, delusions, confusion, differentiation and persistence. The sentence “放下屠刀，立地成佛&quot;(Put down the butcher's knife and become a Buddha on the spot) means: the one who put down delusion, distinction, persistence, is the Buddha! The essence of &quot;butcher knife&quot; is &quot;man's confusion to himself&quot;. Many translation versions of this idiom are given, like “A killer becomes a Buddha at the moment he drops the knife to kill.” and “A wrongdoer may become a man of virtue once he does good.”; however, these versions both neglect the original Buddhist factors. If the cultural connotation is not expressed in translation, westerners would feel confused while reading.<br /> <br /> <br /> ====2.4 Different Ways of Thinking====<br /> As for the characteristics of the deep structure of Chinese culture, from Hager to Derrida, the western academic circle has formed a prejudice that China has no rationality and no philosophy. Previous Chinese scholars have found some similarities and differences between Chinese and Western cultures in material, institutional and ideological aspects, but they have neglected the role of rationality in the Chinese and Western cultures. Reason has different contents and categories. Different categories of reason make up different rational structures. Although the outbreak of rationality is the common characteristic of Chinese and Western civilizations in the axial age, their rational structure is not the same.The rational structure of the ancient West includes logical reason, natural reason, practical reason, and aesthetic reason, but it lacks historical reason. Its rational structure is dominated by pure reason, while logical reason occupies a dominant position.The rational structure of China includes historical reason, natural reason and moral reason. It has logical thought, but it has not developed logical reason, among which historical reason occupies a dominant position. Logical reason dominates western thinking, while historical reason leads Chinese thinking. This difference in rational structure is the fundamental reason for the difference in Chinese and Western thinking. The difference between Chinese civilization and Western civilization lies in the difference of rational structure. The difference between the western civilization and the Chinese civilization lies in the difference of dichotomy.Some of the differences between Chinese and Western dichotomies can be traced back to the differences between Chinese and Western languages. Different language features are the source of the differences between Chinese and Western cultures.<br /> <br /> ===3. Chapter 3 Comparative Analysis of Foreignizing and Domesticating Translation in Idiom Translation===<br /> As a literary form, Chinese idioms have many inherent and connotative meanings. In the process of translation, the phenomenon of loss of Chinese characteristics is quite serious. In order to induce the loss of Chinese characteristics in translation to minimum, we should choose the appropriate translation method. Domesticating and foreignizing translation have always been the focus of debate in the field of translation. The essence of the contradiction lies in the proposition that the expression form of the original language introduced into the target language or the idiomatic expression in the target language. This article, from the perspective of domesticating and foreignizing, compares the different effects of the text translated repectively by domestication and foreignizing method and discusses the way to keep “Chineseness” in idiom translation form Chinese to English. <br /> <br /> ====3.1 A Brief Introduction of Foreignizing and Domesticating Translation====<br /> Foreignizing and Domesticating Translation are systematically put forward by Lawrence Venuti in his book Translator's Invisibility: A History of Translation (1995). Domesticating translation is to transform the foreign element in one culture into something familiar in another culture.It puts aside the sentence and image of the original text, but grasps its pragmatic meaning. From the target language and the original text of the pragmatic meaning of the same way of expression.Strictly speaking, domestication is a revision of the culture of the target language. However, it reduces the difficulty of the readers to accept the translation text at the expense of the large culture contained information as well as the appreciation and understanding of the meaning of heterogeneous culture to some extent. On the contrary, foreignization is to transform the information from one culture and language to another culture and language in a way that remains almost as it is. It endows the target language with new linguistic elements and also novel and unique forms of expression, which is conducive to the mutual communication and penetration of two heterogeneous cultures and languages, so as to promote their mutual integration. In his book, Venuti makes a critical study of western translation from the early 17th century to the present, and reveals that the strategy of &quot;smooth translation&quot; has always been dominant in the history of Western translation. The fundamental reason is to form a norm of foreign literature in English based on the western ideology. Venuti puts it bluntly that his purpose writing this book was to go against tradition, namely, to advocate the visibility of translators. Venuti opposed domestication and advocated foreignization in tradition. This translation strategy, he says, can be called &quot;resistance&quot;. Such translation not only avoids smooth translation, but also challenges the culture of the target language, because smooth translation tamper with the foreign text with the ethnocentrism of the culture of the target language. &quot;Resistance&quot; means resistance to the ethnocentrism of the target language culture, so that the translator is no longer invisible in translation. <br /> <br /> Nida is the representative of the domestication translation. He put forward the concept of functional equivalence, “The relationship between the target receptor and the target text should be equivalent to that between the source language receptor and the source text”, in order to eliminate the differences in language and culture in the translation.<br /> <br /> ====3.2 The Application of Domesticating Translation in Idiom Translation====<br /> The ideal of Nida's domesticating translation is the closest natural equivalent. Domesticating translation maximizes the dominant position of the target language and makes the target language close to readers. It tries to overcome cultural differences to realize the equivalent translation. Due to the cultural differences between different languages, translators are required to have a keen sense of culture and ability to fully and accurately interpret the national psychology and cognitive mode of the source culture, so that they can reproduce the profound cultural connotations of the source language. Generally speaking, idioms are words with rich cultural connotations. Undoubtedly, the choice of foreignizing and domesticating method will produce different results: whether the culture of the source language can be preserved, and to what extent can be preserved. If we choose domesticating method, we should realize that there are two premises to distinguish it: one is the domesticating under the principle of fidelity, which is prescriptive and centered on the source language; another is domesticating under the premise of non-faithfulness, which is descriptive and oriented by the translation into Chinese.<br /> That is to say, domesticating translation can be divided two way. One is a faithful principle under domestication, we can refer it as equivalent translation. While using this method to translate idioms, translators try to look for expressions from target language which has the same smantic effect as that of the source language, thus to make the translation natural, direct and vivid, improving the readability and acceptability of the translation. For example, the Chinese idiom &quot;时间就是金钱&quot; is translated as &quot;Time is money&quot;, and &quot;事实胜于雄辩&quot; as &quot;Facts speak louder than words&quot;. The other is a loyal premise of domesticating, which is similar to free translation. When the cultural characteristics of source language idioms expressed cannot be transformed through literal translation, translators should adopt free translation, not only to convey the deep meaning of the source language, but also to reflect characteristics of the target language, realizing the harmonious development of the two different languages. For instance, &quot;胆小如鼠&quot; is translated into &quot;as timid as a hare&quot; instead of &quot;as timid as a mouse&quot;. <br /> <br /> Another example of the application of domesticating is the translation version of the famous Chinese novel 《红楼梦》 by Hawkes. There are a large number of idioms in the novel, and Hawkes generally translated them by using the method of domesticating. For the sentence “癞蛤蟆想天鹅吃。”( 曹雪芹 165) , Hawkes translated it into “ The toad on the ground wanting to eat the goose in the sky” (Hawkes 242). Here, Hawkes replaced “swan”(天鹅) with “goose”(鹅), since the associative meanings of “swan” and “goose” are completely different in western culture.<br /> <br /> ====3.3 The Application of Foreignizing Translation in Idiom Translation====<br /> Foreignizing translation means that, under the pressure of cultural value deviationism, the reader is brought into the context of the translation, accepts the language and cultural differences of the foreign language text. It takes the source language culture as the destination, adopting the source language expression methods that correspond to the original author, approaching the source language text author, and conveying the original content most truthfully. For example, if &quot;一箭双雕&quot; is translated as &quot;kill two hawks with one arrow&quot; instead of &quot;kill two birds with one stone&quot;, the cultural information of the source language would be preserved to the greatest extent, so that the different cultural connotations can be truly presented to readers. The differences in the culture of the source language are reflected, allowing readers to experience foreign cultures through their own cultural cultivation. The foreignizing translation method reflects a trend of cultural integration, allowing the strong culture and the weak culture to develop in the collision, and finally achieve equal dialogue in the continuous exchange. It not only promotes cultural exchanges, but also contributes to the enrichment and development of the target language culture.<br /> <br /> Moreover, another example of the application of foreignizing is the translation version of the famous Chinese novel 《红楼梦》 by Yang Xianyi(杨宪益). Contrary to Hawkes’ s translation, Yang adopted the method of foreignizing while confronting with cultural factors in translating. As for “癞蛤蟆想天鹅吃”(曹雪芹 165), Yang translated it into “A toad hankering for a tatste of swan”. Here, Yang keeps the “Chineseness” in source language through literal translation.<br /> <br /> Choosing domesticating or foreignizing is not a question of black and white, but a question of grasping &quot;degree&quot;, or finding a balance. Translation involves the pragmatic rules of two different languages and is a cross-linguistic and cross-cultural communicative activity. Foreignizing and domesticating shouldn’t be treated simply separately. In many cases, the use of the two methods is restricted by the pragmatic environment and must be combined. It is impossible for a translator to choose only one method to translate a work and use it to the end. The key to the translation of idioms is to grasp a balance point between domesticating and foreignizing. If we simply emphasize the readability of the translated version, we may ignore the cultural characteristics of the source language, leading to excessive domestication and loss of the culture of the source language. However, if we only focus on the transmission of the cultural information of the source language, it may damage the readability of the translated text and lead to excessive foreignizing. The loss of readability of the translated text will eventually lead to the failure of the translator's efforts. The selection method of foreignizing and domesticating should be a dynamic mechanism, flexible and changing with the change of corresponding influencing factors. Due to the need of specific context, the same idiom may be translated in different ways. In the process of idiom translation, whether to adopt domesticating or foreignizing, communicative purpose and pragmatic environment all affect the choice of methods. For example, the primary purpose of Yang’s translation of Dream in Red Chamber is to spread Chinese culture; therefore, he mainly adopted the method of foreignizing in idiom translation, so that the “Chineseness” in idioms could be kept as much as possible. And Hawkes mainly used domesticating in his translation, because he wanted to reduce the difficulties of reading, making it easier for western readers to accept the novel. So we can see, different communicative purposes lead to different chooses of translation methods.<br />  <br /> ===4. Conclusion===<br /> <br /> Domesticating and foreignizing have always been the focus of controversy in translation circles. The essence of the contradiction is to advocate the introduction of the original expression in the target language or the authentic expression of the target language. The article believes that the contradiction between the two is not irreconcilable under normal circumstances. In fact, mere foreignizing or domesticating cannot appear alone in translation. The balance between the two should be sought as much as possible on the premise of loyalty to translation duties. <br /> <br /> One of the purposes of translation is to spread the source language culture, promoting cultural exchange and integration as well as the diversified development of the world. The foreignizing translation method can reserve enough space for readers to appreciate and analyze foreign cultures. The translator should have enough confidence in readers when adopting foreignizing strategies, and believe that readers can give full play to their imagination to understand foreign countries on the basis of comparing their own and foreign culture. The ultimate goal of translation is to promote cross-cultural communication. It is necessary to consciously retain relevant cultural factors in the translation process. Simply using domestication translation will inevitably hide or even distort the cultural connotation of the source language. In order to preserve and spread the source language culture, the use of foreignizing translation methods should be emphasized when translating idioms rich in cultural meaning. However, the foreignizing strategy has its limits. Regardless of whether for interpretation or translation, it does not mean that all idioms containing cultural factors should be preserved. Information transmission and cultural transmission are equally important in the translation process. One cannot lose sight of the other. Idioms convey a country’s culture brilliantly. In the process of idiom translation, the expression of cultural factors cannot be ignored. The retention of unique cultural images can attract readers of the target language. The actual acceptance ability of the target language readers cannot be ignored, otherwise it may cause poor communication. In the translation process, the translator must adhere to the principle of the inter-growth of different languages and cultures, and must pay attention to the fact that the translation must achieve communication, coordination and docking with the world, and at the same time, it must not be inappropriately eliminated in order to comply with the needs of the target country. The source language and the target language are inherent in language and culture.<br /> <br /> ===5. References===<br /> <br /> ==Translation of English Proverbs from the Perspective of Culture 韩海洋 202020080602 Han Haiyang==<br /> <br /> ===Abstract===<br /> under the context of close communication between eastern and western countries, cultural influence now is increasingly enjoying more importance than before in language exchanging. As for translation of English proverbs, proper translation strategies should be considered in order to better understand their meaning and characters. By looking up thesis and documents, some translation strategies need to be concluded. In terms of cultural influence and social communication, foreignization and domestication are chosen in which the former is used more frequently that the latter. It arrives the conclusion that foreignization applied for translation of English proverbs is on the increase. <br /> <br /> ===Key Words===<br /> proverbs; culture; translation strategies<br /> <br /> ===从文化视角来看英语谚语的翻译===<br /> <br /> ===摘要===<br /> 由于文化因素在不同语言之间的交流具有一定的影响，特别在中西方交往日益密切的背景下。为了更好的翻译英语谚语，使其达到应有预期效果，适当的翻译策略可以在翻译过程中更好地了解谚语的含义与特色。通过查阅资料和文献，总结出合适的翻译方法。根据现在的社会背景和文化影响，对于归化和异化两种方法，异化的选择得到了更多的倾向。在翻译的过程中，将文化因素考虑进去对于语言翻译上面，异化的趋势将会逐渐增大。<br /> <br /> ===关键词===<br /> 谚语; 文化; 翻译方法 <br /> <br /> ===1. Introduction===<br /> With the advent of 21th century, society has been changed in a wide scope, and shed light on the unparalleled interaction of culture and economy as most exemplified phenomenon happening everywhere. Translation is thereby a way to transfer from one culture to another, in which the effect of cultural background is behind language the essence of best fruit of translation. The history of translation has been lasted for a long time, for example when it comes to English proverbs, which can be traced to centuries ago, like Bible and works of Shakespeare. It is not rare to see that each country has its own unique culture, and under the cover abundant resources mirroring a country can be exploited. English proverbs as a product of culture the bridge for cultural exchange is been studied since centuries ago. The strategies of proverbs translation also have been experimentally discussed from time to time as the rapid development of culture and economy. Translation plays a key role in promoting a country’s own culture, because that is the way of importing and exporting knowledge of culture to another country. Proverbs is the product of culture that cannot be understood directly without any effort to digest it. So translation is needed, which could impose exotic flavors to new conception or understanding, but the premise is that translation is properly chosen in regard to nowadays strongly cultural promotion awareness.<br /> <br /> Usually proverbs are concise, concrete and pithy words which are rhythmed and organized for the sake of being simple to remember and spread to people. Proverbs are summarized by certain people from all walks of life in a specialized area, including eating habits, farming, belief, customs and so many. Proverbs composed of words the exact symbol of language, are named as the crystal of culture in a easily understandable way. Culture awareness is highly appreciated whatever it is developed country or developing country. For the fulfillment of translation of English proverbs, therefore this thesis aims to translate English proverbs with appropriate translation strategies-mainly foreignization and domestication from the perspective culture.<br /> <br /> ===2. Chapter 1 General Introduction to English proverbs===<br /> <br /> ====1.1 Definition of Proverbs====<br /> As far as history is concerned, proverbs can be dated back to the times that language is produced. According to Dictionary of Proverbs, proverbs are “a succinct and memorable statement that contains advice, a warning or a prediction, or an analytical observation”. Maybe the first definition is given by Socrates that a proverb is noted as brevity, philosophical tone, and common usage. In the 15th century, Michael Apostolius of Byzantium wrote, “A proverb is a statement which conceals the clear in the unclear, or which through concrete images indicates intellectual concepts, or which makes clear the truth in furtive fashion”. Champion (1966:xi) has claimed his idea “a proverb in my opinion is a racial aphorism which has been, or still is, in common use, conveying advice or counsel, invariably camouflaged figuratively, disguised in metaphor or allegory.” According to Mieder (1993), “A proverb is a short generally known sentence of the folk which contains wisdom, truth, morals, and traditional views in a metaphorical, fixed and memorable form and which is handed down from generation to generation”. Although definition is definitely different from one to another, one thing is for sure is that proverbs have been proved to exist for a long time. From all the above have been talked, proverbs can be boiled down to a simple, culture-loaded, and wide-circled saying enjoying great popularity throughout the whole country. Considering it that a majority of elements are included in proverbs, especially when it comes to perspective of culture, some feasible measures should be properly taken to handle it.(Honeck 1997,12)<br /> <br /> 1.1.1 Origin of Proverbs from Abroad<br /> Proverbs are not come out from nowhere, and the amount and meaning of them do not stay the same eternally. As a rule, comparison between at home and abroad is always been found. From abroad, English proverbs could be seen in Bible, and works from Shakespeare and other fables. Part of old proverbs are stemmed from Bible, which largely related to God and so many fairy tales, or in other word like “God” or any related implication are sometimes recorded in proverbs. Like the famous one said: “man proposes, God disposes”, it shows that in western country people faithfully believe in God who is enshrined in most western religions, especially Christianity. Except from Bible, in the times of Renaissance Shakespeare’s works can be found in which some proverbs are known from that time. For example, in Romeo and Juliet there is one sentence “a rose by any other means would smell as sweet”. It means that irrespective of how things’ names are changed, the essence embedded in them would still intact. Shakespeare is as one of the most brilliant play writers just on the behalf of renaissance period. There are still amounts of proverbs created by other scholars like Francis Bacon, John Milton and so on.(Li Keshi 2009,35-38)<br /> <br /> 1.1.2 Origin of Proverbs at home<br /> <br /> In china, proverbs can be traced to Spring and Autumn periods. At that time, people mostly work at farm, so there are a lot of proverbs related to farming or country life. with Zuo’s Commentary( 左 传 ) deserves the first.In it, the Chinese proverb “山有木，工则度之；宾有礼，主则择之”has its track, and most of the proverbs mentioned in Zuo’s Commentary are from Zhou Dynasty as “Zhou proverbs”(周谚). Besides, terms like “Xia proverbs(夏谚)” can also be found in Mencius(孟子). Like the proverb “吾王不游，吾何以休？吾王不豫，吾何以助？一游一豫，为诸侯度”from Mencius, though have not been handed down, it is regarded as the earliest proverb that have been recorded (ibid,2003). Xia is an extremely ancient dynasty in Chinese history, as far as over 4,000years from today. So maybe proverbs are not as popular as today, they are definitely has records and can shed light on Chinese history.Proverbs in China are said to date back to as early as before the words came into being. People at that time did not pass down their knowledge and experience by writing, while they made it by speaking and saying in a simple and memorable way. With time moving forward, proverbs are gradually been regarded as important as written words which play a great role in future generation in dealing with culture and heritage. No matter what kind of proverbs are produced, from the historical evidence it can be observed that proverbs can across ocean and land, moving to another country, another culture domain.(ibid 2003,31) <br /> <br /> ====1.2 Characteristics of Proverbs====<br /> Proverbs are memorable, vivid words which are succinct and simple in form summarized by people from all walks of life. Both Chinese and English are bountiful in considering the thousands of proverbs have been recorded and there are still more proverbs to be created as time goes on. For the record, proverbs are not spoken at random and created at one’s free will. Some rules can be depended on, such as the lifestyle, living environment, education, social value, and so on. Take environment for example, the British lived near to ocean or sea, and therefore it is common to see proverbs related to sea spoken by English people “In a clam sea, every man is a pilot.”<br /> <br /> 1.2.1 Cultural Characteristics of Proverbs<br /> <br /> Broadly speaking, culture contains all the aspects of the society and gives its people ability viewing the world. Meanwhile, culture also can be regarded as a deciding element on distinguishing the difference from each country. It is no exaggeration to say that a country’s most standing heritage is its culture, which keeps changeable in line with the history. Although nowadays similarities of culture are seen more easily than ever before, the reason is under the influence of globalization-culture import and export take place here and there. The logic is culture formed from all walks of life, which means language is included, and proverbs are product of language. Therefore, proverbs carry characteristics of culture whatever the country is and how singular its culture is. Social customs is one of the big parts in a cultural society, there are some symbols or people are widely used in proverbs. Jack and Jill usually refer to man and woman in general such as: “every Jack has his Jill”. The counterpart in china is also easy to find. To name a few, there are more could be found in each cultural community. The next indispensable one is religion. It is well acknowledged that western countries like America and the UK, are religious countries, in which the words like: “God, devil, and church” are seen here and there. Like it has been said before, language is the product of culture, which contains every aspect of people’s life from individuality to the whole society. What is more, value concept is also included since it reflects how a country embodies its culture to the outside world. Giving respect for the aged in china is a necessary and ethic social value passed on and on for thousands of years. In Chinese, there is proverb saying that: “不听老人言，吃亏在眼前”. It means youth should listen to what the old men told you, or you will pay the price of what you have done. Instead, traditional values favor in masculinity, people think that men are superior to women and they have direct control over them. Ego and individuality in America is felt deeply, because they think that they are going to be successful by themselves from any given chance. They seldom make big achievement by working in group rather than enjoying doing it by their own hands. Proverbs like “near is my shirt, but near is my skin” is emphasizing that someone himself is more important than others.(Li Keshi 2009,35-38)<br /> <br /> 1.2.2 Rhetorical Characteristics of Proverbs<br /> <br /> As proverbs express concrete meaning by only a few words, sometimes it has to apply some kind of rhetorical devices for perfectly presenting the delicacy of proverbs. Some meaningful proverbs are not understood directly by adding each word all together, however, it only can be realized by using proper rhetorical methods to give their deep meaning, in another word, connotative meaning. <br /> <br /> Simile is often seen in proverbs, and it usually compares one thing to another thing, in order to showing its vivid or obscure picture to receptor who may not understand directly from plain words. In sentences with simile, “like” and “as” are widely used for example, “March come in like a lion and goes out like a lamb”, and “time tries friend, as fire tries gold”. The former means that the changes of March is different from how it is coming and ending, and the latter means that friend like gold needs to be tested then you would find who is your real friend. Both of them impressively express the core meaning from unfamiliar thing or abstract thing to specific and easily understandable thing. Metaphor is seemingly like simile, but it is more implicitly explaining meaning than simile. Like “brevity is the soul of wit” and “an empty bag cannot stand upright”. The former means brevity is so important to wit like the soul of a person, the latter one translated in Chinese is “人是铁，饭是钢，一顿不吃饿的慌。” Hyperbole is a rhetoric that uses overstatement or obvious exaggeration to emphasize something, such as “Our life is but a span” and “An unfortunate man would drown in teacup”. The former means life lasts in a few times as short as span, which is obviously overstated. The latter means if a person is feeling unlucky at that day, whatever you do will bring bad lucky. Personification is the ability to endow common lifeless things with features of human-being. For instance, “Money is a good servant but a bad master”, and “fortunate knocks once at least at every man’s gate”. The former means money should be rationally handled or it may be a burden for you. The latter means everyone has a chance to be fortunate at least once.(Guo Min 2008,123-127)<br /> <br /> From all above have been discussed, they are just the most common figurative devices formed into proverbs. In terms of the function of rhetorical, proverbs can come into being in a simple, memorable form. It can be inferred that proverbs in a much degree use rhetorical to express refined and concrete meaning. Meanwhile it reflects the problem that when doing translation of proverbs, focus are more than just words themselves needed to be considered, as well as culture, form and connotative meaning. <br /> <br /> ====1.3 Differences Between Proverbs and Maxims, Sayings, Idioms====<br /> It seems that proverbs are looked the same as maxims, sayings, and idioms one way or another, but in fact there still exists some differences between them. For one thing, the existence of proverbs is across the whole world, therefore, no one can precisely calculate how many of them are recorded, and how many of them are still unknown to us. In terms of the number of proverbs is uncertain, so making a convincing definition is unrealistic, at least not perfect. If referring to it could be found that the definition in the dictionary is also easy to distinguish from each other. Some researchers disagree with each other on the definitions of these similar terms. Fergusson (1983) states some proverbs are simple folk sayings. Burton Stevenson (1987)’s idea about proverb is that― “A maxim is the sententious expression of some general truth or rule and it becomes a proverb when it gets its wings by winning popular acceptance.” Some scholars believe that sayings are one stream in the vast ocean of proverbs while others argue that proverbs should be included in the realm of sayings. In one source defining idioms and proverbs, NTC’s American Idioms Dictionary (1987) mention that ― “the idiom ‘a bird in the hand is worth two in the bush’ is a proverb meaning that something you already have is better than something you might get.” As for classifying maxims and proverbs, Cordry (1997) suggests that “one defines a maxim as a rule of conduct and a proverb as a comment or observation with regard to the universal experience of life, the distinction is not always clear.” And as given in Concise Oxford English-Chinese Dictionary (2003), saying is defined as “a maxim, proverb, adage, etc.” Even so, there must be some obvious features we could rely on to categorize them in general. It could be concluded that maxim and saying are mostly the expression of principle or behavior of man or the rules that summarized by famous writer or philosopher. Thus maxim and saying are seldom heard or seen except reading in the books and hearing from author himself. As a number of them are in a serious or form expression, there they are not as popular as proverbs which are created from daily experience by common people. In regard to idiom, its meaning is not the each word put together, but by understanding it form local people who made them and made it spread in his surrounding places. Idioms sometimes are not complete sentences but simple phrases. While, proverbs enjoy great popularity and are universally spread because of their concrete, succinct and vivid description.(Fergusson 1983,28-31) <br /> <br /> In conclusion, proverbs are prevalent in the world enjoying widespread social value and abundant sentence structures, but for sayings and maxims they are carrying the color of literature. Idioms have local color that is only understood within the same or similar speech community. With such understanding, it lays the foundation for researcher to better study and distinguish the distinctions form others. <br /> <br /> ===2. Chapter 2 Relation Between Culture and Proverbs Translation===<br /> <br /> ====2.1 Definition of Culture====<br /> <br /> As many scholars have been studied the definition culture, there have been existed sorts of definitions, in which they do not have big difference in one way or another. Culture is a general word that could take language, customs, religion, and others into account. One of the oldest and most quoted definitions of culture, which is frequently mentioned regardless of so many entries of definitions, was formulated by the 19th-century English anthropologist Edward Burnett Tylor in the first paragraph of his Primitive Culture (1871) as “Culture… is that complex whole which includes knowledge, belief, morals, custom, and any other capabilities and habits acquired by man as a member of society. …” . While Nida, a famous linguistic and translation theorist, gives his definition of culture as “the totality of beliefs and practices of a society” in the book Language and Culture (2001:139) and as “the way of life and its manifestations that are peculiar to a community that uses a particular language as its means of expression” by New mark given in his book of A Textbook of Translation (2001:94).From the mentioned above, culture includes every aspect of human life such as housing, transporting, communicating with people, recording of history and so on. Therefore, it is no exaggeration to say that proverb, or even language is a part of culture. Some scholar even put that language is the medium of culture, without language there may be no existence of culture. So the importance of culture cannot be ignored in order to better understand the deep meaning when studying proverb, a culture-loaded word, and more attention should be given to perspective of culture.(Katan 2004,16)<br /> <br /> ====2.2 Language and Proverb====<br /> <br /> It is no exaggeration to say that language is the product of culture since culture is culturally transmitted from the view of linguistics. Therefore, proverbs are composed of a set of words, which are selected from a particular language community. Take English and Chinese for example, they both represent their special culture and unique characteristics respectively. More importantly, proverbs are the crystal of language, which can be used as a convenient tool to understand different cultures for language is the bridge leading to culture.<br /> <br /> ====2.3 Value and proverbs====<br /> <br /> Value is associated with sorts of people’s live and is defined by these people living in a specific area. Value of appreciation on people is an obvious example that eastern and western countries have extreme angles on how to appraise a person. Tanned skin and jeans clothes are symbols as to select people whom they like more, but for eastern, white skin and Qipao maybe are thresholds for people to judge a person whether he or she is more stylish. Value of eating is still a big mark to differentiate race or natality. Cooked meal in china and salad in the west make the difference that eating habit is so little sameness on each other. There are still more, living environment and national policy if is related to country. All of them shape all kinds of values which are on behave of its countries or people. Like east or west, home is the best means “金窝，银窝，不如自己的狗窝.” Proverbs are not just created form nowhere but they are existed for ages and still available only if they are still reflecting meaningful viewpoints.(Chen Jinshi 2006,72-77) <br /> <br /> Language is a part of culture and also at the same time a reflection of culture. Taking Chinese and English for example, they belong to different language families, therefore there exist some distinctions between them. Chinese people usually don’t say daring or family name directly, which is so different from western people who call their parents’ name and say sweet words without any concerning of awkwardness or shyness. It works to proverbs, and that is the social custom defining a society what is their core valve. <br /> As far as we know, social value between western country and eastern country are of great differences. In western country, self-awareness and individuality are mostly emphasized, but for eastern, more attention is given to collective wisdom and working in groups. Like Chinese proverbs “ 三个臭皮匠，顶个诸葛亮。”and in English proverbs such as “ God helps those who help themselves.” From above being said that it has a lot benefits to study proverbs to better understand culture and language.(Chen Jinshi 2006,72-77)<br /> <br /> ====2.4 Cultural Similarity on Chinese and English Proverbs====<br /> <br /> Without any effort it can tell that Chinese and English are defined by different language families. Even so, Chinese and English proverbs shared some similarities in various ways, which are performed in different form and speech of proverbs. Because there exist universal truths and life styles, they are more or less understood by people from society to society. Like the truth of the universe in the definition of right and wrong and subjects including philosophy, math, chemistry, they are all developed separately in different areas but shared and summarized by all members form all the world. In this point, proverbs play the role in spreading some common knowledge and experience to the outside world, though forms are created by different society, they are carrying the same meaning or implying one way or another. Examples like “a snow year, a rich year(瑞雪兆丰年), strike while the iron is hot, and a neighbor is better than a distant cousin.” All of them are proved to share universal life experience and truth in the everyday life. Because people live under the same sky, sun, star, they go on making their living by hard working.(Han Jiaoyang 2009,111-117)<br /> <br /> It is no exaggeration to say that cultural exchanges are rapidly happening all over the word, and foreign culture may be assimilated by domestic culture or rejected by its opposite expression of culture. In this sense, we have same expressions in different ways of forms, like “情人眼里出西施” (Beauty is in the eyes of the beholder). They are describing the same thing but with different cultural background, therefore they sometimes have similarities in one way or another.(Han Jiaoyang 2009,111-117)<br /> <br /> ====2.5 Cultural Difference in Chinese and English Proverbs====<br /> <br /> Without a doubt that cultural similarities surely make translation easier in understanding foreign proverbs, but they are not silver bullets to taking all the proverbs into consideration. When it comes to separate boundaries which cut the Earth into serval parts, under this context, local culture will be formed and promoted in its own birth place. One of the most common features of culture is religion in western and eastern country, because western people have belief in God, Chinese people believe in Buddhism, which are of two great differences. That is the reason why in the process of translation, factor of culture has to be reckoned, especially in the new eras. As Nord have ever put forward in Translating as a Purposeful Activity that ―A culture-specific phenomenon is one that is found to exist in a particular form or function in only one of the two cultures being compared‘‘ (Nord,2001:34), therefore culture will be compared at a time when people have different perceptions on things, in which language would be the first. The grammatically sentence structure and the pronunciation for example, have little in common regarding they belong to different language family.(Fu Yanli 2016,91-92)<br /> <br /> Living environment is an element on deciding the formation of proverbs. Traditional Chinese people were busy doing farming, agriculture, so there are proverbs associated with them. Like “ 瓜熟蒂落” means things will be done when they are mature, and “人靠血样，苗考水活”means blood is a necessity for existence of human being as well as water to seedlings.” Moreover, a fruitful harvest is dependent on the weather, producing proverbs such as “三月三，著蓑衣，三月十五冷凄凄”, which means lunar early month has heavy and the middle is heavily cold. But for English proverbs, which are to a large extent related to fishery or marine affairs such as “to sink or swim”, “to keep one’s feet above water” and so many. Therefore both of the proverbs are created surrounding environment. Except for living environment, living customs are also reflected on formation of proverbs. In different communities, people have different perception of things like animals. In Chinese proverbs, “杀鸡取卵” which equals to “kill the goose that lays golden eggs”, in which different animals are choose represent local customs. English proverbs would say that “look for a needle in a haystack”, which has a Chinese counterpart as “大海捞针”. It means that doing something is as difficult as finding out a small piece in an immerse container. Dog is also a featured sign that stand for different views in Chinese and English proverbs. In China, although dog is loyal to his master, it always leaves unrespectable impression on people, on the contrary, English love dogs and cherishes them so much sometimes even more than their family.(Fu Yanli 2016,91-92) <br /> Different cultural heritage and religious beliefs are also play a key role in the formation of proverbs. It is not hard to refer that understanding proverbs on the bases of translation is convenient for study foreign culture. With all the differences and sameness, within the range of translation, culture is a must during translation <br /> <br /> ===3. Chapter 3 Translation Strategies for English Proverbs===<br /> <br /> Translation strategies have long been studied for a long time, during that time, domestication and foreignization have been considered as dominating strategies that were applied by a lot of scholars. Cross-culture exchange has gained great trend, especially in those years global communication between countries develops rapidly. It is true that here exists another method like “functional equivalent” created by famous scholar Eugene Nida who claims that in the process of translation source text and target text are both considered as author and reader are separated by the language or culture. The best function of translation is aiming to make source text as readable as reader-oriented text, which is popular in centuries ago in the era of underdeveloped cultural exchanges. In Chinese culture, the history of translation can also be traced to hundreds of years ago, some brilliant point of view like “信，达，雅”by Yan Fu, then it was changed into “信，达，切”by Liu Chongde. It means that translated text in which the flavor of text should be close to its original color of its culture. Taking what translation strategies into consideration should comply with the trend of culture exchange and its development.(Chen Daoen 2015,257-258)<br /> <br /> ====3.1 Domestication and Foreignization====<br /> <br /> Domestication is a target language oriented translation device, which is to change the flavor into reader’s meet. It is compatible with the taste of people who think their country is strong enough to set international standard and in which all other countries will prepare for the transmission of culture. It is the assimilation that causes translator to change resource text into native flavor. But for this phenomenon, the reason is that people’s recognition is limited and their hold self-importance to the most, therefore, everything from outside will be transmitted into domestic flavor. As communication of culture and technology grows rapidly and each country would like to strengthen its comprehensive power by take into foreign culture. As for translation strategies, which are still be reckoned which one should be adapted. Foreignization is a source language oriented translation device, which is to change the flavor into author’s meet. The roots of the terms “domestication” and “foreignization” can be traced back to the German philosopher Schleiermacher‘s argument in 1813 in a lecture on the different methods of translation, he found only two methods of affecting the domestic reader‘s understanding of the foreign author, “Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Venuti 2004,19-20).<br /> <br /> In China, some scholars also have put forward their own opinions about the definitions of domestication and foreign. Among them, Lu Xun’s opinion is famous. He claimed that domestication was as “rewriting, changing the foreign story into Chinese story and changing the foreigners into Chinese” , while foreign was “translation is like going abroad traveling, it must reflect the scene and flavor of the foreign country concerned.”(ibid 1984,301) Expect the definition of domestication and foreignization, translator when doing the work of translation should consider the perspective of culture and the intention of the writer as well as reader whether they want to the culture of source text to be originally intact or changed into readers’ culture.(罗新璋 1984,301)<br /> <br /> ====3.2 Foreignization over Domestication for Translation====<br /> <br /> As far as social development is concerned, cultural exchange is more frequent than now or ever. In previous centuries, domestication is always been advocated by Chinese and western translators, as the exchange of economy and culture is not as common as today. Countries blindly think themselves as the leading one, so naturally take translated text as a respect from other countries. In translated works, any trace of alien culture is eliminated, in favor of own country’s culture to be admired and promoted. The awareness of culture is not developed people only unconsciously find that in their mind anything enters into their country is no foreign at all, because every product from aboard will be transferred into familiarly native fruit with sense of closeness. In another way, people at that time are barely having the chance to access to education, in particular for poor family most of them are illiterate. It is without saying that no room is left for people in their countries to study culture abroad while native culture still did not gain completely popularity. From the above being mentioned, at an early age, domestication has upper hand indeed. So in choosing translation strategies, it is no doubt that it should be domestication centered.(Ding Min 2014,72-76) <br /> <br /> For another thing, as technology and economy develop from nowhere, cultural exchange between countries has witnessed great changes in the past decades. In highly developed areas, people in their countries universally receive full education in which their counties’ historical culture has been deeply absorbed. So, in the process of translation, foreign culture as novel things fulling with exotic flavor has attracted people a lot to see the differences and experience a foreign journey. The untouchable place of domestication did not enjoy its popularity an anymore for its limitation of spreading of foreign culture. Therefore, foreignization became more and more important as translation tool in the view of people’s eye. It not only translated the original foreign text into native character, but also carried the foreign special into domestic text. Take china for example, although as a developing country in the Asian, china has so much say in the stage of the world in the aspect of culture and world peace. Language as the bridge of communication, have to be understood by others in the way of translation. In one way or another, domestication and foreignization can both play the role in the translation, but from the perspective of culture, foreignization seems to weigh more in nowadays choosing translation strategies.(Ding Min 2014,72-76)<br />  <br /> ===4. Conclusion===<br /> <br /> Proverbs are culture-loaded words that has been transmitted and renewed from generation to generation as well as the changes of different eras. As a part of language and the product of culture, it is no exception that proverbs can be a medium, which offer the opportunity to learn language and culture. With the advent of new technology and wide economic communication, translation is playing an indispensable role in this process. Proper translation strategies are essential that whether foreign culture should be taken into consideration since it stands as the soft strength of a country. By considering this, foreignization has more superiority when compared with domestication. Foreignization as a trend translation, keeping the original culture intact to target readers, meanwhile can enrich a native country’s culture and expand vocabulary. There is no doubt that domestication is not totally worthless, regarding proverbs has multiple varieties, which cannot be translated simply by foreignization, therefore domestication is worked as supplementary tool assisting foreignization in translation. <br /> <br /> Foreignization leaves the culture of source text untouched, wishing to give target reader exotic environment where readers experience different aspects of culture, like religion, belief, custom and others.<br /> <br /> In the end, as cultural development and social progress is moving forward, foreignization has more advantages than domestication.<br />  <br /> ===5. References===<br /> *Bian Xiaofei, 边晓霏(2013). 从文化视角探究谚语翻译[Exploring proverb translation from a cultural perspective]. ''保定:河北大学''[Baoding:Hebei University] .<br /> *Chen Jinshi,陈金诗(2006). 英汉谚语的特征与翻译[Characteristics and translation of English-Chinese proverbs]. ''武汉:中南民族大学''[uhan: Zhongnan University for Nationalities].<br /> *Dong Jing,董晶,Liu Yalou,刘亚楼(2015).英语谚语的文化内涵与翻译方法[The cultural connotation and translation of English proverbs]. ''河北联合大学学报(社科版)'',(1): p: 100-103.<br /> *Fu Yanli,付艳丽(2016). 跨文化语境下英语谚语翻译的意蕴与特征表达[The Meaning and Characteristics of English Proverbs Translation in Cross-cultural Context]. ''济南职业学院学报''[Journal of Jinan Vocational College],(4): p: 90-91.<br /> *Ding Min,丁敏(2014). 从文化视角看英语谚语的翻译[Translation of English proverbs from a cultural perspectiv]. 西安:西安外国语大学[Xi'an:Xi'an University of Foreign Languages].<br /> *Guo Min,郭敏(2008). 英汉谚语中的文化差异及其翻译[Cultural differences in English and Chinese proverbs and their translation]. 重庆:西南大学[Chongqing: Southwest University].<br /> *Han Jiaoyang,韩娇阳(2009). 从谚语英汉互译中看文化缺省及其补偿策略[Cultural default and its compensation strategy in English-Chinese translation of proverbs]. 长春:吉林大学[Changchun: Jilin University],.<br /> *Lu Daoyen,陆道恩(2015).文化视角下英语谚语的翻译技巧[Translation skills of English proverbs from a cultural perspectiv]. ''高教学刊''[Journal of Higher Education],(24): P:257-258.<br /> *Li Keshi,李克时(2009). 论英语谚语汉译的异化趋势[On the trend of alienation in Chinese translation of English proverbs]. 南京:南京农业大学[Nanjing: Nanjing Agricultural University].<br /> *Liu Weiping,刘卫平(2008). 文化视角下的美国谚语翻译[Translation of American Proverbs in Cultural Perspective]. 桂林:广西师范大学[Guilin: Guangxi Normal University].<br /> *Li, H.(2012) A Study of Film Subtitle Translation from the Perspective of Domestication and Foreignization[MA]. Shenyang: Liaoning University.<br /> *Mo, L, H.(2014) A Study on Chinese and English Proverbs about Marriage from the Perspective of Contrastive Linguistics[MA]. Nanning: Guangxi University.<br /> *Mao, Q.(2017) A Study on the Proverbs in Shakespeare’s Play in Their Chinese Translations in the Perspective of Conceptual Metaphor[MA]. Guilin: Guangxi Normal Univeristy .<br /> *You, X, J.(2009) A Contrastive Study On Hypotaxis and Parataxis in English and Chinese and Its Influence on the Chinese-English Translation of Ancient Fables[D]. Suzhou: Suzhou University.<br /> *Zhao, C, H.(2012) A Study on Proverb Translation from Cross-Cultural Perspective[D].Changchun:Jilin University.<br /> <br /> ==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory 刘金惺琦 liu jinxingqi==<br /> <br /> ==Translation of Chinese Neologisms from the Perspective of Cross-cultural Translation Theory ==<br /> &lt;center&gt;解帆 Xie Fan&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> With the continuous enhancement of China's overall national strength and international influence, Chinese is playing an increasingly important role in communications and exchanges among countries all over the world. An increasing number of Chinese neologisms are used to express and describe the status quo. These neologisms invigorate Chinese culture, however, meanwhile, they make it harder for the world to understand Chinese. <br /> <br /> On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.<br /> <br /> ==='''Key words'''===<br /> Chinese neologisms; cross-cultural theory; English translation; strategies<br /> <br /> ==='''摘要'''===<br /> 随着我国综合国力和国际影响力不断增强，汉语在世界各国沟通与交流中起到越来越重要的作用，用来表达和描述社会状态的汉语新词也日益增多。这些新词给中国文化带来生命力的同时，也给世界人民理解汉语带来了困难。<br /> <br /> 一方面，语言本身存在着不可译性，每种语言在其组词造句、表达方式上都具有其独特性，现实中并不存在两种完全对等的符号系统。另一方面，不同的民族有着不同的历史传统、宗教信仰、思维方式，这尤其增加了语言理解的难度。因此，跨文化翻译成为中华文化传播过程中的重要一环。通过翻阅相关资料，不难发现由于汉语新词的英译起步较晚，国内外相关翻译研究尚未成熟，因此在英译汉语新词的过程中出现了一些问题。前人已有相关文章指出过这些问题，但没有提出如何才能避免这种问题、提高译文质量。基于前人的相关理论和观点，并结合实例，本文将首先介绍汉语新词分类及其特点，然后说明跨文化翻译理论对于英译汉语新词的意义，最后介绍在跨文化翻译理论下英译汉语新词时的几种方法，希望为后续规范汉语新词英译行为提供必要参考。<br /> <br /> ==='''关键词'''===<br /> 汉语新词；跨文化翻译；英译；策略<br /> <br /> ==='''Introduction'''===<br /> With the growing power of China and the further improvement of the globalization, China's contact with other countries in the world has become closer. And how to maintain Chinese culture’s uniqueness when it is introduced to the world has been the top priority for translators. The development of China has given birth to a large number of Chinese neologisms with its uniqueness. The society changes with each passing day, covering from international affairs to domestic matters. Against this background, neologisms are likely to be derived. These words attract widespread attention and gradually enter people's daily life. Since the implementation of the reform and opening up to the outside world, a great number of Chinese neologisms have appeared. <br /> <br /> Not only do these neologisms with Chinese characteristics vividly show Chinese people’s understanding of their unique phenomena, but also they largely enrich the expression of Chinese. However, at the same time, these words pose serious problems for translators as well. On the one hand, the differences between Chinese culture and western countries’ culture are numerous, which makes it hard to find equivalent of Chinese neologisms in English. On the other hand, with the times going forward, the number of Chinese neologisms is steadily increasing, which results in difficulties in translating Chinese neologisms into English. Therefore, Cross-cultural translation of Chinese neologisms into English becomes prevailing. Cross-cultural translation theory was proposed by Mary Snell Hornby in her well-known representative book Translation Studies: an Integrated Approach. She believes that translation is not a process of decoding or the transformation of language symbols, but also the transformation of cultural patterns. Due to the rapid development of Chinese society in the past decade, more and more translators have turned to Chinese neologisms, making the study of English translation of Chinese neologisms a new focus. Chinese Translators Journal, Lexicographical Studies and other authoritative academic journals have set up columns for translation of Chinese neologism. There are also vocabulary books compiled according to the specific types of Chinese neologisms, such as Chinese-English Expressions of Current Events by Yang Quanhong and English Translation of Buzzwords and Sayings by Chen Dezhang. In addition, the most representative ones include Yang Quanhong's Approaches to Translation of Chinese Words and Expressions into English and Zhang Jian's On Translation of Chinese Press Neologisms into English. In the age of information, it is not hard to find English translation of Chinese neologisms on English learning websites such as https://www.chinadaily.com.cn/, https://www.en84.com/ and so on. These websites have launched platforms for English translation of Chinese neologisms and updated them timely. So far, scholars have studied Chinese neologism from different perspectives. This paper is based on 138 related articles including these key words such as “cross-cultural theory” “Chinese neologisms” and “English translation” on http://kns.cnki.net. Fu Rong narrated the difficulties and methods in The English Translation of Chinese Neologism from a Cross-cultural Perspective. Zhou Hongjie elaborated on the basic principles, methods and key points in The English Translation of Chinese neologisms from a Cross-cultural Perspective. In addition, a majority of articles analyzed the status quo in the English translation of Chinese neologisms from the perspective of cross-cultural translation theory, but few dwell on strategies of solving the problems during the course of translation. This paper introduces Chinese neologisms and its classifications and characteristic in the second section, the significance of cross-translation to Chinese neologisms in the third section and ways of translating in the fourth section. It is based on the previous viewpoints and puts forward practical strategies to be followed in the translation of Chinese neologisms from the perspective of cross-translation theory combining with examples.<br /> <br /> ===Chapter 1 Overview of Chinese Neologisms===<br /> <br /> Neologisms are words new in connotation or form. In other words, they can either be new words created to express new concepts and phenomena in line with times or existing words given new meanings. These words help the further development of language, embody Chinese people's latest understanding of the world with the times going forward, and enrich the expression and promote transmission of Chinese language. (Fu Rong, 2015: 80) To better translate Chinese neologisms into English, we need to have a deeper understanding of Chinese neologisms, including its classifications and characteristics.<br /> <br /> 1.1 Classifications of Chinese Neologisms<br /> <br /> Generally speaking, Chinese neologisms can be classified into four categories, namely, old words endowed with new meanings, Chinese abbreviations, newly generated words and loan words.<br /> <br /> Old words endowed with new meanings, as the name suggests, are existent words that have been endowed with new meanings for reuse even though have been forgotten for a long time. (Li Chunjiang, 2015: 62) Take “备胎(spare tire)”as an example, which refers to an extra tire carried in a motor vehicle for emergencies. It now refers to a back-up, second line, just-in-case, or a B-plan or contingency, in other words, someone who is benched now. Besides, “粉(powder)”originally refers to fine powder used for makeup or paint, while it means having a crush on or adoring a famous celebrity now. With the changing society of China, the essential characteristics of the things or phenomena referred to by the old words have changed as well. Because of the uniqueness pf Chinese words, it may be defective to use substitute words and fail to reflect the pun. Not only does endowing the existing words with new meanings produce connection between old words and new meanings, but also reduces the trouble of creating new words.<br /> <br /> Chinese abbreviations are the result of refining existing words. The process of extracting mainly depends on the importance of each part of the words. Those significant parts are selected to replace the lengthy words. The most common Chinese abbreviations can be divided into three forms. First, extracted initials. Such as “哥哥(brother)--GG”, “笑死我了(It’s so funny that I have a shortness of breathe)” and “漂亮小姐姐(good-looking sister)--PLXJJ”. Second, syllable imitation. Such as “呜呜呜 (onomatopoetic words of cry)--555”, “我爱你一生一世(I love you forever)--5201314” and “不要这样子(don’t do like this)--表酱紫”. Third: reduced words. Such as “很累，感觉不会再爱了(feel so tired that will not fall in love again)--累感不爱” and “躺着也中枪(a lying person can be shot as well)--躺枪”. Chinese abbreviations have their own laws of forming, so it is easy for us to understand as long as we recognize the laws of them. Besides, in the premise of reflecting the principle of simplicity and the purpose of economy frugality, Chinese abbreviations are helpful to ensure goog rationale and high semantic transparency. Nowadays, people are always pursing a simple and peaceful life, which gives rise to the frequent use of abbreviations. Nevertheless, the abbreviations of words should neither be arbitrarily imitated, nor be simply carried out by way of analogy. Instead, the abbreviations with the widest social acceptance should be selected through investigation and evidence collection from multiple aspects.<br /> <br /> Newly generated words can be roughly divided into two types. The first is generated through metaphors, similes and metonymy. For instance, “虎妈(tiger mom) is defined as strict disciplinarian mothers who demand high achievement from their children and maintain control of their activities”, and“猫爸(cat dad)”refers to fathers who take a more softly approach to parenting, preferring to be emotionally sensitive, gentle and relaxed about rules and discipline, and they are in the belief that this kind of parenting will make their offspring self-sufficient and independent. With new things coming in, people need words to describe them but there are no ready expressions at hand. The metaphorical use of some expressions will do the job as it will reflect the same essence of the objects through metaphor. The second type is created with the arrival of new phenomenon. For instance, “APEC蓝” is employed to describe the quality air and the exceptionally blue sky in Beijing during the APEC meeting in 2014. And “蒜你狠”is used to illustrate the price of garlic which soared more than 100 times in 2010, even outstripping meat and eggs. A great number of new phenomena and new concepts spring up, however, it’s hard to describe them with the existing words. Under this circumstance, the vocabulary system needs to produce more new words to meet the requirements of social communication.<br /> <br /> The advancement of globalization, communication and cooperation in some fields among countries are deepening day by day, which inevitably bring changes in language, and that is so-called “Chinese localization”. Loan words are “transformed” into Chinese words in accordance with the rules of pronunciation, semantics, structure and grammatical system of Chinese. In the mid-1970s, Taiwanese used “show--秀” as morphemes to match with &quot;做&quot; and &quot;作&quot;. To the surprise of the editor, these newly created words were so well-received in the entertainment industry that a large number of words such as “歌舞秀、双人秀、真人秀、脱口秀”were produced. Nowadays, the neologism “秀儿” referring to those who like to show off their resources is widely accepted. Similarly, “博客、思客、播客、朋客、创客”appeared one by one. “客” was derived from “黑客(hacker)”, in other words, the word group of “X客” were generated. <br /> <br /> 1.2 Characteristics of Chinese Neologisms<br /> <br /> In order to have better quality of translation of Chinese neologisms, translators need to have a deep insight into its characteristics. Chinese neologisms are characterized by cultural uniqueness, simplicity, vividness and uncertainty.<br /> <br /> Chinese neologisms come from a wide range of sources, but they all have roots in China. Some are based on Chinese culture. For instance, “山寨(mountain fastness)”originated from Water Margin, which used to refer to the place where the poor live. But when used online, the original meaning is transformed to plagiarism, imitation, parody and other popular cultural phenomena. Others are on the basis of customs. Take “红色炸弹(red bomb)” as an example. Since Chinese traditional wedding ornament is red, the word &quot;红色炸弹(red bomb)&quot; is used to describe the overwhelming wedding invitations. <br /> <br /> We are living in a fast-paced era. The speed of generation and transmission of information are accelerating. Under this situation, we crave for cost-effective communication. This status quo requires concise language. Chinese abbreviations exactly exemplify the simplicity. Abbreviations are condensed with rich information content, and effectively reinforce the expressiveness of Chinese vocabulary. Therefore, the number of abbreviations in vocabulary increases rapidly.<br /> <br /> The appearance of Chinese neologisms meets people's needs to describe an object or a phenomenon more vividly. Such as “人艰不拆” means that since life has been so hard, some things should not be exposed. And “酸菜鱼”is used for persons who are jealous, ugly, and redundant to make fun of themselves. “剁手党”refers to the addicted shopping crowd. They buy countless things, but often regret after calming down, even vow to chop off their hands if they don't act rationally next time. The vividness of Chinese neologisms adds humorous effects to the expression.<br /> <br /> With the crazy tempo of life, Chinese neologisms emerge in an endless stream. For one thing, with the increasing influence of network to people's life, online language is a shock to traditional language since many words are not compatible with Chinese language system. For another, neologisms fade away with the end of an event and are quickly replaced by neologisms with the times.<br /> <br /> ===Chapter 2 Cross-cultural Translation Theory and Its Significance===<br /> <br /> As Chinese neologisms are rooted in Chinese culture, translators are supposed to turn to cross-cultural translation theory when translating Chinese neologisms into English. Hence, having a deep insight into it and its significance helps improve the quality of translation.<br /> <br /> 2.1 Hornby’s Cross-cultural Translation Theory<br /> <br /> Cross-cultural translation theory refers to translation across cultural divide and be less influenced by factors such as politics, religions, regions and ideologies. Cross-cultural translation theory was put forward by German translation theorist Mary Snell-Hornby. From her perspective, translation is a kind of cross-cultural communication. In this way, translators should not only have a bilingual ability, but also the cultural backgrounds of the source language and the target language. In reality, there are no two completely equivalent language systems. Each language has its own uniqueness in terms of word formation, sentence construction and expression, which is even more distinctive in translating into the target language with totally different economic, political, social and cultural backgrounds. Therefore, cross-cultural translation becomes a rigid demand. In the process of cross-cultural translation, translators are supposed to strike a balance between Chinese style and maximize the recipients’ understanding and acceptances’ of Chinese culture. Mary Snell-Hornby proposed that translators should skillfully switch the two languages in the process of translation as well as deeply dig into the culture backgrounds behind the two languages. In other words, translation is more bicultural transformation than bilingual transformation. (Wang Weidong, 2011: 78).<br /> <br /> In the process of translation, the cultural deposits have a direct bearing on the expression of words, its connotations and emotions. Hence, translators must take these factors into consideration in translation. Cross-cultural translation theory has the following requirements for translation, which can be divided into three aspects: first, to express the meaning of the source language. Second, to dig out the cultural connotation of the source language. Third, to convey the emotion of the source language. Only when translator meets the three requirements above can the quality of the translation be guaranteed.<br /> <br /> 2.2 Significance of Cross-cultural Translation Theory<br /> <br /> The significance of Cross-cultural Theory to English Translation of Chinese Neologisms can be divided into the following three aspects. The British historian Dr. Toynbee once said, it is not surprising to say that the 21st century belongs to East Asia led by China for China’s control over East Asia is not merely political, but cultural. Though East Asian countries such as Korea and Japan maintain their political independence, they are strongly influenced by Chinese culture.” Therefore, promoting English translation of Chinese neologisms is very important for enriching the world language system, improving China’s soft power and introducing Chinese culture into the world.<br /> <br /> 2.2.1 Learning the Chinese Idiomatic Expression<br /> <br /> Translators can learn the rules of Chinese word-formation and characteristics of Chinese expression in the process of translating from the perspective of cross-cultural translation theory. There are great differences between Chinese and English word-formations. Take the three main forms of Chinese neologisms as example. Subject-predicate forms, such as “私聊” and“群聊”; Verb-object forms, such as: “煞风景”“抬杠”; Complementary forms, such as: “吓尿”and so on. In English vocabulary system, most compound words are in the form of nouns, while Chinese has a variety of parts, such as verbs, nouns and adjectives. Translators can grasp the characteristics of Chinese word-formation through the translation and readers can understand the Chinese idiomatic expression. <br /> <br /> 2.2.2 Spreading Chinese Culture Contained in Chinese Neologisms<br /> <br /> Chinese neologisms are produced in China’s distinctive environment, containing culture with Chinese characteristics. It is an effective way to spread Chinese culture contained in Chinese neologisms through cross-cultural translation. For example, “打虎” and “拍蝇” have become buzzwords in China these years. In fact, both above two neologisms are political terms. The “tigers” refer to corrupt officials at higher level and “flies” at grassroots level. Chinese neologisms are epitomes of China's development in a certain period, carrying much social information. The world can learn about the development of China through Chinese neologisms. Accordingly, determination of Chinese government to take out “tigers” and swat “flies” can be seen through these coinage of new terms such as “打虎” and “拍蝇”. Therefore, cross-cultural translation helps spread Chinese culture contained in Chinese neologisms.<br /> <br /> 2.2.3 Conveying Emotion Expressed by Chinese Neologisms<br /> <br /> Emotional expressions are essential to translation of Chinese neologisms. Translation of Chinese neologisms from the perspective of cross-cultural translation theory helps to convey emotion expressed. For example, it is not proper to translate“和事佬”into“peacemaker”. In Chinese, “和事佬”refers to persons who are unprincipled and blindly promote reconciliations, with derogatory meaning. While in English, “peacemaker” refers to those who create and safeguard peace, with commendatory emotions. Therefore, if the cross-cultural principles are violated in translation, there will be differences in the expression of emotions, which will hinder the expression of real emotions and lead to misunderstanding.<br /> <br /> ===Chapter 3 Methods of Chinese Neologisms Translation===<br /> <br /> To improve the quality of Chinese neologisms translation, translators need to have a full knowledge of problems existing in the process of the translation of Chinese neologisms, and then avoid them by choosing appropriate ways of translating and following principles of cross-cultural translation theory.<br /> The late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. <br /> <br /> Nowadays, it is common to see rigid translation, which leads to failure to convey its true meaning. For example, if “我好方”is translated into “I’m so square”, it will confuse readers. In fact, this neologism refers to people in panic. As its word “方”pronounces similarly to the word “慌”，it is employed to make fun of those who can't distinguish between “f”sound and “h” sound. Similarly, “蓝瘦，香菇” can’t be translated into “blue monsters and shiitake mushrooms” for it refers to “I’m so sad that I’m going to cry”. Hence, rigid translation will result in misunderstanding. Not only should we make translations interesting, but also we need to ensure they are correct.<br /> <br /> Many Chinese neologisms, after being translated into English, can express their meanings accurately, though fairly lengthy. For instance, if“无语”is translated into “have nothing to say”, it seems a little bit lengthy. We can translate it into“speechless”, instead. When translating Chinese neologisms, translators are supposed to use as few words as possible to accurately convey as much information as possible, making readers spend as little time as possible to understand them.<br /> <br /> Till now, many neologisms lack Chinese uniqueness after being translated into English. For example, “杠精”will lose the uniqueness the word“精”carries if it is translated into“argumentative person”. In China, “精”commonly describe demons and ghosts, with derogatory meaning, such as those used in“白骨精”“蜘蛛精”and“蜈蚣精”. In this case, it is not proper to translate“精”into “person”. Therefore, we need to ensure Chinese culture be spread in the process of translation.<br /> <br /> 3.1 Transliteration<br /> <br /> Transliteration is the translation of Chinese neologisms into English which sounds similarly to Chinese. Transliteration of Chinese neologisms into English can fully retain the pronunciation of Chinese and traditional Chinese culture. What’s more, it is more efficient.<br /> <br /> Zeng Lisa once proposed that translators should accurately convey more information with as few words as possible, so that the audience can obtain the clearest and smoothest information with as little time as possible. Transliteration gives priority to efficiency and can meet the requirements of the fast pace of modern society, improve the communicative efficiency of readers, and save space for readers' cognitive ability to play. <br /> <br /> For example, &quot;大妈&quot; is transliterated into &quot;dama&quot; and entered the Oxford dictionary. In addition to this, there are a sea of transliterations of Chinese neologisms in modern English vocabulary, for example: &quot;风水&quot; (fengshui), &quot;八卦&quot; (bagua), &quot;太极&quot; (taichi), &quot;气功&quot; (qigong), and &quot;武术 &quot;(wushu), &quot;功夫&quot; (kungfu), &quot;胡同&quot; (hutong), &quot;麻将&quot; (mahjong), &quot;叩头&quot; (while), and so on. Transliteration makes Chinese neologisms widely spread and its culture behind. However, if translators stick to the literal interpretation or explanatory translation of some words, it may lead to cumbersome words and poor quality. <br /> <br /> 3.2 Literal Translation<br /> <br /> Literal translation is one of the efficient way of translation. Literal translation enables us to directly find equivalent expressions in English in terms of form, style and connotation, which is the perfect embodiment of &quot;commonness&quot; between English and Chinese. Above all, literal translation helps promote Chinese culture.<br /> <br /> Language carries and transmits culture, as it is the heart of the cultural system. Culture influences and even shapes language, which is the foundation of language and the source of innovation. In the current context of cross-cultural communication, translation is not only a process of language conversion, but also a process of cultural transplantation.The transmission between eastern and western cultures is practical in theology, but it is limited in reality. Chinese neologisms are the most active part of Chinese vocabulary, which reflect the way of thinking, values, customs and lifestyles formed by the Chinese people in the new natural and social environment. Therefore, literal translation works for spreading Chinese culture. <br /> <br /> In modern English, examples of literal translation of Chinese neologisms can be found everywhere, such as “一国两制--one country, two systems”, “二孩政策--two-child policy”, “希望工程--Hope Project” and “好久不见long time no see” and so on. Literal translation is straightforward, concise and efficient. Not only can it effectively reduce the boredom caused by the transformation from Chinese to English, enrich the expressiveness of English, but also maximize the retention of Chinese cultural.<br /> <br /> Therefore, it is necessary to interpret or add annotations in the context, otherwise it is difficult to convey its Chinese characteristics and cultural connotation.<br /> <br /> 3.3 Free Translation<br /> <br /> Free translation is another way of translating, which emphasizes the relative independence of both Chinese and English. On the one hand, differences exist in different language systems including grammatical constructions and expressions. On the other hand, there are quite a few distinctions between different cultures including historical traditions, religious beliefs and even ways of thinking, ways of thinking. Therefore, sometimes free translation is required to avoid misunderstanding and disputes.<br /> <br /> Free translation refers to reproduce the matter without the manner, or, the content without form. Put another way, it explains the general idea of Chinese neologisms. For example, “豆腐渣工程” refers to the construction project that collapsed or did not comply with relevant regulations due to cutting corners in the construction process. It is translated into English as “jerry-built project”. “白色污染”, the pollution of the environment by plastic waste that is difficult to degrade, is translated as “plastic pollution”. In a word, although the paraphrased neologisms need not strictly stick to Chinese, it can better reflect the meaning of Chinese.<br /> <br /> ==='''Conclusion'''===<br /> <br /> The emergence of Chinese neologisms demonstrates a new face of China. Neologisms are new in content, form, and content, which are produced to express new concepts and phenomena. However, due to the obvious cultural differences between China and western countries, there are many obstacles in the course of translating Chinese neologisms into English. Neologisms are perhaps the number one problem for non-literary translators and professional translators. Under this circumstance, cross-cultural translation of Chinese neologisms becomes a prevailing trend. Cross-cultural translation refers to translating crossing cultural divide and being less influenced by factors such as politics, religions, regions and ideologies. In a way, translating Chinese neologisms into English from the perspective of cross-cultural translation theory can help to promote understanding of Chinese. In another, it can effectively convey the emotions expressed by neologisms. Moreover, it can help to promote the spread of Chinese culture. In spite of the continuous standardization and improvement of translation, there are still some problems in the process of translating Chinese neologisms into English, such as rigid translation, wordy translation and translation with cultural loss. English translation of Chinese neologisms may be a daunting problem, so we need translators with joint efforts, both stick to effective translation methods, flexible and innovative, and latest changes, in order to improve the overall quality of translation of Chinese neologisms, thus speak up aloud in the international community. In this paper, three main strategies are suggested, and they are transliteration, literal translation, and free translation. To better translate Chinese neologisms from the perspective of cross-cultural translation theory, translators need to adopt compatible ways of translating with different types of Chinese neologisms and target readers. On the one hand, it is necessary to fully grasp Chinese neologisms, which requires translators to have more knowledge of Chinese cultural background and Chinese idiomatic expression. On the other hand, we should find the way of translating which is most accepted by readers. <br /> <br /> Moreover, Chinese neologisms are constantly updated with the development of the society. If we do not keep pace with the times and know the latest meaning of Chinese neologisms, it may lead to misunderstanding. (Tian Longjiao, 2013: 160) Therefore, translators should constantly supplement, update or revise the English translation of those Chinese neologisms without definite translation, which is an important guarantee to keep the English translation of Chinese neologisms accurate. Advancing with the times often requires translators to pay close attention to the post-translation effect. On the other hand, translators should also constantly draw on new English words. Chinese neologisms have strong timeliness, especially with the increase of Internet users, hence, at any one time emerge Chinese neologisms which are closely associated with the society. In short, in the process of translation, translators must pay attention to riding on the trend of the times so as to update the expression of the target language and readily accepted by readers. Update expressions means keeping up with the development of the times and use idiomatic English to illustrate new things, new words and new expressions. <br /> In other words, on the basis of grasping the exact meaning of Chinese neologisms, we should make it understood in English. Translators should not only improve their ability to understand Chinese, enhance their ability to translate Chinese into English, but also be keeping with the times so as to introduce more Chinese neologisms into English and continuously inject more Chinese elements into English. In this way, Chinese culture can be spread and the expression of English can be innovated.<br /> <br /> ==='''References'''===<br /> <br /> [1]Baker Mona. In Other Words: A Coursebook on Translation [M]. London/New York: Routledge, 1992.<br /> [2] Jing Huang. Study on the Influence of Cultural Construction and Cultural Deficiency on English Translation[A].He Nan: Proceedings of 2019 International Conference on Humanities,Cultures,Arts and Design, 2019.<br /> [3] Kata. An introduction for translators, interpreters and mediators. [D].Manchester: St Jerome, 2004.<br /> [4] Min Deng. Cultural Differences between Chinese and English Color Words and Their Translation[A].Hong Kong: Proceedings of 2019 International Linguistics, Education and Literature Conference, 2019.<br /> [5] Newmark Peter. A Textbook of Translation [M].Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> [6] Pym. Translation and text transfer. 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Translation as a media plays an important role in cultural communication. ''A Bite of China'', a TV program to introduce Chinese dishes, has gained popularity at home and abroad, thus broadcasting Chinese dishes. But difficulties in translating Chinese dishes are evitable considering abundant culture-loaded expressions and complex cooking skills. The chapter discusses theoretical and practical significance of researching Chinese dish names. We summarize some point of views from other scholars. Also, we analyze the difficulties in translating Chinese cuisines from a functional equivalence perspective. We will discuss three strategies for translating Chinese dish names combined with translation examples.(Zhangtingli 2015,1-2)<br /> <br /> === Keywords ===<br /> <br /> Chinese-English Translation; Chinese Dish Names; Functional Equivalence<br /> <br /> === 摘要 ===<br /> <br /> 中国国际影响力不断提高，文化交流的使命更加艰巨。翻译作为文化交流媒介，其重要性也不容忽视。中国饮食文化节目《舌尖上的中国》在海内外热播也进一步推动了中国特色饮食文化的传播，但是其丰富的文化内涵和多样的烹饪技巧也给译者带来不少困难。本文探讨研究中国菜名翻译的理论和实践意义，总结中国菜名翻译目前的研究成果。从功能对等理论出发，分析中国菜名翻译的困难，同时也结合翻译实例，提出三个中国菜名翻译的策略。<br /> <br /> === 关键词 ===<br /> <br /> 中译英；中国菜名；功能对等<br /> <br /> === Introduction ===<br /> <br /> As the old Chinese saying goes, food is the God of the people. In other words, we regard food as the primary need. Chinese cuisine has a firm connection between our daily life and Chinese culture. But when it comes to Chinese cuisine, there are many aspects left for us to consider, such as the etiquette of dining table, dietary structure or habits, the art of dietary decorations and cultural connotation. In the chapter, we will mainly focus on Chinese dish names. From semantic linguistic point of view, there are two structure in a language. The surface structure is Chinese dish names themselves, but the deep structure is the meaning behind these dish names. It’s not surprising that we will discuss the relationship between some Chinese dish names and their cultural connotation in the later part of this chapter. Chinese dish names are endowed with Chinese culture through culture-loaded expressions or idioms. When we dive into our research, it’s easy to find out that behind some dish names from historical stories and anecdotes are layer upon layer of meanings. Although the majority of us understand the importance of translating Chinese dish names, good translations still remain in the dark. The reasons abound, ranging from a great variety of Chinese dishes and difficulty in fully understanding of cultural connotation behind Chinese dishes.(Chu Yiyi 2017, 3-7)<br /> <br /> The chapter takes functional equivalence coined by Eugene Nida as a theoretical basis. In the first part, we look back on previous studies on the C-E translation of Chinese dish names. In the second part, we try to discuss difficulties in translating Chinese dish names in terms of basic information and cultural backgrounds. In the third part, we review functional equivalence theory. In the last part, we turn to discuss the possibility of applying the theory into translation practice on Chinese dish names in order to improve C-E translation of Chinese cuisine. We consolidate commonly used strategies into three combined with translation examples in reality. And then we summarize what we have discussed before and to point out limitations of this chapter. The purpose of our research is to have a better understanding of our own culture and transmitting Chinese culture to foreigners. Apart from cultural aspect, cultural communication interconnects with economic and political aspect, which is one of reasons why China attaching much importance to cross-cultural communication and transmission.<br /> <br /> === Previous Studies on the C-E Translation of Chinese Dish Names ===<br /> <br /> There are some scholars who have paved the way for our further researches. Among these researches, almost all of scholars share the same Chinese cultural background. Some of them describe strategies for C-E translation of Chinese dish names based on several translation theories. Others analyze the C-E translation of Chinese dish names at restaurants abroad. Zhang Tingli (Zhang Tingli 2015, 1-2) summarized six characteristics of Chinese dish names based on A Bite of China, a popular TV program in China. Below are six characteristics: place names plus ingredients, personal names plus ingredients, main ingredients plus supplementary ingredients, cooking procedures, various flavors and cultural elements. Li Weiwei (Li Weiwei 2017, 1-2) wrote a report on Chinese-English cuisine interpretation under the guidance of Skopos Theory, including the Skopos rule, the coherence rule, the fidelity rule and the loyalty rule. Che Yimo (Che Yimo 2019, 1-2) summarize three principles to analyze the menu translation quality of a Chinese restaurant based on cross-cultural communication theories. The three principles include semantic proximity, cultural communication and aesthetics. Xue Jingnan (Xue Jingnan 2015, 1-2) involves an analysis of the translation of Chineseness by Chinese-Candians in food discourse from a cultural perspective, which providing a glimpse into Chinese culinary identity. Similiarly, Lee Yi Yan (Lee Yi Yan 2016, 1-2) mainly focus on cultural and sociological phenomenon behind Chinese food. His research is based on two types of popular Chinese food narratives: Ang Lee's Eat Drink Man Woman published in 1994 with a televisual documentary series ''A Bite of China'' released in 2012. As the chapter published in International Communication of Chinese Culture (Kai-Chee Lam, Man-Ling Ng, Lay-Hoon Ang &amp; Radina Mohamad Deli 2018,1-2), four scholars collected from Malaysian Chinese weddings and the lunar new year celebration in order to investigate the concrete and abstract naming of Chinese dishes and to discuss the common cultural considerations underlying them. They found that concrete naming deals with the tangible aspects of a dish by incorporating method of preparation, taste/aroma, appearance of dish, as well as container used. Under the guidance of their chapters, we are able to explore more in this infinite sphere. We pay tributed to great efforts they have paid. While researches on the C-E translation of Chinese dish names have spread into most sectors, researches from a functional equivalence theory are few because previous scholars mainly apply Skopos theory and cross-cultural theory into their researches. In the chapter, we will discuss the C-E translation of Chinese dish names coupled with functional equivalence theory. In the next part, we will turn to existing problems in the C-E translation of Chinese dish names. (Zhang Tingli 2015, 1-2)<br /> <br /> === Existing Difficulties on the C-E Translation of Chinese Dish Names ===<br /> <br /> (1) Difficulty in Transmitting Basic Information of Chinese Dish Names<br /> <br /> Different translation versions of a Chinese dish always make foreigners confused. For example, there are at least three versions of 炮弹鱼, including Shell fish, bullet mackerel and trigger fish. We often blur the lines between scientific name and general name in our translation. Also, sometimes we seem to ignore distinct difference between two things by using the same name to define them. For example, some translators use bamboo fungus and edible tree fungus to stand for竹笋 and 木耳 respectively, but in reality 竹笋is completely different from 木耳. There are some subtle differences among Chinese dishes. As Mo Chuanxia and Yue Lin (Mo Chuanxia &amp; Yue Lin 2020,5) mentioned in their chapter, 水米籺is cooked rice pounded into paste with stuffing inside for worship or diet. 籺is a defining food for South China, especially in Guangdong provinces. It is totally different from cake or pastry in Western culture. The best way to translate it is to use explanatory words. Below are some C-E translations related to Chinese dishes: 黄馍馍(yellow steamed bun), 肉夹馍(the marinated meat in baked bun), 榴莲酥(crispy durian cake) and蒿子粑粑(crown daisy rice cake). Everyone who has ever eaten these four kinds of food will have an inkling of knowledge about the different flavor and shape between 黄馍馍and肉夹馍. Likewise, the word “sausage” is insufficient to translate 血肠, 腊肠 and 香肠. For some well-known Chinese food such as tofu, it’s unnecessary to translate it into bean curd as in 油豆腐(fried bean curd puff). It seems to be nonessential part in translating Chinese dish names because we often are encouraged to create our own translation. But for long-term effects, chaos will lead to negative impact on economic benefits of those Chinese dishes and cross-cultural communication. (Mo Chuanxia &amp; Yue Lin 2020,5) <br /> <br /> Judging from a great variety of cooking techniques in many Chinese dish names, they bring a lot difficulties in the rendering of Chinese cuisine. In Chinese, there are a lot of verbs to describe how to cook. I list some common verbs below: 炒, 煮, 炖, 炸, 煎, 煲, 蒸, 烧, 焖 and 拌. But when it comes to C-E translation, we translators seem to ignore these verbs and use the same &quot;with&quot; structure to translate all of them as in 莴笋炒火腿(Stir-fried ham with asparagus lettuce), 莲藕炖排骨(Stewed ribs with lotus root) and 虾子焖茭白(Shrimp roe stewed with cane shoots). On top of these commonly used verbs, some verbs are really difficult to understand for native speakers who are unfamiliar with cooking, let alone for foreigners. The four words list below is a case in point: 煸, 焙, 焗 and 烩. The reason behind this phenomenon lies in lacking language about cooking techniques. The word list in this paragraph is more about the duration and degree of heating while cooking Chinese cuisine. As a translator, we should not only know general translation skills that can applied to a large number of texts, but also should have the inkling of other fields. Without background knowledge on cooking procedures, they will be stumbling blocks for translators striving for concise and accurate renderings. (Chu Yiyi 2017,13)<br /> <br /> After discussing cooking techniques in Chinese dish names, we will turn to the different flavor of Chinese cuisine. When burying myself into oceans of Chinese dishes, I divide all sorts of flavors into two categories. In the first category, word list includes 酸辣, 三鲜, 川味, 麻辣, 卤味, 家常, 酱香, 五香, 香辣 and 酥. In the second category, 孜然, 铁板, 鼓汁, 姜汁, 泡椒, 糖醋 and 蒜泥 will put in a group because these nouns mainly derived from ingredients and cooking utensils rather than the flavor itself. The main function of these words are not referential but beautifying. The flavor of delicious Chinese cuisine was represented by these beautifying words, thus triggering mouth-watering effect. But it's hard for target reader to get the same effect as source reader through translation due to lacking equivalent words and expressions. Likewise, some Chinese words that refer to all sorts of food don't have equivalent one in English such as 什锦, 八宝 and 拼盘. If we translate them into &quot;all sorts of food&quot;, the aesthetic effect weaken. Whereas the translation loss and gain are inevitable, underlying aesthetic effect plays an imporant role in translation process. On top of this, cuisines with Chinese characteristics lead to translation problems. Below are some Chinese dish names: 红豆沙, 撞奶, 龟苓膏, 木瓜雪耳羹 and 蛋白果糖水. Lexical vacancy leads to losing the adding touch that brings a work of art to life. Many translators tend to use word-for-word rendering to translate these Chinese dish names such as 红豆沙(orange flavored red bean paste). Since Chinese dish names not only contains basic information of main ingredients and cooking skills but also mirrors culinary identity and wisdom, translators are supposed to pay considerable attention to convey layers of meaning in Chinese dish names.(Che Yimo 2019, 6)<br /> <br /> (2) Difficulty in Considering Different Cultural Backgrounds<br /> <br /> Diffference between Western culture and Chinese culture leads to problems in culture-loaded Chinese dish names. Chinese dish names are endowed with good omen. 鸳鸯锅(double-flavor hot pot) is a case in point. In Chinese culture, 鸳鸯 is a symbol of beautiful love and perfect marriage. But the beautiful underlying meaning lost in Western culture. Appropriate ways to deal with culture-loaded words or expression become an issue in the C-E translation of Chinese dish names. Though double-flavor hot pot conveys the basic information of this dish, signified meaning still remains in the darkness. Likewise, attention-grabbing Chinese dish names combined with Chinese culture background lead to translation problems such as 刀板香(sliced salted pork) and 片儿川(noodles with preserved vegetable) . 刀板香 is a traditional pickled food in Anhui province. Through its dish names, it's difficult to know the main ingredients of this dish. A story lies behind the dish: When a person called Hu Zongxian came by one of his teachers, the wife of his teacher treated him with a delicious dish made by pork slices. Hu Zongxian felt satisfied with the dish and named it as &quot;刀板香&quot;. 片儿川 is the most well-known dish in 奎元馆(a famous restaurant in Hangzhou). In the Qing Dynasty, there were many examinees rushing to join a ancient test for selecting officials in Hangzhou, Zhejiang. Examinees from all over the country gathered in Hangzhou. In order to attract them, the shopkeeper supplied noodles made of pour-sweet vegetables, bamboo shoots, and pork slices. Three eggs were added to breakfast noodles, which contained a good omen for examinees. Therefore, a large number of examinees often came to eat noodles because Kuiyuan’s noodles were so cheap. Later, one of the examinees was got number one in a round of test. When he went to the store to thank the owner, he found that the restaurant didn't have a name. So he named it &quot;Kuiyuan Hall&quot;. Since then, 片儿川 in Kuiyuan Hall has become famous and tables in Kuiyuan Hall are in full bloom. All those who come to Hangzhou to take the exam will come here to eat noodles for good luck. 片儿川 has specially meaning for the person who are going to test. Similarly, foreign foods invade into our daily life with increasing cultural communication. The origin of 罗宋汤(Borscht) is in Ukraine. 罗宋 is the transliteration of Russian and is originated from the early Shanghai Pidgin English. Russian Borscht (Borshch) is another commonly used name. During the October Revolution, a large number of Russians moved to Shanghai. They brought vodka and Russian-style western cuisine. The first western-style cuisine restaurant in Shanghai was opened by the Russians. This soup evolved from the Russian-style red cabbage soup. The Russian-style red cabbage soup is spicy and sour but Shanghai people are not used to it. Later, influenced by local taste, it gradually formed a unique Shanghai-style borscht. In Shanghai-style borscht, we take beets as the main ingredient with supplements such as potatoes and carrots, spinach and beef, cubes and butter. From what we discussed before, we can conclude that Chinese dish names often pay considerable attention to good connotation. Abstract meaning mainly derived from legends, idioms, historical events and auspicious words. When we start to translate Chinese cuisine, cultural considerations are indispensable part to consider. It should be noted that translators take the responsibility to fill the gap between Chinese culture and Western culture. (Mo Chuanxia &amp; Yuelin 2020, 7)<br /> <br /> Except for source cultural background, target cultural background is also of great importance. When it comes to cultural taboos, 龙(dragon) is the first symbol coming to our mind. Whereas 龙 are often embedded with good connotation in Chinese culture such as good fortune and bright future, 龙 often stands for brutal animal or person as in the well-known epic Beowulf. Below are some Chinese dish names with 龙: 龙抄手 (Easter Bunny Wonton), 龙须面(fine noodles) and 乌龙吐珠 (Sea Cucumber with Quail Eggs). Some translators replace dragon with bunny due to different preference between Chinese culture and Western culture. Others omit word-for-word translation, rather emphasizing the main ingredients of the dish. In addition, some Chinese dish names with internal organs such as intestines or blood may keep target readers at bay. For example, in 肠粉(Steamed vermicelli roll) and 脑花(brain or brain flower), the former hightlights main ingredients rather than being confined to word-for-word translation, but the latter fails to arouse target reader's appetite. Further explanation and translation skills are involved in these dish names. Other examples include 夫妻肺片(Sliced Beef and Ox Tongue in Chili Sauce) and 撒尿牛丸(juicy beef ball). Word-for-word translation can be confusing or even disgusting for people who are unfamilar with Chinese dishes. 夫妻肺片 is a well-known dish mainly made by ox tongue, tripe and beef. Guo Chaohua (husband) and Zhang Tianzheng (wife) created the dish. Nowadays, it becomes part of Chuan cuisine. Contrary to the dish name, lungs of different animals are not the main component of the dish because 肺片 is originated from 废片. 废片 is a humourous name for all sorts of sliced internal organs. Likewise, though juicy beef ball conveys the basic information of the dish, it loses its attraction and refreshing impression. Therefore, target readers will have totally different feeling from source readers. The equivalence between SL and TL can be broken. In the next part, we will have a brief review of functional equivalence theory in order to discuss the application of the theory into C-E translation of Chinese dish names.(Wu Tingting 2017, 4)<br /> <br /> === Functional Equivalence Theory ===<br /> <br /> Functional Equivalence put forward by Eugene. A. Nida, a renowned American linguist and translation theorist. Functional equivalence theory focus on the verbal comparison between the SL and TL. Nida attempts to offer a new way to produce an equivalent, taking the relationship of the receptor to the text into account. Functional equivalence theory developed from dynamic equivalence. He defined dynamic equivalence as &quot;the quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors. Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida 1969, 200). In the later works, he thought that the adequacy of a translation depended on “the reliability of the text itself, the discourse type, the intended audience, the manner in which the translated text is to be used, and the purpose for which the translation has been made” (Nida 1993, 127). Under the influence of Eugene. A. Nida, other subsequent scholars also put forward their own understanding of functional equivalence. In the views of Christian Nord, the translator recreates the text in target language by keeping some source-text information or linguistic elements invariant and adapting the rest to the receivers’ background knowledge, expectations and communicative needs or to such factors as medium-restrictions and deixis requirements(Yue Siwei 2013, 61-68). The term the closest natural equivalent implies that the rendering must be readable (related to the language form) and understandable (related to the content) to the target receptors, since different languages have different features of grammar and lexicon. Functional-equivalence requires the highest degree of proximity (Zhang Qing &amp; Wang Jiaqi 2010, 880-888). The translation is a reproduction process of source text in target language, observing the target culture. The target language features in terms of contents, sentence structure and lexis should be considered as criteria to adapt the source text before translating. The source text elements that do not fit in target culture should be revised or even neglected in translating so as to transfer the flavor of source text while not violating target culture. (Nida 1993, 127)<br /> <br /> In Nida's view, the success of the translation depends above all on achieving equivalent response. It is one of the four basic requirements of a translation, which are 1. making sense; 2. conveying the spirit and manner of the original; 3. having a natural and easy form of expression; 4. producing a similar response. He pays great attention to equivalence and reader's response. Nida's functional equivalence theory has gone through three stages of development ranging from formal equivalence and dynamic equivalence to functional equivalence. The core of Nida's theoretical framework is mainly functional equivalence. Functional equivalence is mainly to enable translation and original text to be equivalent in language function, rather than language form correspondence. The reader of the target language should fully understand the customs, social consciousness and habitual expression mentioned in the original context. This receptor-oriented approach considers adaptations of grammar, of lexicon and of cultural references to be essential in order to achieve naturalness. The target language should not show interference from the source language and the foreignness of the source text setting is minimized. Except for equivalence, reader's response pays an important role in functional equivalence theory. In contrast with traditional translations views towards the source text and the target text, functional equivalence translation pays considerable attention to the receptor‟s response and the naturalness of the target language rather than language forms as formal equivalence. Though later translation theorists critize Nida's functional equivalence given the impossibility of achieving functional equivalence in translation process, his functional equivalence has still paved the road away from traditional translation views by instilling fresh views into translation studies. Functional equivalence theory provides a glimpse into dealing with the relationship between target text and related cultural expectations. For real and practical translation, functional equivalence set the standard for what good translation is. So in the next part, we will discuss the application of this theory in the C-E translation of Chinese dish names. (Jeremy Munday 2016, 126)<br /> <br /> === Application of Functional Equivalence Theory in the C-E translation of Chinese Cuisine ===<br /> <br /> 4.1Princples of C-E translation of Chinese Cuisine<br /> <br /> Principles on C-E translation abound given different original texts. When it comes to C-E translation of Chinese Cuisine, two principles should be mentioned. What comes first is faithfulness. The translator is supposed to translate the basic information of Chinese cuisine. Sometimes, ingredients and cooking procedures should be included into the translation process. The main purpose of our translation is to inform target readers, especially foreigners who know nothing about Chinese. In Chinese, we often use the number three to represent three kinds of ingredients. Therefore, we translators should list three ingredients clearly in translation process. For example, in 扣三丝,some translators render it into Chicken, mushroom, ham threads in consommé. Though this rendering is in great detail, target readers can catch the point quickly. But for other larger numbers such as five and eight, listing all ingredients will lead to clumsiness. 八宝菠菜(Spinach with Eight Delicacies) is a case in point. This is the living proof for precise and clear translation. Faithfulness is not equal to word-for-word translation. Various translation skills should be involved in translation process in order to arrive at the principle of faithfulness. But the principle of faithfulness is not enough for a good translation. (Qing Zhang &amp; Jiaqi Wang 2010, 880)<br /> <br /> It’s noted that distinct cultural difference plays an important role in cultural communication. If a translator fails to delivery cultural connotation in a Chinese cuisine, these cultural-loaded dish names lost their attract towards foreigners. Even though native speakers are able to understand what a Chinese cuisine refers, the functional equivalence is out of balance. The purpose of our study is not only to provide a glimpse into informing foreigners when they barge into a Chinese restaurant, but also to spread Chinese culture behind Chinese cuisine. For example, in 烩南北(Stewed Mushrooms with Winter Bamboo Shoots), target readers fail to get the meaning from original words. Literal translation doesn’t fit in this Chinese cuisine because ingredients and cooking procedures are difficult to understand unless we dig more information on the Internet. The origin of the dish name lies in two different ingredients. Bamboo shoots are most in the south of China and mushrooms are most in the north of China. The combination of bamboo and mushroom represents the combination of culture in two parts of China. The precious value of Stewed mushrooms with winter bamboo shoots also lies in the combination of two precious ingredients. The same goes for榆钱饭(Elm Seeds Meal). 榆钱 is originally an ingredient in Shangxi province. But the dish name also bodes well for well-off or prosperous future. Chinese people attribute their wish of getting more money into the word 钱(money). It sounds vulgar but the true wish is to live a better life. When translating Chinese cuisine, translators should consider the different cultural backgrounds in order to spare no efforts to broadcast Chinese culture. On top of this, some dish names are complicated to render them. For example, 龙, an image with red and gold color, refers to good wishes for prosperous future in China but it’s disgusting in Western culture. Therefore, when we translate龙抄手, the word 龙 should be replaced by other words. Some translators try to translate it into Easter Bunny Wonton. Also, the same goes for words referring to internal organ. 肠粉is a case in point. A dish name with intestines will lead to vomiting before eating. What’s more, the main ingredient in肠粉has nothing about intestines. Steamed vermicelli roll is a better translation version. The most scary and well-known Chinese dish name I have heard is 夫妻肺片. But the power of ingenious translation can help foreigners understand this dish and avoid awkwardness ahead of them. While broadcasting Chinese culture, culture taboos in the culture of target readers also need to be taken into our consideration. After we have put forward two principles for C-E translation of Chinese cuisine, the next part will discuss some strategies available for translators in the translation process.(Qing Zhang &amp; Jiaqi Wang 2010, 885-888)<br /> <br /> 4.2Strategies for C-E translation of Chinese Cuisine<br /> <br /> First and foremost, a large number of Chinese cuisines can apply literal translation in some way. The main cooking procedures, ingredients and skills should be very clear in dish names. Lexical equivalence is the main purpose of literal translation. Also, we can divide the application of literal translation into four parts. The first part is the combination of main ingredient and other supplementary ingredients. For example, in 羊肚包肉, roasted mutton wrapped in lamb tripe can avoid ambiguity. The most special ingredient in the dish is roasted mutton, which delivers some flavors to target readers. We can also render “番茄牛腩” into tomato and beef brisket. The spicy beef briskets and sour tomatoes arouse different feelings in the heart of target readers. Sometimes, the flavor of a dish makes itself clear in the name of a dish. When we use literal translation, the flavor of a dish such as剁椒 and 家常 cannot be ignored. For example, in剁椒鸭肠(Duck Intestines with Chili) and家常烧蹄筋(Home-Style Braised Beef Tendon), Chili and home-style not only inform foreigners of basic information of this dish, but also arouse a sense of taste in their mouths. The third part of the application of literal translation is the combination of utensils and ingredients such as 砂锅面(Casserole Noodles). In Chinese, 砂锅 is a utensil for cooking. But with increasing popularity of noodles cooking by casseroles, casserole noodles have become a Chinese dish. The last part of the application of literal translation lies in the combination of cooking methods, eating methods and ingredients. 手抓饼(Shredded Cake) is a case in point. Opposed to forks in Western culture, Chinese tend to use chopsticks. Therefore, Shredded Cake is a dish without using chopsticks or any other dinner sets. But literal translation is not a sliver bullet for all C-E translation of Chinese cuisine. Sometimes, a dish includes too much ingredients or cooking procedures. If we apply to literal translation in the case, we will sacrifice simplicity in order to maintain faithfulness. Also, some translators applied to literal translation with annotation in order to render dish names clearly. For instance, let’s take “长寿面”, a cuisine name from A Bite of China as an example. The translation provided in “longevity noodles”, followed by the annotation “the noodles are long and slim, and long is homophonic to ‘chang’ and slim to ‘shou’, ‘changshou’ means longevity”. In the case, not only can the foreigners know the basic meaning of the dish, they can also understand its cultural meanings (Chu Yiyi 2017, 9). Another example is螺蛳粉. Some translate it into Snail Rice-flour Noodles, a local snack in Liuzhou. Snail Rice-flour Noodles is very faithful to the Chinese dish name. But the translator added some explanations to emphasize local characteristics. The origin of Snail Rice-flour Noodles is in Liuzhou, Yunnan province. In the case, the translator tried to spread local culture in a dish name.(Chu Yiyi 2017, 9)<br /> <br /> Secondly, dishes with local names can apply to transliteration such as兰州拉面 Lanzhou Beef Noodles), 金华火腿(Jinhua Ham) and重庆小面(Chongqing Small Noodles). Some local names have become a brand for selling. They emphasize the authentic flavor of these dishes in order to attract people from other places or countries. As for some culture-loaded dish names, we fail to find the equivalent words in English. That’s the reason why we resort to transliteration. It’s a translation method mainly depend on Chinese pinyin such as Lanzhou, Jinhua and Chongqing as we mentioned above. One of the perks of transliteration is to emphasize local characteristics and spread local cultures. But transliteration is not confined to this area. Some translators combine transliteration into literal translation. For instance, if we simply translate “东坡肉” literally into“Dongpo’s Pork” without any further explanations, the target readers will get confused if they first see the translation. Thus, explanation “Dongpo, a famous poet in Song Dynasty” needs to be added (Chu Yiyi, 2017). Some dish names are from foreign countries such as 生鱼片(Sashimi). Sashimi is Japanese way of speaking. Transliteration with sounds of foreign languages can apply to these Chinese dish names. Some translators also translate腌制泡菜 into kimchi rather than pickles cabbages, thus emphasizing Korean flavor rather than Chinese flavor. But there are few dish names originated from foreign languages. (Chu Yiyi 2017, 12)<br /> <br /> Lastly, some Chinese cultural-loaded dish names fail to fit the framework of literal translation and transliteration. Translators should apply free translation into their translation process. There are four categories of free translation applied to C-E translation of Chinese cuisines: named according to the characteristics of ingredients metaphorically, named after historical allusions, named according to the production process metaphor and named after the meaning of good. As for the first category, 蚂蚁上树is a good example. The word-for-word translation of蚂蚁上树 is ants on a tree but it does not deliver the essence of the dish. The main ingredients of the dish are minced pork and fine vermicelli. The final dish is similar to ants on the tree, so Chinese give it a metaphorical dish name. Sauteed Vermicelli with minced Pork is a better version than the original translation. Some dish names are full of historical allusions such as霸王别姬. The deep-level meaning of the expression霸王别姬 is to reveal the tragic ending of a hero in history. But there is a coincidence for the combination of turtle and chicken in the dish 霸王别姬. Different from mandarin, Chinese people give a nickname “王八” for turtle. 姬in 霸王别姬 sounds similar to 鸡(chicken). The word-for-word translation of 霸王别姬 is farewell my Concubine, but turtle stewed chicken is easier to understand for target readers. As for the third category——named according to the production process metaphor, 驴打滚 is a case in point. 驴打滚 is one of the traditional snacks in the northeast China, especially in Beijing and Tianjin. It is a three-color snack with yellow, white and red. The final process of making is to sprinkle on the soybean noodles, which looks like wild donkeys rolling up of the loess in suburb, so we named it 驴打滚(Donkey Roll). But compared to donkey doll, fried chop rice cake shows the main ingredients of the dish, thus lowering the hurdles for understanding. As for the last category, 佛跳墙 is a case in point. The literal meaning of 佛跳墙 is that a Buddha jumps over the wall. But actually 佛跳墙 is a dish cooking all things in one pot. It comes from a story: when we open the jar, the smell of a dish become popular in other places as well. That attracts many Buddhas who jump over the wall to have a see. Also, the dish bodes well for longevity and reunion. That’s why we also call it 福寿全, a word full of good omens.From strategies discussed above, we can find that there is no fixed pattern for C-E translation of Chinese cuisines. We translators should bear these principles and strategies in mind and put them into practice in our translation process. The ultimate goal for our translation is to produce a simple but accurate translation to inform target readers, especially foreigners. (Siwei Yue 2013, 65-68)<br /> <br /> === Conclusion ===<br /> <br /> With the popularity of Chinese culture, there has been a resurgence of interests in C-E translation of Chinese cuisine. In this chapter, I discussed the previous studies on this topic with functional equivalence theory in order to emphasize the importance of our research and try to find research gap among these chapters. After discussing the existing problems on C-E translation of Chinese cuisine, I summarized some principles and strategies that can apply to C- E translation of Chinese cuisine. But what I discussed in the chapter is only a panoramic view of Chinese dish names. There are eight classifications of Chinese famous cuisines ranging from Lu Cuisine and Chuan Cuisine, Yue Cuisine and Min Cuisine, Su Cuisine and Zhe Cuisine, Xiang Cuisine and Hui Cuisine. Under these eight Chinese cuisines, there are distinct differences in dish names considering region and ethnic group. As we know, one size can’t fit all. 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(2017). 目的论视角下的中国菜名汉英口译实践报告[A practical report on Chinese-English interpretation of Chinese cuisine names from the perspective of purpose theory].山东：山东大学[Shangdong: Shandong University].<br /> <br /> *莫传霞,岳玲[Mo Chuanxia, Yue Ling].(2020).“再创作”翻译思想下的北海民俗饮食文化英译[The English translation of Beihai folk food culture under the idea of &quot;re-creation&quot; translation]. 广西教育学院学报[Journal of Guangxi Education College] (05) 78-81.<br /> <br /> *屠易义[Tu Yiyi].(2017). 从文化角度谈中式菜名的英译方法[The English Translation of Chinese Cuisine Names from a Cultural Perspective].上海：上海外国语大学[Shanghai:Shanghai International Studies University].<br /> <br /> *邬婷婷[Wu Tingting].(2017). 目的论视角下中式菜肴简介英译的翻译报告[A Translation Report on the English Translation of Chinese Cuisine Introduction from the Perspective of Purpose Theory].宁波：宁波大学[Ningbo: Ningbo University].<br /> <br /> *吴慧琦[Wu Huiqi]. (2020). 中西方饮食文化差异与菜名翻译——评《中西方饮食文化差异及翻译研究》[Chinese and Western food culture differences and the translation of dish names--Review of &quot;Chinese and Western food culture differences and translation research&quot;]. 食品工业[Food Industry] (09) 364-365.<br /> <br /> *张婷丽[Zhang Tingli].(2015). 目的论指导下的《舌尖上的中国》菜名英译策略[The strategy of English translation of the dish names of &quot;China on the Tip of the Tongue&quot; guided by purpose theory].湖南：湖南师范大学[Hunan: Hunan Normal University].<br /> <br /> ==The Untranslatability and Loss of Meaning in Chinese Dish Names Translation 袁雨晨 Yuan Yuchen==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''Introduction'''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Bibliography'''===<br /> <br /> ==A Study of English Translation of Chinese Dish Names from the Perspective of Domestication and Foreignization -- Taking Hunan cuisine an Example 邬香 Wu Xiang==<br /> <br /> ===Abstract===<br /> <br /> As a bright pearl in the storehouse of traditional Chinese culture, catering culture plays a more and more important role in the increasingly frequent cross-cultural communication. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the neglect of cultural connotations of dishes, and the lack of unified translation standards. Foreignization and domestication can effectively solve the above problems. From the perspective of foreignization and domestication this chapter takes the English translation of Hunan cuisine as an example, and uses different translation strategies for realistic and freehand dishes from the linguistic and cultural levels. Although domestication and foreignization can not remove all the obstacles in English translation of dish names, they can help to accurately express the meanings of dish names, reflect their cultural connotations, and promote cultural exchange and dissemination.<br /> <br /> ===Key words===<br /> <br /> Chinese dish names; English translation; domestication and foreignization; cross-cultural communication<br /> <br /> ===摘要===<br /> <br /> 饮食文化作为中国传统文化宝库中一颗璀璨的明珠，在如今日益频繁的跨文化交流中的作用愈发重要。但是目前中国菜名英译中出现不少问题，主要包括使用直接生硬的表达方式、忽略菜肴文化内涵、缺乏统一的翻译标准。运用异化和归化翻译策略能有效解决上述问题。本章拟从异化和归化的视角出发，以湘菜英译为例，针对写实型和写意型菜肴从语言和文化层面使用不同的翻译策略。尽管归化和异化不能清除菜名英译中所有的障碍，但其有助于准确表达菜名含义，体现其蕴藏的文化内涵，促进文化交流与传播。<br /> <br /> ===关键词===<br /> <br /> 中国菜名；英译；归化和异化；跨文化交流<br /> <br /> ===1.Introduction===<br /> <br /> After thousands of years of precipitation and inheritance Chinese food culture has emerged on the international stage and gradually gained the favor and recognition of foreigners. In today's society cultural exchanges between countries and nations are increasingly frequent. As a cross-cultural communication activity, translation refers not only to the process of language conversion, but also to the process of cultural transformation and dissemination. Because Chinese food contains a large number of cultural and artistic features, which reflect the Chinese cultural landscape, we have different translation versions in the process of translating Chinese dishes. This is not conducive to the spread of Chinese culture. It’s known that translation strategies of domestication and foreignization can retain the cultural elements in the original text to the greatest extent. As one of the eight major cuisines in China, Hunan cuisine has its unique characteristics and rich cultural heritage, so it is suitable to adopt domestication and foreignization in English translation. Many domestic scholars focus on specific translation methods and skills in the research on translation of dish names, and rarely consider the translation strategies of foreignization and domestication. However, it is necessary to clarify what kind of translation strategy to adopt before choosing appropriate translation methods and skills, because the implementation of the former is reflected in the application of specific translation skills, while the application of the latter requires certain translation strategies (熊兵, 2014: 84). Therefore, this chapter will discuss the application of translation strategies of domestication and foreignization in the English translation of traditional Chinese dish names based on the corpus of Hunan dishes.<br /> <br /> <br /> 中国饮食文化历经数千年的沉淀和传承后，在国际舞台上崭露头角，逐渐得到外国人的青睐和认可。当今社会世界各国、各民族文化交流日益频繁，翻译作为一种跨文化交际活动，不仅指语言转换的过程，而且是文化转换和传播的过程。归化和异化策略能最大程度保留原文中的文化元素，解决目前中国菜名翻译过程中存在的一些问题。湘菜作为中国八大菜系之一，具有独特的特点和丰富的文化底蕴，适合采用归化和异化英译。国内许多学者对菜名翻译的研究多着眼于具体的翻译方法和技巧，很少从异化和归化的翻译策略高度来考虑。然而首先明确采用怎样的翻译策略，才能继而选用合适的翻译方法和技巧，因为前者的实施体现在特定翻译技巧的运用，同时后者的运用需依据一定的翻译策略（熊兵，2014: 84）。因此，本文将以湘菜菜品名为语料，探讨翻译策略在传统中国菜名英译中的运用。<br /> <br /> ===2.Exiting problems in English translation of Chinese dish names===<br /> <br /> Chinese food culture is extensive and profound. It has a long history. The importance of English translation of Chinese dish names in cross-cultural communications between China and foreign countries is self-evident. However, there are many problems in the English translation of Chinese dish names, such as the use of direct and rigid expressions, the lack of unified translation standards, and the ignorance of the cultural connotation of dishes. These problems make foreigners and some domestic English learners confused. In the following, I will analyze in detail with examples.<br /> <br /> 中国饮食文化博大精深，源远流长。中餐翻译在中外文化交流中的重要性不言而喻。然而，目前中国菜名英译存在不少问题，诸如使用直接生硬表达法、缺乏统一翻译标准、忽视菜肴文化内涵等。这些问题不仅引起外国人的困惑，国内英语学习者亦云里雾里。下面笔者将结合实例具体分析。<br /> <br /> 2.1 The use of direct and rigid expressions<br /> <br /> China has a vast territory and abundant resources. The eating habits and cooking methods in different regions of the country are different. Some dishes are named after myths, legends and allusions, while others are complex in cooking methods and various in ingredients. Direct and stiff expressions can‘t express the rich connotations of these dishes, and even make people funny. For example, if &quot;Jiaohua chicken, a whole chicken roasted in caked mud&quot;(叫花鸡) is translated into &quot;beggar's chicken&quot;(叫花子的鸡), it does not reflect the origin and the cooking method of this dish. It is said that in the late Ming Dynasty and early Qing Dynasty, a beggar in Changshu（常熟，a city of Jiangsu province） got a chicken by chance. He had no cooking utensils and seasonings. So he had to put the chicken into the mud to simmer and roast it. When the chicken was cooked, it knocked off the mud shell, and the aroma overflowed. It became a delicious dish. Another example is that &quot;木须肉&quot; is translated as &quot;wood mustache meat&quot;（木头胡子肉）. This translation is confusing and does not reflect the main ingredients of this dish. I think that it is appropriate and reasonable to translate it into &quot;stir fried pork with eggs and black fugus&quot;.<br /> <br /> 中国地大物博，全国各地区的饮食习惯与烹饪方法各不相同，其中一些菜肴以神话、传说及典故命名，还有一些佳肴烹饪方法复杂，食材多种多样。直接生硬的表达法不能很好表达这些菜肴的丰富内涵，甚至会让人啼笑皆非。比如，”叫花鸡”(Jiaohua Chicken，a whole chicken roasted in caked mud)若译成”Beggar’s Chicken”则完全没有体现这道菜的由来及做法。相传明末清初时，常熟一个乞丐偶然间得到一只鸡，苦于没有炊具和调料，只能将鸡处理后放入泥土中煨烤，鸡熟后敲掉泥壳，香气四溢，成为一道美味佳肴。又如，“木须肉”被译为”Wood mustache meat”（木头胡子肉），这种译法让人不知所云，更没有体现这道菜的主要原料。笔者认为将其译为”Stir-fried pork with eggs and black fungus”比较恰当合理。<br /> <br /> 2.2 The lack of unified translation standards<br /> <br /> At present there is no uniform international standard for the translation of Chinese dish names, which leads to the emergence of multiple translation versions in the book market and restaurants. It brings inconvenience and trouble to foreigners and seriously affects the spread of Chinese catering culture. For example, there are several different translations of &quot;麻婆豆腐&quot; in China: bean curd with minced pork in hot sauce; Mapo Tofu; tofu made by woman with freckles. The last translation is not very appropriate and easy to cause disgust. Foreigners are familiar with the translation of &quot;Mapo Tofu&quot; and have already accepted it, so it is acceptable not to explain it. The first translation is to make people salivate. It reflects the method and raw materials of this dish. There are also many ways to translate &quot;宫保鸡丁&quot;, including &quot;Kung Pao chicken&quot;, &quot;fried diced chicken in Sichuan style&quot; or &quot;sautéed chicken cubes with chili and peanuts&quot;. So many translation versions will not only make readers confused, but also fail to reflect the characteristics and cultural connotation of Chinese dish names. Therefore, the translation of the unified dish names is one of the problems to be solved in correctly understanding Chinese cooking culture.<br /> <br /> 目前，国际上没有关于中国菜名翻译的统一的标准，这导致在图书市场和餐厅内出现多个翻译版本，给外国人就餐带来不便与麻烦，严重影响了中国饮食文化的传播。例如，国内“麻婆豆腐”有以下几种不同的翻译：Bean curd with minced pork in hot sauce; Mapo tofu; Tofu made by woman with freckles.笔者认为，最后一种译法不是很贴切，容易引起反感。外国人已熟知并接受”Mapo tofu”的译法，故不解释亦可。第一种译法较为形象，体现了菜肴的做法和原料，让人垂涎欲滴。“宫保鸡丁”五花八门的译法包括”Kung Pao Chicken”, “Fried diced chicken in Sichuan style” 或”Sautéed chicken cubes with chili and peanuts”. 如此多的译名不仅会引起读者思维上的混乱，而且没有很好地体现中国菜名的特点与文化内涵。由此可见，统一菜名的翻译是正确领略中国饮食文化亟待解决的问题之一。<br /> <br /> 2.3 The neglect of cultural connotations of dishes<br /> <br /> The differences between Chinese and Western cultures lead to the differences between Chinese and Western catering cultures, which in the final analysis stems from the different attitudes towards rationality and sensibility. Chinese people have strong perceptual thinking, so they pursue beauty and artistry. Chinese dishes are full of color, fragrance and other cultural connotations. Westerners pay more attention to rationality, truth and science. The names of Western dishes are easy to understand, and the raw materials and nutrients are relatively clear. For example, onion soup in French style(法式洋葱汤) is used in Western food, while &quot;stewed snake and chicken&quot;(龙凤呈祥) in Chinese food is the soup stewed with snake and chicken. Snake is regarded as a small dragon (Jiao 蛟) in China, and there is a folk saying that &quot;pheasant flies on the branch and becomes a phoenix&quot;(野鸡飞上枝头变凤凰). Therefore, the snake is compared to the dragon, and the chicken to the Phoenix, which is used to bless and praise things and others. The main ingredient of &quot;more than every year&quot;(年年有余) is fish. &quot;Yu&quot;(余) in Chinese refers to surplus, which is homophonic with &quot;fish”(鱼), which expresses people's good wishes for a prosperous family and surplus every year. If foreigners do not understand the Chinese culture implied in these dishes, they will find this kind of translation very strange. Therefore, cultural factors must be taken into account in translating Chinese dishes to avoid misunderstanding.<br /> <br /> 中西文化的差异导致中西饮食文化的不同，而这种差异归根结底源于双方对待理性和感性的不同态度。中国人感性思维较强，故而追求美和艺术性，中餐讲究色香味俱全，通常含有祝福、美好等文化内涵。西方人则更注重理性、真理和科学，西餐菜名通俗易懂，原料和营养成分较为清楚。比如，西餐中的Onion soup in French style(法式洋葱汤),而中餐中的”龙凤呈祥”（Stewed snake and chicken）是用蛇和鸡炖的汤。蛇在中国视为小龙（蛟），且民间有“野鸡飞上枝头变凤凰”的俗语。故把蛇比作龙，鸡比作凤凰，用作对事物和他人的祝福和赞美。”年年有余”（More than every year）的主要食材是鱼，“余”在汉语中指剩余，与“鱼”谐音，表达人们对家业发达、年年有余的美好愿望。如果外国人不了解这些菜隐含的中国文化，则会觉得这种翻译很奇怪。因此，在翻译中国菜名时必须考虑文化因素，避免造成误解。<br /> <br /> To a large extent, the above problems are caused by the fact that people pay attention to the intuitive feelings in the process of translation, ignore the cultural connotations of dish names, and use inappropriate translation methods. I will try to solve these problems by adopting translation strategies of domestication and foreignization from the linguistic and cultural levels. Next, I will introduce the two translation strategies and analyzes how to use them to improve the quality of translation in the process of translating Hunan cuisine into English.<br /> <br /> 以上问题很大程度上是因为人们在翻译过程中注重直观的感受，忽略菜名蕴含的文化底蕴，使用不恰当的翻译方法造成的。笔者试图从语言和文化层面采用归化和异化翻译策略来解决这些问题。接下来将介绍着这两种翻译策略并分析在湘菜英译过程中如何运用它们来提高翻译质量。<br /> <br /> ===3.Translation strategies of domestication and foreignization ===<br /> <br /> <br /> 3.1 Definitions of domestication and foreignization<br /> <br /> Domestication and foreignization are two different translation strategies in the process of translation. These two terms were first put forward by Lawrence Venuti in his book Translator's Invisibility according to the theory of German philosopher Schleiermacher. (王少飞 2006:30) Domestication refers to a translation strategy that localizes the source language, takes the target language or target language readers as the destination, and adopts the expressions that the readers are used to convey the content of the original text. It can help readers better understand the translation and enhance its readability and appreciation. Foreignization in the process of translation considers the linguistic characteristics of foreign cultures, absorbs foreign language expressions. It requires translators to approach the author and adopt the corresponding source language expressions to convey the content of the original text. It means that we should take the source culture as the destination. The purpose of using foreignization is to consider the differences of national cultures, preserve and reflect characteristics of foreign cultures and their language styles, and to retain the exotic sentiment for the target readers.（百度百科）<br /> <br /> “归化”和“异化”是翻译过程中两种不同的翻译策略。这两个术语最初是由劳伦斯韦努蒂( Lawrence Venuti) 根据德国哲学家施莱尔马赫( Schleiermarcher) 的理论在他的著作《译者的隐身》中提出的。(王少飞，2006: 30) 归化指把源语本土化，以目标语或译文读者为归宿，采取目标语读者所习惯的表达方式来传达原文的内容的一种翻译策略。归化翻译要求译者向目的语的读者靠拢。归化翻译有助于读者更好地理解译文，增强译文的可读性和欣赏性。异化在翻译上迁就外来文化的语言特点，吸纳外语表达方式，要求译者向作者靠拢，采取相应于作者所使用的源语表达方式，来传达原文的内容，即以源语文化为归宿。使用异化策略的目的在于考虑民族文化的差异性、保存和反映异域民族特征和语言风格特色，为译文读者保留异国情调。（百度百科）<br /> <br /> 3.2 Two levels of domestication and foreignization<br /> <br /> Foreignization and domestication should be investigated from the level of language form and cultural content. (张志中, 2005：46) On the one hand, at the linguistic level, adopting the translation strategy of foreignization is beneficial to enrich the expression of the target language, but only in a few cases the purpose of translation is to show the language form of the source language. Domestication, because of its reader-oriented characteristics, can ensure that the translation is easy to understand, and it is favored by readers. Therefore, at the language level domestication is the mainstay and foreignization is the supplement. On the other hand, on the cultural level foreignization can retain the cultural elements and connotations contained in the source language as much as possible, which helps to spread foreign cultures, and its advantages are greater than domestication. However, it is impossible to completely adopt the foreignization strategy, because there are too large cultural differences in cross-cultural communication, and it is necessary to use domestication to remove communication barriers. Therefore, at the cultural level the principle of foreignization as the mainstay and domestication as the supplement is adopted. In addition, adopting domestication strategies at the language level can clearly express the meaning of the original text, which helps to better reflect the cultural elements expressed by the use of foreignization at the cultural level. In short, when the source language has distinctive national characteristics, the use of a combination of translation strategies of domestication and foreignization can maximize the strengths and avoid weaknesses, and promote cultural transmission.<br /> <br /> 谈论异化和归化，应从语言形式和文化内容层面考察。（张智中，2005：46）一方面，在语言层面上，采取异化翻译策略有利于丰富目的语的表达方式，但是只有在少数情况下翻译的目的是展现源语的语言形式。而归化由于读者导向性的特点能保证译文通俗易懂，受到广大读者的青睐。故而在语言层面提倡主要采用归化策略，异化策略辅助的原则。另一方面，在文化层面上，异化能尽可能保留源语中蕴藏的文化元素和内涵，有助于传播异国文化，其优势大于归化。但是，完全采用异化策略是不可能的，因为在跨文化交际中存在文化差异过大的情况，需要采用归化来扫除交流障碍。因此，在文化层面上采用异化为主，归化为辅的原则。此外，在语言层面上采取归化策略能清楚的表达原文意思，有助于更好地体现在文化层面采用异化策略所表达的文化元素。总之，当源语具有鲜明的民族特色时，采用归化和异化结合的翻译策略能够扬长避短，促进文化传播。<br /> <br /> Theoretically speaking, foreignization and domestication are two opposite translation strategies. However, they are closely related and interact with each other in specific translation practices and applications. When domestication and foreignization are applied in the translation of Chinese dish names, the translator should deal with the relationship between the readers and the author. On the one hand, from the perspective of readers we should try our best to use their habitual expressions and consider their way of thinking and understanding ability to make sure that they can understand the translation. On the other hand, we should pay attention to retaining the essence of Chinese traditional culture contained in Chinese dish names, so as not to blindly please readers without knowing to change. This is the basic requirement of a qualified translator of Chinese dish names.<br /> <br /> 从理论上看异化和归化这两种翻译策略是对立的，然而在具体的翻译实践和应用中二者有紧密的联系，且相互作用。在中国菜名翻译中应用归化和异化翻译策略时，译者应处理好读者与作者之间的关系。一方面，应从读者的角度出发尽可能用其惯用的表达方式，考虑他们的思维方式和理解能力，以达到他们能明白翻译内容的目的。另一方面，应注意保留中国菜名中所蕴含的中国传统文化精髓，做到既不一味取悦读者，也不不知变通（一成不变），这是一位合格的中国菜名翻译者的基本素养。<br /> <br /> ===4. Application of domestication and foreignization in English translation of Hunan cuisine===<br /> <br /> 4.1 Composition and nomenclature of Hunan cuisine <br /> <br /> 湘菜的构成及命名方法<br /> <br /> As one of the eight major cuisines in China, Hunan cuisine has the unique characteristics of color, flavor and taste of Chinese dishes, and its naming also shows different styles. Hunan cuisine can be generally divided into realistic dishes and freehand dishes, which describe their mood. The first type of dishes directly reflects the cooking elements. The second one usually uses rhetorical skills to endow dishes with certain cultural connotations according to their own composition. If foreigners don't understand Chinese culture, they don't know the specific methods and raw materials of this kind of dishes, so it is difficult to understand their meanings.<br /> <br /> 湘菜作为中国八大菜系之一，具有中国菜肴独有的色香味俱全的特点，其命名亦显示不同的风格。湘菜一般可分为写实型菜肴和写意型菜肴，写实型菜肴直接体现烹饪要素。写意型佳肴则通常使用修辞手法，根据其本身的组成赋予菜肴一定的文化内涵。如果外国人不了解中国的文化，单从字面翻译他们不知道这类菜肴具体做法和原料，难以理解其具体含义。<br /> <br /> 4.1.1 Realistic dishes<br /> <br /> Realistic dishes are often named according to the combination of cooking elements. The cooking elements of Hunan cuisine mainly include raw materials(原料), seasonings(调料), knife techniques(刀法), taste(口味) and cooking methods(烹饪方法). Common main ingredients embody fish, meat, chicken, etc.; seasonings involve star anise(八角), cinnamon(桂皮), green onion(葱), ginger(姜), garlic(蒜); knife techniques are various, such as slicing(切片), shredding(切丝), cutting into wicker shapes(切柳) ; the taste is famous for its sour and spicy(酸辣), fresh and tender(鲜嫩), crisp and fragrant(酥脆) taste; the cooking methods are mainly sauted(爆), simmered(煨), stewed(炖), fried(炒), braised(烩) and steamed(蒸). The common combination methods include following three types: cooking materials + methods + knife method, such as sauted shredded pork with green pepper(青椒肉丝); seasoning + raw materials, such as bullfrog with ginger sauce and pepper(姜辣牛蛙), hot and sour radish strips(酸辣萝卜条); taste + cooking method + raw materials, such as smoked fish in five flavors(五香熏鱼).<br /> <br /> 写实型菜一般根据其菜肴烹饪要素的组合命名，湘菜的烹饪要素主要包括原料、调料、刀法、口味和烹饪方法。常见的主料包括鱼、肉、鸡等；调料有八角、桂皮、葱、姜、蒜；种类繁多的刀法如，切片、切丝、切柳等；口味以酸辣、鲜嫩、酥脆、香熏著称；烹饪方法以爆、煨、炖、炒、烩、蒸为主。常见的组合方式包括以下三种：烹饪原料+方法+刀法，如青椒肉丝（Sauteed Shredded Pork with Green Pepper）；调料+原料，如姜辣牛蛙（Bullfrog with ginger sauce and pepper ）、酸辣萝卜条（Hot and sour radish strips）；口味+烹饪方法+原料，如五香熏鱼（Smoked fish in five flavors）。<br /> <br /> 4.1.2 Freehand dishes<br /> <br /> There are two types of freehand dishes. The first one is named according to the raw materials, colors, shapes or origin places of the dishes, which not only contains rich historical and cultural backgrounds and local flavors, but also expresses good wishes for good luck and has Chinese characteristics. These dishes are often named after allusions, legends or use metaphors, such as steamed glutinous rice ball (with meat / sugar in it)(姊妹团子). The second one refers to the names of people and place names related to dishes, which has distinctive local characteristics, such as Mao's braised pork(毛氏红烧肉), braised chestnut with green cabbage(板栗烧菜心), Changde rice noodles(常德米粉), and Lixian County stewed pork gut(澧县肠子).<br /> <br /> 写意型菜包括两种类型。第一种根据菜肴的原料、色形或产地取名，使其不仅蕴含丰富的历史文化背景和地方风味，也表达了吉祥美好的祝愿，更具有中国特色。这些菜常以典故、传说命名或使用隐喻等修辞手法，如姊妹团子（Steamed Glutinous Rice Ball (with meat/sugar in it)）。第二种引用与菜肴相关的人名、地名命名，具有鲜明的地方特色，如毛氏红烧肉（Mao's braised pork）、板栗烧菜心（Braised chestnut with green cabbage）、常德米粉(Changde rice noodles)，澧县肠子(Lixian county stewed pork gut)。<br /> <br /> 4.2 At the language level domestication is the mainstay and domestication is the supplement<br /> <br /> Domestication at the language level means that the English translation of Hunan dishes should use common and appropriate expressions in English to convey the meaning of Chinese dish names at different levels of linguistics such as vocabulary, semantics, and grammar, so as to ensure the acceptability of English translation of dish names for foreigners.<br /> <br /> 语言层面的归化指湘菜的英译要在词汇、语义、语法等语言学的不同层面上，使用英语中常见、贴切的表达方式传达中国菜名的含义，以确保英译菜名在外国人中的接受度。<br /> <br /> 4.2.1 Domestication at lexical level<br /> <br /> “童子鸡”can be translated as “Tender chicken”(嫩滑的鸡肉), but it cannot be translated as “chicken without sexual life”(没有性生活的鸡). According to this literal translation, “童子鸡” refers to chickens that have not mate. However, this dish originally emphasized that the chicken is tender and tastes very good, not the age of the chicken. Therefore, when translating “童子鸡”, the strategy of domestication is used at the lexical level. The word “Tender” is used to express the concept of “童子”, which means that the chicken is not mature enough. It expresses the essence of this dish vividly and avoids misunderstanding. This method is also applicable to the English translation of “鱼香肉丝”. “Shredded pork with garlic sauce or Fish-flavored shredded pork in hot sauce”(蒜蓉猪肉丝或鱼香肉丝) refers to shredded pork mixed with minced garlic. The “fish fragrance”(鱼香) of this dish does not refer to the fragrance of fish meat, but a complex flavor composed of various seasonings such as pickled pepper, sugar and vinegar. The above-mentioned translation not only retains the original meaning of Chinese, but also arouses foreigners' associations with the smell of fish.<br /> <br /> “童子鸡”可译为Tender chicken(嫩滑的鸡肉)，但不能译成“chicken without sexual life”。按照这种字面翻译，“童子鸡”指的是没有交配的小鸡。然而，这道菜原本强调的是鸡肉很嫩，口感十分好，而非鸡的年龄。因此翻译“童子鸡”时在词汇层面使用归化策略，用tender表示“童子”这个概念，指鸡尚未发育成熟，可传神地表达这道菜的本质，避免误解。这种方法同样适用于“鱼香肉丝”的英译。“鱼香肉丝”（Shredded pork with garlic sauce or Fish-flavored shredded pork in hot sauce）指混合着蒜末的肉丝。这道菜的“鱼香”并非指鱼肉的香味，而是一种用泡椒、糖、醋等多种调料组成的复合味道。上述译法即保留了中文的原意，又能引起外国人对鱼香味的联想。<br /> <br /> In addition, pinyin can be used in English translation of dishes with Chinese characteristics which have been included in major foreign English dictionaries, such as wonton(馄饨), tofu(豆腐), jiaozi(饺子) and Shaomai(烧卖). These dishes are traditional Chinese food which has been widely accepted by foreigners. Moreover, the use of pinyin can promote Chinese and Chinese cooking culture.<br /> <br /> 此外，具有中国特色且被国外主要英文字典收录的，使用汉语方言拼音或音译拼写的菜名，英译时可使用拼音，如“馄饨”（Wonton）、“豆腐”（Tofu）、“饺子”（Jiaozi）、“烧卖”(Shaomai)等。这些菜肴都是已被外国人普遍接受的中国传统食品，使用拼音能推广汉语和中国饮食文化。<br /> <br /> 4.2.2 Domestication at semantic level<br /> <br /> Domestication at semantic level is conducive to convey the meaning of dish names simply and clearly. For example, “一卵孵双凤” can be translated as “two phoenix were hatched from an egg (two chickens, winter bamboo shoots and mushrooms steamed in watermelon)”. From the above translation you can clearly understand the main ingredients and cooking methods of this dish, so as not to be confused by its name. In another example, “金鱼戏莲” is made with squid as the main ingredient. The squid rolls resemble goldfish, playing among the lotus clusters composed of eggs, shrimps and green beans. The name of the dish comes from it. If this dish is directly translated as “goldfish plays with lotus” with the use of foreignization, it is difficult for foreigners to figure out what it means. Therefore, “Oil-fried squid files and steamed shrimp meat, albumen and lima bean to mean”(金鱼戏莲) vividly expresses the essence of this dish, and a vivid and interesting picture can be constructed in the reader's mind through the representation of the image of “floating lotus”(浮莲).Similar examples include “stewed assorted meats/hotchpotch” (全家福), “hotpot of snakeheaded fish slices as butterflies out of the soup” (蝴蝶飘海) and “steamed whole hen with litchi, longan, jujube, lotus and medlar”(五元神仙鸡).<br /> <br /> 语义上的归化有利于简单明了地传达菜名的含义。例如，“一卵孵双凤”可译为Two phoenix were hatched from an egg(two chickens, winter bamboo shoots and mushrooms steamed in watermelon).从上述翻译可以十分清楚地了解这道菜的主要食材和制作方法，从而不会再被菜名弄得一头雾水。又如，“金鱼戏莲”以鱿鱼为主料制作而成，鱿鱼卷似金鱼，嬉戏于由鸡蛋、虾仁和青豆组成的群莲中，菜名由此而来。如果采用异化策略直接译为Goldfish plays with lotus,外国人很难弄明白这指的是什么。故用Oil-fried squid files and steamed shrimp meat, albumen and lima bean表示“金鱼戏莲”,既十分形象地表达了这道菜的本质，又通过“浮莲”意象的再现，能在读者脑海里构建一幅生动有趣的画面。类似的例子还包括“全家福”（Stewed assorted meats/hotchpotch）、“五元神仙鸡”（Steamed whole hen with litchi, longan, jujube, lotus and medlar）、“蝴蝶飘海”（Hotpot of snakeheaded fish slices as butterflies out of the soup）。<br /> <br /> 4.2.3 Domestication at grammatical level<br /> <br /> The domestication of Hunan cuisine at the grammatical level is mainly reflected in the use of prepositions and verb past participles in English translation of dish names. There are various cooking methods for Hunan cuisine, including simmer, stew, steam, fry, smoke, and the past participle is usually used in the translation. Such as “Dongting spicy salted duck” (洞庭酱板鸭), “Dongting barbecued mandarin fish”(网油叉烧洞庭桂鱼), and “fried winter bamboo shoots”(油辣冬笋尖).Dishes with main ingredients and supplemented by ingredients, seasonings, and soups are generally translated by prepositions, such as “preserved egg with hot pepper”(尖椒皮蛋),“fragments of garlic bolt without using knife”(手撕蒜苗), “Yongzhou fried duck pieces together with its blood and balsam pear” (永州血鸭), and “braised pig knuckle in brown sauce” (走油猪腿).<br /> <br /> 湘菜在语法层面的归化主要体现在英译菜名时介词和动词过去分词的使用方面。湘菜多种多样的烹调方法，包括煨simmer、炖stew、蒸steam、炒fry、熏smoke，在译文中通常用过去分词。如“洞庭酱板鸭”（Dongting spicy salted duck ）、“网油叉烧洞庭桂鱼”（Dongting barbecued mandarin fish）、“油辣冬笋尖”（Fried winter bamboo shoots）。而以主料为主，配料、调料、汤汁为辅的菜肴一般会使用介词翻译，如“尖椒皮蛋”（Preserved Egg with Hot Pepper）、“手撕蒜苗”（Fragments of garlic bolt without using knife）、“永州血鸭”（Yongzhou fried duck pieces together with its blood and balsam pear）、“走油猪蹄”（Braised pig knuckle in brown sauce）。<br /> <br /> 4.3 At the cultural level foreignization is the mainstay and domestication is the supplement.<br /> <br /> 4.3.1 Dishes named after allusions and legends<br /> <br /> 以典故、传说命名的菜肴<br /> <br /> “姊妹团子” is a local snack in Hunan Province. It is made by grinding the finest glutinous rice into a fine powder, and the inset is a meat filling made of raw materials such as fresh meat, mushrooms, monosodium glutamate, and sesame oil. The shape is a long cone with a pointed top and a flat bottom. After being steamed, it looks like a small white pagoda. The origin of this dish is as follows: In the early 1920s, the young and beautiful Jiang sisters set up a stall selling glutinous rice dumplings in the polder of the Fire Palace in Changsha. The dumplings they made were delicious and beautiful, and people were full of praise for it. (百度百科) The translation “Steamed glutinous rice ball (with meat/sugar in it)” points out that the main raw material of this dish is rice ball, the auxiliary materials are meat and sugar, and the cooking method is steam, which makes it clear at a glance. <br /> <br /> “姊妹团子”是湖南省地方特色小吃。其制作时用上等糯米磨成细粉，内陷是由鲜肉、香菇、味精、芝麻油等原料构成的肉馅。外形是尖顶平底长型锥体，蒸熟后像一座白色的小宝塔。这道菜肴的由来如下：本世纪20年代初在长沙火宫殿的圩场上年轻漂亮的姜氏姐妹摆了一个卖团子的摊子，她们制作的团子既好吃又好看，人们对此赞不绝口。译文“Steamed glutinous rice ball (with meat/sugar in it)”指出此菜主要原料是rice ball、辅料为meat和sugar,烹饪方法为steam,让人一目了然。<br /> <br /> “湘西土匪鸭”is a dish named after an allusion. It is said that a woman surnamed Zhang(张氏) opened a restaurant in Xiangxi (湘西，the west of Hunan province), but her business was not very good due to the large area and sparse population. To make matters worse, her ducks raised in the house are fierce and domineering, ruining the crops every day, and not laying eggs properly, causing Zhang to hold the bamboo poles and rush and scold them every day: “You damn ducks, you are like bandits!” She was so angry with these ducks to kill all of them. Because these wild ducks are delicious and Zhang's cooking skills are good, the ducks she burns are soft and tender, and they are delicious, attracting people to smell the fragrance and attracting a large number of guests. Someone asked what this dish was called. Because of the ducks Zhang was extremely angry at that time, and she casually replied: “What kind of dish? Wild ducks!” Since then this dish has become famous. (百度百科) If we use the translation strategy of domestication to translate this dish as “Brigand in Xiangxi ducks”, it is incredible. Translating “湘西土匪鸭” into “Xiangxi wild ducks” not only allows guests to understand the special ingredients of the dish, but it embodies the legendary story of Xiangxi.<br /> <br /> “湘西土匪鸭”是以典故命名的菜肴。传说湘西以前一个姓张的妇人开了一家餐馆，由于地广人稀，生意不太好。更糟糕的是，家中饲养的鸭子凶悍霸道，天天糟蹋庄稼，不好好下蛋，害得张氏天天拿着竹竿又赶又骂:“你们这些该死的鸭子，简直像土匪!。她一气之下把这些鸭子全杀了。由于这些爱撒野的鸭子肉质鲜美，且张氏厨艺很好，她烧的鸭子酥软嫩滑，鲜香绝伦，引得食客闻香而至,吸引大量的客人。有人问这叫什么菜，张氏气极，随口答：“什么菜/土匪鸭!”从此这道菜名声大震。(百度百科)若使用归化的翻译策略将这道菜译为“Brigand in Xiangxi ducks”让人匪夷所思。把“湘西土匪鸭”译成“Xiangxi wild duck”不仅能让客人了解菜的特殊食材，而且体现了湘西这个传奇的故事。<br /> <br /> 4.3.2 Dish names with place names and people's names<br /> <br /> 带地名和人名的菜名<br /> <br /> “攸县香干”is a famous characteristic traditional soy product in Hunan Province, which originated in Youxian County, Hunan Province(湖南省攸县). This dish tastes smooth and tender, full of toughness, pure taste, thin but not greasy. Tofu is easy to taste and has an aftertaste after eating. It is a home-cooked dish suitable for all ages. The translation &quot;Dried tofu, Youxian style&quot; uses the foreignization translation strategy to point out from the cultural level that the raw material of the dishes is dried tofu, and it reflects the local characteristics of Youxian County.<br /> <br /> “攸县香干”是湖南省著名的特色传统豆制品，起源于湖南省攸县境内。这道菜口感滑嫩、韧性足、口味纯、细而不腻，有点劲道。豆腐很容易入味，吃完后有回味，是一道老少适宜的家常菜。译文“Dried tofu ，Youxian style”采用异化的翻译策略从文化层面指出了菜的原料是烘干的豆腐，而且体现攸县的地方特色。<br /> <br /> “玉麟香腰”was created by the chef of Peng Yulin(彭玉麟), a famous official in Hengyang(衡阳,a city of Hunan province) in the Qing Dynasty, and the name of the dish came from this. The main ingredient is pork loin. There are a variety of snacks in a bowl. The dishes are divided into seven layers, stacked one after another, shaped like a pagoda(宝塔), also known as “pagoda fragrant waist”(宝塔香腰). If this dish is translated as &quot;sweet pig kidney&quot;, it is difficult to explain its cultural heritage, and it does not show the beauty of this dish's visual “step by step”(步步高升) like a pagoda. “玉麟香腰”can be translated into English as “Yulin’s best homely dish”. According to legend, when Peng Yulin returned home to banquet his fellow villagers, he used “玉麟香腰” as the first dish. “Peng Yulin's best family banquet dishes”(彭玉麟最好的家宴菜) can ingeniously explain the origin of this dish, and undoubtedly explain why this dish is also called “touwan”(头碗，the first dish), and the English translation of the name of the dish implies “top”(顶级，最好). It seems to mean “to reach the highest level”(登塔至级). Translation of “Yulin’s best homely dish” not only conforms to the psychological world of diners, but also fully considers the audience’s cognitive needs and aesthetic expectations. （张艳萍，张伟平，2016：121）<br /> <br /> “玉麟香腰”是清代衡阳名官彭玉麟家厨创作而成，菜名由此而来。其主要食材是猪腰，一个碗里有多种小吃，菜分七层，层层堆砌，形状象宝塔，又名“宝塔香腰”。若将此菜译为“Sweet pig kidney”则很难解释它的文化底蕴，亦没有呈现这道菜视觉上“步步高升”如宝塔的美感。，“玉麟香腰”可以英译成 Yulin’s Best Homely Dish，因相传彭玉麟回乡宴请父老乡亲时，为表示丰盛，第一道菜就用的是“玉麟香腰”。“彭玉麟最好的家宴菜”能巧妙地解释了此菜的起源，无疑说明了此菜又称为“头碗”的缘由，且菜名英译中“最好”有蕴含“顶级”，似“登塔至级”之意：菜英译名 Yulin’s Best Homely Dish 不仅顺应了食客的心理世界，也充分考虑到受众的认知需要与审美期待。（张艳萍，张伟平，2016：121） <br /> 4.4 Limitations of domestication and foreignization in English translation of Hunan cuisine<br /> <br /> Translation strategies that adopt the combination of domestication and foreignization can ensure the clarity of English translation of Hunan cuisine and retain its cultural connotation, but there are still shortcomings, which are mainly reflected in the following three aspects. Firstly, foreignization requires translators to move closer to readers and try their best to use their familiar and accustomed expressions, but sometimes it is difficult to find corresponding words in the target language, especially when we translate the culturally loaded words. For example, the dishes which represent happiness and lucky in Chinese include “四喜丸子”, “百鸟朝凤”, and “全家福”. When we translate these dishes from Chinese into English, we don't know what words should be used to convey auspicious and beautiful meanings on the basis of accurately expressing the meaning of them. Secondly, due to the limitation of menu capacity, the meaning of Chinese dishes named after allusions, legends, and myths can’t be fully expressed. If it is literally translated or transliterated, the guests may be very confused. The choice of transliteration and annotation is too much content, which violates the principle of concise menus. For example, if we translate“佛跳墙” into “Fotiaoqiang” or “Buddha jumping the wall”, it does not reflect the essence of this dish. “Fotiaoqiang-steamed abalone with shark’s fin and fish maw in broth” is more appropriate, but not concise enough. Thirdly, due to the variety of cooking methods and seasonings in China, when translating Hunan cuisine into English the use of domestication is beneficial to people who understand Chinese food culture, but for most foreigners who do not know or are not familiar with these cooking methods and seasonings this type of translation will increase the difficulty of understanding. For example,“干锅烧明虾” and “红烧肉” both have the word “burn”(烧), but the translations are completely different. They should be translated as follows: “Fried prawns with pepper sauce” and “braised pork with brown sauce”. The cooking method of the first dish is “fried”(煎), and the second dish is “stewed”（炖）.（张扬，2016：48）<br /> <br /> 采用归化和异化结合的翻译策略能最大限度地保证湘菜译文清晰明了，保留其蕴含的文化内涵，但仍有不足，主要体现在以下三个方面。第一，异化要求译者向读者靠拢，尽可能用他们熟悉和习惯的表达方式，但有时候很难在目的语中找到对应的词语，尤其是文化负载词的翻译。比如汉语中表示吉祥的菜包括“四喜丸子”、“百鸟朝凤”、“全家福”，翻译时在准确表达菜名含义的基础上不知道该用什么词来传达吉祥美好的意思。第二，由于菜单容量的限制，以典故、传说、神话等命名的中国菜肴的含义不能完全表达。如果直译或者音译，客人可能会十分困惑。选择音译加注解的方式则内容太多，违背菜单简洁的原则。例如，“佛跳墙”如果译成“Fotiaoqiang”or “Buddha jumping the wall”未体现这道菜的本质。“Fotiaoqiang-steamed abalone with shark’s fin and fish maw in broth”比较贴切，但不够精简。第三，由于中国的烹饪方法和调料多种多样，英译时使用归化的翻译策略对于了解中国饮食文化的人来说是有利的，但是对于大部分不知道或者不熟悉这些烹饪方法和调料的外国人来说，这类的译文会增加他们的理解难度。比如， “干锅烧明虾”与“红烧肉”都有“烧”字，但是译法却是完全相同的，应该分别翻译如下：“Fried Prawns with Pepper Sauce”与“Braised Pork with Brown Sauce”。第一道菜的烹饪方法是“煎”，第二道菜则是“炖”。（张扬，2016：48）<br /> <br /> ===5. Conclusion===<br /> <br /> Although foreignization and domestication are theoretically opposite, they are complementary and indispensable in the process of English translation of Chinese dish names. Taking different translation strategies from the linguistic and cultural levels can not only be faithful to the original, but also embody the rich cultural connotations and Chinese elements contained in the dish names. Therefore, the English translation of Chinese dish names is an indispensable part of cross-cultural communication and an important link in spreading Chinese traditional culture. I hope this chapter can provide some valuable reference for future research on the English translation of Chinese dish names.<br /> <br /> 尽管异化与归化在理论上是对立的，但在中国菜名英译过程中二者的作用是相辅相成，缺一不可的。针对写实型和写意型的菜肴从语言和文化层面采取不同的翻译策略不仅能够尽可能地忠于原文，还可以体现菜名中蕴含的丰富文化内涵和中国元素。由此可见，中国菜名的英译是跨文化交际中不可或缺的一部分，是传播中国传统文化的重要环节。希望本文能为未来中国菜名英译研究提供一些有价值的参考。<br /> <br /> ===Bibliography===<br /> <br /> [1] Venuti,L.The Translator′s Invisibility [M].London &amp; New York:Routledge,1995:20<br /> [2]百度百科:归化异化.<br /> [3]百度百科：湘西土匪鸭.<br /> [4]百度百科：姊妹团子.<br /> [5]郭建中．文化与翻译［M］．北京:中国对外翻译出版公司，2003.<br /> [6]周永红.接受美学视阈下的湘菜翻译探讨[J].贵州工业大学学报（社会科学版）.2008(1):101-102+105. <br /> [7]任群.“文化走出去”背景下的中餐菜名英译问题及对策[J].佳木斯职业学院学报.2015(10):430-432.<br /> [8]王少飞.文学翻译的异化与优化[D].北京：对外经济贸易大学.2006.<br /> [9]许钧.翻译概论[M].北京：外语教育与研究出版社.2009.<br /> [10]熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J].中国翻译,2014(3):82-88.<br /> [11]熊欣.湘菜名称英译初探.[J].琼州学院学报.2009(3):128-129+148.<br /> [12]熊欣.跨文化交际理论下的中国菜名英译研究[D].上海：上海外国语大学.2013.<br /> [13]张强.湘菜菜名词语与对外汉语教学[D].长沙：湖南师范大学.2017.<br /> [14]张艳萍,张伟平. 基于语料库的湘菜菜名英译研究[J].南华大学学报（社会科学版）.2016(1):119-122.<br /> [15]张扬.中餐菜名的英译研究——以湘菜菜名为个案[J].英语广场.2016(6):47-48.<br /> [16]张智中.兼容并蓄 双层操作——异化归化之我见[J].语言与翻译.2005(2):44-48.</div>

Qu Miao https://bou.de/u/index.php?title=20201130_cult&diff=107328 2020-12-05T03:35:12Z

<p>Qu Miao: /* Phyo, Su Kyi */</p> <hr /> <div>==Alsied, Saffana==<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> ==Chen Han 陈涵==<br /> <br /> 1.气血津液都是机体腑脏、经络等组织器官进行生理活动所需要的能量，而气血津液又依赖于腑脏、经络等组织器官正常的生理活动。如果气血津液代谢不正常或腑脏、经络等组织器官不能进行正常的生理活动，就会引起疾病的发生。<br /> <br /> Qi, blood and body fluid provide energy required for the body’s viscera, main and collateral channels, and other tissues and organs, and also depend on their normal physiological activities. If the metabolism of qi, blood and body fluid is abnormal or the viscera, main and collateral channels, and other tissues and organs cannot carry out normal physiological activities, it will cause diseases. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:11, 4 December 2020 (UTC)<br /> <br /> 2.简单来说，望诊包括一般望诊和舌诊两部分内容，一般望诊又包括望神察色，望形态、望五官等，舌诊包括望舌质望舌苔。<br /> <br /> To put it simply, observing diagnosis includes two parts: general inspection and tongue inspection. General inspection includes observing appearance, body statue and movements, and five apertures. Tongue inspection consists of observing tongue body and tongue fur. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:11, 4 December 2020 (UTC)<br /> <br /> 3.我们将艾条的一端点燃后，距施灸部位皮肤约2-3厘米处进行熏灸，使患者局部产生温热感而无灼痛为宜，一般每穴施灸15分钟左右，以皮肤潮红为度。<br /> <br /> We ignite one end of a moxa stick and place it 2 to 3 centimeters away from the specific point to bring a mild warmth to the local place. The patient do not have a burning sensation. It will last some 15 minutes until the skin turns slightly red. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:11, 4 December 2020 (UTC)<br /> <br /> 4.华佗五禽戏真实反映了中国人民群众健身文化的发展变迁，开创了祛病健身的体育医疗先河，展现了养生哲学和道家文化的深厚审美底蕴，具有重要的历史价值和养生医疗价值。<br /> <br /> Five-Animal Exercises of Hua Tuo truly reflects the development and changes of Chinese people's fitness culture, leads the way in medical treatment through sports which helps to cure diseases and keep fit, and shows the profound aesthetic heritage of regimen philosophy and Taoist culture, thus it has important values in history, health preservation, medical treatment. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:11, 4 December 2020 (UTC)<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> <br /> ==Gao Mingzhu 高明珠==<br /> <br /> ==Grosheva, Anna==<br /> 1.Traditional Chinese Medicine practitioners use various mind and body practices (such as acupuncture and tai chi) as well as herbal products to address health problems. <br /> <br /> 中医从业人员运用各种身心方法（例如针灸和太极拳）以及草药来解决健康问题。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:27, 2 December 2020 (UTC)<br /> <br /> 2.Early Chinese physicians had to depend on what they could see or feel like any sort of anatomical study or dissection was not widely practiced. <br /> <br /> 早期的中国医师不得不依靠自己能看到或感觉到的东西，因为没有进行任何形式的解剖学研究或解剖。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:27, 2 December 2020 (UTC)<br /> <br /> 3.Studies suggest that acupuncture stimulates the release of the body’s natural painkillers and affects areas in the brain involved in processing pain; however, some trials suggest that real acupuncture and sham acupuncture are equally effective, indicating a placebo effect. <br /> <br /> 研究表明，针灸刺激人体天然止痛药的释放，并影响大脑中涉及疼痛处理的区域； 但是，一些试验表明，真正的针灸和假针灸是同等有效的，表明有安慰剂作用。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:27, 2 December 2020 (UTC)<br /> <br /> 研究表明，针灸刺激人体释放天然的止痛剂，并影响大脑中感知疼痛的区域； 但是，一些试验表明，真正的针灸和假针灸具有同等功效，表现在都有安慰剂的效用。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:54, 3 December 2020 (UTC)<br /> <br /> 4.The first clear medical treatise is the Yellow Emperor's Inner Canon. In the text, the use of moxibustion or acupuncture to manipulate the Yin and Yang are described in ways similar to that practiced nowadays. <br /> <br /> 第一个明确的医学论文是《黄帝内经》。 在本文中，以类似于当今的方式描述了使用艾灸或针灸操纵阴阳的方法。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:27, 2 December 2020 (UTC)<br /> <br /> 《黄帝内经》是我国第一本医学专著，它描述了如何使用艾灸或针灸调理阴阳平衡，其方法跟现在使用的方法类似。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> ==Guan Qinqing 管钦清==<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> ==Guo Lu 郭露==<br /> <br /> 1. 简而言之，中药就是指在中医理论指导下，用于预防、治疗、诊断疾病并具有康复与保健作用的物质。<br /> <br /> In short, Traditional Chinese medicine (TCM) refers to substances that are used for prevention, treatment and diagnosis of diseases and have functions of rehabilitation and health care under the guidance of TCM theories.<br /> <br /> In short, Chinese medicine refers to substances that are used to prevent, treat, and diagnose diseases under the guidance of Chinese medicine theory and have the functions of rehabilitation and health care.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:29, 2 December 2020 (UTC)<br /> <br /> 2. 药理学是基础医学与临床医学，医学与药学之间的桥梁学科。在药理学科学的理论指导下进行临床实践，在实验研究的基础上丰富药理学理论。<br /> <br /> Pharmacology is a bridge between basic medicine and clinical medicine, medicine and pharmacy. To carry out clinical practice under the guidance of the theory of pharmacology and enrich the theory of pharmacology on the basis of experimental research.<br /> <br /> 3. 针灸疗法的特点是治病不靠吃药，只是在病人身体的一定部位用针刺入，达到刺潋神经并引起局部反应，或用火的温热刺激烧灼局部，以达到治病的目的。前一种称作针法，后一种称作灸法，统称针灸疗法。<br /> <br /> The characteristic of acupuncture therapy is that the treatment is not taking medicine, but a certain part of the patient's body is penetrated by acupuncture to reach the stinging nerve and cause the local reaction, or the warm stimulation of fire is used to cauterize the local part, so as to achieve the purpose of treating the disease. The former is called acupuncture and moxibustion, and the latter is called moxibustion.<br /> <br /> 4. 中药是中华民族五千年传统文化的瑰宝，是千百年医疗实践得出的结晶，也是世界优秀文化的精华。我国中药产业经过几十年的发展，已具有了一定的规模和研发能力，在中药材、中药饮片和剂型等方面取得了一定的成绩。同时中药产业由于自身的快速增长，加之有力的政策扶植，及城市化进程的加快都将进一步促进我国中药事业的发展，中药发展将进入一个新的时期。<br /> <br /> Traditional Chinese medicine is the treasure of the traditional culture of 5000 years of Chinese nation, is thousands of years of medical practice that crystallization, is also the world 's outstanding culture essence. Traditional Chinese medicine industry after decades of development, already has a certain scale and R&amp;D capability, in Chinese herbal medicines, Chinese herbal pieces and dosage form has made some achievements. At the same time, Chinese traditional medicine the industry due to its rapid growth, coupled with the strong policy support, and the city changes a course accelerate, will further promote the development of the cause of Chinese medicine,<br /> Chinese medicine development will enter a new period.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 06:59, 1 December 2020 (UTC)<br /> <br /> 1. In short, traditional Chinese medicine refers to substances used for prevention, treatment, diagnosis of diseases, which are able to rehabilitate and care the body under the guidance of traditional Chinese medicine theories.<br /> <br /> 2. Pharmacology is a subject that bridges basic medicine and clinical medicine and between medicine and pharmacy. Clinical practice is guided by the theories of pharmacological sciences, and pharmacological theories are enriched on the basis of experimental research. <br /> <br /> 3. Acupuncture and moxibustion therapy is characterized by the fact that the treatment does not rely on medicine, but only pricks with needles in certain parts of the patient’s body to stimulate the nerve and cause local reaction, or burns the local area with the warm stimulation of fire, so as to cure the disease. The former method is called acupuncture, and the latter is moxibustion, collectively known as acupuncture and moxibustion therapy.<br /> <br /> 4. Chinese medicine is the treasure of 5,000 years of Chinese traditional culture, the crystallization of thousands of years of medical practice, while the essence of the world’s excellent culture. After decades of development, China’ s TCM industry has reached a certain scale and R&amp;D capability, and has made certain achievements in Chinese herbal medicines, Chinese herbal Yinpian and dosage forms, etc. At the same time, due to the rapid growth of the Chinese medicine industry, strong policies and the accelerating process of urbanization, the development of Chinese medicine will further be promoted, entering a new period.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 12:25, 2 December 2020 (UTC)Yang Chenting<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> ==He Changqi 何长琦==<br /> <br /> ==Hu Baihui 胡百辉==<br /> 1. 中医诞生于原始社会，春秋战国时期中医理论已基本形成，之后历代均有总结发展。除此之外对汉字文化圈国家影响深远，如日本医学、韩国韩医学、朝鲜高丽医学、越南东医学等都是以中医为基础发展起来的。<br /> <br /> Traditional Chinese medicine was born in the primitive society. The theory of traditional Chinese medicine has been basically formed in the spring and Autumn period and the Warring States period. In addition, it has a far-reaching impact on the countries in the Chinese character cultural circle, such as Japanese medicine, Korean medicine, Korean medicine, Korean medicine, and Vietnam east medicine, which are all developed on the basis of traditional Chinese medicine.<br /> <br /> 2. 问诊是指中医采用对话方式，向病人及其知情者查询疾病的发生、发展情况和现在症状、治疗经过等，以诊断疾病的方法。<br /> <br /> Diagnosis refers to the way that TCM uses dialogue to inquire about the occurrence, development, current symptoms and treatment process of the disease from patients and their insiders, so as to diagnose the disease.<br /> <br /> 3. 针灸是一种中国特有的治疗疾病的手段。它是一种“内病外治”的医术。是通过经络、腧穴的传导作用，以及应用一定的操作法，来治疗全身疾病。<br /> <br /> Acupuncture and moxibustion is a unique method of treating diseases in China. It is a kind of internal disease and external treatment. Acupoints, as well as the application of acupoints, are used to treat diseases.<br /> <br /> 4. 中医药学是中国古代科学的瑰宝，发展千年，留下了许多精华，近年来国家也越来越重视传统中医的发展，建立健全中医药规律的治理体系，深入实施中医药法，把中医药财富继承好、发展好、创新好、利用好。<br /> <br /> Chinese medicine is a gem of China's ancient science. It has left many essences in the development of the millennium. In recent years, the state has paid more and more attention to the development of traditional Chinese medicine, established and improved the governing system of Chinese medicine, implemented the Chinese medicine law in depth, inherited, developed, innovating, and made good use of the wealth of Chinese medicine.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 09:44, 4 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> <br /> 1. 中医是中华文化不可分割的一部分，为中华的繁荣昌盛做出了极大的贡献。如今，中医和西医都被世界各地的医生用来治疗疾病。中医，以其独特的诊断手法、悠久的历史和显著的疗效被用来医治各种癌症和重大疾病。中药不像西药那样会产生许多副作用。<br /> <br /> 1. Traditional Chinese Medicine is an indispensable part of Chinese culture. It has made great contributions to the prosperity of China. Nowadays, both Traditional Chinese Medicine and western medicine are being used to cure people all around the world. The TCM, with its unique diagnostic methods, long history and remarkable effects, have been used to treat cancer and other serious diseases. Unlike the western medicine, the TCM has fewer side effects.<br /> <br /> 1. As an indispensable part of Chinese culture, Traditional Chinese Medicine has made great contributions to the prosperity of China. Nowadays, both Traditional Chinese Medicine and western medicine are being used for treatment all around the world. The TCM, with its unique diagnostic methods, long history and remarkable effects, has been used to treat cancer and other serious diseases. Unlike the western medicine, the TCM has fewer side effects.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:34, 4 December 2020 (UTC)<br /> <br /> 2. 在诊断方面，中医以四诊（望、闻、问、切）为技术原则，八纲辨证为指导总纲并把脏腑辨证、六经辨证、卫气营血辨证作为其辨证论治的基础。<br /> <br /> 2. In diagnosis, TCM takes the four diagnostic methods (inspection, inquiry, listening, smelling and palpitation) as its principal techniques,eight principal syndromes as its general guideline, and differentiation of syndrome according to the zang-fu theory, differentiation of syndromes according to the six-meridian theory, and differentiation of syndromes according to the theory of wei,qi, ying and xue as its basic theories of the differentiation of syndromes.<br /> <br /> 3. 针灸是治疗多种疾病的两种不同的治疗方法。针灸通过用不同类型的针穿刺身体的穴位来治疗疾病，而艾灸将点燃的木柴产生的热量施加在身体的某些穴位上。<br /> <br /> 3. Acupuncture and moxibustion are 2 distinct therapeutic approaches for curing a variety of diseases. Acupunture treats diseases by puncturing points of the body with different types of needles while moxibustion applies heat produced by ignited moxawood over certain points of the body.<br /> <br /> 4. 在中国，中药由国家中医药管理局管理。中医及其发展是有规律的。国家战略、法律和中医药法规已经到位，以指导和促进这一有前途的行业的研究和发展。<br /> <br /> 4. In China, TCM is under the administration of State Administration of TCM and Pharmacology. TCM and its development are regulated. National strategies, law and regulations governing TCM are now in place to guide and promote the research and development in this promising industry.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 07:33, 2 December 2020 (UTC)<br /> <br /> In China, TCM( Traditional Chinese Medicine ) is under the administration of State Administration of TCM and Pharmacology. TCM and its development have their own rules. National strategies, law and regulations all have been in place to guide and promote the research and development in this promising industry--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:34, 3 December 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> 1. 天山雪莲生长于天山山脉海拔4000米左右的悬崖陡壁之上、冰渍岩缝之中；那里气候奇寒、终年积雪不化，一般植物根本无法生存，而雪莲却能在零下几十度的严寒中和空气稀薄的缺氧环境中傲霜斗雪、顽强生长。这种独有的生存习性和独特的生长环境使其天然而稀有，并造就了它独特的药理作用和神奇的药用价值，人们奉雪莲为“百草之王”、“药中极品”。<br /> <br /> Saussurea involucrata grows on the steep cliffs and ice crevices at an altitude of about 4,000 meters in Tianshan Mountains. There, the climate is extremely cold and snow does not melt all the year round, where ordinary plants can't survive at all, while Saussurea involucrata can grow tenaciously in the cold of tens of degrees below zero and the oxygen-deficient environment. This unique living habit and unique growing environment make it natural and rare, thus bestowing it with unique pharmacological and medicinal value. People regard Saussurea involucrata as &quot;the king of herbs&quot; and &quot;the best medicine&quot;.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:30, 4 December 2020 (UTC)<br /> <br /> 2. 党参为中国常用的传统补益药，古代以山西上党地区出产的党参为上品.党参有增强免疫力、扩张血管、降压、改善微循环、增强造血功能等作用。此外对化疗放疗引起的白细胞下降有提升作用。<br /> <br /> Codonopsis pilosula is a traditional tonic commonly used in China. In ancient times, Codonopsis pilosula produced in Shangdang area of Shanxi Province was the top grade. Codonopsis pilosula has the functions of enhancing immunity, dilating blood vessels, lowering blood pressure, improving microcirculation and enhancing hematopoietic function. In addition, it can improve the leukopenia caused by chemotherapy and radiotherapy.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:30, 4 December 2020 (UTC)<br /> <br /> 3. 艾灸对人体局部的温热刺激，能增强局部血液循环和淋巴循环，皮肤组织的代谢能力也会得到加强，炎症、粘连、渗出物、血肿等病理产物同时能得到很好的消散。<br /> <br /> Moxibustion can enhance local blood circulation and lymphatic circulation, enhance metabolism of skin tissue, and dissipate pathological products such as inflammation, adhesion, exudate and hematoma.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:30, 4 December 2020 (UTC)<br /> <br /> 4. 饺子起源于东汉时期，为东汉河南邓州人张仲景首创。当时饺子是药用，张仲景用面皮包上一些祛寒的药材用来治病(羊肉、胡椒等)，避免病人耳朵上生冻疮。<br /> <br /> Dumplings originated in the Eastern Han Dynasty and were initiated by Zhang Zhongjing, a native of Dengzhou, Henan Province in the Eastern Han Dynasty. At that time, dumplings were used for medicinal purposes. Zhang Zhongjing wrapped some cold-dispelling medicinal materials in his dough to treat diseases (mutton, pepper, etc.), so as to avoid frostbite on his ears.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:30, 4 December 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> ==Li Lili 李丽丽==<br /> 1.中药就是指在中医理论指导下，用于预防、治疗、诊断疾病并具有康复与保健作用的物质。中药主要来源于天然药及其加工品，包括植物药、动物药、矿物药及部分化学、生物制品类药物。 <br /> Traditional Chinese medicine (TCM) refers to the substances used in the prevention, treatment and diagnosis of diseases under the guidance of TCM theory, and has the function of rehabilitation and health care. Traditional Chinese medicine mainly comes from natural medicine and its processed products, including plant medicine, animal medicine, mineral medicine and some chemical and biological products. --[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:07, 4 December 2020 (UTC)Li Lili<br /> <br /> 2.针灸是一种中国特有的治疗疾病的手段。是通过经络、腧穴的传导作用，以及应用一定的操作法，来治疗疾病。<br /> Acupuncture and moxibustion is a unique method of treating diseases in China，which is through the conduction of meridians and acupoints, as well as the application of certain operation, to treat diseases.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:07, 4 December 2020 (UTC)Li Lili<br /> <br /> 3.中医诊断学是在中医基础理论指导下，研究如何诊察病情、辨别病证一门学科。<br /> Under the guidance of the basic theory of traditional Chinese medicine, diagnostics of traditional Chinese medicine is a basic theory of how to diagnose and identify diseases and syndromes.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:07, 4 December 2020 (UTC)Li Lili<br /> <br /> 4.扁鹊是一位能兼治各科疾病的多面手，扁鹊还能根据当地的需要，开展医疗活动。据记载，扁鹊还精于外科手术，而且应用了药物麻醉来进行手术。<br /> Bian Que is a versatile person who can treat all kinds of diseases. He can carry out medical activities according to local needs. According to records, Bian Que is also good at surgery, and used drug anesthesia to carry out surgery.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:07, 4 December 2020 (UTC)Li Lili<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1.新冠肺炎疫情中，中医药在救治工作中发挥了更加重要、更为广泛的作用。强化中西医结合、中医深度介入诊疗过程，成为医疗救治的鲜明特点，中医药在全国各地新冠肺炎防治中的价值被极大地肯定。 <br /> <br /> Traditional Chinese medicine has played a more important and more extensive role in the treatment of COVID-19.Medical treatment is characterized distinctively by the emphasis on the comnbination of traditional Chinese medicine and Western medicine and in-depth involvement of traditional Chinese medicine in the process of diagnosis and treatment.The value of traditional Chinese medicine in the prevention and treatment of COVID-19 has been widely recognized.<br /> <br /> 2.人们生活水平的提高要求更多更好的新药，药物科学的发展为新药开发提供了理论基础和技术条件，市场经济竞争也促进了新药快速发展。<br /> <br /> People demand more better new drugs because of the improvement of living standards.The development of pharmaceutical science provides theoretical basis and technical conditions for the development of new drugs and the competition in the market economy also promotes the rapid development of new drugs.<br /> <br /> The improvement of people's living standard requires more and better new drugs, the development of drug science provides the theoretical basis and technical conditions for the development of new drugs, and the market economy competition also promotes the rapid development of new drugs.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:15, 3 December 2020 (UTC)<br /> <br /> <br /> 3.中国有句老话叫“吃水不忘挖井人”，在记住我们的祖先发明了针灸术、创造了中华民族的健康和昌盛的同时，还应记住诸多为针灸西进而做过贡献的中外医生和科学家、社会活动家和患者们，同时也不要忘记美国记者罗斯顿和他30年前发表在纽约时报上的《北京之行》。<br /> <br /> There is an old saying in China which goes &quot;When you drink water,think of those who dug the well.&quot;While we bear in mind that our ancestors invented acupuncture and moxibustion and created the health and prosperity of the Chinese nation,we should also keep in mind so many Chinese and foreign doctors,scientists,social activists and patients who have contributed to the westward spread of acupuncture and moxibustion,and the American journalist Reston and his article ''The Trip To Beijing'' published in the New York Times 30 yeas ago.<br /> <br /> 4.《伤寒杂病论》奠定了张仲景在中医史上的重要地位，并且随着时间的推移，这部专著的科学价值越来越显露出来，成为后世从医者人人必读的重要医籍。<br /> <br /> ''On Typhoid and Other Diseases'' has built up Zhang Zhongjing's important position in the history of traditional Chinese medicine.As time goes by,its scientific value becomes increasingly apparent and it has been a significant book that every medical practitioner in later generations should read.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 00:56, 2 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ==Liu Yi 刘艺==<br /> 1、中药剂量是指临床应用时的分量。它主要指明了每味药的成人一日量。中药绝大多数来源于生药，安全剂量幅度较大，用量不像化学药品那样严格，但用量得当与否，也是直接影响药效的发挥、临床效果好坏的重要因素之一。<br /> <br /> The herbal dose is the amount of the medicine to be used clinically. It mainly indicates the adult daily dose of each medicine. The vast majority of Chinese medicines are derived from raw materials, and the safe dosage range is large, the dosage is not as strict as that of chemicals, but the proper dosage is also one of the important factors that directly affect the efficacy and clinical results.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:33, 3 December 2020 (UTC)<br /> <br /> 2、药理学是基础医学与临床医学，医学与药学之间的桥梁学科。在药理学科学的理论指导下进行临床实践，在实验研究的基础上丰富药理学理论。药物的研究和应用除了要尊重科学规律，还要依照法律、法规和相关指导原则的规定，以保障人们的生命健康。<br /> <br /> Pharmacology is a discipline that bridges the gap between basic medicine and clinical medicine, between medicine and pharmacy. Clinical practice is guided by the scientific theories of pharmacology, and the theories of pharmacology are enriched on the basis of experimental research. The research and application of drugs should not only respect scientific laws, but also comply with laws, regulations and relevant guidelines to protect people's life and health.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:33, 3 December 2020 (UTC)<br /> <br /> 3、当前减肥方法很多，但针灸减肥有独特的疗效，即安全方便，又无不良反应。针灸减肥不同于药物减肥等，药物作用通常有一定的期限，而针灸减肥是通过调整患者内在功能而发挥内因作用，所以一般不会在针灸减肥治疗停止后很快又发胖。也就是说，针灸减肥一般不反弹。<br /> <br /> There are many current weight loss methods, but acupuncture has a unique therapeutic effect that is safe, convenient and without adverse reactions. Acupuncture is different from drugs in that the effects of drugs usually have a certain time limit, but acupuncture plays an internal role by adjusting the patient's internal function, so the patient usually does not gain weight again soon after acupuncture treatment stops. In other words, acupuncture for weight loss generally does not bounce back.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:33, 3 December 2020 (UTC)<br /> <br /> 4、中医药作为我国独特的卫生资源、潜力巨大的经济资源、具有原创优势的科技资源、优秀的文化资源和重要的生态资源，在经济社会发展中发挥着日益重要的作用。认真贯彻落实党中央、国务院发展中医药的方针政策，推进中医药振兴发展，更好地为建设健康中国服务，为全面建成小康社会服务。<br /> <br /> As China's unique health resources, economic resources with great potential, scientific and technological resources with original advantages, excellent cultural resources and important ecological resources, Chinese medicine is playing an increasingly important role in economic and social development. We will conscientiously implement the guidelines and policies of the Central Committee of the Party and the State Council on the development of Chinese medicine, promote the revitalization and development of Chinese medicine, and better serve the building of a healthy China and the building of a well-off society in an all-round way.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:33, 3 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> 1. 目前，国家药监局与国家中医药管理局紧密携手，正在加快清肺排毒汤等有效抗疫方药成果转化，开启中药经典名方由“方”到“药”的新路径。<br /> The SFDA is working hand in hand with the State Administration of Traditional Chinese Medicine to advance the transformation of anti-epidemic prescriptions, such as Lung Clearing Soup, to make a breakthrough from &quot;prescription&quot; to &quot;medicine&quot; in classical Chinese medicine prescriptions.<br /> <br /> 将抗菌药物与抗炎药一起比较，就是受原来非科学的观念的影响。原来很多医务人员（基层医务人员）把抗菌药物错误理解与传谈为“消炎药”，直到现在还有很多正规病历里面仍有不少治疗方案本应为抗感染治疗错识书写并错识告知病人为“抗炎”治疗。<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 1 受传统中医疗法的启发，1969年，在中国军方的一个项目中，屠呦呦发现了青蒿素，这种药物现在是治疗疟疾的主要药物。她说，这一荣誉“表明中医药已经引起了国际学术界的关注”。<br /> Inspired by a classical traditional Chinese medicinal treatment, Tu Youyou discovered artemisinin, a drug that’s now the primary treatment against malaria, during a project for the Chinese military in 1969. She said the honor “shows that traditional Chinese medicine has drawn the attention of the international academia”.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:25, 4 December 2020 (UTC)<br /> <br /> 2 对于吃野生动物肉类容易染上疾病这件事，早在四五百年前的明代就已经被著名的医学家李时珍详细记载于《本草纲目》之中。<br /> As early as four or five hundred years ago in the Ming Dynasty, the famous medical scientist Li Shizhen has recorded the fact that people eating meat from wild animals are prone to develop diseases in the Compendium of Materia Medica in detail.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:25, 4 December 2020 (UTC)<br /> <br /> 3 针灸起源于2000多年前的中国。从本质上说，它的作用是改善生命能量的顺畅流动，也就是中国人所说的“气”，从身体的主要器官到皮肤、肌肉、肌腱、骨骼和关节等身体组织。<br /> Acupuncture originated in China more than 2,000 years ago. Essentially, it functions by improving the smooth flow of life force energy, known in Chinese as qi, from the body's primary organs to body tissues of the skin, muscles, tendons, bones, and joints.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:25, 4 December 2020 (UTC)<br /> <br /> 4 三国的时候，曹操常常头痛剧烈，寝食难安。于是就请来了神医华佗为他医治。华佗对曹操说，要想根治此病，除非抛开头颅，做一个手术。<br /> During the Three Kingdoms period, Cao Cao often had severe headaches and could not sleep well. So he invited hua Tuo, an outstanding doctor, to treat him. He told Cao Cao that the only way to cure the disease was to open his brain and perform an operation. --[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:25, 4 December 2020 (UTC)<br /> <br /> During the Three Kingdoms period,Cao Cao often suffer severe headaches making him have trouble sleeping and eating.So he invited hua Tuo, an outstanding doctor, to treat him. He told Cao Cao that the only way to cure the disease was to open his brain and perform an operation.-[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:37, 5 December 2020 (UTC)Xiao Ting<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.中药指在中医理论指导下，用于预防、治疗、诊断疾病并具有康复与保健作用的物质。<br /> <br /> Traditional Chinese medicine refers to the substance used in prevention, treatment and diagnosis of diseases under the guidance of traditional Chinese medicine theory, and possesses the function of recovery and health care.<br /> <br /> 2.脉象的产生与心脏的波动，心气的盛衰，脉道的通利和和气血的盈亏直接相关。<br /> <br /> The condition of pulse is directly related to the fluctuation of heart, the rise and fall of heart-qi, the degree of patency and the quantity of Qi and blood.<br /> <br /> 3.灸法以预制的灸炷或灸草在体表一定的穴位上烧灼、熏熨，利用热的刺激来预防和治疗疾病。<br /> <br /> Moxibustion utilizes prefabricated moxibustion stick or moxibustion grass to cauterize and fumigate certain acupoints on the body surface to prevent and treat diseases by hot stimulation.<br /> <br /> 4.华佗医术全面，尤其擅长外科，精于手术。并精通内、妇、儿、针灸各科。<br /> <br /> Hua Tuo mastered comprehensive medical skills, especially good at surgery and proficient in operation, internal medicine, gynecology, pediatrics, acupuncture and moxibustion.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 02:08, 5 December 2020 (UTC)Mo Ling<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> ==Phyo, Su Kyi==<br /> 1-中医（TCM）是一种广泛的医学实践，它们具有2000多年的传统，并在中国已发展出一些共同的概念，包括各种形式的草药，针灸，推拿，运动（气功）和饮食疗法。<br /> <br /> Traditional Chinese medicine (TCM) is a broad range of medicine practices sharing common concepts which have been developed in China and are based on a tradition of more than 2,000 years, including various forms of herbal medicine, acupuncture, massage (tui na), exercise (qigong), and dietary therapy.<br /> <br /> 2-传统中药中常用的草药包括：黄芪,银杏叶,红色酵母米,肉桂,生姜,参,Gotu可乐,曹玉兴。<br /> Herbs commonly used in traditional Chinese medicine include:Astragalus, Ginkgo biloba,Red yeast rice.Cinnamon.Ginger.Ginseng.Gotu kola.Yu Xing Cao.<br /> <br /> 传统中药中常用的草药包括：黄芪,银杏叶,红曲米,肉桂,生姜,人参,雷公根,鱼腥草。<br /> Herbs commonly used in traditional Chinese medicine include:Astragalus, Ginkgo biloba,Red yeast rice,Cinnamon,Ginger,Ginseng,Gotu kola and Yu Xing Cao.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:40, 4 December 2020 (UTC)<br /> <br /> 3-针灸是中药的重要组成部分。<br /> Acupuncture and moxibustion are important components of Chinese traditional medicine.<br /> <br /> 4-中国拥有世界上最古老的医疗系统之一。针灸和中药疗法至少可以追溯到2200年，尽管最早的中药书面记录是公元前3世纪的黄帝内经。<br /> China has one of the world's oldest medical systems. Acupuncture and Chinese herbal remedies date back at least 2,200 years, although the earliest known written record of Chinese medicine is the Huangdi neijing (The Yellow Emperor's Inner Classic) from the 3rd century BC.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 13:15, 3 December 2020 (UTC)Phyo Su Kyi<br /> <br /> China has one of the world's oldest medical systems. Acupuncture and Chinese herbal remedies date back at least 2,200 years, although the earliest known written record of Chinese medicine is The Yellow Emperor's Inner Classic (Huangdi Neijing)from the 3rd century BC.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 03:35, 5 December 2020 (UTC)<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ==Qu Miao 瞿淼==<br /> 1、中医诞生于原始社会，春秋战国时期中医理论已基本形成，之后历代均有总结发展。除此之外对汉字文化圈国家影响深远，如日本医学、韩国韩医学、朝鲜高丽医学、越南东医学等都是以中医为基础发展起来的。<br /> Chinese medicine was born in primitive society. Its theory was basically formed in the Spring and Autumn period and the Warring States Period, and has been summarized and developed in successive dynasties. In addition, it has a profound influence on countries in the cultural circle of Chinese characters. For example, Japanese medicine, South Korean medicine, North Korean medicine, and Eastern Vietnamese medicine are all developed on the basis of Chinese medicine.<br /> 2、在长期的医疗实践活动中，历代医家积累了丰富的临床诊断经验，形成了中国特有的完整的诊病体系，即四诊(望、闻、问、切)、辨证与辨病。<br /> In the long period of medical practice, doctors of all dynasties have accumulated rich experience in clinical diagnosis and formed a complete diagnostic system unique to China, namely, four diagnostic methods (observing, listening and smelling, inquiring, and palpating), syndrome differentiation and disease differentiation.<br /> <br /> 3、艾灸，是用艾叶制成的艾条，艾柱，产生的艾热刺激人体穴位或特定部位，通过激发经气的活动来调整人体紊乱的生理生化功能，从而达到防病治病目的的一种治疗方法。<br /> Moxibustion is a treatment method that uses mugwort leaves to stimulate the acupuncture points or specific parts of the human body and adjust the physiological and biochemical functions of the human body by stimulating the activity of channels and collaterals, so as to achieve the purpose of disease prevention and treatment.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 03:31, 5 December 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ==Seydou, Sagara==<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> ==Si Yu 司妤==<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> 1. 所谓道地药材，又称地道药材，是优质纯真药材的专用名词，它是指历史悠久、产地适宜、品种优良、产量宏丰、炮制考究、疗效突出、带有地域特点的药材。如甘肃的当归，宁夏的枸杞，青海的大黄，内蒙的黄芪，东北的人参、细辛、五味子，山西的党参，河南的地黄、牛膝、山药、菊花等。<br /> <br /> The so-called authentic medicinal materials, also known as authentic medicinal materials, is a term for high-quality pure medicinal materials. It refers to medicinal materials with a long history, suitable production area, excellent variety, great output, sophisticated processing, outstanding curative effect, and regional characteristics. Such as Angelica from Gansu, Chinese wolfberry from Ningxia, Rhubarb from Qinghai, Astragalus from Inner Mongolia, Ginseng, Asarum, Schisandra from Northeast, Codonopsis from Shanxi, Rehmannia, Achyranthes, Chinese yam, Chrysanthemum, etc.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:34, 3 December 2020 (UTC)<br /> <br /> 2. 望诊，是对病人的神、色、形、态、舌象等进行有目的的观察，以测知内脏病变，中医通过大量的医疗实践，逐渐认识到机体外部，特别是面部、舌质，舌苔与脏腑的关系非常密切。<br /> <br /> Inspection is a purposeful observation of the patient’s look, color, shape, state, tongue, etc. to detect visceral lesions. Through a large number of medical practices, Chinese medicine gradually recognizes the outside of the body, especially the face and tongue. The tongue coating has a very close relationship with the viscera.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:34, 3 December 2020 (UTC)<br /> <br /> 3. 针灸疗法的特点是治病不靠吃药，只是在病人身体的一定部位用针刺入，达到刺潋神经并引起局部反应，或用火的温热刺激烧灼局部，以达到治病的目的。前一种称作针法，后一种称作灸法，统称针灸疗法。<br /> <br /> The characteristic of acupuncture therapy is that it does not rely on taking medicine to cure the disease, but only punctures a certain part of the patient's body with a needle to pierce the nerve and cause a local reaction, or use the warm heat of fire to stimulate the local area to achieve the purpose of curing the disease. The former is called acupuncture, and the latter is called moxibustion, collectively referred to as acupuncture therapy.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:34, 3 December 2020 (UTC)<br /> <br /> 4. 新中国成立后特别是改革开放以来，党中央、国务院高度重视中医药工作，制定了一系列政策措施，推动中医药事业发展取得了显著成就。中医药总体规模不断扩大，发展水平和服务能力逐步提高，初步形成了医疗、保健、科研、教育、产业、文化整体发展新格局，对经济社会发展贡献度明显提升。<br /> <br /> After the founding of New China, especially since the reform and opening up, the Party Central Committee and the State Council have attached great importance to the work of Chinese medicine, formulated a series of policies and measures, and made notable achievements in promoting the development of Chinese medicine. The overall scale of traditional Chinese medicine has continued to expand, and the level of development and service capabilities have gradually improved. A new pattern for the overall development of medical care, health care, scientific research, education, industry, and culture has initially formed, and its contribution to economic and social development has increased significantly.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:34, 3 December 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> 1.汤剂是中药最为常用的剂型之一。汤剂的制作对煎具、用水、火候、煮法都有一定的要求。煎药用具以砂锅、瓦罐为好，搪瓷罐次之，忌用铜铁锅，以免发生化学变化，影响疗效。<br /> Decoction is one of the most commonly used dosage forms of Chinese medicine. The preparation of decoction has certain requirements for decoction, water, heat, and cooking methods. The decocting utensils are preferably casserole and earthenware pots, followed by enamel pots. Avoid using copper and iron pots to avoid chemical changes and affect the efficacy.<br /> <br /> 2.药理学是研究药物与机体间相互作用规律及其药物作用机制的一门科学，主要包括药效动力学和药代动力学两个方面。前者是阐明药物对机体的作用和作用原理,后者阐明药物在体内吸收、分布、生物转化和排泄等过程,及药物效应和血药浓度随时间消长的规律。<br /> Pharmacology is a science that studies the law of interaction between drugs and the body and the mechanism of drug action, including pharmacodynamics and pharmacokinetics. The former is to clarify the role and principle of the drug on the body, the latter clarifies the process of drug absorption, distribution, biotransformation and excretion in the body, and the law of drug effects and blood drug concentration with time.<br /> <br /> 3.针灸由“针”和“灸”构成，是东方医学的重要组成部分之一，其内容包括针灸理论、腧穴、针灸技术以及相关器具，在形成、应用和发展的过程中，具有鲜明的中华民族文化与地域特征，是基于中华民族文化和科学传统产生的宝贵遗产。<br /> Acupuncture is composed of &quot;needles&quot; and &quot;moxibustion&quot;. It is one of the important components of Oriental medicine. Its content includes acupuncture theory, acupoints, acupuncture techniques and related appliances. In the process of formation, application and development, it has a distinctive Chinese nation Cultural and regional characteristics are precious heritage based on the Chinese nation’s cultural and scientific traditions.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:16, 3 December 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> ==Xiao Ting 肖婷==<br /> 1.以人名命药名：有些中药的用名带有传说色彩，这些药多半是以发现者或最初使用者的名字来做药名。<br /> <br /> Naming after people:The names of some medicines are legendary. The names of these medicines are mostly based on the name of the discoverer or original user of the medicine.<br /> <br /> 2.问诊内容涉及范围很广，是获取疾病信息的重要途径，很多名老中医非常重视问候，问诊包括问一般情况，问生活史，问家族病史和既往病史，问起病，问现在症。<br /> <br /> The inquiring covers a wide range of topics which is an important way to obtain information about the disease, and many famous TCM physicians attach great importance to it, including inquiring about the general information, life history, family and past medical history, onset of illness, and present symptoms.<br /> <br /> 3.灸法是以预制的灸炷或灸草在体表一定的穴位上烧灼、熏熨，利用热的刺激来预防和治疗疾病。通常以艾草最为常用，故而称为艾灸，另有隔药灸、柳条灸、灯芯灸、桑枝灸等方法。如今人们生活中也经常用到的多是艾条灸。<br /> <br /> Moxibustion is the use of ignited preprepared moxa cones or grass to heat over the points of skin or certain locations in the human body by using heat to prevent and treat disease. The most common use of moxibustion is usually moxahood thus named moxibustion,and there are also many different equipment and materials being used,such as moxibustion through herbs, wicker moxibustion, wicker moxibustion, and mulberry moxibustion.Nowadays, moxibustion is very popular used in people's lives.<br /> <br /> <br /> 4.新中国成立以后，对中医药事业高度重视，先后制定了许多有利于中药发展的措施，中医药的教育、科研事业也有了空前的发展。<br /> <br /> After the founding of People's Repulic of China, it has attached great importance to TCM, and has formulated many conducive measures to the development of TCM, thus the education and scientific research of TCM have also achieved unprecedented development<br /> <br /> Since the founding of People's Republic of China, great attention has been paid to Traditional Chinese Medicine(TCM) that a lot of measures benificial to its development have been implemented and great progress has been made in the education and scientific research of TCM.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 02:17, 5 December 2020 (UTC)Mo Ling<br /> <br /> ==Xie Fan 解帆==<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> ==Xu Jing 许静==<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 1. “中药”一词在不同的历史时期存在不同的内涵，随着中医药理论实践的发展，其内涵不断得以丰富，形式不断得到拓展。<br /> <br /> 1. The term “traditional Chinese medicine” has different connotations in different historical periods, and with the development of Chinese medicine theory and practice, its connotations are constantly enriched and its forms are constantly expanded.<br /> <br /> 1. The term “traditional Chinese medicine” has different connotations in different historical periods. With the development of Chinese medicine theory and practice, its connotations are constantly enriched and its forms are constantly expanded.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:50, 3 December 2020 (UTC)<br /> <br /> 2. 对于人体疾病的诊断过程是一个认识过程，认识的目的在于进一步指导实践。而望、闻、问、切四诊，是认证识病的主要方法。<br /> <br /> 2. The process of diagnosing is about understanding, aiming to further guide practice. The four diagnostic methods of looking, listening, questioning and feeling the pulse are the main methods to know about the disease. <br /> <br /> 3. 针灸的原理是刺激能量中心以达到治疗效果。人体的本质是一个能量体，经络是能量网格。<br /> <br /> 3.The principle of acupuncture is to stimulate the energy center to achieve a therapeutic effect. The nature of the human body is an energy body, and the meridians are energy grids. <br /> <br /> 4. 早在几千年前的远古时代，我们的祖先在日常饮食劳作和与大自然的抗争中就积累了一些用药知识。<br /> <br /> 4. Thousands of years ago, in ancient times, our ancestors accumulated some knowledge of medicine in their daily life and struggle with nature.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 12:12, 2 December 2020 (UTC)Yang Chenting<br /> <br /> Ancestors in ancient times accumulated some knowledge of medical and pharmacy in their daily life and in the fight with nature.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:38, 3 December 2020 (UTC)<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> 1. 如今，随着对中药资源的开发和研究，许多民间药物也归入中药的范畴。所以，中药是以中医理论为基础，用于防治疾病的植物，动物矿物及其加工品，不论产于中国，外国均称中药。 Nowadays, with the development and research of Chinese medicine resources, many folk medicines are also included in the category of Chinese medicine. Therefore, Chinese medicine is based on the theory of Chinese medicine. Plants, animal minerals and processed products used to prevent and treat diseases are called Chinese medicine regardless of whether they are produced in China or abroad.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:50, 5 December 2020 (UTC)<br /> <br /> 2. 四诊的基本原理是建立在整体观念和恒动观念的基础上的，是阴阳五行、藏象经络、病因病机等基础理论的具体运用。The basic principles of the Four Diagnoses are based on the overall concept and the concept of perpetual movement, and are the specific application of basic theories such as Yin-Yang and Five Elements, Zangxiang Meridian, etiology and pathogenesis.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:50, 5 December 2020 (UTC)<br /> <br /> 3. 艾叶实际上是一种中药，而且具有着非常大的作用，能够宣理气血、除湿开郁。艾叶针灸的方法是通过安火的温热刺激，达到治疗的作用。Mugwort is actually a kind of traditional Chinese medicine, and it has a very great effect, which can regulate qi and blood, remove dampness and relieve depression. The method of acupuncture and moxibustion of mugwort is to achieve the therapeutic effect through the warm stimulation of Anhuo.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:50, 5 December 2020 (UTC)<br /> <br /> 4. 清代医家张志聪说过：“不明四书者不可以为儒，不明本论（《伤寒论》）者不可以为医。”后该书流传海外，亦颇受国外医学界推崇，成为研读的重要典籍。 Zhang Zhicong, a physician in the Qing Dynasty, said: “Those who do not understand the Four Books cannot be Confucianism, and those who do not understand the original theory (&quot;Treatise on Febrile Diseases&quot;) cannot be medical.&quot; Later, the book spread overseas and was highly praised by foreign medical circles and became an important study.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:50, 5 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> <br /> 1.中医承载着中国古代人民同疾病作斗争的经验和理论知识，是在古代朴素的唯物论和自发的辩证法思想指导下，通过长期医疗实践逐步形成并发展成的医学理论体系。<br /> Traditional Chinese medicine bears the experience and theoretical knowledge of the ancient Chinese people's struggle against disease . It is a medical theory system gradually formed and developed through long-term medical practice under the guidance of ancient simple materialism and spontaneous dialectics.<br /> <br /> 2.食疗与药疗是相对而言的，只是食物的作用缓，和，副作用小;药物的作用显著，副作用大。因此，食疗应该是日常生活中比较方便的既廉价，方便又健康的。<br /> Dietotherapy and drug therapy are relative, but the effect of food is slow, and, side effects are small ;The action of the medicine shows off, the side effect is big.Therefore, dietotherapy should be more convenient in daily life both cheap, convenient and healthy.<br /> <br /> Dietotherapy and drug therapy are relative, but the effect of food is slow and side effects are minor while the effect of the medicine is remarkable and the side effects are major. Therefore, dietotherapy is more convenient in daily life, cheap, convenient and healthy.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:49, 4 December 2020 (UTC)<br /> <br /> 3.经络是运行全身气血，联络脏腑肢节，沟通上下内外的通路。经，有路径的意思，是经络系统的主干;络，有网络的意思，是经脉的分支，纵横交错，网络全身。<br /> The channels and collaterals are the way to run the whole body qi and blood, connect the viscera and limbs, and communicate the upper and lower internal and external.Classics, has the meaning of the path, is the main trunk of the meridian system ;Collateral, have network meaning, is the branch of meridian, crisscross, network whole body.<br /> <br /> 4.中医诞生于原始社会，春秋战国时期中医理论已基本形成，之后历代均有总结发展。除此之外对汉字文化圈国家影响深远，如日本医学、韩国韩医学、朝鲜高丽医学、越南东医学等都是以中医为基础发展起来的。<br /> Chinese medicine was born in primitive society, the theory of Chinese medicine in the Spring and Autumn Period and Warring States Period has been basically formed, and has been summarized and developed throughout the ages.Besides, it has a profound influence on the countries of Chinese cultural circle, such as Japanese medicine, Korean medicine, Korean medicine, East Vietnamese medicine and so on.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:08, 3 December 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> ==Yu Ni 余妮==<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> 中医认为人体是一个有机整体，是由若干脏器和组织、器官所组成的。各个组织、器官都有着各自不同的功能，决定了机体的整体统一性。<br /> <br /> Traditional Chinese medicine(TCM) holds that human body is integral, composed of numerous organs, and tissues. Each tissue and organ boasts sundry functions, determining the whole body’s integral unity.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 05:20, 3 December 2020 (UTC) <br /> <br /> Traditional Chinese medicine(TCM) holds that human body is integral, composed of numerous organs and tissues. Each tissue and organ boasts respective functions, determining the whole body’s integral unity.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:28, 3 December 2020 (UTC)<br /> TCM emphasis the human body as a organic whole, comprising numerous organs and tissues. Respective function of each organ or tissue makes up this entity.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:45, 4 December 2020 (UTC)<br /> <br /> 新冠肺炎疫情中，中医药在救治工作中也发挥了更加重要、更为广泛的作用。强化中西医结合、中医深度介入诊疗过程，成为医疗救治的鲜明特点，中医药在全国各地新冠肺炎防治中的价值被极大地肯定。<br /> <br /> During the COVId-19 pandemic, TCM has played a more significant and widespread role on the medical work. The strengthening of the combination between TCM and Western medicine, and the deep intervention into therapy of TCM have become vivid specialties of medical therapy, thus gaining great affirmation for its value in the process of the prevention and diagnosis of COVID-19 across China.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 05:20, 3 December 2020 (UTC)<br /> <br /> 药理学的学科任务是要为阐明药物作用及作用机制、改善药物质量、提高药物疗效、防治不良反应提供理论依据；研究开发新药、发现药物新用途并为探索细胞生理生化及病理过程提供实验资料。<br /> <br /> The academic task of pharmacy is to offer theoretical gists for the explanation of the effects and effective mechanism of medicine, improvement of the quality of medicine, improvement of effects of medicine, prevention and control of side effects, and to provide experimental data for the exploration of the new functions of medicine and the discovery of the physiological, biological, chemical and pathological processes of cells.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 05:20, 3 December 2020 (UTC)<br /> <br /> 针灸是一种中国特有的治疗疾病的手段。它是一种“内病外治”的医术。是通过经络、腧穴的传导作用，以及应用一定的操作法，来治疗全身疾病。<br /> <br /> Acupuncture, as an approach to curing illnesses, is unique to China. It is a medical skill appealing to” taking external measures to treat internal illnesses”. And it also remedies sickness through conducting the meridians and acupoints, and applying certain methods of operation.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 05:20, 3 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> ==Zhang Hui 张慧==<br /> 1.中医药事业是我国医药卫生事业的重要组成部分。国家大力发展中医药事业，实行中西医并重的方针，建立符合中医药特点的管理制度，充分发挥中医药在我国医药卫生事业中的作用。<br /> <br /> The state vigorously develops the cause of Chinese medicine, implements the policy of equal emphasis on Chinese and Western medicine, establishes a management system that meets the characteristics of Chinese medicine, and gives full play to the role of Chinese medicine in my country's medical and health services.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> Traditional Chinese Medicine (TCM) is an important part of China's medical and health undertakings. The state vigorously develops TCM, implements the policy of giving equal emphasis to both Chinese and Western medicine, establishes a management system in line with the characteristics of TCM, and gives full play to the role of TCM in China's medical and health undertakings.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:11, 3 December 2020 (UTC)<br /> 2.药理学是基础医学与临床医学，医学与药学之间的桥梁学科。在药理学科学的理论指导下进行临床实践，在实验研究的基础上丰富药理学理论。<br /> <br /> Pharmacology is a bridge between basic medicine and clinical medicine, medicine and pharmacy. We can carry out clinical practice under the theoretical guidance of pharmacological science and enrich pharmacological theory on the basis of experimental research.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> Pharmacology is a discipline that bridges the gap between basic medicine and clinical medicine, between medicine and pharmacy. Clinical practice is guided by the theories of the science of pharmacology, and the theories of pharmacology are enriched on the basis of experimental research.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:11, 3 December 2020 (UTC)<br /> <br /> 3.艾灸历史源远流长，纵观艾灸的发展，可分为两个里程，第一个是传统艾灸，第二个是现代艾灸，不论是传统艾灸还是现代艾灸都有各自的特点、优势和不足之处。<br /> <br /> Moxibustion has a long history. From the development of moxibustion, it can be divided into two milestones. The first is traditional moxibustion and the second is modern moxibustion. Both traditional and modern moxibustion have their own characteristics, Strengths and weaknesses.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> Moxibustion has a long history. Throughout the development of moxibustion, it can be divided into two milestones, the first is traditional moxibustion, the second is modern moxibustion, both traditional and modern moxibustion have their own characteristics, advantages and shortcomings.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:11, 3 December 2020 (UTC)<br /> <br /> 4.中医药作为我国独特的卫生资源、潜力巨大的经济资源、具有原创优势的科技资源、优秀的文化资源和重要的生态资源，在经济社会发展中发挥着日益重要的作用。<br /> <br /> As China's unique health resources, economic resources with huge potential, scientific and technological resources with original advantages, excellent cultural resources and important ecological resources, Chinese medicine plays an increasingly important role in economic and social development.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> As China's unique health resources, economic resources with great potential, scientific and technological resources with original advantages, excellent cultural resources and important ecological resources, Chinese medicine plays an increasingly important role in economic and social development.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:11, 3 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> 中医是研究人体生理病理以及疾病的诊断和防治的一门学科。<br /> TCM is a subject focus on the physiology, pathology and the prevention and diagnose of disease.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:38, 4 December 2020 (UTC)<br /> Traditional Chinese medicine (TCM) is a subject that explores the physiology and pathology of human body and the diagnosis and treatment of diseases.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 4 December 2020 (UTC)Li Lili<br /> <br /> 把脉是中国古代传统医学家独创创，即用手指按脉，根据脉象来诊断疾病。<br /> pulse taking, invented in ancient China, needs somebody use the finger to feel the pulse so as to diagnose.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:38, 4 December 2020 (UTC)<br /> Pulse monitoring, initiated by ancient Chinese traditional medicine researchers, is a method of pressing the pulse with the finger and diagnosing diseases according to the pulse condition.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 4 December 2020 (UTC)Li Lili<br /> <br /> 针灸治疗很温和，无痛，也很放松。<br /> Acupuncture treatment is gentle, painless and relaxing.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:38, 4 December 2020 (UTC)<br /> Acupuncture is mild, painless and relaxing--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 4 December 2020 (UTC)Li Lili<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> 1. 中医诞生于原始社会，春秋战国时期中医理论已基本形成，之后历代均有总结发展。除此之外对汉字文化圈国家影响深远，如日本汉方医学，韩国韩医学，朝鲜高丽医学、越南东医学等都是以中医为基础发展起来的。<br /> <br /> Traditional Chinese Medicine was born in primitive society. The theory of Chinese medicine has basically taken shape during the Spring and Autumn Period and Warring States Period and developed in later dynasties. In addition, it has a far-reaching influence on the countries which have Chinese character culture. For example, Japanese Kampo medicine, Korean medicine, North Korean medicine, and Vietnamese Dong medicine are all developed on the basis of Chinese medicine.<br /> <br /> 2. 药理学是基础医学与临床医学，医学与药学之间的桥梁学科。在药理学科学的理论指导下进行临床实践，在实验研究的基础上丰富药理学理论。<br /> <br /> Pharmacology is a bridge between basic medicine and clinical medicine, medicine and pharmacy. We should carry out clinical practice under the theoretical guidance of pharmacological science and enrich pharmacological theory on the basis of experimental research.<br /> <br /> 3. 灸法是以预制的灸炷或灸草在体表一定的穴位上烧灼、熏熨，利用热的刺激来预防和治疗疾病。通常以艾草最为常用，故而称为艾灸。<br /> <br /> Moxibustion uses prefabricated moxibustion sticks or moxibustion grass to burn and iron on certain acupoints on the body surface, using heat stimulation to prevent and treat diseases. Moxa is usually the most commonly used, so it is called moxibustion.<br /> <br /> 4. 扁鹊是中医学的开山鼻祖,世人敬他为神医。从司马迁的不朽之作《史记》及先秦的一些典籍中可以看到扁鹊既真实又带有传奇色彩的一生。<br /> <br /> Bian Que is the originator of Traditional Chinese medicine. The world respected him as a highly skilled doctor. From Sima Qian's immortal work &quot;Historical Records&quot; and some of the classics of the pre-Qin period, we can see that Bian Que's life is both true and legendary.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 13:37, 4 December 2020 (UTC)<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.中医药，是包括汉族和少数民族医药在内的我国各民族医药的统称，反映了中华民族对生命、健康和疾病的认识。<br /> <br /> Traditional Chinese Medicine, the general term for China’s medicine of ethnic groups including Han and minorities, reflects Chinese nation’s cognition to life, health and diseases.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:45, 3 December 2020 (UTC)<br /> <br /> Traditional Chinese Medicine, reflecting Chinese people's knowledge about life, health and illness, is the general term for medicines of all ethnic groups of China including medicines of Han nationality and other ethnic minorities.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 05:24, 3 December 2020 (UTC)<br /> <br /> 2.古代医药先贤对中草药和中医药学的深入探索、研究和总结，使得中草药得到了最广泛的认同与应用。如《本草纲目》被誉为“东方药物巨典”，对人类近代科学以及医学方面影响最大。<br /> <br /> The ancient Chinese wise man of medicine deeply explored, researched and concluded the Chinese herbal medicine and traditional Chinese medicine, leading to the wide recognition and application of the Chinese herbal medicine. For example, ''Compendium of Materia Medica'', honored as the great masterpiece of oriental medicine, has a far-reaching influence on modern human science and medicine.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:45, 3 December 2020 (UTC)<br /> <br /> 3.到如今为止，针灸已经传播世界140多个国家和地区，为保障全人类的生命健康发挥了巨大的作用。<br /> <br /> By now acupuncture has spread to more than 140 countries and regions around the world, playing a great role in safeguarding the life and health of the whole of humanity.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:45, 3 December 2020 (UTC)<br /> <br /> 4.中医诞生于原始社会，春秋战国时期中医理论已基本形成，之后历代均有总结发展。<br /> <br /> Traditional Chinese Medicine was born in primitive society, formed the fundamental theory of traditional Chinese medicine in the Spring and Autumn Period and the Warring States Period, and further concluded and developed in other dynasties.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:45, 3 December 2020 (UTC)<br /> <br /> Traditional Chinese Medicine was born in primitive society, formed its fundamental theory in the Spring and Autumn Period and the Warring States Period, and further concluded and developed in the later dynasties.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:15, 3 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> ==Zhao Xi 赵茜==<br /> 1.中医学凝聚着中华民族的健康养生理念和实践经验,在应对复杂疾病及慢性病、促进人类健康等方面具有独特的优势,并在国外掀起传播的热潮。<br /> <br /> Traditional Chinese medicine represents the health regiment idea and practice experience, which has unique advantages in dealing with complicated diseases and chronic diseases, promoting human health and other aspects.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:40, 3 December 2020 (UTC)<br /> <br /> Traditional Chinese medicine embodies the concept and practical experience of health preservation of the Chinese nation. It has unique advantages in dealing with complex diseases and chronic diseases and promoting human health, and it has set off an upsurge of spread abroad.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> 2.一名好中医既要会号脉作出诊断，还要能根据病人情况开出一个最适合的药方。中药的汤药是不固定的。可以说每一个中医都要从头学起，号脉、开方的能力决定治疗水平。<br /> <br /> A good Chinese medicine doctor is required to not only diagnose by feeling the pulse, but also write a most suitable prescription based on the patient’s condition. A decoction of medicinal ingredients of Chinese medicine is fixed. It can be said that every Chinese medicine doctor needs to study from the beginning and the ability of feeling the pulse and writing a prescription decides the treatment levels.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:40, 3 December 2020 (UTC)<br /> <br /> 3.简单来说艾灸就是利用艾草燃烧之后产生的温热能量来刺激人体特定部位，从而激发人体内部气的活动，进而达到保健养生的效果。<br /> <br /> Briefly speaking, moxibustion is an activity that uses the thermal energy produced by burning the artemisia to stimulate specified parts of body, promoting the movement of qi within the body and further reaching the effect of health care.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:40, 3 December 2020 (UTC)<br /> <br /> 4.没有传承，中医药发展就没有根和魂；没有创新，中医药发展就没有活力和未来。<br /> <br /> Without heritage, the development of TCM will be lack of its root and spirit; without innovation, the development of TCM will be short of vitality and future.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:40, 3 December 2020 (UTC)<br /> <br /> Without inheritance, the development of Chinese medicine will have no root and soul; without innovation, the development of Chinese medicine will have no vitality and future.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 1.中国传统医学的治疗理念正逐渐被世界所接受，传统医药受到国际社会越来越多的关注，世界范围内对中医药的需求日益增长，这为中医药的发展提供了广阔的空间。<br /> <br /> The treatment concept of traditional Chinese medicine is gradually being accepted by the world, receiving more and more attention from the international community. The demand for traditional Chinese medicine is increasing worldwide, which provides a broad space for the development of traditional Chinese medicine.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 10:24, 3 December 2020 (UTC)<br /> <br /> The healing philosophy of traditional Chinese medicine is gradually being accepted by the world, traditional medicine is receiving more and more attention from the international community, and the demand for TCM is increasing worldwide, which provides a broad space for the development of TCM.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:35, 3 December 2020 (UTC)<br /> <br /> <br /> 2.诊病，亦称辨病，是在中医学理论指导下，综合分析四诊资料，对疾病的病种作出判断，得出病名诊断的思维过程。<br /> <br /> Diagnosis, also known as disease differentiation, is the thought process of comprehensively analyzing the data of the four diagnoses under the guidance of the theory of Chinese medicine, making judgments on the type of disease, and deriving the diagnosis of the disease name.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 10:24, 3 December 2020 (UTC)<br /> <br /> Diagnosis of diseases, also known as disease identification, is a thought process to comprehensively analyze the information of the four diagnoses under the guidance of Chinese medicine theory, make judgments on the types of diseases, and arrive at a diagnosis of disease names.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:35, 3 December 2020 (UTC)<br /> <br /> 3.在战国时代的《黄帝内经》中，已形成了人体完整的经络系统，并对针灸方法、针刺适应证等做了详细论述。<br /> <br /> In the ''Huangdi Neijing'' of the Warring States Period, a complete meridian system of the human body has been formed, and acupuncture methods and indications of acupuncture are discussed in detail.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 10:24, 3 December 2020 (UTC)<br /> <br /> In the Yellow Emperor's Classic of Internal Medicine of the Warring States period, the complete meridian system of the human body has been formed, and acupuncture methods, acupuncture indications, etc. have been discussed in detail.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:35, 3 December 2020 (UTC)<br /> <br /> 4.中药在中国古籍中通称“本草”。我国最早的一部中药学专著是汉代的《神农本草经》，唐代由政府颁布的《新修本草》是世界上最早的药典。<br /> <br /> Traditional Chinese medicine is commonly called &quot;Materia Medica&quot; in ancient Chinese books. The earliest monograph on traditional Chinese medicine in China is the ''Shen Nong's Materia Medica'' in the Han Dynasty. The ''Xinxiu Materia Medica'' promulgated by the government in the Tang Dynasty is the world's earliest pharmacopoeia.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 10:24, 3 December 2020 (UTC)<br /> <br /> Chinese medicine is commonly referred to as &quot;materia medica&quot; in ancient Chinese texts. China's earliest monograph on TCM is the Divine Husbandman's Classic of the Materia Medica (Divine Husbandman's Classic of the Materia Medica) from the Han Dynasty, and the Xin Xiu Ben Cao (Newly Revised Classic of the Materia Medica) from the Tang Dynasty is the world's oldest pharmacopoeia.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:35, 3 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> 1.中医承载着中国古代人民同疾病作斗争的经验和理论知识，是在古代朴素的唯物论和自发的辩证法思想指导下，通过长期医疗实践逐步形成并发展成的医学理论体系。<br /> <br /> Traditional Chinese medicine bears the experience and theoretical knowledge of the ancient Chinese people's struggle against diseases. It is a medical theoretical system gradually formed and developed through long-term medical practice under the guidance of ancient naive materialism and spontaneous dialectics.<br /> <br /> <br /> 2. 问诊是询问病人及其家属，了解现有证象及其病史，为辨证提供依据的一种方法。<br /> <br /> Inquiring is a method to inquire the patient and his family members, understand the existing syndromes and their medical history, and provide the basis for syndrome differentiation.<br /> <br /> Interrogation is a method of asking patients and their family members, understanding the existing symptoms and medical history, and providing a basis for syndrome differentiation.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:01, 5 December 2020 (UTC)<br /> <br /> 3. 针灸是一种中国特有的治疗疾病的手段。它是一种“内病外治”的医术。是通过经络、腧穴的传导作用，以及应用一定的操作法，来治疗全身疾病。<br /> <br /> Acupuncture is a unique Chinese treatment for diseases. It is a kind of medical method to treat internal diseases by external treatment&quot;. It is through the conduction of channels and acupoints, as well as the application of certain operations, to treat systemic diseases.<br /> <br /> Acupuncture is a unique Chinese treatment for diseases and a medical method to &quot;treat internal diseases by external treatments&quot; which treat systemic diseases through the conduction of channels and acupoints, as well as the application of certain operations.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:19, 3 December 2020 (UTC)<br /> <br /> 4.东汉出现了著名医学家张仲景， 他已经对“八纲”（阴阳、表里、虚实、寒热）有所认识，总结了“八法”。华佗则以精通外科手术和麻醉名闻天下，还创立了健身体操“五禽戏”。唐代孙思邈总结前人的理论并总结经验，收集5000多个药方，并采用辨证治疗，因医德最高，被人尊为“药王”。<br /> <br /> Zhang Zhongjing, a famous medical scientist in the Eastern Han Dynasty. He had already understood the &quot;eight principal syndromes&quot; (yin and yang, exterior and interior, cold and heat, under activity and over activity) and summarized the &quot;eight methods&quot;. Hua Tuo was well known for his expertise in surgery and anesthesia, and founded the &quot;the frolics of five animals&quot; exercise program. Sun Simiao in the Tang Dynasty summarized the theories and experiences of his predecessors, collected more than 5,000 prescriptions, and treated them with syndrome differentiation. He was respected as the &quot;king of medicine&quot; for his highest medical ethics.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 09:20, 3 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> 1.简而言之，中药就是指在中医理论指导下，用于预防、治疗、诊断疾病并具有康复与保健作用的物质。由于中药以植物药居多，故有“诸药以草为本”的说法。<br /> <br /> <br /> 2.中药学是研究中药的基本理论和临床应用的学科，是中医药各专业的基础学科之一。<br /> <br /> <br /> 3.针灸如今可以治疗的病症达800多种，其中30%～40%治疗效果显著。包括一些常见疾病，功能性疾病，慢性病，某些疑难病症与急性病用以针灸辅助更见疗效。<br /> <br /> <br /> 4.现知的最早本草著作称为《神农本草经》，著者不详，根据其中记载的地名，可能是东汉医家修订前人著作而成。<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> ==Zubareva, Ekaterina==</div>

Qu Miao https://bou.de/u/index.php?title=20201130_cult&diff=107327 2020-12-05T03:31:55Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Alsied, Saffana==<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> ==Chen Han 陈涵==<br /> <br /> 1.气血津液都是机体腑脏、经络等组织器官进行生理活动所需要的能量，而气血津液又依赖于腑脏、经络等组织器官正常的生理活动。如果气血津液代谢不正常或腑脏、经络等组织器官不能进行正常的生理活动，就会引起疾病的发生。<br /> <br /> Qi, blood and body fluid provide energy required for the body’s viscera, main and collateral channels, and other tissues and organs, and also depend on their normal physiological activities. If the metabolism of qi, blood and body fluid is abnormal or the viscera, main and collateral channels, and other tissues and organs cannot carry out normal physiological activities, it will cause diseases. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:11, 4 December 2020 (UTC)<br /> <br /> 2.简单来说，望诊包括一般望诊和舌诊两部分内容，一般望诊又包括望神察色，望形态、望五官等，舌诊包括望舌质望舌苔。<br /> <br /> To put it simply, observing diagnosis includes two parts: general inspection and tongue inspection. General inspection includes observing appearance, body statue and movements, and five apertures. Tongue inspection consists of observing tongue body and tongue fur. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:11, 4 December 2020 (UTC)<br /> <br /> 3.我们将艾条的一端点燃后，距施灸部位皮肤约2-3厘米处进行熏灸，使患者局部产生温热感而无灼痛为宜，一般每穴施灸15分钟左右，以皮肤潮红为度。<br /> <br /> We ignite one end of a moxa stick and place it 2 to 3 centimeters away from the specific point to bring a mild warmth to the local place. The patient do not have a burning sensation. It will last some 15 minutes until the skin turns slightly red. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:11, 4 December 2020 (UTC)<br /> <br /> 4.华佗五禽戏真实反映了中国人民群众健身文化的发展变迁，开创了祛病健身的体育医疗先河，展现了养生哲学和道家文化的深厚审美底蕴，具有重要的历史价值和养生医疗价值。<br /> <br /> Five-Animal Exercises of Hua Tuo truly reflects the development and changes of Chinese people's fitness culture, leads the way in medical treatment through sports which helps to cure diseases and keep fit, and shows the profound aesthetic heritage of regimen philosophy and Taoist culture, thus it has important values in history, health preservation, medical treatment. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:11, 4 December 2020 (UTC)<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> <br /> ==Gao Mingzhu 高明珠==<br /> <br /> ==Grosheva, Anna==<br /> 1.Traditional Chinese Medicine practitioners use various mind and body practices (such as acupuncture and tai chi) as well as herbal products to address health problems. <br /> <br /> 中医从业人员运用各种身心方法（例如针灸和太极拳）以及草药来解决健康问题。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:27, 2 December 2020 (UTC)<br /> <br /> 2.Early Chinese physicians had to depend on what they could see or feel like any sort of anatomical study or dissection was not widely practiced. <br /> <br /> 早期的中国医师不得不依靠自己能看到或感觉到的东西，因为没有进行任何形式的解剖学研究或解剖。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:27, 2 December 2020 (UTC)<br /> <br /> 3.Studies suggest that acupuncture stimulates the release of the body’s natural painkillers and affects areas in the brain involved in processing pain; however, some trials suggest that real acupuncture and sham acupuncture are equally effective, indicating a placebo effect. <br /> <br /> 研究表明，针灸刺激人体天然止痛药的释放，并影响大脑中涉及疼痛处理的区域； 但是，一些试验表明，真正的针灸和假针灸是同等有效的，表明有安慰剂作用。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:27, 2 December 2020 (UTC)<br /> <br /> 研究表明，针灸刺激人体释放天然的止痛剂，并影响大脑中感知疼痛的区域； 但是，一些试验表明，真正的针灸和假针灸具有同等功效，表现在都有安慰剂的效用。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:54, 3 December 2020 (UTC)<br /> <br /> 4.The first clear medical treatise is the Yellow Emperor's Inner Canon. In the text, the use of moxibustion or acupuncture to manipulate the Yin and Yang are described in ways similar to that practiced nowadays. <br /> <br /> 第一个明确的医学论文是《黄帝内经》。 在本文中，以类似于当今的方式描述了使用艾灸或针灸操纵阴阳的方法。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:27, 2 December 2020 (UTC)<br /> <br /> 《黄帝内经》是我国第一本医学专著，它描述了如何使用艾灸或针灸调理阴阳平衡，其方法跟现在使用的方法类似。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> ==Guan Qinqing 管钦清==<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> ==Guo Lu 郭露==<br /> <br /> 1. 简而言之，中药就是指在中医理论指导下，用于预防、治疗、诊断疾病并具有康复与保健作用的物质。<br /> <br /> In short, Traditional Chinese medicine (TCM) refers to substances that are used for prevention, treatment and diagnosis of diseases and have functions of rehabilitation and health care under the guidance of TCM theories.<br /> <br /> In short, Chinese medicine refers to substances that are used to prevent, treat, and diagnose diseases under the guidance of Chinese medicine theory and have the functions of rehabilitation and health care.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:29, 2 December 2020 (UTC)<br /> <br /> 2. 药理学是基础医学与临床医学，医学与药学之间的桥梁学科。在药理学科学的理论指导下进行临床实践，在实验研究的基础上丰富药理学理论。<br /> <br /> Pharmacology is a bridge between basic medicine and clinical medicine, medicine and pharmacy. To carry out clinical practice under the guidance of the theory of pharmacology and enrich the theory of pharmacology on the basis of experimental research.<br /> <br /> 3. 针灸疗法的特点是治病不靠吃药，只是在病人身体的一定部位用针刺入，达到刺潋神经并引起局部反应，或用火的温热刺激烧灼局部，以达到治病的目的。前一种称作针法，后一种称作灸法，统称针灸疗法。<br /> <br /> The characteristic of acupuncture therapy is that the treatment is not taking medicine, but a certain part of the patient's body is penetrated by acupuncture to reach the stinging nerve and cause the local reaction, or the warm stimulation of fire is used to cauterize the local part, so as to achieve the purpose of treating the disease. The former is called acupuncture and moxibustion, and the latter is called moxibustion.<br /> <br /> 4. 中药是中华民族五千年传统文化的瑰宝，是千百年医疗实践得出的结晶，也是世界优秀文化的精华。我国中药产业经过几十年的发展，已具有了一定的规模和研发能力，在中药材、中药饮片和剂型等方面取得了一定的成绩。同时中药产业由于自身的快速增长，加之有力的政策扶植，及城市化进程的加快都将进一步促进我国中药事业的发展，中药发展将进入一个新的时期。<br /> <br /> Traditional Chinese medicine is the treasure of the traditional culture of 5000 years of Chinese nation, is thousands of years of medical practice that crystallization, is also the world 's outstanding culture essence. Traditional Chinese medicine industry after decades of development, already has a certain scale and R&amp;D capability, in Chinese herbal medicines, Chinese herbal pieces and dosage form has made some achievements. At the same time, Chinese traditional medicine the industry due to its rapid growth, coupled with the strong policy support, and the city changes a course accelerate, will further promote the development of the cause of Chinese medicine,<br /> Chinese medicine development will enter a new period.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 06:59, 1 December 2020 (UTC)<br /> <br /> 1. In short, traditional Chinese medicine refers to substances used for prevention, treatment, diagnosis of diseases, which are able to rehabilitate and care the body under the guidance of traditional Chinese medicine theories.<br /> <br /> 2. Pharmacology is a subject that bridges basic medicine and clinical medicine and between medicine and pharmacy. Clinical practice is guided by the theories of pharmacological sciences, and pharmacological theories are enriched on the basis of experimental research. <br /> <br /> 3. Acupuncture and moxibustion therapy is characterized by the fact that the treatment does not rely on medicine, but only pricks with needles in certain parts of the patient’s body to stimulate the nerve and cause local reaction, or burns the local area with the warm stimulation of fire, so as to cure the disease. The former method is called acupuncture, and the latter is moxibustion, collectively known as acupuncture and moxibustion therapy.<br /> <br /> 4. Chinese medicine is the treasure of 5,000 years of Chinese traditional culture, the crystallization of thousands of years of medical practice, while the essence of the world’s excellent culture. After decades of development, China’ s TCM industry has reached a certain scale and R&amp;D capability, and has made certain achievements in Chinese herbal medicines, Chinese herbal Yinpian and dosage forms, etc. At the same time, due to the rapid growth of the Chinese medicine industry, strong policies and the accelerating process of urbanization, the development of Chinese medicine will further be promoted, entering a new period.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 12:25, 2 December 2020 (UTC)Yang Chenting<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> ==He Changqi 何长琦==<br /> <br /> ==Hu Baihui 胡百辉==<br /> 1. 中医诞生于原始社会，春秋战国时期中医理论已基本形成，之后历代均有总结发展。除此之外对汉字文化圈国家影响深远，如日本医学、韩国韩医学、朝鲜高丽医学、越南东医学等都是以中医为基础发展起来的。<br /> <br /> Traditional Chinese medicine was born in the primitive society. The theory of traditional Chinese medicine has been basically formed in the spring and Autumn period and the Warring States period. In addition, it has a far-reaching impact on the countries in the Chinese character cultural circle, such as Japanese medicine, Korean medicine, Korean medicine, Korean medicine, and Vietnam east medicine, which are all developed on the basis of traditional Chinese medicine.<br /> <br /> 2. 问诊是指中医采用对话方式，向病人及其知情者查询疾病的发生、发展情况和现在症状、治疗经过等，以诊断疾病的方法。<br /> <br /> Diagnosis refers to the way that TCM uses dialogue to inquire about the occurrence, development, current symptoms and treatment process of the disease from patients and their insiders, so as to diagnose the disease.<br /> <br /> 3. 针灸是一种中国特有的治疗疾病的手段。它是一种“内病外治”的医术。是通过经络、腧穴的传导作用，以及应用一定的操作法，来治疗全身疾病。<br /> <br /> Acupuncture and moxibustion is a unique method of treating diseases in China. It is a kind of internal disease and external treatment. Acupoints, as well as the application of acupoints, are used to treat diseases.<br /> <br /> 4. 中医药学是中国古代科学的瑰宝，发展千年，留下了许多精华，近年来国家也越来越重视传统中医的发展，建立健全中医药规律的治理体系，深入实施中医药法，把中医药财富继承好、发展好、创新好、利用好。<br /> <br /> Chinese medicine is a gem of China's ancient science. It has left many essences in the development of the millennium. In recent years, the state has paid more and more attention to the development of traditional Chinese medicine, established and improved the governing system of Chinese medicine, implemented the Chinese medicine law in depth, inherited, developed, innovating, and made good use of the wealth of Chinese medicine.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 09:44, 4 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> <br /> 1. 中医是中华文化不可分割的一部分，为中华的繁荣昌盛做出了极大的贡献。如今，中医和西医都被世界各地的医生用来治疗疾病。中医，以其独特的诊断手法、悠久的历史和显著的疗效被用来医治各种癌症和重大疾病。中药不像西药那样会产生许多副作用。<br /> <br /> 1. Traditional Chinese Medicine is an indispensable part of Chinese culture. It has made great contributions to the prosperity of China. Nowadays, both Traditional Chinese Medicine and western medicine are being used to cure people all around the world. The TCM, with its unique diagnostic methods, long history and remarkable effects, have been used to treat cancer and other serious diseases. Unlike the western medicine, the TCM has fewer side effects.<br /> <br /> 1. As an indispensable part of Chinese culture, Traditional Chinese Medicine has made great contributions to the prosperity of China. Nowadays, both Traditional Chinese Medicine and western medicine are being used for treatment all around the world. The TCM, with its unique diagnostic methods, long history and remarkable effects, has been used to treat cancer and other serious diseases. Unlike the western medicine, the TCM has fewer side effects.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:34, 4 December 2020 (UTC)<br /> <br /> 2. 在诊断方面，中医以四诊（望、闻、问、切）为技术原则，八纲辨证为指导总纲并把脏腑辨证、六经辨证、卫气营血辨证作为其辨证论治的基础。<br /> <br /> 2. In diagnosis, TCM takes the four diagnostic methods (inspection, inquiry, listening, smelling and palpitation) as its principal techniques,eight principal syndromes as its general guideline, and differentiation of syndrome according to the zang-fu theory, differentiation of syndromes according to the six-meridian theory, and differentiation of syndromes according to the theory of wei,qi, ying and xue as its basic theories of the differentiation of syndromes.<br /> <br /> 3. 针灸是治疗多种疾病的两种不同的治疗方法。针灸通过用不同类型的针穿刺身体的穴位来治疗疾病，而艾灸将点燃的木柴产生的热量施加在身体的某些穴位上。<br /> <br /> 3. Acupuncture and moxibustion are 2 distinct therapeutic approaches for curing a variety of diseases. Acupunture treats diseases by puncturing points of the body with different types of needles while moxibustion applies heat produced by ignited moxawood over certain points of the body.<br /> <br /> 4. 在中国，中药由国家中医药管理局管理。中医及其发展是有规律的。国家战略、法律和中医药法规已经到位，以指导和促进这一有前途的行业的研究和发展。<br /> <br /> 4. In China, TCM is under the administration of State Administration of TCM and Pharmacology. TCM and its development are regulated. National strategies, law and regulations governing TCM are now in place to guide and promote the research and development in this promising industry.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 07:33, 2 December 2020 (UTC)<br /> <br /> In China, TCM( Traditional Chinese Medicine ) is under the administration of State Administration of TCM and Pharmacology. TCM and its development have their own rules. National strategies, law and regulations all have been in place to guide and promote the research and development in this promising industry--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:34, 3 December 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> 1. 天山雪莲生长于天山山脉海拔4000米左右的悬崖陡壁之上、冰渍岩缝之中；那里气候奇寒、终年积雪不化，一般植物根本无法生存，而雪莲却能在零下几十度的严寒中和空气稀薄的缺氧环境中傲霜斗雪、顽强生长。这种独有的生存习性和独特的生长环境使其天然而稀有，并造就了它独特的药理作用和神奇的药用价值，人们奉雪莲为“百草之王”、“药中极品”。<br /> <br /> Saussurea involucrata grows on the steep cliffs and ice crevices at an altitude of about 4,000 meters in Tianshan Mountains. There, the climate is extremely cold and snow does not melt all the year round, where ordinary plants can't survive at all, while Saussurea involucrata can grow tenaciously in the cold of tens of degrees below zero and the oxygen-deficient environment. This unique living habit and unique growing environment make it natural and rare, thus bestowing it with unique pharmacological and medicinal value. People regard Saussurea involucrata as &quot;the king of herbs&quot; and &quot;the best medicine&quot;.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:30, 4 December 2020 (UTC)<br /> <br /> 2. 党参为中国常用的传统补益药，古代以山西上党地区出产的党参为上品.党参有增强免疫力、扩张血管、降压、改善微循环、增强造血功能等作用。此外对化疗放疗引起的白细胞下降有提升作用。<br /> <br /> Codonopsis pilosula is a traditional tonic commonly used in China. In ancient times, Codonopsis pilosula produced in Shangdang area of Shanxi Province was the top grade. Codonopsis pilosula has the functions of enhancing immunity, dilating blood vessels, lowering blood pressure, improving microcirculation and enhancing hematopoietic function. In addition, it can improve the leukopenia caused by chemotherapy and radiotherapy.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:30, 4 December 2020 (UTC)<br /> <br /> 3. 艾灸对人体局部的温热刺激，能增强局部血液循环和淋巴循环，皮肤组织的代谢能力也会得到加强，炎症、粘连、渗出物、血肿等病理产物同时能得到很好的消散。<br /> <br /> Moxibustion can enhance local blood circulation and lymphatic circulation, enhance metabolism of skin tissue, and dissipate pathological products such as inflammation, adhesion, exudate and hematoma.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:30, 4 December 2020 (UTC)<br /> <br /> 4. 饺子起源于东汉时期，为东汉河南邓州人张仲景首创。当时饺子是药用，张仲景用面皮包上一些祛寒的药材用来治病(羊肉、胡椒等)，避免病人耳朵上生冻疮。<br /> <br /> Dumplings originated in the Eastern Han Dynasty and were initiated by Zhang Zhongjing, a native of Dengzhou, Henan Province in the Eastern Han Dynasty. At that time, dumplings were used for medicinal purposes. Zhang Zhongjing wrapped some cold-dispelling medicinal materials in his dough to treat diseases (mutton, pepper, etc.), so as to avoid frostbite on his ears.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:30, 4 December 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> ==Li Lili 李丽丽==<br /> 1.中药就是指在中医理论指导下，用于预防、治疗、诊断疾病并具有康复与保健作用的物质。中药主要来源于天然药及其加工品，包括植物药、动物药、矿物药及部分化学、生物制品类药物。 <br /> Traditional Chinese medicine (TCM) refers to the substances used in the prevention, treatment and diagnosis of diseases under the guidance of TCM theory, and has the function of rehabilitation and health care. Traditional Chinese medicine mainly comes from natural medicine and its processed products, including plant medicine, animal medicine, mineral medicine and some chemical and biological products. --[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:07, 4 December 2020 (UTC)Li Lili<br /> <br /> 2.针灸是一种中国特有的治疗疾病的手段。是通过经络、腧穴的传导作用，以及应用一定的操作法，来治疗疾病。<br /> Acupuncture and moxibustion is a unique method of treating diseases in China，which is through the conduction of meridians and acupoints, as well as the application of certain operation, to treat diseases.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:07, 4 December 2020 (UTC)Li Lili<br /> <br /> 3.中医诊断学是在中医基础理论指导下，研究如何诊察病情、辨别病证一门学科。<br /> Under the guidance of the basic theory of traditional Chinese medicine, diagnostics of traditional Chinese medicine is a basic theory of how to diagnose and identify diseases and syndromes.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:07, 4 December 2020 (UTC)Li Lili<br /> <br /> 4.扁鹊是一位能兼治各科疾病的多面手，扁鹊还能根据当地的需要，开展医疗活动。据记载，扁鹊还精于外科手术，而且应用了药物麻醉来进行手术。<br /> Bian Que is a versatile person who can treat all kinds of diseases. He can carry out medical activities according to local needs. According to records, Bian Que is also good at surgery, and used drug anesthesia to carry out surgery.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:07, 4 December 2020 (UTC)Li Lili<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1.新冠肺炎疫情中，中医药在救治工作中发挥了更加重要、更为广泛的作用。强化中西医结合、中医深度介入诊疗过程，成为医疗救治的鲜明特点，中医药在全国各地新冠肺炎防治中的价值被极大地肯定。 <br /> <br /> Traditional Chinese medicine has played a more important and more extensive role in the treatment of COVID-19.Medical treatment is characterized distinctively by the emphasis on the comnbination of traditional Chinese medicine and Western medicine and in-depth involvement of traditional Chinese medicine in the process of diagnosis and treatment.The value of traditional Chinese medicine in the prevention and treatment of COVID-19 has been widely recognized.<br /> <br /> 2.人们生活水平的提高要求更多更好的新药，药物科学的发展为新药开发提供了理论基础和技术条件，市场经济竞争也促进了新药快速发展。<br /> <br /> People demand more better new drugs because of the improvement of living standards.The development of pharmaceutical science provides theoretical basis and technical conditions for the development of new drugs and the competition in the market economy also promotes the rapid development of new drugs.<br /> <br /> The improvement of people's living standard requires more and better new drugs, the development of drug science provides the theoretical basis and technical conditions for the development of new drugs, and the market economy competition also promotes the rapid development of new drugs.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:15, 3 December 2020 (UTC)<br /> <br /> <br /> 3.中国有句老话叫“吃水不忘挖井人”，在记住我们的祖先发明了针灸术、创造了中华民族的健康和昌盛的同时，还应记住诸多为针灸西进而做过贡献的中外医生和科学家、社会活动家和患者们，同时也不要忘记美国记者罗斯顿和他30年前发表在纽约时报上的《北京之行》。<br /> <br /> There is an old saying in China which goes &quot;When you drink water,think of those who dug the well.&quot;While we bear in mind that our ancestors invented acupuncture and moxibustion and created the health and prosperity of the Chinese nation,we should also keep in mind so many Chinese and foreign doctors,scientists,social activists and patients who have contributed to the westward spread of acupuncture and moxibustion,and the American journalist Reston and his article ''The Trip To Beijing'' published in the New York Times 30 yeas ago.<br /> <br /> 4.《伤寒杂病论》奠定了张仲景在中医史上的重要地位，并且随着时间的推移，这部专著的科学价值越来越显露出来，成为后世从医者人人必读的重要医籍。<br /> <br /> ''On Typhoid and Other Diseases'' has built up Zhang Zhongjing's important position in the history of traditional Chinese medicine.As time goes by,its scientific value becomes increasingly apparent and it has been a significant book that every medical practitioner in later generations should read.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 00:56, 2 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ==Liu Yi 刘艺==<br /> 1、中药剂量是指临床应用时的分量。它主要指明了每味药的成人一日量。中药绝大多数来源于生药，安全剂量幅度较大，用量不像化学药品那样严格，但用量得当与否，也是直接影响药效的发挥、临床效果好坏的重要因素之一。<br /> <br /> The herbal dose is the amount of the medicine to be used clinically. It mainly indicates the adult daily dose of each medicine. The vast majority of Chinese medicines are derived from raw materials, and the safe dosage range is large, the dosage is not as strict as that of chemicals, but the proper dosage is also one of the important factors that directly affect the efficacy and clinical results.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:33, 3 December 2020 (UTC)<br /> <br /> 2、药理学是基础医学与临床医学，医学与药学之间的桥梁学科。在药理学科学的理论指导下进行临床实践，在实验研究的基础上丰富药理学理论。药物的研究和应用除了要尊重科学规律，还要依照法律、法规和相关指导原则的规定，以保障人们的生命健康。<br /> <br /> Pharmacology is a discipline that bridges the gap between basic medicine and clinical medicine, between medicine and pharmacy. Clinical practice is guided by the scientific theories of pharmacology, and the theories of pharmacology are enriched on the basis of experimental research. The research and application of drugs should not only respect scientific laws, but also comply with laws, regulations and relevant guidelines to protect people's life and health.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:33, 3 December 2020 (UTC)<br /> <br /> 3、当前减肥方法很多，但针灸减肥有独特的疗效，即安全方便，又无不良反应。针灸减肥不同于药物减肥等，药物作用通常有一定的期限，而针灸减肥是通过调整患者内在功能而发挥内因作用，所以一般不会在针灸减肥治疗停止后很快又发胖。也就是说，针灸减肥一般不反弹。<br /> <br /> There are many current weight loss methods, but acupuncture has a unique therapeutic effect that is safe, convenient and without adverse reactions. Acupuncture is different from drugs in that the effects of drugs usually have a certain time limit, but acupuncture plays an internal role by adjusting the patient's internal function, so the patient usually does not gain weight again soon after acupuncture treatment stops. In other words, acupuncture for weight loss generally does not bounce back.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:33, 3 December 2020 (UTC)<br /> <br /> 4、中医药作为我国独特的卫生资源、潜力巨大的经济资源、具有原创优势的科技资源、优秀的文化资源和重要的生态资源，在经济社会发展中发挥着日益重要的作用。认真贯彻落实党中央、国务院发展中医药的方针政策，推进中医药振兴发展，更好地为建设健康中国服务，为全面建成小康社会服务。<br /> <br /> As China's unique health resources, economic resources with great potential, scientific and technological resources with original advantages, excellent cultural resources and important ecological resources, Chinese medicine is playing an increasingly important role in economic and social development. We will conscientiously implement the guidelines and policies of the Central Committee of the Party and the State Council on the development of Chinese medicine, promote the revitalization and development of Chinese medicine, and better serve the building of a healthy China and the building of a well-off society in an all-round way.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:33, 3 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> 1. 目前，国家药监局与国家中医药管理局紧密携手，正在加快清肺排毒汤等有效抗疫方药成果转化，开启中药经典名方由“方”到“药”的新路径。<br /> The SFDA is working hand in hand with the State Administration of Traditional Chinese Medicine to advance the transformation of anti-epidemic prescriptions, such as Lung Clearing Soup, to make a breakthrough from &quot;prescription&quot; to &quot;medicine&quot; in classical Chinese medicine prescriptions.<br /> <br /> 将抗菌药物与抗炎药一起比较，就是受原来非科学的观念的影响。原来很多医务人员（基层医务人员）把抗菌药物错误理解与传谈为“消炎药”，直到现在还有很多正规病历里面仍有不少治疗方案本应为抗感染治疗错识书写并错识告知病人为“抗炎”治疗。<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 1 受传统中医疗法的启发，1969年，在中国军方的一个项目中，屠呦呦发现了青蒿素，这种药物现在是治疗疟疾的主要药物。她说，这一荣誉“表明中医药已经引起了国际学术界的关注”。<br /> Inspired by a classical traditional Chinese medicinal treatment, Tu Youyou discovered artemisinin, a drug that’s now the primary treatment against malaria, during a project for the Chinese military in 1969. She said the honor “shows that traditional Chinese medicine has drawn the attention of the international academia”.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:25, 4 December 2020 (UTC)<br /> <br /> 2 对于吃野生动物肉类容易染上疾病这件事，早在四五百年前的明代就已经被著名的医学家李时珍详细记载于《本草纲目》之中。<br /> As early as four or five hundred years ago in the Ming Dynasty, the famous medical scientist Li Shizhen has recorded the fact that people eating meat from wild animals are prone to develop diseases in the Compendium of Materia Medica in detail.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:25, 4 December 2020 (UTC)<br /> <br /> 3 针灸起源于2000多年前的中国。从本质上说，它的作用是改善生命能量的顺畅流动，也就是中国人所说的“气”，从身体的主要器官到皮肤、肌肉、肌腱、骨骼和关节等身体组织。<br /> Acupuncture originated in China more than 2,000 years ago. Essentially, it functions by improving the smooth flow of life force energy, known in Chinese as qi, from the body's primary organs to body tissues of the skin, muscles, tendons, bones, and joints.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:25, 4 December 2020 (UTC)<br /> <br /> 4 三国的时候，曹操常常头痛剧烈，寝食难安。于是就请来了神医华佗为他医治。华佗对曹操说，要想根治此病，除非抛开头颅，做一个手术。<br /> During the Three Kingdoms period, Cao Cao often had severe headaches and could not sleep well. So he invited hua Tuo, an outstanding doctor, to treat him. He told Cao Cao that the only way to cure the disease was to open his brain and perform an operation. --[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:25, 4 December 2020 (UTC)<br /> <br /> During the Three Kingdoms period,Cao Cao often suffer severe headaches making him have trouble sleeping and eating.So he invited hua Tuo, an outstanding doctor, to treat him. He told Cao Cao that the only way to cure the disease was to open his brain and perform an operation.-[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:37, 5 December 2020 (UTC)Xiao Ting<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.中药指在中医理论指导下，用于预防、治疗、诊断疾病并具有康复与保健作用的物质。<br /> <br /> Traditional Chinese medicine refers to the substance used in prevention, treatment and diagnosis of diseases under the guidance of traditional Chinese medicine theory, and possesses the function of recovery and health care.<br /> <br /> 2.脉象的产生与心脏的波动，心气的盛衰，脉道的通利和和气血的盈亏直接相关。<br /> <br /> The condition of pulse is directly related to the fluctuation of heart, the rise and fall of heart-qi, the degree of patency and the quantity of Qi and blood.<br /> <br /> 3.灸法以预制的灸炷或灸草在体表一定的穴位上烧灼、熏熨，利用热的刺激来预防和治疗疾病。<br /> <br /> Moxibustion utilizes prefabricated moxibustion stick or moxibustion grass to cauterize and fumigate certain acupoints on the body surface to prevent and treat diseases by hot stimulation.<br /> <br /> 4.华佗医术全面，尤其擅长外科，精于手术。并精通内、妇、儿、针灸各科。<br /> <br /> Hua Tuo mastered comprehensive medical skills, especially good at surgery and proficient in operation, internal medicine, gynecology, pediatrics, acupuncture and moxibustion.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 02:08, 5 December 2020 (UTC)Mo Ling<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> ==Phyo, Su Kyi==<br /> 1-中医（TCM）是一种广泛的医学实践，它们具有2000多年的传统，并在中国已发展出一些共同的概念，包括各种形式的草药，针灸，推拿，运动（气功）和饮食疗法。<br /> <br /> Traditional Chinese medicine (TCM) is a broad range of medicine practices sharing common concepts which have been developed in China and are based on a tradition of more than 2,000 years, including various forms of herbal medicine, acupuncture, massage (tui na), exercise (qigong), and dietary therapy.<br /> <br /> 2-传统中药中常用的草药包括：黄芪,银杏叶,红色酵母米,肉桂,生姜,参,Gotu可乐,曹玉兴。<br /> Herbs commonly used in traditional Chinese medicine include:Astragalus, Ginkgo biloba,Red yeast rice.Cinnamon.Ginger.Ginseng.Gotu kola.Yu Xing Cao.<br /> <br /> 传统中药中常用的草药包括：黄芪,银杏叶,红曲米,肉桂,生姜,人参,雷公根,鱼腥草。<br /> Herbs commonly used in traditional Chinese medicine include:Astragalus, Ginkgo biloba,Red yeast rice,Cinnamon,Ginger,Ginseng,Gotu kola and Yu Xing Cao.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:40, 4 December 2020 (UTC)<br /> <br /> 3-针灸是中药的重要组成部分。<br /> Acupuncture and moxibustion are important components of Chinese traditional medicine.<br /> <br /> 4-中国拥有世界上最古老的医疗系统之一。针灸和中药疗法至少可以追溯到2200年，尽管最早的中药书面记录是公元前3世纪的黄帝内经。<br /> China has one of the world's oldest medical systems. Acupuncture and Chinese herbal remedies date back at least 2,200 years, although the earliest known written record of Chinese medicine is the Huangdi neijing (The Yellow Emperor's Inner Classic) from the 3rd century BC.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 13:15, 3 December 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ==Qu Miao 瞿淼==<br /> 1、中医诞生于原始社会，春秋战国时期中医理论已基本形成，之后历代均有总结发展。除此之外对汉字文化圈国家影响深远，如日本医学、韩国韩医学、朝鲜高丽医学、越南东医学等都是以中医为基础发展起来的。<br /> Chinese medicine was born in primitive society. Its theory was basically formed in the Spring and Autumn period and the Warring States Period, and has been summarized and developed in successive dynasties. In addition, it has a profound influence on countries in the cultural circle of Chinese characters. For example, Japanese medicine, South Korean medicine, North Korean medicine, and Eastern Vietnamese medicine are all developed on the basis of Chinese medicine.<br /> 2、在长期的医疗实践活动中，历代医家积累了丰富的临床诊断经验，形成了中国特有的完整的诊病体系，即四诊(望、闻、问、切)、辨证与辨病。<br /> In the long period of medical practice, doctors of all dynasties have accumulated rich experience in clinical diagnosis and formed a complete diagnostic system unique to China, namely, four diagnostic methods (observing, listening and smelling, inquiring, and palpating), syndrome differentiation and disease differentiation.<br /> <br /> 3、艾灸，是用艾叶制成的艾条，艾柱，产生的艾热刺激人体穴位或特定部位，通过激发经气的活动来调整人体紊乱的生理生化功能，从而达到防病治病目的的一种治疗方法。<br /> Moxibustion is a treatment method that uses mugwort leaves to stimulate the acupuncture points or specific parts of the human body and adjust the physiological and biochemical functions of the human body by stimulating the activity of channels and collaterals, so as to achieve the purpose of disease prevention and treatment.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 03:31, 5 December 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ==Seydou, Sagara==<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> ==Si Yu 司妤==<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> 1. 所谓道地药材，又称地道药材，是优质纯真药材的专用名词，它是指历史悠久、产地适宜、品种优良、产量宏丰、炮制考究、疗效突出、带有地域特点的药材。如甘肃的当归，宁夏的枸杞，青海的大黄，内蒙的黄芪，东北的人参、细辛、五味子，山西的党参，河南的地黄、牛膝、山药、菊花等。<br /> <br /> The so-called authentic medicinal materials, also known as authentic medicinal materials, is a term for high-quality pure medicinal materials. It refers to medicinal materials with a long history, suitable production area, excellent variety, great output, sophisticated processing, outstanding curative effect, and regional characteristics. Such as Angelica from Gansu, Chinese wolfberry from Ningxia, Rhubarb from Qinghai, Astragalus from Inner Mongolia, Ginseng, Asarum, Schisandra from Northeast, Codonopsis from Shanxi, Rehmannia, Achyranthes, Chinese yam, Chrysanthemum, etc.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:34, 3 December 2020 (UTC)<br /> <br /> 2. 望诊，是对病人的神、色、形、态、舌象等进行有目的的观察，以测知内脏病变，中医通过大量的医疗实践，逐渐认识到机体外部，特别是面部、舌质，舌苔与脏腑的关系非常密切。<br /> <br /> Inspection is a purposeful observation of the patient’s look, color, shape, state, tongue, etc. to detect visceral lesions. Through a large number of medical practices, Chinese medicine gradually recognizes the outside of the body, especially the face and tongue. The tongue coating has a very close relationship with the viscera.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:34, 3 December 2020 (UTC)<br /> <br /> 3. 针灸疗法的特点是治病不靠吃药，只是在病人身体的一定部位用针刺入，达到刺潋神经并引起局部反应，或用火的温热刺激烧灼局部，以达到治病的目的。前一种称作针法，后一种称作灸法，统称针灸疗法。<br /> <br /> The characteristic of acupuncture therapy is that it does not rely on taking medicine to cure the disease, but only punctures a certain part of the patient's body with a needle to pierce the nerve and cause a local reaction, or use the warm heat of fire to stimulate the local area to achieve the purpose of curing the disease. The former is called acupuncture, and the latter is called moxibustion, collectively referred to as acupuncture therapy.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:34, 3 December 2020 (UTC)<br /> <br /> 4. 新中国成立后特别是改革开放以来，党中央、国务院高度重视中医药工作，制定了一系列政策措施，推动中医药事业发展取得了显著成就。中医药总体规模不断扩大，发展水平和服务能力逐步提高，初步形成了医疗、保健、科研、教育、产业、文化整体发展新格局，对经济社会发展贡献度明显提升。<br /> <br /> After the founding of New China, especially since the reform and opening up, the Party Central Committee and the State Council have attached great importance to the work of Chinese medicine, formulated a series of policies and measures, and made notable achievements in promoting the development of Chinese medicine. The overall scale of traditional Chinese medicine has continued to expand, and the level of development and service capabilities have gradually improved. A new pattern for the overall development of medical care, health care, scientific research, education, industry, and culture has initially formed, and its contribution to economic and social development has increased significantly.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:34, 3 December 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> 1.汤剂是中药最为常用的剂型之一。汤剂的制作对煎具、用水、火候、煮法都有一定的要求。煎药用具以砂锅、瓦罐为好，搪瓷罐次之，忌用铜铁锅，以免发生化学变化，影响疗效。<br /> Decoction is one of the most commonly used dosage forms of Chinese medicine. The preparation of decoction has certain requirements for decoction, water, heat, and cooking methods. The decocting utensils are preferably casserole and earthenware pots, followed by enamel pots. Avoid using copper and iron pots to avoid chemical changes and affect the efficacy.<br /> <br /> 2.药理学是研究药物与机体间相互作用规律及其药物作用机制的一门科学，主要包括药效动力学和药代动力学两个方面。前者是阐明药物对机体的作用和作用原理,后者阐明药物在体内吸收、分布、生物转化和排泄等过程,及药物效应和血药浓度随时间消长的规律。<br /> Pharmacology is a science that studies the law of interaction between drugs and the body and the mechanism of drug action, including pharmacodynamics and pharmacokinetics. The former is to clarify the role and principle of the drug on the body, the latter clarifies the process of drug absorption, distribution, biotransformation and excretion in the body, and the law of drug effects and blood drug concentration with time.<br /> <br /> 3.针灸由“针”和“灸”构成，是东方医学的重要组成部分之一，其内容包括针灸理论、腧穴、针灸技术以及相关器具，在形成、应用和发展的过程中，具有鲜明的中华民族文化与地域特征，是基于中华民族文化和科学传统产生的宝贵遗产。<br /> Acupuncture is composed of &quot;needles&quot; and &quot;moxibustion&quot;. It is one of the important components of Oriental medicine. Its content includes acupuncture theory, acupoints, acupuncture techniques and related appliances. In the process of formation, application and development, it has a distinctive Chinese nation Cultural and regional characteristics are precious heritage based on the Chinese nation’s cultural and scientific traditions.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:16, 3 December 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> ==Xiao Ting 肖婷==<br /> 1.以人名命药名：有些中药的用名带有传说色彩，这些药多半是以发现者或最初使用者的名字来做药名。<br /> <br /> Naming after people:The names of some medicines are legendary. The names of these medicines are mostly based on the name of the discoverer or original user of the medicine.<br /> <br /> 2.问诊内容涉及范围很广，是获取疾病信息的重要途径，很多名老中医非常重视问候，问诊包括问一般情况，问生活史，问家族病史和既往病史，问起病，问现在症。<br /> <br /> The inquiring covers a wide range of topics which is an important way to obtain information about the disease, and many famous TCM physicians attach great importance to it, including inquiring about the general information, life history, family and past medical history, onset of illness, and present symptoms.<br /> <br /> 3.灸法是以预制的灸炷或灸草在体表一定的穴位上烧灼、熏熨，利用热的刺激来预防和治疗疾病。通常以艾草最为常用，故而称为艾灸，另有隔药灸、柳条灸、灯芯灸、桑枝灸等方法。如今人们生活中也经常用到的多是艾条灸。<br /> <br /> Moxibustion is the use of ignited preprepared moxa cones or grass to heat over the points of skin or certain locations in the human body by using heat to prevent and treat disease. The most common use of moxibustion is usually moxahood thus named moxibustion,and there are also many different equipment and materials being used,such as moxibustion through herbs, wicker moxibustion, wicker moxibustion, and mulberry moxibustion.Nowadays, moxibustion is very popular used in people's lives.<br /> <br /> <br /> 4.新中国成立以后，对中医药事业高度重视，先后制定了许多有利于中药发展的措施，中医药的教育、科研事业也有了空前的发展。<br /> <br /> After the founding of People's Repulic of China, it has attached great importance to TCM, and has formulated many conducive measures to the development of TCM, thus the education and scientific research of TCM have also achieved unprecedented development<br /> <br /> Since the founding of People's Republic of China, great attention has been paid to Traditional Chinese Medicine(TCM) that a lot of measures benificial to its development have been implemented and great progress has been made in the education and scientific research of TCM.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 02:17, 5 December 2020 (UTC)Mo Ling<br /> <br /> ==Xie Fan 解帆==<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> ==Xu Jing 许静==<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 1. “中药”一词在不同的历史时期存在不同的内涵，随着中医药理论实践的发展，其内涵不断得以丰富，形式不断得到拓展。<br /> <br /> 1. The term “traditional Chinese medicine” has different connotations in different historical periods, and with the development of Chinese medicine theory and practice, its connotations are constantly enriched and its forms are constantly expanded.<br /> <br /> 1. The term “traditional Chinese medicine” has different connotations in different historical periods. With the development of Chinese medicine theory and practice, its connotations are constantly enriched and its forms are constantly expanded.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:50, 3 December 2020 (UTC)<br /> <br /> 2. 对于人体疾病的诊断过程是一个认识过程，认识的目的在于进一步指导实践。而望、闻、问、切四诊，是认证识病的主要方法。<br /> <br /> 2. The process of diagnosing is about understanding, aiming to further guide practice. The four diagnostic methods of looking, listening, questioning and feeling the pulse are the main methods to know about the disease. <br /> <br /> 3. 针灸的原理是刺激能量中心以达到治疗效果。人体的本质是一个能量体，经络是能量网格。<br /> <br /> 3.The principle of acupuncture is to stimulate the energy center to achieve a therapeutic effect. The nature of the human body is an energy body, and the meridians are energy grids. <br /> <br /> 4. 早在几千年前的远古时代，我们的祖先在日常饮食劳作和与大自然的抗争中就积累了一些用药知识。<br /> <br /> 4. Thousands of years ago, in ancient times, our ancestors accumulated some knowledge of medicine in their daily life and struggle with nature.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 12:12, 2 December 2020 (UTC)Yang Chenting<br /> <br /> Ancestors in ancient times accumulated some knowledge of medical and pharmacy in their daily life and in the fight with nature.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:38, 3 December 2020 (UTC)<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> 1. 如今，随着对中药资源的开发和研究，许多民间药物也归入中药的范畴。所以，中药是以中医理论为基础，用于防治疾病的植物，动物矿物及其加工品，不论产于中国，外国均称中药。 Nowadays, with the development and research of Chinese medicine resources, many folk medicines are also included in the category of Chinese medicine. Therefore, Chinese medicine is based on the theory of Chinese medicine. Plants, animal minerals and processed products used to prevent and treat diseases are called Chinese medicine regardless of whether they are produced in China or abroad.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:50, 5 December 2020 (UTC)<br /> <br /> 2. 四诊的基本原理是建立在整体观念和恒动观念的基础上的，是阴阳五行、藏象经络、病因病机等基础理论的具体运用。The basic principles of the Four Diagnoses are based on the overall concept and the concept of perpetual movement, and are the specific application of basic theories such as Yin-Yang and Five Elements, Zangxiang Meridian, etiology and pathogenesis.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:50, 5 December 2020 (UTC)<br /> <br /> 3. 艾叶实际上是一种中药，而且具有着非常大的作用，能够宣理气血、除湿开郁。艾叶针灸的方法是通过安火的温热刺激，达到治疗的作用。Mugwort is actually a kind of traditional Chinese medicine, and it has a very great effect, which can regulate qi and blood, remove dampness and relieve depression. The method of acupuncture and moxibustion of mugwort is to achieve the therapeutic effect through the warm stimulation of Anhuo.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:50, 5 December 2020 (UTC)<br /> <br /> 4. 清代医家张志聪说过：“不明四书者不可以为儒，不明本论（《伤寒论》）者不可以为医。”后该书流传海外，亦颇受国外医学界推崇，成为研读的重要典籍。 Zhang Zhicong, a physician in the Qing Dynasty, said: “Those who do not understand the Four Books cannot be Confucianism, and those who do not understand the original theory (&quot;Treatise on Febrile Diseases&quot;) cannot be medical.&quot; Later, the book spread overseas and was highly praised by foreign medical circles and became an important study.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:50, 5 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> <br /> 1.中医承载着中国古代人民同疾病作斗争的经验和理论知识，是在古代朴素的唯物论和自发的辩证法思想指导下，通过长期医疗实践逐步形成并发展成的医学理论体系。<br /> Traditional Chinese medicine bears the experience and theoretical knowledge of the ancient Chinese people's struggle against disease . It is a medical theory system gradually formed and developed through long-term medical practice under the guidance of ancient simple materialism and spontaneous dialectics.<br /> <br /> 2.食疗与药疗是相对而言的，只是食物的作用缓，和，副作用小;药物的作用显著，副作用大。因此，食疗应该是日常生活中比较方便的既廉价，方便又健康的。<br /> Dietotherapy and drug therapy are relative, but the effect of food is slow, and, side effects are small ;The action of the medicine shows off, the side effect is big.Therefore, dietotherapy should be more convenient in daily life both cheap, convenient and healthy.<br /> <br /> Dietotherapy and drug therapy are relative, but the effect of food is slow and side effects are minor while the effect of the medicine is remarkable and the side effects are major. Therefore, dietotherapy is more convenient in daily life, cheap, convenient and healthy.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:49, 4 December 2020 (UTC)<br /> <br /> 3.经络是运行全身气血，联络脏腑肢节，沟通上下内外的通路。经，有路径的意思，是经络系统的主干;络，有网络的意思，是经脉的分支，纵横交错，网络全身。<br /> The channels and collaterals are the way to run the whole body qi and blood, connect the viscera and limbs, and communicate the upper and lower internal and external.Classics, has the meaning of the path, is the main trunk of the meridian system ;Collateral, have network meaning, is the branch of meridian, crisscross, network whole body.<br /> <br /> 4.中医诞生于原始社会，春秋战国时期中医理论已基本形成，之后历代均有总结发展。除此之外对汉字文化圈国家影响深远，如日本医学、韩国韩医学、朝鲜高丽医学、越南东医学等都是以中医为基础发展起来的。<br /> Chinese medicine was born in primitive society, the theory of Chinese medicine in the Spring and Autumn Period and Warring States Period has been basically formed, and has been summarized and developed throughout the ages.Besides, it has a profound influence on the countries of Chinese cultural circle, such as Japanese medicine, Korean medicine, Korean medicine, East Vietnamese medicine and so on.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:08, 3 December 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> ==Yu Ni 余妮==<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> 中医认为人体是一个有机整体，是由若干脏器和组织、器官所组成的。各个组织、器官都有着各自不同的功能，决定了机体的整体统一性。<br /> <br /> Traditional Chinese medicine(TCM) holds that human body is integral, composed of numerous organs, and tissues. Each tissue and organ boasts sundry functions, determining the whole body’s integral unity.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 05:20, 3 December 2020 (UTC) <br /> <br /> Traditional Chinese medicine(TCM) holds that human body is integral, composed of numerous organs and tissues. Each tissue and organ boasts respective functions, determining the whole body’s integral unity.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:28, 3 December 2020 (UTC)<br /> TCM emphasis the human body as a organic whole, comprising numerous organs and tissues. Respective function of each organ or tissue makes up this entity.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:45, 4 December 2020 (UTC)<br /> <br /> 新冠肺炎疫情中，中医药在救治工作中也发挥了更加重要、更为广泛的作用。强化中西医结合、中医深度介入诊疗过程，成为医疗救治的鲜明特点，中医药在全国各地新冠肺炎防治中的价值被极大地肯定。<br /> <br /> During the COVId-19 pandemic, TCM has played a more significant and widespread role on the medical work. The strengthening of the combination between TCM and Western medicine, and the deep intervention into therapy of TCM have become vivid specialties of medical therapy, thus gaining great affirmation for its value in the process of the prevention and diagnosis of COVID-19 across China.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 05:20, 3 December 2020 (UTC)<br /> <br /> 药理学的学科任务是要为阐明药物作用及作用机制、改善药物质量、提高药物疗效、防治不良反应提供理论依据；研究开发新药、发现药物新用途并为探索细胞生理生化及病理过程提供实验资料。<br /> <br /> The academic task of pharmacy is to offer theoretical gists for the explanation of the effects and effective mechanism of medicine, improvement of the quality of medicine, improvement of effects of medicine, prevention and control of side effects, and to provide experimental data for the exploration of the new functions of medicine and the discovery of the physiological, biological, chemical and pathological processes of cells.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 05:20, 3 December 2020 (UTC)<br /> <br /> 针灸是一种中国特有的治疗疾病的手段。它是一种“内病外治”的医术。是通过经络、腧穴的传导作用，以及应用一定的操作法，来治疗全身疾病。<br /> <br /> Acupuncture, as an approach to curing illnesses, is unique to China. It is a medical skill appealing to” taking external measures to treat internal illnesses”. And it also remedies sickness through conducting the meridians and acupoints, and applying certain methods of operation.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 05:20, 3 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> ==Zhang Hui 张慧==<br /> 1.中医药事业是我国医药卫生事业的重要组成部分。国家大力发展中医药事业，实行中西医并重的方针，建立符合中医药特点的管理制度，充分发挥中医药在我国医药卫生事业中的作用。<br /> <br /> The state vigorously develops the cause of Chinese medicine, implements the policy of equal emphasis on Chinese and Western medicine, establishes a management system that meets the characteristics of Chinese medicine, and gives full play to the role of Chinese medicine in my country's medical and health services.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> Traditional Chinese Medicine (TCM) is an important part of China's medical and health undertakings. The state vigorously develops TCM, implements the policy of giving equal emphasis to both Chinese and Western medicine, establishes a management system in line with the characteristics of TCM, and gives full play to the role of TCM in China's medical and health undertakings.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:11, 3 December 2020 (UTC)<br /> 2.药理学是基础医学与临床医学，医学与药学之间的桥梁学科。在药理学科学的理论指导下进行临床实践，在实验研究的基础上丰富药理学理论。<br /> <br /> Pharmacology is a bridge between basic medicine and clinical medicine, medicine and pharmacy. We can carry out clinical practice under the theoretical guidance of pharmacological science and enrich pharmacological theory on the basis of experimental research.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> Pharmacology is a discipline that bridges the gap between basic medicine and clinical medicine, between medicine and pharmacy. Clinical practice is guided by the theories of the science of pharmacology, and the theories of pharmacology are enriched on the basis of experimental research.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:11, 3 December 2020 (UTC)<br /> <br /> 3.艾灸历史源远流长，纵观艾灸的发展，可分为两个里程，第一个是传统艾灸，第二个是现代艾灸，不论是传统艾灸还是现代艾灸都有各自的特点、优势和不足之处。<br /> <br /> Moxibustion has a long history. From the development of moxibustion, it can be divided into two milestones. The first is traditional moxibustion and the second is modern moxibustion. Both traditional and modern moxibustion have their own characteristics, Strengths and weaknesses.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> Moxibustion has a long history. Throughout the development of moxibustion, it can be divided into two milestones, the first is traditional moxibustion, the second is modern moxibustion, both traditional and modern moxibustion have their own characteristics, advantages and shortcomings.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:11, 3 December 2020 (UTC)<br /> <br /> 4.中医药作为我国独特的卫生资源、潜力巨大的经济资源、具有原创优势的科技资源、优秀的文化资源和重要的生态资源，在经济社会发展中发挥着日益重要的作用。<br /> <br /> As China's unique health resources, economic resources with huge potential, scientific and technological resources with original advantages, excellent cultural resources and important ecological resources, Chinese medicine plays an increasingly important role in economic and social development.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> As China's unique health resources, economic resources with great potential, scientific and technological resources with original advantages, excellent cultural resources and important ecological resources, Chinese medicine plays an increasingly important role in economic and social development.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:11, 3 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> 中医是研究人体生理病理以及疾病的诊断和防治的一门学科。<br /> TCM is a subject focus on the physiology, pathology and the prevention and diagnose of disease.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:38, 4 December 2020 (UTC)<br /> Traditional Chinese medicine (TCM) is a subject that explores the physiology and pathology of human body and the diagnosis and treatment of diseases.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 4 December 2020 (UTC)Li Lili<br /> <br /> 把脉是中国古代传统医学家独创创，即用手指按脉，根据脉象来诊断疾病。<br /> pulse taking, invented in ancient China, needs somebody use the finger to feel the pulse so as to diagnose.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:38, 4 December 2020 (UTC)<br /> Pulse monitoring, initiated by ancient Chinese traditional medicine researchers, is a method of pressing the pulse with the finger and diagnosing diseases according to the pulse condition.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 4 December 2020 (UTC)Li Lili<br /> <br /> 针灸治疗很温和，无痛，也很放松。<br /> Acupuncture treatment is gentle, painless and relaxing.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:38, 4 December 2020 (UTC)<br /> Acupuncture is mild, painless and relaxing--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 4 December 2020 (UTC)Li Lili<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> 1. 中医诞生于原始社会，春秋战国时期中医理论已基本形成，之后历代均有总结发展。除此之外对汉字文化圈国家影响深远，如日本汉方医学，韩国韩医学，朝鲜高丽医学、越南东医学等都是以中医为基础发展起来的。<br /> <br /> Traditional Chinese Medicine was born in primitive society. The theory of Chinese medicine has basically taken shape during the Spring and Autumn Period and Warring States Period and developed in later dynasties. In addition, it has a far-reaching influence on the countries which have Chinese character culture. For example, Japanese Kampo medicine, Korean medicine, North Korean medicine, and Vietnamese Dong medicine are all developed on the basis of Chinese medicine.<br /> <br /> 2. 药理学是基础医学与临床医学，医学与药学之间的桥梁学科。在药理学科学的理论指导下进行临床实践，在实验研究的基础上丰富药理学理论。<br /> <br /> Pharmacology is a bridge between basic medicine and clinical medicine, medicine and pharmacy. We should carry out clinical practice under the theoretical guidance of pharmacological science and enrich pharmacological theory on the basis of experimental research.<br /> <br /> 3. 灸法是以预制的灸炷或灸草在体表一定的穴位上烧灼、熏熨，利用热的刺激来预防和治疗疾病。通常以艾草最为常用，故而称为艾灸。<br /> <br /> Moxibustion uses prefabricated moxibustion sticks or moxibustion grass to burn and iron on certain acupoints on the body surface, using heat stimulation to prevent and treat diseases. Moxa is usually the most commonly used, so it is called moxibustion.<br /> <br /> 4. 扁鹊是中医学的开山鼻祖,世人敬他为神医。从司马迁的不朽之作《史记》及先秦的一些典籍中可以看到扁鹊既真实又带有传奇色彩的一生。<br /> <br /> Bian Que is the originator of Traditional Chinese medicine. The world respected him as a highly skilled doctor. From Sima Qian's immortal work &quot;Historical Records&quot; and some of the classics of the pre-Qin period, we can see that Bian Que's life is both true and legendary.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 13:37, 4 December 2020 (UTC)<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.中医药，是包括汉族和少数民族医药在内的我国各民族医药的统称，反映了中华民族对生命、健康和疾病的认识。<br /> <br /> Traditional Chinese Medicine, the general term for China’s medicine of ethnic groups including Han and minorities, reflects Chinese nation’s cognition to life, health and diseases.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:45, 3 December 2020 (UTC)<br /> <br /> Traditional Chinese Medicine, reflecting Chinese people's knowledge about life, health and illness, is the general term for medicines of all ethnic groups of China including medicines of Han nationality and other ethnic minorities.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 05:24, 3 December 2020 (UTC)<br /> <br /> 2.古代医药先贤对中草药和中医药学的深入探索、研究和总结，使得中草药得到了最广泛的认同与应用。如《本草纲目》被誉为“东方药物巨典”，对人类近代科学以及医学方面影响最大。<br /> <br /> The ancient Chinese wise man of medicine deeply explored, researched and concluded the Chinese herbal medicine and traditional Chinese medicine, leading to the wide recognition and application of the Chinese herbal medicine. For example, ''Compendium of Materia Medica'', honored as the great masterpiece of oriental medicine, has a far-reaching influence on modern human science and medicine.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:45, 3 December 2020 (UTC)<br /> <br /> 3.到如今为止，针灸已经传播世界140多个国家和地区，为保障全人类的生命健康发挥了巨大的作用。<br /> <br /> By now acupuncture has spread to more than 140 countries and regions around the world, playing a great role in safeguarding the life and health of the whole of humanity.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:45, 3 December 2020 (UTC)<br /> <br /> 4.中医诞生于原始社会，春秋战国时期中医理论已基本形成，之后历代均有总结发展。<br /> <br /> Traditional Chinese Medicine was born in primitive society, formed the fundamental theory of traditional Chinese medicine in the Spring and Autumn Period and the Warring States Period, and further concluded and developed in other dynasties.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:45, 3 December 2020 (UTC)<br /> <br /> Traditional Chinese Medicine was born in primitive society, formed its fundamental theory in the Spring and Autumn Period and the Warring States Period, and further concluded and developed in the later dynasties.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:15, 3 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> ==Zhao Xi 赵茜==<br /> 1.中医学凝聚着中华民族的健康养生理念和实践经验,在应对复杂疾病及慢性病、促进人类健康等方面具有独特的优势,并在国外掀起传播的热潮。<br /> <br /> Traditional Chinese medicine represents the health regiment idea and practice experience, which has unique advantages in dealing with complicated diseases and chronic diseases, promoting human health and other aspects.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:40, 3 December 2020 (UTC)<br /> <br /> Traditional Chinese medicine embodies the concept and practical experience of health preservation of the Chinese nation. It has unique advantages in dealing with complex diseases and chronic diseases and promoting human health, and it has set off an upsurge of spread abroad.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> 2.一名好中医既要会号脉作出诊断，还要能根据病人情况开出一个最适合的药方。中药的汤药是不固定的。可以说每一个中医都要从头学起，号脉、开方的能力决定治疗水平。<br /> <br /> A good Chinese medicine doctor is required to not only diagnose by feeling the pulse, but also write a most suitable prescription based on the patient’s condition. A decoction of medicinal ingredients of Chinese medicine is fixed. It can be said that every Chinese medicine doctor needs to study from the beginning and the ability of feeling the pulse and writing a prescription decides the treatment levels.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:40, 3 December 2020 (UTC)<br /> <br /> 3.简单来说艾灸就是利用艾草燃烧之后产生的温热能量来刺激人体特定部位，从而激发人体内部气的活动，进而达到保健养生的效果。<br /> <br /> Briefly speaking, moxibustion is an activity that uses the thermal energy produced by burning the artemisia to stimulate specified parts of body, promoting the movement of qi within the body and further reaching the effect of health care.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:40, 3 December 2020 (UTC)<br /> <br /> 4.没有传承，中医药发展就没有根和魂；没有创新，中医药发展就没有活力和未来。<br /> <br /> Without heritage, the development of TCM will be lack of its root and spirit; without innovation, the development of TCM will be short of vitality and future.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:40, 3 December 2020 (UTC)<br /> <br /> Without inheritance, the development of Chinese medicine will have no root and soul; without innovation, the development of Chinese medicine will have no vitality and future.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:44, 3 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 1.中国传统医学的治疗理念正逐渐被世界所接受，传统医药受到国际社会越来越多的关注，世界范围内对中医药的需求日益增长，这为中医药的发展提供了广阔的空间。<br /> <br /> The treatment concept of traditional Chinese medicine is gradually being accepted by the world, receiving more and more attention from the international community. The demand for traditional Chinese medicine is increasing worldwide, which provides a broad space for the development of traditional Chinese medicine.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 10:24, 3 December 2020 (UTC)<br /> <br /> The healing philosophy of traditional Chinese medicine is gradually being accepted by the world, traditional medicine is receiving more and more attention from the international community, and the demand for TCM is increasing worldwide, which provides a broad space for the development of TCM.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:35, 3 December 2020 (UTC)<br /> <br /> <br /> 2.诊病，亦称辨病，是在中医学理论指导下，综合分析四诊资料，对疾病的病种作出判断，得出病名诊断的思维过程。<br /> <br /> Diagnosis, also known as disease differentiation, is the thought process of comprehensively analyzing the data of the four diagnoses under the guidance of the theory of Chinese medicine, making judgments on the type of disease, and deriving the diagnosis of the disease name.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 10:24, 3 December 2020 (UTC)<br /> <br /> Diagnosis of diseases, also known as disease identification, is a thought process to comprehensively analyze the information of the four diagnoses under the guidance of Chinese medicine theory, make judgments on the types of diseases, and arrive at a diagnosis of disease names.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:35, 3 December 2020 (UTC)<br /> <br /> 3.在战国时代的《黄帝内经》中，已形成了人体完整的经络系统，并对针灸方法、针刺适应证等做了详细论述。<br /> <br /> In the ''Huangdi Neijing'' of the Warring States Period, a complete meridian system of the human body has been formed, and acupuncture methods and indications of acupuncture are discussed in detail.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 10:24, 3 December 2020 (UTC)<br /> <br /> In the Yellow Emperor's Classic of Internal Medicine of the Warring States period, the complete meridian system of the human body has been formed, and acupuncture methods, acupuncture indications, etc. have been discussed in detail.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:35, 3 December 2020 (UTC)<br /> <br /> 4.中药在中国古籍中通称“本草”。我国最早的一部中药学专著是汉代的《神农本草经》，唐代由政府颁布的《新修本草》是世界上最早的药典。<br /> <br /> Traditional Chinese medicine is commonly called &quot;Materia Medica&quot; in ancient Chinese books. The earliest monograph on traditional Chinese medicine in China is the ''Shen Nong's Materia Medica'' in the Han Dynasty. The ''Xinxiu Materia Medica'' promulgated by the government in the Tang Dynasty is the world's earliest pharmacopoeia.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 10:24, 3 December 2020 (UTC)<br /> <br /> Chinese medicine is commonly referred to as &quot;materia medica&quot; in ancient Chinese texts. China's earliest monograph on TCM is the Divine Husbandman's Classic of the Materia Medica (Divine Husbandman's Classic of the Materia Medica) from the Han Dynasty, and the Xin Xiu Ben Cao (Newly Revised Classic of the Materia Medica) from the Tang Dynasty is the world's oldest pharmacopoeia.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:35, 3 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> 1.中医承载着中国古代人民同疾病作斗争的经验和理论知识，是在古代朴素的唯物论和自发的辩证法思想指导下，通过长期医疗实践逐步形成并发展成的医学理论体系。<br /> <br /> Traditional Chinese medicine bears the experience and theoretical knowledge of the ancient Chinese people's struggle against diseases. It is a medical theoretical system gradually formed and developed through long-term medical practice under the guidance of ancient naive materialism and spontaneous dialectics.<br /> <br /> <br /> 2. 问诊是询问病人及其家属，了解现有证象及其病史，为辨证提供依据的一种方法。<br /> <br /> Inquiring is a method to inquire the patient and his family members, understand the existing syndromes and their medical history, and provide the basis for syndrome differentiation.<br /> <br /> Interrogation is a method of asking patients and their family members, understanding the existing symptoms and medical history, and providing a basis for syndrome differentiation.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:01, 5 December 2020 (UTC)<br /> <br /> 3. 针灸是一种中国特有的治疗疾病的手段。它是一种“内病外治”的医术。是通过经络、腧穴的传导作用，以及应用一定的操作法，来治疗全身疾病。<br /> <br /> Acupuncture is a unique Chinese treatment for diseases. It is a kind of medical method to treat internal diseases by external treatment&quot;. It is through the conduction of channels and acupoints, as well as the application of certain operations, to treat systemic diseases.<br /> <br /> Acupuncture is a unique Chinese treatment for diseases and a medical method to &quot;treat internal diseases by external treatments&quot; which treat systemic diseases through the conduction of channels and acupoints, as well as the application of certain operations.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:19, 3 December 2020 (UTC)<br /> <br /> 4.东汉出现了著名医学家张仲景， 他已经对“八纲”（阴阳、表里、虚实、寒热）有所认识，总结了“八法”。华佗则以精通外科手术和麻醉名闻天下，还创立了健身体操“五禽戏”。唐代孙思邈总结前人的理论并总结经验，收集5000多个药方，并采用辨证治疗，因医德最高，被人尊为“药王”。<br /> <br /> Zhang Zhongjing, a famous medical scientist in the Eastern Han Dynasty. He had already understood the &quot;eight principal syndromes&quot; (yin and yang, exterior and interior, cold and heat, under activity and over activity) and summarized the &quot;eight methods&quot;. Hua Tuo was well known for his expertise in surgery and anesthesia, and founded the &quot;the frolics of five animals&quot; exercise program. Sun Simiao in the Tang Dynasty summarized the theories and experiences of his predecessors, collected more than 5,000 prescriptions, and treated them with syndrome differentiation. He was respected as the &quot;king of medicine&quot; for his highest medical ethics.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 09:20, 3 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> 1.简而言之，中药就是指在中医理论指导下，用于预防、治疗、诊断疾病并具有康复与保健作用的物质。由于中药以植物药居多，故有“诸药以草为本”的说法。<br /> <br /> <br /> 2.中药学是研究中药的基本理论和临床应用的学科，是中医药各专业的基础学科之一。<br /> <br /> <br /> 3.针灸如今可以治疗的病症达800多种，其中30%～40%治疗效果显著。包括一些常见疾病，功能性疾病，慢性病，某些疑难病症与急性病用以针灸辅助更见疗效。<br /> <br /> <br /> 4.现知的最早本草著作称为《神农本草经》，著者不详，根据其中记载的地名，可能是东汉医家修订前人著作而成。<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> ==Zubareva, Ekaterina==</div>

Qu Miao https://bou.de/u/index.php?title=20201207_trans&diff=107326 2020-12-05T03:28:13Z

<p>Qu Miao: /* Liu Yiyu 刘怡瑜 */ --~~~~</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> The story plays with the analogy of zhang and mu. By infusing them into an imaginary “curtain,” the framed narrative engenders dialogic interplay between the narrator and the bridegroom, between the bride and the spectator, and between the public and private spaces. Zhang and mu mean different things, though they converge in the compound zhangmu. Traditionally, the word zhang denoted a canopy hung around a bed and was used to isolate an inner space in bedroom, so it can hardly be identical with the meaning of curtain. However, indirectly, it reached to the sense of “curtain” through a translation of Jerrold D. William’s (1803-57) Mrs. Caudle’s Curtain Lectures, a fiction of early nineteenth-century England. In 1915 Liu Bannong translated the title into “Zhangzhong shuofa” and published it in Zhonghua xiaoshuo jie.[ Liu Bannong, “Zhangzhong shuofa,” Zhonghua xiaoshuo jie, vol. 2, no.3 (March, 1915). Zhou should (June, 1922).] <br /> ==Chang Huiyue 常慧月==<br /> The “curtain lectures” refer to Mrs. Caudle’s poignant complaints and derision at her husband, mixed with familial trivialities and comic effects. <br /> <br /> However, the overlap of zhang and mu was crucially related to a widely circulated myth about the Chinese origins of cinema, which was perhaps invented by Zhou himself. When Western-style movie theaters began to appear in late-1900s Shanghai, he was one of the earliest moviegoers. Like other Chinese at his time he also regarded film as a kind of “shadow play” (yingxi), meaning the performance on a screen. According to Zhou, the origins of “shadow play” can be found in the famous story in the Han Dynasty (206-24, B.C.), which tells of the Emperor Wu watching lady Li, dancing and singing, through a semi-transparent curtain.<br /> ==Chen Han 陈涵==<br /> As the anecdote goes, to console his loss of the favorite lady, a sorcerer made a curtained room and asked the emperor to stay at a distance. In the night, called by the sorcerer, the spirit appears behind the curtain, amidst the candle-light, to perform as if she is alive.[ Zhou Shoujuan, “Tan yingxi” (On shadow play), in Ziluilan ji (Collections of violet) (Shanghai: Dadong shuju, 1922) 13-14. Its earlier version “Yingxi hua” appeared in the Free Talk (Ziyou tan), the literary page in Shenbao (June 20, 1919): 15.] Notwithstanding the historical merit of Zhou’s interpretation, what is significant here is that he reads history with a cinematic imagination, by which the terminology in everyday life changes - as occurred here the meaning of zhang (curtain) is substituted by that of mu (screen). <br /> <br /> In the mid-1910s Saturday and The Pastime (Youxi zazhi) magazines often appeared Zhou’s “film fiction” (yinxi xiaoshuo) - his accounts of what he had seen in the movie theaters. <br /> ==Chen Hui 陈惠==<br /> By the time he wrote this love confession, Zhou published a novella The Intimate Beauty (Hongyan zhiji), in which the hero recalls his lover on the “screen memory”: after he closes his eyes, he sees her beautiful image on a “snow-white screen” (xuebai de bumu) and hears her delicate voice; when he opens his eyes, they vanish and yet leaves a three-inch photograph in his heart.[ Zhou Shoujuan. Hongyan zhiji (Zhonghua tushuguan, 1917) 64.] However, “In the Nine-Flower Curtain” has no description of watching film, yet the narrative itself is framed by the curtain; what was shown on the “screen” was verbalized and the text was visualized. With both meanings of zhang and mu, the “curtain” can be changed into a “screen,” onto which is projected the inner space of a wedding chamber in which the author makes his confession.<br /> 在他写这篇爱情告白的时候，周出版了中篇小说《亲密之美》(《红颜之记》)，在这部小说中，主人公在“屏幕记忆”中回忆起了他的爱人:他闭上眼睛，在“雪白的屏幕”上看到了她美丽的形象，听到了她柔美的声音;当他睁开眼睛时，它们消失了，却在他的心里留下了一张三英寸的照片。(周秀娟《红颜智记》(中华图舒观1917)。然而，《九花帘幕》并没有对看电影的描述，叙事本身却被帘幕框住了;“屏幕”上显示的是语言，文字是可视化的。“窗帘”可以变成“屏风”，在“屏风”上投射出婚房的内部空间，作者在这里坦白。<br /> <br /> 写下这篇爱情告白时，周寿娟已出版了一篇小说《亲密的美人》(《鸿雁集》)，男主人公以 &quot;屏风记忆 &quot;的方式回忆爱人：闭上眼睛后，在 &quot;雪白的屏风&quot;上看到了她的美丽形象，听到了她的娇声；睁开眼睛时，这些形象消失了，却在心里留下了一张三寸照片。 [ 周寿娟.鸿雁志集（中华图画馆，1917）64.]然而，《九花帘里》没有看电影的描写，但叙事本身却被帘子框住了，&quot;屏风 &quot;上显示的东西被口头化了，文字也被视觉化了。有了 &quot;张 &quot;和 &quot;亩 &quot;两个意思，&quot;幕 &quot;就可以变成 &quot;屏&quot;，在 &quot;屏 &quot;上投射出作者告白的婚房内部空间。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:37, 3 December 2020 (UTC)<br /> <br /> ==Chen Jiangning 陈江宁==<br /> “In the Nine-Flower Curtain” was visually imagined and represented in terms of the spaces divided into the inside and the outside, with the beholder within the curtain and the imagined beholders without. When Zhou fulfills his promise to his friends that he will show them his “love talk” in the Pictorial Story magazine, he makes a written tableau in Diderot’s sense, in which the beholder is absent and yet always implied.[ Jay Caplan. Framed Narratives: Diderot’s Genealogy of the Beholder (Minneapolis: University of Minnesota Press, 1985) 16. ] Here, we refer to the notion of “beholder” not only because of the visual nature of Zhou’s fiction, but also because it helps my imposition of the complex “subjectivity” in this paper.<br /> 《九朵花的窗帘》以外部空间和内部空间的划分给人们视觉上的想象与呈现，旁观者在窗帘内，而想象中的旁观者则在窗帘外。周在兑现对其朋友承诺说他将会在《画报故事》杂志中给他们展示“爱情谈话”时，就按照狄德罗的感觉画了一幅画，在这幅画里没有旁观者，但却总是暗含其中。[杰伊·卡普兰。边框叙事：狄德罗的《旁观者的家谱》（明尼阿波利斯：明尼苏达大学出版社，1985年）16。]我们在这里提到周的小说中“旁观者”的概念，不仅仅是因为其视觉特点，也是因为它加深了我对这篇文章复杂的“主观性”的理解。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 01:09, 4 December 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> At this juncture, if we look beyond this story merely as a signal of style change in Zhou’s love story from the tragic to comical, we might be curious at the positivity of the male voice as well as the brightness of the private space. In view of the erotic-sentimental tradition of the male gaze in private space, what does this love talk mean historically? Not only does it relate to the transformation of gender roles as well as the legitimacy of the private space in Chinese literature.<br /> <br /> This transformation occurred when this male gaze is empowered ideologically and technologically. Ideologically, it is imbued with the Republican ideal of nationhood and selfhood; technologically, it is, in this case, facilitated by the structural optical perception linked to the modern inventions such as photography and cinema. <br /> ==Chen Jingjing 陈静静==<br /> While depicting a tableau by freezing a moment in the past, Diderot disturbs his narrative by arranging the beholder as a part of the tableau. As Jay Caplan interpreted, the beholder is presented for the “psychological reason”: he functions as compensation to the loss which the family suffers as portrayed in the tableau.[ Ibid., 20-37.] In Zhou’s case, the beholder is called for the moral reason as his presence is neutralized to legitimize his love discourse in the private space. Especially the term qinghua “In the Nine-Flower Curtain” can be traced back to his short story published in 1913. It describes a young couple meeting and then whispering at a public place, unaware of someone who takes a snapshot of their intimate scene.[ Zhou Shoujuan. “Qinghua” (Love talk), Youxi zazhi 5 (1913).] <br /> ==Chen Sha 陈莎==<br /> It reads like a joke, yet this reportage intriguingly justifies the privacy in the public space that is a controversy of the time. The beholder plays roles of witness, voyeurist, and more importantly, sympathizer. In portraying the photographic evidence with the story of the beholder, Zhou also becomes a sympathetic beholder. <br /> <br /> The dialogic characteristic of this love discourse lies not only in the consumerism of literary pleasure as the core of the Butterfly periodical culture, but also in the collective ethos of Butterfly community. In explicating how a bourgeois “love community” is born from the literature of intimate sphere in eighteenth-century England, Habermas says: “Subjectivity, as the innermost core of the private, was always already oriented to an audience.”[ Jürgen Habermas, The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Trans. Thomas Burger with the Assistance of Frederick Lawrence (Cambridge and Mass.: The MIT Press, 1991) 49. ] <br /> ==Chen Sunfu 谌孙福==<br /> Zhou’s pillow talk is more than a playful response to his friends’ voyeurist curiosity, it is fulfilled as a promise of love discourse. It might embody that “the ideas of freedom, love, and cultivation of the person that grew out of the experiences of the conjugal family’s private sphere were surely more than just ideology.”[ Ibid., 48. ]<br /> <br /> As the pillow talk unfolds, a complex subjectivity emerges. Against its ideological and technological backdrop, it is rhetorically and aesthetically embodied by a double voice, the poetics of persuasion and linguistic theatricality. The latter part of the story talks more about his family history. “When I was six years old, I became an orphan.” With this pathological tone, Zhou narrates how his father dies at that time and how his widowed mother single-handedly rears up four children by her hard work as a seamstress.<br /> <br /> 周瘦鹃的枕边私语不只是对他朋友们窥阴欲的一笑置之，还是他说给爱人的甜言蜜语。这表明男女私生活中反映出的自由观、爱情观和育人观不只是意识形态。[Ibid.,48]<br /> <br /> 随着枕边私语慢慢展开，一种复杂的主观性油然而生。考虑到其意识形态和技术背景，这些枕边话通过修辞和美学手段呈现出来，如二重唱、诗歌的劝说功能以及语言学理论。故事的后半部分谈到了周瘦鹃的家族史。他说“我六岁就成了孤儿。”周瘦鹃用一种凄凉的口吻讲述自己六岁丧父，母亲辛苦做针黹活，将四个孩子拉扯大。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 02:31, 3 December 2020 (UTC)<br /> <br /> 周瘦鹃的枕边私语不只是对他朋友们窥阴欲的一笑置之，还是他给爱人的甜言蜜语。这表明,男女私生活中反映出的自由观、爱情观和育人观不只是意识形态。[Ibid.,48]<br /> <br /> 随着枕边私语慢慢展开，一种复杂的主观性油然而生。考虑到其意识形态和技术背景，这些枕边话通过修辞和美学手段呈现出来，如二重唱、诗歌的劝说功能以及语言学理论。故事的后半部分谈到了周瘦鹃的家族史。他说“我六岁就成了孤儿。”周瘦鹃用一种凄凉的口吻讲述自己六岁丧父，母亲辛苦做针黹活，将四个孩子拉扯大的往事。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:24, 4 December 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> This family story is particularly heart-rending, yet it is more than that. He goes on, “When my father died, it happened in the year of 1900. The capital Beijing was totally in chaos, and thus, unexpectedly, the familial disaster and national humiliation fell on a boy of six years old.” A sense of tragic sublimation is effectively rendered as the boy is depicted as both victim and victor in these historical disasters, owing much to the rhetoric that makes the familial and national disasters “happen” to meet, and “thus” they “both” fall on the boy. The sentences sound as if it happened simultaneously when his father died and Beijing fell, and this narration enormously affects the reader. <br /> ==Cheng Yusi 成于思==<br /> However, strictly speaking, there is some slippage between fact and fiction: according to Zhou’s chronicle, his father died 22 days after the fall of Beijing.[ Wang Zhiyi, ed., Zhou Shoujaun yanjiu zhiliao (Tianjin renmin chubanshe, 1993) 20.] The dramatic simultaneity not merely refers the narrative strategy mixed with sentimentalism and patriotism, it reflects his own trauma as projected onto the screen memory of his childhood. Compared with other versions about his father’s death, this expression is most theatrical. <br /> <br /> Zhou’s childhood memory stores the collective traumatic experiences. The 1900 national catastrophe - the Boxers Uprising and the European Allies’ invasion in Beijing - becomes the emblem of national shame that had deeply imprinted on the Chinese minds. By such theatrical representation of his screen memory, Zhou’s love talk not merely appeals to his bride, the wedding chamber itself is transformed into a public space.<br /> <br /> 然而，严格来说，在事实和小说之间会存在一些误差：据周瘦鹃的生平记载，北京沦陷22天后，其父便亡，[王智毅，《研究资料研究资料》 (天津人民出版社，1993)20]。 戏剧性的巧合不仅指向与情感主义和爱国主义相融合的叙述策略，也将周瘦鹃的精神创伤投射到其童年的屏幕记忆之上。这种表达极具戏剧色彩，使得其余种种对其父亲之死的叙事版本黯然失色。<br /> 周瘦鹃的童年伤痕累累。1990年国难当头，义和团起义，欧洲列强入侵北京，国家屈辱深深植根在中国人心中。周瘦鹃戏剧性展现其屏幕记忆，表明其甜言蜜语不仅仅说给他的新娘子听，婚房也成为了公共场所。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 09:12, 4 December 2020 (UTC)<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> Now the narrator is more aware of the presence of the public beholders. Aiming more at arousing collective pathos there inserts the scenario of his father’s death, which is also an intense moment for the author to test his rhetoric of theatricality. “When my father was dying, he was like a madman. Suddenly he jumped down from the bed and rushed out, raising his head toward heaven and shouting at the top of his lung, ‘My three sons, be heroes, join the army and fight!’ After these words, he returned to the bed and soon stopped breathing.” <br /> ==Ding Daifeng 丁代凤==<br /> Permeated in the narrative of his family history are the characteristics of theatrical rhetoric: The period of his childhood is frozen, and his voice pretends to be childish; heavily emotionally charged words such as “tears,” “sorrow,” “bitter” are frequently appear between lines. Ordinary episodes are intensely represented with emphasis on the theatrical manners, gestures to deliver emotions at the highest pitch. The sentiments attached to the episodes tend to be collectively identified, such as his father’s death linked to the national calamity. There is excessive use of the adverbs to accumulate the force of persuasion and theatrical effect. No less noticeable is the role played by the narrator himself, who seems never hesitant to use the rhetoric of excess.<br /> ==Fang Jieling 方洁玲==<br /> Perhaps no modern readers would feel comfortable at the author’s praise of his mother for her traditional virtue; she twice cuts off a piece of flesh from her arm and cooks it as a medicine for her ill mother and husband. “From now on, we should remember what she did and do our best to be filial to her. We should erect, in our hearts, a stele for her filial piety, and a monument for her widowhood; by this means we can make her late life a happy one.” When he repeats this to his bride as a family legend and spiritual heritage, the use of rituals to enhance his language performativity nonetheless turn the persuasion into the grotesque. But we need to be cautious at the accusation of Zhou’s promotion of the “feudal rites” (fengjian lijiao), for the rituals are only used as symbolic value serving the new social structure and ideology in the early Republican era.<br /> ==Gan Fengyu 甘奉玉==<br /> According to the author’s love gospel, love must be mutual; this idea is embodied here through the narrative process itself: the act of telling the bride about his past as a token of trust aims to ask her to understand and trust him. While informing her of his intellectual paths in order to invite her to embrace his spiritual world, the pillow talk reveals its cultural meaning. Among other things, the story reveals himself as a human being who is promising yet ordinary, enduring yet fragile, and at the same time his family economy as unstable as unpredictable, indicating that they live in a hard time. It means that while sharing his bitter past and hopeful future, she must take up her duty and responsibility for him and his family.<br /> ==Gao Mingzhu 高明珠==<br /> Zhou’s rhetoric of persuasion also implies that the bride is also at the center of a nuclear family, who must be subject to the new ethics. As the narrator further describes how he becomes a nationally famous novelist, due to his talent, diligence and proliferation in the “time of fiction in its full swing.” His jubilant voice echoes that of the beginning of the story while talking about how his family economy is drastically improved and afterwards the Zhous moves from the shabby old city area to the decent French concession. The narrator continues: “Ah, my phoenix lady, I have fully told you about my past. Having heard of this, you can understand what I have achieved so far is due to my bloody struggles with the hardships and difficulties, not to mention my mother who experienced as harder as thousands times than mine.” <br /> ==Gong Yumian 龚钰冕==<br /> The sentimental imploration conveys the bourgeois ethics no less than a “modern apocalypse”: this is a hard time yet it is promising and fair: everyone can get what he deserves by God’s gift as well as hard work. <br /> <br /> Inscribed with such allegorized trauma, the pillow talk implies a fatal bond between the individual, family and country, and thence elicits the “community of love.” Under the persuasion she is more than a wife and a lover - she is treated at the same time as a citizen. By the device of double curtain stated above, the narrative space is imbued with the authorial anxiety before the private and public beholders, indicating that the private realm by no means becomes autonomous without being identified with peoplehood and nationhood.<br /> ==Gu Dongfang 顾东方==<br /> A Republican subjectivity is embodied in this domestic space by a speech act of persuasion, and it is the sentimentalism that naturalizes all social relations, blurring the private and public boundaries, and it ultimately functions in identifying them with the nationhood. In a sense, this peculiar love talk using the first person genre amalgamates diary, love-letter, autobiography and confession and displays a particular revelation of the community of love.<br /> <br /> Although the latter half of this monologue is basically dominated by historical references, Zhou’s strategy of using stylistic conventions such as verbal ornaments or rhythmic parallelism shifts to an appeal to cultural convention, such as ritual and tradition. Tradition is used as both value and form. Like the scars left on the mother’s arms, ritual is infused into the narrative to such an extent that the procedure of writing is culturally encoded. <br /> ==Guan Qinqing 管钦清==<br /> Compared to the characteristic of pursuing modern fashion in the first half of the story, here Zhou reveals more of his cultural conservatism. Rooted in the traditional “Teaching of Affection,” his love discourse aims at solving complex problems in a modern society; what separates Zhou from his contemporaries is that he does not intend to make his philosophy of love a perfect, unified one. In the “community of love” lies a paradox. Habermas says: “The jeopardy into which the idea of the community of love was thereby put, up to our own day, occupied the literature as the conflict between marriage for love and marriage for reason, that is, for economic and social considerations.”[ Habermas, 47.] <br /> ==Gui Yizhi 桂一枝==<br /> As shown by Zhou’s own love story, he never forgot his first lover named “Violet,” and thus we come to realize that behind this pillow talk is the rueful truth: for him this is a “marriage for reason,” not a “marriage for love.” As he says to his bride, since he failed in the first love, he never had intention of making a family, and he married her in order to make his mother happy. Probably this loving experiment with baihua is a compromise for better communicating with the bride who is almost illiterate.<br /> ==Guo Lu 郭露==<br /> '''Eileen Chang and the Modern Essay'''<br /> <br /> Nicole Huang<br /> <br /> '''Abstract'''<br /> <br /> In her preface to Honglou mengyan (Nightmare in the Red Chamber), Eileen Chang (1920-1995) recalls that the meanings of Liuyan, the title of her essay collection published in 1944 in the Japanese occupied city of Shanghai, derives from an English saying “written on water.” She further elaborates the implications of the metaphor: she does not expect her writing to endure-it should be like words written on water, or 'flowing words,' as 'liuyan' would mean literally, lingering momentarily and eventually elapsing; but she also hopes that her writing will be endowed with the spirit of 'rumors' or 'gossip'-a second literal meaning of the word 'liuyan'-flowing freely and swiftly, reaching a wide audience.<br /> <br /> 张爱玲及现代小说<br /> <br /> 黄群兰<br /> <br /> 摘要<br /> <br /> 在《红楼梦魇》的序言中，张爱玲（1920-1995）提到，1994年出版的《流言》的书名含义来自于英文谚语“written on water”。此后她还叙述了流言的深层含义：她并不希望自己的作品只是昙花一现，她想要自己的作品能够承载着“流言”的内涵，获得广泛受众。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:22, 3 December 2020 (UTC)<br /> <br /> 张爱玲及现代小说<br /> <br /> 黄群兰<br /> <br /> 摘要<br /> <br /> 在《红楼梦魇》的序言中，张爱玲（1920-1995）提到，1994年在日本侵占的上海出版的散文集《流言》的书名含义来自于英文谚语“written on water”。此后她还叙述了流言的深层隐喻：她并不希望自己的作品只是昙花一现，或者说流言的字面意义“飘走的话语”，她想要自己的作品能够承载着“流言”或“绯闻”的内涵——流言的第二个字面意义——自由自在地四处漂流，获得广泛受众。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:50, 3 December 2020 (UTC)Xu Pengfei<br /> <br /> ==Han Haiyang 韩海洋==<br /> Chang's use of a language of self-reflexivity provides a window through which the curious reader/critic can look into the rather intimate process of a creative work in the making, so much so that the creative mentality of the woman author becomes a text which is first to be deciphered. The invention of the title is characteristic of Chang's long-term effort to negotiate the boundaries between different genres of writing, and in this case, it is the distinction between critical/academic writing and the personal essay that is being questioned. Here, the mechanism behind the naming of her writing is more than just a clever pun. The title not only suggests a new style of essay writing, it also indicates a corresponding way to highlight the generic identities of this reinvented literary form. <br /> ==Han Wanzhen 韩宛真==<br /> While words are described as flowing like water, and the essay genre is compared to a fluid construction of 'gossip' or leisurely talks, Chang's naming of her own writing here offers more than just commentaries on the practice of literary writing. More importantly, the renaming of the essay genre should be understood as the woman writer's commentary on the state of cultural production during a particular time in modern Chinese history that is characterized by enormous turmoil and disruption which resulted from the war and the occupation. <br /> <br /> I argue that Chang's experience of the time, the space, and the particular historical milieu of occupied Shanghai is channeled into her attempts to redefine the generic identities of the modern essay. The choice of the essay form is central to Chang's aesthetic vision.<br /> ==He Changqi 何长琦==<br /> The writer's self-positioning in the realm of urban culture of 1940s Shanghai is exemplified in her appropriation of the genre. The essay is made into an important discursive site where the woman writer overtly challenges the literary conventions, searches for alternatives in both literary writing and practices of everyday life, and promotes herself as an important cultural figure. <br /> <br /> The modern essay also serves to contribute concrete forms to a life that appears void of any structure; in other words, Eileen Chang uses the form of the modern essay to construct an intelligible universe where one's imagination and fantasy can anchor. Detailed descriptions of everyday experience, that is, representations of cultural meanings of the material world, manifests not only a dynamic inner life but also a new social identity in formation. <br /> ==Hu Baihui 胡百辉==<br /> My paper highlights two aspects of life that are conceptualized in Chang's essay writing, one is the space of a modern apartment as a liminal site in urban landscape, and the other is the discourse of fashion as a vital form of material consciousness. I argue that the essay genre not only becomes an open-ended and ongoing process for the woman writer in her entry into the existing order of the literary world, it also becomes the testing ground where the boundaries between the literary world and the larger social realm become unstable and ever-shifting. Not only life styles can be read as texts, a woman writer as an individual can become a concrete historical subject within the space allowed by the modern essay. Life is woven together with work, the boundaries between the private and the public are further blurred, and biographical contingencies become important textual devices in constructing a legend of a new era.<br /> <br /> 本文着重论述了张爱玲散文创作中概念化的两个方面的生活：一是现代公寓空间作为城市景观的边缘场所；二是时尚作为一种重要的物质意识形式的话语。笔者认为，散文体裁不仅成为女性作家进入文学世界现有秩序的一个无止境的、持续的过程，而且成为文学世界与更大的社会领域之间的边界变得不稳定和不断变化的试验场。不仅生活方式可以作为文本来解读，女性作家作为个体也可以在现代散文所允许的空间内成为一个具体的历史主体。生活与工作交织在一起，私人与公众之间的界限进一步模糊，传记的偶然性成为构建新时代传奇的重要文本手段。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:33, 4 December 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> In her perface to Honglou mengyan (Nightmare in the Red Chamber), Eileen Chang (1920-1995) recalls that the meaning of Liuyan, the title of her essay collection published in 1944 in the Japanese occupied city of Shanghai, derives from an English saying “written on water.” She further elaborates the implications of the metaphor: she does not expect her writing to endure – it should be like words written on water, or ‘flowing words,’ as ‘liuyan’ would mean literally, lingering momentarily and eventually elapsing; but she also hopes that her writing will be endowed with the spirit of ‘rumors’ or ‘gossip’ – a second literal meaning of the word ‘liuyan’ – flowing freely and swiftly, reaching a wide audience.[ See Chang, Nightmare in the Red Chamber (Taipei: Huangguan, 1977). The book, containing Chang’s essays on authorship, themes, structure, character portrayal, and linguistic construction of the most renowned vernacular narrative of pre-modern China Dream in the Red Chamber (Honglou meng), is representative of her literary and artistic pursuits during her American years (1955-1995).]<br /> <br /> 张爱玲（1920-1995）在对《红楼梦》的演说中回想起流言，这是她1944年在日本占领的上海发表的散文集的标题，源于英语谚语“写在水上。”她进一步阐述了这种隐喻的含义：她不希望自己的写作能忍受–就像在水面上写的单词或“流淌的单词”一样，“流言”的字面意思是暂时徘徊并最终流失。但她也希望她的写作能被赋予“谣言”或“八卦”的精神（流言的第二个字面意思），并能自由，迅速地传播，并引起广泛的听众。[参见Chang，Nightmare in the红楼（台北：皇馆，1977）。这本书包含了张的文章，涉及到《红楼梦》中前现代中国梦中最著名的白话叙事的作者身份，主题，结构，人物写照和语言结构，代表了她在文学和艺术上的追求。美国年（1955-1995）。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 06:52, 4 December 2020 (UTC)<br /> <br /> 张爱玲（1920-1995）在《红楼梦魇》一书的前言中谈到，“流言”意思源于英文谚语“写在水上，这也是她一部散文集的名字，出版于1944年在日本占领的上海后。她进一步阐述了这种隐喻的含义：她不指望自己的作品渊远流长–就像“在水面上写的文字”或“流淌的文字”一样，一如“流言”的字面意思，暂时徘徊并最终流逝，但她也希望她的写作能带有“谣言”或“八卦”的意味（流言的第二个字面意思），并能自由，迅速地传播，获得广泛的关注。[参见张爱爱玲，《红楼梦魇》（台北：皇冠出版社，1977）。这本书是张爱玲在美时期（1955-1995）对前现代中国梦中最著名的白话叙事小说《红楼梦》的研究成果，包含多篇文章，涉及《红楼梦》的作者身份，主题，结构，人物写照和语言结构，代表了她的文学和艺术追求。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:26, 4 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> Chang’s use of a language of self-reflexivity provides a window through which the curious reader/critic can look into the rather intimate process of a creative work in the making, so much so that the creative mentality of the woman author becomes a text which is first to be deciphered. The invention of the title is characteristic of Chang’s long-term effort to negotiate the boundaries between different genres of writing, and in this case, it is the distinction between critical/academic writing and the personal essay that is being questioned. Here, the mechanism behind the naming of her writing is more than just a clever pun. The title not only suggests a new style of essay writing, it also indicates a corresponding way to highlight the generic identities of this reinvented literary form.<br /> <br /> 张爱玲对自我反省语言的运用为好奇的读者/批评家提供了一个窗口，让他们得以深入了解正在创作中的作品的内在过程，因此，女作家的创作心理成为首先被解读的文本。书名反映了，张爱玲通过长期努力在不同写作类型之间寻求界限，在这种情况下，批评/学术写作和个人论文之间的区别受到了质疑。在这里，她作品命名背后的机制不仅仅是一个巧妙的双关语。标题不仅代表了一种新的散文写作风格，也代表了一种突出这种再造文学形式一般身份的相应方式。<br /> <br /> 张爱玲对自我反省性语言的运用为好奇的读者/评论家提供了一个窗口，通过这个窗口，他们可以观察到创作过程中相当详细的过程，因此女作家的创作心态成为首先被解读的文本。书名反映了张爱玲长期以来努力探讨不同文体之间界限，在这种情况下，批评/学术写作和个人散文之间的区别受到质疑。在这里，她的作品命名方法不仅仅是一个巧妙的双关语。这个标题不仅表明了一种新的散文写作风格，而且也代表了一种相应的方式来突出这种革新的文学形式的共性特征。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 10:09, 4 December 2020 (UTC)Li Lili<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> During the writing process, the essay writer creates a structure of both containment (language captures the sentiments of a particular moment) and opening (language is unlimited because it lacks definite meaning or substance); and during the reading process, the immediacy and the transitoriness of the messages conveyed in these linguistic structures are first to be comprehended.<br /> <br /> While words are described as flowing like water, and the essay genre is compared to a fluid construction of ‘gossip’ or leisurely talks, Chang’s naming of her own writing here offers more than just commentaries on the practice of literary writing. More importantly, the renaming of the essay genre should be understood as the woman writer’s commentary on the state of cultural production during a particular time in modern Chinese history that is characterized by enormous turmoil and disruption which resulted from the war and the occupation.[ For a standard historical account of cultural activities in occupied Shanghai, see Ke Ling, Zhuzi shengya (My Writing Career) (Taiyuan: Shanxi renmin chubanshe, 1986); also see Poshek Fu, Passivity, Resistance, and Collaboration: Intellectual Choices in Occupied Shanghai, 1937-1945 (Stanford: Stanford University Press, 1993).]<br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> Eileen Chang launched her writing career during the early 1940s, and her most important works, including the essays collected in Written on Water and the short stories collected in Chuanqi (Romances), were completed between 1943 and 45. Chang’s fictional writing has been subjected to abundant critical scrutiny since the late 1960s and early 1970s when scholars such as C.T. Hsia and Shui Jing started to reclaim the significance of Eileen Chang and promote her as one of the finest and the most original writers in the scene of twentieth century Chinese literature.[ See Shui Jing’s Paozhuan ji (Casting a Brick to Attract Jade) (Taipei: Sanmin shuju, 1969) and Zhang Ailing de xiaoshuo yishu (The Fictional Art of Eileen Chang ) (Taipei: Dadi chubanshe, 1973), as well as C. T. Hsia’s Aiqing, Shehui, Xiaoshuo (Love, Society, and Fiction) (Taipei: Chunwenxue chubanshe 1970), both published in Taipei. The three books were published in the midst of a renewed infatuation with the woman author shared by readers in Chinese-speaking communities outside of mainland China after 1949.] But the study of Chang’s essay writing is a different story.<br /> <br /> 张爱玲的创作生涯始于20世纪40年代初，她的重要作品包括散文集《流言》和短篇小说集《传奇》，均创作于1943年至45年间。虽然自20世纪60年代末70年代初以来，张爱玲的小说创作一直受大众批评，但是当时夏志清和水晶等学者已经开始重新认识张爱玲的意义，并称她为“二十世纪中国文学界最优秀、最具原创性的作家之一“【详见水晶的《抛砖记》（台北：三民书局，1969）和《张爱玲的小说艺术》（台北：大地出版社，1973）以及夏至清的《爱·社会·小说》（台北：纯文学出版社，1970），均在台北出版。这三本书的出版之时，正值1949年后中国大陆以外的华语读者对这位女作家重新产生迷恋之时。】但对张爱玲的散文写作的研究则是另一番景象。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:02, 4 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> Since the most popular essays by Chang were written during the same period as her fictional writing, namely, between 1942 and 45, and some of her essays conveniently provided the concrete historical and biographical background against which the plot in her fictional writing was possibly designed, Chang’s essay writing has so far been read as the best commentaries to her fictional writing, particularly to the short stories collected in the acclaimed Romances.[ Wu Fuhui, among many others, argues that Eileen Chang’s essays are only interesting when read together with her short stories. He uses the essay entitled ”Jingyu lu” (Stories from the Ashes) as an example, arguing that the essay should be read as providing the necessary historical context to our understanding of Chang’s highly acclaimed novella Qingcheng zhi lian (Romance Among the Ruins). I disagree with Wu because the emphasis of the essay clearly lies elsewhere: it presents a social gallery of figures – a group of female college students, all from different cultural and ethnic backgrounds, whose brilliance of personality is brought out by the war. The novella, however, focuses more on the falling apart and the reconstructing of the beauty legend. Here the generic distinctions between fiction and essay are instrumental in piecing together the meanings of these two literary texts. See Wu’s preface toZhang Ailing sanwen quanbian (A Complete Collection of Eileen Chang’s Essays) (Hangzhou: Zhejiang wenyi chubanshe, 1995).] While such an approach to Chang’s essays can provide a coherent discussion of Chang’s literary writing as an entirety, it may overlook the specificities of the essay genre in the Chinese context and may also downplay the cultural significance of such formalistic experiments.<br /> ==Jiang Qiwei 蒋淇玮==<br /> Chang’s experiments with the modern essay serve to position her at a critical moment of literary transformation in modern China. While women writers had actively participated in both fictional and poetic writing since the early decades of this century, the essay genre had been monopolized by male writers. Three major essay traditions had already been canonized when Eileen Chang took up the essay as a vital means of representation. The ‘minor essay’ (xiaopin wen) tradition, represented by Zhou Zuoren and Lin Yutang, is characterized by a light and relaxing tone, a simple and elegant diction, political disengagement, wit, and a leisurely mood. <br /> ==Kang Haoyu 康浩宇==<br /> The ‘miscellaneous essay’ (zawen) tradition, represented by Lu Xun and several generations of followers, including a group of leftist writers residing in Gudao (Isolated Island) Shanghai (1937-41), highlights intellectual sharpness and rhetoric eloquence, advocates active engagement with reality, and maintains the belief that literary writing should be employed as a powerful tool for social criticism and political intervention. And finally, the ‘refined essay’ (meiwen) tradition, represented by Zhu Ziqing and many writers from both the Literary Studies Circle (Wenxue yanjiu hui) and the Creation Society (Chuangzao she) since the 1920s, advocates linguistic experiments, whose goal is to create a language of refinement and elegance, and imageries that embody highly aesthetic and sensual qualities.[ Most standard literary histories published in China do not attempt to distinguish between different styles of modern essay writing. The zawen (the miscellaneous essay) tradition is often highlighted as the mainstream style for its definition of literature as social and political critique. These standard literary histories do acknowledge the lyrical qualities of xiaopin wen and meiwen but fail to situate the practice of these alternative essay writing styles in their cultural and intellectual contexts. See Wang Yao, Zhongguo xinwenxue shigao (History of the ”New Literature” in China), Tang Tao and Yan Jiayan, Zhongguo xiandai wenxueshi (Modern Chinese History), and Qian Liqun et al., Zhongguo xiandai wenxue sanshinian (Thirty Years of Modern Chinese Literature).]<br /> <br /> 杂文派的代表人物有鲁迅及其几代追随者，包括一群上海孤岛时期（1937-41）的左翼作家。他们强调知识分子的敏锐和修辞口才，倡导积极接触现实，并坚持认为文学写作应用作社会批评和政治干预的有力工具。最后是美文派，诞生于20世纪20年代，代表人物是朱自清以及来自文学研究会和创造社的许多作家。他们倡导语言实验，旨在创造一种精致优雅的语言，以及体现高度审美和感官品质的意象。[中国出版的大多数标准文学史并不试图区分不同风格的现代散文作品。杂文经常被视作主流文体，因为它把文学定义为社会和政治批判。这些标准的文学史确实承认了小品文和美文的抒情品质，但未能将这些另类散文的写作风格实践置于他们的文化和知识背景中。参考王耀，《中国新文学史稿》，汤涛、严家炎，《中国现代文学史》，钱理群等，《中国现代文学三十年》。]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:04, 4 December 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> Most of the women writers in 1940s Shanghai experimented with essay writing. In fact, women produced a larger quantity of essays than any other literary genre. In addition to Eileen Chang, many women writers of the period, including Su Qing (1917-1982), Guan Lu (1908-1982), Pan Liudai (1922-?), and Shi Jimei (1920-1968), also discovered the generic fluidity embedded in the essay form. Compared to their experiments with other literary genres, such as fiction, drama, and poetry, it is in women’s essay writing of the period that the discourses of female gender and sexuality, issues of the domestic sphere, and the structures of social institutions such as marriage are most vigorously challenged and thoroughly reformulated. The essay genre is the most powerful literary form adopted by women writers such as Eileen Chang in their efforts to constantly redefine the boundaries between life and work, and to meticulously weave the space of private life together with the space provided by literary writing.<br /> ==Kong Xianghui 孔祥慧==<br /> In the following sections, I will argue that the woman writer’s experience of the time, the space, and the particular historical milieu of occupied Shanghai is not only mirrored in her representation of individual experiences of the war, the occupation, and the everyday, but also in her attempts to redefine the generic identities of the modern essay and to reinvent a kind of prose language that most vividly captures the transitional as well as eccentric nature of the essay genre. I will also argue that the choice of the essay form is central to Chang’s aesthetic vision.<br /> ==Kong Yanan 孔亚楠==<br /> The female writer’s self-positioning in the realm of urban culture of 1940s Shanghai is exemplified in her appropriation of the genre. I will analyze Chang’s essay writing of the period to demonstrate how the genre was made into an important discursive site where the woman writer overtly challenged the literary conventions, searched for alternatives in both literary writing and practices of everyday life, and promoted herself as an important cultural figure. The uniqueness of this body of literary texts lies in the fact that it presents a version of women’s literature set within the context of the wartime occupation while interacting with urban commercial and print culture in 1940s Shanghai.<br /> <br /> 在1940年代的上海都市文化领域中，张爱玲作为女性作家的自我定位主要体现在她对体裁的运用上。我将通过分析张爱玲的那个时代的散文作品来展示体裁如何成为一个重要的话语场，在这个场内，张爱玲公开挑战文学传统、追寻文学创作和日常生活实践中的其他选择、促使她自己成为一位著名的文化人物。这部文学作品的主体部分的独特性在于它展现了1940年代上海战争占领期交织着都市商业和印刷文化的背景下的女性文学版本。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:36, 4 December 2020 (UTC)<br /> <br /> 20世纪40年代的上海都市文化领域中，张爱玲作为女性作家的自我定位主要体现在体裁运用方面。我将通过分析张爱玲的那个时代的散文作品，从而来展示体裁如何成为一个重要的话语场，在这个场内，张爱玲公开挑战传统文学，追寻文学创作和日常生活实践中的其他选择，这也促使她成为一位著名的文化大师。这部文学作品的主体部分的独特性在于，它展现了20世纪40年代上海战争占领期间，都市商业和印刷文化的背景下的女性文学。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 01:50, 5 December 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> '''Essay and the aesthetics of liminality'''<br /> <br /> How, then, does Eileen Chang write the experience of war and turbulence into the transformed form of the modern essay? While the sense of impending massive destruction is omnipresent in her essay writing of the 1940s, the representation of the specific historical situation is not delivered through any direct social and political reference to the immediate present; instead, the presence of history is often concealed under the masquerade of an aesthetic vision put together by a meditative inward gaze, an orchestra of city sounds, and an imagined border of the urban civilization endangered:<br /> ==Lei Kuangxi 雷旷溪==<br /> Alone I sit next to a candle, thinking about the past and the present. What I have been busy doing for the last two years will probably be shattered soon. …… I should have a sense of it.<br /> <br /> I was alone on the dusky balcony after Su Qing left. Suddenly I saw a tall building far away, on whose edges hung a great swatch of rouge-like redness. At first I thought it was the reflection of the setting sun on the windows, but on second glance, I realized that it was a full moon, rising crimson above the city. I thought to myself, “so this is what they mean by turbulent times.” In the evening mist, the borders of Shanghai were gently rising and falling in the distance, resembling layered mountain peaks, although there are no mountains surrounding our city.<br /> ==Li Haiquan 李海泉==<br /> I pondered the fate of many people, including myself. I began to have a melancholy sense of what we call destiny. Such intimations normally connote self-involvement and self-pity, but I now think that they might suggest something altogether more broad. When the peace and security of the future finally do arrive, they will no longer belong to us; at the present moment each of us can only strive to comfort ourselves……[ See ”Wo kan Su Qing” (The Way I Look at Su Qing), in Tiandi yuekan (Heaven and Earth Monthly) 19 (April, 1945).]<br /> <br /> This impressionistic silhouette of the city is none other than the dramatic presence of modern history itself. Here, history is visualized, flattened, and inevitably spatialized. The image of the city and the force of history intermingle into one performative moment, instantaneously captured by the ‘I,’ the woman writer, who sits on the balcony of her private home, looking out into the distance, watching the border of the city rise and fall, observing the currents of history come and go, as if the entire setting was a mere act in a long and winding chuanqi (romance) play. <br /> ==Li Lili 李丽丽==<br /> History in Eileen Chang’s representation becomes a narrative which rejects any deep structure or profound meaning. Characterized by chaos and reversal, history appears to be no more than a shadowy presence in our consciousness:<br /> <br /> In this era, the old things are falling apart, while the new ones are still in formation. Before the high tide of the era arrives, all certainty is but an illusion. We feel that everything in our everyday life is out of order to a terrifying degree. An individual belongs to a certain historical era, but our present era is sinking like a shadow; therefore we feel we have been deserted. In order to prove our own existence, we want to grasp onto something that is real, something fundamental. We then seek help from our ancient memory, the memory of human beings who have lived through various times in history.<br /> <br /> 张爱玲笔下的历史成为一种拒绝任何深层结构或深层意义的叙事。历史以混乱和反转为特征，在我们的意识中似乎只不过是一个影子：<br /> 在这个时代，旧事物正在分崩离析，而新事物还未形成。在时代的高潮到来之前，所有确定的东西都只是一种幻觉。我们觉得我们日常生活中的每件事混乱不堪，令人害怕。每个人都属于某个历史时代，但我们现在的时代正在像影子一样消失，我们觉得自己被遗弃了。为了证明我们自己的存在，我们想要抓住一些真实的东西，一些基本的东西。然后，我们从我们古老的记忆中寻求帮助，即曾经经历过不同时期的人的记忆。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:21, 4 December 2020 (UTC)Li Lili<br /> <br /> ==Li Lingyue 李凌月==<br /> Looking back helps us regain more clarity and closeness than we might gazing far into the future. We then have a strange feeling about the reality that surrounds us. We begin to suspect that this is an absurd and antiquated world, gloomy and bright at the same time. Between memory and reality, there often arise unbearable discrepancies, resulting in a perplexing but subtle agitation, an intensified but indefinable struggle.[ See ”Ziji de wenzhang” (Writing of One’s Own), in Written on Water, 1944. This translation is based on an earlier version by David Wang. See Wang, ”Fin-de-siècle Grandeur: Contemporary Women Writers’ Vision of Taiwan,” Modern Chinese Literature 5.4 (1992) 45-65.]<br /> <br /> 回首过去而不是遥望未来有助于我们重新获得更清晰、更亲近的感觉。然后我们对周围的现实有一种奇怪的感觉。我们开始怀疑这是一个荒诞而古老，阴暗而光明的世界。在记忆与现实之间，常常会产生难以忍受的差异，从而产生一种令人费解却又微妙的骚动，一种剧烈但难以言喻的斗争。[《写在水上》，1944年。此翻译是基于王大卫的早期版本。见王，“台湾当代女性作家的视野”，中国现代文学5.4（1992）45-65。]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 05:15, 3 December 2020 (UTC)<br /> <br /> 回顾过去可以帮助我们重新获得比凝视遥远的未来更清晰和亲近的感觉。我们对周围的现实有一种奇怪的感觉。我们开始怀疑，这是一个荒谬而陈旧的世界，黑暗与光明同时并存。在记忆和现实之间，常常会出现难以忍受的差异，导致一种令人困惑但微妙的激动，一种加剧但难以定义的挣扎。参见《自己的写作》，载于《水上记》，1944年。这个译本是根据王大卫的早期版本翻译的。参见王，“世纪末的宏伟:台湾当代女作家的视野”，中国现代文学5.4(1992)45-65。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 12:02, 3 December 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> Here, history is no longer presented as a linearly progressing course; instead, it is broken into numerous fragments which can be reorganized and attributed with fresh meanings. The passage quoted above demonstrates Eileen Chang’s fascination with various liminal sites, in time or in space. Throughout her writing career, Chang has created many liminal sites, such as the illusory realm between memory and reality, the brief moment between past and present, and the intersection between life and work, fiction and poetry, stage movements and everyday events. The best of Chang’s writing often captures these transitional moments or sites, and the subjectivity in question is often taken over by a deep sense of uncertainty:<br /> <br /> ==Li Luyi 李璐伊==<br /> An individual can afford to wait, but an era is transient (''cangcu''). Things are being torn apart, and an even larger destruction is on its way. Someday our civilization, no matter how glorious, will become the past. I often use the word “desolation” (''huangliang'' 荒涼) because there is a premonition of impending danger underlying my thought. <br /> At such a ‘transient’ moment in history which will probably ‘sink’ like a ‘shadow’ in an instant, how, then, should an individual, in this case, a woman writer, position herself?<br /> Make yourself famous as early as possible! If success comes too late, it will not be as enjoyable. …… Hurry! Hurry! Otherwise it will be too late! Too late!<br /> <br /> 一个人可以等待，一个时代却是仓促的。一切都在四分五裂，更大的毁灭即将到来。终有一天我们的文明，不论多么辉煌，都将成为过去。我经常使用“荒凉（desolation）”一词，因为我的思想中隐含着即将降临之危险的预感。在这样一个“仓促”的历史时刻——它可能会像一个“影子”般瞬间“沉没”，那么，在这种情况下，一个女性作家应该如何定位自己呢？让自己尽早出名！如果成功来得太迟，就不那么令人愉快了......快点！再快点！否则就太迟了！太迟了！--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:32, 3 December 2020 (UTC)<br /> <br /> 一个人或许等得起，但一个时代却是仓促的。一切都在四分五裂，更大的毁灭即将到来。终有一天，我们的文明不论曾经多么辉煌，都终将成为过去。我常使用“荒凉”一词，因为我的思想中隐含着危险的预感。在这样一个“仓促”的历史时刻——它可能会像一个“影子”般瞬间“沉没”，那么，在这种情况下，一个女性作家应该如何定位自己呢？让自己尽早出名！如果成功来得太迟，就不那么令人愉快了......快点！再快点！否则就太迟了！太迟了！--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:12, 4 December 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> These short, choppy sentences deliver a sense of urgency. To choose to define oneself through writing is then related to the woman writer’s understanding of the particular historical situation in 1940s Shanghai. It is a sense that the era is only a transitional moment in human history – the end is imminent and a new historical landscape will take shape. The imperative to make oneself famous then has to do with an urgent need to “occupy” a space in a swiftly dimishing landscape and to hold on to a moment that is constantly slipping away. Eileen Chang’s writing then highlights a very personal moment at a time when any individual voice is likely to be shattered by the grips of the modern warfare and eventually engulfed by the ruins of history. <br /> <br /> ==Li Yongshan 李泳珊==<br /> Here the woman writer is going against her time by seeking an appropriate literary form and an adequate literary language to capture the essence of this fleeting moment in modern Chinese history. The new form and new language should be adequate to represent the dream-like world, the fragmented time, and the vanishing horizons of urban civilizations.<br /> <br /> Chang’s choice of the essay genre is then consistent with her unique vision of history and her fascination with what I would call ''the aesthetics of liminality''. One cannot find a more appropriate literary genre than the modern essay to capture the liminal qualities of that specific historical milieu. The essay is a genre that is positioned between the careful structuring of fiction and the free flow of poetry. The essence of essay writing lies exactly in its lack of essence or its eccentricity. The modern essay is a genre that is itself transitional.<br /> <br /> ==Li Yu 李玉==<br /> The liminal qualities of the modern essay are further enhanced in various textual strategies Chang uses to challenge generic identities in literary conventions. For instance, Chang’s essay entitled “Shuangsheng” (Duet) represents one of the most intrepid literary experiments undertaken during the period. The influence of the roundtable talk, a prominent genre in popular culture, had penetrated the realm of literary writing. In “Duet,” literary writing takes the form of a mini roundtable talk. At the beginning of the essay, like most of the roundtable talks recorded in popular journals of the time, the surroundings and the atmosphere are provided in a painstakingly descriptive language. The conversation takes place in a coffee shop, where Eileen Chang, the narrator, and Mo Meng (named Yan Ying elsewhere), Chang’s female companion, indulge themselves in coffee and pastry while starting their rambling chat about anything and everything:<br /> <br /> ==Lin Min 林敏==<br /> Having seated ourselves, we started chatting about a variety of things in great detail. When our topics became more weighty, she [Mo Meng] said: “You know what, this seems a lot like a roundtable discussion.”<br /> <br /> Within the space provided by the essay, the two women then continue to talk about a variety of topics: the language of love in both China and the West, the construction of romance in different cultural contexts, gender relationships inside and outside wedlock, fashions for women of different age groups, and the distinctiveness of the Japanese mentality. The fragmentary and all-inclusive qualities (''san'') of modern prose style (''sanwen'') had already been fully elaborated by Eileen Chang; the format of a roundtable talk coincides with the need to push the limit of modern prose style to its most eccentric, unrestrained, and far-ranging extreme.<br /> <br /> ==Lin Xin 林鑫==<br /> For a discussion of the roundtable talk as an important cultural genre in 1940s Shanghai, see Nicole Huang, ''Written in the Ruins: War and Domesticity in Shanghai Literature of the 1940s''. The roundtable talk became an instrumental cultural genre in 1940s Shanghai. It was a new form of showcasing women writers by placing words (voices) and images (descriptions of their presence, and photographs) all on display. Major newspapers and journals of the period all used this strategy to advertise their publication, promote their circles of new writers, and take part in the construction of an expanded community put together by publishers, editors, writers, artists, and readers.<br /> <br /> The structure of this essay also bears resemblance to that of a one-act play. The beginning passages can be viewed as stage descriptions. The action takes place in one quiet afternoon when two protagonists are engaged in a highly performative dialogue, and theatrical effect is enhanced when dramatic moments arise from time to time throughout the recorded conversation. <br /> <br /> ==Ling Zijin 凌子瑾==<br /> “Wo kan Su Qing” (The Way I Look at Su Qing) presents Chang’s further effort to test the generic boundaries of the modern essay. The author effortlessly switches back and forth between her characterization of Su Qing and a close-up of the narrative self gazing inward. At one point in the essay, the author/narrative self pauses and admits that, in this essay devoted to Su Qing, she has actually devoted much more space to self-portrayal. Most of the time, the essay reads like an internal monologue: the narrative self is immersed in a constantly flowing display of numerous intimate moments. The free flowing of a sequence of random thoughts and the switch back and forth between different personas are fictional and theatrical devices used to further widen the representative capacities of the modern essay.<br /> <br /> ==Liu Bo 刘博==<br /> While “The Way I See Su Qing” imports fictional devices into the form ‘minor essay,’ an earlier essay entitled “Siyu” (Whispers) demonstrates an even more radical experiment, that is, to turn the genre into a new form of autobiographical writing. The title of the essay takes on double meanings: while ‘''siyu''’could mean ‘private talks,’ it could also mimic the lowered and fragmented voice used in talking about the most intimate moments in one’s private life. The narrative voice in the essay whispers, murmurs, and gossips. Nothing substantial is presented; instead, segments of life, tinted with the haziness of childhood memory, are organized in the re-invented prose form, like a stream of thoughts or a random layout of scenes. The technique used here closely resembles montage: segments of the past are presented like flashbacks, and moments of free-association further remind the reader of the constantly blurred boundaries between memory and reality, past and present. <br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> The essay entitled “Tongyan wuji” (A Childish Discourse) presents another example of writing autobiography within the space of the modern essay. Sometimes the way that moments of childhood memory are narrated resembles the use of close-ups in film-making. The following episode even makes a direct reference to cinema:<br /> <br /> I stood in front of the mirror and watched my trembling face, with tears falling down in streams. My face looked like a close-up in a movie. I told myself, grinding my teeth: “I want revenge. One day I will take my revenge.”<br /> <br /> Each sub-section in this essay – ‘Money,’ ‘Fashion,’ ‘Food,’ ‘Gentleman,’ and ‘Brother’ – can be viewed as one filmic long take, and there is no direct connection between them. The entire essay is put together by a series of long takes. Within the space of the modern essay, there appear to be many of these extended fictional or cinematic moments. Sometimes, description of details of clothing, or simply the pattern on a piece of fabric, can contribute to the shaping of a dramatic moment, the formation of a narrative structure. The following passage from the same essay is a good example:<br /> <br /> ==Liu Liu 刘柳==<br /> Japanese printed fabrics. Each bolt is a work of art. Each time I bring one home, before handing it over to a tailor, I repeatedly unroll it and bask in the image. A small Burmese temple is half shielded by the leaves of a palm tree; rain is falling incessantly through the reddish brown haze of the tropics. A pond in early summer, the water coated with a layer of green scum, above which float duckweed and fallen lilac petals, purple and white. Seemingly a fitting scene for a song lyric set to the tune “Laments of the South of the Yang-tze” (Ai Jiangnan)……<br /> <br /> Reading some of these highly aesthetic moments in Chang’s essay writing, we might argue that it is within the space provided by the modern essay and by means of cinematic devices that the fragmentation of conventional fictional language becomes inevitable.<br /> <br /> 日本的印花面料。每一根螺栓都是一件艺术品。每次带回家，在交给裁缝之前，我都会反复展开，沐浴在画面中。一座缅甸小庙被棕榈树叶半遮半掩，雨水透过热带的红褐色雾气，不停地落下。初夏的池塘，水面涂上一层绿色的水垢，上面漂浮着鸭舌草和落下的丁香花瓣，紫白相间。配上一首《哀江南赋》似乎很应景......<br /> <br /> 解读张爱玲散文写作中的一些极具审美性的瞬间，我们可以说，正是在现代散文所提供的空间里，并且借助电影手段，传统小说语言的碎片化才成为必然。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:56, 3 December 2020 (UTC)<br /> <br /> 日本织锦。每一匹日本织锦都是一件艺术品。每当我将一匹日本织锦带回家，我会反复展开织锦，醉心于上面的图案，然后才会交给裁缝。一座缅甸小佛寺在棕榈树叶的遮蔽下若隐若现；热带地区红褐色的雾霭之中，细雨绵绵。初夏的一方池塘里覆盖着一层绿色水垢，上面漂浮着被风吹落的丁香花瓣，白的紫的都有。配上一首《哀江南赋》似乎很应景……<br /> <br /> 阅读张爱玲的散文作品，尤其是其中一些极具审美性的瞬间，我们可以说，正是在现代散文提供的空间里，并借助电影手段，传统小说语言的断层化已成必然。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:10, 4 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> '''Essay and the making of a new prose language'''<br /> <br /> Few writers in twentieth-century China are as persistent as Eileen Chang was in constantly experimenting with new literary language. In her essay entitled “Ziji de wenzhang” (Writing of One’s Own), Chang retrospectively remarks on her use of a new fictional language in the novella ''Lianhuantao'' (Linked Rings):<br /> <br /> I adopted the language from traditional fiction on many occasions when writing the novella ''Chain of Rings''. In the story, Cantonese people and foreigners who lived fifty years ago speak like figures walking out of [the world of] ''Plum in a Golden Vase'' (Jing Ping Mei), …… My original intention was: I already created a considerable distance in space by writing about a romanticized Hong Kong from the point of view of a Shanghainese; I also created a distance in time by writing about the Hong Kong of fifty years ago. Therefore I intentionally adopted an antiquated diction to represent such a doubled displacement (''shuangchong juli''). ……<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> To situate the story in both a remote time and a distancing space endows the writer with abundant freedom in her choice of language. By returning to traditional literature to search for imaginative inspiration and expressive resources, Eileen Chang has redefined, on the discursive level, the cultural as well as political connotations of the modern vernacular language. For a modern reader who has considerable knowledge of the May Fourth literature, Chang’s fictional language presents the reader with a remote system of referentiality by using diction and narrative tone characteristic of those used in classical Chinese novels such as ''Plum in a Golden Vase'' and ''Dream of the Red Chamber''. <br /> <br /> ==Liu Yi 刘艺==<br /> What, then, are the characteristics of Chang’s linguistic experiments in her essay writing of the period? The titles of both the essay collection ''Written on Water'' and the essay “Whispers” can be viewed as the author’s own commentaries on the language she has chosen for the transformed essay genre. While literary language is compared to voices whispering, murmuring, or gossiping, and while words can eventually flow away just like water, the practice of writing then is a process of both embracing and breaking away from words, and the meanings that are presented no longer contribute to a system of enclosure. Chang’s naming highlights the indeterminacy of literary language and directs the reader’s attention to the uncertainty embodied in both the structure of the essay and the language that it employs.<br /> <br /> In the opening passage of the essay “Tan nüren” (Talking about Women), collected in ''Written on Water'', in a whimsical and relaxed tone, Eileen Chang cites a characterization of ‘women’ presented in a small pamphlet written by an English author:<br /> <br /> 那么，张爱玲这一时期的散文创作在语言实验上有什么特点呢？ 散文集''写在水面上''和散文《私语》的标题都可以看作是作者自己对转型后的散文体裁所选择的语言的评论。 文学语言被比喻为声音的窃窃私语、喃喃自语或闲聊，虽然文字最终可以像水一样流走，但那时的写作实践是一个既拥抱文字又挣脱文字的过程，所呈现的意义不再有助于形成一个围合的体系。 张先生的命名突出了文学语言的不确定性，并引导读者注意到文章的结构和所采用的语言所体现的不确定性。<br /> <br /> 张爱玲在《写在水面上》收录的《谈女人》一文的开篇，以一种异想天开的轻松语气，引用了一位英国作家写的小册子中对 &quot;女人 &quot;的描述。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:36, 3 December 2020 (UTC)<br /> <br /> 那么，张爱玲这一时期的散文创作在语言研究方面的特点是什么？ 散文集《写在水面上》和散文《私语》的标题都可以看作是作者自己对转型后的散文体裁所选择的语言评论。 文学语言被比喻为窃窃私语、喃喃自语或闲聊，虽然文字最终可以像水一样流走，但那时的写作实践是一个既拥抱文字又挣脱文字的过程，所呈现的意义不再有助于形成一个围合的体系。 张爱玲的命名突出了文学语言的不确定性，并引导读者去注意文章的结构和所采用语言所体现的不确定性。<br /> <br /> 张爱玲在《写在水面上》收录的《谈女人》一文的开篇，以一种异想天开的轻松语气，引用了一位英国作家写的小册子中对 &quot;女人 &quot;的描述。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:06, 4 December 2020 (UTC)Liu Yiyu<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> Westerners refer to sinister and cruel (''yinxian kebo'') women as ‘cats.’ I ran across a pamphlet recently, written in English, entitled ''Cats'', which does nothing else except condemn women. It is not that what is said in it has never been expressed by other people. Interesting remarks (''juanyu'') concerning women are scattered everywhere and it is just not easy to collect them all together. But here this pamphlet is really a compilation (''ji qi dacheng'') [of what has been said about women]. <br /> <br /> Chang then invites her readers to accompany as she glances through a group of quotes she has selected and translated from that pamphlet, much of which is a condemnation of women’s erotic potential. Not a single word of explicit judgment is offered throughout the essay by Chang, nor are the assumptions contained in this pamphlet about the gendered character of each individual expressly challenged. After reading Chang’s essay, a reader might wonder to what extent has the ‘real’ author behind the masquerade of the narrative internalized such an ‘othered’ male view?<br /> 西方人把阴险刻薄的女人称为 &quot;猫&quot;。我最近看到一本小册子，是用英语写的，册子标题是《猫》。这本册子里面除了谴责女人，没有其他的内容。册子里所提的内容，也有别人提起过。有关女性的有趣言论到处都是，但是要把它们收集在一起实在不容易。不过，这本小册子确实是[关于女性的]言论的汇编(集大成)。<br /> 然后，张爱玲邀请读者陪着她一起读一读自己从那本小册子中选取和翻译的一组评价，其中大部分是对女性潜在情欲的谴责。在整篇文章中，张爱玲没有作出一句明确评判，也没有对这本小册子中提出的关于每个人的性别特征的假设提出明确反驳。读完了张爱玲的文章后，读者可能会问，戴了面具的叙事手法，其背后的 &quot;真实 &quot;作者又在多大程度上内化了这种 &quot;他者 &quot;的男性观？--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:54, 4 December 2020 (UTC)Liu Yiyu<br /> <br /> 西方人把阴险刻薄的女人称为 &quot;猫&quot;。我最近看到一本英文小册子是用英语写的，标题是《猫》。这本册子里面除了谴责女人，没有其他的内容。册子里所提的内容，也有别人提起过。有关女性的有趣言论到处都是，但是要把这些言论收集在一起实在不容易。不过，这本小册子确实是[关于女性的]言论的汇编(集大成)。<br /> 然后，张爱玲邀请读者陪着她一起读一读自己从那本小册子中选取和翻译的一组评价，其中大部分是对女性潜在情欲的谴责。在整篇文章中，张爱玲没有作出一句明确评判，也没有对这本小册子中提出的关于每个人的性别特征的假设提出明确反驳。读完了张爱玲的文章后，读者可能会问，戴了面具的叙事手法，其背后的 &quot;真实 &quot;作者又在多大程度上内化了这种 &quot;他者 &quot;的男性观？--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 03:28, 5 December 2020 (UTC)<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> And to what extent is Chang’s translation ‘faithful’ to the original text? The original author’s name remains unmentioned in Chang’s essay, making it difficult to assess the extent to which the original ‘male’ narrative voice has been twisted or distorted by Chang’s rendition. The narrative voice appears to be a composite in those quotes and is even more so in the rest of her essay. One approach to reading Chang’s essay is then to regard the quotation as an integral part of the whole essay, to view it as Eileen Chang’s own linguistic construction, a construction which already contains her critique. Within these quotes, the message is complicated, and presented in several levels. Some of the quotes are reminiscent of an archetypal ‘male’ voice:<br /> <br /> <br /> ==Lou Cancan 娄灿灿==<br /> This kind of fictional and temporal distance is also characteristic of Chang’s short stories written during the period. David Wang argues that the fictional world presented in the short stories in ''Romances'' points to a remote system of referentiality for modern readers by interweaving many ”unreal” elements such as the fantastic, the grotesque, the decadent, and the dark romanticist. See Wang, ”Nü zuojia de xiandai guihua: cong Zhang Ailing dao Su Weizhen” (Modern Ghost Narratives by Women Writers: from Eileen Chang to Su Weizhen), in ''Zhongsheng xuan-hua: sanshi yu bashi niandai de Zhongguo xiaoshuo'' (Heteroglossia: Chinese Fiction of 1930s and 1980s).<br /> <br /> 这种虚构性和时代性的距离，也是他在这一时期创作的短篇故事的特点。王大卫认为，《浪漫》这一短篇故事中所呈现的虚构世界，通过交织许多“虚幻”的元素，如奇幻、怪诞、颓废、黑暗的浪漫主义，为现代读者指明了一个遥远的指称体系。参见王的《女作家的现代鬼故事:从张爱玲到苏伟真》，载于《仲生宣化:三诗于巴诗念代德中》(杂注:中国三十、八十年代小说)。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:11, 4 December 2020 (UTC)<br /> <br /> 这种虚构和时代的距离，也是这一时期张爱玲创作短篇故事的特点。王德威认为，《浪漫》这一短篇故事中所呈现的虚构世界，通过交织许多“虚幻”的元素，如奇幻、怪诞、颓废、黑暗的浪漫主义，为现代读者指明了一个遥远的指称体系。参见王的《“女”作家的现代“鬼”话——从张爱玲到苏伟贞》，载于《仲生宣化:三诗于巴诗念代德中》(杂注:中国三十及八十年代小说)。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:01, 4 December 2020 (UTC)<br /> <br /> 虚构的时代距离感也是这一时期张爱玲短篇故事的特点。王德威认为《浪漫》这一短篇故事中呈现的虚构世界，通过交织许多“非真实”元素，例如：奇幻、怪诞、堕落和黑暗浪漫主义，为现代读者指明了一个距离久远的指称系统。参见王的《“女”作家的现代“鬼”话——从张爱玲到苏伟贞》，载于《仲生宣化:三诗于巴诗念代德中》（杂注:中国三十及八十年代小说）。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:59, 4 December 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> “The physical construction of women is so exquisite; therefore, their spiritual construction is incomplete. This is predictable. We just cannot be over-critical of them [women].” <br /> <br /> “If you do not seduce a woman, she would say that you are not a man; if you do, she would say that you are not a man of the upper-class.” <br /> <br /> “The only difference between a woman and a dog is: a dog is not as spoiled as a woman is; a dog does not wear jewelry; and – thank God! – a dog does not speak!”<br /> <br /> The expected readers of the pamphlet ''Cats'' are married middle-class men. According to Eileen Chang, the original author admits that, “a man, after having just fought with his wife, would feel comforted if he reads this pamphlet before he goes to bed.” Functioning as a psychological therapy, the expected reading process should yield pleasure which soothes grievances and unhappiness in one’s ‘actual’ life.<br /> <br /> “女人的身体构造如此精巧，所以她们的精神构造是不完整的。这是可以预见的。我们不能对她们（女性）过分挑剔。”<br /> “如果你不勾引女人，她会说你不是男人；如果你这样做，她会说你不是上流社会的男人。”<br /> “女人和狗的唯一区别是：狗不像女人那样娇惯；狗不戴首饰；还有——感谢上帝！–狗不会说话！”<br /> 短篇小说《猫》的预期读者是已婚中产阶级男子。据张爱玲所言，钱钟书认为，“一个男人刚和妻子吵架后，如果在睡觉前读这篇小说，他会获得慰藉。”预期阅读过程作为一种心理治疗，应该会产生愉悦，从而缓和一个人“实际”生活中的不快。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:50, 4 December 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> Within this reading process, through the mediation of a narrative language, the imagined male reader takes upon the implicit point of view built in the assumed male author’s account, manipulates and appropriates the construction of the female image, and displaces his sense of anger, repression, and alienation, or his frustrated desire for control and domination, onto such a constructed image. For a married man, the unsuccessful threats toward his wife in real life can then be successfully prosecuted on a textual level.<br /> <br /> Such a female erotic image depicted in a seemingly unambiguous male text could generate a variety of culturally coded specific meanings and gendered differences. However, the tone of Chang’s language seems to invalidate the possibilities of applying an ideologically charged critique of these messages. Her narrative tone is relaxed, whimsical, playful, humorous, and somewhat ironic. The message transmitted in these quotes is impure, it has been reworked, and already contains a ‘look.’ This ‘look’ is interwoven with a sense of irony. This is even more explicit in some of her other quotes:<br /> <br /> ==Ma Juan 马娟==<br /> “A man can flirt with a bar waitress in the squalid bar without losing his reputation; yet an upper-class woman is not even allowed to blow a kiss at a postman from afar. We can then draw an inference that men are different from women – no matter how low they [men] bend their backs, it is never difficult for them to stand up straight again.” <br /> “Generally speaking, women do not need the variety of stimulants in their lives that men do. Therefore, we should tolerate a man if he transgresses boundaries during his leisure time, in order to enliven his weary body, [to expel] his worries, [and to accomplish] his unrealized aspirations.” <br /> <br /> ==Ma Shuya 马淑雅==<br /> These quotes should be understood as mainly Eileen Chang’s own rendition. Through the ironic tone, the message becomes twisted, distorted, highly dramatized, and thereby transformed into parody and ridicule. If Eileen Chang does seek to tease out this assumed male voice, such an attempt proceeds through the creation of a narrative distance, a sense of innuendo, a skillful rewording of the male voice, and not through any explicit charges or critiques. The reader is left to herself to read between the lines, to speculate about the hints, and to screen out the mixed messages.<br /> <br /> ==Ma Zhixing 马智星==<br /> Despite the absence of an explicit criticism toward this unambiguous male voice, Eileen Chang’s presentation has revealed the fact that the male denunciation of the public effects of a female eroticism is itself manifested in an eroticized form. Such an eroticized form has been dramatized to the extreme by Chang in her skillful rewording. A reader would ponder whether this male denunciation addresses the danger of the placing women in public display or is itself a public display of women as eroticized subjects? Eileen Chang’s appropriation of the male denunciation of female eroticism becomes a doubled affirmation of the much textualized eroticizing potential of female images, which makes it difficult to pin down the ‘femaleness’ of her use of literary language. <br /> <br /> ==Meng Ying 孟莹==<br /> Perhaps, then, to examine the ‘femaleness’ of Chang’s language is not an appropriate approach. Nor can we confidently situate Eileen Chang into the female literary tradition of modern China, a tradition which is usually characterized by the May Fourth style of writing. Chang’s cultural marginality, her interest in irrelevant details and domesticity, and her teasing of patriarchs and of gender relations all tempt critics to label her work with various feminine qualities. But Eileen Chang’s voice cannot be simply categorized in a dichotomy of conventional and patriarchal speech on the one hand, and experimental and anti-patriarchal speech on the other. It is obviously impure; it is a kind of language that occupies the space of the liminal; it is a mixed voice, both ‘male’ as well as ‘female.’ In many instances, her language appears to be the so-called “protective language,” a “neutralizing middle tongue,” a language of concealment rather than revelation. The mixed voices prevent us from going on to ‘genderize’ the grammar, the expression, and the diction in her writing. Eileen Chang’s language is one of resisting the process of ‘genderizing,’ and of eliminating the possibilities of polarizing different identities. <br /> <br /> ==Mo Ling 莫玲==<br /> In her recent study of Eileen Chang’s fictional writing, Rey Chow defines Eileen Chang’s ‘femininity’ as predominantly associated with ”irrelevant” details. In the picture painted by Chow, ‘detail’ carries a distinctively ‘feminine’ label and is defined as ”the sensuous, trivial, and superfluous textual presence that exists in an ambiguous relation with some larger ‘vision’ such as reform and revolution.” Chow argues that Eileen Chang constructs a different vision of modernity and history through ”a release of sensual details whose emotional backdrop is often that of entrapment, destruction, and desolation.” Eileen Chang’s understanding of culture, therefore, carries a ”powerfully negative affect.” See Rey Chow, Chapter III ”Modernity and Narration: in Feminine Detail” in her ''Woman and Chinese Modernity: The Politics of Reading Between West and East'' (Minnesota and Oxford: University of Minnesota Press, 1991) 85.<br /> <br /> Rey Chow’s emphasis on the intricately related history of details and the feminine in the Chinese case is certainly illuminating in the sense that she suggests a new perspective to define the significance of Eileen Chang’s writing and thus a new way of critiquing the construction of a history of modern Chinese literature as a whole.<br /> <br /> 在最近对张爱玲小说作品的研究中，周蕾将张爱玲的“女性气质”与不拘小节联系在一起。在周蕾的画作中，“细节”贴上了明显的“女性化”标签，带有“感性、微不足道以及在改革和革命这样的大事面前画蛇添足”的含义。“周蕾认为张爱玲创造了一种独特的视角来表现历史和现实，即释放情感细节，这些情感往往是诱惑、毁灭和隔绝，因而张爱玲对文化的理解带有一种“强烈的负面影响”。参见周蕾的著作 ''女性与中国现代性：中西方的阅读政治性''的第三章“现代性与叙事：女性化细节”（明尼苏达和牛津：明尼苏达大学出版社， 1991），第85页。<br /> <br /> 周蕾对复杂的细节史与中国女性的强调是令人有所启发的，她提出了一种新的视角来界定张爱玲的作品的意义，从而为整个中国现代文学史的建构提供了一种新的评论思路。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 02:53, 5 December 2020 (UTC)Mo Ling<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> However, in Rey Chow’s categorization of Eileen Chang, a new type of femininity is classified, whose characteristics are intimate, domestic, sensuous, pre-rational, trivial, obsessed with its sexual being, yet embodying subversive strength and transgressive potentials. This seemingly fresh and autonomous femininity does take one thing for granted, that is the unproblematized association between the female, the domestic, and trivial details. Rey Chow’s emphasis on feminine detail may have endowed Eileen Chang’s writing with a critical power deriving from the marginal position that she is inscribed in; but to domesticate Chang, to enclose her within woman’s traditional domain of the home, could also lead to the draining of the heaviness and the other intellectual potentialities in Chang’s writing.<br /> <br /> ==Ou Rong 欧蓉==<br /> The terms ”protective language” and a ”neutralizing middle tongue” are lifted out of Catharine Stimpson in her discussion of Gertrude Stein’s writing. According to Stimpson, ”Stein’s coding of sexual activities becomes a privileged and a distinguished ‘anti-language’,” that is, a language of ”anti-societies.” Stimpson argues against some other critics’ attempts to ”adjectify” Stein’s work as ”female.” She suggests that Stein’s language is ultimately ”impure,” it is ”linear as well as pluridimensional,” it is ”male” as well as ”female.” Stimpson argues that Stein’s literary language is neither ”female,” nor ”an unmediated return to signifiers freely wheeling in maternal space.” See Stimpson, ”The Somagrams of Gertrude Stein,” in ''The Female Body in Western Culture: Contemporary Perspectives'', edited by Susan Rubin Suleiman.<br /> <br /> 在讨论格特鲁格·斯坦因的著作时，“保护性语言”和“中立的中性语言”一词被从凯瑟琳·斯廷普森删除。斯廷普森认为，“斯坦因对性行为的编码成为一种特权和一种独特的'反语言'，即'反社会'的语言。斯廷普森反对其他一些批评家试图将斯坦因的作品“形容”为“女性”的说法。她认为斯坦的语言最终是“不纯正的”，既是“线性的又是多维度的”，既是“男性的”又是“女性的”。斯廷普森认为，斯坦因的文学语言既不是“女性的”，也不是指“无意中回归到指代者而自由地进入母体空间”。请参见苏珊·鲁滨·苏蕾曼编辑的《当代视角下西方文化中的女性身体形象》中格特鲁德·斯坦的躯体语言。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 11:10, 3 December 2020 (UTC)Ou Rong<br /> <br /> 在讨论格特鲁德·斯坦因的作品时，凯瑟琳·斯廷普森讨论了“保护性语言”和“中和性的中间语言”。根据斯廷普森的说法，“斯坦因对性行为的编码变成了一种特权和独特的‘反语言’”，也就是说，是一种“反社会”的语言。斯廷普森反对其他一些批评家试图将斯坦因的作品“形容为女性”。她认为斯坦因的语言最终是“有杂质的，“它是“线性也是多元维度的”，它是“男性”也是“女性”。斯廷普森认为，斯坦因的文学语言既不是“女性”，也不是“在母体空间中自由转动的能指的无中介回归”。参见斯廷普森德《当代视角下西方文化中的女性身体形象》中的格特鲁德·斯坦因的躯体语法，苏珊·鲁宾·苏莱曼主编。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 12:02, 3 December 2020 (UTC)Xiao Yining<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> Julia Kristeva suggests that ”the very dichotomy man/woman as an opposition between two rival entities may be understood as belonging to metaphysics”; it must be dismantled through ”the demassification of the problem of difference, which would imply, in a first phase, an apparent de-dramatization of the ‘flight to the death’ between rival groups and thus between the sexes.” Kristeva refers to this as ”a strategy of disintegration.” This strategy is a ”true radicalism” in such attempts ”to undo given identities, to go beyond the policy of creating counter-identifications.” See ”Women’s Time” (translated by Alice Jardine and Harry Blake) in ''Signs'' (Autumn, 1981).<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> Perhaps, then, to examine the ‘femaleness’ of Chang’s language is not an appropriate approach. Nor can we confidently situate Eileen Chang into the female literary tradition of modern China, a tradition which is usually characterized by the May Fourth style of writing. Chang’s cultural marginality, her interest in irrelevant details and domesticity, and her teasing of patriarchs and of gender relations all tempt critics to label her work with various feminine qualities. But Eileen Chang’s voice cannot be simply categorized in a dichotomy of conventional and patriarchal speech on the one hand, and experimental and anti-patriarchal speech on the other. It is obviously impure; it is a kind of language that occupies the space of the liminal; it is a mixed voice, both ‘male’ as well as ‘female.’ In many instances, her language appears to be the so-called “protective language,” a “neutralizing middle tongue,” a language of concealment rather than revelation. The mixed voices prevent us from going on to ‘genderize’ the grammar, the expression, and the diction in her writing. Eileen Chang’s language is one of resisting the process of ‘genderizing,’ and of eliminating the possibilities of polarizing different identities.<br /> <br /> 那么，分析张爱玲语言中的女性特征也许不是一种恰当的方法。我们无法十分肯定地说她的作品体现了近代中国文学中的女性传统，这一传统以五四文体为特征。张爱玲作品中的文化边缘性、对细枝末节的关注、蕴含的家庭特征以及对男性家长和性别关系的调侃无一不促使评论家将其打上女性特质的标签。但是我们不能将张爱玲的语言简单地划分为两个对立面：一方面是传统的父权话语，另一方面则是实验性的反父权话语，她的文学语言无疑是模糊的，是一种位于两种状态分界处之上的语言，是一种糅合了“男性”与“女性”与一身的语言。在很多情况下，她的语言都表现出一种所谓的“保护性”、“中性的口吻”，或者说是一种隐没而非彰显的语言。张爱玲的作品语言的复杂性让我们无法将其中的语法、表达以及用词性别化，这种语言正是一种抵制“性别化”过程的语言，消除了分化不同身份的可能性。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 03:40, 3 December 2020 (UTC)Ouyang Ling<br /> <br /> ==Peng Dan 彭丹==<br /> In Eileen Chang’s essay writing, it is finally the narration itself that becomes a site where conflicting cultural discourses meet and interact. The narrative voice does not embody or point to any authoritative discourses: it is neither the passive receiver of a system of accomplished social customs and values containing stereotypes of passive femininity, nor a spokeswoman for a ‘progressive’ nationalist ideological agenda. While history is viewed as transitory and fragmented, the language used to account for this history is no longer something which is ideologically or rhetorically charged. It is not a language to account for truth and beliefs, it is a language of ‘paradox’ and ‘enigma’; it is a ‘counter-language.’ Chang’s use of language serves to recuperate a remote tradition that is incompatible to the present historical situation, and to restore a different set of voices which are inconsonant with the chorus of her time.<br /> <br /> <br /> ==Peng Juan 彭娟==<br /> Chang’s essay writing indicates that the coherence of a so-called women’s literary writing tradition in modern China is a mere fabrication. The linguistic constructions in Chang’s essay writing playfully appropriate male fantasies, turning them into props in the creation of a new literary space. By turning structures of male fantasies into narrative devices, and by transforming male voices to enhance the theatrical effect of essay writing, Eileen Chang has demonstrated a much more confident gesture in offering a critique of gendered constructions in both the larger social context and the sphere of literary writing.<br /> <br /> '''Essay and the Invention of Life in Wartime'''<br /> <br /> In the preface to her 1988 collection entitled '''Xuji''' (The Sequel), Eileen Chang confesses that she has been a “loyal believer” in Greta Garbo’s philosophy of life:<br /> 张爱玲的散文著作揭示了这样一个事实，现代中国所谓的女性文学写作传统不过是对男性文学写作传统的伪造。她的散文著作中，语言结构巧妙地借用了男性的幻想思维，将其转换为创造新文学空间的支柱。张将男性幻想结构转换为叙述手法，并且转换男性的叙述口吻，以此提高散文写作所带来的戏剧影响，在广大的社会背景条件下和文学创作方面，提出了性别结构批评，对此，她信心满满。在其1988年出版的名为《战争时代的散文与发现》一书的前言中，张爱玲坦白说，她是葛嘉丽·宝格生活哲学的忠诚信仰者。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 11:48, 3 December 2020 (UTC)pengjuan<br /> <br /> 张爱玲的散文作品表明现代中国所谓的女性文学创作传统的一致性仅仅是捏造而已。她在散文作品的语言结构中巧妙地运用了男性的幻想，并将其转化为创造新文学空间的支柱。通过将男性幻想结构转变为叙事手法，并通过转换男性的叙述口吻来增强散文写作的戏剧效果，张爱玲在更大的社会背景和文学创作领域中以更加自信的姿态提出了性别结构批评。<br /> <br /> '''散文和战时的生活发现'''<br /> <br /> 在她1988年出版的名为《续集》(The Sequel)一书的序言中，张爱玲坦诚地说她一直是葛丽泰·嘉宝人生哲学的“忠实信仰者”：--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 07:37, 4 December 2020 (UTC)<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> For several decades, relying on make-up and acting skills, she [Garbo] lived the life of a recluse, seldom seen through by other people. Her life-time belief was that “I want to live by myself.” …… Why is it that writers also have a hard time preserving the privacy of their lives? <br /> <br /> These sentiments could not have been expressed back in the 1940s. The solitude of the latter half of Chang’s life, that is, the four decades since she came to America in the fall of 1955, forms a sharp contrast to the glorious moments during the first half of the 1940s, particularly the years of 1944 and 1945, when she and Su Qing emerged in the cultural scene of Shanghai simultaneously and became brighter stars than the most acclaimed movie actresses and popular singers. <br /> <br /> ==Peng Xiaoling 彭小玲==<br /> As argued earlier, the most important players in this society-wide promotion of women intellectuals were none other than women writers themselves. And among all literary genres, it was the modern essay that became the most powerful form of expression in women writers’ self-promotion and myth-making. Essay served to contribute concrete forms to a life that was void of any structure; in other words, women writers such as Eileen Chang and Su Qing used the form of the modern essay to construct an intelligible universe where one’s imagination and fantasy could anchor. Detailed descriptions of everyday experience, that is, representations of cultural meanings of the material world, manifests not only a dynamic inner life but also a new social identity in formation. In this section I will highlight two aspects of life that are conceptualized in Chang’s essay writing, one is the space of a modern apartment as a liminal site in urban landscape, and the other is the discourse of fashion as a vital form of material consciousness.<br /> <br /> 如前所述，在整个社会范围内提升女性知识分子最重要的参与者就是女性作家本身。在所有文学体裁中，现代散文成为女性作家自我提升和神话创造中最有力的表达形式。散文可以为没有任何结构的生活提供具体形式：换句话说，张爱玲和苏青等女性作家利用现代散文的形式，构建了一个个人想象和幻想可以驻留的可理解的宇宙。对日常经验的详细描述，即对物质世界的文化意义的陈述，不仅体现了动态的内心生活，而且体现了一种形成中的新的社会认同。在这一章中，我将着重介绍张爱玲散文写作中所概念化的生活的两个方面，一方面是作为城市景观中有限场所的现代公寓的空间，另一方面是将时尚的讲话视为物质意识的一个重要形式。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:13, 4 December 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> '''Passage from apartment to street'''<br /> <br /> In her essay entitled “Gongyu shenghuo jiqu” (Interesting Moments in Apartment Life), Chang depicts a spatial construction which serves as the backdrop of the formation of a new urban persona:<br /> <br /> I would ride the wind, returning up there,<br /> but fear those marble domes and jade galleries<br /> the place so high, the cold is unbearable …… <br /> <br /> On reading these lines, residents who live on top floors of apartment buildings will more or less shiver with fear. The higher the apartment, the colder. Ever since the price of coal soared , radiators in apartments have become purely decorative. The “H” on the hot water faucet is indispensable in order to perfect the bathroom design; but if you turn on the hot water tap by mistake, a hollow but grievous rumble will burst out from the “Nine Springs” (''Jiu quan'') down below. It sounds like the very complicated and very capricious hot water pipe system in the apartment building has lost its temper. Even if we do not provoke it, the God of thunder still makes its power felt at any moment. <br /> <br /> ==Peng Yuzhi 彭育志==<br /> Out of nowhere, it can set off a long and evil buzz followed by two blasting sounds, as if an airplane was circling above for a while and then dropped two bombs. Having been terror-stricken in wartime Hong Kong, this kind of noise would always make me panic when I first returned to Shanghai. At first the pipe was still working conscientiously; in much difficulty, it would carry some hot water all the way up to the sixth floor, accompanied by a gurgling sound. That was still acceptable, but now it is like deafening thunder followed only by drizzle, and worse yet, all we get are just two droplets of yellow rusty mud. But I dare not complain anymore; the unemployed can easily fly into a rage.<br /> <br /> What is most striking in this beginning episode of Chang’s essay is how the experience of the everyday is depicted as parallel to that of war. War makes its metaphorical presence in daily life of an apartment dweller, serving as a trope for the erratic rhythm of an urban life style. Chang’s depiction of the texture of an apartment life then can be read as a parable of war. <br /> <br /> ==Qi Kai 漆凯==<br /> This opening episode makes references to several archetypal war themes, including death (as in the reference to the “nine springs” or Jiu quan), the scarcity of necessities in life (such as the mentioning of high price of coal and deficiency of hot water in the apartment), and the threat of air-raid (as suggested by the narrator’s haunted memory from her years living in wartime Hong Kong). Themes of unemployment, social unrest, and economic instability are also represented in Chang’s depiction of an animated world where one’s private space is constantly intruded by outside forces. The author has invented a new sense of interiority in her attempt to come to terms with the topography of urban life during wartime. The essay gives textual testimonies to two most important categories of experience in occupied Shanghai – the urban and the war; and these two categories converge precisely within the constructed space of a modern apartment.<br /> <br /> <br /> ==Qu Miao 瞿淼==<br /> See Chapter 2 for a discussion of the society-wide promotion of the two women and the women’s attempt in self-fashioning. Su and Chang were often showcased together with famous singers, dancers, and movie actresses at the time. See, for instance, ”Cui Chengxi wudao zuotan” (A Roundtable Discussion of Cui Chengxi’s Dance), where women writers were presented together with the Korean Dancer Cui Chengxi and a Chinese dancer named Wang Yuan. Published in ''The Miscellany Monthly'' 12. 2 (November, 1943). Another example is ”Nalianghui ji” (A Summer Gathering), where Eileen Chang was showcased together with the singer/movie actress Li Xianglan. In The ''Miscellany Monthly'' 15. 5 (August, 1945).<br /> <br /> Originally published in ''Heaven and Earth Monthly'' 3 (December, 1943).<br /> <br /> These are the lines in the Song dynasty poet Su Shi’s famous song lyric written to the tune ”Shuidiao getou” (Song for the Water Tune).<br /> <br /> 第二章讨论了这两个女人在全社会的推广以及她们在自我塑造方面的尝试。当时，苏和张经常与著名歌手、舞者和电影女演员一起表演。例如，在“崔承熙舞蹈座谈”(关于崔承熙舞蹈的圆桌讨论)中，女性作家与韩国舞蹈家崔承熙和中国舞蹈家王原一起出现。刊登在《每月杂文》12.2(1943年11月)。另一个例子是“纳凉会”(夏季聚会)，张爱玲和歌手兼电影演员李香兰一起展示在《每月杂文》15.5(1945年8月)。<br /> 原刊于《天地月刊》第3期(1943年12月)。<br /> 这些诗句是宋代诗人苏轼在著名的词作中写的“水调歌头”(Song for the Water tune)。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 03:24, 5 December 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> This is the first time in the history of modern Chinese literature that the literary world of a woman author is so tenaciously associated with an urban life style characterized by routines in and out of a modern apartment. In other words, the spatial specificities of a modern apartment are essential to the construction of a vision of life in wartime in Eileen Chang’s writing. City offers many transitional territories such as hotels, stations, theaters, and cafes, which are spaces beyond the rigid categorization of inside or outside, private or public. In Chang’s writing, the space of an apartment is presented as such a transitional site. It is a self-contained private space, which enables a city dweller to escape the intensity of life outside the apartment when necessary. But more importantly, an apartment is also a locus point from which one can enter into various aspects of urban culture. <br /> <br /> ==Sagara Seydou ==<br /> For Eileen Chang, who, between 1942 and 1945, spent most of her time in a flat on the top floor of a six-story apartment building not too far away from the Jing’an Temple, the modern interior space is like a picture frame, encircling the nights and days of an urban dweller who constantly looks out, from her own apartment windows, that is, a new vantage point, at the kaleidoscopic world of metropolitan Shanghai. Living in an apartment seems to have changed ways of seeing, hearing, smelling, and feeling: not only the cityscape is presented differently – now from a new height (the windows of an apartment on the sixth floor), even sounds in the city become more vivid with the elevation of height:<br /> <br /> I am often amazed at how street noises can be heard so clearly from the sixth floor, as if it was all happening right beneath one’s ears. The older we get, the farther we are separated from our childhood, and yet the memories of it and its many trivial details have gradually become more sweet and vivid. <br /> <br /> ==Shi Diwen 石迪文==<br /> Just like our present bears imprints of the past, an interior space is constantly permeated and reshaped by the every-changing outside world. This is a world (un)marked by blurred boundaries; liminality characterizes one’s own positioning within such an obscure realm. And yet senses simply become more acute, and thoughts are given fresh new patterns. Here, we are witnessing the formation a new metaphysics of the everyday:<br /> <br /> I like to listen to street sounds. Those who have more refined taste would rest on their pillows and listen to wind whistling in a pine grove or the roar of ocean waves. But it is the sound of a trolley that I must hear in order to fall asleep. On the hills in Hong Kong, only in winter when the north wind blew on the evergreens all night would it remind me of the charming sound of a trolley. People who have lived in an exciting city for many years do not realize what they must have in life until they have left the place. The thoughts of a city dweller are set against a curtain of striped pattern; the light-colored stripes are running trolleys. Like neatly paralleled currents of sounds, they continuously flow into our subconscious. <br /> <br /> ==Shi Haiyao 石海瑶==<br /> For Eileen Chang, an apartment is truly the center of urban life. Like a train station, it serves as an initial starting point, always ready to transport one’s senses into many different directions. Chang’s aesthetics of life is then attributed with a concrete spatial form that is deeply rooted in the soil of the everyday of wartime. If the production of popular journals in occupied Shanghai symbolizes the shaping of an imagined space, the modern apartment is another important site on the mental map of a city under siege. The aggression of wartime occupation has disrupted cycles of life, routines in and out of one’s own home, but new urban spaces and experiences were also created. Here the presence of war intensifies one’s experience of the urban, crystallized in the shaping of a particular spatial form, that is, the modern apartment.<br /> <br /> ==Si Yu 司妤==<br /> Many feminist scholars have suggested the importance of studying spatial constructions. They argue that by giving the inner world a form of concreteness, spatial symbols in literature are most illuminating in showing how personal experience intersects with specific cultural categories. The study of spatial construction is then important since it is the key point in understanding women’s literature: space often serves as a vehicle by which the female protagonists attempt to launch a journey of self-discovery, which constitutes the most important part of the female experience. See, for instance, Jessica Benjamin, ”A Desire of One’s Own: Psychoanalytic Feminism and Intersubjective Space,” in ''Feminist Studies/Critical Studies'', edited by Teresa de Lauretis (Bloomington: Indiana University Press, 1986).<br /> <br /> For a discussion of other kinds of spatial constructions in 1940s Shanghai, see Wei Shaochang, ”Jiu Shanghai de tingzijian” (The Garret in Old Shanghai), published in ''Haishang wentan'' (March, 1994). Also see a photographic history in Tang Zhenchang, ed., ''Jindai Shanghai fanhua lu'' (Modern Shanghai: The Splendor) (Hong Kong: Shangwu yinshuguan 1993.)<br /> <br /> In ”Interesting Moments in Apartment Life.”<br /> <br /> Ibid.<br /> <br /> See Nicole Huang, ''Written In the Ruins''.<br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> In Chang’s vision, this spatial experience is also gendered. The image of an apartment dweller is gendered, and often female. “It seems like only women can fully understand the advantages of life in an apartment,” Chang writes, since the household duties in an apartment are much more simplified. Therefore, a woman can much better appreciate the numerous trivial details in life; she can even start to appreciate the gorgeous colors of fresh vegetables displayed at morning markets, and enjoy the pleasures of cooking and cleaning. Chang’s reinvention of these daily trips is most forcefully presented in one essay entitled “Zhongguo de riye” (China: Days and Nights). <br /> <br /> In Chuanqi (extended edition) (Shanghai: Shanhe tushu gongsi, 1946).（注释）<br /> <br /> ==Su Lin 苏琳==<br /> <br /> In Chang’s own account, morning errands to the vegetable market seem to be her own tour through the part of the city that she is most attached to. Every morning she would take the elevator down from her sixth floor apartment, emerge onto the awakening streets, mingle with the morning crowd, and progress toward the world of the magnificent colors of the early market. Daily routines are not just bound duties that confine the everyday experiences of women; instead, they become forms of life choreographed in accordance with the distinctive rhythm of the city. Women can finally look at them as opportunities to explore a life that is wider, brighter, and more open to a variety of new possibilities.<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> Life in apartment is then presented with many layers in Chang’s essay writing. In “Daolu yi mu” (Views from the Streets), Eileen Chang also reminds the reader of the many levels of urban culture taking shape outside of the apartment, that is, on the streets. On one level, the street scene of Shanghai is most distinctively characterized by the window displays and neon lights on Avenue Joffre:<br /> <br /> Designing shop windows is a fascinating job, since there is motionless drama in each display. ……… [I remember] a mid-winter night four or five years ago when my cousin and I were strolling down the Avenue Joffre, looking at shop window displays. <br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> Under neon lights, the slanted faces of those wooden beauties under slanted hats, with feathers slanting down from atop the hats. I did not wear western suits, had no need of a hat, and did not want to buy one. And yet I still looked at them with admiring eyes…… <br /> <br /> This fascination with window displays and neon lights is staged at a moment that belongs to the past – “four of five years ago.” At the present time within the essay, a different layer of images are highlighted. We see various street corners scattered in less prestigious neighborhoods of the metropolis. Chang’s impressionistic depiction of the city of Shanghai contains numerous crisscrosses of small lanes and faces of ordinary people:<br /> <br /> ”Views from the Streets,” in Heaven and Earth Monthly 4 (January, 1944). （注释）<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> There are many scenes on the streets that are worth another glance. At dusk, a rickshaw is parked by the roadside, a woman is leaning against the seat, a sack in her hand, some persimmons in the sack. The rickshaw man is squatting down on the ground, trying to light up an oil lamp. It is getting dark, and the lamp by the woman’s feet slowly brightens. <br /> <br /> Here, within the space of one essay, the images of a rickshaw man and a housewife on a small street are juxtaposed with the memory of two young women window-shopping on the extravagant Avenue Joffre. The subtle light of an oil lamp is placed against the bright and luring rats of neon signs.<br /> <br /> 街道上有许多场景值得一看。 黄昏时，一辆人力车停在路边，一个女人靠在座位上，手里拿着一个麻袋，麻袋里放着一些柿子。 这辆人力车男子蹲在地上，试图点亮一盏油灯。 天快黑了，女人脚旁的灯慢慢变亮。<br /> <br /> 在这篇论文的空间中，在一条小街上，一辆黄包车男子和一名家庭主妇的影像并置在一起，以纪念两名年轻女子在奢侈的Joffre大街上逛街。油灯的微弱光线被放置在明亮而诱人的霓虹灯招牌上。<br /> <br /> 大街上有许多景象值得一看。 黄昏时分，一辆黄包车停在路边，一位女士靠在座位上，手上的购物袋里装了一些柿子。 车夫蹲在地上，正点亮一盏油灯。 天快黑了，女士脚旁的灯光慢慢亮了起来。<br /> <br /> 在文章的这一场景中，小街上的车夫和家庭主妇与在霞飞大道逛街的两个年轻女郎形成了鲜明的对比。油灯微弱的灯光也和绚丽夺目的霓虹灯形成了对照。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 03:12, 5 December 2020 (UTC)Mo Ling<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> And the warmth and intimacy of the present set off the coldness and vastness of a moment in the past. Here, even though there is no direct reference to the turbulent events taking place in the background of occupied Shanghai, we can nonetheless sense the presence of war in this contrast between the two time frames and the switch back and forth between different layers of urban space. Rapid movements, swift changes, drastic transformations, and the transience of a given moment, these themes of war are represented in a most subtle and yet vivid fashion.<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> To carry the argument further, Chang’s sense of modernity has extended from a modernist high culture to a culture of wartime quotidian life. The author is more interested in representing the tension between the ‘old’ and the ‘new’ surfacing in everyday routines of ordinary men and women in her city. The intrusion of war seems to have pushed the brilliance of Avenue Joffre back into one’s dusty memory. Here we can perceive how the experience of war and occupation has systematically changed the spatialization of modernity: modernity as a body of new urban sensibilities is now located somewhere between the grand avenue and the back alley.<br /> <br /> 进一步说，张爱玲的现代性已经从现代主义的高等文化扩展到战时的日常生活文化。她更感兴趣的是表现在她的城市里普通男女日常生活中浮现的“旧”与“新”之间的张力。战争的入侵似乎把乔弗尔大道的辉煌推回到尘封的记忆中。在这里，我们可以看到战争和占领的经历是如何系统地改变现代性的空间化的:现代性作为一种新的城市情感体，现在位于大道和后街之间的某个地方。<br /> <br /> 张爱玲的现代意识从现代主义的高级文化延伸到战时的平民生活文化。作者更感兴趣的是表现出她所在城市普通男女日常生活中出现的“旧”与“新”之间的紧张关系。战争的侵扰似乎把乔夫尔大街的辉煌重新推回到尘封已久的记忆中。在这里，我们可以看到战争和曾被占领的经历是如何系统地改变了现代性的空间化：现代性作为一个新的城市情感体，现在位于大街和后巷之间的某个地方。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:38, 4 December 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> – '''Fashion talk''' – <br /> To illustrate how material imagination is essential to Chang’s aesthetics of the everyday, I will now turn to her conceptualization of fashion as an invented form of life. Chang’s discussions of fashion demonstrate her fascination with an inner vision. By depicting a world of light, brilliant colors, unique lines and shapes, Chang has also suggested that literary writing can be the beginning of a cultural history of things.<br /> <br /> In Chang’s fictional writing, colors, lines, surfaces, and words are often combined to form a network of intricate meanings. Her writing is known for its meticulous attention to details, particularly clothes. <br /> <br /> ==Tao Ye 陶冶==<br /> <br /> For instance, in her novella “Jinsuo ji” (Chronicle of Gilded Fetters), through the clothes of female servants, a portrait of this old-style family is introduced. Clothes with bright colors are set in contrast to neutral tones of modern fashion; the former becomes a symbol of the ‘past,’ which gradually recedes into the background, gorgeous, amorous, dazzling, but helplessly decaying. Temporality of fashion serves to punctuate narrative rhythm in Chang’s fictional writing.<br /> <br /> It is in Chang’s essay writing that a discourse of fashion is passionately elaborated. Chang’s most important essay on fashion is entitled “Gengyi ji” (A Chronicle of Changing Clothes), in which one hundred years of Chinese history is acted out in Chang’s dramatic display of clothes in movements.<br /> <br /> In Chuanqi (Romances) (Shanghai: Za¬zhishe, 1944).（注释）<br /> <br /> In Past and Present Bi-weekly 34 (December, 1943). Originally written in English and published in the English language journal XXth Century.（注释）<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> In this world, the transformation of modern clothes can be read as a history of mentality that centers on a constant redefinition of notions such as femaleness, female beauty, and female proper conducts:<br /> <br /> Men have more freedom in their life than women do. Yet I do not want to become a man, only because they do not have freedom [in having a variety of clothing]. <br /> <br /> Chang goes on to tease out the absurdity of gendered assumptions in cultural discourses:<br /> <br /> Clothes seem trivial and not worth mentioning. Liu Bei once said: “Brothers are [important to each other] like hands to feet whereas their wives and children are [insignificant] like clothes.” But for women, it is much easier to cherish their clothes than their husbands. <br /> <br /> From ”A Chronicle of Changing Clothes.”<br /> <br /> Back in the 1920s, Zhang Jingsheng already highlighted the significance of the changes of clothes/fashion, which, according to him, reflects and shapes the present state of mentalities. See Zhang’s 1925 book entitled Mei de renshengguan (An Outlook on a Life of Beauty) as quoted in Peng Hsiao-yen, ”Sexual Enlightenment: ‘Dr. Sex’ Zhang Jingsheng and May Fourth First-Person （注释）<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> There was a Western writer (is it Bernard Shaw?) who once complained that when most women chose their husbands, they were not nearly as attentive and cautious as when they were selecting a hat for themselves. The most heartless woman would lament passionately when she began to talk about “that silk gown I had last year.”<br /> <br /> Never mind whether it was Bernard Shaw or some other Western writer who made these bizarre comments about women’s apparent “lack” of judgment in choosing their own destinies and their partiality for clothes and other seemingly trivial accessories in life, for Eileen Chang, these male voices were all spelling out the similarly absurd and “ancient” logic by Liu Bei of the Three Kingdoms era (third century A.D.).<br /> <br /> Narrative Fiction.” For Zhang Jingsheng, clothes are the extension of a female body and therefore are crucial elements in exploring female sexuality and inner psyche. This may serve as a mediation to explain the fascination with the female clothed bodies expressed in Eileen Chang’s writing of the 1940s.（注释）<br /> <br /> For a discussion of the correlation between clothes, gender discourses, and performance culture during the first two decades of the century, see an essay by Zhou Huiling (Katharine Hui-ling Chou) entitled ”Nü yanyuan, xieshi zhuyi, ‘xin nüxing’ lunshu: Wanqing dao Wusi shiqi Zhongguo xiandai juchang zhong de xingbie biaoyan” (Actresses, Realism, and Discourse of ”New Woman”: Gendered Performances in Modern Chinese Theater from Late Qing to the May Fourth), published in ''Jindai Zhongguo funüshi yanjiu'' (Studies of Women’s History of Modern China) 4 (August, 1996). Also see her dissertation entitled ''Staging Revolution: Actresses, Realism, and the New Woman Movement in Chinese Spoken Drama and Film, 1919-1949'' (New York University, 1997).（注释）<br /> <br /> ==Wang Yu 王煜==<br /> <br /> But the essay “A Chronicle of Changing Clothes” does much more than merely tease out the gendered categories embedded in fashion discourses. “We cannot really imagine the world of the past generations, so idle, so quiet, and so organized,” writes Eileen Chang, “during the three hundred years of Manchurian ruling of Qing dynasty, there was not even (jing) such a thing called women’s fashion!” The use of the adverb “jing” implies an astonishment: women did not even have fashion for three hundred years, and how could anyone have endured such a misfortune! The emphasis placed on women’s clothes seem to be a landmark that separates the modern era from the antiquated worlds.<br /> <br /> ==Wang Yuan 王源==<br /> <br /> From the point of view of Eileen Chang, the lack of changes in three hundred years of China’s fashion history forms a sharp contrast to the thirty or forty years of the most recent history which, for Chang, can be read as a fascinating narrative put together by rapidly shifting patterns of women’s fashion.<br /> <br /> Chang’s account then turns history into a stage presentation. Her impressionistic view of modern history highlights colors, lines, shapes, and moods, which are all crystallized in the changing faces of women’s clothes. Chang’s representation of modern history through the transformation of women’s clothes has the effect of a modern museum of human fantasies, or a gallery of artifacts constantly in motion. <br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> History is turned into a fictional narrative. More interestingly, there is no real human being moving in this narrative; shapes, colors, lines, and circles occupy the space. Through a personification of clothes, Chang has created an animation effect in her world of changing fashion. Clothes replace human voices; clothes become language itself.<br /> <br /> In “Views from the Streets,” Eileen Chang also describes fashion display as “motionless drama,” a notion that highlights the correlation between literature, performance art, and material culture. By using the notion of drama as a trope, Eileen Chang has indicated that fashion, like forms of fictional narrative, is a dramatization of life, a life presented on stage. <br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> A fashion image is a frozen historical moment, that is, a close-up of a historical moment intersecting with moments in one’s personal history. The clothed body of a modern urban woman thereby carries the burden of history, as well as the marks of our present time.<br /> <br /> In his essay on fashion and modernity written back in 1904, Georg Simmel has already theorized the cultural and social significance of fashion in modern life. He views fashion as a signifier of modernity and a theatricalization of social transformations. For Simmel, fashion consciousness is vital to our conceptualization of the modern and the urban. <br /> <br /> Georg Simmel, ”Fashion” (1904), in On Individuality and Social Forms: Selected Writings, edited and with an introduction by Donald N. Levine (Chicago: University of Chicago Press, 1971) 294-323.（注释）<br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> Simmel’s essay on fashion should be read side by side with his another crucial essay written a year earlier in 1903 entitled “The Metropolis and Mental Life,” which describes the heightened level of sensory stimulation associated with the construction of modern metropolis. Fashion responds most directly and instantaneously to these changes. Following is a frequently quoted passage from “The Metropolis and Mental Life,” which describes the essence of modern life from a physiological as well as psychological perspective:<br /> <br /> The psychological foundation, upon which the metropolitan individuality is erected, is the intensification of emotional life due to the swift and continuous shift of external and internal stimuli.<br /> <br /> 西美尔那篇关于时尚的文章应该和他在1903年写的另一篇重要的文章并列阅读，那篇文章题为《大都市与精神生活》，描述了随着现代大都市的建设而提高的感官刺激水平。时尚界对这些变化的反应是最直接和即时的。下面是《都市与心理生活》中经常引用的一段话，它从生理和心理的角度描述了现代生活的本质:<br /> 都市个性赖以建立的心理基础，是由于外部和内部刺激的迅速、持续的转移而强化的情感生活。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:10, 3 December 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> Man is a creature whose existence is dependent on differences, i.e., his mind is stimulated by the difference between present impressions and those which have preceded. Lasting impressions, the slightness in their differences, the habituated regularity of their course and contrasts between them, consume, so to speak, less mental energy than the rapid telescoping of changing images, pronounced differences within what is grasped at a single glance, and the unexpectedness of violent stimuli. <br /> <br /> ==Wu Kai 吴恺==<br /> <br /> To the extent that the metropolis creates these psychological conditions – with every crossing of the street, with the tempo and multiplicity of economic, occupational and social life – it creates in the sensory foundations of mental life, and in the degree of awareness necessitated by our organization as creatures dependent on differences, a deep contrast with the slower, more habitual, more smoothly flowing rhythm of the sensory-mental phase of small town and rural existence. <br /> <br /> Simmel’s remarks can help illustrate how the discourse of fashion is situated at the center of Eileen Chang’s aesthetic vision. But Chang has gone well beyond Simmel. She incorporates urbanism, modernity, and femininity in her creation of fashion as a new cultural paradigm. <br /> <br /> See Simmel, ”The Metropolis and Mental Life” (1903), in On Individuality and Social Forms: Selected Writings, 325.（注释）<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> The fact that the power of designing such a new paradigm is in the hands of a woman makes it even more unique for her time. More importantly, Chang’s fashion stories can also be read as parables of war. Designing fashion and then writing about fashion are her ways to come to terms with the world at war and the city under siege. In a world where nothing is fixed, and scenes of the present are swiftly disappearing at the very next moment, the ever-changing women’s fashion ironically becomes something that is most stable and lucid, something that can be held on to.<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> In Chang’s account of wartime Hong Kong in an essay entitled “Jinyu lu” (Stories from the Ashes), she describes individual attentions to details of clothes at a critical moment when one’s own life can be smashed to pieces in no time:<br /> In Hong Kong, when we first heard the news that the war had broken out, a girl classmate in my dormitory started panicking. “What am I going to do? I have nothing appropriate to wear!” she cried. Her family were wealthy overseas Chinese. She had a different wardrobe for every social occasion. From a dance party on a yacht to a formal dinner, she was always sufficiently equipped. But she never imagined that there would be a war.<br /> <br /> 张爱玲在其《烬余录》中对战时香港的记述中，她对个人服装的细节上这样描写使人对生活幻灭的重要时刻：在香港，当我们第一次听说战争爆发的新闻之时，我宿舍的一位女同学开始恐慌起来。“我该做什么？我没有合适的穿的衣服！”她哭着说。她的家人都远在海外。在各个社交场合她都有不同的服装搭配。从游艇上的舞会到正式的晚宴，她总是准备有充足的衣着。但她却从未想过这里会爆发战争。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:21, 3 December 2020 (UTC)<br /> <br /> 张爱玲在《烬余录》中讲述战时的香港时描绘到，一个人在性命攸关的时刻竟会对自己的服饰百般注意：<br /> 在香港，当我们第一次听说战争爆发这个消息时，我宿舍的一个女同学开始慌张。她喊道，“我该怎么办？我都没有合适的衣服穿！”她们一家是富裕的华侨。她在不同的社交场合都有自己的服饰搭配，从游艇上的舞会到一场正式的晚宴，她的服装满满当当的。但她从没想过战争会爆发。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:33, 4 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> She finally managed to get hold of a big black quilted jacket which probably would not attract any attention from the air force circling above. When it was time to flee we all went our separate ways. I saw her again when the war was over. She cut her hair short in the masculine Filipino style – the trend in Hong Kong at the time because a woman with that hair style could pass for a man. <br /> <br /> 她终于弄到了一件黑色夹克，这件夹克可能不会引起在上空盘旋的空军的注意。逃命时我们分道扬镳了。战争结束后我又见到她了。她把头发剪成了男式的发型——当时这种发型在香港比较时髦，因为拥有此发型的女人可以替代男人。<br /> <br /> Indeed our different responses to the war are reflected in our choice of clothes. Take Suleika for example. A beauty from a remote town on the Malay peninsula, she was petite and dark, with dreamy eyes and slightly protruding teeth.<br /> <br /> 事实上，我们对战争的不同反应体现在我们对衣服的选择上。例如苏莱卡，一位来自马来半岛偏僻小镇的美女。她娇小黝黑，有着梦幻般的眼睛和微微突出的牙齿。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 13:51, 4 December 2020 (UTC)<br /> <br /> 事实上，我们对于战争的不同反应体现在我们对服装的选择上。比如苏莱卡，一位来自马来西亚偏僻小镇的妙龄女子，她身材娇小，皮肤黝黑，有着闪闪发光的眼睛和微微突出的牙齿。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 00:35, 5 December 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> Like most girls who had a convent education, she was naive to an embarrassing degree. She chose to major in medicine, which means that she had to learn to dissect human bodies. But did the corpses have clothes on or not? The question bothered her, so she was asking people about it. This had become quite a joke around our school. <br /> <br /> A bomb landed next to our dorm, so the warden had to convince us to flee down the hill. Even in such emergency, Suleika did not forget to pack up her most lavish clothes. Against the well meaning advice of many wise people, she somehow managed to transport, in the midst of the gunfire, a big heavy leather trunk of clothes down the hill.<br /> <br /> 她和大多数接受过修道院教育的女孩儿一样，天真无邪，却令人尴尬。她选择学医，这就意味着她必须学习解刨人体。但是尸体穿没穿衣服呢？这个问题困扰着她，于是她就一直问别人。这在我们学校成了一个大笑话。<br /> <br /> 一颗炸弹落到了我们宿舍旁边，所以监狱长不得不劝我们逃下山去。苏来卡即使在这种紧急情况下也没有忘记收拾带走她那些最奢侈的衣服。她不顾许多聪明人的善意劝告，仍设法在枪林弹雨中把一箱厚重的皮衣运下山去。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:23, 4 December 2020 (UTC)<br /> <br /> 像大多数在修道院学习的女孩一样，她天真无邪，却又令人觉得有一丝尴尬。 她选择了医学专业，这意味着她必须学习解剖人体。 但是尸体穿没穿衣服呢？这是个困扰着她的难题，所以她一直向他人请教，以至于这已经成为我们学校的一个笑话。<br /> <br /> 一枚炸弹降落在我们宿舍的旁边，所以监狱长不得不劝服我们逃下山去。即使在这样的紧急情况下，苏莱卡也没有忘记打包带走自己最奢华的衣服，完全不顾智者们的善意建议，仍然想法设法在枪林弹雨中把一箱厚重的皮衣运下山去。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:56, 4 December 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Suleika then joined the defense force, working as a substitute nurse for the Red Cross. She was often seen squatting on the ground, hacking firewood to light up a fire, wearing her copper red and dark green silk gown embroidered with the character “shou” (longevity). What a waste, but for her it was all worth it. This smart outfit endowed her with an unprecedented confidence; without that she would not have blended so well with her male colleagues. …… <br /> <br /> Here, Chang’s war stories are interwoven with talks of fashion.<br /> <br /> “Stories from the Ashes,” in ''Heaven and Earth Monthly 5'' (February, 1944).<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> Fashion is no longer a form of creative life that only occupies the space of leisure; rather, it becomes an essential medium through which an individual could finally comprehend the world that is otherwise incomprehensible, name the surroundings that are otherwise unnamable, and determine her own gender and ethnic identities that are otherwise indeterminate.<br /> <br /> The ending of the essay “A Chronicle of Changing Clothes” also consists of a parable:<br /> <br /> ……an autumnal chill in approaching dusk as vendors at a vegetable market prepare to pack up and go home. Fish scraps and pale green corn husks litter the ground.<br /> <br /> <br /> 时尚不再是一种只占休闲空间的创意生活形式。 相反，它成为一种基本的媒介，个人可以通过该媒介最终理解原本无法理解的世界，为原本无法命名的环境命名，并确定本来无法确定的性别和种族身份。<br /> <br /> 《更衣记》这篇文章的结尾也包含了一个寓言:<br /> <br /> ......在临近黄昏的秋意中，蔬菜市场的小贩们准备打包回家。地上散落着鱼屑和浅绿色的玉米皮。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:50, 5 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> A child dashes over on his bike just to show off. He gives out a shout, lets go of the handlebars, and shoots away effortlessly, swaying back and forth all the while. At that split second, everyone on the street watches him with an indefinable admiration. Perhaps in this life that moment of letting go is the very loveliest? <br /> <br /> This scene seems detached from Chang’s detailed descriptions of the transformation of fashion trends, but it can be read a parable of how fashion actually functions in everyday life. It is exactly that moment of “letting go,” that is, the moment that one gains the power and freedom to go beyond immediate material and political conditions, that captures the essence of fashion in Chang’s world.<br /> <br /> Translated by Andrew F. Jones.（注释）<br /> <br /> 一个孩子骑着自行车神气地飞奔过来。他空喊了一声，双手一下松开了车把，任自行车肆意地向前冲，不断地来回摇摆。此刻，街上的人都用一种说不出的羡慕的眼神看着他。也许在这一生中，那一瞬间的放手是最可爱的？ 这一幕似乎脱离了张国荣对时尚潮流转变的描述，但却可以读出时尚在日常生活中的实际作用。恰恰是那种 &quot;放手 &quot;的时刻，也就是获得超越眼前物质和政治条件的力量和自由的时刻，抓住了张国荣世界中时尚的本质。 译者：安德鲁 F. 吉恩斯（注释）--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:55, 5 December 2020 (UTC)Xiao Ting<br /> <br /> 一个小孩骑着自行车冲过来，只是为了炫耀一下自己。他大叫一声，放开车把，然后毫不费力地甩了出去，一路上来回摇晃着。在那一刹那，街上的每个人都带着一种难以形容的钦佩注视着他。也许在这一生中放手的那一刻是最可爱的? <br /> <br /> 这一幕似乎脱离了张国荣对时尚潮流转变的描述，但却可以读出时尚在日常生活中的实际作用。恰恰是那种 &quot;放手 &quot;的时刻，也就是获得超越眼前物质和政治条件的力量和自由的时刻，抓住了张国荣世界中时尚的本质。 译者：安德鲁 F. 吉恩斯（注释）--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:59, 5 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> Here the essay genre not only becomes an open-ended and ongoing process for women writers in their entry into the existing order of the literary world, it also becomes the testing ground where the boundaries between the literary world and the larger social realm become unstable and ever-shifting. Not only life styles can be read as texts, women writers as individuals can become concrete historical subjects within the space allowed by the modern essay. Life is woven together with work, the boundaries between the private and the public are further blurred, and biographical contingencies become important textual devices in constructing a legend of a new era.<br /> <br /> 在这里，散文体裁不仅成为了女性作家进入文学世界的一个开放的、持续的过程，也成为了一个试验场，在这里，文坛和更大的社会领域之间的边界变得不稳定和不断变化。不仅生活方式可以被当成文章阅读，女性作家作为个体也可以在现代散文所允许的空间内成为具体的历史主体。生活与工作交织在一起，私人与公众的界限进一步模糊，传记性的偶发事件成为构筑新时代传奇的重要文本手段。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 09:42, 4 December 2020 (UTC)Xiao Xi<br /> <br /> 在这里，散文体裁不仅成为女作家进入文学世界现有秩序的一个开放性的持续过程，也成为一个试验场，在这个试验场中文学世界与更大的社会领域之间的边界变得不稳定，并且不断变化。不仅生活方式可以作为文本来解读，作为个体的女作家也可以在现代散文所允许的空间内成为具体的历史主体。生活与工作交织在一起，私人与公共的界限进一步模糊，传记的偶然性成为构建新时代传奇的重要文本手段。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:28, 4 December 2020 (UTC)<br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> '''Perspectives on Ideology in the Essay'''<br /> <br /> '''Zhu Ziqing, Frantz Fanon, and the Fierce White Children'''<br /> <br /> ''Daniel A. Fried''<br /> <br /> '''Abstract'''<br /> <br /> All genres contain political possibilities, but the essay seems entitled to a particularly strong claim on politics. In the Chinese modernist context, it should be clear that one cannot understand the development of nationalism without reference to the huge body of political essays published in decades of periodicals, and equally clear that one must take stock of nationalist writings in trying to understand the generic qualities of the essay. And within our international scholarly dialogue, it seems necessary to locate the modern Chinese essay with regard to the various postulates of postcolonial theory.<br /> <br /> “论文中的意识形态观点”<br /> <br /> “朱自清，弗朗茨·法农，和凶猛的白人孩子”<br /> <br /> “丹尼尔A.弗里德”<br /> <br /> “概要”<br /> <br /> 所有体裁都包含政治可能性，但这篇文章似乎有权对政治提出特别强烈的主张。在中国现代主义环境中，我们应该清楚地看到，如果不参考几十年期刊上发表的大量政治文章，就无法理解民族主义的发展；同样，我们必须审视民族主义作品，试图理解这篇文章的共性。在我们的国际学术对话中，似乎有必要根据有关后殖民理论的各种假设来定位中国现代散文.<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 11:25, 3 December 2020 (UTC)Xiao Yining<br /> <br /> ==Xie Fan 解帆==<br /> <br /> This is not easy--the relation of Chinese materials to theory has of course been debated at length, with wide disagreements over the applicability of the standard models. Indeed, the applicability of postcolonialism to several literatures has been questioned as critiques of essentialized difference have been turned against the general conclusions of postcolonial discourse itself. While theoretical contextualization of Chinese political essays seems necessary, there is no critical consensus on what theories to apply.<br /> <br /> This paper will attempt to contextualize by ignoring the oversimplified question of whether postcolonial theory is or is not applicable to Chinese modernist essays. <br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> Instead, it seeks to perform a case study in theoretical analysis of a Chinese essay which goes beyond the simple importation of “foreign” theory, to suggest the outlines of dialogue between scholars of Chinese and other anticolonial nationalisms. Specifically, it compares Zhu Ziqing's experience of a white childs gaze in the essay, “White People--God's Proud Children!” to a similar experience of Frantz Fanon recorded in his canonical ''Black Skin, White Masks''. Using the theme of the racial others gaze as a methodological allegory, it seeks to show how these two texts can be made to “gaze” at each other, to inform each other in ways which are theoretically suggestive while respecting local difference.<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> While Zhus essay seems in many ways to perfectly invoke the most familiar tropes of “Western” theory, Zhu's reaction to the gaze is ultimately opposite to Fanon's, and demonstrates how anticolonial writing is enmeshed both in internationa lpsychological constants and local historical variables.<br /> <br /> Scholarly investigation of the modern Chinese essay as a genre demands some attention to the questions posed by postcolonial theories. The same could be said of all genres of the period, but the essay has a special claim on postcolonialism. All genres were used politically, but the essay was usually seen in high modern China as the prime vehicle for explicit politics, the forum best suited for debate and rebuttal, and explication of specific political programs. <br /> <br /> ==Xu Jing 许晶==<br /> <br /> Of course, there is no scholarly consensus in the field as to the extent to which postcolonial theories can or cannot be applied to modern Chinese literature. For example, Rey Chow in her 1993 ''Writing Diaspora'' produced a well-known critique of the resistance to theory by scholars of Chinese literature, arguing that the claims of untheorizable Chinese particularity are merely reintroductions of an old Orientalist cultural essentialism. Last year, Leo Lee concluded his study of Shanghai urban culture by restating the very same arguments which Chow had dismissed, making the case that theory based on native internalization of the Western “othering” gaze was not directly applicable because the Western imperialist presence in China, even in the Shanghai concession zones, never gained the colonialist control over language and education that produced such psychic disruptions in other societies. <br /> <br /> Rey Chow, ''Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies''. (Bloomington: Indiana University Press, 1993).（注释）<br /> <br /> <br /> 当然，关于后殖民理论在何种程度上可以适用于现代中国文学，学界并没有达成共识。例如，周蕾在1993年的《离散书写》中，她就中国文学学者对理论的反抗提出了一个著名的批评，她认为，不可理论化的中国特殊性，只不过是对古老的东方主义文化本质主义的重新引入。 去年，李欧梵通过重述周蕾曾否定的相同观点，结束了他对上海都市文化的研究，从而证明了该理论是基于西方“他者化”的本土内化，不能直接适用。因为在中国，哪怕是在上海租界，西方帝国主义的存在从未获得殖民主义者对语言和教育的控制，而这种控制在其他社会中造成了这种心理混乱。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:57, 4 December 2020 (UTC)<br /> <br /> 当然，关于后殖民理论在何种程度上可以适用于现代中国文学，学界并没有达成共识。例如，周蕾在1993年的《离散书写》中，她就中国文学研究学者对理论的反抗提出了一个著名的批评，她认为，不可理论化的中国特殊性，只不过是对老式的东方主义文化本质主义的重新引入。 去年，李欧梵通过重述周蕾曾否定的相同观点，总结了他对上海都市文化的研究，从而证明了该理论是基于西方“他者化”的本土内化，不能直接适用。因为在中国，哪怕是在上海租界，西方帝国主义从未获得殖民主义者对语言和教育的控制，然而这种控制却在其他社会中造成了这种心理混乱。<br /> Rey Chow，Writing Diaspora：Tactics of Intervention in Contemporary Cultural Studies. (Bloomington: Indiana University Press, 1993).（注释）。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:15, 5 December 2020 (UTC)Xiao Ting<br /> <br /> ==Xu Jing 许静==<br /> <br /> We must stutter out some engagement with postcolonial theory, but how can one proceed without the safety of scholarly consensus? One could dive into polemics, but a decision that either theory is or isn't always applicable to Chinese literature assumes the existence of twin essentialized monoliths called “theory” and “Chinese literature.” We need more nuanced approaches. In fact, the terms of mainline postcolonial theory do furnish the conceptual tools with which one can derive one such approach. The very familiar discussions of the gaze of the imperial subject toward the colonized other can be employed as a metaphor for our own predicament. <br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> <br /> One of the major variations on this theme, deriving from the writings of Frantz Fanon, should be familiar: by their imperial gaze, aggressor cultures try to lock their colonized subjects into a perpetual Otherdom, with the aggressor National Subject claiming for itself a transcendent metaphysical Selfhood; colonized individuals must view themselves as Other and therefore are alienated from themselves. The solutions the discourse has found are ways in which those individuals can subvert that Otherdom in order to reclaim for themselves a new or reconstituted Selfhood. The goal is not to fall into nativist atavism and rejection of the metropole, but to eliminate dominance and blur the margins of identity, allowing a more healthful parity in the identification dialectic between colonizer and colonized.<br /> 弗朗兹·法农的作品中产生了这一主题的主要变题之一，大家应该对此都很熟悉：在帝国主义的视角下，侵略者文化尝试将殖民对象封锁进永恒的他者国度，只有侵略国家自称为超验的形而上学的自我：被殖民的人必须把自己当做他者因此只能异化。对于这一问题找到的答案便是通过推翻他者国度从而为自己重建一个自我。目的不在于陷入本土主义者的返祖主义，拒绝城市，而是削弱统治，使身份边界模糊化，让殖民者和被殖民者在身份的辩证识别上有更健康的对等。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:06, 4 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> <br /> If it is a common complaint that postcolonial theory is a creation of the metropole which should not be allowed to dominate local Chinese historical experience, the solution should not be nativist assertion of Chinese difference and superiority, with consequent ignoring of the varied experiences of imperialism from which the systems of theory have been derived. Rather, once we reject the notion that metropolitan theory has an omniscient gaze which alone possesses the right to define the meaning of Chinese texts, we are free to see how Chinese and non-Chinese experiences of imperialism can inform each other, through their mutual attractions and tensions which complicate questions of identity.<br /> <br /> 如果人们普遍认为后殖民理论是大都市的创造，不应让其支配中国本土的历史经验，那么解决办法就不应是本土主义武断地主张中国的差异和优越性，一直忽视理论体系是从帝国主义的各种经验是衍生出来的。相反，一旦我们拒绝了大都市理论无所不能、只有它才有权定义中文文本的含义的观点，我们就可以自由地看到，中国和非中国的帝国主义经历是如何通过它们的相互吸引和紧张关系——这使身份问题复杂化——相互交流。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:39, 3 December 2020 (UTC)Xu Pengfei<br /> <br /> 如果人们普遍抱怨后殖民主义理论是大都会的产物，且不应允许它主导中国本土的历史经验，那么，解决的办法就不应是本土主义地宣称中国人的差异性和优越性，从而忽视理论体系所衍生的各种帝国主义的经验。相反，一旦我们摒弃了大都会理论的全知角度，那就是它独自拥有定义中国文本意义的权利，我们就可以看到中国人和非中国人的帝国主义经验如何通过他们的相互吸引和紧张关系来相互交流，而这使认知问题变得复杂。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 06:29, 4 December 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> As an example of how to do this sort of theoretical application, I propose in this paper to compare Frantz Fanon's “The Fact of Blackness” (a chapter of his canonical ''Black Skin, White Masks''), with a little-known essay by Zhu Ziqing, “White People-God's Proud Children!” Both pieces focus on the narrators' experiences of meeting the gazes of white children, and thus invoke classic themes which allow easy access to theoretical considerations even in the midst of a particularistic analysis. And because both describe politicized experience, they avoid the old Orientalist dichotomy of Western theory vs. native experience. Both Fanon and Zhu are equally theoretical and experiential, and they inform each other.<br /> <br /> 作为如何进行这类理论应用的例子，我在本文中拟将弗朗茨·法农的《黑的事实》（他的典籍《黑皮肤，白面具》中的一章）与朱自清的一篇鲜为人知的文章《白种人，上帝的骄子！》进行比较。这两篇作品都聚焦于叙述者与白人儿童目光交汇的经历，因此引用了经典的主题，即使在特殊主义的分析中，也能很容易进行理论思考。而且由于两者都描述了政治化的经验，因此避免了西方理论的老东方主义与本土经验的抉择。弗朗茨和朱自清都同样具有理论性和经验性，且互相借鉴。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:35, 3 December 2020 (UTC)Yang Chenting<br /> <br /> 作为如何进行这类理论应用的一个例子，笔者拟在本文中对弗朗茨·法农的《黑人的事实》(他的经典《黑皮肤，白面具》中的一个章节)与朱自清鲜为人知的文章《白种人——上帝的骄子!》进行比较。这两篇文章都聚焦于叙述者与白人儿童目光相遇的经历，因此援引了经典主题，即使在进行具象分析中，也能很容易地进行理论思考。而且因为两者都描述了政治化的经验，他们避免了西方理论与本土经验的古老东方主义之争。法农和朱自清都具有同样的理论和经验，且相互借鉴。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:12, 3 December 2020 (UTC)<br /> <br /> [[File:Example.jpg]]==Yang Hairong 杨海容==<br /> <br /> “The Fact of Blackness” is Fanon's analysis of a black man's frustration in attempting to create a viable self-identity in the France of the 1950's. Analysis in the psychoanalytic sense, not the scientific-sociological one; or, better still, ''self-analysis'', for the chapter is cast in the form of a first-person narrative. Fanon writes a sort of psychoanalytically fueled prose poem. There are few objective assertions made about “the way it is”; the problem is seen from what appears to be the inside of a black man's head, what he feels and how he reacts to the shiftingly solid front of White France arrayed against him..<br /> <br /> Not necesssarily Fanon's. In his introduction, Fanon writes that in this chapter, “we observe the desperate struggles of a Negro who is driven to discover the meaning of black identity.&quot; Frantz Fanon, Black Skin, White Masks. Trans. Charles Lam Markmann (New York: Grove Press, 1967) 16. The wording here suggests a fictional narrator. Nonetheless, one guesses that it is a fictualized Fanon, and I will use “Fanon” as a convenience in place of “the narrator” for the remainder of this paper.（注释）<br /> <br /> <br /> “黑人事实”是法农（Fanon) 对黑人试图在1950年代的法国创造可行的自我身份的挫败感的分析。心理分析意义上的分析，不是科学社会学意义上的分析；或更好的是“自我分析”，因为本章以第一人称叙述的形式呈现。法农写了一首精神分析的散文诗。很少有人对“现状”作出客观的断言;这个问题可以从一个黑人的大脑内部看出来，他的感受，以及他对反对他的法国白人坚实的立场的反应。<br /> <br /> <br /> 不一定是法农的。法农在其引言中写道，在本章中，“我们观察到黑人被迫探索黑人身份的绝望斗争。”法兰兹·范农，《黑皮肤，白色面具》，查尔斯·林·马克曼译（纽约：格罗夫出版社，1967年）16.这里的措辞暗示着一个虚构的叙述者，尽管如此，有人猜测这是一个虚构的法农，在本文的其余部分中，我将使用“范农”代替“叙述者”。 （注释）--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:01, 5 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> Some of the most striking and most quoted parts of this narrative are Fanon's attempts to deal with the intrusive voice of the white child who cries out in fear of him:<br /> <br /> “Look, a Negro!” It was an external stimulus that flicked over me as I passed by. I made a tight smile.<br /> <br /> “Look, a Negro!” It was true. It amused me.<br /> <br /> “Look, a Negro!” The circle was drawing a bit tighter. I made no secret of my amusement.<br /> <br /> “Mama, see the Negro! I'm frightened!” Frightened! Frightened! Now they were beginning to be afraid of me. I made up my mind to laugh myself to tears, but laughter had become impossible.<br /> <br /> <br /> <br /> 这段叙述中最引人注目和引用最多的部分是 Fanon 试图处理白人儿童因害怕他而大声呼喊的侵扰性声音：<br /> <br /> “看，一个黑人！”当我经过时，一种外在的刺激掠过我的心头。我笑得很紧。<br /> <br /> “看，一个黑人！”是真的。我很开心。<br /> <br /> “看，一个黑人！”圆圈越来越紧了。我毫不掩饰我的乐趣。<br /> <br /> “妈妈，看那黑鬼！我吓坏了！”害怕！害怕！现在他们开始害怕我了。我下定决心要笑得流泪，但笑已经变得不可能了。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:18, 3 December 2020 (UTC)<br /> <br /> 这段叙述中最引人注目和最常被引用的部分，是法侬试图处理那个白人孩子因为害怕他而大叫的侵扰声音:<br /> <br /> “看,一个黑人!”这是一种外部刺激，当我经过时，它掠过我的头顶。我紧张地笑了笑。<br /> <br /> “看,一个黑人!”这是真的。这太好笑了。<br /> <br /> “看,一个黑人!”圆圈变得更紧了。我毫不掩饰自己的快乐。<br /> <br /> “妈妈，你看那个黑人!我害怕!”吓!吓坏了!现在他们开始害怕我了。我决定笑得流泪，但笑已经变得不可能了。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:14, 3 December 2020 (UTC)<br /> <br /> 这种叙述中一些最引人注目和被引用最多的部分是法农试图处理白人儿童因为害怕他而大声疾呼发出的侵扰声音：<br /> “看，一个黑人！”这是一种外部刺激，当我经过时，它掠过我。我紧张地笑了。<br /> “看，一个黑人！”这是真的。它逗乐了我。<br /> “看，一个黑人！”圆圈画的更紧了。我掩饰不住快乐。<br /> “妈妈，看黑人！我害怕！”害怕！害怕！现在他们开始害怕我了。我下定决心笑出眼泪，但笑声已经变得不可能了。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:41, 3 December 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> In this passage as elsewhere in the chapter, there are many voices accusing Fanon, yet the voice of the child has a special bluntness, one that hits Fanon harder. Beneath that voice, his attempt to defend himself through an ever-increasing amusement is undone; the child unmasks his anguish. He is for Fanon not just a historical boy, nor an empirical average of thousands of trembling boys, but a resonance of something deeper within Fanon's narrative. Fanon does not devote an inordinate amount of space to the child, and it would be an exaggeration to say that the appearances of this child constitute the thematic center of his chapter. <br /> <br /> ==Yang Yue 杨悦==<br /> <br /> Nonetheless, the white child does play a crucial role, as he is in fact a grotesque foil for Fanon's own exasperated narrative voice, which is a rewriting, for race, of narratives of developmental psychology. In particular, Jacques Lacan's famous theory of the “mirror stage” is clearly its primary inspiration. Even though Fanon never makes explicit reference to Lacan or “The Mirror Stage” in the chapter, such references are numerous in Black Skin, White Masks as a whole-there is no doubt that Fanon knew the paradigm well. And the structure of his narrative runs suspiciously parallel to Lacan's explications, so much that it might be fair to call “The Fact of Blackness” an ironic rewriting of “The Mirror Stage.”<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> Lacan's theory is complex, moving in unexpected directions and drawing different sets of conclusions. But all are sourced in the moment of a baby before a mirror, fascinated to discover itself for the first time. The stage at which this critical fascination can occur lasts from the age of six to eighteen months, according to Lacan, and its primary importance is in providing the infant with a temporary shortcut to mature subjectivity. In his words, the mirror “precipitates” the child's I in a “primordial form, before it is objectified in the dialectic of identification with the other, and before language restores to it, in the universal, its function as subject.” <br /> <br /> ==Yao Cheng 姚诚==--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:04, 4 December 2020 (UTC)<br /> <br /> In contrast, Fanon only reaches his version of the mirror stage ''after'' passing through objectification and restoration to subjectivity. His “mirror stage” is precisely the quest for subjectivity narrated through the “plot” outlined above. But this plot is skewed¬-consider Lacan's discussion of the mirror stage itself:<br /> <br /> The fact is that the total form of the body by which the subject anticipates in a mirage the maturation of his power is certainly more constituent than constituted, but in which it appears to him above all in a contrasting size (''un relief de stature'') that fixes it and in a symmetry that inverts it, in contrast with the turbulent movement that the subject feels are animating him.<br /> <br /> 相比之下，法农只有在经过客观化并恢复到主观性后，才能“达到”他的镜像阶段。 他的“镜像阶段”正是要追求上述“情节”中描述的主体性。 但是此情节是有失偏颇的，请思考拉康对镜像阶段本身的讨论：<br /> <br /> 事实是，主体总形式当然更多是构成成分而不是已构物，因为学科通过主体总形式在思维中预估其力量是否成熟。但是在他看来，主体首先是一个对比大小的个体（“形体突出”），这一个体将其固定并使其对称反转，这与对象感觉到正在使他动起来的湍流运动相反。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:17, 4 December 2020 (UTC)<br /> <br /> 相比之下，法农只有在经过客观化并恢复主观性后，才能“达到”他的镜像阶段。他的“镜像阶段”正是要追求上述“情节”中描述的主体性。 但是此情节是有失偏颇的，需要考虑拉康对镜像阶段本身的讨论：<br /> <br /> 实际上，主体总形式当然更多是构成成分而不是已构物，因为学科通过主体总形式在思维中预估其力量是否成熟。但是在他看来，主体首先是一个对比大小的个体（“形体突出”），这一个体将其固定并使其对称反转，这与对象感觉到正在使他动起来的湍流运动相反。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:04, 4 December 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> Fanon's mirror is of course the White. In that mirror he is inverted, re-created as an image exactly opposite to his own reality, and it is only through that inversion, that ''perversion'' of his Self that he is allowed to know himself. And, moreover, that inversion is ''fixed'' in the mirror, as Fanon puts it, fixed as a chemical solution is fixed by a dye. No matter how Fanon questions, no matter what rhetorical tack he chooses to confront the mirror, it refuses to give back any other image. Does Fanon feel a universal, rational soul animating himself? Does he well up with the turbulence of an earth-poetry that takes him to the magic font of his humanity? It does not matter. The mirror is impervious and flat. His image is fixed.<br /> <br /> ==Yi Huan 易欢==<br /> <br /> Lacan tells us that the function of the mirror stage “is to establish a relation between the organism and its reality - or, as they say, between the ''Innenwelt'' and the ''Umwelt''.” For Lacan, it is the organism itself which determines and creates the relation, it creates its reality, but Fanon feels himself to be “overdetermined from without,” he is created by the White reality.<br /> <br /> That relation is an average of many different species of dominance. But perhaps more than any other, it is the dominance of an adult over a child. Listen again to the voices which fix Fanon: “Understand, my dear ''boy'', color prejudice is something I find entirely foreign.” <br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> “Gently, in the tone that one uses with a ''child'', they introduced me to the existence of a certain view that was held by certain people.” “now and then when we are worn out by our lives in big buildings, we will turn to you as we do to our ''children''-to the innocent, the ingenuous, the spontaneous. We will turn to you as to the ''childhood'' of the world.” (italics mine) The White mirror thus fixes Fanon as a perpetual infant, the Black “boy” who embodies youthful naiveté. He knows he is in the mirror stage, he is an infant who has already read Lacan, and he is desperate to find in the mirror the image which will allow him to realize his ''I'', but the mirror always gives him back his infant inverse. He cannot realize himself, he can never leave the mirror stage, he is ''fixed''.<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> The white child is thus a point of entry into the subsurface struggle of the text. The child is Fanon's parallel and his foil: “look, a nigger, it's cold, the nigger is shivering because he is cold, the little boy is trembling because he is afraid of the nigger, the nigger is shivering with cold, the cold that goes through your bones, the handsome little boy is trembling because he thinks that the nigger is quivering with rage, the little boy throws himself into his mother's arms: Mama, the nigger's going to eat me up.”[ Fanon, 114.] The boy mirrors Fanon, but ironically: his freedom to be afraid, his freedom even to see an Other that is not synonymous with the Self[ Fanon asserts thtat the black is not Other to the white, but his argument is that the white claims he does not need to go through identification with the black-as-Other in order to come to a realization of the Sel; on the contrary, White simply “is”; black is not-White. But though the white does not idenify through the black Other, this of course does not mean that Fanon is asserting that the white does not identify the black as Other.] is a mockery of the boyhood which Fanon cannot escape. One might even profitably read this mirroring as a form of mimicry. <br /> <br /> ==Yu Ni 余妮==<br /> <br /> In standard postcolonial discourse, “mimicry” refers to either a pseudo-imitation forced on the colonized by the colonizer who wants the colonized to “be like” the colonizing cultural model, but not identical to it; or it can refer to deliberate ironization of such models by the colonized. Either case results in what Homi Bhabha calls a “double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority.”[ Homi Bhabha, The Location of Culture (New York: Routledge, 1994) 88.] However, as Diana Fuss notes, “the mimicry of subversion can find itself reinforcing conventional power relations rather than eroding them.”[ Diana Fuss, Identification Papers (New York: Routledge, 195*) 147.] Fanon's experience is just such a case - the mimicry is the white boy's, not Fanon's, and its effect is not at all disruptive, but reinforces the conventional power relations. <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> The boy thinks he is in danger of assault and trembles; in fact, it is Fanon who trembled first, who is the one really exposed to violence, and who is in fact ''being assaulted'' by the boy's unwitting mimicry of his weakness.<br /> <br /> The white child is thus a cruel unwitting joker who offers Fanon seeming doors of rhetorical escape into maturity, then frustrates him, turns him back on himself, locks him into the image of “the childhood of the world.” And the most destructive part is that the child does not know he is the god's mask; he screams as an innocent and can leap to the mother's arms. Fanon screams, and the monstrous mirror stays silvery and cold: it inverts and it fixes, but it never recognizes.<br /> <br /> “White People-God's Proud Children!” was written in direct response to (and less than three weeks after) the “May 30 Massacre.”<br /> <br /> 男孩认为自己有被攻击的危险，吓得发抖;事实上，首先颤抖的是法龙（Fanon），真正遭受暴力的是法龙，实际上也是法龙被男孩在不知情的情况下模仿自己的弱点所攻击。<br /> 因此，这个白人孩子是一个残忍的、不知情的小丑，他为法农提供了看似可以逃避语言的大门，让他走向成熟，然后让他沮丧，让他回归自我，把他锁在“世界的童年”的形象中。最可怕的是，这个孩子不知道自己是上帝的面具;他像个无辜的孩子一样尖叫，然后跳到妈妈的怀里。法农尖叫了一声，巨大的魔镜依旧银光闪闪，冰冷冰冷:它颠倒着，固定着，但永远也认不出来。<br /> “白人——上帝的骄傲的孩子!”是对“5月30日大屠杀”(不到三周后)的直接回应。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 03:05, 4 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> In mid-May of 1925, factory workers at a Japanese plant in Shanghai went on strike, and then stormed the factory grounds, demanding back wages. The Japanese managers shot and killed the strike leader and injured several others, prompting more general strikes at other Japanese factories by 20,000 workers. Students soon joined the workers in protest, and several were arrested inside the foreign concessionary zone. On May 30, the date scheduled for the trial of those arrested, 2,000 students marched on the concessionary zone demanding the release of the students and workers. In response, British troops arrested a hundred of those assembled. News of the new arrests spread rapidly, and by later that day, several thousand Shanghainese of different levels of society had surrounded the Nanjing Road jail where the protesters were being held, demanding their release. At this point, the British opened fire, killing a dozen or so Chinese and wounding several dozen.<br /> <br /> 1925年5月中旬，上海一家日本工厂工人罢工，然后冲进工厂，要求讨回工资。工厂日本经理射杀了罢工领袖，打伤数名工人，导致其他日本工厂2,0000工人发起了更大规模的罢工。学生很快加入工人抗议，随后部分学生在租界遭到逮捕。5月30日原定是遭逮捕的工人和学生受审日子，2,000学生在租界游行示威，要求释放学生和工人。作为回应，英国士兵逮捕了数百名示威者。这一消息很快传开来，当天晚些时候，几千名上海社会人士包围了关押抗议者的南京路监狱，要求释放他们。鉴于此，英军开火，射杀了十几名中国人，打伤几十中国人。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 13:50, 3 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> Nationwide protests of various sorts erupted immediately, including several literary protests, two by Zhu: “Blood Song,” an incendiary poem composed on June 10, and “White People,” written nine days later.<br /> <br /> The essay never refers explicitly to the May 30 incident; rather, it is the narration and explication of an incident which Zhu experienced on a Shanghai city trolley. After boarding and going to the first-class seats, Zhu sits down across from two white people, apparently a father and son. Zhu marvels at the lovely features of the boy, who looks eleven or twelve, and then goes into an explanation of how he has been fascinated with children ever since a friendship in elementary school with a shy younger boy named Liu Jun. He admits that he loves to stare at young children, and that he stared therefore at the white child. <br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> Unlike most children, disturbed by his staring, the white child appears to take no notice, but then, when he and his father are about to get off the trolley, the child flashes a violent, mimicking stare back at Zhu. The author hears words in the stare: “There were words in his eyes: 'Hah! Yellow man, yellow chinaman, you-you go ahead and look! You are worthy of looking at me!” Zhu feels this stare as a physical assault, and feels first terrified, and then patriotically enraged. He then explains his desire for a nationality-trumping universalism, but also doubts its possibility, since such a young child had already been socialized into acceptance of racist categories. Yet he praises the child for exhibiting masculine forcefulness, and claims that this is “what makes whites white.” Finally, he declares himself conflicted on the subject of nationalism versus universalism, ending the essay unresolved.<br /> <br /> 与大多数孩子不一样，这个白人小孩对于朱自清的打量毫不在意，但当白人小孩和他的父亲准备下电车时，那个孩子怒目回望了朱一眼。朱从该怒视里读出：“哈，黄种人，黄种中国人，你继续看吧！你也就配看着我的份了！”朱从中感到一种身体上的攻击，一开始觉得害怕，然后带有爱国主义的愤怒喷涌而出。他在文中解释道，这样一个年幼的孩子都已经为社会所同化，接受了种族主义的范畴，虽然自己渴望国籍优先的普遍主义，但同时也怀疑这个普遍主义的可能性。然而，他赞赏这个孩子表现出的男性之力量，同时也认为这点是“白人的典型特征”。最后，他对于民族主义和普遍主义的问题上产生了矛盾，直到文末该问题也悬而未决。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 03:33, 4 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> Given the Fanon-inspired traditions of Western postcolonial invocations of the Other, one might from a Western perspective expect Zhu to react to the gaze of the child with a crisis of ''personal'' identity. This is, after all, Fanon's Odyssean quest in “The Fact of Blackness”: to negotiate or seize for himself a space for valued selfhood against the demeaning voices of White France which try to lock him into an Otherness to itself, to himself , to the possibility of humanity. Zhu's reaction certainly fits, in name, the Self-Other trope: he experiences the white child as very White and Other. And the incident deeply traumatic: “This sudden assault made me panic; my heart was void, on all sides there was a very heavy pressure, making me unable to breathe freely.” But the incident does not fit the mirror-stage model as transmitted by Fanon. <br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> There is no reference to psychical development, and therefore no hint that the quasi-colonialist aggression experienced through the gaze is constitutive, that it denies an authentic Chinese subjectivity to Zhu and replaces it with an ironclad Otherness to himself.<br /> Rather, it confirms Zhu's sense of self by provoking an immediate nationalistic response. After recovering from the shock of the gaze, he immediately “was filled with a pressing nationalistic feeling!” He then reflects on the child's face and action and straightaway abstracts them into a symptom of history:<br /> <br /> That which made me panic and feel terrified, was that this one lording it over me, trampling me, was no one but...a ten year-old white “child”! I always have felt that children belong to the world, and ought not to be of a single race, country, town, or family...<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> But this ten year-old white child...had already understood the situation well enough to use racial advantage and national power to assault me with a thrust of his face. This assault was actually the small shadow of multiple assaults, and his face was the small-print version of a history of Chinese foreign relations.[ Zhu Ziqing, Zhu Ziqing Quanji, Vol. 1 (Jiangsu, Jiangsu Educational Press) 45.]<br /> <br /> Despite our Fanon-inspired suspicions about his psychology, Zhu insists that the shock he received, the pressure, the difficulty breathing, was the result of his ''theoretical'' realization that the child was not innocent but had already been corrupted into the fabric of violence from which Sino-Western relations had been cut. The normal, the psychological-these responses are leapt over, the incident is abstracted directly into a symptom of history. And, at least on the surface, this fact might seem to confirm the anti-theoretical position which claims that postcolonial criticism is irrelevant to China because China never sunk into full colonial status.<br /> <br /> 但是这个十岁的白人孩子已经非常了解这种情况了，甚至可以利用种族优势和国家权力以他的面目攻击我。 这次袭击实际上是多次袭击的一个小阴影，而他的脸则是中国对外关系史的缩影。【朱自清，朱自清全集 卷1（江苏，江苏教育出版社）45.】<br /> <br /> 尽管我们受到法农的影响进而对他的心理学表示怀疑，但朱坚称，他受到的震惊，压力，呼吸困难是他“理论上”意识到孩子不是无辜的，而是被中西关系断绝所产生的暴力侵蚀。<br /> 正常的，这些心理的反应被跳过了，事件被直接抽象为历史的象征。 而且，至少从表面上看，这一事实似乎证实了反理论立场，该立场声称后殖民批评与中国无关，因为中国从未陷入完全的殖民地状态。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:36, 3 December 2020 (UTC)<br /> <br /> 但是这个十岁的白人孩子……已经非常了解这种情况了，他可以利用种族优势和国家权力的面目攻击我。这次袭击实际上是数次袭击的影子，而他的脸则是中国对外关系史的缩影。【朱自清，朱自清全集 卷1（江苏，江苏教育出版社）45.】<br /> <br /> 尽管我们受到法农的影响进而对他的心理学表示怀疑，朱坚称，他受到的震惊，压力和呼吸困难，是他从“理论上”认识到这个孩子不是无辜的，而是已经腐坏成中西关系已被割断的、暴力的结果。跳过正常的心理的反应，这个事件被抽象成历史的症状。而且，至少从表面上看，这一事实似乎证实了反理论立场，该主张声称后殖民批评与中国无关，因为中国从未陷入完全的殖民状况。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 03:42, 4 December 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> One could easily derive a trajectory from comparative history to the differences in the two men's encounters with white children, a trajectory whose terms are familiar but worth rehearsing. Fanon's Martinique was almost totally cut off from racial history, national language, and cultural identity. Any nationalism that arose from such soil would have had to have been as a reconstruction of African identity from zero, an almost impossible task. Therefore, Fanon's text has to start from the postcolonial present, analyzing the continuing damage of racism on subjugated black communities. Most of China, despite the extreme cultural upheavals which it experienced in reaction to Western aggression, never sunk into full-fledged colonial status; and therefore this aggression remained for the most part an influential and traumatic margin to the mainstream development of Chinese historical identity. There was no slavery, no tabula rasa, not even in Hong Kong and Macao, or Taiwan and “Manchuria.” <br /> <br /> ==Zhang Hui 张慧==<br /> On the contrary, the experience of aggression undoubtedly strengthened national consciousness; and in modernist writings such as the one in question, it is rare to read a moment of experience of the Western Other as such which does not resort to some form of nationalism.<br /> <br /> Up to a point, this sort of analysis is useful. Certainly, it would be dangerous to move directly from historical sketches to windy declarations about the differences between African and Chinese literature. But the standard history does happen to match the particulars of these two authors' educational trajectories. The surface, then, of “White People” is simple and obvious in comparison with Fanon's text, forgoing psychological brooding to go straight to the main course of national pride. <br /> <br /> And yet, one wonders what lurks in the essay's depths, for this is a very unusual piece in Zhu's oeuvre.<br /> <br /> 相反，侵略的经验无疑加强了民族意识；在现代主义的著作中，如有关的著作中，很少读到对西方他者这样的经验不诉诸某种形式的民族主义的时刻。<br /> <br /> 在某种程度上，这种分析是有用的。当然，如果直接从历史素描转向关于非洲文学和中国文学差异的风马牛不相及的宣言，是很危险的。 但标准的历史确实恰好符合这两位作家教育轨迹的特殊性。 那么，与法农的文字相比，《白衣人》的表面是简单而明显的，放弃了心理上的沉思，直奔民族自豪感的主菜。 <br /> <br /> 然而，人们不禁要问，这篇文章的深处到底潜藏着什么，因为这是朱的作品中很不寻常的一篇。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 3 December 2020 (UTC)<br /> <br /> <br /> 相反，侵略的经验无疑增强了民族意识。 在诸如此类的现代主义著作中，很少有人会读到西方他人的经历，因为这种经历不诉诸某种形式的民族主义。<br /> 到目前为止，这种分析是有用的。 当然，直接从历史速写转变为关于非洲和中国文学之间差异的风马牛不相及的宣言将是危险的。 但是，标准的历史确实与这两位作者的教育轨迹相吻合。 因此，“白人”的表述与法农的著作相比是简单而明显的，它放弃了对民族自豪感的直觉。<br /> 然而，人们不禁要问，这篇文章的深处到底潜藏着什么，因为这是朱自清的作品中很不寻常的一篇。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:19, 3 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Normally, Zhu Ziqing is one of the last authors one associates with fiery nationalism; rather, he is usually preoccupied with just the sort of psychological introspection which characterizes Fanon's text. Furthermore, the essay was written more than a year after the original trolley ride-could the strangely quick transition from individual experience to nationalist reflection be at least partly created under the influence to retell the story in the light of the May 30 incident?<br /> <br /> If one willfully forgets about the May 30 context of the essay and focuses on the details of the incident as Zhu narrates them, then a second and separate level of interpretation opens in the essay, one much more pregnant with Fanon-like psychological trauma. The widest portal to the inside of this essay is also its obvious crux: i.e., the white child's stare. The key to this portal is that that stare, as it happened empirically, was complete unto itself. <br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> It was an act, an aggressive act, unaccompanied by words. When Zhu tells us that “there were words in his eyes,” he wants us to believe that the words came from the child himself, and in fact we can certainly believe that that is how Zhu experienced the stare, that he felt the hate speech jabbing out at him from those astonishing eyes. But yet the language admits its paternity: not the child, but Zhu himself. Zhu creates the meaning around the act of the stare, and his entire explication of the problem of racism is based, not upon what he hears, but upon what his unconscious hermeneutic tells him that he hears. Whereas Fanon lives in a shadowy world of little but voices shouting, “look, a Negro!” to Zhu there are no voices at all, only a reality of trolleys and white skin and violent stares to which he himself has to supply the verbal accompaniment.<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> This is absolutely not to say that Zhu's experience of racism is imaginary, that he “shouldn't be so sensitive,” as racists say. No doubt, the child was acting racistly. But it is important to notice that the racism which Zhu attributes to the child is a simple one: the child is figured as a self-assured, mature, masculine aggressor; in fact all of these qualities which Zhu feels are surely exaggerated. He might have suspected that prepubescent white children are somehow super-matured macho-men, but hopefully we know better. For Zhu's stare was not the first the boy had received. Anyone who has had the experience of living as a racial minority in a non-pluralistic society knows what it is like to be stared at constantly; this is in fact the primary condition of Fanon's experience which makes “The Fact of Blackness” possible. <br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> Thus, in this regard, Fanon is perhaps closer to the boy than to Zhu; or if this is too strong, we could say that Fanon is split between the boy and Zhu, that Zhu shares with Fanon the experience of being dissected by the gaze of the aggressor culture, but that the boy shares with him the constancy of being stared at for being a racial minority. The boy's position in China was obviously much higher than that of Fanon's in France, and therefore the stares he would have received much less negative; yet the mere fact of the constant stare itself can exert an intense psychical pressure, especially on a boy at an age at which deep doubts about his self-identity are forming. This is not at all to excuse the real racist content of the boy's angry glare; but it does suggest that the glare was a lashing-out from a position of weakness and insecurity, rather than from the heel-grinding arrogance which Zhu assumes.<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Moreover, it is Zhu who initiated this discomforting dialogue of stares. Zhu's boy, like Fanon's, is a mimic, although his mimicry is just as problematic. As Homi Bhabha says, “the look of surveillance returns as the displacing gaze of the disciplined, where the observer becomes the observed and 'partial representation rearticulates the whole notion of ''identity ''and alienates it from essence,”[ Bhabha, 89.] but in this case the mimic gaze is the colonizer's , and it returns precisely as the establishment of racial boundaries. Certainly, Zhu felt this mimicry as an example of colonial aggression; it is only the boy who might have thought of the stare in Bhabha's terms, as his defense mechanism against a racially-motivated intrusion into his privacy.<br /> <br /> And Zhu's initiating stare is certainly racial (though not racist); he gloats over the boy's Caucasianness: “His white cheeks dashed with red and his long golden eyelashes revealed a peacefulness and elegance.”[ Zhu, 43.]<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> Zhu, of course, tries to cover this fact; this is the prime rhetorical function of the discussion of Liu Jun. Without that mini-narrative, Zhu would have had to go directly from a description of the boy's whiteness into the boy's violent reaction, thus allowing the reader to assume that Zhu's racial gaze is what produced that reaction, complicating the question of the child's aggression. Instead, Zhu asserts a different reason why he is staring: he simply likes children, he has ever since he used to play with that little Liu Jun boy. Zhu wants to figure his own gaze as mostly aracial and entirely beneficent, a happy celebration of innocence which is met by abrupt, mature, racist aggression, shocking him out of his reveries into a disturbed reflection on nationalism and interracial strife.<br /> <br /> Fine, so be it, Zhu's gaze is completely aracial, despite his gloating about pink cheeks and golden eyelashes. It is not therefore simple. Consider the bizarreness hidden in his self-justification:<br /> <br /> 当然，朱试图掩盖这一事实，这是刘军谈及过的主要的修辞功能。没有那种迷你叙事，朱将不得不直接从描述男孩的苍白转变为男孩的暴力反应，从而使读者认为是因为朱的种族凝视才产生了这种反应，便复杂化了孩子的攻击性问题。相反，朱宣称自己凝视是因为不同的原因，即，他只是喜欢孩子，从那以后，他常常和小刘军一起玩。朱想把他的视线当做与种族无关的，完全善意的行为。当做对纯真的庆祝，然而却突然地遭到了形成已久的种族观念的侵袭。这使他幻想破灭，陷入了国籍和种族冲突的反思中。<br /> <br /> 很好，尽管粉红的脸颊和金色的眼睫毛让他看起来有些沾沾自喜，但朱的凝视完全没带种族含义。考虑到藏在他自我争辩中的怪异，所以这并不简单。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 13:14, 4 December 2020 (UTC)<br /> <br /> ==Zhang Yu 张瑜==<br /> I have always had the sort of temperament whereby if I saw an amusing little child, I would always want to be on intimate terms with him...When I was in the upper grades of elementary school, in the attached building for the middle grades there was a boy named Liu Jun with raven-black Western-style hair, who was truly docile, like a bird....his face was always that undisturbed and earnest, though under his skin there must have burned the fires of intimacy. Several times I invited him to my home, but he was never willing to go; afterwards I didn't see him for two years, and then he died. I cannot forget him! I had held his little hand, and rubbed his round chin. If I meet a young child for the first time, I naturally can't do that, that would be a little awkward; nevertheless, that's unimportant, I can look at him- once, twice, ten times, dozens of times!<br /> <br /> 我向来有种癖气，见了有趣的小孩，总想和他亲热...在高等小学时，附设的初等里，有一个养着乌黑的西发的刘君，真是依人得像小鸟一般...他的脸老是那么幽静和真诚，皮下却烧着亲热的火把。我屡次让他到我家里来，他总不肯；后来两年不见，他便死了。我不能忘记他！我牵过他的小手，又摸过他的圆下巴。但若遇着陌生的小孩，我自然不能那么做，那可有些窘了；不过也不要紧，我可用我的眼睛看他——一回，两回，十回，几十回！--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:22, 3 December 2020 (UTC)<br /> <br /> <br /> 我向来有种癖气，见了有趣的小孩，总想和他亲热……。在高等小学时，附设的初等里，有一个养着乌黑的西发的刘君，真是依人得像小鸟一般……。他的脸老是那么幽静和真诚，皮下却烧着亲热的火把。我屡次让他到我家里来，他总不肯；后来两年不见，他便死了。我不能忘记他！我牵过他的小手，又摸过他的圆下巴。但若遇着陌生的小孩，我自然不能那么做，那可有些窘了；不过也不要紧，我可用我的眼睛看他——一回，两回，十回，几十回！--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:06, 3 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> Any given child probably won't pay much attention to people's eyes, so one can look at him with total freedom; it is not at all like furtive, covered glances at women. I have in the past stared at many children I had just met, and they never once protested, at most they pulled on the hand of their mother next to them, or leant on her knee, or looked at her once or twice. Therefore I was very bold. This time on the trolley my old temperament came back, and I looked again and again at that white child, that young Westerner![ Zhu, 43.]<br /> <br /> ''Sexuality! ''is the obvious cry which rises at the description of Liu Jun: the docility, the meekness, the holding and rubbing, the “fires of intimacy”--these elements conspire to suggest a nascent homosexuality. <br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> Little Liu is dead, now, but there are substitutes swirling all around Zhu; he cannot touch them as he touched Liu, that would be socially impossible, but as a substitute he can stare with impunity, “dozens of times.” And the children do not protest his stares, they are docile-at most they squirm uncomfortably beneath Zhu's visual intrusion into their world. Zhu's relationship with children is therefore predicated by his dominance of them. He says at the opening of the paragraph that he wants to be intimate with children, but it is an intimacy of power forcing itself upon them.[ The evidence for Zhu's child-fetish is strongly corroborated by his other work. Apart from the focus on childhood in works like the famous, “Back Silhouette” (beiying), in another essay of his, “Children,” he goes so far as to explicitly admit to physical child abuse. ]<br /> <br /> Given these strange admissions, one sees Zhu's reaction to the white child's stare as much more complicated. Zhu experiences the stare as racism, and probably rightly so; yet it seems clear that he is also shocked by the reversal of power involved. <br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> He normally enjoys the prerogative of a forced intimacy, dominating children through his gaze, and suddenly he finds, for the first time, a child that fights gaze with gaze, is able to dominate him and usurp Zhu's position as an adult, casting him down into the docility of the helpless child. When Zhu, flabbergasted, constructs a voice to put onto the child, he may be grabbing onto the real racism present in the situation to use as a defense mechanism, changing the subject to avoid the real source of the ego-crushing which is occurring. Zhu protests his amazement that he could be so disturbed by “just a ten year old white 'child'”; yet the entire scenario could never possibly have been played out with an adult.<br /> <br /> Fanon's child is a mirror to him, highlighting the Lacanian crisis of identification which life in France causes him.<br /> <br /> 他通常享有强迫亲密的特权，通过他的目光支配孩子，突然，他发现，第一次有孩子和他对着凝视，这凝视能控制着他，篡夺朱作为一个成年人的地位，让他处于无助孩子的温顺中。当朱陷入惊讶地，想要对这孩子说话时，他可能是抓住现实的种族主义出现在这情况下，用作防御机制，改变主题，以避免正在发生的自我粉碎的真正来源。朱对只有一个十岁的白人孩子感到如此不安，他感到惊奇。但整个场景永远不可能与一个成年人一起进行。法农的孩子如同一面镜子，突出了他在法国的生活所造成的拉康认同危机。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:16, 3 December 2020 (UTC)<br /> <br /> 他通常享有强迫亲密的特权，通过眼色来支配孩子，他突然发现，第一次有孩子用眼神与他对视，篡夺了朱作为成年人的地位，让他处于无助孩子的温顺中。当朱陷入惊讶地，想要对这孩子说话时，他可能是抓住现实的种族主义出现在这情况下，用作防御机制、改变主题，以避免正在发生的自我粉碎的真正来源。朱对只有十岁的一个白人孩子感到如此不安，他感到惊奇。但整个场景永远不可能与一个成年人一起。对他来说，法农的孩子如同一面镜子，暴露出法国生活中拉康认同危机对他的影响。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:43, 3 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> If we in turn take Fanon as a mirror for Zhu Ziqing, his Lacanian analysis throws up interesting images of the incident on the Shanghai trolley. Zhu's white boy is visually even more of a mirror image to him than Fanon's was. The man and the boy gaze at each other across the solid divide; they mutually stare along a joint axis of domination. Of course, Zhu does not have Fanon's psychoanalytic training: he had read some empiricist psychology, but less Freud and of course no Lacan. He cannot wander between psychological theory and personal experience in the same fashion Fanon did.<br /> 如果我们反过来以法农为朱自清的镜子，他对拉卡尼亚主义的分析在上海电车上抛出有趣的事件图像。 在视觉上，朱自清的白人男孩比法农的更像是他的镜像。 男人和男孩在坚固的鸿沟上凝视着对方。 他们沿着共同的支配轴相互凝视。 当然，朱没有接受法农的心理分析训练：他读过一些经验主义者的心理学，但是很少读弗洛伊德，当然也没有拉康。 他无法像法农那样在心理理论和个人经历之间徘徊。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:29, 3 December 2020 (UTC)<br /> <br /> 如果我们反过来把法农当作朱自清的镜子，他的拉卡尼亚主义分析就会对上海电车事件抛出有趣的图像。 朱自清的白人男孩在视觉上甚至比法农的男孩更像他的镜像。 男人和男孩隔着坚实的鸿沟相互凝视，他们沿着共同的统治轴线相互凝视。 当然，朱德没有法农的精神分析训练：他读过一些经验主义心理学，但少读弗洛伊德，当然也没有拉卡尼亚。 他不能像法农那样在心理学理论和个人经验之间游走。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:57, 3 December 2020 (UTC)<br /> <br /> But a reading of Fanon forces us to ask to what extent Zhu's trauma is a crisis of delayed issues of developmental psychology. This is obviously a complex field which belongs properly to specialists, and one hardly feels there is enough material in this brief essay to make definitive conclusions.<br /> 但是对法农的阅读迫使我们问朱自清的创伤在多大程度上是发展心理学迟缓问题的危机。 显然，这是一个复杂的领域，应该属于专家，并且几乎没有人认为这篇简短的文章中有足够的材料来得出明确的结论。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:29, 3 December 2020 (UTC)<br /> <br /> 但对法农的解读，迫使我们要问，朱的创伤在多大程度上是发展心理学的延迟问题的危机。 这显然是一个复杂的领域，理应属于专家的范畴，在这篇简短的文章中，我们很难感觉到有足够的材料来做出明确的结论。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:57, 3 December 2020 (UTC)<br /> <br /> 不过，读了法农的书，我们不禁要问，朱自清的创伤究竟在多大程度上是发展心理学延迟问题的危机。这显然是一个完全属于专家研究的复杂领域。人们觉得，这篇简短的文章中没有足够的材料来让他们作出明确的结论。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 13:53, 3 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> But the narrative is explicitly spun out of a story of childhood; Zhu himself derives his child-fetish from the loss of the intimate and passive Liu Jun. And Zhu's fascination with children and childhood in other essays should be an indication that something is up. Perhaps one could establish Zhu's relation to Fanon thus: that while Fanon's experience of racism is drawn into a network of theory that links his crisis of identity to an aborted mirror-stage, Zhu Ziqing sees in the mirror of his own white child a vision of himself as prematurely woven into the fabric of power. It is then only this sudden emergence of power in a half-nostalgic, half-sexual scopophilia which highlights the boy's whiteness and raises the questions of racial dominance and nationalist resistance.<br /> <br /> What makes Zhu feel nationalistic pride? It is not the boy's reaction, but his race.<br /> <br /> 但故事是明确地从一个童年故事中衍生出来的;朱自清的儿童迷恋源于失去了亲密而消极的刘君。而朱自清在其他文章中对儿童和童年的迷恋，应该是表明有些事情发生了。也许可以建立朱自清与法农之间的关系:法农种族主义的经历卷入了理论之网，这将他的身份危机与流产镜像阶段连接起来, 朱自清从自己的白人孩子的镜子里看到了自己过早地融入权力的一面。正是在这种半怀旧、半性恋的恋物癖中，权力的突然出现，凸显了这个男孩的白人身份，并引发了种族统治和民族主义抵抗的问题。<br /> <br /> 是什么让朱感到民族自豪感?不是男孩的反应，而是他的种族。<br /> --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 11:43, 3 December 2020 (UTC)<br /> <br /> 但这部小说的叙事显然是从一个童年故事中衍生出来的；朱自清本人从失去亲密无间、被动的刘俊身上获得了对儿童的迷恋，而他在其他散文中对儿童和童年的迷恋，应该是某种事情发生的迹象。也许有人可以这样确定朱自清与法农的关系：虽然法农的种族主义经历被纳入了一个理论网络，将他的身份危机与一个失败的镜像阶段联系起来，但朱自清在自己的白人孩子的镜子中看到了自己过早地编织在权力结构中的形象。正是在这种半怀旧、半性恋的恋物癖中，权力的突然出现，凸显了这个男孩的白人身份，并引发了种族统治和民族主义抵抗的问题。<br /> <br /> 是什么让朱感到民族自豪感?不是男孩的反应，而是他的种族。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 03:19, 4 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> Given the way Zhu sets up his narrative, given the description of his frequent and unimpeded voyeurism of children in public spaces, one assumes that any child who stared back mockingly at Zhu would have shocked him-this child was the first to do so. Had the child been Chinese and stared back, Zhu's experience might have been more obviously psycho-sexual in his own recounting. The real importance of the child's whiteness is to Zhu's rational reflections over the significance of the incident. To Zhu's mind, it was not the child's whiteness but his resistance that was disturbing; but he locates the whiteness as the source of the child's ability to resist and to then turn resistance into domination. He essentializes the incident: force is what makes whites white. A gaze on a bus becomes an allegory for the sweep of modern history.<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> On reflection, the appearance of nationalism here is far more abrupt than it would have seemed in the Shanghai journal culture following the May 30 Massacre. Is it really a defense mechanism against the revelations of his own psychology? Is it both a defense mechanism and an expression of conscious and justified outrage over colonialist presence in Shanghai? Is it a fiction “remembered” back onto the incident in the heat of the violent summer of 1925? I do not mean by any of these questions to imply that somehow Zhu's nationalism is fake, or secondary, or subordinate; to do that would be to write a justification of the murder of the students on Nanjing Road. But of all the essays and poems and short fiction published along with Zhu's essay in the two Literary Association journals (''Xiaoshuo yuebao and Wenxue zhoukan''), none but his strays so far from the event of the massacre itself in order to support the national cause. It is legitimate to ask why.<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> The bifurcations in Zhu's essay between experience and historiography, practice and theory thus are constituted in an odd mix of clarity and confusion. Patriotic messages are deeply worked into the fabric of the narration of the incident, and any division between Zhu's lived experience and the big picture view of imperialism were surely invisible to any reader in the context of the essay's production. They are invisible to us, as informed readers, but only on our first readings. The deeper explorations of Zhu's gaze, by suggesting the possible distance of ideological historiography form the original event, merely highlight a structural division between narration and theory which splits the text at “I was filled with a pressing nationalistic feeling!” The structural split is perfectly obvious; yet it is only after some thought about the nature of Zhu's project that it becomes noteworthy.<br /> <br /> 因此，朱的文章中经验与史学，实践和理论之间的分歧是由清晰和混乱构成的。爱国主义的启示被深深地融入了事件的叙述之中，在这篇论文的撰写过程中，任何读者都肯定看不到朱的活生生的经验与帝国主义的大视野之间的任何分歧。作为知情的读者，它们对我们是不可见的，但仅在我们的初读时才可见。 通过暗示思想史学与原事件之间可能的距离，朱目光的更深层次的探索仅仅强调了叙事和理论之间的结构性划分，使文本分裂为“我充满了紧迫的民族主义情绪！”其中结构上的分裂非常明显； 然而，只有在对朱的项目的性质进行一些思考之后，它才值得关注。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 03:16, 4 December 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> This is the Zhu Ziqing who declares himself a contradiction, and he can talk back to Fanon. His own textual complexes find their affinities in Fanon's text and the Fanonian textual systems that grew from it. It is impossible to forget, with Fanon, the wiles of language-his flourishes are too extravagant. Yet ''Black Skin, White Masks'' is filled with partial autobiographies. One knows one is reading theory, but it seems to be a theory grown organically from “Antillean experience,” even when we all know better. Though our study of Chinese literature might convince us that theory fits or does not fit Chinese experience, we should not assume that theory has a more natural and wholesome relationship with African or Indian experience, that the postcolonial debates were “derived” from fully colonial experience. Psychoanalytic theory created Fanon's experience, and the body of theory “derived” from Fanon has even more dramatically recreated him.<br /> <br /> 这就是那个宣称自己自我矛盾的朱自清，他可以对法农进行反驳。他自身的文本情结在法农的文本和由其发展而来的法农文本体系中找到了相似之处。人们不可能忘记法农的语言诡计——他的华丽辞藻太过夸张。然而《黑皮肤，白面具》的一些部分充满了自传性质。一个人知道自己在阅读理论，甚至当我们更了解这理论时，但这理论似乎是一个有机地从“安的列斯经验”中成长起来的，虽然我们对中国文学的研究可能会让我们相信，理论是否符合中国的经验，但我们不应该假设理论与非洲或印度的经验有更自然和健康的关系，后殖民争论是“派生”自完全的殖民经验。精神分析理论创造了法农的经验，而从法农“衍生”出来的理论体则更戏剧性地重新塑造了他。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:54, 3 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> The point of which is not to reassert the very tired discovery that theory is not experience and words not things, but to point out that the Chinese modernist friction against theory is not unique. Insofar as we need to continue to talk about postcolonial contexts when addressing Chinese modern literature, it would be helpful to keep in perspective Chinese's non-uniqueness; to do so may help us avoid the trap of either-or questions. Tension is healthy. If we must dismiss with a wave our continuing urgent desire for comparison of unmediated experience, and cannot give ourselves over to the mere nodding affirmation of sloganized thought-systems, then at least the comparative and cross-cultural analysis of tension is still available to us.<br /> <br /> The great frustration of the work of comparison is its inability to aspire to totalisms. However conscious we are of the danger of such aspirations, they are magnetic and insinuating.<br /> <br /> 这里的重点并不是要重申这个老生常谈的发现，即理论不是经验，文字也不是事物，而是要指出中国现代主义与理论的摩擦并不是唯一的。在探讨中国现代文学时，如果我们需要继续探讨后殖民语境，那么审视中国的非独特性是有帮助的。这样做可以帮助我们避免陷入非此即彼的困境。对立是有益的的。如果我们必须以一种浪潮来驱散我们对未经调解的经验的比较的持续的迫切愿望，不能让我们自己沉溺于仅仅是表面肯定的口号的思想体系，那么至少对立比较和跨文化的分析对我们仍然是可用的。<br /> <br /> 比较研究的不足在于它不能实现极权主义。虽然我们十分清楚这种想法的危险性，但还是会被吸引。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 07:00, 3 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> The leap from text to context is satisfying; even if one is aware of the necessity of multiple contexts, because one can choose one's school and plant one's feet and make an argument (or ignore the need for argument) that one's chosen context is the most appropriate. The comparison of individual works requires resignation to pettiness. Any other permutation of works will produce different, perhaps contradictory, lessons. For example, comparing Zhu's essay with other May 30 protest essays, such as those by Mao Dun or Zheng Zhenduo, would vastly alter our evaluation of it. Among an infinite number of permutations of comparison, the importance of any one comparison becomes infinitesimal, and its authority to define the reception of the work shrinks commensurably. The infinitesimal still has the potential for informing other research, but only by miracles of typological allegory.<br /> <br /> 从文本到语境的跳跃是令人满意的，虽然我们都知道多语境的必要性，因为我们可以选择自己的派别，然后立足于这个派别，对自己选择的语境是最合适的这个论点进行论证（或者直接忽视论证的必要性）。对各个作家的作品进行比较需要极大的耐心。将不同的作品进行不同的组合将会得出不同的，或者是相互矛盾的结论。例如，将朱自清的文章与五卅运动其他的抗议文相比较，比如茅盾或者郑振铎的作品，就会极大地改变我们对朱自清的文章的评价。在无穷无尽的各种组合比较中，单一比较的重要性会变得微乎其微，其对作品接受度做出的评价的的权威性也会相应地大打折扣。这种意义微乎其微的比较仍有可能对其他研究做出贡献，但也只有在类型学中才会发挥作用。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:02, 4 December 2020 (UTC)<br /> <br /> 从文本到语境的跳跃令人满意，虽然我们都知道多语境的必要性，因为我们可以选择自己的派别，然后立足于这个派别，对自己选择的语境是最合适的这个论点进行论证（或者直接忽视论证的必要性）。对各个作家的作品进行比较需要极大的耐心。将不同的作品进行不同的组合将会得出不同的，或者是相互矛盾的结论。例如，将朱自清的文章与五卅运动其他的抗议文相比较，比如茅盾或者郑振铎的作品，就会极大地改变我们对朱自清的文章的评价。在无穷无尽的各种组合比较中，单一比较的重要性会变得微乎其微，其对作品接受度做出的评价的的权威性也会相应地大打折扣。这种意义微乎其微的比较仍有可能对其他研究做出贡献，但也只有在类型学中才会发挥作用。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:22, 4 December 2020 (UTC)<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> '''Incongruous Lyricism: Liu Baiyu, Yang Shuo and sanwen in Chinese Socialist Culture<br /> '''<br /> Charles A. Laughlin<br /> <br /> '''Abstract'''<br /> <br /> The popularity of both Republican period and post-Mao sanwen in contemporary Chinese literary markets indicates the importance of this genre in twentieth century Chinese literature. <br /> <br /> Less obvious, but no less significant, is its importance within the socialist cultural system of the Chinese Communist Party. Ever since Chinese cultural activists began to consciously promote specific literary practices as a way of contributing to “revolution” in the late 1920s, literary prose played an important role, but at first only in the form of reportage or baogao wenxue. Beginning in Yan’an during the War of Resistance Against Japan, however, young writers who received all or in part of their education or literary training in Communist institutions began to write prose texts that more closely resembled the xiaopin and suigan of the Republican period. Unlike reportage, these texts featured lyrical and humorous moments without being critical of the social environment, and they were not concerned with contemporary historical events and figures. <br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> Such writing achieved prominence in the first decade of the People’s Republic of China, and in this paper I examine three writers that exemplify the characteristic techniques and strategies of the socialist literary essay: Liu Baiyu, Qin Mu and Yang Shuo. Liu Baiyu exemplifies how the experience of war and revolution conditioned the emergence of lyricism in socialist culture, while Qin Mu and Yang Shuo embody the maturation of this socialist lyricism in a peacetime environment. Socialist ''sanwen'' differs from Republican period forms in its characteristically friendly yet didactic second-person rhetoric, and its tendency to build verbal monuments for national heroes. But traces of the conspicuous individuality of Republican period ''sanwen'' lived on in the essayists of the 1950s and 60s. This created a subtle dissonance in the texture of socialist culture that in my opinion contributed to the prominence and popularity of these writers, whose works were included in textbooks for later generations of mainland readers.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> When we think of the Chinese essay we usually think of the works of Republican period liberal humanists drawing upon both Western ideas and premodern Chinese style and diction to produce a new genre that represented the artistic epitome of lyrical, colloquial prose. Perhaps just as commonly, when we think of revolutionary literature and of writing under the Chinese communist regime, we think of realism, social critique, polemic and propaganda. Indeed in my study of the development of reportage literature in the Republican and early PRC periods, I associate the procedures of reportage with the culture of leftism in such a way as to render the very notion of lyrical leftist nonfiction discordant if not outright absurd. The problem is, as I was aware at the time, there are prominent authors in the PRC – Yang Shuo, Liu Baiyu, and Qin Mu, to name only a few – who made their names almost entirely through the writing of essays (sanwen). <br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> At that time, I dismissed this phenomenon in the usual way: these were communist lackeys simply parroting the ruling ideology at the bidding of culture czars.<br /> <br /> But even if they were, I could not account for the fact that such writing took on the form of sanwen, in many ways similar to the ''xiaopin wen'' popular the 1930s, while there was already in ''baogao wenxue'' a thriving literary nonfiction form that seemed to embody in its very form the communist vision of art and its place in society. To put it another way, there is nothing in the logic of socialist culture as I knew it that would call for the production of ''sanwen'' as written by these authors, and we know very well that authors under socialism are not at liberty to write what they please, so I had to attribute the persistence of the ''sanwen'' form in the PRC to something inherent about ''sanwen'' and Chinese literary modernity. <br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> My current project intends to approach this question by comparing Chinese literary nonfiction practice in a number of different historical and cultural scenarios from the late imperial period to the present, and this presentation concerns specifically the ''sanwen'' under Chinese socialism.<br /> <br /> '''Socialist ''sanwen'' emerged from Communist base area writing practice''' <br /> <br /> Usually in the form of reportage, literary prose of the Yan’an period was concerned with dramatizing the social and spiritual superiority of regimented, collectivized life under the leadership of the Communist Party. Such writing often relied on direct comparisons between aspects of life in ”the old society” and life in Yan’an, or the between checkered past of characters who had been rehabilitated by the Communists and their newfound belief in the socialist community and its leaders. Though often idealized, examples given are meant to be concrete and taken as factual, and names are often named of military leaders and model laborers depicted. In this respect reportage is the most direct precursor of the lyrical essays of the People’s Republic.[ The civil war of 1946-1949 so disrupted the socialist base areas that much less of this kind of writing was produced; war correspondence once again became the order of the day]<br /> <br /> <br /> 我打算对从古至今不同历史文化背景下的非虚构的中国文学作品进行比较，通过这些比较来理清这一问题，而这一介绍着重关注中国社会主义下的散文。<br /> <br /> '''社会主义散文是从共产主义根据地写作实践中产生的'''<br /> <br /> 延安时期的散文通常以报告文学的形式，注重对共产党领导下的制度化、集体化生活的社会和精神优越性的戏剧化描写。这类写作往往依赖于对“旧社会”生活与延安生活的直接比较，或者是对被共产党改造的人物过去的坎坷经历与他们对社会主义社会及其领导人的新信仰的直接比较。虽然常常是理想化的，但所举的例子都要具体和真实，人物经常以军队领导人和劳动模范的名字命名。在这方面，报告文学是《人民共和国》抒情散文的最直接的前身[1946-1949年的内战扰乱了社会主义根据地，这类文章的产出因此少了许多，战地书信又成了日常的工作]。</div>

Qu Miao https://bou.de/u/index.php?title=20201207_trans&diff=107324 2020-12-05T03:24:20Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> The story plays with the analogy of zhang and mu. By infusing them into an imaginary “curtain,” the framed narrative engenders dialogic interplay between the narrator and the bridegroom, between the bride and the spectator, and between the public and private spaces. Zhang and mu mean different things, though they converge in the compound zhangmu. Traditionally, the word zhang denoted a canopy hung around a bed and was used to isolate an inner space in bedroom, so it can hardly be identical with the meaning of curtain. However, indirectly, it reached to the sense of “curtain” through a translation of Jerrold D. William’s (1803-57) Mrs. Caudle’s Curtain Lectures, a fiction of early nineteenth-century England. In 1915 Liu Bannong translated the title into “Zhangzhong shuofa” and published it in Zhonghua xiaoshuo jie.[ Liu Bannong, “Zhangzhong shuofa,” Zhonghua xiaoshuo jie, vol. 2, no.3 (March, 1915). Zhou should (June, 1922).] <br /> ==Chang Huiyue 常慧月==<br /> The “curtain lectures” refer to Mrs. Caudle’s poignant complaints and derision at her husband, mixed with familial trivialities and comic effects. <br /> <br /> However, the overlap of zhang and mu was crucially related to a widely circulated myth about the Chinese origins of cinema, which was perhaps invented by Zhou himself. When Western-style movie theaters began to appear in late-1900s Shanghai, he was one of the earliest moviegoers. Like other Chinese at his time he also regarded film as a kind of “shadow play” (yingxi), meaning the performance on a screen. According to Zhou, the origins of “shadow play” can be found in the famous story in the Han Dynasty (206-24, B.C.), which tells of the Emperor Wu watching lady Li, dancing and singing, through a semi-transparent curtain.<br /> ==Chen Han 陈涵==<br /> As the anecdote goes, to console his loss of the favorite lady, a sorcerer made a curtained room and asked the emperor to stay at a distance. In the night, called by the sorcerer, the spirit appears behind the curtain, amidst the candle-light, to perform as if she is alive.[ Zhou Shoujuan, “Tan yingxi” (On shadow play), in Ziluilan ji (Collections of violet) (Shanghai: Dadong shuju, 1922) 13-14. Its earlier version “Yingxi hua” appeared in the Free Talk (Ziyou tan), the literary page in Shenbao (June 20, 1919): 15.] Notwithstanding the historical merit of Zhou’s interpretation, what is significant here is that he reads history with a cinematic imagination, by which the terminology in everyday life changes - as occurred here the meaning of zhang (curtain) is substituted by that of mu (screen). <br /> <br /> In the mid-1910s Saturday and The Pastime (Youxi zazhi) magazines often appeared Zhou’s “film fiction” (yinxi xiaoshuo) - his accounts of what he had seen in the movie theaters. <br /> ==Chen Hui 陈惠==<br /> By the time he wrote this love confession, Zhou published a novella The Intimate Beauty (Hongyan zhiji), in which the hero recalls his lover on the “screen memory”: after he closes his eyes, he sees her beautiful image on a “snow-white screen” (xuebai de bumu) and hears her delicate voice; when he opens his eyes, they vanish and yet leaves a three-inch photograph in his heart.[ Zhou Shoujuan. Hongyan zhiji (Zhonghua tushuguan, 1917) 64.] However, “In the Nine-Flower Curtain” has no description of watching film, yet the narrative itself is framed by the curtain; what was shown on the “screen” was verbalized and the text was visualized. With both meanings of zhang and mu, the “curtain” can be changed into a “screen,” onto which is projected the inner space of a wedding chamber in which the author makes his confession.<br /> 在他写这篇爱情告白的时候，周出版了中篇小说《亲密之美》(《红颜之记》)，在这部小说中，主人公在“屏幕记忆”中回忆起了他的爱人:他闭上眼睛，在“雪白的屏幕”上看到了她美丽的形象，听到了她柔美的声音;当他睁开眼睛时，它们消失了，却在他的心里留下了一张三英寸的照片。(周秀娟《红颜智记》(中华图舒观1917)。然而，《九花帘幕》并没有对看电影的描述，叙事本身却被帘幕框住了;“屏幕”上显示的是语言，文字是可视化的。“窗帘”可以变成“屏风”，在“屏风”上投射出婚房的内部空间，作者在这里坦白。<br /> <br /> 写下这篇爱情告白时，周寿娟已出版了一篇小说《亲密的美人》(《鸿雁集》)，男主人公以 &quot;屏风记忆 &quot;的方式回忆爱人：闭上眼睛后，在 &quot;雪白的屏风&quot;上看到了她的美丽形象，听到了她的娇声；睁开眼睛时，这些形象消失了，却在心里留下了一张三寸照片。 [ 周寿娟.鸿雁志集（中华图画馆，1917）64.]然而，《九花帘里》没有看电影的描写，但叙事本身却被帘子框住了，&quot;屏风 &quot;上显示的东西被口头化了，文字也被视觉化了。有了 &quot;张 &quot;和 &quot;亩 &quot;两个意思，&quot;幕 &quot;就可以变成 &quot;屏&quot;，在 &quot;屏 &quot;上投射出作者告白的婚房内部空间。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:37, 3 December 2020 (UTC)<br /> <br /> ==Chen Jiangning 陈江宁==<br /> “In the Nine-Flower Curtain” was visually imagined and represented in terms of the spaces divided into the inside and the outside, with the beholder within the curtain and the imagined beholders without. When Zhou fulfills his promise to his friends that he will show them his “love talk” in the Pictorial Story magazine, he makes a written tableau in Diderot’s sense, in which the beholder is absent and yet always implied.[ Jay Caplan. Framed Narratives: Diderot’s Genealogy of the Beholder (Minneapolis: University of Minnesota Press, 1985) 16. ] Here, we refer to the notion of “beholder” not only because of the visual nature of Zhou’s fiction, but also because it helps my imposition of the complex “subjectivity” in this paper.<br /> 《九朵花的窗帘》以外部空间和内部空间的划分给人们视觉上的想象与呈现，旁观者在窗帘内，而想象中的旁观者则在窗帘外。周在兑现对其朋友承诺说他将会在《画报故事》杂志中给他们展示“爱情谈话”时，就按照狄德罗的感觉画了一幅画，在这幅画里没有旁观者，但却总是暗含其中。[杰伊·卡普兰。边框叙事：狄德罗的《旁观者的家谱》（明尼阿波利斯：明尼苏达大学出版社，1985年）16。]我们在这里提到周的小说中“旁观者”的概念，不仅仅是因为其视觉特点，也是因为它加深了我对这篇文章复杂的“主观性”的理解。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 01:09, 4 December 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> At this juncture, if we look beyond this story merely as a signal of style change in Zhou’s love story from the tragic to comical, we might be curious at the positivity of the male voice as well as the brightness of the private space. In view of the erotic-sentimental tradition of the male gaze in private space, what does this love talk mean historically? Not only does it relate to the transformation of gender roles as well as the legitimacy of the private space in Chinese literature.<br /> <br /> This transformation occurred when this male gaze is empowered ideologically and technologically. Ideologically, it is imbued with the Republican ideal of nationhood and selfhood; technologically, it is, in this case, facilitated by the structural optical perception linked to the modern inventions such as photography and cinema. <br /> ==Chen Jingjing 陈静静==<br /> While depicting a tableau by freezing a moment in the past, Diderot disturbs his narrative by arranging the beholder as a part of the tableau. As Jay Caplan interpreted, the beholder is presented for the “psychological reason”: he functions as compensation to the loss which the family suffers as portrayed in the tableau.[ Ibid., 20-37.] In Zhou’s case, the beholder is called for the moral reason as his presence is neutralized to legitimize his love discourse in the private space. Especially the term qinghua “In the Nine-Flower Curtain” can be traced back to his short story published in 1913. It describes a young couple meeting and then whispering at a public place, unaware of someone who takes a snapshot of their intimate scene.[ Zhou Shoujuan. “Qinghua” (Love talk), Youxi zazhi 5 (1913).] <br /> ==Chen Sha 陈莎==<br /> It reads like a joke, yet this reportage intriguingly justifies the privacy in the public space that is a controversy of the time. The beholder plays roles of witness, voyeurist, and more importantly, sympathizer. In portraying the photographic evidence with the story of the beholder, Zhou also becomes a sympathetic beholder. <br /> <br /> The dialogic characteristic of this love discourse lies not only in the consumerism of literary pleasure as the core of the Butterfly periodical culture, but also in the collective ethos of Butterfly community. In explicating how a bourgeois “love community” is born from the literature of intimate sphere in eighteenth-century England, Habermas says: “Subjectivity, as the innermost core of the private, was always already oriented to an audience.”[ Jürgen Habermas, The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Trans. Thomas Burger with the Assistance of Frederick Lawrence (Cambridge and Mass.: The MIT Press, 1991) 49. ] <br /> ==Chen Sunfu 谌孙福==<br /> Zhou’s pillow talk is more than a playful response to his friends’ voyeurist curiosity, it is fulfilled as a promise of love discourse. It might embody that “the ideas of freedom, love, and cultivation of the person that grew out of the experiences of the conjugal family’s private sphere were surely more than just ideology.”[ Ibid., 48. ]<br /> <br /> As the pillow talk unfolds, a complex subjectivity emerges. Against its ideological and technological backdrop, it is rhetorically and aesthetically embodied by a double voice, the poetics of persuasion and linguistic theatricality. The latter part of the story talks more about his family history. “When I was six years old, I became an orphan.” With this pathological tone, Zhou narrates how his father dies at that time and how his widowed mother single-handedly rears up four children by her hard work as a seamstress.<br /> <br /> 周瘦鹃的枕边私语不只是对他朋友们窥阴欲的一笑置之，还是他说给爱人的甜言蜜语。这表明男女私生活中反映出的自由观、爱情观和育人观不只是意识形态。[Ibid.,48]<br /> <br /> 随着枕边私语慢慢展开，一种复杂的主观性油然而生。考虑到其意识形态和技术背景，这些枕边话通过修辞和美学手段呈现出来，如二重唱、诗歌的劝说功能以及语言学理论。故事的后半部分谈到了周瘦鹃的家族史。他说“我六岁就成了孤儿。”周瘦鹃用一种凄凉的口吻讲述自己六岁丧父，母亲辛苦做针黹活，将四个孩子拉扯大。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 02:31, 3 December 2020 (UTC)<br /> <br /> 周瘦鹃的枕边私语不只是对他朋友们窥阴欲的一笑置之，还是他给爱人的甜言蜜语。这表明,男女私生活中反映出的自由观、爱情观和育人观不只是意识形态。[Ibid.,48]<br /> <br /> 随着枕边私语慢慢展开，一种复杂的主观性油然而生。考虑到其意识形态和技术背景，这些枕边话通过修辞和美学手段呈现出来，如二重唱、诗歌的劝说功能以及语言学理论。故事的后半部分谈到了周瘦鹃的家族史。他说“我六岁就成了孤儿。”周瘦鹃用一种凄凉的口吻讲述自己六岁丧父，母亲辛苦做针黹活，将四个孩子拉扯大的往事。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:24, 4 December 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> This family story is particularly heart-rending, yet it is more than that. He goes on, “When my father died, it happened in the year of 1900. The capital Beijing was totally in chaos, and thus, unexpectedly, the familial disaster and national humiliation fell on a boy of six years old.” A sense of tragic sublimation is effectively rendered as the boy is depicted as both victim and victor in these historical disasters, owing much to the rhetoric that makes the familial and national disasters “happen” to meet, and “thus” they “both” fall on the boy. The sentences sound as if it happened simultaneously when his father died and Beijing fell, and this narration enormously affects the reader. <br /> ==Cheng Yusi 成于思==<br /> However, strictly speaking, there is some slippage between fact and fiction: according to Zhou’s chronicle, his father died 22 days after the fall of Beijing.[ Wang Zhiyi, ed., Zhou Shoujaun yanjiu zhiliao (Tianjin renmin chubanshe, 1993) 20.] The dramatic simultaneity not merely refers the narrative strategy mixed with sentimentalism and patriotism, it reflects his own trauma as projected onto the screen memory of his childhood. Compared with other versions about his father’s death, this expression is most theatrical. <br /> <br /> Zhou’s childhood memory stores the collective traumatic experiences. The 1900 national catastrophe - the Boxers Uprising and the European Allies’ invasion in Beijing - becomes the emblem of national shame that had deeply imprinted on the Chinese minds. By such theatrical representation of his screen memory, Zhou’s love talk not merely appeals to his bride, the wedding chamber itself is transformed into a public space.<br /> <br /> 然而，严格来说，在事实和小说之间会存在一些误差：据周瘦鹃的生平记载，北京沦陷22天后，其父便亡，[王智毅，《研究资料研究资料》 (天津人民出版社，1993)20]。 戏剧性的巧合不仅指向与情感主义和爱国主义相融合的叙述策略，也将周瘦鹃的精神创伤投射到其童年的屏幕记忆之上。这种表达极具戏剧色彩，使得其余种种对其父亲之死的叙事版本黯然失色。<br /> 周瘦鹃的童年伤痕累累。1990年国难当头，义和团起义，欧洲列强入侵北京，国家屈辱深深植根在中国人心中。周瘦鹃戏剧性展现其屏幕记忆，表明其甜言蜜语不仅仅说给他的新娘子听，婚房也成为了公共场所。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 09:12, 4 December 2020 (UTC)<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> Now the narrator is more aware of the presence of the public beholders. Aiming more at arousing collective pathos there inserts the scenario of his father’s death, which is also an intense moment for the author to test his rhetoric of theatricality. “When my father was dying, he was like a madman. Suddenly he jumped down from the bed and rushed out, raising his head toward heaven and shouting at the top of his lung, ‘My three sons, be heroes, join the army and fight!’ After these words, he returned to the bed and soon stopped breathing.” <br /> ==Ding Daifeng 丁代凤==<br /> Permeated in the narrative of his family history are the characteristics of theatrical rhetoric: The period of his childhood is frozen, and his voice pretends to be childish; heavily emotionally charged words such as “tears,” “sorrow,” “bitter” are frequently appear between lines. Ordinary episodes are intensely represented with emphasis on the theatrical manners, gestures to deliver emotions at the highest pitch. The sentiments attached to the episodes tend to be collectively identified, such as his father’s death linked to the national calamity. There is excessive use of the adverbs to accumulate the force of persuasion and theatrical effect. No less noticeable is the role played by the narrator himself, who seems never hesitant to use the rhetoric of excess.<br /> ==Fang Jieling 方洁玲==<br /> Perhaps no modern readers would feel comfortable at the author’s praise of his mother for her traditional virtue; she twice cuts off a piece of flesh from her arm and cooks it as a medicine for her ill mother and husband. “From now on, we should remember what she did and do our best to be filial to her. We should erect, in our hearts, a stele for her filial piety, and a monument for her widowhood; by this means we can make her late life a happy one.” When he repeats this to his bride as a family legend and spiritual heritage, the use of rituals to enhance his language performativity nonetheless turn the persuasion into the grotesque. But we need to be cautious at the accusation of Zhou’s promotion of the “feudal rites” (fengjian lijiao), for the rituals are only used as symbolic value serving the new social structure and ideology in the early Republican era.<br /> ==Gan Fengyu 甘奉玉==<br /> According to the author’s love gospel, love must be mutual; this idea is embodied here through the narrative process itself: the act of telling the bride about his past as a token of trust aims to ask her to understand and trust him. While informing her of his intellectual paths in order to invite her to embrace his spiritual world, the pillow talk reveals its cultural meaning. Among other things, the story reveals himself as a human being who is promising yet ordinary, enduring yet fragile, and at the same time his family economy as unstable as unpredictable, indicating that they live in a hard time. It means that while sharing his bitter past and hopeful future, she must take up her duty and responsibility for him and his family.<br /> ==Gao Mingzhu 高明珠==<br /> Zhou’s rhetoric of persuasion also implies that the bride is also at the center of a nuclear family, who must be subject to the new ethics. As the narrator further describes how he becomes a nationally famous novelist, due to his talent, diligence and proliferation in the “time of fiction in its full swing.” His jubilant voice echoes that of the beginning of the story while talking about how his family economy is drastically improved and afterwards the Zhous moves from the shabby old city area to the decent French concession. The narrator continues: “Ah, my phoenix lady, I have fully told you about my past. Having heard of this, you can understand what I have achieved so far is due to my bloody struggles with the hardships and difficulties, not to mention my mother who experienced as harder as thousands times than mine.” <br /> ==Gong Yumian 龚钰冕==<br /> The sentimental imploration conveys the bourgeois ethics no less than a “modern apocalypse”: this is a hard time yet it is promising and fair: everyone can get what he deserves by God’s gift as well as hard work. <br /> <br /> Inscribed with such allegorized trauma, the pillow talk implies a fatal bond between the individual, family and country, and thence elicits the “community of love.” Under the persuasion she is more than a wife and a lover - she is treated at the same time as a citizen. By the device of double curtain stated above, the narrative space is imbued with the authorial anxiety before the private and public beholders, indicating that the private realm by no means becomes autonomous without being identified with peoplehood and nationhood.<br /> ==Gu Dongfang 顾东方==<br /> A Republican subjectivity is embodied in this domestic space by a speech act of persuasion, and it is the sentimentalism that naturalizes all social relations, blurring the private and public boundaries, and it ultimately functions in identifying them with the nationhood. In a sense, this peculiar love talk using the first person genre amalgamates diary, love-letter, autobiography and confession and displays a particular revelation of the community of love.<br /> <br /> Although the latter half of this monologue is basically dominated by historical references, Zhou’s strategy of using stylistic conventions such as verbal ornaments or rhythmic parallelism shifts to an appeal to cultural convention, such as ritual and tradition. Tradition is used as both value and form. Like the scars left on the mother’s arms, ritual is infused into the narrative to such an extent that the procedure of writing is culturally encoded. <br /> ==Guan Qinqing 管钦清==<br /> Compared to the characteristic of pursuing modern fashion in the first half of the story, here Zhou reveals more of his cultural conservatism. Rooted in the traditional “Teaching of Affection,” his love discourse aims at solving complex problems in a modern society; what separates Zhou from his contemporaries is that he does not intend to make his philosophy of love a perfect, unified one. In the “community of love” lies a paradox. Habermas says: “The jeopardy into which the idea of the community of love was thereby put, up to our own day, occupied the literature as the conflict between marriage for love and marriage for reason, that is, for economic and social considerations.”[ Habermas, 47.] <br /> ==Gui Yizhi 桂一枝==<br /> As shown by Zhou’s own love story, he never forgot his first lover named “Violet,” and thus we come to realize that behind this pillow talk is the rueful truth: for him this is a “marriage for reason,” not a “marriage for love.” As he says to his bride, since he failed in the first love, he never had intention of making a family, and he married her in order to make his mother happy. Probably this loving experiment with baihua is a compromise for better communicating with the bride who is almost illiterate.<br /> ==Guo Lu 郭露==<br /> '''Eileen Chang and the Modern Essay'''<br /> <br /> Nicole Huang<br /> <br /> '''Abstract'''<br /> <br /> In her preface to Honglou mengyan (Nightmare in the Red Chamber), Eileen Chang (1920-1995) recalls that the meanings of Liuyan, the title of her essay collection published in 1944 in the Japanese occupied city of Shanghai, derives from an English saying “written on water.” She further elaborates the implications of the metaphor: she does not expect her writing to endure-it should be like words written on water, or 'flowing words,' as 'liuyan' would mean literally, lingering momentarily and eventually elapsing; but she also hopes that her writing will be endowed with the spirit of 'rumors' or 'gossip'-a second literal meaning of the word 'liuyan'-flowing freely and swiftly, reaching a wide audience.<br /> <br /> 张爱玲及现代小说<br /> <br /> 黄群兰<br /> <br /> 摘要<br /> <br /> 在《红楼梦魇》的序言中，张爱玲（1920-1995）提到，1994年出版的《流言》的书名含义来自于英文谚语“written on water”。此后她还叙述了流言的深层含义：她并不希望自己的作品只是昙花一现，她想要自己的作品能够承载着“流言”的内涵，获得广泛受众。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:22, 3 December 2020 (UTC)<br /> <br /> 张爱玲及现代小说<br /> <br /> 黄群兰<br /> <br /> 摘要<br /> <br /> 在《红楼梦魇》的序言中，张爱玲（1920-1995）提到，1994年在日本侵占的上海出版的散文集《流言》的书名含义来自于英文谚语“written on water”。此后她还叙述了流言的深层隐喻：她并不希望自己的作品只是昙花一现，或者说流言的字面意义“飘走的话语”，她想要自己的作品能够承载着“流言”或“绯闻”的内涵——流言的第二个字面意义——自由自在地四处漂流，获得广泛受众。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:50, 3 December 2020 (UTC)Xu Pengfei<br /> <br /> ==Han Haiyang 韩海洋==<br /> Chang's use of a language of self-reflexivity provides a window through which the curious reader/critic can look into the rather intimate process of a creative work in the making, so much so that the creative mentality of the woman author becomes a text which is first to be deciphered. The invention of the title is characteristic of Chang's long-term effort to negotiate the boundaries between different genres of writing, and in this case, it is the distinction between critical/academic writing and the personal essay that is being questioned. Here, the mechanism behind the naming of her writing is more than just a clever pun. The title not only suggests a new style of essay writing, it also indicates a corresponding way to highlight the generic identities of this reinvented literary form. <br /> ==Han Wanzhen 韩宛真==<br /> While words are described as flowing like water, and the essay genre is compared to a fluid construction of 'gossip' or leisurely talks, Chang's naming of her own writing here offers more than just commentaries on the practice of literary writing. More importantly, the renaming of the essay genre should be understood as the woman writer's commentary on the state of cultural production during a particular time in modern Chinese history that is characterized by enormous turmoil and disruption which resulted from the war and the occupation. <br /> <br /> I argue that Chang's experience of the time, the space, and the particular historical milieu of occupied Shanghai is channeled into her attempts to redefine the generic identities of the modern essay. The choice of the essay form is central to Chang's aesthetic vision.<br /> ==He Changqi 何长琦==<br /> The writer's self-positioning in the realm of urban culture of 1940s Shanghai is exemplified in her appropriation of the genre. The essay is made into an important discursive site where the woman writer overtly challenges the literary conventions, searches for alternatives in both literary writing and practices of everyday life, and promotes herself as an important cultural figure. <br /> <br /> The modern essay also serves to contribute concrete forms to a life that appears void of any structure; in other words, Eileen Chang uses the form of the modern essay to construct an intelligible universe where one's imagination and fantasy can anchor. Detailed descriptions of everyday experience, that is, representations of cultural meanings of the material world, manifests not only a dynamic inner life but also a new social identity in formation. <br /> ==Hu Baihui 胡百辉==<br /> My paper highlights two aspects of life that are conceptualized in Chang's essay writing, one is the space of a modern apartment as a liminal site in urban landscape, and the other is the discourse of fashion as a vital form of material consciousness. I argue that the essay genre not only becomes an open-ended and ongoing process for the woman writer in her entry into the existing order of the literary world, it also becomes the testing ground where the boundaries between the literary world and the larger social realm become unstable and ever-shifting. Not only life styles can be read as texts, a woman writer as an individual can become a concrete historical subject within the space allowed by the modern essay. Life is woven together with work, the boundaries between the private and the public are further blurred, and biographical contingencies become important textual devices in constructing a legend of a new era.<br /> <br /> 本文着重论述了张爱玲散文创作中概念化的两个方面的生活：一是现代公寓空间作为城市景观的边缘场所；二是时尚作为一种重要的物质意识形式的话语。笔者认为，散文体裁不仅成为女性作家进入文学世界现有秩序的一个无止境的、持续的过程，而且成为文学世界与更大的社会领域之间的边界变得不稳定和不断变化的试验场。不仅生活方式可以作为文本来解读，女性作家作为个体也可以在现代散文所允许的空间内成为一个具体的历史主体。生活与工作交织在一起，私人与公众之间的界限进一步模糊，传记的偶然性成为构建新时代传奇的重要文本手段。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:33, 4 December 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> In her perface to Honglou mengyan (Nightmare in the Red Chamber), Eileen Chang (1920-1995) recalls that the meaning of Liuyan, the title of her essay collection published in 1944 in the Japanese occupied city of Shanghai, derives from an English saying “written on water.” She further elaborates the implications of the metaphor: she does not expect her writing to endure – it should be like words written on water, or ‘flowing words,’ as ‘liuyan’ would mean literally, lingering momentarily and eventually elapsing; but she also hopes that her writing will be endowed with the spirit of ‘rumors’ or ‘gossip’ – a second literal meaning of the word ‘liuyan’ – flowing freely and swiftly, reaching a wide audience.[ See Chang, Nightmare in the Red Chamber (Taipei: Huangguan, 1977). The book, containing Chang’s essays on authorship, themes, structure, character portrayal, and linguistic construction of the most renowned vernacular narrative of pre-modern China Dream in the Red Chamber (Honglou meng), is representative of her literary and artistic pursuits during her American years (1955-1995).]<br /> <br /> 张爱玲（1920-1995）在对《红楼梦》的演说中回想起流言，这是她1944年在日本占领的上海发表的散文集的标题，源于英语谚语“写在水上。”她进一步阐述了这种隐喻的含义：她不希望自己的写作能忍受–就像在水面上写的单词或“流淌的单词”一样，“流言”的字面意思是暂时徘徊并最终流失。但她也希望她的写作能被赋予“谣言”或“八卦”的精神（流言的第二个字面意思），并能自由，迅速地传播，并引起广泛的听众。[参见Chang，Nightmare in the红楼（台北：皇馆，1977）。这本书包含了张的文章，涉及到《红楼梦》中前现代中国梦中最著名的白话叙事的作者身份，主题，结构，人物写照和语言结构，代表了她在文学和艺术上的追求。美国年（1955-1995）。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 06:52, 4 December 2020 (UTC)<br /> <br /> 张爱玲（1920-1995）在《红楼梦魇》一书的前言中谈到，“流言”意思源于英文谚语“写在水上，这也是她一部散文集的名字，出版于1944年在日本占领的上海后。她进一步阐述了这种隐喻的含义：她不指望自己的作品渊远流长–就像“在水面上写的文字”或“流淌的文字”一样，一如“流言”的字面意思，暂时徘徊并最终流逝，但她也希望她的写作能带有“谣言”或“八卦”的意味（流言的第二个字面意思），并能自由，迅速地传播，获得广泛的关注。[参见张爱爱玲，《红楼梦魇》（台北：皇冠出版社，1977）。这本书是张爱玲在美时期（1955-1995）对前现代中国梦中最著名的白话叙事小说《红楼梦》的研究成果，包含多篇文章，涉及《红楼梦》的作者身份，主题，结构，人物写照和语言结构，代表了她的文学和艺术追求。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:26, 4 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> Chang’s use of a language of self-reflexivity provides a window through which the curious reader/critic can look into the rather intimate process of a creative work in the making, so much so that the creative mentality of the woman author becomes a text which is first to be deciphered. The invention of the title is characteristic of Chang’s long-term effort to negotiate the boundaries between different genres of writing, and in this case, it is the distinction between critical/academic writing and the personal essay that is being questioned. Here, the mechanism behind the naming of her writing is more than just a clever pun. The title not only suggests a new style of essay writing, it also indicates a corresponding way to highlight the generic identities of this reinvented literary form.<br /> <br /> 张爱玲对自我反省语言的运用为好奇的读者/批评家提供了一个窗口，让他们得以深入了解正在创作中的作品的内在过程，因此，女作家的创作心理成为首先被解读的文本。书名反映了，张爱玲通过长期努力在不同写作类型之间寻求界限，在这种情况下，批评/学术写作和个人论文之间的区别受到了质疑。在这里，她作品命名背后的机制不仅仅是一个巧妙的双关语。标题不仅代表了一种新的散文写作风格，也代表了一种突出这种再造文学形式一般身份的相应方式。<br /> <br /> 张爱玲对自我反省性语言的运用为好奇的读者/评论家提供了一个窗口，通过这个窗口，他们可以观察到创作过程中相当详细的过程，因此女作家的创作心态成为首先被解读的文本。书名反映了张爱玲长期以来努力探讨不同文体之间界限，在这种情况下，批评/学术写作和个人散文之间的区别受到质疑。在这里，她的作品命名方法不仅仅是一个巧妙的双关语。这个标题不仅表明了一种新的散文写作风格，而且也代表了一种相应的方式来突出这种革新的文学形式的共性特征。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 10:09, 4 December 2020 (UTC)Li Lili<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> During the writing process, the essay writer creates a structure of both containment (language captures the sentiments of a particular moment) and opening (language is unlimited because it lacks definite meaning or substance); and during the reading process, the immediacy and the transitoriness of the messages conveyed in these linguistic structures are first to be comprehended.<br /> <br /> While words are described as flowing like water, and the essay genre is compared to a fluid construction of ‘gossip’ or leisurely talks, Chang’s naming of her own writing here offers more than just commentaries on the practice of literary writing. More importantly, the renaming of the essay genre should be understood as the woman writer’s commentary on the state of cultural production during a particular time in modern Chinese history that is characterized by enormous turmoil and disruption which resulted from the war and the occupation.[ For a standard historical account of cultural activities in occupied Shanghai, see Ke Ling, Zhuzi shengya (My Writing Career) (Taiyuan: Shanxi renmin chubanshe, 1986); also see Poshek Fu, Passivity, Resistance, and Collaboration: Intellectual Choices in Occupied Shanghai, 1937-1945 (Stanford: Stanford University Press, 1993).]<br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> Eileen Chang launched her writing career during the early 1940s, and her most important works, including the essays collected in Written on Water and the short stories collected in Chuanqi (Romances), were completed between 1943 and 45. Chang’s fictional writing has been subjected to abundant critical scrutiny since the late 1960s and early 1970s when scholars such as C.T. Hsia and Shui Jing started to reclaim the significance of Eileen Chang and promote her as one of the finest and the most original writers in the scene of twentieth century Chinese literature.[ See Shui Jing’s Paozhuan ji (Casting a Brick to Attract Jade) (Taipei: Sanmin shuju, 1969) and Zhang Ailing de xiaoshuo yishu (The Fictional Art of Eileen Chang ) (Taipei: Dadi chubanshe, 1973), as well as C. T. Hsia’s Aiqing, Shehui, Xiaoshuo (Love, Society, and Fiction) (Taipei: Chunwenxue chubanshe 1970), both published in Taipei. The three books were published in the midst of a renewed infatuation with the woman author shared by readers in Chinese-speaking communities outside of mainland China after 1949.] But the study of Chang’s essay writing is a different story.<br /> <br /> 张爱玲的创作生涯始于20世纪40年代初，她的重要作品包括散文集《流言》和短篇小说集《传奇》，均创作于1943年至45年间。虽然自20世纪60年代末70年代初以来，张爱玲的小说创作一直受大众批评，但是当时夏志清和水晶等学者已经开始重新认识张爱玲的意义，并称她为“二十世纪中国文学界最优秀、最具原创性的作家之一“【详见水晶的《抛砖记》（台北：三民书局，1969）和《张爱玲的小说艺术》（台北：大地出版社，1973）以及夏至清的《爱·社会·小说》（台北：纯文学出版社，1970），均在台北出版。这三本书的出版之时，正值1949年后中国大陆以外的华语读者对这位女作家重新产生迷恋之时。】但对张爱玲的散文写作的研究则是另一番景象。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:02, 4 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> Since the most popular essays by Chang were written during the same period as her fictional writing, namely, between 1942 and 45, and some of her essays conveniently provided the concrete historical and biographical background against which the plot in her fictional writing was possibly designed, Chang’s essay writing has so far been read as the best commentaries to her fictional writing, particularly to the short stories collected in the acclaimed Romances.[ Wu Fuhui, among many others, argues that Eileen Chang’s essays are only interesting when read together with her short stories. He uses the essay entitled ”Jingyu lu” (Stories from the Ashes) as an example, arguing that the essay should be read as providing the necessary historical context to our understanding of Chang’s highly acclaimed novella Qingcheng zhi lian (Romance Among the Ruins). I disagree with Wu because the emphasis of the essay clearly lies elsewhere: it presents a social gallery of figures – a group of female college students, all from different cultural and ethnic backgrounds, whose brilliance of personality is brought out by the war. The novella, however, focuses more on the falling apart and the reconstructing of the beauty legend. Here the generic distinctions between fiction and essay are instrumental in piecing together the meanings of these two literary texts. See Wu’s preface toZhang Ailing sanwen quanbian (A Complete Collection of Eileen Chang’s Essays) (Hangzhou: Zhejiang wenyi chubanshe, 1995).] While such an approach to Chang’s essays can provide a coherent discussion of Chang’s literary writing as an entirety, it may overlook the specificities of the essay genre in the Chinese context and may also downplay the cultural significance of such formalistic experiments.<br /> ==Jiang Qiwei 蒋淇玮==<br /> Chang’s experiments with the modern essay serve to position her at a critical moment of literary transformation in modern China. While women writers had actively participated in both fictional and poetic writing since the early decades of this century, the essay genre had been monopolized by male writers. Three major essay traditions had already been canonized when Eileen Chang took up the essay as a vital means of representation. The ‘minor essay’ (xiaopin wen) tradition, represented by Zhou Zuoren and Lin Yutang, is characterized by a light and relaxing tone, a simple and elegant diction, political disengagement, wit, and a leisurely mood. <br /> ==Kang Haoyu 康浩宇==<br /> The ‘miscellaneous essay’ (zawen) tradition, represented by Lu Xun and several generations of followers, including a group of leftist writers residing in Gudao (Isolated Island) Shanghai (1937-41), highlights intellectual sharpness and rhetoric eloquence, advocates active engagement with reality, and maintains the belief that literary writing should be employed as a powerful tool for social criticism and political intervention. And finally, the ‘refined essay’ (meiwen) tradition, represented by Zhu Ziqing and many writers from both the Literary Studies Circle (Wenxue yanjiu hui) and the Creation Society (Chuangzao she) since the 1920s, advocates linguistic experiments, whose goal is to create a language of refinement and elegance, and imageries that embody highly aesthetic and sensual qualities.[ Most standard literary histories published in China do not attempt to distinguish between different styles of modern essay writing. The zawen (the miscellaneous essay) tradition is often highlighted as the mainstream style for its definition of literature as social and political critique. These standard literary histories do acknowledge the lyrical qualities of xiaopin wen and meiwen but fail to situate the practice of these alternative essay writing styles in their cultural and intellectual contexts. See Wang Yao, Zhongguo xinwenxue shigao (History of the ”New Literature” in China), Tang Tao and Yan Jiayan, Zhongguo xiandai wenxueshi (Modern Chinese History), and Qian Liqun et al., Zhongguo xiandai wenxue sanshinian (Thirty Years of Modern Chinese Literature).]<br /> <br /> 杂文派的代表人物有鲁迅及其几代追随者，包括一群上海孤岛时期（1937-41）的左翼作家。他们强调知识分子的敏锐和修辞口才，倡导积极接触现实，并坚持认为文学写作应用作社会批评和政治干预的有力工具。最后是美文派，诞生于20世纪20年代，代表人物是朱自清以及来自文学研究会和创造社的许多作家。他们倡导语言实验，旨在创造一种精致优雅的语言，以及体现高度审美和感官品质的意象。[中国出版的大多数标准文学史并不试图区分不同风格的现代散文作品。杂文经常被视作主流文体，因为它把文学定义为社会和政治批判。这些标准的文学史确实承认了小品文和美文的抒情品质，但未能将这些另类散文的写作风格实践置于他们的文化和知识背景中。参考王耀，《中国新文学史稿》，汤涛、严家炎，《中国现代文学史》，钱理群等，《中国现代文学三十年》。]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:04, 4 December 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> Most of the women writers in 1940s Shanghai experimented with essay writing. In fact, women produced a larger quantity of essays than any other literary genre. In addition to Eileen Chang, many women writers of the period, including Su Qing (1917-1982), Guan Lu (1908-1982), Pan Liudai (1922-?), and Shi Jimei (1920-1968), also discovered the generic fluidity embedded in the essay form. Compared to their experiments with other literary genres, such as fiction, drama, and poetry, it is in women’s essay writing of the period that the discourses of female gender and sexuality, issues of the domestic sphere, and the structures of social institutions such as marriage are most vigorously challenged and thoroughly reformulated. The essay genre is the most powerful literary form adopted by women writers such as Eileen Chang in their efforts to constantly redefine the boundaries between life and work, and to meticulously weave the space of private life together with the space provided by literary writing.<br /> ==Kong Xianghui 孔祥慧==<br /> In the following sections, I will argue that the woman writer’s experience of the time, the space, and the particular historical milieu of occupied Shanghai is not only mirrored in her representation of individual experiences of the war, the occupation, and the everyday, but also in her attempts to redefine the generic identities of the modern essay and to reinvent a kind of prose language that most vividly captures the transitional as well as eccentric nature of the essay genre. I will also argue that the choice of the essay form is central to Chang’s aesthetic vision.<br /> ==Kong Yanan 孔亚楠==<br /> The female writer’s self-positioning in the realm of urban culture of 1940s Shanghai is exemplified in her appropriation of the genre. I will analyze Chang’s essay writing of the period to demonstrate how the genre was made into an important discursive site where the woman writer overtly challenged the literary conventions, searched for alternatives in both literary writing and practices of everyday life, and promoted herself as an important cultural figure. The uniqueness of this body of literary texts lies in the fact that it presents a version of women’s literature set within the context of the wartime occupation while interacting with urban commercial and print culture in 1940s Shanghai.<br /> <br /> 在1940年代的上海都市文化领域中，张爱玲作为女性作家的自我定位主要体现在她对体裁的运用上。我将通过分析张爱玲的那个时代的散文作品来展示体裁如何成为一个重要的话语场，在这个场内，张爱玲公开挑战文学传统、追寻文学创作和日常生活实践中的其他选择、促使她自己成为一位著名的文化人物。这部文学作品的主体部分的独特性在于它展现了1940年代上海战争占领期交织着都市商业和印刷文化的背景下的女性文学版本。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:36, 4 December 2020 (UTC)<br /> <br /> 20世纪40年代的上海都市文化领域中，张爱玲作为女性作家的自我定位主要体现在体裁运用方面。我将通过分析张爱玲的那个时代的散文作品，从而来展示体裁如何成为一个重要的话语场，在这个场内，张爱玲公开挑战传统文学，追寻文学创作和日常生活实践中的其他选择，这也促使她成为一位著名的文化大师。这部文学作品的主体部分的独特性在于，它展现了20世纪40年代上海战争占领期间，都市商业和印刷文化的背景下的女性文学。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 01:50, 5 December 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> '''Essay and the aesthetics of liminality'''<br /> <br /> How, then, does Eileen Chang write the experience of war and turbulence into the transformed form of the modern essay? While the sense of impending massive destruction is omnipresent in her essay writing of the 1940s, the representation of the specific historical situation is not delivered through any direct social and political reference to the immediate present; instead, the presence of history is often concealed under the masquerade of an aesthetic vision put together by a meditative inward gaze, an orchestra of city sounds, and an imagined border of the urban civilization endangered:<br /> ==Lei Kuangxi 雷旷溪==<br /> Alone I sit next to a candle, thinking about the past and the present. What I have been busy doing for the last two years will probably be shattered soon. …… I should have a sense of it.<br /> <br /> I was alone on the dusky balcony after Su Qing left. Suddenly I saw a tall building far away, on whose edges hung a great swatch of rouge-like redness. At first I thought it was the reflection of the setting sun on the windows, but on second glance, I realized that it was a full moon, rising crimson above the city. I thought to myself, “so this is what they mean by turbulent times.” In the evening mist, the borders of Shanghai were gently rising and falling in the distance, resembling layered mountain peaks, although there are no mountains surrounding our city.<br /> ==Li Haiquan 李海泉==<br /> I pondered the fate of many people, including myself. I began to have a melancholy sense of what we call destiny. Such intimations normally connote self-involvement and self-pity, but I now think that they might suggest something altogether more broad. When the peace and security of the future finally do arrive, they will no longer belong to us; at the present moment each of us can only strive to comfort ourselves……[ See ”Wo kan Su Qing” (The Way I Look at Su Qing), in Tiandi yuekan (Heaven and Earth Monthly) 19 (April, 1945).]<br /> <br /> This impressionistic silhouette of the city is none other than the dramatic presence of modern history itself. Here, history is visualized, flattened, and inevitably spatialized. The image of the city and the force of history intermingle into one performative moment, instantaneously captured by the ‘I,’ the woman writer, who sits on the balcony of her private home, looking out into the distance, watching the border of the city rise and fall, observing the currents of history come and go, as if the entire setting was a mere act in a long and winding chuanqi (romance) play. <br /> ==Li Lili 李丽丽==<br /> History in Eileen Chang’s representation becomes a narrative which rejects any deep structure or profound meaning. Characterized by chaos and reversal, history appears to be no more than a shadowy presence in our consciousness:<br /> <br /> In this era, the old things are falling apart, while the new ones are still in formation. Before the high tide of the era arrives, all certainty is but an illusion. We feel that everything in our everyday life is out of order to a terrifying degree. An individual belongs to a certain historical era, but our present era is sinking like a shadow; therefore we feel we have been deserted. In order to prove our own existence, we want to grasp onto something that is real, something fundamental. We then seek help from our ancient memory, the memory of human beings who have lived through various times in history.<br /> <br /> 张爱玲笔下的历史成为一种拒绝任何深层结构或深层意义的叙事。历史以混乱和反转为特征，在我们的意识中似乎只不过是一个影子：<br /> 在这个时代，旧事物正在分崩离析，而新事物还未形成。在时代的高潮到来之前，所有确定的东西都只是一种幻觉。我们觉得我们日常生活中的每件事混乱不堪，令人害怕。每个人都属于某个历史时代，但我们现在的时代正在像影子一样消失，我们觉得自己被遗弃了。为了证明我们自己的存在，我们想要抓住一些真实的东西，一些基本的东西。然后，我们从我们古老的记忆中寻求帮助，即曾经经历过不同时期的人的记忆。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:21, 4 December 2020 (UTC)Li Lili<br /> <br /> ==Li Lingyue 李凌月==<br /> Looking back helps us regain more clarity and closeness than we might gazing far into the future. We then have a strange feeling about the reality that surrounds us. We begin to suspect that this is an absurd and antiquated world, gloomy and bright at the same time. Between memory and reality, there often arise unbearable discrepancies, resulting in a perplexing but subtle agitation, an intensified but indefinable struggle.[ See ”Ziji de wenzhang” (Writing of One’s Own), in Written on Water, 1944. This translation is based on an earlier version by David Wang. See Wang, ”Fin-de-siècle Grandeur: Contemporary Women Writers’ Vision of Taiwan,” Modern Chinese Literature 5.4 (1992) 45-65.]<br /> <br /> 回首过去而不是遥望未来有助于我们重新获得更清晰、更亲近的感觉。然后我们对周围的现实有一种奇怪的感觉。我们开始怀疑这是一个荒诞而古老，阴暗而光明的世界。在记忆与现实之间，常常会产生难以忍受的差异，从而产生一种令人费解却又微妙的骚动，一种剧烈但难以言喻的斗争。[《写在水上》，1944年。此翻译是基于王大卫的早期版本。见王，“台湾当代女性作家的视野”，中国现代文学5.4（1992）45-65。]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 05:15, 3 December 2020 (UTC)<br /> <br /> 回顾过去可以帮助我们重新获得比凝视遥远的未来更清晰和亲近的感觉。我们对周围的现实有一种奇怪的感觉。我们开始怀疑，这是一个荒谬而陈旧的世界，黑暗与光明同时并存。在记忆和现实之间，常常会出现难以忍受的差异，导致一种令人困惑但微妙的激动，一种加剧但难以定义的挣扎。参见《自己的写作》，载于《水上记》，1944年。这个译本是根据王大卫的早期版本翻译的。参见王，“世纪末的宏伟:台湾当代女作家的视野”，中国现代文学5.4(1992)45-65。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 12:02, 3 December 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> Here, history is no longer presented as a linearly progressing course; instead, it is broken into numerous fragments which can be reorganized and attributed with fresh meanings. The passage quoted above demonstrates Eileen Chang’s fascination with various liminal sites, in time or in space. Throughout her writing career, Chang has created many liminal sites, such as the illusory realm between memory and reality, the brief moment between past and present, and the intersection between life and work, fiction and poetry, stage movements and everyday events. The best of Chang’s writing often captures these transitional moments or sites, and the subjectivity in question is often taken over by a deep sense of uncertainty:<br /> <br /> ==Li Luyi 李璐伊==<br /> An individual can afford to wait, but an era is transient (''cangcu''). Things are being torn apart, and an even larger destruction is on its way. Someday our civilization, no matter how glorious, will become the past. I often use the word “desolation” (''huangliang'' 荒涼) because there is a premonition of impending danger underlying my thought. <br /> At such a ‘transient’ moment in history which will probably ‘sink’ like a ‘shadow’ in an instant, how, then, should an individual, in this case, a woman writer, position herself?<br /> Make yourself famous as early as possible! If success comes too late, it will not be as enjoyable. …… Hurry! Hurry! Otherwise it will be too late! Too late!<br /> <br /> 一个人可以等待，一个时代却是仓促的。一切都在四分五裂，更大的毁灭即将到来。终有一天我们的文明，不论多么辉煌，都将成为过去。我经常使用“荒凉（desolation）”一词，因为我的思想中隐含着即将降临之危险的预感。在这样一个“仓促”的历史时刻——它可能会像一个“影子”般瞬间“沉没”，那么，在这种情况下，一个女性作家应该如何定位自己呢？让自己尽早出名！如果成功来得太迟，就不那么令人愉快了......快点！再快点！否则就太迟了！太迟了！--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:32, 3 December 2020 (UTC)<br /> <br /> 一个人或许等得起，但一个时代却是仓促的。一切都在四分五裂，更大的毁灭即将到来。终有一天，我们的文明不论曾经多么辉煌，都终将成为过去。我常使用“荒凉”一词，因为我的思想中隐含着危险的预感。在这样一个“仓促”的历史时刻——它可能会像一个“影子”般瞬间“沉没”，那么，在这种情况下，一个女性作家应该如何定位自己呢？让自己尽早出名！如果成功来得太迟，就不那么令人愉快了......快点！再快点！否则就太迟了！太迟了！--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:12, 4 December 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> These short, choppy sentences deliver a sense of urgency. To choose to define oneself through writing is then related to the woman writer’s understanding of the particular historical situation in 1940s Shanghai. It is a sense that the era is only a transitional moment in human history – the end is imminent and a new historical landscape will take shape. The imperative to make oneself famous then has to do with an urgent need to “occupy” a space in a swiftly dimishing landscape and to hold on to a moment that is constantly slipping away. Eileen Chang’s writing then highlights a very personal moment at a time when any individual voice is likely to be shattered by the grips of the modern warfare and eventually engulfed by the ruins of history. <br /> <br /> ==Li Yongshan 李泳珊==<br /> Here the woman writer is going against her time by seeking an appropriate literary form and an adequate literary language to capture the essence of this fleeting moment in modern Chinese history. The new form and new language should be adequate to represent the dream-like world, the fragmented time, and the vanishing horizons of urban civilizations.<br /> <br /> Chang’s choice of the essay genre is then consistent with her unique vision of history and her fascination with what I would call ''the aesthetics of liminality''. One cannot find a more appropriate literary genre than the modern essay to capture the liminal qualities of that specific historical milieu. The essay is a genre that is positioned between the careful structuring of fiction and the free flow of poetry. The essence of essay writing lies exactly in its lack of essence or its eccentricity. The modern essay is a genre that is itself transitional.<br /> <br /> ==Li Yu 李玉==<br /> The liminal qualities of the modern essay are further enhanced in various textual strategies Chang uses to challenge generic identities in literary conventions. For instance, Chang’s essay entitled “Shuangsheng” (Duet) represents one of the most intrepid literary experiments undertaken during the period. The influence of the roundtable talk, a prominent genre in popular culture, had penetrated the realm of literary writing. In “Duet,” literary writing takes the form of a mini roundtable talk. At the beginning of the essay, like most of the roundtable talks recorded in popular journals of the time, the surroundings and the atmosphere are provided in a painstakingly descriptive language. The conversation takes place in a coffee shop, where Eileen Chang, the narrator, and Mo Meng (named Yan Ying elsewhere), Chang’s female companion, indulge themselves in coffee and pastry while starting their rambling chat about anything and everything:<br /> <br /> ==Lin Min 林敏==<br /> Having seated ourselves, we started chatting about a variety of things in great detail. When our topics became more weighty, she [Mo Meng] said: “You know what, this seems a lot like a roundtable discussion.”<br /> <br /> Within the space provided by the essay, the two women then continue to talk about a variety of topics: the language of love in both China and the West, the construction of romance in different cultural contexts, gender relationships inside and outside wedlock, fashions for women of different age groups, and the distinctiveness of the Japanese mentality. The fragmentary and all-inclusive qualities (''san'') of modern prose style (''sanwen'') had already been fully elaborated by Eileen Chang; the format of a roundtable talk coincides with the need to push the limit of modern prose style to its most eccentric, unrestrained, and far-ranging extreme.<br /> <br /> ==Lin Xin 林鑫==<br /> For a discussion of the roundtable talk as an important cultural genre in 1940s Shanghai, see Nicole Huang, ''Written in the Ruins: War and Domesticity in Shanghai Literature of the 1940s''. The roundtable talk became an instrumental cultural genre in 1940s Shanghai. It was a new form of showcasing women writers by placing words (voices) and images (descriptions of their presence, and photographs) all on display. Major newspapers and journals of the period all used this strategy to advertise their publication, promote their circles of new writers, and take part in the construction of an expanded community put together by publishers, editors, writers, artists, and readers.<br /> <br /> The structure of this essay also bears resemblance to that of a one-act play. The beginning passages can be viewed as stage descriptions. The action takes place in one quiet afternoon when two protagonists are engaged in a highly performative dialogue, and theatrical effect is enhanced when dramatic moments arise from time to time throughout the recorded conversation. <br /> <br /> ==Ling Zijin 凌子瑾==<br /> “Wo kan Su Qing” (The Way I Look at Su Qing) presents Chang’s further effort to test the generic boundaries of the modern essay. The author effortlessly switches back and forth between her characterization of Su Qing and a close-up of the narrative self gazing inward. At one point in the essay, the author/narrative self pauses and admits that, in this essay devoted to Su Qing, she has actually devoted much more space to self-portrayal. Most of the time, the essay reads like an internal monologue: the narrative self is immersed in a constantly flowing display of numerous intimate moments. The free flowing of a sequence of random thoughts and the switch back and forth between different personas are fictional and theatrical devices used to further widen the representative capacities of the modern essay.<br /> <br /> ==Liu Bo 刘博==<br /> While “The Way I See Su Qing” imports fictional devices into the form ‘minor essay,’ an earlier essay entitled “Siyu” (Whispers) demonstrates an even more radical experiment, that is, to turn the genre into a new form of autobiographical writing. The title of the essay takes on double meanings: while ‘''siyu''’could mean ‘private talks,’ it could also mimic the lowered and fragmented voice used in talking about the most intimate moments in one’s private life. The narrative voice in the essay whispers, murmurs, and gossips. Nothing substantial is presented; instead, segments of life, tinted with the haziness of childhood memory, are organized in the re-invented prose form, like a stream of thoughts or a random layout of scenes. The technique used here closely resembles montage: segments of the past are presented like flashbacks, and moments of free-association further remind the reader of the constantly blurred boundaries between memory and reality, past and present. <br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> The essay entitled “Tongyan wuji” (A Childish Discourse) presents another example of writing autobiography within the space of the modern essay. Sometimes the way that moments of childhood memory are narrated resembles the use of close-ups in film-making. The following episode even makes a direct reference to cinema:<br /> <br /> I stood in front of the mirror and watched my trembling face, with tears falling down in streams. My face looked like a close-up in a movie. I told myself, grinding my teeth: “I want revenge. One day I will take my revenge.”<br /> <br /> Each sub-section in this essay – ‘Money,’ ‘Fashion,’ ‘Food,’ ‘Gentleman,’ and ‘Brother’ – can be viewed as one filmic long take, and there is no direct connection between them. The entire essay is put together by a series of long takes. Within the space of the modern essay, there appear to be many of these extended fictional or cinematic moments. Sometimes, description of details of clothing, or simply the pattern on a piece of fabric, can contribute to the shaping of a dramatic moment, the formation of a narrative structure. The following passage from the same essay is a good example:<br /> <br /> ==Liu Liu 刘柳==<br /> Japanese printed fabrics. Each bolt is a work of art. Each time I bring one home, before handing it over to a tailor, I repeatedly unroll it and bask in the image. A small Burmese temple is half shielded by the leaves of a palm tree; rain is falling incessantly through the reddish brown haze of the tropics. A pond in early summer, the water coated with a layer of green scum, above which float duckweed and fallen lilac petals, purple and white. Seemingly a fitting scene for a song lyric set to the tune “Laments of the South of the Yang-tze” (Ai Jiangnan)……<br /> <br /> Reading some of these highly aesthetic moments in Chang’s essay writing, we might argue that it is within the space provided by the modern essay and by means of cinematic devices that the fragmentation of conventional fictional language becomes inevitable.<br /> <br /> 日本的印花面料。每一根螺栓都是一件艺术品。每次带回家，在交给裁缝之前，我都会反复展开，沐浴在画面中。一座缅甸小庙被棕榈树叶半遮半掩，雨水透过热带的红褐色雾气，不停地落下。初夏的池塘，水面涂上一层绿色的水垢，上面漂浮着鸭舌草和落下的丁香花瓣，紫白相间。配上一首《哀江南赋》似乎很应景......<br /> <br /> 解读张爱玲散文写作中的一些极具审美性的瞬间，我们可以说，正是在现代散文所提供的空间里，并且借助电影手段，传统小说语言的碎片化才成为必然。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:56, 3 December 2020 (UTC)<br /> <br /> 日本织锦。每一匹日本织锦都是一件艺术品。每当我将一匹日本织锦带回家，我会反复展开织锦，醉心于上面的图案，然后才会交给裁缝。一座缅甸小佛寺在棕榈树叶的遮蔽下若隐若现；热带地区红褐色的雾霭之中，细雨绵绵。初夏的一方池塘里覆盖着一层绿色水垢，上面漂浮着被风吹落的丁香花瓣，白的紫的都有。配上一首《哀江南赋》似乎很应景……<br /> <br /> 阅读张爱玲的散文作品，尤其是其中一些极具审美性的瞬间，我们可以说，正是在现代散文提供的空间里，并借助电影手段，传统小说语言的断层化已成必然。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:10, 4 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> '''Essay and the making of a new prose language'''<br /> <br /> Few writers in twentieth-century China are as persistent as Eileen Chang was in constantly experimenting with new literary language. In her essay entitled “Ziji de wenzhang” (Writing of One’s Own), Chang retrospectively remarks on her use of a new fictional language in the novella ''Lianhuantao'' (Linked Rings):<br /> <br /> I adopted the language from traditional fiction on many occasions when writing the novella ''Chain of Rings''. In the story, Cantonese people and foreigners who lived fifty years ago speak like figures walking out of [the world of] ''Plum in a Golden Vase'' (Jing Ping Mei), …… My original intention was: I already created a considerable distance in space by writing about a romanticized Hong Kong from the point of view of a Shanghainese; I also created a distance in time by writing about the Hong Kong of fifty years ago. Therefore I intentionally adopted an antiquated diction to represent such a doubled displacement (''shuangchong juli''). ……<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> To situate the story in both a remote time and a distancing space endows the writer with abundant freedom in her choice of language. By returning to traditional literature to search for imaginative inspiration and expressive resources, Eileen Chang has redefined, on the discursive level, the cultural as well as political connotations of the modern vernacular language. For a modern reader who has considerable knowledge of the May Fourth literature, Chang’s fictional language presents the reader with a remote system of referentiality by using diction and narrative tone characteristic of those used in classical Chinese novels such as ''Plum in a Golden Vase'' and ''Dream of the Red Chamber''. <br /> <br /> ==Liu Yi 刘艺==<br /> What, then, are the characteristics of Chang’s linguistic experiments in her essay writing of the period? The titles of both the essay collection ''Written on Water'' and the essay “Whispers” can be viewed as the author’s own commentaries on the language she has chosen for the transformed essay genre. While literary language is compared to voices whispering, murmuring, or gossiping, and while words can eventually flow away just like water, the practice of writing then is a process of both embracing and breaking away from words, and the meanings that are presented no longer contribute to a system of enclosure. Chang’s naming highlights the indeterminacy of literary language and directs the reader’s attention to the uncertainty embodied in both the structure of the essay and the language that it employs.<br /> <br /> In the opening passage of the essay “Tan nüren” (Talking about Women), collected in ''Written on Water'', in a whimsical and relaxed tone, Eileen Chang cites a characterization of ‘women’ presented in a small pamphlet written by an English author:<br /> <br /> 那么，张爱玲这一时期的散文创作在语言实验上有什么特点呢？ 散文集''写在水面上''和散文《私语》的标题都可以看作是作者自己对转型后的散文体裁所选择的语言的评论。 文学语言被比喻为声音的窃窃私语、喃喃自语或闲聊，虽然文字最终可以像水一样流走，但那时的写作实践是一个既拥抱文字又挣脱文字的过程，所呈现的意义不再有助于形成一个围合的体系。 张先生的命名突出了文学语言的不确定性，并引导读者注意到文章的结构和所采用的语言所体现的不确定性。<br /> <br /> 张爱玲在《写在水面上》收录的《谈女人》一文的开篇，以一种异想天开的轻松语气，引用了一位英国作家写的小册子中对 &quot;女人 &quot;的描述。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:36, 3 December 2020 (UTC)<br /> <br /> 那么，张爱玲这一时期的散文创作在语言研究方面的特点是什么？ 散文集《写在水面上》和散文《私语》的标题都可以看作是作者自己对转型后的散文体裁所选择的语言评论。 文学语言被比喻为窃窃私语、喃喃自语或闲聊，虽然文字最终可以像水一样流走，但那时的写作实践是一个既拥抱文字又挣脱文字的过程，所呈现的意义不再有助于形成一个围合的体系。 张爱玲的命名突出了文学语言的不确定性，并引导读者去注意文章的结构和所采用语言所体现的不确定性。<br /> <br /> 张爱玲在《写在水面上》收录的《谈女人》一文的开篇，以一种异想天开的轻松语气，引用了一位英国作家写的小册子中对 &quot;女人 &quot;的描述。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:06, 4 December 2020 (UTC)Liu Yiyu<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> Westerners refer to sinister and cruel (''yinxian kebo'') women as ‘cats.’ I ran across a pamphlet recently, written in English, entitled ''Cats'', which does nothing else except condemn women. It is not that what is said in it has never been expressed by other people. Interesting remarks (''juanyu'') concerning women are scattered everywhere and it is just not easy to collect them all together. But here this pamphlet is really a compilation (''ji qi dacheng'') [of what has been said about women]. <br /> <br /> Chang then invites her readers to accompany as she glances through a group of quotes she has selected and translated from that pamphlet, much of which is a condemnation of women’s erotic potential. Not a single word of explicit judgment is offered throughout the essay by Chang, nor are the assumptions contained in this pamphlet about the gendered character of each individual expressly challenged. After reading Chang’s essay, a reader might wonder to what extent has the ‘real’ author behind the masquerade of the narrative internalized such an ‘othered’ male view?<br /> 西方人把阴险刻薄的女人称为 &quot;猫&quot;。我最近看到一本小册子，是用英语写的，册子标题是《猫》。这本册子里面除了谴责女人，没有其他的内容。册子里所提的内容，也有别人提起过。有关女性的有趣言论到处都是，但是要把它们收集在一起实在不容易。不过，这本小册子确实是[关于女性的]言论的汇编(集大成)。<br /> 然后，张爱玲邀请读者陪着她一起读一读自己从那本小册子中选取和翻译的一组评价，其中大部分是对女性潜在情欲的谴责。在整篇文章中，张爱玲没有作出一句明确评判，也没有对这本小册子中提出的关于每个人的性别特征的假设提出明确反驳。读完了张爱玲的文章后，读者可能会问，戴了面具的叙事手法，其背后的 &quot;真实 &quot;作者又在多大程度上内化了这种 &quot;他者 &quot;的男性观？--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:54, 4 December 2020 (UTC)Liu Yiyu<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> And to what extent is Chang’s translation ‘faithful’ to the original text? The original author’s name remains unmentioned in Chang’s essay, making it difficult to assess the extent to which the original ‘male’ narrative voice has been twisted or distorted by Chang’s rendition. The narrative voice appears to be a composite in those quotes and is even more so in the rest of her essay. One approach to reading Chang’s essay is then to regard the quotation as an integral part of the whole essay, to view it as Eileen Chang’s own linguistic construction, a construction which already contains her critique. Within these quotes, the message is complicated, and presented in several levels. Some of the quotes are reminiscent of an archetypal ‘male’ voice:<br /> <br /> <br /> ==Lou Cancan 娄灿灿==<br /> This kind of fictional and temporal distance is also characteristic of Chang’s short stories written during the period. David Wang argues that the fictional world presented in the short stories in ''Romances'' points to a remote system of referentiality for modern readers by interweaving many ”unreal” elements such as the fantastic, the grotesque, the decadent, and the dark romanticist. See Wang, ”Nü zuojia de xiandai guihua: cong Zhang Ailing dao Su Weizhen” (Modern Ghost Narratives by Women Writers: from Eileen Chang to Su Weizhen), in ''Zhongsheng xuan-hua: sanshi yu bashi niandai de Zhongguo xiaoshuo'' (Heteroglossia: Chinese Fiction of 1930s and 1980s).<br /> <br /> 这种虚构性和时代性的距离，也是他在这一时期创作的短篇故事的特点。王大卫认为，《浪漫》这一短篇故事中所呈现的虚构世界，通过交织许多“虚幻”的元素，如奇幻、怪诞、颓废、黑暗的浪漫主义，为现代读者指明了一个遥远的指称体系。参见王的《女作家的现代鬼故事:从张爱玲到苏伟真》，载于《仲生宣化:三诗于巴诗念代德中》(杂注:中国三十、八十年代小说)。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:11, 4 December 2020 (UTC)<br /> <br /> 这种虚构和时代的距离，也是这一时期张爱玲创作短篇故事的特点。王德威认为，《浪漫》这一短篇故事中所呈现的虚构世界，通过交织许多“虚幻”的元素，如奇幻、怪诞、颓废、黑暗的浪漫主义，为现代读者指明了一个遥远的指称体系。参见王的《“女”作家的现代“鬼”话——从张爱玲到苏伟贞》，载于《仲生宣化:三诗于巴诗念代德中》(杂注:中国三十及八十年代小说)。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:01, 4 December 2020 (UTC)<br /> <br /> 虚构的时代距离感也是这一时期张爱玲短篇故事的特点。王德威认为《浪漫》这一短篇故事中呈现的虚构世界，通过交织许多“非真实”元素，例如：奇幻、怪诞、堕落和黑暗浪漫主义，为现代读者指明了一个距离久远的指称系统。参见王的《“女”作家的现代“鬼”话——从张爱玲到苏伟贞》，载于《仲生宣化:三诗于巴诗念代德中》（杂注:中国三十及八十年代小说）。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:59, 4 December 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> “The physical construction of women is so exquisite; therefore, their spiritual construction is incomplete. This is predictable. We just cannot be over-critical of them [women].” <br /> <br /> “If you do not seduce a woman, she would say that you are not a man; if you do, she would say that you are not a man of the upper-class.” <br /> <br /> “The only difference between a woman and a dog is: a dog is not as spoiled as a woman is; a dog does not wear jewelry; and – thank God! – a dog does not speak!”<br /> <br /> The expected readers of the pamphlet ''Cats'' are married middle-class men. According to Eileen Chang, the original author admits that, “a man, after having just fought with his wife, would feel comforted if he reads this pamphlet before he goes to bed.” Functioning as a psychological therapy, the expected reading process should yield pleasure which soothes grievances and unhappiness in one’s ‘actual’ life.<br /> <br /> “女人的身体构造如此精巧，所以她们的精神构造是不完整的。这是可以预见的。我们不能对她们（女性）过分挑剔。”<br /> “如果你不勾引女人，她会说你不是男人；如果你这样做，她会说你不是上流社会的男人。”<br /> “女人和狗的唯一区别是：狗不像女人那样娇惯；狗不戴首饰；还有——感谢上帝！–狗不会说话！”<br /> 短篇小说《猫》的预期读者是已婚中产阶级男子。据张爱玲所言，钱钟书认为，“一个男人刚和妻子吵架后，如果在睡觉前读这篇小说，他会获得慰藉。”预期阅读过程作为一种心理治疗，应该会产生愉悦，从而缓和一个人“实际”生活中的不快。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:50, 4 December 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> Within this reading process, through the mediation of a narrative language, the imagined male reader takes upon the implicit point of view built in the assumed male author’s account, manipulates and appropriates the construction of the female image, and displaces his sense of anger, repression, and alienation, or his frustrated desire for control and domination, onto such a constructed image. For a married man, the unsuccessful threats toward his wife in real life can then be successfully prosecuted on a textual level.<br /> <br /> Such a female erotic image depicted in a seemingly unambiguous male text could generate a variety of culturally coded specific meanings and gendered differences. However, the tone of Chang’s language seems to invalidate the possibilities of applying an ideologically charged critique of these messages. Her narrative tone is relaxed, whimsical, playful, humorous, and somewhat ironic. The message transmitted in these quotes is impure, it has been reworked, and already contains a ‘look.’ This ‘look’ is interwoven with a sense of irony. This is even more explicit in some of her other quotes:<br /> <br /> ==Ma Juan 马娟==<br /> “A man can flirt with a bar waitress in the squalid bar without losing his reputation; yet an upper-class woman is not even allowed to blow a kiss at a postman from afar. We can then draw an inference that men are different from women – no matter how low they [men] bend their backs, it is never difficult for them to stand up straight again.” <br /> “Generally speaking, women do not need the variety of stimulants in their lives that men do. Therefore, we should tolerate a man if he transgresses boundaries during his leisure time, in order to enliven his weary body, [to expel] his worries, [and to accomplish] his unrealized aspirations.” <br /> <br /> ==Ma Shuya 马淑雅==<br /> These quotes should be understood as mainly Eileen Chang’s own rendition. Through the ironic tone, the message becomes twisted, distorted, highly dramatized, and thereby transformed into parody and ridicule. If Eileen Chang does seek to tease out this assumed male voice, such an attempt proceeds through the creation of a narrative distance, a sense of innuendo, a skillful rewording of the male voice, and not through any explicit charges or critiques. The reader is left to herself to read between the lines, to speculate about the hints, and to screen out the mixed messages.<br /> <br /> ==Ma Zhixing 马智星==<br /> Despite the absence of an explicit criticism toward this unambiguous male voice, Eileen Chang’s presentation has revealed the fact that the male denunciation of the public effects of a female eroticism is itself manifested in an eroticized form. Such an eroticized form has been dramatized to the extreme by Chang in her skillful rewording. A reader would ponder whether this male denunciation addresses the danger of the placing women in public display or is itself a public display of women as eroticized subjects? Eileen Chang’s appropriation of the male denunciation of female eroticism becomes a doubled affirmation of the much textualized eroticizing potential of female images, which makes it difficult to pin down the ‘femaleness’ of her use of literary language. <br /> <br /> ==Meng Ying 孟莹==<br /> Perhaps, then, to examine the ‘femaleness’ of Chang’s language is not an appropriate approach. Nor can we confidently situate Eileen Chang into the female literary tradition of modern China, a tradition which is usually characterized by the May Fourth style of writing. Chang’s cultural marginality, her interest in irrelevant details and domesticity, and her teasing of patriarchs and of gender relations all tempt critics to label her work with various feminine qualities. But Eileen Chang’s voice cannot be simply categorized in a dichotomy of conventional and patriarchal speech on the one hand, and experimental and anti-patriarchal speech on the other. It is obviously impure; it is a kind of language that occupies the space of the liminal; it is a mixed voice, both ‘male’ as well as ‘female.’ In many instances, her language appears to be the so-called “protective language,” a “neutralizing middle tongue,” a language of concealment rather than revelation. The mixed voices prevent us from going on to ‘genderize’ the grammar, the expression, and the diction in her writing. Eileen Chang’s language is one of resisting the process of ‘genderizing,’ and of eliminating the possibilities of polarizing different identities. <br /> <br /> ==Mo Ling 莫玲==<br /> In her recent study of Eileen Chang’s fictional writing, Rey Chow defines Eileen Chang’s ‘femininity’ as predominantly associated with ”irrelevant” details. In the picture painted by Chow, ‘detail’ carries a distinctively ‘feminine’ label and is defined as ”the sensuous, trivial, and superfluous textual presence that exists in an ambiguous relation with some larger ‘vision’ such as reform and revolution.” Chow argues that Eileen Chang constructs a different vision of modernity and history through ”a release of sensual details whose emotional backdrop is often that of entrapment, destruction, and desolation.” Eileen Chang’s understanding of culture, therefore, carries a ”powerfully negative affect.” See Rey Chow, Chapter III ”Modernity and Narration: in Feminine Detail” in her ''Woman and Chinese Modernity: The Politics of Reading Between West and East'' (Minnesota and Oxford: University of Minnesota Press, 1991) 85.<br /> <br /> Rey Chow’s emphasis on the intricately related history of details and the feminine in the Chinese case is certainly illuminating in the sense that she suggests a new perspective to define the significance of Eileen Chang’s writing and thus a new way of critiquing the construction of a history of modern Chinese literature as a whole.<br /> <br /> 在最近对张爱玲小说作品的研究中，周蕾将张爱玲的“女性气质”与不拘小节联系在一起。在周蕾的画作中，“细节”贴上了明显的“女性化”标签，带有“感性、微不足道以及在改革和革命这样的大事面前画蛇添足”的含义。“周蕾认为张爱玲创造了一种独特的视角来表现历史和现实，即释放情感细节，这些情感往往是诱惑、毁灭和隔绝，因而张爱玲对文化的理解带有一种“强烈的负面影响”。参见周蕾的著作 ''女性与中国现代性：中西方的阅读政治性''的第三章“现代性与叙事：女性化细节”（明尼苏达和牛津：明尼苏达大学出版社， 1991），第85页。<br /> <br /> 周蕾对复杂的细节史与中国女性的强调是令人有所启发的，她提出了一种新的视角来界定张爱玲的作品的意义，从而为整个中国现代文学史的建构提供了一种新的评论思路。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 02:53, 5 December 2020 (UTC)Mo Ling<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> However, in Rey Chow’s categorization of Eileen Chang, a new type of femininity is classified, whose characteristics are intimate, domestic, sensuous, pre-rational, trivial, obsessed with its sexual being, yet embodying subversive strength and transgressive potentials. This seemingly fresh and autonomous femininity does take one thing for granted, that is the unproblematized association between the female, the domestic, and trivial details. Rey Chow’s emphasis on feminine detail may have endowed Eileen Chang’s writing with a critical power deriving from the marginal position that she is inscribed in; but to domesticate Chang, to enclose her within woman’s traditional domain of the home, could also lead to the draining of the heaviness and the other intellectual potentialities in Chang’s writing.<br /> <br /> ==Ou Rong 欧蓉==<br /> The terms ”protective language” and a ”neutralizing middle tongue” are lifted out of Catharine Stimpson in her discussion of Gertrude Stein’s writing. According to Stimpson, ”Stein’s coding of sexual activities becomes a privileged and a distinguished ‘anti-language’,” that is, a language of ”anti-societies.” Stimpson argues against some other critics’ attempts to ”adjectify” Stein’s work as ”female.” She suggests that Stein’s language is ultimately ”impure,” it is ”linear as well as pluridimensional,” it is ”male” as well as ”female.” Stimpson argues that Stein’s literary language is neither ”female,” nor ”an unmediated return to signifiers freely wheeling in maternal space.” See Stimpson, ”The Somagrams of Gertrude Stein,” in ''The Female Body in Western Culture: Contemporary Perspectives'', edited by Susan Rubin Suleiman.<br /> <br /> 在讨论格特鲁格·斯坦因的著作时，“保护性语言”和“中立的中性语言”一词被从凯瑟琳·斯廷普森删除。斯廷普森认为，“斯坦因对性行为的编码成为一种特权和一种独特的'反语言'，即'反社会'的语言。斯廷普森反对其他一些批评家试图将斯坦因的作品“形容”为“女性”的说法。她认为斯坦的语言最终是“不纯正的”，既是“线性的又是多维度的”，既是“男性的”又是“女性的”。斯廷普森认为，斯坦因的文学语言既不是“女性的”，也不是指“无意中回归到指代者而自由地进入母体空间”。请参见苏珊·鲁滨·苏蕾曼编辑的《当代视角下西方文化中的女性身体形象》中格特鲁德·斯坦的躯体语言。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 11:10, 3 December 2020 (UTC)Ou Rong<br /> <br /> 在讨论格特鲁德·斯坦因的作品时，凯瑟琳·斯廷普森讨论了“保护性语言”和“中和性的中间语言”。根据斯廷普森的说法，“斯坦因对性行为的编码变成了一种特权和独特的‘反语言’”，也就是说，是一种“反社会”的语言。斯廷普森反对其他一些批评家试图将斯坦因的作品“形容为女性”。她认为斯坦因的语言最终是“有杂质的，“它是“线性也是多元维度的”，它是“男性”也是“女性”。斯廷普森认为，斯坦因的文学语言既不是“女性”，也不是“在母体空间中自由转动的能指的无中介回归”。参见斯廷普森德《当代视角下西方文化中的女性身体形象》中的格特鲁德·斯坦因的躯体语法，苏珊·鲁宾·苏莱曼主编。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 12:02, 3 December 2020 (UTC)Xiao Yining<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> Julia Kristeva suggests that ”the very dichotomy man/woman as an opposition between two rival entities may be understood as belonging to metaphysics”; it must be dismantled through ”the demassification of the problem of difference, which would imply, in a first phase, an apparent de-dramatization of the ‘flight to the death’ between rival groups and thus between the sexes.” Kristeva refers to this as ”a strategy of disintegration.” This strategy is a ”true radicalism” in such attempts ”to undo given identities, to go beyond the policy of creating counter-identifications.” See ”Women’s Time” (translated by Alice Jardine and Harry Blake) in ''Signs'' (Autumn, 1981).<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> Perhaps, then, to examine the ‘femaleness’ of Chang’s language is not an appropriate approach. Nor can we confidently situate Eileen Chang into the female literary tradition of modern China, a tradition which is usually characterized by the May Fourth style of writing. Chang’s cultural marginality, her interest in irrelevant details and domesticity, and her teasing of patriarchs and of gender relations all tempt critics to label her work with various feminine qualities. But Eileen Chang’s voice cannot be simply categorized in a dichotomy of conventional and patriarchal speech on the one hand, and experimental and anti-patriarchal speech on the other. It is obviously impure; it is a kind of language that occupies the space of the liminal; it is a mixed voice, both ‘male’ as well as ‘female.’ In many instances, her language appears to be the so-called “protective language,” a “neutralizing middle tongue,” a language of concealment rather than revelation. The mixed voices prevent us from going on to ‘genderize’ the grammar, the expression, and the diction in her writing. Eileen Chang’s language is one of resisting the process of ‘genderizing,’ and of eliminating the possibilities of polarizing different identities.<br /> <br /> 那么，分析张爱玲语言中的女性特征也许不是一种恰当的方法。我们无法十分肯定地说她的作品体现了近代中国文学中的女性传统，这一传统以五四文体为特征。张爱玲作品中的文化边缘性、对细枝末节的关注、蕴含的家庭特征以及对男性家长和性别关系的调侃无一不促使评论家将其打上女性特质的标签。但是我们不能将张爱玲的语言简单地划分为两个对立面：一方面是传统的父权话语，另一方面则是实验性的反父权话语，她的文学语言无疑是模糊的，是一种位于两种状态分界处之上的语言，是一种糅合了“男性”与“女性”与一身的语言。在很多情况下，她的语言都表现出一种所谓的“保护性”、“中性的口吻”，或者说是一种隐没而非彰显的语言。张爱玲的作品语言的复杂性让我们无法将其中的语法、表达以及用词性别化，这种语言正是一种抵制“性别化”过程的语言，消除了分化不同身份的可能性。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 03:40, 3 December 2020 (UTC)Ouyang Ling<br /> <br /> ==Peng Dan 彭丹==<br /> In Eileen Chang’s essay writing, it is finally the narration itself that becomes a site where conflicting cultural discourses meet and interact. The narrative voice does not embody or point to any authoritative discourses: it is neither the passive receiver of a system of accomplished social customs and values containing stereotypes of passive femininity, nor a spokeswoman for a ‘progressive’ nationalist ideological agenda. While history is viewed as transitory and fragmented, the language used to account for this history is no longer something which is ideologically or rhetorically charged. It is not a language to account for truth and beliefs, it is a language of ‘paradox’ and ‘enigma’; it is a ‘counter-language.’ Chang’s use of language serves to recuperate a remote tradition that is incompatible to the present historical situation, and to restore a different set of voices which are inconsonant with the chorus of her time.<br /> <br /> <br /> ==Peng Juan 彭娟==<br /> Chang’s essay writing indicates that the coherence of a so-called women’s literary writing tradition in modern China is a mere fabrication. The linguistic constructions in Chang’s essay writing playfully appropriate male fantasies, turning them into props in the creation of a new literary space. By turning structures of male fantasies into narrative devices, and by transforming male voices to enhance the theatrical effect of essay writing, Eileen Chang has demonstrated a much more confident gesture in offering a critique of gendered constructions in both the larger social context and the sphere of literary writing.<br /> <br /> '''Essay and the Invention of Life in Wartime'''<br /> <br /> In the preface to her 1988 collection entitled '''Xuji''' (The Sequel), Eileen Chang confesses that she has been a “loyal believer” in Greta Garbo’s philosophy of life:<br /> 张爱玲的散文著作揭示了这样一个事实，现代中国所谓的女性文学写作传统不过是对男性文学写作传统的伪造。她的散文著作中，语言结构巧妙地借用了男性的幻想思维，将其转换为创造新文学空间的支柱。张将男性幻想结构转换为叙述手法，并且转换男性的叙述口吻，以此提高散文写作所带来的戏剧影响，在广大的社会背景条件下和文学创作方面，提出了性别结构批评，对此，她信心满满。在其1988年出版的名为《战争时代的散文与发现》一书的前言中，张爱玲坦白说，她是葛嘉丽·宝格生活哲学的忠诚信仰者。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 11:48, 3 December 2020 (UTC)pengjuan<br /> <br /> 张爱玲的散文作品表明现代中国所谓的女性文学创作传统的一致性仅仅是捏造而已。她在散文作品的语言结构中巧妙地运用了男性的幻想，并将其转化为创造新文学空间的支柱。通过将男性幻想结构转变为叙事手法，并通过转换男性的叙述口吻来增强散文写作的戏剧效果，张爱玲在更大的社会背景和文学创作领域中以更加自信的姿态提出了性别结构批评。<br /> <br /> '''散文和战时的生活发现'''<br /> <br /> 在她1988年出版的名为《续集》(The Sequel)一书的序言中，张爱玲坦诚地说她一直是葛丽泰·嘉宝人生哲学的“忠实信仰者”：--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 07:37, 4 December 2020 (UTC)<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> For several decades, relying on make-up and acting skills, she [Garbo] lived the life of a recluse, seldom seen through by other people. Her life-time belief was that “I want to live by myself.” …… Why is it that writers also have a hard time preserving the privacy of their lives? <br /> <br /> These sentiments could not have been expressed back in the 1940s. The solitude of the latter half of Chang’s life, that is, the four decades since she came to America in the fall of 1955, forms a sharp contrast to the glorious moments during the first half of the 1940s, particularly the years of 1944 and 1945, when she and Su Qing emerged in the cultural scene of Shanghai simultaneously and became brighter stars than the most acclaimed movie actresses and popular singers. <br /> <br /> ==Peng Xiaoling 彭小玲==<br /> As argued earlier, the most important players in this society-wide promotion of women intellectuals were none other than women writers themselves. And among all literary genres, it was the modern essay that became the most powerful form of expression in women writers’ self-promotion and myth-making. Essay served to contribute concrete forms to a life that was void of any structure; in other words, women writers such as Eileen Chang and Su Qing used the form of the modern essay to construct an intelligible universe where one’s imagination and fantasy could anchor. Detailed descriptions of everyday experience, that is, representations of cultural meanings of the material world, manifests not only a dynamic inner life but also a new social identity in formation. In this section I will highlight two aspects of life that are conceptualized in Chang’s essay writing, one is the space of a modern apartment as a liminal site in urban landscape, and the other is the discourse of fashion as a vital form of material consciousness.<br /> <br /> 如前所述，在整个社会范围内提升女性知识分子最重要的参与者就是女性作家本身。在所有文学体裁中，现代散文成为女性作家自我提升和神话创造中最有力的表达形式。散文可以为没有任何结构的生活提供具体形式：换句话说，张爱玲和苏青等女性作家利用现代散文的形式，构建了一个个人想象和幻想可以驻留的可理解的宇宙。对日常经验的详细描述，即对物质世界的文化意义的陈述，不仅体现了动态的内心生活，而且体现了一种形成中的新的社会认同。在这一章中，我将着重介绍张爱玲散文写作中所概念化的生活的两个方面，一方面是作为城市景观中有限场所的现代公寓的空间，另一方面是将时尚的讲话视为物质意识的一个重要形式。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:13, 4 December 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> '''Passage from apartment to street'''<br /> <br /> In her essay entitled “Gongyu shenghuo jiqu” (Interesting Moments in Apartment Life), Chang depicts a spatial construction which serves as the backdrop of the formation of a new urban persona:<br /> <br /> I would ride the wind, returning up there,<br /> but fear those marble domes and jade galleries<br /> the place so high, the cold is unbearable …… <br /> <br /> On reading these lines, residents who live on top floors of apartment buildings will more or less shiver with fear. The higher the apartment, the colder. Ever since the price of coal soared , radiators in apartments have become purely decorative. The “H” on the hot water faucet is indispensable in order to perfect the bathroom design; but if you turn on the hot water tap by mistake, a hollow but grievous rumble will burst out from the “Nine Springs” (''Jiu quan'') down below. It sounds like the very complicated and very capricious hot water pipe system in the apartment building has lost its temper. Even if we do not provoke it, the God of thunder still makes its power felt at any moment. <br /> <br /> ==Peng Yuzhi 彭育志==<br /> Out of nowhere, it can set off a long and evil buzz followed by two blasting sounds, as if an airplane was circling above for a while and then dropped two bombs. Having been terror-stricken in wartime Hong Kong, this kind of noise would always make me panic when I first returned to Shanghai. At first the pipe was still working conscientiously; in much difficulty, it would carry some hot water all the way up to the sixth floor, accompanied by a gurgling sound. That was still acceptable, but now it is like deafening thunder followed only by drizzle, and worse yet, all we get are just two droplets of yellow rusty mud. But I dare not complain anymore; the unemployed can easily fly into a rage.<br /> <br /> What is most striking in this beginning episode of Chang’s essay is how the experience of the everyday is depicted as parallel to that of war. War makes its metaphorical presence in daily life of an apartment dweller, serving as a trope for the erratic rhythm of an urban life style. Chang’s depiction of the texture of an apartment life then can be read as a parable of war. <br /> <br /> ==Qi Kai 漆凯==<br /> This opening episode makes references to several archetypal war themes, including death (as in the reference to the “nine springs” or Jiu quan), the scarcity of necessities in life (such as the mentioning of high price of coal and deficiency of hot water in the apartment), and the threat of air-raid (as suggested by the narrator’s haunted memory from her years living in wartime Hong Kong). Themes of unemployment, social unrest, and economic instability are also represented in Chang’s depiction of an animated world where one’s private space is constantly intruded by outside forces. The author has invented a new sense of interiority in her attempt to come to terms with the topography of urban life during wartime. The essay gives textual testimonies to two most important categories of experience in occupied Shanghai – the urban and the war; and these two categories converge precisely within the constructed space of a modern apartment.<br /> <br /> <br /> ==Qu Miao 瞿淼==<br /> See Chapter 2 for a discussion of the society-wide promotion of the two women and the women’s attempt in self-fashioning. Su and Chang were often showcased together with famous singers, dancers, and movie actresses at the time. See, for instance, ”Cui Chengxi wudao zuotan” (A Roundtable Discussion of Cui Chengxi’s Dance), where women writers were presented together with the Korean Dancer Cui Chengxi and a Chinese dancer named Wang Yuan. Published in ''The Miscellany Monthly'' 12. 2 (November, 1943). Another example is ”Nalianghui ji” (A Summer Gathering), where Eileen Chang was showcased together with the singer/movie actress Li Xianglan. In The ''Miscellany Monthly'' 15. 5 (August, 1945).<br /> <br /> Originally published in ''Heaven and Earth Monthly'' 3 (December, 1943).<br /> <br /> These are the lines in the Song dynasty poet Su Shi’s famous song lyric written to the tune ”Shuidiao getou” (Song for the Water Tune).<br /> <br /> 第二章讨论了这两个女人在全社会的推广以及她们在自我塑造方面的尝试。当时，苏和张经常与著名歌手、舞者和电影女演员一起表演。例如，在“崔承熙舞蹈座谈”(关于崔承熙舞蹈的圆桌讨论)中，女性作家与韩国舞蹈家崔承熙和中国舞蹈家王原一起出现。刊登在《每月杂文》12.2(1943年11月)。另一个例子是“纳凉会”(夏季聚会)，张爱玲和歌手兼电影演员李香兰一起展示在《每月杂文》15.5(1945年8月)。<br /> 原刊于《天地月刊》第3期(1943年12月)。<br /> 这些诗句是宋代诗人苏轼在著名的词作中写的“水调歌头”(Song for the Water tune)。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 03:24, 5 December 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> This is the first time in the history of modern Chinese literature that the literary world of a woman author is so tenaciously associated with an urban life style characterized by routines in and out of a modern apartment. In other words, the spatial specificities of a modern apartment are essential to the construction of a vision of life in wartime in Eileen Chang’s writing. City offers many transitional territories such as hotels, stations, theaters, and cafes, which are spaces beyond the rigid categorization of inside or outside, private or public. In Chang’s writing, the space of an apartment is presented as such a transitional site. It is a self-contained private space, which enables a city dweller to escape the intensity of life outside the apartment when necessary. But more importantly, an apartment is also a locus point from which one can enter into various aspects of urban culture. <br /> <br /> ==Sagara Seydou ==<br /> For Eileen Chang, who, between 1942 and 1945, spent most of her time in a flat on the top floor of a six-story apartment building not too far away from the Jing’an Temple, the modern interior space is like a picture frame, encircling the nights and days of an urban dweller who constantly looks out, from her own apartment windows, that is, a new vantage point, at the kaleidoscopic world of metropolitan Shanghai. Living in an apartment seems to have changed ways of seeing, hearing, smelling, and feeling: not only the cityscape is presented differently – now from a new height (the windows of an apartment on the sixth floor), even sounds in the city become more vivid with the elevation of height:<br /> <br /> I am often amazed at how street noises can be heard so clearly from the sixth floor, as if it was all happening right beneath one’s ears. The older we get, the farther we are separated from our childhood, and yet the memories of it and its many trivial details have gradually become more sweet and vivid. <br /> <br /> ==Shi Diwen 石迪文==<br /> Just like our present bears imprints of the past, an interior space is constantly permeated and reshaped by the every-changing outside world. This is a world (un)marked by blurred boundaries; liminality characterizes one’s own positioning within such an obscure realm. And yet senses simply become more acute, and thoughts are given fresh new patterns. Here, we are witnessing the formation a new metaphysics of the everyday:<br /> <br /> I like to listen to street sounds. Those who have more refined taste would rest on their pillows and listen to wind whistling in a pine grove or the roar of ocean waves. But it is the sound of a trolley that I must hear in order to fall asleep. On the hills in Hong Kong, only in winter when the north wind blew on the evergreens all night would it remind me of the charming sound of a trolley. People who have lived in an exciting city for many years do not realize what they must have in life until they have left the place. The thoughts of a city dweller are set against a curtain of striped pattern; the light-colored stripes are running trolleys. Like neatly paralleled currents of sounds, they continuously flow into our subconscious. <br /> <br /> ==Shi Haiyao 石海瑶==<br /> For Eileen Chang, an apartment is truly the center of urban life. Like a train station, it serves as an initial starting point, always ready to transport one’s senses into many different directions. Chang’s aesthetics of life is then attributed with a concrete spatial form that is deeply rooted in the soil of the everyday of wartime. If the production of popular journals in occupied Shanghai symbolizes the shaping of an imagined space, the modern apartment is another important site on the mental map of a city under siege. The aggression of wartime occupation has disrupted cycles of life, routines in and out of one’s own home, but new urban spaces and experiences were also created. Here the presence of war intensifies one’s experience of the urban, crystallized in the shaping of a particular spatial form, that is, the modern apartment.<br /> <br /> ==Si Yu 司妤==<br /> Many feminist scholars have suggested the importance of studying spatial constructions. They argue that by giving the inner world a form of concreteness, spatial symbols in literature are most illuminating in showing how personal experience intersects with specific cultural categories. The study of spatial construction is then important since it is the key point in understanding women’s literature: space often serves as a vehicle by which the female protagonists attempt to launch a journey of self-discovery, which constitutes the most important part of the female experience. See, for instance, Jessica Benjamin, ”A Desire of One’s Own: Psychoanalytic Feminism and Intersubjective Space,” in ''Feminist Studies/Critical Studies'', edited by Teresa de Lauretis (Bloomington: Indiana University Press, 1986).<br /> <br /> For a discussion of other kinds of spatial constructions in 1940s Shanghai, see Wei Shaochang, ”Jiu Shanghai de tingzijian” (The Garret in Old Shanghai), published in ''Haishang wentan'' (March, 1994). Also see a photographic history in Tang Zhenchang, ed., ''Jindai Shanghai fanhua lu'' (Modern Shanghai: The Splendor) (Hong Kong: Shangwu yinshuguan 1993.)<br /> <br /> In ”Interesting Moments in Apartment Life.”<br /> <br /> Ibid.<br /> <br /> See Nicole Huang, ''Written In the Ruins''.<br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> In Chang’s vision, this spatial experience is also gendered. The image of an apartment dweller is gendered, and often female. “It seems like only women can fully understand the advantages of life in an apartment,” Chang writes, since the household duties in an apartment are much more simplified. Therefore, a woman can much better appreciate the numerous trivial details in life; she can even start to appreciate the gorgeous colors of fresh vegetables displayed at morning markets, and enjoy the pleasures of cooking and cleaning. Chang’s reinvention of these daily trips is most forcefully presented in one essay entitled “Zhongguo de riye” (China: Days and Nights). <br /> <br /> In Chuanqi (extended edition) (Shanghai: Shanhe tushu gongsi, 1946).（注释）<br /> <br /> ==Su Lin 苏琳==<br /> <br /> In Chang’s own account, morning errands to the vegetable market seem to be her own tour through the part of the city that she is most attached to. Every morning she would take the elevator down from her sixth floor apartment, emerge onto the awakening streets, mingle with the morning crowd, and progress toward the world of the magnificent colors of the early market. Daily routines are not just bound duties that confine the everyday experiences of women; instead, they become forms of life choreographed in accordance with the distinctive rhythm of the city. Women can finally look at them as opportunities to explore a life that is wider, brighter, and more open to a variety of new possibilities.<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> Life in apartment is then presented with many layers in Chang’s essay writing. In “Daolu yi mu” (Views from the Streets), Eileen Chang also reminds the reader of the many levels of urban culture taking shape outside of the apartment, that is, on the streets. On one level, the street scene of Shanghai is most distinctively characterized by the window displays and neon lights on Avenue Joffre:<br /> <br /> Designing shop windows is a fascinating job, since there is motionless drama in each display. ……… [I remember] a mid-winter night four or five years ago when my cousin and I were strolling down the Avenue Joffre, looking at shop window displays. <br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> Under neon lights, the slanted faces of those wooden beauties under slanted hats, with feathers slanting down from atop the hats. I did not wear western suits, had no need of a hat, and did not want to buy one. And yet I still looked at them with admiring eyes…… <br /> <br /> This fascination with window displays and neon lights is staged at a moment that belongs to the past – “four of five years ago.” At the present time within the essay, a different layer of images are highlighted. We see various street corners scattered in less prestigious neighborhoods of the metropolis. Chang’s impressionistic depiction of the city of Shanghai contains numerous crisscrosses of small lanes and faces of ordinary people:<br /> <br /> ”Views from the Streets,” in Heaven and Earth Monthly 4 (January, 1944). （注释）<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> There are many scenes on the streets that are worth another glance. At dusk, a rickshaw is parked by the roadside, a woman is leaning against the seat, a sack in her hand, some persimmons in the sack. The rickshaw man is squatting down on the ground, trying to light up an oil lamp. It is getting dark, and the lamp by the woman’s feet slowly brightens. <br /> <br /> Here, within the space of one essay, the images of a rickshaw man and a housewife on a small street are juxtaposed with the memory of two young women window-shopping on the extravagant Avenue Joffre. The subtle light of an oil lamp is placed against the bright and luring rats of neon signs.<br /> <br /> 街道上有许多场景值得一看。 黄昏时，一辆人力车停在路边，一个女人靠在座位上，手里拿着一个麻袋，麻袋里放着一些柿子。 这辆人力车男子蹲在地上，试图点亮一盏油灯。 天快黑了，女人脚旁的灯慢慢变亮。<br /> <br /> 在这篇论文的空间中，在一条小街上，一辆黄包车男子和一名家庭主妇的影像并置在一起，以纪念两名年轻女子在奢侈的Joffre大街上逛街。油灯的微弱光线被放置在明亮而诱人的霓虹灯招牌上。<br /> <br /> 大街上有许多景象值得一看。 黄昏时分，一辆黄包车停在路边，一位女士靠在座位上，手上的购物袋里装了一些柿子。 车夫蹲在地上，正点亮一盏油灯。 天快黑了，女士脚旁的灯光慢慢亮了起来。<br /> <br /> 在文章的这一场景中，小街上的车夫和家庭主妇与在霞飞大道逛街的两个年轻女郎形成了鲜明的对比。油灯微弱的灯光也和绚丽夺目的霓虹灯形成了对照。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 03:12, 5 December 2020 (UTC)Mo Ling<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> And the warmth and intimacy of the present set off the coldness and vastness of a moment in the past. Here, even though there is no direct reference to the turbulent events taking place in the background of occupied Shanghai, we can nonetheless sense the presence of war in this contrast between the two time frames and the switch back and forth between different layers of urban space. Rapid movements, swift changes, drastic transformations, and the transience of a given moment, these themes of war are represented in a most subtle and yet vivid fashion.<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> To carry the argument further, Chang’s sense of modernity has extended from a modernist high culture to a culture of wartime quotidian life. The author is more interested in representing the tension between the ‘old’ and the ‘new’ surfacing in everyday routines of ordinary men and women in her city. The intrusion of war seems to have pushed the brilliance of Avenue Joffre back into one’s dusty memory. Here we can perceive how the experience of war and occupation has systematically changed the spatialization of modernity: modernity as a body of new urban sensibilities is now located somewhere between the grand avenue and the back alley.<br /> <br /> 进一步说，张爱玲的现代性已经从现代主义的高等文化扩展到战时的日常生活文化。她更感兴趣的是表现在她的城市里普通男女日常生活中浮现的“旧”与“新”之间的张力。战争的入侵似乎把乔弗尔大道的辉煌推回到尘封的记忆中。在这里，我们可以看到战争和占领的经历是如何系统地改变现代性的空间化的:现代性作为一种新的城市情感体，现在位于大道和后街之间的某个地方。<br /> <br /> 张爱玲的现代意识从现代主义的高级文化延伸到战时的平民生活文化。作者更感兴趣的是表现出她所在城市普通男女日常生活中出现的“旧”与“新”之间的紧张关系。战争的侵扰似乎把乔夫尔大街的辉煌重新推回到尘封已久的记忆中。在这里，我们可以看到战争和曾被占领的经历是如何系统地改变了现代性的空间化：现代性作为一个新的城市情感体，现在位于大街和后巷之间的某个地方。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:38, 4 December 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> – '''Fashion talk''' – <br /> To illustrate how material imagination is essential to Chang’s aesthetics of the everyday, I will now turn to her conceptualization of fashion as an invented form of life. Chang’s discussions of fashion demonstrate her fascination with an inner vision. By depicting a world of light, brilliant colors, unique lines and shapes, Chang has also suggested that literary writing can be the beginning of a cultural history of things.<br /> <br /> In Chang’s fictional writing, colors, lines, surfaces, and words are often combined to form a network of intricate meanings. Her writing is known for its meticulous attention to details, particularly clothes. <br /> <br /> ==Tao Ye 陶冶==<br /> <br /> For instance, in her novella “Jinsuo ji” (Chronicle of Gilded Fetters), through the clothes of female servants, a portrait of this old-style family is introduced. Clothes with bright colors are set in contrast to neutral tones of modern fashion; the former becomes a symbol of the ‘past,’ which gradually recedes into the background, gorgeous, amorous, dazzling, but helplessly decaying. Temporality of fashion serves to punctuate narrative rhythm in Chang’s fictional writing.<br /> <br /> It is in Chang’s essay writing that a discourse of fashion is passionately elaborated. Chang’s most important essay on fashion is entitled “Gengyi ji” (A Chronicle of Changing Clothes), in which one hundred years of Chinese history is acted out in Chang’s dramatic display of clothes in movements.<br /> <br /> In Chuanqi (Romances) (Shanghai: Za¬zhishe, 1944).（注释）<br /> <br /> In Past and Present Bi-weekly 34 (December, 1943). Originally written in English and published in the English language journal XXth Century.（注释）<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> In this world, the transformation of modern clothes can be read as a history of mentality that centers on a constant redefinition of notions such as femaleness, female beauty, and female proper conducts:<br /> <br /> Men have more freedom in their life than women do. Yet I do not want to become a man, only because they do not have freedom [in having a variety of clothing]. <br /> <br /> Chang goes on to tease out the absurdity of gendered assumptions in cultural discourses:<br /> <br /> Clothes seem trivial and not worth mentioning. Liu Bei once said: “Brothers are [important to each other] like hands to feet whereas their wives and children are [insignificant] like clothes.” But for women, it is much easier to cherish their clothes than their husbands. <br /> <br /> From ”A Chronicle of Changing Clothes.”<br /> <br /> Back in the 1920s, Zhang Jingsheng already highlighted the significance of the changes of clothes/fashion, which, according to him, reflects and shapes the present state of mentalities. See Zhang’s 1925 book entitled Mei de renshengguan (An Outlook on a Life of Beauty) as quoted in Peng Hsiao-yen, ”Sexual Enlightenment: ‘Dr. Sex’ Zhang Jingsheng and May Fourth First-Person （注释）<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> There was a Western writer (is it Bernard Shaw?) who once complained that when most women chose their husbands, they were not nearly as attentive and cautious as when they were selecting a hat for themselves. The most heartless woman would lament passionately when she began to talk about “that silk gown I had last year.”<br /> <br /> Never mind whether it was Bernard Shaw or some other Western writer who made these bizarre comments about women’s apparent “lack” of judgment in choosing their own destinies and their partiality for clothes and other seemingly trivial accessories in life, for Eileen Chang, these male voices were all spelling out the similarly absurd and “ancient” logic by Liu Bei of the Three Kingdoms era (third century A.D.).<br /> <br /> Narrative Fiction.” For Zhang Jingsheng, clothes are the extension of a female body and therefore are crucial elements in exploring female sexuality and inner psyche. This may serve as a mediation to explain the fascination with the female clothed bodies expressed in Eileen Chang’s writing of the 1940s.（注释）<br /> <br /> For a discussion of the correlation between clothes, gender discourses, and performance culture during the first two decades of the century, see an essay by Zhou Huiling (Katharine Hui-ling Chou) entitled ”Nü yanyuan, xieshi zhuyi, ‘xin nüxing’ lunshu: Wanqing dao Wusi shiqi Zhongguo xiandai juchang zhong de xingbie biaoyan” (Actresses, Realism, and Discourse of ”New Woman”: Gendered Performances in Modern Chinese Theater from Late Qing to the May Fourth), published in ''Jindai Zhongguo funüshi yanjiu'' (Studies of Women’s History of Modern China) 4 (August, 1996). Also see her dissertation entitled ''Staging Revolution: Actresses, Realism, and the New Woman Movement in Chinese Spoken Drama and Film, 1919-1949'' (New York University, 1997).（注释）<br /> <br /> ==Wang Yu 王煜==<br /> <br /> But the essay “A Chronicle of Changing Clothes” does much more than merely tease out the gendered categories embedded in fashion discourses. “We cannot really imagine the world of the past generations, so idle, so quiet, and so organized,” writes Eileen Chang, “during the three hundred years of Manchurian ruling of Qing dynasty, there was not even (jing) such a thing called women’s fashion!” The use of the adverb “jing” implies an astonishment: women did not even have fashion for three hundred years, and how could anyone have endured such a misfortune! The emphasis placed on women’s clothes seem to be a landmark that separates the modern era from the antiquated worlds.<br /> <br /> ==Wang Yuan 王源==<br /> <br /> From the point of view of Eileen Chang, the lack of changes in three hundred years of China’s fashion history forms a sharp contrast to the thirty or forty years of the most recent history which, for Chang, can be read as a fascinating narrative put together by rapidly shifting patterns of women’s fashion.<br /> <br /> Chang’s account then turns history into a stage presentation. Her impressionistic view of modern history highlights colors, lines, shapes, and moods, which are all crystallized in the changing faces of women’s clothes. Chang’s representation of modern history through the transformation of women’s clothes has the effect of a modern museum of human fantasies, or a gallery of artifacts constantly in motion. <br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> History is turned into a fictional narrative. More interestingly, there is no real human being moving in this narrative; shapes, colors, lines, and circles occupy the space. Through a personification of clothes, Chang has created an animation effect in her world of changing fashion. Clothes replace human voices; clothes become language itself.<br /> <br /> In “Views from the Streets,” Eileen Chang also describes fashion display as “motionless drama,” a notion that highlights the correlation between literature, performance art, and material culture. By using the notion of drama as a trope, Eileen Chang has indicated that fashion, like forms of fictional narrative, is a dramatization of life, a life presented on stage. <br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> A fashion image is a frozen historical moment, that is, a close-up of a historical moment intersecting with moments in one’s personal history. The clothed body of a modern urban woman thereby carries the burden of history, as well as the marks of our present time.<br /> <br /> In his essay on fashion and modernity written back in 1904, Georg Simmel has already theorized the cultural and social significance of fashion in modern life. He views fashion as a signifier of modernity and a theatricalization of social transformations. For Simmel, fashion consciousness is vital to our conceptualization of the modern and the urban. <br /> <br /> Georg Simmel, ”Fashion” (1904), in On Individuality and Social Forms: Selected Writings, edited and with an introduction by Donald N. Levine (Chicago: University of Chicago Press, 1971) 294-323.（注释）<br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> Simmel’s essay on fashion should be read side by side with his another crucial essay written a year earlier in 1903 entitled “The Metropolis and Mental Life,” which describes the heightened level of sensory stimulation associated with the construction of modern metropolis. Fashion responds most directly and instantaneously to these changes. Following is a frequently quoted passage from “The Metropolis and Mental Life,” which describes the essence of modern life from a physiological as well as psychological perspective:<br /> <br /> The psychological foundation, upon which the metropolitan individuality is erected, is the intensification of emotional life due to the swift and continuous shift of external and internal stimuli.<br /> <br /> 西美尔那篇关于时尚的文章应该和他在1903年写的另一篇重要的文章并列阅读，那篇文章题为《大都市与精神生活》，描述了随着现代大都市的建设而提高的感官刺激水平。时尚界对这些变化的反应是最直接和即时的。下面是《都市与心理生活》中经常引用的一段话，它从生理和心理的角度描述了现代生活的本质:<br /> 都市个性赖以建立的心理基础，是由于外部和内部刺激的迅速、持续的转移而强化的情感生活。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:10, 3 December 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> Man is a creature whose existence is dependent on differences, i.e., his mind is stimulated by the difference between present impressions and those which have preceded. Lasting impressions, the slightness in their differences, the habituated regularity of their course and contrasts between them, consume, so to speak, less mental energy than the rapid telescoping of changing images, pronounced differences within what is grasped at a single glance, and the unexpectedness of violent stimuli. <br /> <br /> ==Wu Kai 吴恺==<br /> <br /> To the extent that the metropolis creates these psychological conditions – with every crossing of the street, with the tempo and multiplicity of economic, occupational and social life – it creates in the sensory foundations of mental life, and in the degree of awareness necessitated by our organization as creatures dependent on differences, a deep contrast with the slower, more habitual, more smoothly flowing rhythm of the sensory-mental phase of small town and rural existence. <br /> <br /> Simmel’s remarks can help illustrate how the discourse of fashion is situated at the center of Eileen Chang’s aesthetic vision. But Chang has gone well beyond Simmel. She incorporates urbanism, modernity, and femininity in her creation of fashion as a new cultural paradigm. <br /> <br /> See Simmel, ”The Metropolis and Mental Life” (1903), in On Individuality and Social Forms: Selected Writings, 325.（注释）<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> The fact that the power of designing such a new paradigm is in the hands of a woman makes it even more unique for her time. More importantly, Chang’s fashion stories can also be read as parables of war. Designing fashion and then writing about fashion are her ways to come to terms with the world at war and the city under siege. In a world where nothing is fixed, and scenes of the present are swiftly disappearing at the very next moment, the ever-changing women’s fashion ironically becomes something that is most stable and lucid, something that can be held on to.<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> In Chang’s account of wartime Hong Kong in an essay entitled “Jinyu lu” (Stories from the Ashes), she describes individual attentions to details of clothes at a critical moment when one’s own life can be smashed to pieces in no time:<br /> In Hong Kong, when we first heard the news that the war had broken out, a girl classmate in my dormitory started panicking. “What am I going to do? I have nothing appropriate to wear!” she cried. Her family were wealthy overseas Chinese. She had a different wardrobe for every social occasion. From a dance party on a yacht to a formal dinner, she was always sufficiently equipped. But she never imagined that there would be a war.<br /> <br /> 张爱玲在其《烬余录》中对战时香港的记述中，她对个人服装的细节上这样描写使人对生活幻灭的重要时刻：在香港，当我们第一次听说战争爆发的新闻之时，我宿舍的一位女同学开始恐慌起来。“我该做什么？我没有合适的穿的衣服！”她哭着说。她的家人都远在海外。在各个社交场合她都有不同的服装搭配。从游艇上的舞会到正式的晚宴，她总是准备有充足的衣着。但她却从未想过这里会爆发战争。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:21, 3 December 2020 (UTC)<br /> <br /> 张爱玲在《烬余录》中讲述战时的香港时描绘到，一个人在性命攸关的时刻竟会对自己的服饰百般注意：<br /> 在香港，当我们第一次听说战争爆发这个消息时，我宿舍的一个女同学开始慌张。她喊道，“我该怎么办？我都没有合适的衣服穿！”她们一家是富裕的华侨。她在不同的社交场合都有自己的服饰搭配，从游艇上的舞会到一场正式的晚宴，她的服装满满当当的。但她从没想过战争会爆发。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:33, 4 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> She finally managed to get hold of a big black quilted jacket which probably would not attract any attention from the air force circling above. When it was time to flee we all went our separate ways. I saw her again when the war was over. She cut her hair short in the masculine Filipino style – the trend in Hong Kong at the time because a woman with that hair style could pass for a man. <br /> <br /> 她终于弄到了一件黑色夹克，这件夹克可能不会引起在上空盘旋的空军的注意。逃命时我们分道扬镳了。战争结束后我又见到她了。她把头发剪成了男式的发型——当时这种发型在香港比较时髦，因为拥有此发型的女人可以替代男人。<br /> <br /> Indeed our different responses to the war are reflected in our choice of clothes. Take Suleika for example. A beauty from a remote town on the Malay peninsula, she was petite and dark, with dreamy eyes and slightly protruding teeth.<br /> <br /> 事实上，我们对战争的不同反应体现在我们对衣服的选择上。例如苏莱卡，一位来自马来半岛偏僻小镇的美女。她娇小黝黑，有着梦幻般的眼睛和微微突出的牙齿。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 13:51, 4 December 2020 (UTC)<br /> <br /> 事实上，我们对于战争的不同反应体现在我们对服装的选择上。比如苏莱卡，一位来自马来西亚偏僻小镇的妙龄女子，她身材娇小，皮肤黝黑，有着闪闪发光的眼睛和微微突出的牙齿。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 00:35, 5 December 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> Like most girls who had a convent education, she was naive to an embarrassing degree. She chose to major in medicine, which means that she had to learn to dissect human bodies. But did the corpses have clothes on or not? The question bothered her, so she was asking people about it. This had become quite a joke around our school. <br /> <br /> A bomb landed next to our dorm, so the warden had to convince us to flee down the hill. Even in such emergency, Suleika did not forget to pack up her most lavish clothes. Against the well meaning advice of many wise people, she somehow managed to transport, in the midst of the gunfire, a big heavy leather trunk of clothes down the hill.<br /> <br /> 她和大多数接受过修道院教育的女孩儿一样，天真无邪，却令人尴尬。她选择学医，这就意味着她必须学习解刨人体。但是尸体穿没穿衣服呢？这个问题困扰着她，于是她就一直问别人。这在我们学校成了一个大笑话。<br /> <br /> 一颗炸弹落到了我们宿舍旁边，所以监狱长不得不劝我们逃下山去。苏来卡即使在这种紧急情况下也没有忘记收拾带走她那些最奢侈的衣服。她不顾许多聪明人的善意劝告，仍设法在枪林弹雨中把一箱厚重的皮衣运下山去。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:23, 4 December 2020 (UTC)<br /> <br /> 像大多数在修道院学习的女孩一样，她天真无邪，却又令人觉得有一丝尴尬。 她选择了医学专业，这意味着她必须学习解剖人体。 但是尸体穿没穿衣服呢？这是个困扰着她的难题，所以她一直向他人请教，以至于这已经成为我们学校的一个笑话。<br /> <br /> 一枚炸弹降落在我们宿舍的旁边，所以监狱长不得不劝服我们逃下山去。即使在这样的紧急情况下，苏莱卡也没有忘记打包带走自己最奢华的衣服，完全不顾智者们的善意建议，仍然想法设法在枪林弹雨中把一箱厚重的皮衣运下山去。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:56, 4 December 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Suleika then joined the defense force, working as a substitute nurse for the Red Cross. She was often seen squatting on the ground, hacking firewood to light up a fire, wearing her copper red and dark green silk gown embroidered with the character “shou” (longevity). What a waste, but for her it was all worth it. This smart outfit endowed her with an unprecedented confidence; without that she would not have blended so well with her male colleagues. …… <br /> <br /> Here, Chang’s war stories are interwoven with talks of fashion.<br /> <br /> “Stories from the Ashes,” in ''Heaven and Earth Monthly 5'' (February, 1944).<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> Fashion is no longer a form of creative life that only occupies the space of leisure; rather, it becomes an essential medium through which an individual could finally comprehend the world that is otherwise incomprehensible, name the surroundings that are otherwise unnamable, and determine her own gender and ethnic identities that are otherwise indeterminate.<br /> <br /> The ending of the essay “A Chronicle of Changing Clothes” also consists of a parable:<br /> <br /> ……an autumnal chill in approaching dusk as vendors at a vegetable market prepare to pack up and go home. Fish scraps and pale green corn husks litter the ground.<br /> <br /> <br /> 时尚不再是一种只占休闲空间的创意生活形式。 相反，它成为一种基本的媒介，个人可以通过该媒介最终理解原本无法理解的世界，为原本无法命名的环境命名，并确定本来无法确定的性别和种族身份。<br /> <br /> 《更衣记》这篇文章的结尾也包含了一个寓言:<br /> <br /> ......在临近黄昏的秋意中，蔬菜市场的小贩们准备打包回家。地上散落着鱼屑和浅绿色的玉米皮。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:50, 5 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> A child dashes over on his bike just to show off. He gives out a shout, lets go of the handlebars, and shoots away effortlessly, swaying back and forth all the while. At that split second, everyone on the street watches him with an indefinable admiration. Perhaps in this life that moment of letting go is the very loveliest? <br /> <br /> This scene seems detached from Chang’s detailed descriptions of the transformation of fashion trends, but it can be read a parable of how fashion actually functions in everyday life. It is exactly that moment of “letting go,” that is, the moment that one gains the power and freedom to go beyond immediate material and political conditions, that captures the essence of fashion in Chang’s world.<br /> <br /> Translated by Andrew F. Jones.（注释）<br /> <br /> 一个孩子骑着自行车神气地飞奔过来。他空喊了一声，双手一下松开了车把，任自行车肆意地向前冲，不断地来回摇摆。此刻，街上的人都用一种说不出的羡慕的眼神看着他。也许在这一生中，那一瞬间的放手是最可爱的？ 这一幕似乎脱离了张国荣对时尚潮流转变的描述，但却可以读出时尚在日常生活中的实际作用。恰恰是那种 &quot;放手 &quot;的时刻，也就是获得超越眼前物质和政治条件的力量和自由的时刻，抓住了张国荣世界中时尚的本质。 译者：安德鲁 F. 吉恩斯（注释）--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:55, 5 December 2020 (UTC)Xiao Ting<br /> <br /> 一个小孩骑着自行车冲过来，只是为了炫耀一下自己。他大叫一声，放开车把，然后毫不费力地甩了出去，一路上来回摇晃着。在那一刹那，街上的每个人都带着一种难以形容的钦佩注视着他。也许在这一生中放手的那一刻是最可爱的? <br /> <br /> 这一幕似乎脱离了张国荣对时尚潮流转变的描述，但却可以读出时尚在日常生活中的实际作用。恰恰是那种 &quot;放手 &quot;的时刻，也就是获得超越眼前物质和政治条件的力量和自由的时刻，抓住了张国荣世界中时尚的本质。 译者：安德鲁 F. 吉恩斯（注释）--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:59, 5 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> Here the essay genre not only becomes an open-ended and ongoing process for women writers in their entry into the existing order of the literary world, it also becomes the testing ground where the boundaries between the literary world and the larger social realm become unstable and ever-shifting. Not only life styles can be read as texts, women writers as individuals can become concrete historical subjects within the space allowed by the modern essay. Life is woven together with work, the boundaries between the private and the public are further blurred, and biographical contingencies become important textual devices in constructing a legend of a new era.<br /> <br /> 在这里，散文体裁不仅成为了女性作家进入文学世界的一个开放的、持续的过程，也成为了一个试验场，在这里，文坛和更大的社会领域之间的边界变得不稳定和不断变化。不仅生活方式可以被当成文章阅读，女性作家作为个体也可以在现代散文所允许的空间内成为具体的历史主体。生活与工作交织在一起，私人与公众的界限进一步模糊，传记性的偶发事件成为构筑新时代传奇的重要文本手段。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 09:42, 4 December 2020 (UTC)Xiao Xi<br /> <br /> 在这里，散文体裁不仅成为女作家进入文学世界现有秩序的一个开放性的持续过程，也成为一个试验场，在这个试验场中文学世界与更大的社会领域之间的边界变得不稳定，并且不断变化。不仅生活方式可以作为文本来解读，作为个体的女作家也可以在现代散文所允许的空间内成为具体的历史主体。生活与工作交织在一起，私人与公共的界限进一步模糊，传记的偶然性成为构建新时代传奇的重要文本手段。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:28, 4 December 2020 (UTC)<br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> '''Perspectives on Ideology in the Essay'''<br /> <br /> '''Zhu Ziqing, Frantz Fanon, and the Fierce White Children'''<br /> <br /> ''Daniel A. Fried''<br /> <br /> '''Abstract'''<br /> <br /> All genres contain political possibilities, but the essay seems entitled to a particularly strong claim on politics. In the Chinese modernist context, it should be clear that one cannot understand the development of nationalism without reference to the huge body of political essays published in decades of periodicals, and equally clear that one must take stock of nationalist writings in trying to understand the generic qualities of the essay. And within our international scholarly dialogue, it seems necessary to locate the modern Chinese essay with regard to the various postulates of postcolonial theory.<br /> <br /> “论文中的意识形态观点”<br /> <br /> “朱自清，弗朗茨·法农，和凶猛的白人孩子”<br /> <br /> “丹尼尔A.弗里德”<br /> <br /> “概要”<br /> <br /> 所有体裁都包含政治可能性，但这篇文章似乎有权对政治提出特别强烈的主张。在中国现代主义环境中，我们应该清楚地看到，如果不参考几十年期刊上发表的大量政治文章，就无法理解民族主义的发展；同样，我们必须审视民族主义作品，试图理解这篇文章的共性。在我们的国际学术对话中，似乎有必要根据有关后殖民理论的各种假设来定位中国现代散文.<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 11:25, 3 December 2020 (UTC)Xiao Yining<br /> <br /> ==Xie Fan 解帆==<br /> <br /> This is not easy--the relation of Chinese materials to theory has of course been debated at length, with wide disagreements over the applicability of the standard models. Indeed, the applicability of postcolonialism to several literatures has been questioned as critiques of essentialized difference have been turned against the general conclusions of postcolonial discourse itself. While theoretical contextualization of Chinese political essays seems necessary, there is no critical consensus on what theories to apply.<br /> <br /> This paper will attempt to contextualize by ignoring the oversimplified question of whether postcolonial theory is or is not applicable to Chinese modernist essays. <br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> Instead, it seeks to perform a case study in theoretical analysis of a Chinese essay which goes beyond the simple importation of “foreign” theory, to suggest the outlines of dialogue between scholars of Chinese and other anticolonial nationalisms. Specifically, it compares Zhu Ziqing's experience of a white childs gaze in the essay, “White People--God's Proud Children!” to a similar experience of Frantz Fanon recorded in his canonical ''Black Skin, White Masks''. Using the theme of the racial others gaze as a methodological allegory, it seeks to show how these two texts can be made to “gaze” at each other, to inform each other in ways which are theoretically suggestive while respecting local difference.<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> While Zhus essay seems in many ways to perfectly invoke the most familiar tropes of “Western” theory, Zhu's reaction to the gaze is ultimately opposite to Fanon's, and demonstrates how anticolonial writing is enmeshed both in internationa lpsychological constants and local historical variables.<br /> <br /> Scholarly investigation of the modern Chinese essay as a genre demands some attention to the questions posed by postcolonial theories. The same could be said of all genres of the period, but the essay has a special claim on postcolonialism. All genres were used politically, but the essay was usually seen in high modern China as the prime vehicle for explicit politics, the forum best suited for debate and rebuttal, and explication of specific political programs. <br /> <br /> ==Xu Jing 许晶==<br /> <br /> Of course, there is no scholarly consensus in the field as to the extent to which postcolonial theories can or cannot be applied to modern Chinese literature. For example, Rey Chow in her 1993 ''Writing Diaspora'' produced a well-known critique of the resistance to theory by scholars of Chinese literature, arguing that the claims of untheorizable Chinese particularity are merely reintroductions of an old Orientalist cultural essentialism. Last year, Leo Lee concluded his study of Shanghai urban culture by restating the very same arguments which Chow had dismissed, making the case that theory based on native internalization of the Western “othering” gaze was not directly applicable because the Western imperialist presence in China, even in the Shanghai concession zones, never gained the colonialist control over language and education that produced such psychic disruptions in other societies. <br /> <br /> Rey Chow, ''Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies''. (Bloomington: Indiana University Press, 1993).（注释）<br /> <br /> <br /> 当然，关于后殖民理论在何种程度上可以适用于现代中国文学，学界并没有达成共识。例如，周蕾在1993年的《离散书写》中，她就中国文学学者对理论的反抗提出了一个著名的批评，她认为，不可理论化的中国特殊性，只不过是对古老的东方主义文化本质主义的重新引入。 去年，李欧梵通过重述周蕾曾否定的相同观点，结束了他对上海都市文化的研究，从而证明了该理论是基于西方“他者化”的本土内化，不能直接适用。因为在中国，哪怕是在上海租界，西方帝国主义的存在从未获得殖民主义者对语言和教育的控制，而这种控制在其他社会中造成了这种心理混乱。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:57, 4 December 2020 (UTC)<br /> <br /> 当然，关于后殖民理论在何种程度上可以适用于现代中国文学，学界并没有达成共识。例如，周蕾在1993年的《离散书写》中，她就中国文学研究学者对理论的反抗提出了一个著名的批评，她认为，不可理论化的中国特殊性，只不过是对老式的东方主义文化本质主义的重新引入。 去年，李欧梵通过重述周蕾曾否定的相同观点，总结了他对上海都市文化的研究，从而证明了该理论是基于西方“他者化”的本土内化，不能直接适用。因为在中国，哪怕是在上海租界，西方帝国主义从未获得殖民主义者对语言和教育的控制，然而这种控制却在其他社会中造成了这种心理混乱。<br /> Rey Chow，Writing Diaspora：Tactics of Intervention in Contemporary Cultural Studies. (Bloomington: Indiana University Press, 1993).（注释）。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:15, 5 December 2020 (UTC)Xiao Ting<br /> <br /> ==Xu Jing 许静==<br /> <br /> We must stutter out some engagement with postcolonial theory, but how can one proceed without the safety of scholarly consensus? One could dive into polemics, but a decision that either theory is or isn't always applicable to Chinese literature assumes the existence of twin essentialized monoliths called “theory” and “Chinese literature.” We need more nuanced approaches. In fact, the terms of mainline postcolonial theory do furnish the conceptual tools with which one can derive one such approach. The very familiar discussions of the gaze of the imperial subject toward the colonized other can be employed as a metaphor for our own predicament. <br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> <br /> One of the major variations on this theme, deriving from the writings of Frantz Fanon, should be familiar: by their imperial gaze, aggressor cultures try to lock their colonized subjects into a perpetual Otherdom, with the aggressor National Subject claiming for itself a transcendent metaphysical Selfhood; colonized individuals must view themselves as Other and therefore are alienated from themselves. The solutions the discourse has found are ways in which those individuals can subvert that Otherdom in order to reclaim for themselves a new or reconstituted Selfhood. The goal is not to fall into nativist atavism and rejection of the metropole, but to eliminate dominance and blur the margins of identity, allowing a more healthful parity in the identification dialectic between colonizer and colonized.<br /> 弗朗兹·法农的作品中产生了这一主题的主要变题之一，大家应该对此都很熟悉：在帝国主义的视角下，侵略者文化尝试将殖民对象封锁进永恒的他者国度，只有侵略国家自称为超验的形而上学的自我：被殖民的人必须把自己当做他者因此只能异化。对于这一问题找到的答案便是通过推翻他者国度从而为自己重建一个自我。目的不在于陷入本土主义者的返祖主义，拒绝城市，而是削弱统治，使身份边界模糊化，让殖民者和被殖民者在身份的辩证识别上有更健康的对等。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:06, 4 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> <br /> If it is a common complaint that postcolonial theory is a creation of the metropole which should not be allowed to dominate local Chinese historical experience, the solution should not be nativist assertion of Chinese difference and superiority, with consequent ignoring of the varied experiences of imperialism from which the systems of theory have been derived. Rather, once we reject the notion that metropolitan theory has an omniscient gaze which alone possesses the right to define the meaning of Chinese texts, we are free to see how Chinese and non-Chinese experiences of imperialism can inform each other, through their mutual attractions and tensions which complicate questions of identity.<br /> <br /> 如果人们普遍认为后殖民理论是大都市的创造，不应让其支配中国本土的历史经验，那么解决办法就不应是本土主义武断地主张中国的差异和优越性，一直忽视理论体系是从帝国主义的各种经验是衍生出来的。相反，一旦我们拒绝了大都市理论无所不能、只有它才有权定义中文文本的含义的观点，我们就可以自由地看到，中国和非中国的帝国主义经历是如何通过它们的相互吸引和紧张关系——这使身份问题复杂化——相互交流。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:39, 3 December 2020 (UTC)Xu Pengfei<br /> <br /> 如果人们普遍抱怨后殖民主义理论是大都会的产物，且不应允许它主导中国本土的历史经验，那么，解决的办法就不应是本土主义地宣称中国人的差异性和优越性，从而忽视理论体系所衍生的各种帝国主义的经验。相反，一旦我们摒弃了大都会理论的全知角度，那就是它独自拥有定义中国文本意义的权利，我们就可以看到中国人和非中国人的帝国主义经验如何通过他们的相互吸引和紧张关系来相互交流，而这使认知问题变得复杂。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 06:29, 4 December 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> As an example of how to do this sort of theoretical application, I propose in this paper to compare Frantz Fanon's “The Fact of Blackness” (a chapter of his canonical ''Black Skin, White Masks''), with a little-known essay by Zhu Ziqing, “White People-God's Proud Children!” Both pieces focus on the narrators' experiences of meeting the gazes of white children, and thus invoke classic themes which allow easy access to theoretical considerations even in the midst of a particularistic analysis. And because both describe politicized experience, they avoid the old Orientalist dichotomy of Western theory vs. native experience. Both Fanon and Zhu are equally theoretical and experiential, and they inform each other.<br /> <br /> 作为如何进行这类理论应用的例子，我在本文中拟将弗朗茨·法农的《黑的事实》（他的典籍《黑皮肤，白面具》中的一章）与朱自清的一篇鲜为人知的文章《白种人，上帝的骄子！》进行比较。这两篇作品都聚焦于叙述者与白人儿童目光交汇的经历，因此引用了经典的主题，即使在特殊主义的分析中，也能很容易进行理论思考。而且由于两者都描述了政治化的经验，因此避免了西方理论的老东方主义与本土经验的抉择。弗朗茨和朱自清都同样具有理论性和经验性，且互相借鉴。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:35, 3 December 2020 (UTC)Yang Chenting<br /> <br /> 作为如何进行这类理论应用的一个例子，笔者拟在本文中对弗朗茨·法农的《黑人的事实》(他的经典《黑皮肤，白面具》中的一个章节)与朱自清鲜为人知的文章《白种人——上帝的骄子!》进行比较。这两篇文章都聚焦于叙述者与白人儿童目光相遇的经历，因此援引了经典主题，即使在进行具象分析中，也能很容易地进行理论思考。而且因为两者都描述了政治化的经验，他们避免了西方理论与本土经验的古老东方主义之争。法农和朱自清都具有同样的理论和经验，且相互借鉴。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:12, 3 December 2020 (UTC)<br /> <br /> [[File:Example.jpg]]==Yang Hairong 杨海容==<br /> <br /> “The Fact of Blackness” is Fanon's analysis of a black man's frustration in attempting to create a viable self-identity in the France of the 1950's. Analysis in the psychoanalytic sense, not the scientific-sociological one; or, better still, ''self-analysis'', for the chapter is cast in the form of a first-person narrative. Fanon writes a sort of psychoanalytically fueled prose poem. There are few objective assertions made about “the way it is”; the problem is seen from what appears to be the inside of a black man's head, what he feels and how he reacts to the shiftingly solid front of White France arrayed against him..<br /> <br /> Not necesssarily Fanon's. In his introduction, Fanon writes that in this chapter, “we observe the desperate struggles of a Negro who is driven to discover the meaning of black identity.&quot; Frantz Fanon, Black Skin, White Masks. Trans. Charles Lam Markmann (New York: Grove Press, 1967) 16. The wording here suggests a fictional narrator. Nonetheless, one guesses that it is a fictualized Fanon, and I will use “Fanon” as a convenience in place of “the narrator” for the remainder of this paper.（注释）<br /> <br /> <br /> “黑人事实”是法农（Fanon) 对黑人试图在1950年代的法国创造可行的自我身份的挫败感的分析。心理分析意义上的分析，不是科学社会学意义上的分析；或更好的是“自我分析”，因为本章以第一人称叙述的形式呈现。法农写了一首精神分析的散文诗。很少有人对“现状”作出客观的断言;这个问题可以从一个黑人的大脑内部看出来，他的感受，以及他对反对他的法国白人坚实的立场的反应。<br /> <br /> <br /> 不一定是法农的。法农在其引言中写道，在本章中，“我们观察到黑人被迫探索黑人身份的绝望斗争。”法兰兹·范农，《黑皮肤，白色面具》，查尔斯·林·马克曼译（纽约：格罗夫出版社，1967年）16.这里的措辞暗示着一个虚构的叙述者，尽管如此，有人猜测这是一个虚构的法农，在本文的其余部分中，我将使用“范农”代替“叙述者”。 （注释）--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:01, 5 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> Some of the most striking and most quoted parts of this narrative are Fanon's attempts to deal with the intrusive voice of the white child who cries out in fear of him:<br /> <br /> “Look, a Negro!” It was an external stimulus that flicked over me as I passed by. I made a tight smile.<br /> <br /> “Look, a Negro!” It was true. It amused me.<br /> <br /> “Look, a Negro!” The circle was drawing a bit tighter. I made no secret of my amusement.<br /> <br /> “Mama, see the Negro! I'm frightened!” Frightened! Frightened! Now they were beginning to be afraid of me. I made up my mind to laugh myself to tears, but laughter had become impossible.<br /> <br /> <br /> <br /> 这段叙述中最引人注目和引用最多的部分是 Fanon 试图处理白人儿童因害怕他而大声呼喊的侵扰性声音：<br /> <br /> “看，一个黑人！”当我经过时，一种外在的刺激掠过我的心头。我笑得很紧。<br /> <br /> “看，一个黑人！”是真的。我很开心。<br /> <br /> “看，一个黑人！”圆圈越来越紧了。我毫不掩饰我的乐趣。<br /> <br /> “妈妈，看那黑鬼！我吓坏了！”害怕！害怕！现在他们开始害怕我了。我下定决心要笑得流泪，但笑已经变得不可能了。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:18, 3 December 2020 (UTC)<br /> <br /> 这段叙述中最引人注目和最常被引用的部分，是法侬试图处理那个白人孩子因为害怕他而大叫的侵扰声音:<br /> <br /> “看,一个黑人!”这是一种外部刺激，当我经过时，它掠过我的头顶。我紧张地笑了笑。<br /> <br /> “看,一个黑人!”这是真的。这太好笑了。<br /> <br /> “看,一个黑人!”圆圈变得更紧了。我毫不掩饰自己的快乐。<br /> <br /> “妈妈，你看那个黑人!我害怕!”吓!吓坏了!现在他们开始害怕我了。我决定笑得流泪，但笑已经变得不可能了。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:14, 3 December 2020 (UTC)<br /> <br /> 这种叙述中一些最引人注目和被引用最多的部分是法农试图处理白人儿童因为害怕他而大声疾呼发出的侵扰声音：<br /> “看，一个黑人！”这是一种外部刺激，当我经过时，它掠过我。我紧张地笑了。<br /> “看，一个黑人！”这是真的。它逗乐了我。<br /> “看，一个黑人！”圆圈画的更紧了。我掩饰不住快乐。<br /> “妈妈，看黑人！我害怕！”害怕！害怕！现在他们开始害怕我了。我下定决心笑出眼泪，但笑声已经变得不可能了。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:41, 3 December 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> In this passage as elsewhere in the chapter, there are many voices accusing Fanon, yet the voice of the child has a special bluntness, one that hits Fanon harder. Beneath that voice, his attempt to defend himself through an ever-increasing amusement is undone; the child unmasks his anguish. He is for Fanon not just a historical boy, nor an empirical average of thousands of trembling boys, but a resonance of something deeper within Fanon's narrative. Fanon does not devote an inordinate amount of space to the child, and it would be an exaggeration to say that the appearances of this child constitute the thematic center of his chapter. <br /> <br /> ==Yang Yue 杨悦==<br /> <br /> Nonetheless, the white child does play a crucial role, as he is in fact a grotesque foil for Fanon's own exasperated narrative voice, which is a rewriting, for race, of narratives of developmental psychology. In particular, Jacques Lacan's famous theory of the “mirror stage” is clearly its primary inspiration. Even though Fanon never makes explicit reference to Lacan or “The Mirror Stage” in the chapter, such references are numerous in Black Skin, White Masks as a whole-there is no doubt that Fanon knew the paradigm well. And the structure of his narrative runs suspiciously parallel to Lacan's explications, so much that it might be fair to call “The Fact of Blackness” an ironic rewriting of “The Mirror Stage.”<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> Lacan's theory is complex, moving in unexpected directions and drawing different sets of conclusions. But all are sourced in the moment of a baby before a mirror, fascinated to discover itself for the first time. The stage at which this critical fascination can occur lasts from the age of six to eighteen months, according to Lacan, and its primary importance is in providing the infant with a temporary shortcut to mature subjectivity. In his words, the mirror “precipitates” the child's I in a “primordial form, before it is objectified in the dialectic of identification with the other, and before language restores to it, in the universal, its function as subject.” <br /> <br /> ==Yao Cheng 姚诚==--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:04, 4 December 2020 (UTC)<br /> <br /> In contrast, Fanon only reaches his version of the mirror stage ''after'' passing through objectification and restoration to subjectivity. His “mirror stage” is precisely the quest for subjectivity narrated through the “plot” outlined above. But this plot is skewed¬-consider Lacan's discussion of the mirror stage itself:<br /> <br /> The fact is that the total form of the body by which the subject anticipates in a mirage the maturation of his power is certainly more constituent than constituted, but in which it appears to him above all in a contrasting size (''un relief de stature'') that fixes it and in a symmetry that inverts it, in contrast with the turbulent movement that the subject feels are animating him.<br /> <br /> 相比之下，法农只有在经过客观化并恢复到主观性后，才能“达到”他的镜像阶段。 他的“镜像阶段”正是要追求上述“情节”中描述的主体性。 但是此情节是有失偏颇的，请思考拉康对镜像阶段本身的讨论：<br /> <br /> 事实是，主体总形式当然更多是构成成分而不是已构物，因为学科通过主体总形式在思维中预估其力量是否成熟。但是在他看来，主体首先是一个对比大小的个体（“形体突出”），这一个体将其固定并使其对称反转，这与对象感觉到正在使他动起来的湍流运动相反。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:17, 4 December 2020 (UTC)<br /> <br /> 相比之下，法农只有在经过客观化并恢复主观性后，才能“达到”他的镜像阶段。他的“镜像阶段”正是要追求上述“情节”中描述的主体性。 但是此情节是有失偏颇的，需要考虑拉康对镜像阶段本身的讨论：<br /> <br /> 实际上，主体总形式当然更多是构成成分而不是已构物，因为学科通过主体总形式在思维中预估其力量是否成熟。但是在他看来，主体首先是一个对比大小的个体（“形体突出”），这一个体将其固定并使其对称反转，这与对象感觉到正在使他动起来的湍流运动相反。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:04, 4 December 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> Fanon's mirror is of course the White. In that mirror he is inverted, re-created as an image exactly opposite to his own reality, and it is only through that inversion, that ''perversion'' of his Self that he is allowed to know himself. And, moreover, that inversion is ''fixed'' in the mirror, as Fanon puts it, fixed as a chemical solution is fixed by a dye. No matter how Fanon questions, no matter what rhetorical tack he chooses to confront the mirror, it refuses to give back any other image. Does Fanon feel a universal, rational soul animating himself? Does he well up with the turbulence of an earth-poetry that takes him to the magic font of his humanity? It does not matter. The mirror is impervious and flat. His image is fixed.<br /> <br /> ==Yi Huan 易欢==<br /> <br /> Lacan tells us that the function of the mirror stage “is to establish a relation between the organism and its reality - or, as they say, between the ''Innenwelt'' and the ''Umwelt''.” For Lacan, it is the organism itself which determines and creates the relation, it creates its reality, but Fanon feels himself to be “overdetermined from without,” he is created by the White reality.<br /> <br /> That relation is an average of many different species of dominance. But perhaps more than any other, it is the dominance of an adult over a child. Listen again to the voices which fix Fanon: “Understand, my dear ''boy'', color prejudice is something I find entirely foreign.” <br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> “Gently, in the tone that one uses with a ''child'', they introduced me to the existence of a certain view that was held by certain people.” “now and then when we are worn out by our lives in big buildings, we will turn to you as we do to our ''children''-to the innocent, the ingenuous, the spontaneous. We will turn to you as to the ''childhood'' of the world.” (italics mine) The White mirror thus fixes Fanon as a perpetual infant, the Black “boy” who embodies youthful naiveté. He knows he is in the mirror stage, he is an infant who has already read Lacan, and he is desperate to find in the mirror the image which will allow him to realize his ''I'', but the mirror always gives him back his infant inverse. He cannot realize himself, he can never leave the mirror stage, he is ''fixed''.<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> The white child is thus a point of entry into the subsurface struggle of the text. The child is Fanon's parallel and his foil: “look, a nigger, it's cold, the nigger is shivering because he is cold, the little boy is trembling because he is afraid of the nigger, the nigger is shivering with cold, the cold that goes through your bones, the handsome little boy is trembling because he thinks that the nigger is quivering with rage, the little boy throws himself into his mother's arms: Mama, the nigger's going to eat me up.”[ Fanon, 114.] The boy mirrors Fanon, but ironically: his freedom to be afraid, his freedom even to see an Other that is not synonymous with the Self[ Fanon asserts thtat the black is not Other to the white, but his argument is that the white claims he does not need to go through identification with the black-as-Other in order to come to a realization of the Sel; on the contrary, White simply “is”; black is not-White. But though the white does not idenify through the black Other, this of course does not mean that Fanon is asserting that the white does not identify the black as Other.] is a mockery of the boyhood which Fanon cannot escape. One might even profitably read this mirroring as a form of mimicry. <br /> <br /> ==Yu Ni 余妮==<br /> <br /> In standard postcolonial discourse, “mimicry” refers to either a pseudo-imitation forced on the colonized by the colonizer who wants the colonized to “be like” the colonizing cultural model, but not identical to it; or it can refer to deliberate ironization of such models by the colonized. Either case results in what Homi Bhabha calls a “double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority.”[ Homi Bhabha, The Location of Culture (New York: Routledge, 1994) 88.] However, as Diana Fuss notes, “the mimicry of subversion can find itself reinforcing conventional power relations rather than eroding them.”[ Diana Fuss, Identification Papers (New York: Routledge, 195*) 147.] Fanon's experience is just such a case - the mimicry is the white boy's, not Fanon's, and its effect is not at all disruptive, but reinforces the conventional power relations. <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> The boy thinks he is in danger of assault and trembles; in fact, it is Fanon who trembled first, who is the one really exposed to violence, and who is in fact ''being assaulted'' by the boy's unwitting mimicry of his weakness.<br /> <br /> The white child is thus a cruel unwitting joker who offers Fanon seeming doors of rhetorical escape into maturity, then frustrates him, turns him back on himself, locks him into the image of “the childhood of the world.” And the most destructive part is that the child does not know he is the god's mask; he screams as an innocent and can leap to the mother's arms. Fanon screams, and the monstrous mirror stays silvery and cold: it inverts and it fixes, but it never recognizes.<br /> <br /> “White People-God's Proud Children!” was written in direct response to (and less than three weeks after) the “May 30 Massacre.”<br /> <br /> 男孩认为自己有被攻击的危险，吓得发抖;事实上，首先颤抖的是法龙（Fanon），真正遭受暴力的是法龙，实际上也是法龙被男孩在不知情的情况下模仿自己的弱点所攻击。<br /> 因此，这个白人孩子是一个残忍的、不知情的小丑，他为法农提供了看似可以逃避语言的大门，让他走向成熟，然后让他沮丧，让他回归自我，把他锁在“世界的童年”的形象中。最可怕的是，这个孩子不知道自己是上帝的面具;他像个无辜的孩子一样尖叫，然后跳到妈妈的怀里。法农尖叫了一声，巨大的魔镜依旧银光闪闪，冰冷冰冷:它颠倒着，固定着，但永远也认不出来。<br /> “白人——上帝的骄傲的孩子!”是对“5月30日大屠杀”(不到三周后)的直接回应。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 03:05, 4 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> In mid-May of 1925, factory workers at a Japanese plant in Shanghai went on strike, and then stormed the factory grounds, demanding back wages. The Japanese managers shot and killed the strike leader and injured several others, prompting more general strikes at other Japanese factories by 20,000 workers. Students soon joined the workers in protest, and several were arrested inside the foreign concessionary zone. On May 30, the date scheduled for the trial of those arrested, 2,000 students marched on the concessionary zone demanding the release of the students and workers. In response, British troops arrested a hundred of those assembled. News of the new arrests spread rapidly, and by later that day, several thousand Shanghainese of different levels of society had surrounded the Nanjing Road jail where the protesters were being held, demanding their release. At this point, the British opened fire, killing a dozen or so Chinese and wounding several dozen.<br /> <br /> 1925年5月中旬，上海一家日本工厂工人罢工，然后冲进工厂，要求讨回工资。工厂日本经理射杀了罢工领袖，打伤数名工人，导致其他日本工厂2,0000工人发起了更大规模的罢工。学生很快加入工人抗议，随后部分学生在租界遭到逮捕。5月30日原定是遭逮捕的工人和学生受审日子，2,000学生在租界游行示威，要求释放学生和工人。作为回应，英国士兵逮捕了数百名示威者。这一消息很快传开来，当天晚些时候，几千名上海社会人士包围了关押抗议者的南京路监狱，要求释放他们。鉴于此，英军开火，射杀了十几名中国人，打伤几十中国人。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 13:50, 3 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> Nationwide protests of various sorts erupted immediately, including several literary protests, two by Zhu: “Blood Song,” an incendiary poem composed on June 10, and “White People,” written nine days later.<br /> <br /> The essay never refers explicitly to the May 30 incident; rather, it is the narration and explication of an incident which Zhu experienced on a Shanghai city trolley. After boarding and going to the first-class seats, Zhu sits down across from two white people, apparently a father and son. Zhu marvels at the lovely features of the boy, who looks eleven or twelve, and then goes into an explanation of how he has been fascinated with children ever since a friendship in elementary school with a shy younger boy named Liu Jun. He admits that he loves to stare at young children, and that he stared therefore at the white child. <br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> Unlike most children, disturbed by his staring, the white child appears to take no notice, but then, when he and his father are about to get off the trolley, the child flashes a violent, mimicking stare back at Zhu. The author hears words in the stare: “There were words in his eyes: 'Hah! Yellow man, yellow chinaman, you-you go ahead and look! You are worthy of looking at me!” Zhu feels this stare as a physical assault, and feels first terrified, and then patriotically enraged. He then explains his desire for a nationality-trumping universalism, but also doubts its possibility, since such a young child had already been socialized into acceptance of racist categories. Yet he praises the child for exhibiting masculine forcefulness, and claims that this is “what makes whites white.” Finally, he declares himself conflicted on the subject of nationalism versus universalism, ending the essay unresolved.<br /> <br /> 与大多数孩子不一样，这个白人小孩对于朱自清的打量毫不在意，但当白人小孩和他的父亲准备下电车时，那个孩子怒目回望了朱一眼。朱从该怒视里读出：“哈，黄种人，黄种中国人，你继续看吧！你也就配看着我的份了！”朱从中感到一种身体上的攻击，一开始觉得害怕，然后带有爱国主义的愤怒喷涌而出。他在文中解释道，这样一个年幼的孩子都已经为社会所同化，接受了种族主义的范畴，虽然自己渴望国籍优先的普遍主义，但同时也怀疑这个普遍主义的可能性。然而，他赞赏这个孩子表现出的男性之力量，同时也认为这点是“白人的典型特征”。最后，他对于民族主义和普遍主义的问题上产生了矛盾，直到文末该问题也悬而未决。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 03:33, 4 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> Given the Fanon-inspired traditions of Western postcolonial invocations of the Other, one might from a Western perspective expect Zhu to react to the gaze of the child with a crisis of ''personal'' identity. This is, after all, Fanon's Odyssean quest in “The Fact of Blackness”: to negotiate or seize for himself a space for valued selfhood against the demeaning voices of White France which try to lock him into an Otherness to itself, to himself , to the possibility of humanity. Zhu's reaction certainly fits, in name, the Self-Other trope: he experiences the white child as very White and Other. And the incident deeply traumatic: “This sudden assault made me panic; my heart was void, on all sides there was a very heavy pressure, making me unable to breathe freely.” But the incident does not fit the mirror-stage model as transmitted by Fanon. <br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> There is no reference to psychical development, and therefore no hint that the quasi-colonialist aggression experienced through the gaze is constitutive, that it denies an authentic Chinese subjectivity to Zhu and replaces it with an ironclad Otherness to himself.<br /> Rather, it confirms Zhu's sense of self by provoking an immediate nationalistic response. After recovering from the shock of the gaze, he immediately “was filled with a pressing nationalistic feeling!” He then reflects on the child's face and action and straightaway abstracts them into a symptom of history:<br /> <br /> That which made me panic and feel terrified, was that this one lording it over me, trampling me, was no one but...a ten year-old white “child”! I always have felt that children belong to the world, and ought not to be of a single race, country, town, or family...<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> But this ten year-old white child...had already understood the situation well enough to use racial advantage and national power to assault me with a thrust of his face. This assault was actually the small shadow of multiple assaults, and his face was the small-print version of a history of Chinese foreign relations.[ Zhu Ziqing, Zhu Ziqing Quanji, Vol. 1 (Jiangsu, Jiangsu Educational Press) 45.]<br /> <br /> Despite our Fanon-inspired suspicions about his psychology, Zhu insists that the shock he received, the pressure, the difficulty breathing, was the result of his ''theoretical'' realization that the child was not innocent but had already been corrupted into the fabric of violence from which Sino-Western relations had been cut. The normal, the psychological-these responses are leapt over, the incident is abstracted directly into a symptom of history. And, at least on the surface, this fact might seem to confirm the anti-theoretical position which claims that postcolonial criticism is irrelevant to China because China never sunk into full colonial status.<br /> <br /> 但是这个十岁的白人孩子已经非常了解这种情况了，甚至可以利用种族优势和国家权力以他的面目攻击我。 这次袭击实际上是多次袭击的一个小阴影，而他的脸则是中国对外关系史的缩影。【朱自清，朱自清全集 卷1（江苏，江苏教育出版社）45.】<br /> <br /> 尽管我们受到法农的影响进而对他的心理学表示怀疑，但朱坚称，他受到的震惊，压力，呼吸困难是他“理论上”意识到孩子不是无辜的，而是被中西关系断绝所产生的暴力侵蚀。<br /> 正常的，这些心理的反应被跳过了，事件被直接抽象为历史的象征。 而且，至少从表面上看，这一事实似乎证实了反理论立场，该立场声称后殖民批评与中国无关，因为中国从未陷入完全的殖民地状态。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:36, 3 December 2020 (UTC)<br /> <br /> 但是这个十岁的白人孩子……已经非常了解这种情况了，他可以利用种族优势和国家权力的面目攻击我。这次袭击实际上是数次袭击的影子，而他的脸则是中国对外关系史的缩影。【朱自清，朱自清全集 卷1（江苏，江苏教育出版社）45.】<br /> <br /> 尽管我们受到法农的影响进而对他的心理学表示怀疑，朱坚称，他受到的震惊，压力和呼吸困难，是他从“理论上”认识到这个孩子不是无辜的，而是已经腐坏成中西关系已被割断的、暴力的结果。跳过正常的心理的反应，这个事件被抽象成历史的症状。而且，至少从表面上看，这一事实似乎证实了反理论立场，该主张声称后殖民批评与中国无关，因为中国从未陷入完全的殖民状况。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 03:42, 4 December 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> One could easily derive a trajectory from comparative history to the differences in the two men's encounters with white children, a trajectory whose terms are familiar but worth rehearsing. Fanon's Martinique was almost totally cut off from racial history, national language, and cultural identity. Any nationalism that arose from such soil would have had to have been as a reconstruction of African identity from zero, an almost impossible task. Therefore, Fanon's text has to start from the postcolonial present, analyzing the continuing damage of racism on subjugated black communities. Most of China, despite the extreme cultural upheavals which it experienced in reaction to Western aggression, never sunk into full-fledged colonial status; and therefore this aggression remained for the most part an influential and traumatic margin to the mainstream development of Chinese historical identity. There was no slavery, no tabula rasa, not even in Hong Kong and Macao, or Taiwan and “Manchuria.” <br /> <br /> ==Zhang Hui 张慧==<br /> On the contrary, the experience of aggression undoubtedly strengthened national consciousness; and in modernist writings such as the one in question, it is rare to read a moment of experience of the Western Other as such which does not resort to some form of nationalism.<br /> <br /> Up to a point, this sort of analysis is useful. Certainly, it would be dangerous to move directly from historical sketches to windy declarations about the differences between African and Chinese literature. But the standard history does happen to match the particulars of these two authors' educational trajectories. The surface, then, of “White People” is simple and obvious in comparison with Fanon's text, forgoing psychological brooding to go straight to the main course of national pride. <br /> <br /> And yet, one wonders what lurks in the essay's depths, for this is a very unusual piece in Zhu's oeuvre.<br /> <br /> 相反，侵略的经验无疑加强了民族意识；在现代主义的著作中，如有关的著作中，很少读到对西方他者这样的经验不诉诸某种形式的民族主义的时刻。<br /> <br /> 在某种程度上，这种分析是有用的。当然，如果直接从历史素描转向关于非洲文学和中国文学差异的风马牛不相及的宣言，是很危险的。 但标准的历史确实恰好符合这两位作家教育轨迹的特殊性。 那么，与法农的文字相比，《白衣人》的表面是简单而明显的，放弃了心理上的沉思，直奔民族自豪感的主菜。 <br /> <br /> 然而，人们不禁要问，这篇文章的深处到底潜藏着什么，因为这是朱的作品中很不寻常的一篇。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 3 December 2020 (UTC)<br /> <br /> <br /> 相反，侵略的经验无疑增强了民族意识。 在诸如此类的现代主义著作中，很少有人会读到西方他人的经历，因为这种经历不诉诸某种形式的民族主义。<br /> 到目前为止，这种分析是有用的。 当然，直接从历史速写转变为关于非洲和中国文学之间差异的风马牛不相及的宣言将是危险的。 但是，标准的历史确实与这两位作者的教育轨迹相吻合。 因此，“白人”的表述与法农的著作相比是简单而明显的，它放弃了对民族自豪感的直觉。<br /> 然而，人们不禁要问，这篇文章的深处到底潜藏着什么，因为这是朱自清的作品中很不寻常的一篇。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:19, 3 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Normally, Zhu Ziqing is one of the last authors one associates with fiery nationalism; rather, he is usually preoccupied with just the sort of psychological introspection which characterizes Fanon's text. Furthermore, the essay was written more than a year after the original trolley ride-could the strangely quick transition from individual experience to nationalist reflection be at least partly created under the influence to retell the story in the light of the May 30 incident?<br /> <br /> If one willfully forgets about the May 30 context of the essay and focuses on the details of the incident as Zhu narrates them, then a second and separate level of interpretation opens in the essay, one much more pregnant with Fanon-like psychological trauma. The widest portal to the inside of this essay is also its obvious crux: i.e., the white child's stare. The key to this portal is that that stare, as it happened empirically, was complete unto itself. <br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> It was an act, an aggressive act, unaccompanied by words. When Zhu tells us that “there were words in his eyes,” he wants us to believe that the words came from the child himself, and in fact we can certainly believe that that is how Zhu experienced the stare, that he felt the hate speech jabbing out at him from those astonishing eyes. But yet the language admits its paternity: not the child, but Zhu himself. Zhu creates the meaning around the act of the stare, and his entire explication of the problem of racism is based, not upon what he hears, but upon what his unconscious hermeneutic tells him that he hears. Whereas Fanon lives in a shadowy world of little but voices shouting, “look, a Negro!” to Zhu there are no voices at all, only a reality of trolleys and white skin and violent stares to which he himself has to supply the verbal accompaniment.<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> This is absolutely not to say that Zhu's experience of racism is imaginary, that he “shouldn't be so sensitive,” as racists say. No doubt, the child was acting racistly. But it is important to notice that the racism which Zhu attributes to the child is a simple one: the child is figured as a self-assured, mature, masculine aggressor; in fact all of these qualities which Zhu feels are surely exaggerated. He might have suspected that prepubescent white children are somehow super-matured macho-men, but hopefully we know better. For Zhu's stare was not the first the boy had received. Anyone who has had the experience of living as a racial minority in a non-pluralistic society knows what it is like to be stared at constantly; this is in fact the primary condition of Fanon's experience which makes “The Fact of Blackness” possible. <br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> Thus, in this regard, Fanon is perhaps closer to the boy than to Zhu; or if this is too strong, we could say that Fanon is split between the boy and Zhu, that Zhu shares with Fanon the experience of being dissected by the gaze of the aggressor culture, but that the boy shares with him the constancy of being stared at for being a racial minority. The boy's position in China was obviously much higher than that of Fanon's in France, and therefore the stares he would have received much less negative; yet the mere fact of the constant stare itself can exert an intense psychical pressure, especially on a boy at an age at which deep doubts about his self-identity are forming. This is not at all to excuse the real racist content of the boy's angry glare; but it does suggest that the glare was a lashing-out from a position of weakness and insecurity, rather than from the heel-grinding arrogance which Zhu assumes.<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Moreover, it is Zhu who initiated this discomforting dialogue of stares. Zhu's boy, like Fanon's, is a mimic, although his mimicry is just as problematic. As Homi Bhabha says, “the look of surveillance returns as the displacing gaze of the disciplined, where the observer becomes the observed and 'partial representation rearticulates the whole notion of ''identity ''and alienates it from essence,”[ Bhabha, 89.] but in this case the mimic gaze is the colonizer's , and it returns precisely as the establishment of racial boundaries. Certainly, Zhu felt this mimicry as an example of colonial aggression; it is only the boy who might have thought of the stare in Bhabha's terms, as his defense mechanism against a racially-motivated intrusion into his privacy.<br /> <br /> And Zhu's initiating stare is certainly racial (though not racist); he gloats over the boy's Caucasianness: “His white cheeks dashed with red and his long golden eyelashes revealed a peacefulness and elegance.”[ Zhu, 43.]<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> Zhu, of course, tries to cover this fact; this is the prime rhetorical function of the discussion of Liu Jun. Without that mini-narrative, Zhu would have had to go directly from a description of the boy's whiteness into the boy's violent reaction, thus allowing the reader to assume that Zhu's racial gaze is what produced that reaction, complicating the question of the child's aggression. Instead, Zhu asserts a different reason why he is staring: he simply likes children, he has ever since he used to play with that little Liu Jun boy. Zhu wants to figure his own gaze as mostly aracial and entirely beneficent, a happy celebration of innocence which is met by abrupt, mature, racist aggression, shocking him out of his reveries into a disturbed reflection on nationalism and interracial strife.<br /> <br /> Fine, so be it, Zhu's gaze is completely aracial, despite his gloating about pink cheeks and golden eyelashes. It is not therefore simple. Consider the bizarreness hidden in his self-justification:<br /> <br /> 当然，朱试图掩盖这一事实，这是刘军谈及过的主要的修辞功能。没有那种迷你叙事，朱将不得不直接从描述男孩的苍白转变为男孩的暴力反应，从而使读者认为是因为朱的种族凝视才产生了这种反应，便复杂化了孩子的攻击性问题。相反，朱宣称自己凝视是因为不同的原因，即，他只是喜欢孩子，从那以后，他常常和小刘军一起玩。朱想把他的视线当做与种族无关的，完全善意的行为。当做对纯真的庆祝，然而却突然地遭到了形成已久的种族观念的侵袭。这使他幻想破灭，陷入了国籍和种族冲突的反思中。<br /> <br /> 很好，尽管粉红的脸颊和金色的眼睫毛让他看起来有些沾沾自喜，但朱的凝视完全没带种族含义。考虑到藏在他自我争辩中的怪异，所以这并不简单。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 13:14, 4 December 2020 (UTC)<br /> <br /> ==Zhang Yu 张瑜==<br /> I have always had the sort of temperament whereby if I saw an amusing little child, I would always want to be on intimate terms with him...When I was in the upper grades of elementary school, in the attached building for the middle grades there was a boy named Liu Jun with raven-black Western-style hair, who was truly docile, like a bird....his face was always that undisturbed and earnest, though under his skin there must have burned the fires of intimacy. Several times I invited him to my home, but he was never willing to go; afterwards I didn't see him for two years, and then he died. I cannot forget him! I had held his little hand, and rubbed his round chin. If I meet a young child for the first time, I naturally can't do that, that would be a little awkward; nevertheless, that's unimportant, I can look at him- once, twice, ten times, dozens of times!<br /> <br /> 我向来有种癖气，见了有趣的小孩，总想和他亲热...在高等小学时，附设的初等里，有一个养着乌黑的西发的刘君，真是依人得像小鸟一般...他的脸老是那么幽静和真诚，皮下却烧着亲热的火把。我屡次让他到我家里来，他总不肯；后来两年不见，他便死了。我不能忘记他！我牵过他的小手，又摸过他的圆下巴。但若遇着陌生的小孩，我自然不能那么做，那可有些窘了；不过也不要紧，我可用我的眼睛看他——一回，两回，十回，几十回！--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:22, 3 December 2020 (UTC)<br /> <br /> <br /> 我向来有种癖气，见了有趣的小孩，总想和他亲热……。在高等小学时，附设的初等里，有一个养着乌黑的西发的刘君，真是依人得像小鸟一般……。他的脸老是那么幽静和真诚，皮下却烧着亲热的火把。我屡次让他到我家里来，他总不肯；后来两年不见，他便死了。我不能忘记他！我牵过他的小手，又摸过他的圆下巴。但若遇着陌生的小孩，我自然不能那么做，那可有些窘了；不过也不要紧，我可用我的眼睛看他——一回，两回，十回，几十回！--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:06, 3 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> Any given child probably won't pay much attention to people's eyes, so one can look at him with total freedom; it is not at all like furtive, covered glances at women. I have in the past stared at many children I had just met, and they never once protested, at most they pulled on the hand of their mother next to them, or leant on her knee, or looked at her once or twice. Therefore I was very bold. This time on the trolley my old temperament came back, and I looked again and again at that white child, that young Westerner![ Zhu, 43.]<br /> <br /> ''Sexuality! ''is the obvious cry which rises at the description of Liu Jun: the docility, the meekness, the holding and rubbing, the “fires of intimacy”--these elements conspire to suggest a nascent homosexuality. <br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> Little Liu is dead, now, but there are substitutes swirling all around Zhu; he cannot touch them as he touched Liu, that would be socially impossible, but as a substitute he can stare with impunity, “dozens of times.” And the children do not protest his stares, they are docile-at most they squirm uncomfortably beneath Zhu's visual intrusion into their world. Zhu's relationship with children is therefore predicated by his dominance of them. He says at the opening of the paragraph that he wants to be intimate with children, but it is an intimacy of power forcing itself upon them.[ The evidence for Zhu's child-fetish is strongly corroborated by his other work. Apart from the focus on childhood in works like the famous, “Back Silhouette” (beiying), in another essay of his, “Children,” he goes so far as to explicitly admit to physical child abuse. ]<br /> <br /> Given these strange admissions, one sees Zhu's reaction to the white child's stare as much more complicated. Zhu experiences the stare as racism, and probably rightly so; yet it seems clear that he is also shocked by the reversal of power involved. <br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> He normally enjoys the prerogative of a forced intimacy, dominating children through his gaze, and suddenly he finds, for the first time, a child that fights gaze with gaze, is able to dominate him and usurp Zhu's position as an adult, casting him down into the docility of the helpless child. When Zhu, flabbergasted, constructs a voice to put onto the child, he may be grabbing onto the real racism present in the situation to use as a defense mechanism, changing the subject to avoid the real source of the ego-crushing which is occurring. Zhu protests his amazement that he could be so disturbed by “just a ten year old white 'child'”; yet the entire scenario could never possibly have been played out with an adult.<br /> <br /> Fanon's child is a mirror to him, highlighting the Lacanian crisis of identification which life in France causes him.<br /> <br /> 他通常享有强迫亲密的特权，通过他的目光支配孩子，突然，他发现，第一次有孩子和他对着凝视，这凝视能控制着他，篡夺朱作为一个成年人的地位，让他处于无助孩子的温顺中。当朱陷入惊讶地，想要对这孩子说话时，他可能是抓住现实的种族主义出现在这情况下，用作防御机制，改变主题，以避免正在发生的自我粉碎的真正来源。朱对只有一个十岁的白人孩子感到如此不安，他感到惊奇。但整个场景永远不可能与一个成年人一起进行。法农的孩子如同一面镜子，突出了他在法国的生活所造成的拉康认同危机。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:16, 3 December 2020 (UTC)<br /> <br /> 他通常享有强迫亲密的特权，通过眼色来支配孩子，他突然发现，第一次有孩子用眼神与他对视，篡夺了朱作为成年人的地位，让他处于无助孩子的温顺中。当朱陷入惊讶地，想要对这孩子说话时，他可能是抓住现实的种族主义出现在这情况下，用作防御机制、改变主题，以避免正在发生的自我粉碎的真正来源。朱对只有十岁的一个白人孩子感到如此不安，他感到惊奇。但整个场景永远不可能与一个成年人一起。对他来说，法农的孩子如同一面镜子，暴露出法国生活中拉康认同危机对他的影响。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:43, 3 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> If we in turn take Fanon as a mirror for Zhu Ziqing, his Lacanian analysis throws up interesting images of the incident on the Shanghai trolley. Zhu's white boy is visually even more of a mirror image to him than Fanon's was. The man and the boy gaze at each other across the solid divide; they mutually stare along a joint axis of domination. Of course, Zhu does not have Fanon's psychoanalytic training: he had read some empiricist psychology, but less Freud and of course no Lacan. He cannot wander between psychological theory and personal experience in the same fashion Fanon did.<br /> 如果我们反过来以法农为朱自清的镜子，他对拉卡尼亚主义的分析在上海电车上抛出有趣的事件图像。 在视觉上，朱自清的白人男孩比法农的更像是他的镜像。 男人和男孩在坚固的鸿沟上凝视着对方。 他们沿着共同的支配轴相互凝视。 当然，朱没有接受法农的心理分析训练：他读过一些经验主义者的心理学，但是很少读弗洛伊德，当然也没有拉康。 他无法像法农那样在心理理论和个人经历之间徘徊。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:29, 3 December 2020 (UTC)<br /> <br /> 如果我们反过来把法农当作朱自清的镜子，他的拉卡尼亚主义分析就会对上海电车事件抛出有趣的图像。 朱自清的白人男孩在视觉上甚至比法农的男孩更像他的镜像。 男人和男孩隔着坚实的鸿沟相互凝视，他们沿着共同的统治轴线相互凝视。 当然，朱德没有法农的精神分析训练：他读过一些经验主义心理学，但少读弗洛伊德，当然也没有拉卡尼亚。 他不能像法农那样在心理学理论和个人经验之间游走。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:57, 3 December 2020 (UTC)<br /> <br /> But a reading of Fanon forces us to ask to what extent Zhu's trauma is a crisis of delayed issues of developmental psychology. This is obviously a complex field which belongs properly to specialists, and one hardly feels there is enough material in this brief essay to make definitive conclusions.<br /> 但是对法农的阅读迫使我们问朱自清的创伤在多大程度上是发展心理学迟缓问题的危机。 显然，这是一个复杂的领域，应该属于专家，并且几乎没有人认为这篇简短的文章中有足够的材料来得出明确的结论。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:29, 3 December 2020 (UTC)<br /> <br /> 但对法农的解读，迫使我们要问，朱的创伤在多大程度上是发展心理学的延迟问题的危机。 这显然是一个复杂的领域，理应属于专家的范畴，在这篇简短的文章中，我们很难感觉到有足够的材料来做出明确的结论。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:57, 3 December 2020 (UTC)<br /> <br /> 不过，读了法农的书，我们不禁要问，朱自清的创伤究竟在多大程度上是发展心理学延迟问题的危机。这显然是一个完全属于专家研究的复杂领域。人们觉得，这篇简短的文章中没有足够的材料来让他们作出明确的结论。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 13:53, 3 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> But the narrative is explicitly spun out of a story of childhood; Zhu himself derives his child-fetish from the loss of the intimate and passive Liu Jun. And Zhu's fascination with children and childhood in other essays should be an indication that something is up. Perhaps one could establish Zhu's relation to Fanon thus: that while Fanon's experience of racism is drawn into a network of theory that links his crisis of identity to an aborted mirror-stage, Zhu Ziqing sees in the mirror of his own white child a vision of himself as prematurely woven into the fabric of power. It is then only this sudden emergence of power in a half-nostalgic, half-sexual scopophilia which highlights the boy's whiteness and raises the questions of racial dominance and nationalist resistance.<br /> <br /> What makes Zhu feel nationalistic pride? It is not the boy's reaction, but his race.<br /> <br /> 但故事是明确地从一个童年故事中衍生出来的;朱自清的儿童迷恋源于失去了亲密而消极的刘君。而朱自清在其他文章中对儿童和童年的迷恋，应该是表明有些事情发生了。也许可以建立朱自清与法农之间的关系:法农种族主义的经历卷入了理论之网，这将他的身份危机与流产镜像阶段连接起来, 朱自清从自己的白人孩子的镜子里看到了自己过早地融入权力的一面。正是在这种半怀旧、半性恋的恋物癖中，权力的突然出现，凸显了这个男孩的白人身份，并引发了种族统治和民族主义抵抗的问题。<br /> <br /> 是什么让朱感到民族自豪感?不是男孩的反应，而是他的种族。<br /> --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 11:43, 3 December 2020 (UTC)<br /> <br /> 但这部小说的叙事显然是从一个童年故事中衍生出来的；朱自清本人从失去亲密无间、被动的刘俊身上获得了对儿童的迷恋，而他在其他散文中对儿童和童年的迷恋，应该是某种事情发生的迹象。也许有人可以这样确定朱自清与法农的关系：虽然法农的种族主义经历被纳入了一个理论网络，将他的身份危机与一个失败的镜像阶段联系起来，但朱自清在自己的白人孩子的镜子中看到了自己过早地编织在权力结构中的形象。正是在这种半怀旧、半性恋的恋物癖中，权力的突然出现，凸显了这个男孩的白人身份，并引发了种族统治和民族主义抵抗的问题。<br /> <br /> 是什么让朱感到民族自豪感?不是男孩的反应，而是他的种族。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 03:19, 4 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> Given the way Zhu sets up his narrative, given the description of his frequent and unimpeded voyeurism of children in public spaces, one assumes that any child who stared back mockingly at Zhu would have shocked him-this child was the first to do so. Had the child been Chinese and stared back, Zhu's experience might have been more obviously psycho-sexual in his own recounting. The real importance of the child's whiteness is to Zhu's rational reflections over the significance of the incident. To Zhu's mind, it was not the child's whiteness but his resistance that was disturbing; but he locates the whiteness as the source of the child's ability to resist and to then turn resistance into domination. He essentializes the incident: force is what makes whites white. A gaze on a bus becomes an allegory for the sweep of modern history.<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> On reflection, the appearance of nationalism here is far more abrupt than it would have seemed in the Shanghai journal culture following the May 30 Massacre. Is it really a defense mechanism against the revelations of his own psychology? Is it both a defense mechanism and an expression of conscious and justified outrage over colonialist presence in Shanghai? Is it a fiction “remembered” back onto the incident in the heat of the violent summer of 1925? I do not mean by any of these questions to imply that somehow Zhu's nationalism is fake, or secondary, or subordinate; to do that would be to write a justification of the murder of the students on Nanjing Road. But of all the essays and poems and short fiction published along with Zhu's essay in the two Literary Association journals (''Xiaoshuo yuebao and Wenxue zhoukan''), none but his strays so far from the event of the massacre itself in order to support the national cause. It is legitimate to ask why.<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> The bifurcations in Zhu's essay between experience and historiography, practice and theory thus are constituted in an odd mix of clarity and confusion. Patriotic messages are deeply worked into the fabric of the narration of the incident, and any division between Zhu's lived experience and the big picture view of imperialism were surely invisible to any reader in the context of the essay's production. They are invisible to us, as informed readers, but only on our first readings. The deeper explorations of Zhu's gaze, by suggesting the possible distance of ideological historiography form the original event, merely highlight a structural division between narration and theory which splits the text at “I was filled with a pressing nationalistic feeling!” The structural split is perfectly obvious; yet it is only after some thought about the nature of Zhu's project that it becomes noteworthy.<br /> <br /> 因此，朱的文章中经验与史学，实践和理论之间的分歧是由清晰和混乱构成的。爱国主义的启示被深深地融入了事件的叙述之中，在这篇论文的撰写过程中，任何读者都肯定看不到朱的活生生的经验与帝国主义的大视野之间的任何分歧。作为知情的读者，它们对我们是不可见的，但仅在我们的初读时才可见。 通过暗示思想史学与原事件之间可能的距离，朱目光的更深层次的探索仅仅强调了叙事和理论之间的结构性划分，使文本分裂为“我充满了紧迫的民族主义情绪！”其中结构上的分裂非常明显； 然而，只有在对朱的项目的性质进行一些思考之后，它才值得关注。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 03:16, 4 December 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> This is the Zhu Ziqing who declares himself a contradiction, and he can talk back to Fanon. His own textual complexes find their affinities in Fanon's text and the Fanonian textual systems that grew from it. It is impossible to forget, with Fanon, the wiles of language-his flourishes are too extravagant. Yet ''Black Skin, White Masks'' is filled with partial autobiographies. One knows one is reading theory, but it seems to be a theory grown organically from “Antillean experience,” even when we all know better. Though our study of Chinese literature might convince us that theory fits or does not fit Chinese experience, we should not assume that theory has a more natural and wholesome relationship with African or Indian experience, that the postcolonial debates were “derived” from fully colonial experience. Psychoanalytic theory created Fanon's experience, and the body of theory “derived” from Fanon has even more dramatically recreated him.<br /> <br /> 这就是那个宣称自己自我矛盾的朱自清，他可以对法农进行反驳。他自身的文本情结在法农的文本和由其发展而来的法农文本体系中找到了相似之处。人们不可能忘记法农的语言诡计——他的华丽辞藻太过夸张。然而《黑皮肤，白面具》的一些部分充满了自传性质。一个人知道自己在阅读理论，甚至当我们更了解这理论时，但这理论似乎是一个有机地从“安的列斯经验”中成长起来的，虽然我们对中国文学的研究可能会让我们相信，理论是否符合中国的经验，但我们不应该假设理论与非洲或印度的经验有更自然和健康的关系，后殖民争论是“派生”自完全的殖民经验。精神分析理论创造了法农的经验，而从法农“衍生”出来的理论体则更戏剧性地重新塑造了他。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:54, 3 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> The point of which is not to reassert the very tired discovery that theory is not experience and words not things, but to point out that the Chinese modernist friction against theory is not unique. Insofar as we need to continue to talk about postcolonial contexts when addressing Chinese modern literature, it would be helpful to keep in perspective Chinese's non-uniqueness; to do so may help us avoid the trap of either-or questions. Tension is healthy. If we must dismiss with a wave our continuing urgent desire for comparison of unmediated experience, and cannot give ourselves over to the mere nodding affirmation of sloganized thought-systems, then at least the comparative and cross-cultural analysis of tension is still available to us.<br /> <br /> The great frustration of the work of comparison is its inability to aspire to totalisms. However conscious we are of the danger of such aspirations, they are magnetic and insinuating.<br /> <br /> 这里的重点并不是要重申这个老生常谈的发现，即理论不是经验，文字也不是事物，而是要指出中国现代主义与理论的摩擦并不是唯一的。在探讨中国现代文学时，如果我们需要继续探讨后殖民语境，那么审视中国的非独特性是有帮助的。这样做可以帮助我们避免陷入非此即彼的困境。对立是有益的的。如果我们必须以一种浪潮来驱散我们对未经调解的经验的比较的持续的迫切愿望，不能让我们自己沉溺于仅仅是表面肯定的口号的思想体系，那么至少对立比较和跨文化的分析对我们仍然是可用的。<br /> <br /> 比较研究的不足在于它不能实现极权主义。虽然我们十分清楚这种想法的危险性，但还是会被吸引。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 07:00, 3 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> The leap from text to context is satisfying; even if one is aware of the necessity of multiple contexts, because one can choose one's school and plant one's feet and make an argument (or ignore the need for argument) that one's chosen context is the most appropriate. The comparison of individual works requires resignation to pettiness. Any other permutation of works will produce different, perhaps contradictory, lessons. For example, comparing Zhu's essay with other May 30 protest essays, such as those by Mao Dun or Zheng Zhenduo, would vastly alter our evaluation of it. Among an infinite number of permutations of comparison, the importance of any one comparison becomes infinitesimal, and its authority to define the reception of the work shrinks commensurably. The infinitesimal still has the potential for informing other research, but only by miracles of typological allegory.<br /> <br /> 从文本到语境的跳跃是令人满意的，虽然我们都知道多语境的必要性，因为我们可以选择自己的派别，然后立足于这个派别，对自己选择的语境是最合适的这个论点进行论证（或者直接忽视论证的必要性）。对各个作家的作品进行比较需要极大的耐心。将不同的作品进行不同的组合将会得出不同的，或者是相互矛盾的结论。例如，将朱自清的文章与五卅运动其他的抗议文相比较，比如茅盾或者郑振铎的作品，就会极大地改变我们对朱自清的文章的评价。在无穷无尽的各种组合比较中，单一比较的重要性会变得微乎其微，其对作品接受度做出的评价的的权威性也会相应地大打折扣。这种意义微乎其微的比较仍有可能对其他研究做出贡献，但也只有在类型学中才会发挥作用。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:02, 4 December 2020 (UTC)<br /> <br /> 从文本到语境的跳跃令人满意，虽然我们都知道多语境的必要性，因为我们可以选择自己的派别，然后立足于这个派别，对自己选择的语境是最合适的这个论点进行论证（或者直接忽视论证的必要性）。对各个作家的作品进行比较需要极大的耐心。将不同的作品进行不同的组合将会得出不同的，或者是相互矛盾的结论。例如，将朱自清的文章与五卅运动其他的抗议文相比较，比如茅盾或者郑振铎的作品，就会极大地改变我们对朱自清的文章的评价。在无穷无尽的各种组合比较中，单一比较的重要性会变得微乎其微，其对作品接受度做出的评价的的权威性也会相应地大打折扣。这种意义微乎其微的比较仍有可能对其他研究做出贡献，但也只有在类型学中才会发挥作用。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:22, 4 December 2020 (UTC)<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> '''Incongruous Lyricism: Liu Baiyu, Yang Shuo and sanwen in Chinese Socialist Culture<br /> '''<br /> Charles A. Laughlin<br /> <br /> '''Abstract'''<br /> <br /> The popularity of both Republican period and post-Mao sanwen in contemporary Chinese literary markets indicates the importance of this genre in twentieth century Chinese literature. <br /> <br /> Less obvious, but no less significant, is its importance within the socialist cultural system of the Chinese Communist Party. Ever since Chinese cultural activists began to consciously promote specific literary practices as a way of contributing to “revolution” in the late 1920s, literary prose played an important role, but at first only in the form of reportage or baogao wenxue. Beginning in Yan’an during the War of Resistance Against Japan, however, young writers who received all or in part of their education or literary training in Communist institutions began to write prose texts that more closely resembled the xiaopin and suigan of the Republican period. Unlike reportage, these texts featured lyrical and humorous moments without being critical of the social environment, and they were not concerned with contemporary historical events and figures. <br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> Such writing achieved prominence in the first decade of the People’s Republic of China, and in this paper I examine three writers that exemplify the characteristic techniques and strategies of the socialist literary essay: Liu Baiyu, Qin Mu and Yang Shuo. Liu Baiyu exemplifies how the experience of war and revolution conditioned the emergence of lyricism in socialist culture, while Qin Mu and Yang Shuo embody the maturation of this socialist lyricism in a peacetime environment. Socialist ''sanwen'' differs from Republican period forms in its characteristically friendly yet didactic second-person rhetoric, and its tendency to build verbal monuments for national heroes. But traces of the conspicuous individuality of Republican period ''sanwen'' lived on in the essayists of the 1950s and 60s. This created a subtle dissonance in the texture of socialist culture that in my opinion contributed to the prominence and popularity of these writers, whose works were included in textbooks for later generations of mainland readers.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> When we think of the Chinese essay we usually think of the works of Republican period liberal humanists drawing upon both Western ideas and premodern Chinese style and diction to produce a new genre that represented the artistic epitome of lyrical, colloquial prose. Perhaps just as commonly, when we think of revolutionary literature and of writing under the Chinese communist regime, we think of realism, social critique, polemic and propaganda. Indeed in my study of the development of reportage literature in the Republican and early PRC periods, I associate the procedures of reportage with the culture of leftism in such a way as to render the very notion of lyrical leftist nonfiction discordant if not outright absurd. The problem is, as I was aware at the time, there are prominent authors in the PRC – Yang Shuo, Liu Baiyu, and Qin Mu, to name only a few – who made their names almost entirely through the writing of essays (sanwen). <br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> At that time, I dismissed this phenomenon in the usual way: these were communist lackeys simply parroting the ruling ideology at the bidding of culture czars.<br /> <br /> But even if they were, I could not account for the fact that such writing took on the form of sanwen, in many ways similar to the ''xiaopin wen'' popular the 1930s, while there was already in ''baogao wenxue'' a thriving literary nonfiction form that seemed to embody in its very form the communist vision of art and its place in society. To put it another way, there is nothing in the logic of socialist culture as I knew it that would call for the production of ''sanwen'' as written by these authors, and we know very well that authors under socialism are not at liberty to write what they please, so I had to attribute the persistence of the ''sanwen'' form in the PRC to something inherent about ''sanwen'' and Chinese literary modernity. <br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> My current project intends to approach this question by comparing Chinese literary nonfiction practice in a number of different historical and cultural scenarios from the late imperial period to the present, and this presentation concerns specifically the ''sanwen'' under Chinese socialism.<br /> <br /> '''Socialist ''sanwen'' emerged from Communist base area writing practice''' <br /> <br /> Usually in the form of reportage, literary prose of the Yan’an period was concerned with dramatizing the social and spiritual superiority of regimented, collectivized life under the leadership of the Communist Party. Such writing often relied on direct comparisons between aspects of life in ”the old society” and life in Yan’an, or the between checkered past of characters who had been rehabilitated by the Communists and their newfound belief in the socialist community and its leaders. Though often idealized, examples given are meant to be concrete and taken as factual, and names are often named of military leaders and model laborers depicted. In this respect reportage is the most direct precursor of the lyrical essays of the People’s Republic.[ The civil war of 1946-1949 so disrupted the socialist base areas that much less of this kind of writing was produced; war correspondence once again became the order of the day]<br /> <br /> <br /> 我打算对从古至今不同历史文化背景下的非虚构的中国文学作品进行比较，通过这些比较来理清这一问题，而这一介绍着重关注中国社会主义下的散文。<br /> <br /> '''社会主义散文是从共产主义根据地写作实践中产生的'''<br /> <br /> 延安时期的散文通常以报告文学的形式，注重对共产党领导下的制度化、集体化生活的社会和精神优越性的戏剧化描写。这类写作往往依赖于对“旧社会”生活与延安生活的直接比较，或者是对被共产党改造的人物过去的坎坷经历与他们对社会主义社会及其领导人的新信仰的直接比较。虽然常常是理想化的，但所举的例子都要具体和真实，人物经常以军队领导人和劳动模范的名字命名。在这方面，报告文学是《人民共和国》抒情散文的最直接的前身[1946-1949年的内战扰乱了社会主义根据地，这类文章的产出因此少了许多，战地书信又成了日常的工作]。</div>

Qu Miao https://bou.de/u/index.php?title=20201215_cultexam&diff=106774 2020-11-30T08:28:15Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> <br /> You can use the texts in the coursebook as an example (like Unit 1, Text A). Please write the text and indicate ALL SOURCES with bibliographical references. Please also add a vocabulary list and questions.<br /> <br /> ==Alsied, Saffana==<br /> &quot;Chinese Astrology&quot;--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 17:07, 18 November 2020 (UTC)<br /> <br /> ==Cao Runxin 曹润鑫==<br /> [[File:Chunlian.jpg|250px|thumb|left|Chunlian, image from Baike. Click [...] for original source.]]<br /> <br /> ===A.Spring Festival Couplets===<br /> Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.<br /> <br /> Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today. <br /> <br /> The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.<br /> <br /> ===Terms and Expressions ===<br /> Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联 <br /> <br /> Paste 贴<br /> <br /> Horizontal scroll 横联<br /> <br /> Upper scroll 上联<br /> <br /> Lower scroll 下联<br /> <br /> ===Questions ===<br /> <br /> ==Chen Han 陈涵==<br /> '''Chinese traditional musical instrument''' <br /> <br /> ===Guzheng===<br /> <br /> ''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time. Due to the long history and its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese. <br /> <br /> ''Guzheng'' or ''Zheng'' is one of the oldest traditional ethnic musical instruments in China. It refers to plucked stringed instruments. As early as 2500 years ago, ''zheng'' has become an important instrument which was widespread at that time. Due to the long history and its primitive simplicity and elegant sound, people are used to calling it ''guzheng'' (''gu'' refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese.--[[User:Root|Root]] ([[User talk:Root|talk]]) 07:36, 30 November 2020 (UTC)<br /> <br /> <br /> <br /> There are varied accounts for how the ''zheng'' came to be. The first legend says the history of ''guzheng'' can date back to the Warring States Period. The oldest specimen yet discovered held 13 strings. ''Zheng'' was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the ''zheng'' makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the ''zheng'', a large and heavy weapon, was abandoned. The second legend says the early form of ''zheng'' is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in ''Historical Records'', there is no record of his invention of the ''zheng''. The third legend says the ''guzheng'' came about largely influenced by the ''se'' which was recorded by Zhao Lin in ''Records on Words''. When two people fought over a 25-string ''se'', they broke it in half, one person receiving a 12-string part and the other the 13-string part. <br /> <br /> The modern-day ''Guzheng'' usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the ''guqin'', another ancient Chinese zither with 7 strings played without movable bridges. The strings were formerly made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the ''guzheng'' is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the ''guzheng'' are respectively anterior mountain and posterior mountain. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as Yan Zhu which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the ''guzheng'' was usually placed on the zither feet. The timbre of the ''guzheng'' is determined by the quality of the wood. As the tension of paulownia is better, the body of the ''guzheng'' are mostly made of paulownia. The head, tail and other parts of the ''guzheng'' are generally made of mahogany wood, and some patterns are decorated on the head and the tail.<br /> <br /> ===Terms and expressions===<br /> <br /> *Meng Tian 蒙恬<br /> <br /> *Zhao Lin 赵璘<br /> <br /> *''Records on Words'' 《因话录》<br /> <br /> *anterior mountain 前岳山<br /> <br /> *posterior mountain 后岳山<br /> <br /> *Yan Zhu 雁柱<br /> <br /> *string pegs 弦钉<br /> <br /> *turning box 调音盒<br /> <br /> *zither feet 琴足<br /> <br /> *paulownia 桐木<br /> <br /> *mahogany 红木<br /> <br /> ===Questions===<br /> <br /> ==Chen Jingjing 陈静静==<br /> ===A. Facial makeup===<br /> <br /> Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.<br /> <br /> People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage. <br /> <br /> The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.<br /> <br /> Red<br /> <br /> Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han. <br /> <br /> Black<br /> <br /> Black facial makeup gives people the impression that he is serious, rarely shows smiling expression and courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.<br /> <br /> White<br /> <br /> White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Kuai.<br /> <br /> Blue<br /> <br /> Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun .<br /> <br /> Purple<br /> <br /> Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu. <br /> <br /> Golden<br /> <br /> Golden facial makeup symbolizes dignity and power fitting roles like supernatural being like Tathagata(Sakyamuni, the creator of Buddhism) and Erlang Shen( a Chinese God with a third truth-seeing eye in the middle of his forehead).<br /> <br /> The features of facial makeup are mainly as follows:<br /> First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture. <br /> It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and the strong vitality. Out of curiosity and affection for Chinese opera facial makeup, a great many foreign friends and domestic men of insight start to explore the mystery of it.<br /> <br /> ===B. Terms and Expressions===<br /> <br /> painted face 花脸<br /> <br /> clown 丑角<br /> <br /> legend，romance 传奇剧<br /> <br /> Tathagata 如来佛<br /> <br /> Sakyamuni 释迦牟尼<br /> <br /> ===C. Questions===<br /> <br /> ==Dashkin, Gennadii==<br /> === Four Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===<br /> <br /> 1.Liu Cixin（刘慈欣）<br /> <br /> 2.Chen Qiufan (陈楸帆）<br /> Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.<br /> <br /> Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.<br /> <br /> His debut book was ''The Empty Wave'', &quot;combining realism and allegory to represent the hybridity of humans and machines.&quot; Chen Qiufan's novels and stories won three Galaxy Awards, and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish and Russian.<br /> <br /> His book ''Waste Tide'' became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of the humanity progress.<br /> <br /> 3.Rebecca F. Kuang (匡蘦秀）<br /> <br /> 4.Li Jun (李俊）or Baoshu (宝树）<br /> <br /> ===Vocabulary List===<br /> ===Questions===<br /> <br /> ==Chen Yongxiang 陈永相==<br /> [[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&amp;fm=26&amp;gp=0.jpg] for original source.]]<br /> <br /> ===China's Intangible Cultural Heritage — Miliangtun Village Stilts===<br /> <br /> ====Introduction====<br /> <br /> Stilts is one of the folk dances of the Han nationality in our country, which is called &quot;Stilt Yangko&quot; in some places. Stilt-walkers tie their feet on to the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. They dress themselves into different historical or mythological figures, walking and dancing on fairs. Stilt-walkers are normally taller than ordinary people, and perform on movable stages, which is convenient for watching far and near. <br /> <br /> As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from the &quot;Tongle Gaojiaohui&quot; founded in the Qianlong period of the Qing Dynasty. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing.It was bestowed by Emperor Qianlong, and has a history of more than 250 years. Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage protection project.<br /> <br /> The team of Miliangtun Village Stilts has over forty people and 13 roles, all played by men. The roles are, Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic. Among the 13 roles, the only serious one is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords, that's his work. Others like the young boy, just a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He goes fishing because of his fixed character. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to amuse the audience. Gong-players following drum-players, handsome and ugly, they are just like the final fighters. Then comes the show of Kylin Songzi after they stop playing; Tuotou lying flat; Mr. Plaster and young master raising their waists; Yupo dancing Yangko behind, pulling his two legs; Fisherman using his ribbon to drag Tuotou who hold the ribbon in his mouth; the young boy riding on Tuotou’s waist like a lion. Then comes the going downhill. When it’s done, the show is over. That's the whole performance.<br /> <br /> ====Terms and Expressions====<br /> Miliangtun (village name) 米粮屯<br /> stilts 高跷<br /> <br /> ====Questions====<br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:46, 30 November 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> Lion dance<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> ===A. The Eight Tang-Song Prose Masters===<br /> [[Media:Example.ogg]]The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. <br /> <br /> <br /> Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &quot;Ancient Prose Movement&quot;. Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong.<br /> <br /> <br /> In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.<br /> <br /> <br /> '''1. Han Yu'''<br /> <br /> Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. <br /> <br /> <br /> Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.<br /> <br /> He was once demoted to Yuan Zhou, which is now in Yichun city in Jiangxi Province because of his comments on Buddha bones.<br /> <br /> <br /> '''2. Liu Zongyuan'''<br /> <br /> Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as &quot;Liu Hedong &quot;, &quot; Mr. Hedong &quot;, also known as&quot; Liu Liuzhou &quot; because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a successful candidate in the highest imperial examinations in the 9th year of Zhenyuan, later official supervisor of imperial censor .<br /> <br /> was juxtaposed with Han Yu as &quot;Han Liu &quot;, with Liu Yuxi as &quot; Liu Liu &quot;, with Wang Wei, Meng Haoran and Wei Yingwu as &quot;Wang Meng Wei Liu &quot;. In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The &quot;Liu He Dong JColloection&quot; was one of his representatives.<br /> <br /> He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation.<br /> <br /> <br /> '''3. Ouyang Xiu'''<br /> <br /> <br /> Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.<br /> <br /> <br /> Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.<br /> <br /> <br /> Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height.<br /> <br /> <br /> '''4. Su Xun'''<br /> <br /> <br /> Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.<br /> <br /> <br /> Su Xun was a man of political ambition. He said that the main purpose of his works was &quot;to speak for the world &quot;, to&quot; apply to the present &quot;. He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot. <br /> <br /> <br /> '''5. Su Shi'''<br /> <br /> <br /> Su Shi, with a fame as &quot; Dongpo Jushi &quot;, was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .<br /> <br /> <br /> Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called &quot;Han Chao Su hai&quot; with Han Yu in the prose area, &quot;Ou Su&quot; with Ouyang Xiu, &quot;Su Huang&quot; with Huang Tingjian, and &quot;Su Xin&quot; with Xin Qiji in the Ci area, so he was called &quot;the first all-round talent in ancient China&quot;.<br /> <br /> <br /> Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized &quot;creating for certain purposes&quot;, advocating nature and getting rid of bondage. Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.<br /> <br /> <br /> '''6. Su Zhe'''<br /> <br /> <br /> Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch.<br /> <br /> <br /> Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of &quot;literary style&quot; . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The &quot;Ode to Ink bamboo&quot;.<br /> <br /> <br /> '''7. Wang Anshi'''<br /> <br /> <br /> Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jing . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .<br /> <br /> <br /> Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use.<br /> <br /> <br /> '''8. Zeng Gong'''<br /> <br /> <br /> Zeng Gong was known as &quot;Mr. Nan Feng&quot;. He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the &quot;eight masters&quot; of the Tang and Song Dynasties, he was also one of the &quot;Seven Zengs of Nanfeng&quot; , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.<br /> <br /> <br /> Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.<br /> <br /> ===B. Terms and Expressions===<br /> The Eight Tang-Song Prose Masters 唐宋八大家 <br /> <br /> Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》<br /> <br /> Ancient Prose Movement 古文运动<br /> <br /> parallel prose 骈文<br /> <br /> ===C. Questions===<br /> <br /> ==Gao Mingzhu 高明珠==<br /> Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu<br /> <br /> 1、A Brief Introduction<br /> <br /> Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The &quot;Pin(品，those wooden strips on Pipa’s face plate for pressing)&quot; and &quot;Xiang（相, those horizontal strips on Pipa’s neck for pressing）&quot; are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocal range. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called the No.1 in plucked instruments.<br /> <br /> 2、Emergence and Development<br /> <br /> 3、Different Schools<br /> <br /> 4、Traditional Pipa Music<br /> <br /> ==Grosheva, Anna==<br /> === Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === <br /> <br /> 1. Huli-jing (狐狸精) in China<br /> <br /> One of the most interesting and unusual Chinese mythological creatures is undoubtedly Huli-jing or werefox. If to translate hieroglyphs it will be something like “a tricky fox”. Also, the name of Huli-jing is using as a metaphor when we want to say about seducer or deceiver.<br /> To start with, there are two main types in the description of Huli-jing. In some sources, werefox looks like a negative character who is always in search of killing and sucking people's souls. But in other sources, Huli-jing is mostly a victim of bad conditions and consequences like damnation, early death, or something like this. The only thing that is really important is the appearance of Huli-jing. It is always a very pretty woman or even a girl who is not very attractive but also smart and loyal. Besides, there were also interesting words that Huli-jing in any form will have a tail and so in China, there is an adage like 狐狸精露尾 which can be translated as “you will know the werefox by its tail”.<br /> Moreover, very important is the age of Huli-jing because the older werefox became the stronger will be her magical skills and abilities. First, Huli-jing can transform into women, then into a man and the last phase is to become something like a part of the macrocosm.<br /> To sum up, the Huli-jing story is one of the most popular not only in China where a lot of people wrote tales and made movies about this mystical creature but also in the whole world especially in Japan and South Korea with their analogs of a pretty girl who is transforming into a fox.<br /> <br /> 2. Kitsune (キツネ) in Japan <br /> <br /> 3. Kumiho (구미호) in Korea<br /> <br /> ===Vocabulary List=== <br /> ===Questions===<br /> <br /> ==Gu Dongfang 顾东方==<br /> Chinese Characters<br /> <br /> ==Guan Qinqing 管钦清==<br /> <br /> ===A.Chinese Knots===<br /> <br /> ====1.A Brief Introduction about Chinese Knots====<br /> <br /> The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It <br /> <br /> originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.<br /> <br /> The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.<br /> <br /> The Chinese knot continued to become a popular art in the Qing Dynasty. Now,Chinese knots are often used as interior decorations, gifts between relatives and friends and <br /> <br /> personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decoration and aesthetics,which <br /> <br /> earned the knot its name.<br /> <br /> ====2.The Classification of Chinese Knots====<br /> <br /> There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥<br /> <br /> 结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井<br /> <br /> 结）,Cross Knot(十字结） and Ping Knot（平结）.<br /> <br /> Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. <br /> <br /> =====2.1.The Double Coin Knot=====<br /> <br /> Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views <br /> <br /> on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. ut it Money in China not only <br /> <br /> represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called &quot;luck money&quot;. Therefore, for <br /> <br /> the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes <br /> <br /> &quot;good things come in pairs&quot;. This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful <br /> <br /> patterns, such as clouds and Perfect Knots，etc.<br /> <br /> =====2.2.The Good Luck Knot=====<br /> <br /> As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple.<br /> <br /> And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.<br /> <br /> =====2.3.The Pan Chang Knot=====<br /> <br /> Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the <br /> <br /> avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is <br /> <br /> often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.<br /> <br /> ====3.The Knitting Method of Chinese Knots====<br /> <br /> The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots.The combination technique means to use thread extension to flexibly combine various knots ,so as to make a group of varied knots.<br /> <br /> The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.<br /> <br /> ====4.The Cultural Connotations of Chinese Knots====<br /> <br /> Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of <br /> <br /> rope and thread.In Chinese， &quot;rope&quot; (绳）and &quot;god&quot; （神）are homophonic, so the Chinese nation has a worship of &quot;rope&quot;. In addition, Chinese people are descendants of <br /> <br /> dragons.Because the shape of &quot;rope&quot; is like a winding dragon, people also regard &quot;rope&quot; as a symbol of dragon. Chinese people also have their own unique understanding of <br /> <br /> &quot;knot&quot;, which means reunion and happiness. Many of the Chinese words composed of &quot;结&quot;（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交<br /> <br /> （making friends), and 永结同心（tie the knot),etc. &quot;结&quot;(knot) is also homonymous with &quot;吉&quot;（ausipiciousness), so people even think that &quot;knot&quot; is a symbol of good luck.<br /> <br /> ===B. Terms and Expressions===<br /> <br /> Double Coin Knot 双钱结<br /> <br /> Good Luck Knot 吉祥结<br /> <br /> Chinese Button Knot 纽扣结<br /> <br /> Sauvastika Knot 万字结<br /> <br /> Oxalis Knot 酢浆草结<br /> <br /> Pan Chang Knot 盘长结<br /> <br /> Round Brocade Knot 团锦结<br /> <br /> Caisson Celling Knot 藻井结<br /> <br /> Cross Knot 十字结<br /> <br /> Ping Knot 平结<br /> <br /> tie the knot 永结同心<br /> <br /> luck money 压岁钱<br /> <br /> ===C. Questions===<br /> <br /> 1. What is the Chinese knot?<br /> <br /> 2. Do you know the names of the main Chinese knots? What are they?<br /> <br /> 3. What do &quot;绳&quot; and &quot;结&quot; mean in Chinese culture?<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> ===Chinese Mythology===<br /> <br /> === 1. Introduction===<br /> <br /> The Chinese’s life is full of mythological history about religious, history, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, force and weak and so forth. Panku is an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology. In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.<br /> <br /> ===1.1 Panku Creates the World===<br /> <br /> In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other word, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, it becoming a big form of ball and finally give birth to Panku.<br /> <br /> ===1.2 Nü Wa Created Human Beings===<br /> <br /> ===1.3 Fushi Taught the People=== <br /> <br /> ===1.4 Yu Rebuilt the Earth====<br /> <br /> ===2.Terms and Expressions===<br /> <br /> ===3. Questions===<br /> <br /> Why was an egg a good symbol for the beginning of the world?<br /> <br /> ===References===<br /> <br /> ==Gui Yizhi 桂一枝==<br /> Chinese gods and immortals--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 16:09, 8 November 2020 (UTC)<br /> <br /> A. 神 shén, 帝 dì and 仙 xiān<br /> <br /> Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between &quot;god&quot; and &quot;deity&quot;. dì, sometimes translated as &quot;thearch&quot;, implies a manifested or incarnate &quot;godly&quot; power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān unambiguously means a man who has reached immortality, similarly to the Western idea of &quot;hero&quot;.<br /> <br /> There is another difference between Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life.<br /> <br /> ==Guo Lu 郭露==<br /> <br /> ===Classical Prose Movement of late Tang dynasty and Song dynasty===<br /> <br /> ====Definition====<br /> <br /> The Classical Prose Movement of late Tang dynasty and Song dynasty in China, also known as the &quot;Classical Prose Movement&quot;, is a movement with the style reform as its surface and Confucianism Renaissance as its core. The word “Gu Wen” was first introduced by Han Yu, it indicates the prose of the pre-Qin period and of Han dynasty. This movement took clarity and precision as priorities, it stood against the florid pianwen or parallel prose style that had been popular starting from Han dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they could revive the Confucianism and promote their political thoughts. This movement tended to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct.<br /> <br /> ====Development====<br /> <br /> The Classical Prose Movement went through three stages. The first promoters of this movement were Han Yu and Liu Zongyuan who were not only great writers but also great theorists, forming the foundation of it. Both were enthusiastic to promote the movement and were keen to teach young people so that it could achieve further development and then revive the Confucianism. <br /> <br /> However, after the deaths of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. <br /> <br /> After that, Ouyang Xiu once again advocated the classical prose in the Song dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang dynasty and the Song dynasty.<br /> <br /> ====Representatives====<br /> <br /> '''1.Han Yu'''<br /> <br /> Han Yu (768 – 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who significantly influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming dynasty scholar Mao Kun ranked him first in the &quot;Eight Great Prose Masters of the Tang and Song&quot;，and Su Shi, another famous poet, once praised that “His prose reversed the literary decline of eight dynasties”. <br /> <br /> Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 prosses. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive pross is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education.<br /> <br /> '''2.Liu Zongyuan'''<br /> <br /> Liu Zongyuan (773 – 819), courtesy name Zihou, also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese literature, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been classed as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is ''Jiangxue''.<br /> <br /> '''3.Ouyang Xiu'''<br /> <br /> Ouyang Xiu (1007 – 1072), courtesy name Yong Shu, also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. <br /> <br /> Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the ''shi'' and ''ci'' genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. Together with Han Yu, Liu Zongyuan and Su Shi, Ouyang Xiu was considered to be one of the Article four all through the ages.<br /> <br /> Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Pross Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties.<br /> <br /> ====Masterworks====<br /> <br /> Under the influence of the Classical Prose Movement of the late Tang dynasty and the Song dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except from the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Zhi, were also considered the representative works of this movement.<br /> <br /> ====Influence====<br /> <br /> The Classical Prose Movement of the late Tang dynasty and the Song dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming dynasty and Tong Cheng school in the Qing dynasty. Besides that, it also helped to lay a solid foundation of pross in China, and acted as a fine example for later scholars.<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> The culture of Red envelope and Lucky money--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 09:02, 2 November 2020 (UTC)<br /> <br /> The tradition of Red envelope and Lucky money--[[User:Root|Root]] ([[User talk:Root|talk]]) 08:04, 23 November 2020 (UTC)<br /> <br /> ===The Chinese Red Envelope and Lucky money tradition===<br /> In Chinese and other East and Southeast Asian societies, a red envelope or a red packet (Mandarin: hóngbāo) is a monetary gift which is given during holidays or special occasions such as weddings, graduation or the birth of a baby.<br /> <br /> ===Vocabulary List===<br /> 利市 /Lì shì/<br /> <br /> 紅包 /Hóngbāo/<br /> <br /> Confucianism 儒教 /Rújiào/ <br /> <br /> Thought of Confucius 孔子思想 /Kǒngzǐ sīxiǎng/<br /> <br /> ===Questions===<br /> 1. Do you know the origin of giving Lunar new year lucky money to children and the elderly？<br /> <br /> ==He Changqi 何长琦==<br /> ==='''The Twenty-four Solar Terms'''===<br /> <br /> ===17.1 The orgin and development of the twenty-four solar terms===<br /> <br /> “The twenty-four solar term” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.[[1]]<br /> <br /> ===17.2 The definition and classification of the twenty-four solar terms===<br /> <br /> “The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (术语)<br /> A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate. The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.<br /> <br /> ===17.3 The conventions in different solar terms===<br /> <br /> <br /> ===17.4 Importance and values===<br /> <br /> ===17.4.1 Importance in ancient times===<br /> <br /> ===17.4.2 Values in modern society===<br /> <br /> ===Vocabulary List===<br /> --[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 08:10, 23 November 2020 (UTC)<br /> ===Questions===<br /> <br /> References:[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 10:11, 20 November 2020 (UTC)<br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> ===Collection of Yue Fu Poetry《乐府诗集》===<br /> <br /> ====Introduction====<br /> <br /> '''1.Brief introduction'''<br /> <br /> ''Collection of Yue Fu Poetry'' is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty.<br /> <br /> &quot;Yuefu&quot;, originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name.<br /> <br /> '''2.About the author'''<br /> <br /> Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of ''Collection of Yue Fu Poetry'', which was handed down from generation to generation.<br /> <br /> '''3.Content introduction'''<br /> <br /> It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, &quot;Yuefu Poetry Collection&quot; is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties.<br /> <br /> ====Masterpieces====<br /> <br /> '''1.''The Peacock Flies to Southeast'''''<br /> <br /> ''The Peacock Flies to Southeast'' is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. <br /> <br /> It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit.<br /> <br /> As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed.<br /> <br /> '''2.''Mulan Poetry'''''<br /> <br /> ''Mulan poetry'' is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. &quot;Mulan is a girl&quot; is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality, It has strong artistic appeal.<br /> <br /> ====Evaluation====<br /> <br /> '''1.Contributions'''<br /> <br /> The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as &quot;Moshangsang&quot;, &quot;dongmenxing&quot;, were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. Yuefu Poetry Collection introduces and explains in detail the origin, nature and musical instruments used in singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.<br /> <br /> There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. ''The Book of Songs'' and ''The Songs of Chu'' are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time.<br /> <br /> '''2.Shortcomings'''<br /> <br /> There are some imperfections in ''Collection of Yue Fu Poetry'' . For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution.<br /> <br /> ==Hu Jin 胡瑾==<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> Chinese Paper Cutting 剪纸<br /> <br /> Text<br /> <br /> Terms and Expressions<br /> <br /> Questions<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> ===A. Chinese Medical Sage- Zhang Zhongjing===<br /> <br /> ===B. Terms and Expressions===<br /> <br /> ===C. Questions===<br /> <br /> ==Kang Haoyu 康浩宇==<br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.<br /> <br /> '''1. Development'''<br /> <br /> China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.<br /> <br /> Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.<br /> <br /> First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.<br /> <br /> '''2. Symbols'''<br /> <br /> The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about &quot;favorite color&quot; in his early years, he clearly answered &quot;red&quot;. In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.<br /> <br /> '''3. Values'''<br /> <br /> Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.<br /> <br /> '''4. Red Culture in Nanchang'''<br /> <br /> Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. <br /> Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of &quot;Bayi History and Culture&quot; in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.<br /> <br /> ===Vocabulary List===<br /> <br /> red culture 红色文化<br /> <br /> Opium War 鸦片战争<br /> <br /> red heading documents 红头文件<br /> <br /> red army 红军<br /> <br /> August 1st uprising 八一起义<br /> <br /> ===Questions===<br /> <br /> 1. What is the historical background of the birth of red culture?<br /> <br /> 2. What are two major components of red culture?<br /> <br /> 3. How many symbols dose the word &quot;red&quot; in red culture has? What are they?<br /> <br /> 4. How many values dose red culture has? What are they?<br /> <br /> 5. What is the landmark in Bayi Square?<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> <br /> <br /> ===The Ancient Tea Horse Road===<br /> <br /> ====Introduction====<br /> The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.<br /> <br /> ====Historical Routes====<br /> China’s ancient tea horse road is divided into:<br /> 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.<br /> 2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.<br /> 3. the ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.<br /> 4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.<br /> There are three main routes of the ancient tea-horse road: the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.<br /> <br /> ====Historical Value====<br /> The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.<br /> 1.The Golden Road of Tourism<br /> The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.<br /> 2. Ancient Roads for the Propagation of Civilization<br /> The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.<br /> 3.Migration Corridor of National Cultures<br /> On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.<br /> 4.Religious Propagation Road<br /> With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.<br /> 5. The Path of National Spirituality<br /> You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.<br /> 6.The Road of National Unity and Integration<br /> The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.<br /> 7.The Road of Securing the Borders<br /> The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.<br /> 8.the road to economic development<br /> The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 03:42, 29 November 2020 (UTC)<br /> <br /> ===Vocabulary List===<br /> <br /> 1.The Ancient Tea Horse Road(茶马古道)<br /> <br /> 2.Sichuan-Tibet Line（川藏线）<br /> <br /> 3.Yunnan-Tibet line（滇藏线）<br /> <br /> 4.wade ancient road（蹚古道）<br /> <br /> ===Questions===<br /> <br /> 1.What is the ancient tea horse road ?<br /> <br /> 2.What do you know about the history of the ancient tea horse road?<br /> <br /> 3.How many main routes does the ancient tea-horse road conclude?<br /> <br /> 4.What is the historical value?<br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 04:15, 29 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> ===Four satirical novels in ancient China===<br /> As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the &quot;Four Major denunciation novels&quot; in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.<br /> <br /> '''1. Four satirical novels in ancient China'''<br /> <br /> <br /> '''2. Nie Hai Hua'''<br /> <br /> <br /> '''3. the Travels of an Old Man'''<br /> <br /> <br /> '''4. The Records of Officialdom Exposure'''<br /> <br /> <br /> '''5. 20 years witness strange present situation'''<br /> <br /> <br /> '''6. Conclution'''<br /> <br /> <br /> ===Vocabulary List===<br /> <br /> <br /> ===Questions===<br /> <br /> ==Li Lili 李丽丽==<br /> Shadow Puppets(皮影戏)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> <br /> === Confucian Culture ===<br /> <br /> <br /> ==== Introduction ====<br /> Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. <br /> Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of &quot;banishing other schools of thought and worshiping Confucianism only&quot; and imposed restrictions on thought, which led to the revival of Confucian school. The concepts of &quot;Confucian school&quot;, &quot;Confucianism&quot;, and &quot;Confucian Religion&quot; should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion a belief. <br /> Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Daoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. <br /> <br /> ==== Analysis of Confucian culture ====<br /> <br /> ===== Intelligence development =====<br /> Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. <br /> However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued. <br /> <br /> =====Spiritual guidance =====<br /> In terms of spirit, Confucianism contends that &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.&quot; Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. <br /> <br /> ===== Order construction =====<br /> In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. <br /> After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. &quot;Loyalty&quot; means that people should stay loyal to the country and people; &quot;Friendliness&quot; and &quot;forgiveness&quot; play an important role in resolving various contradictions and animosities; when it comes to &quot;filial piety&quot; and &quot;propriety&quot;, many redundant forms inherited from feudal society should be eradicated and be more practical.<br /> <br /> ====The contemporary value of Confucian culture ====<br /> Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society.<br /> <br /> =====Ideological and political education =====<br /> Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others.<br /> <br /> ===== Modern economic construction=====<br /> Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people.<br /> First of all, Confucian culture emphasizes the thought of &quot;benevolence&quot; and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. &quot;Everyone being responsible for the fate of his country&quot; has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society.<br /> Second, the consciousness of &quot;self-improvement&quot; and the proposition of &quot;seeking truth&quot; in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. Yi Zhuan put forward: &quot;As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and &quot;seeking truth&quot; in ways that further enhance national spirits and provide a strong driving force for the socialist modernization.<br /> Third, the &quot;reform and innovation&quot; concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the &quot;innovation idea&quot;. The Book of Rites said, &quot;If you can in one day renovate yourself; do so from day to day and let there be daily renovation.&quot; The Book of Changes said, &quot;Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.<br /> <br /> ===== Legal construction =====<br /> Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. <br /> The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, &quot;By governing with virtue, rulers will be loved by the public, just like stars surround the North Star.&quot; By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. <br /> How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes &quot;benevolence&quot; as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, &quot;Sages believe that national governance must combine the rule of virtue and law.&quot; That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves.<br /> In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China.<br /> <br /> ====The Confucius institute ====<br /> With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. Fundamentally speaking, its is conducive to the &quot;going out&quot; of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication.<br /> The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture.<br /> The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture.<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> Qian Zhongshu--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:19, 9 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ===相声 Cross Talk===<br /> <br /> ===The History of Cross Talk===<br /> <br /> Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate other's voices, also known as neighboring cross talk. It was evolved and further developed from the folk music in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng （1850—1861）and Emperor Tongzhi（1861—1874）period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 06:33, 23 November 2020 (UTC)<br /> <br /> ===Famous Artists of Cross Talk===<br /> <br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> The four most handsome men in ancient China<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> The Four Grottoes of China--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:23, 2 November 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> '''Civil Service Examination System'''<br /> <br /> --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 08:27, 2 November 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> '''The Forbidden City'''--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> '''I.Introduction'''<br /> The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.<br /> The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> '''Chinese Marriage Customs'''--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 08:24, 2 November 2020 (UTC)Mo Ling<br /> <br /> China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China need to be approved by parents and arranged by parents .<br /> <br /> '''A.Six Procedures'''<br /> <br /> There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl,firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides,mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.<br /> <br /> '''B.Customs'''<br /> <br /> In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. As a result, newlyweds could only see each other until the day of marriage. On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride.<br /> <br /> '''C.Development'''<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> '''Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam'''<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> '''Twelve Animals of the Chinese Zodiac''' --Ouyang Ling<br /> <br /> '''A.Origin'''<br /> <br /> '''B.Development'''<br /> <br /> '''C.Influence'''<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> Green Tea--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> [[File:Example.jpg|400px|thumb|left|Diagram.]]<br /> <br /> &lt;math&gt;Insert formula here&lt;/math&gt;==Phyo, Su Kyi==<br /> <br /> Chinese Traditional clothing Phyo Su Kyi talk 5-11-202<br /> <br /> ==Pingki, Tanchangya==<br /> Chinese traditional dance--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 02:46, 12 November 2020 (UTC)<br /> <br /> &lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;&lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;==Phyo, Su Kyi==<br /> Chinese Traditional women clothing<br /> 1- History of Chinese clothing<br /> History of Chinese clothing China has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization.<br /> A- Chinese Clothing during Qin and Han Dynasties (221 B.C - 220 A.D)<br /> The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established many social systems, including one for uniforms to distinguish people's ranks and social positions. China's complete code of costume and trappings was established in the Han Dynasty (206BC-220AD). The yarn-dyeing, embroidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.<br /> B-Chinese Clothing during Wei,Jin, South and North Dynasties(220-589)<br /> Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589). Before 265, the cultures and esthetic views of the peoples in north and south China merged because of the moves initiated by frequent wars. Many philosophical schools of thought influenced both people's lives and the conceptions of clothing design.<br /> C- Chinese Clothing during Tang Dynasty(618-907)<br /> The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.<br /> D-Chinese Clothing during Song, Yuan, Ming Dynasties<br /> Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and elegant.During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the People on Horseback, was in power. The style of clothing was mainly a combination of Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in design.Dramatic changes took place during the Ming Dynasty (1368-1644). A new conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.<br /> E- Chinese Clothing during Qing Dynasty<br /> During the Qing Dynasty (1644-1911), clothes became elegant, poised, and glorious. During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious heritage for traditional Chinese clothes.<br /> F-Chinese Clothing from 1930s till Modern Era<br /> Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to 1960s, Qipao(Cheongsam) survives as everyday wear in Hong Kong until the late 1960s. <br /> Vocabulary <br /> Questions <br /> References.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 17:37, 25 November 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Qu Miao 瞿淼==<br /> Chinese wine culture--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:28, 30 November 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ===China Railway High-Speed ​​(CRH)===<br /> <br /> China Railway High-Speed ​​(CRH) is a high-speed rail service operated by the China Railway. The introduction of the CRH series was an important part of the 6th National Rail Acceleration, which took place on April 18, 2007. By the end of 2018, China Railway High Speed ​​served all provinces in China except Taiwan and covered over 29,000 km. (18,000 miles) the length of passenger routes, which make up about two-thirds of the world's high-speed rail routes served by commercial enterprises. It is the most widely used rail transport in the world, with 1.713 billion flights in 2017, bringing the total cumulative number of flights to 7 billion. More than 1000 sets of rolling stock are operated under the CRH brand, including the Hexie CRH1 / 2A / 5, which are rated for a top speed of 250 km / h (160 mph), and the CRH2C / 3 has a top speed of 350 km / h. ( 220 mph). The in-house developed CRH380A has a maximum test speed of 416.6 km / h (258.9 mph) at a commercial speed of 350 km / h.The fastest CRH380BL train reaches a maximum test speed of 487.3 km / h (302.8 mph) ). In 2017, China Standardized EMU brand, including CR400AF / BF and CR200J, joined China Railway High Speed ​​and is designated Fuxing along with the letters CR (China Railway). With gradual planning, the CR brand will replace the existing CRH brand in service. Depending on the speed, there are 3 categories of high-speed trains: G, D and C (G and some C are the fastest at 350 km / h, D at 250 km / h and C at 200 km / h). <br /> High speed rail network. <br /> High speed rail services were first introduced in 2007 on CRH rolling stock. They operate on existing lines that have been upgraded to speeds of up to 250 km / h (160 mph), and on newer dedicated high-speed routes rated up to 350 km / h (220 mph). <br /> CRH service on dedicated high-speed lines<br /> <br /> ==Seydou, Sagara==<br /> My topic: The Chinese language.<br /> <br /> 1 Putonghua and Dialects<br /> <br /> 2 Ancient Chinese and Mordern Chinese <br /> <br /> 3 Idiomatic phrase -Idioms common sayings,and allegorical sayings<br /> <br /> 4 language policy.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 02:24, 20 November 2020 (UTC)<br /> <br /> ==Shi Haiyao 石海瑶==<br /> The Four Talented Women of Ancient China<br /> (中国古代四大才女)<br /> <br /> A.Cai Wenji 蔡文姬<br /> <br /> B.Zhuo Wenjun 卓文君<br /> <br /> C.Li Qingzhao 李清照<br /> <br /> D.Ban Zhao 班昭<br /> <br /> ----<br /> <br /> ==Si Yu 司妤==<br /> <br /> Ancient and Contemporary Ways of Contacting--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 13:27, 22 November 2020 (UTC)<br /> <br /> 1.Sending Messages with Pigeons<br /> Sending messages ith pigeons is a way of communicating with people in the ancient times. If you want to send letters, you should tie them to the feet of the pigeons and pass them on to the person to the receiver. As it is not convenient to communicate with people, so clever people take advantage of pigeons which fly fast and can recognize the directions. They trained pigeons and improved the speed of delivery. Generally speaking, the birds themselves will find their way home, just as the weary birds returning to their nests. For example, I live near to my friends. Later, when I have to go somewhere else, I will leave my hometown with my pigeons. One day when I have to contact my friend, I would put a note in the the special case, which is tied to the foot of the pigeon. And then I would release the pigeon, which would fly to my hometown.<br /> <br /> Pigeons are not only very sensitive to the Earth’s magnetic field, but also are particularly homesick, which are their innate strengths. But to be a carrier pigeon, it’s all about training. The basic purpose of raising carrier pigeons is releasing, competing and using. In order to obtain the ideal carrier pigeon, apart from careful breeding and scientific breeding management, the most important thing is training. All the three steps complement each other. The basic principle of training is based on the biological and physiological characteristics of carrier pigeons and the “Classical conditioning” principle. The basic aim of the training is to train, exercise and improve the quality of pigeons, to give full play to their inherent biological characteristics and strengths. The basic contents of training generally include: basic training, release training, competing training, adaptation training and application training. Training should start from young pigeons, from simple tasks to complex ones, from short distance to long distance, from day to night, from basic training to professional training. In short, training should start from easy to difficult.<br /> <br /> 2.Paper Letters<br /> <br /> A letter is a document which conveys information, thoughts and feelings to a specific person. The Chinese character “xin” (letter) means messages in ancient Chinese. Also, it means that the messages are credible. In giving oral messages and writing letters delivered by postmen which conveys information, thoughts and feelings to a specific person, one has to have the following abilities. First, he has the ability to tell the whole story in words and express his thoughts and feelings. Two, he has writing tools. Three, he has a postman to help him deliver messages. Writing letters in person to relatives and friends can not only convey one’s thoughts and feelings, but also give the recipient a feeling of “talking to each other face to face” . With the growth of technology, telephone, telegraph, mail tapes, video tapes, e-mail and other means of communication information came. With the development of society, the relationship between people and society is being reconstructed. Apart from its traditional function, that is, official correspondence and private correspondence, letters are used for a new purpose. There is a surge in letters which are sent to governments, entrepreneurs, famous scholars for private purposes.<br /> <br /> 3.E-mails<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> Five famous mountains.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:00, 9 November 2020 (UTC)<br /> <br /> 1.Mount Song<br /> <br /> 2.Mount Tai <br /> <br /> 3.Mount Hua <br /> <br /> 4.Mount Heng<br /> <br /> 5.Mount Heng<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ===Ancient Education===<br /> <br /> '''History'''<br /> <br /> China’s ancient education was one of the most splendid components of ancient Chinese culture. Chinese education had a long history dating from the Xia, Shang and Zhou dynasties 3000/4000 years ago.<br /> <br /> In the Shang Dynasty (16th-11th century BC), formal schools emerged with the names like “Xiao” (school)，“Xue”(study) and “Daxue”(higher school). Teachers then were all government officials and students were all children of the nobility, so that was the earliest “Guan Xue”(Government School/Education).<br /> <br /> Education became more popular by the Spring Autumn/Warring States period. Confucius became the earliest founder for “Private Education”. This type of private school education is often known as “Si Xue” (private institution).<br /> <br /> From Han till Qing Dynasty, the formation of government institution had been well-established. All the teaching materials and educational training were geared towards the preparation for Imperial examination. After receiving a title in the Imperial examination, one might receive a post in the state bureaucracy. At the same time, private schools were also developing. Most of the famous philosophers and scientists were originated from private schools.<br /> <br /> Apart from schooling, “Family education” began to play an important role. Many of the famous historical figures grew up under the education and strict ‘teaching’ by their parents or other senior family members, and they studied hard in order to become successful. For instance, it was well documented that Mencius’s mother had moved three times with her son before she eventually found a proper neighborhood for the son’s education. After the Han dynasty, because of the increased status of Confucianism and its influence, the teaching of “poetry and rites” became the basic content for family education. Loyalty, Filial Piety, Benevolence and Righteousness were core values taught in family education.<br /> <br /> In ancient Chinese education, there was another form of education system known as “Xue Shu Jiao Yu”. This belongs to neither an institute education nor a family education. These are generally “primary school for the folks”. Sometimes, they were called “Meng Guan”(primary education hall), “Si Shu ” (private school), “Zu Xue” (extended family school) , etc. Most students will first learn how to read characters, then they will learn The Three Character Classic ”, The Hundred Family Surnames, The Thousand Character Classic. Then they will learn the “Four Books”. In addition, they will also learn Chinese calligraphy and character pairing. In this type of school, the rules and regulations are especiallystrict.<br /> <br /> There are other methods such as Shuyuan and Guozijian, etc. They all formed a unique way of knowledge teaching and became important system for the development on “study of knowledge”, “teaching method”, etc. All of these formed the basis for today's Chinese education.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)<br /> <br /> <br /> '''Confucian Educational Theory'''<br /> <br /> The historical importance of education in Chinese culture is derived from the teachings of Confucius. The connection between Confucius and the official Chinese educational system thus became permanently linked right into the present time. Confucius broke the rule of “Xue Zai Guan Fu”<br /> <br /> (learning at the government hall. He encouraged “learning for all hierarchical levels and for all ages”, and opened the door of education to the commoners. He established his own school and started to spread his teaching, thoughts and views. He became the earliest founder for “Private Education”.<br /> <br /> In ancient Chinese education, whether they were government or private school, they all placed a great emphasis on humanities and cultural education, which focused on the teaching of morality and the development of wisdom. It covered philosophy, language, literature and other cultural subjects. The curriculum at the Great Academy was based on the Confucian Five Classics.<br /> <br /> Confucius taught his students morality, proper speech, government, and the refined arts. While he also emphasized the “Six Arts” — ritual, music, archery , chariot- riding , calligraphy , and computation — it is clear that he regarded morality as the most important subject. Confucius had been regarded as the pioneer founder of family education. According to The Analects of Confucius, Confucius wanted his son to learn both poetry and rites. He said, “if one does not learn poetry, one will not be able to talk properly”, “if one does not learn rites, one will never be well footed in the society.” Other than placing a strong emphasis on morality education, Chinese education also emphasized greatly on learning/teaching method and principles. Below are some common Confucian educational philosophies:<br /> Revise the old in order to deduce new things.<br /> Learning and Thinking are equally important. <br /> Learn in a systematic and progressive way, from a beginner’s level to the advanced.<br /> Inspiration and Guidance.<br /> Teach according to students’ ability; use appropriate materials for teaching. <br /> <br /> Confucius’s goal was to create gentlemen who carry themselves with grace, speak correctly, and demonstrate integrity in all things. The long The Master said in The Analects that:<br /> “Is it not delightful to acquire knowledge and put it into practice from time to time？“Learning without thought is labor lost; thought without learning is perilous.” <br /> Confucius’s main educational thoughts were to teach students according to their aptitude, to treat students equally and to inspire thinking. His pedagogical methods were striking. He posed questions, cited passages from the classics, or used apt analogies, and waited for his students to arrive at the right answers. He said, “I only instruct the eager and enlighten the fervent. If I hold up one corner and a student cannot come back to me with the other three, I do not go on with the lesson.” The status of education remained high in Confucian heritage cultures in East Asia. Beyond that, translations of Confucian texts influenced European thinkers of the period as well, particularly among the philosophical groups of the Enlightenment who were interested by the integration of the system of morality of Confucius into Western civilization. The French philosopher Voltaire was also influenced by Confucius, seeing the concept of Confucian rationalism as an alternative to Christian dogma. He praised Confucian ethics and politics, portraying China as a model for Europe.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)<br /> <br /> '''Chinese Imperial Examination'''<br /> <br /> The Chinese Imperial Examination was an examination system in Imperial China designed to select talented people for future positions in civil service. This system had a huge influence on both society and culture in Imperial China. It was established in 605 during the Sui Dynasty and lasted more than 1,300 years until the last examination in 1904 when the last Chinese feudal kingdom—the Qing Dynasty—was coming to an end. Somehow the modern examination system for selecting civil service staff also indirectly evolved from the imperial one. It was part of the process by which candidates who passed the exams could receive a title called jinshi, or some other degree, which in turn would generally be followed by appointments to government offices. The first three of Jinshi were ranked Zhuangyuan, Bangyan and Tanhua respectively. The examinations consisted of a battery of tests administered at the district, provincial, and imperial levels. Only three-hundred candidates could pass the imperial examinations, which would be supervised by the Emperor himself. Candidate scholars often took the examinations several times before earning a degree. Each exam taker spent three days and two nights writing “eight-legged essays” — literary compositions with eight distinct sections — in a tiny room with a makeshift bed, a desk, and a bench. There were no interruptions in those three days, nor were candidates’ allowed any communication. Since the pressure to succeed was intense, cheating and corruption were rampant. In order to obtain objectivity in evaluation, candidates were identified by number rather than name, and examination answers were recopied by a third person before being evaluated to prevent the candidate’s handwriting from being recognized. In the ancient society, class consciousness was strong and many people from lower classes would have had little chance to reach high office, not to mention having any position in the official court.<br /> <br /> However, once the imperial examination system was introduced, any male adult in China, regardless of his wealth or social status, could become a high-ranking government official by passing the imperial examination and thus realize their self-development. In this sense, passing the imperial examination was also called “carps jumping across the dragon’s gate” . The dragon had always been regarded as the symbol of mighty power and especially that of the rights exercised by the emperor, consequently the success of examination candidates was proudly called “jumping across the dragon’s gate.” In late imperial China, the examination system and associated methods of recruitment to the central bureaucracy were major mechanisms by which the central government captured and held the loyalty of local-level elites.The examination system also served to maintain cultural unity and consensus on basic values. The uniformity of the content of the examinations meant that the local elites and ambitious would-be members of those elites across China were taught with the same values. Despite the significant effect of promoting Confucian culture and education, it also influenced education systems in many other countries like Korea, Japan, and Vietnam, and similarities can be found in the personnel selection methods employed in France, America and Britain. Today’s education system is surely its successor.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> ===Three Giant Home Appliance Enterprises In China===<br /> <br /> ===A.Midea===<br /> <br /> Midea is a technology group of consumer electronics, HVAC, robotics and automation systems, and smart supply chain (logistics).Founded in Shunde, China in 1968, Midea officially entered the household appliance industry in 1980. In 1981, Midea registered its brand. The group employs a total of 130000 people, whose headquarter is locate in Shunde, Guangdong Province. Midea Group has about 200 subsidiaries, more than 60 overseas branches and 10 strategic business units worldwide, and is the main shareholder of KUKA group (about 95%) in Germany . Midea now has more than ten brands such as Midea and Little Swan. and has 15 and 6 production bases separately home and abroad.<br /> <br /> <br /> '''Business operation:'''<br /> <br /> Midea's diversified development strategy can reflect its wide range of business : consumer electrical appliances mainly including kitchen appliances, refrigerators, washing machines and all kinds of small household appliances; HVAC business focusing on heating and ventilation systems such as household air conditioning and central air conditioning; robot and industrial automation system business with German KUKA group and Midea robot company as the core.Up to July 2020, Midea ranked 22nd in the list of China's Top 100 Most Valuable Brands in 2020.<br /> <br /> <br /> '''Corporate culture'''<br /> <br /> To some extent, enterprises seems like a person. Generally speaking, the style and personality of an enterprise are greatly affected by the values and behavior styles of enterprise leaders. Enterprise style and characters can determine the fate and future itself. Midea focus on sound operation. If Haier and Gree went to two &quot;extremes&quot;, Midea would choose the &quot;middle road&quot;, which is neither extreme left nor right. It will not suddenly break the original management framework and organizational structure,which, otherwise, would place the enterprise in high risk. Midea Group’s New Vision, mission,values and business principles are not only rooted in the achievements of historical accumulation, but also the strategic blueprint for the future. The New Vision,“the perfection of science and technology lead to the perfection of life”, continues the Midea’s emphasis on science and technology and human-oriented spirit; The new mission,“connecting people and things, enlightening the world of Midea” reflects its strategic thinking on the development trend of technology, industrial chain and global layout, and makes the linkage between people and things in different scenes more advanced, thus stimulating the leapfrog development of people’s lives and production; Through the value“dare to know the future”, Midea could continue carrying forward its spirits of future orientation and embracing changes. From a New Vision, mission, values, the United States of intelligent manufacturing, intelligent life, and the way to give back to society, but also a deeper level of exploration.<br /> <br /> <br /> '''Development strategy'''<br /> <br /> '''(1)Diversified product strategy:'''<br /> <br /> In the light of the wide range of its business, we can see that Midea is actively promoting diversified development: in the area of air-conditioning, Midea，since 1998，has made a series of acquisitions and mergers, expanding its air-conditioning capacity and entering the field of air-conditioning compressors. Moreover, it has produced the core components of air conditioning, increased research and development and cooperation in air conditioning, then begun to produce the core components of air conditioning compressor, increased research and development in the core components; as for small household appliances, since 2001, Midea has mastered the core components of microwave oven and become one of the three largest production bases in the world. Subsequently, the Group has reorganized the small appliance business under direct control and developed professionally on the basis of diversification ; diversification has the advantage of spreading risk, that is the theory of “don’t put all your eggs in one basket” , and its disadvantage lies in the difficulty for firms to concentrate and, relatively speaking, to establish absolute competitive advantage in one or more specific areas.<br /> <br /> <br /> '''(2)&quot;Intensive Growth + Extensive Expansion&quot; business strategy'''<br /> <br /> Midea's business strategy can be described as &quot;two-pronged approach&quot;. On the one hand, Midea relies on its own enterprise strength to continuously optimize the performance of its core products and has made earnest efforts to improve the quality of its core products. On the other hand, through a series of acquisitions and mergers on home appliance brand，Midea has furthered its market penetration, and enhanced the market share, expanded the user group, leading to its accomplishment of “Extension Expansion” strategy. In fact, the strategy is not limited to mergers and acquisitions, but also includes the continuous paces into new industrial fields. Midea is building its own &quot;Second Runway&quot;, that is “New Product Incubation Platform”, which is not limited to the field of home appliances. As long as meeting Midea's standards for &quot;innovative products&quot;, any products can enter the incubation platform.<br /> <br /> <br /> '''Development prospect'''<br /> <br /> '''（1)Home'''<br /> <br /> In 2020, affected by the COVID-19, the rising leverage ratio of the residential sector, the rising food prices, as well as the continuing low marriage and birth rates, the pace of further expansion of the household appliance market has been hindered. As one of the three giants in China's home appliance market, Midea is naturally deeply aware of the weakness of the home appliance market, which is reflected specifically in the decline of market demand for color TV sets, air conditioners, kitchen appliances and household appliances. Midea will unswervingly increase R&amp;D investment, maintain high-quality development direction, and adhere to inclusive growth and sustained and effective growth. Midea has further expanded its online market scale which has continuously diverted offline market scale. It has been developing an integrated sales channel with both online and offline, which has been promoted orderly on Suning, Gome, Jingdong, Tmall and other platforms. Facing the domestic market, Midea has been consolidated its basic system and established a unified business language and rules.<br /> <br /> '''（2)Abroad'''<br /> <br /> In 2020, the global trade friction continues to escalate, tariff barriers increases Midea’s risk of overseas market expansion, and the exchange rate between countries continues fluctuating. All of these factors mentioned above has increased Midea’s risk to engage in product export and to exchange loss. Facing the overseas market, Midea will adhere to the consumer-oriented and product-leading strategy, give full play to its network advantages in global R&amp;D and user research, grasp the differentiated needs of foreign consumer groups, improve the construction of multi-brand operation system, leading to further open-up of the foreign market and the improvement of market share.<br /> <br /> <br /> Terms and Expressions<br /> HVAC 暖通空调 Shunde （广东）顺德<br /> <br /> Smart supply chain 智能供应链 Diversification n. 多样化<br /> <br /> Subsidiary n. 子公司 Intensive Growth 内生式增长<br /> <br /> Household appliance 家用电器 leverage ratio 杠杆率<br /> <br /> Diversified adj. 多元化的 Second Runway 第二跑道<br /> <br /> Intelligent manufacturing 智能制造 R&amp;D 研发<br /> <br /> air conditioning compressor 空调压缩机 Tmall 天猫<br /> <br /> tariff barrier 贸易壁垒<br /> <br /> '''Questions '''<br /> <br /> 1.Why does Midea implement diversified development strategy?<br /> <br /> 2.Why corporate culture can determine its future?<br /> <br /> 3.what development strategy does Midea adopt?<br /> <br /> 4.How will Midea deal with the weakness of home appliance market?<br /> <br /> 5.How does Midea differ from Haier and Gree in terms of its style?<br /> <br /> ===B.Haier===<br /> <br /> ===C.Gree===<br /> <br /> ==Wang Xuan 王轩==<br /> National Flag of the People’s Republic of China<br /> ===A brief introduction of National Flag of the People's Republic of China===<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> ===China's Four New Inventions===<br /> Most people must have known about China's Four Inventions: gunpowder, paper-making, compass, and printing. Those represented how wise the Chinese was and how brilliant history China had. Today, China still holds the places and influence in technology and inventions. In May,2017, teenagers from 20 nations along the Belt and Road selected China's four new inventions: high speed railway, QR code payment, sharing bikes and online shopping. Though these new inventions are not first invented by China, but it is China that makes full use of them, and introduces them to the rest of the world. The four new inventions bring incredible changes and convenience into people's life. China, at the same time, makes contributions to the development of the human beings. World's future will be bright and prosper due to more technologies and inventions such as China's Four New Inventions.<br /> <br /> ===A. High-speed railway ===<br /> High-speed railway is a railway system with advanced design and high-speed rails run on it. The world's first official high-speed rail system is the Tokaido Shinkansen line and it goes into public in 1964, connecting the three major metropolitan circles of Japan: Tokyo, Nagoya and Osaka. The high speed railway has promoted the rapid development of Japan. Its designed speed is 200km/h, which then becomes the initial speed standard of high-speed rail. Later, with the advancement of technology, the speed of trains became faster. Different countries have different definitions of high-speed railways in different eras. According to statistics, the length of high-speed railways in operation in China has reached to more than 6,800 kilometers. China has become the country with the most comprehensive high-speed railway system technology, the strongest integration capability, the longest operating mileage, the highest operating speed, and the largest scale of construction in the world.<br /> <br /> '''Features'''<br /> <br /> 1. High-speed railways are very smooth to keep safety and comfort. High-speed railways are all seamless steel tracks, and high-speed railways with a speed of more than 300 kilometers per hour use ballastless tracks, that is, a monolithic track bed without stones to maintain smoothness.<br /> 2. The high-speed railway has few bends, as the bend is of long radius, and the turnouts are all moveable high-speed turnouts.<br /> 3. Use a large number of viaducts and tunnels to ensure ride comfort and shorten the distance.<br /> 4. The catenary of the high-speed railway, that is, the suspension of the wires on the top of the train, is also different from that of ordinary railways to keep stability and durability of the high-speed EMUs.<br /> 5. The signal control system of high-speed railways is higher than that of ordinary railways, because of the frequent departure and high speed of rails, it should be of high safety.<br /> <br /> '''Merits'''<br /> <br /> 1. Large passenger capacity. Generally, high speed rails can accommodate 600 people. Compared to other public tools such as bus, boat or airplane, high speed rails have more seats.<br /> 2. Less time-consuming. In addition to the maximum operating speed, passengers are more concerned about travel time. High speed rails will not operate in late night, so passengers can get off the rails almost in daytime, thus to finish their business or other private matters which helps save a lot of time.<br /> 3. Good safety. Due to the automatic operation of high-speed rails in a fully enclosed environment and a series of complete safety guarantee systems, thus no other transportation means can be matched with it. Since the advent of high-speed railway 35 years ago, Japan, Germany, and France have already transported 5 billion passengers. Although there have been major traffic accidents on high-speed railways, the accident rate is much lower than that of civil aviation and is almost negligible. It is still the safest transportation system.<br /> 4. High punctuality. All high-speed railways adopt automatic control and can operate around the clock unless there is an earthquake.<br /> 5. Comfortable and convenient. High speed rails have spacious and comfortable seats, stable operation, shock absorption, sound insulation, and quiet environment. <br /> 6. Low energy consumption. High-speed trains use electric traction, do not consume precious petroleum and other liquid fuels, and use various forms of energy, which is not a wasteful transportation mean.<br /> <br /> '''Terms and Expressions'''<br /> <br /> High speed railways高速铁路 the Tokaido Shinkansen line东海道新干线<br /> <br /> the three major metropolitan circles of Japan: Tokyo, Nagoya and Osaka.日本三大都市圈: 东京、名古屋和大阪<br /> <br /> integration capability整合能力 operating mileage运营里程<br /> <br /> seamless steel tracks无缝钢轨 ballastless track无砟轨道 <br /> <br /> a monolithic track bed整体式道床 moveable high-speed turnouts.可动心高速道岔<br /> <br /> viaducts and tunnels高架桥梁和隧道 high-speed EMUs.高速动车组<br /> <br /> shock absorption and sound insulation减震隔音 petroleum and other liquid fuels石油等液体燃料<br /> <br /> <br /> '''Questions'''<br /> <br /> 1. Where does the first high speed railway come from?<br /> <br /> 2. What is the name of the first high speed railway?<br /> <br /> 3. What is the advantages of high speed railway?<br /> <br /> 4. What are the features of high speed railway?<br /> <br /> 5. Which transportation carries more passengers, high speed rails or trains?<br /> <br /> 6. From Changsha to Shanghai, which transportation means will you choose?<br /> <br /> <br /> ===B. QR code payment===<br /> <br /> ===C. Sharing bikes===<br /> <br /> ===D. Online shopping===<br /> <br /> ==Wu Yilu 吴一露==<br /> ===Four Domestic Mobile Phones===<br /> <br /> ===A.Huawei===<br /> <br /> Of all the Chinese phone manufacturers, Huawei is probably the name that needs no introduction. It's the world's second largest smartphone company, and it's at the center of an international battle for technological dominance between Beijing and Washington. <br /> <br /> Founded in 1987, Huawei is a leading global provider of information and communications technology (ICT) infrastructure and smart devices. It has more than 194,000 employees, and operate in more than 170 countries and regions, serving more than three billion people around the world. Huawei is a private company wholly owned by its employees. No government agency or outside organization holds shares in Huawei.<br /> <br /> Their vision and mission is to bring digital to every person, home and organization for a fully connected, intelligent world. The benefits of digital technology shouldn't just be available to those who can afford it. Huawei's mission is to expand the benefits of technology to everyone, everywhere. To achieve this, they've developed a digital inclusion strategy that focuses on three areas: technology, applications, and skills. For example, three main world-changing technologies built by Huawei are 5G, Huawei cloud and Huawei AI.<br /> <br /> Huawei is continuing to focus on research and innovation to seize the opportunities and address the challenges of the future intelligent world.  There are many innovations and inventions of Huawei to drive the industry forward, including advanced wireless networks, optical networks, intelligent O&amp;M, AI computing, smartphone camera, media CODEC standards, software, trustworthiness and so on. Today, Huawei have entered the 5G ear and embarked on 6G research. It is exploring new directions for 6G. To this end, they began research into the basic theories of 6G and initiated extensive open collaboration projects with other industry players and pushed the industry to build a consensus on 6G.<br /> <br />  &quot;Staying customer-centric and creating value for customers&quot; are the company's common values. The company has a well-developed internal governance structure, under which all governance bodies have clear and focused authority and responsibility, but operate under checks and balances. This creates a closed cycle of authority and achieves rational and cyclical succession of authority, so as to drive the facilitation and implementation of the company's common values.<br /> <br /> <br /> [[File:Corporate Governance Structure.jpg|650px|thumb|middle|Diagram of Huawei Corporate Governance. Click [https://www-file.huawei.com/-/media/corporate/images/about-huawei/2020/corporate-governance-structure-18en.png?la=en-us/File:Corporate Governance Structure.jpg] for original source.]]<br /> <br /> <br /> Once virtually unknown to most Americans, the telecommunications giant was splashed across newspapers when top executive (and daughter of the company's founder) Meng Wangzhou was arrested in Canada for an alleged violation of US sanctions with Iran. Since then, the Chinese telecom has regularly made international headlines, especially since the US Commerce Department banned American companies from doing business with Huawei without first obtaining a license. <br /> For Huawei, that meant it could lose access to crucial technological parts including semiconductors, which are key components used in its base stations and phones. It also meant Huawei's handsets were cut off from the full power of Google's Android operating system, along with several popular apps including the Google Play store, Gmail, Google Maps and apps that rely on Google like Uber and eBay. At its launch in September, the Mate 30 was Huawei's first major phone to launch without Google's proprietary apps. Despite US efforts to constrain Huawei, the company reported first-half earnings this month showing revenue grew more than 13% from a year ago to around $65 billion.<br /> <br /> ===Terms and Expression===<br /> <br /> Huawei cloud 华为云 Intelligent Collaboration 协同管理技术<br /> <br /> optical networks 光纤网络 Carrier Network 承载网络<br /> <br /> intelligent O&amp;M 智能委托运营 the Kunpeng 920 鲲鹏920<br /> <br /> AI computing 人工智能计算 AppGallery  华为应用程序库<br /> <br /> information and communications technology (ICT) 信息与通讯技术 Media CODEC standards 编解码标准<br /> <br /> ===Questions:===<br /> <br /> 1.When is Huawei founded?<br /> <br /> 2.How many countries and regions does Huawei operate? <br /> <br /> 3.Do government agency and outside organization hold shares if Huawei?<br /> <br /> 4.What is the vision and mission of Huawei? And what do they do to achieve this mission?<br /> <br /> 5.What are the three main world-changing technologies built by Huawei?<br /> <br /> 6.What are the innovations and inventions of Huawei?<br /> <br /> 7.What are the company’s common values?<br /> <br /> 8.What makes that the telecommunications giant frequently was mentioned across newspapers?<br /> <br /> 9.Which phone is the first major phone launched without Google’s proprietary apps?<br /> <br /> 10. What’s your opinion towards these two issues mentioned above? Will these hinder the development of Huawei?<br /> <br /> ===B. Xiaomi===<br /> <br /> ===C. Vivo &amp; OPPO===<br /> <br /> --[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 07:24, 27 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> Chinese Dialects方言<br /> <br /> 1.Cantonese<br /> <br /> 2.Hunan dialect<br /> --[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 08:23, 9 November 2020 (UTC)Wu Zijia<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> ===March of the Volunteers (National Anthem of the People's Republic of China)===<br /> <br /> <br /> ===A. Brief Introduction===<br /> <br /> March of the Volunteers is a song composed by Tian Han and Nie Er. It is the theme song of the film Children of Troubled Times, known as the clarion call of the Liberation of the Chinese nation. Since its birth in 1935 at the critical moment of national crisis, it has played a great role in inspiring the patriotic spirit of the Chinese people, and later became the National Anthem of the People’s Republic of China.<br /> <br /> On May 9, 1935, the first version of the song was recorded in the recording studio of EMI Records. In 1951, in order to meet the needs of playing the national anthem, the People's Record Factory recorded and published a rough record composed of a brass ensemble and an orchestral ensemble. In 1959, to celebrate the 10th anniversary of the founding of the People’s Republic of China, the China Record Factory recorded and published a full set of standard national anthem special records. In 1978, a special album for collective lyrics was released. In 1983, China Record Shanghai Company recorded and published a special record for the standard national anthem after the original word was restored.<br /> <br /> On March 14, 2004, the Second Session of the Tenth National People’s Congress passed a constitutional amendment, officially stipulating that the national anthem of the People’s Republic of China shall be the March of Volunteers.<br /> <br /> The National Anthem Law of the People's Republic of China was adopted at the 29th Session of the 12th National People's Congress Standing Committee on September 1st, 2017, and formally went into effect on October 1st.<br /> <br /> ===B. Creation Background===<br /> <br /> March of the Volunteers is the theme song of the film Children of Troubled Times. In the autumn of 1934, Tian Han wrote a long poem for the film, the last verse of which was selected as the lyrics of the theme song March of the Volunteers. Shortly after the lyrics were written, Tian Han was arrested and imprisoned by the Kuomintang authorities. In February 1935, director Xu Xingzhi took over the shooting of Children of Troubled Times. Soon after, comrades who went to prison to visit brought back the lyrics written by Tian Han in prison on the back of cigarette packing paper, that is, the original manuscript of March of the Volunteers. At that time, Nie Er was preparing to go to Japan to seek refuge. He learned that there was a theme song to write in the film children of the wind and cloud. He took the initiative to compose music for the song and promised to send back the song manuscript as soon as possible after he arrived in Japan.<br /> <br /> Nie Er completed the first draft of the score soon after receiving the lyrics. On April 18, 1935, after Nie Er arrived in Tokyo, Japan, he completed the final draft of the score, and sent the final draft to Shanghai Dentsu Film Company at the end of April. Afterwards, in order to make the song tune and rhythm more powerful, Nie Er and Sun Shiyi discussed and made three changes to the lyrics, thus completing the song creation.<br /> <br /> After the early shooting of the film Children of Troubled Times was completed, the lyrics of Tian Han's theme song did not determine the name of the song, while Nie Er's lyric composition sent back from Japan only included the word &quot;March&quot;. General Zhu Qinglan, as the investor of the film Children of Troubled Times, added &quot;Volunteers&quot; after the words of &quot;March&quot;, thus naming the song March of the Volunteers.<br /> <br /> <br /> ===C. Song Appreciation===<br /> <br /> The March of the Volunteers is a very creative song; the composer Nie Er devotes himself to the creation of this song with great passion. First of all, he succeeds in handling the poetic lyrics of Tian Han’s prose in accordance with the laws of music in an extremely vivid, powerful and colloquial way. In terms of melody creation, he not only absorbs the excellent achievements of international revolutionary songs and the style characteristics of Western European march, but also makes it have strong national characteristics, so that the song could be grasped by the broad masses and play its fighting role.<br /> <br /> The song begins as a prelude to a six-bar march. It has a sonorous rhythm, bright and majestic melody, among which the magical effect of triplet enhances the fighting atmosphere of the song. Although the prelude is short, it contains the basis for the emotional and melody development of the entire song. The songs are interlocked and advanced layer by layer. This process runs through the whole song, and the end of the song is repeated many times, giving people a sense of unwavering and unstoppable.<br /> <br /> According to the characteristics of the lyrics clause, Nie Er treated the song into a free body structure formed by six phrases of varying lengths. Although the melody and structure of each phrase are different, the cohesion between the phrase and the phrase is close, the development is natural, and the singing is ups and downs, and is integrated.<br /> <br /> March of the Volunteers, with its soaring, sonorous and powerful melody and inspiring lyrics, expresses the Chinese people's strong resentment and resistance to imperialist aggression, and embodies the heroic spirit of the great Chinese nation in the face of foreign aggression that is brave, strong, united as one to go through national disaster.<br /> <br /> <br /> ===D. Chinese and English Lyrics===<br /> <br /> 起来！不愿做奴隶的人们！<br /> <br /> 把我们的血肉，筑成我们新的长城！<br /> <br /> 中华民族到了最危险的时候，<br /> <br /> 每个人被迫着发出最后的吼声。<br /> <br /> 起来！起来！起来！<br /> <br /> 我们万众一心，<br /> <br /> 冒着敌人的炮火,<br /> <br /> 前进！<br /> <br /> 冒着敌人的炮火，<br /> <br /> 前进！<br /> <br /> 前进！前进、进！<br /> <br /> <br /> Arise, you who refuse to be bond slaves!<br /> <br /> Let’s stand up and fight for<br /> <br /> Liberty and true democracy.<br /> <br /> All our world is facing<br /> <br /> The chains of the tyrants.<br /> <br /> Everyone who works for freedom is now crying:<br /> <br /> Arise! Arise! Arise!<br /> <br /> With the torch of freedom,<br /> <br /> March on!<br /> <br /> With the torch of freedom,<br /> <br /> March on!<br /> <br /> March on! March on, and on!<br /> <br /> <br /> ===Vocabulary List===<br /> <br /> March of the Volunteers 义勇军进行曲<br /> <br /> Children of Troubled Times 风云儿女<br /> <br /> EMI 百代唱片<br /> <br /> National People’s Congress 全国人民代表大会<br /> <br /> National People's Congress Standing Committee 全国人大常委<br /> <br /> ===Questions===<br /> ‭<br /> 1. Who are the composers of March of the Volunteers?<br /> <br /> 2.Which movie's theme song does March of the Volunteers belong to?<br /> <br /> 3.When did the National Anthem Law go into effect?<br /> <br /> 4.When was the final draft completed?<br /> <br /> 5.How did the name of this song come from?<br /> <br /> ==Xiao Ting 肖婷==<br /> '''Zheng He’s Voyages '''<br /> <br /> From 1405 until 1433, the Chinese imperial eunuch Zheng He led seven ocean expeditions for the Ming emperor which is an unprecedented feat in world history. <br /> <br /> '''Zheng He'''<br /> Zheng He was born Ma He to a Muslim family in the far southwest, in today's Yunnan province. It is said that his original surname is Ma,his full name as Ma Sanbao .At ten years old he was captured by soldiers sent there by the first Ming emperor intent on subduing the south. <br /> He was sent to the capital to be trained in military ways. Growing up to be a burly, imposing man, over six feet tall with a chest contemporaries said measured over five feet around, he was also extremely talented and intelligent. He received both literary and military training, then made his way up the military ladder with ease, making important allies at court in the process. Besides Zheng He has a background of both Buddhism and lslam.Thus,he was assumed as the perfect choice to lead the emperor’s splendid armada.<br /> <br /> '''Reasons for the voyages'''<br /> The Yongle Emperor sent Zheng He to the “Western oceans”, both to demonstrate the might of the Ming Empire and to realize the diplomatic ideal of peace and harmony among all nations. Zheng He's fleet showed the prosperity ，the imperial power and its advanced navigation technology and exquisite ship-building techniques of China at that time , thus many small countries and bribes agreed to recognize China as their superior and its emperor as lord of “all under Heaven”.These countries and bribes regularly gave gifts of tribute in exchange for certain benefits ,like military posts and treaties.<br /> Zheng He's fleet did not act as a sea ruler, it appeared in peace all over the world, laden not only with goods exchanged with those countries, but also with the friendship of peoples.<br /> <br /> '''The seven expeditions'''<br /> These expeditions were astonishing as much for their distance as for their size: during the first ones, Zheng He traveled all the way from China to Southeast Asia and then on to India, all the way to major trading sites on India's southwest coast.The first expedition of this mighty armada was in 11th July of 1405, composed of 317ships and perhaps as many as sixty huge Treasure Ships and nearly 28000men with thousands of soldiers , sailors ,diplomatic specialists ,medical personnel, astronomers and scholars.The fleet stopped in Java and then arrived at Ceylon (today’s Sri Lanka ).<br /> Compared to the first one, the second voyage(1407-1409) was smaller with only 68ships sending foreign envoys back home.<br /> <br /> Zheng He led the third voyage (1409-1411) visiting many of the same countries as the first one did, like Champa and Java. When fighting broke out there between his forces and those of a small kingdom, Zheng put down the fighting, captured the king and brought him back to China where he was released by the emperor and returned home duly impressed<br /> <br /> The fourth voyage (1413-15) extended the scope of the expeditions even further. This time in addition to visiting many of the same sites, Zheng He commandeered his 40 ships and over 28,000 men to Hormuz on the Persian Gulf. This trip has 48 ships with doctors , officials ,translators and more than 27000 troops .<br /> The fifth voyage (1417-1419) was primarily a return trip for seventeen heads of state from South Asia. They had made their way to China after Zheng He's visits to their homelands in order to present their tribute at the Ming Court. <br /> The sixth voyage began in 1421 and lasted for nearly two years.Then the expeditions were halted due to the death of the Yongle emperor. sailed to many of the previously visited Southeast Asian and Indian courts and stops in the Persian Gulf, the Red Sea, and the coast of Africa, principally in order to return nineteen ambassadors to their homelands. Zheng He returned to China after less than a year, having sent his fleet onward to pursue several separate itineraries, with some ships going perhaps as far south as Sofala in present day Mozambique.<br /> The seventh and final voyage (1431-33) was sent out by the Yongle emperor's successor, his grandson the Xuande emperor.It was on this return trip that Zheng He died.This expedition had more than one hundred large ships and over 27,000 men, and it visited all the important ports in the South China Sea and Indian Ocean as well as Aden and Hormuz. One auxiliary voyage traveled up the Red Sea to Jidda, only a few hundred miles from the holy cities of Mecca and Medina. It was on the return trip in 1433 that Zheng He died and was buried at sea, although his official grave still stands in Nanjing, China. Nearly forgotten in China until recently, he was immortalized among Chinese communities abroad, particularly in Southeast Asia where to this day he is celebrated and revered as a god.<br /> <br /> '''Vocabulary list'''<br /> The Yongle emperor 永乐皇帝（明成祖）<br /> Java 爪哇<br /> Ceylon 锡兰（今斯里兰卡）<br /> Champe 占城（印度支那古国）<br /> Hormuz 霍尔木兹<br /> The Persian Gulf 波斯湾<br /> Medina 麦地那市（沙特阿拉伯西部城市）<br /> Mecca 麦加 （穆斯林圣地）<br /> <br /> ''' Questions'''<br /> 1.What was Zheng He like?<br /> 2. Why did the Yongel Emperor sent the armada to the “Western oceans”<br /> 3.How many people did Zheng He bring at the first voyage ,and what did these people do?<br /> 4.Why did the expeditions stopped during the 1423-1430?<br /> 5.The last trip was sented by?<br /> <br /> ==Xie Fan 解帆==<br /> <br /> ===Studies of Hunan Dialects===<br /> <br /> ====Category of Hunan Dialects====<br /> <br /> ====Characteristics of Hunan Dialects====<br /> <br /> ====Developments of Hunan Dialects====<br /> <br /> ====Translation Strategies of Hunan Dialects====<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> ===Four Folk Stories of ancient China===<br /> <br /> Cowherd and Weaving Girl, Meng Jiangnu Crying on the Great Wall, the Story of the White Snake and Butterfly Lovers are the four major folk love stories in ancient China. As the most charming oral traditions and national intangible cultural heritage in China, the earliest of them has been popular for more than 2000 years, having a profound impact on people’s lives.<br /> <br /> 1. Cowherd and Weaving Girl<br /> <br /> 2. Meng Jiangnu Crying on the Great Wall<br /> <br /> 3. The Story of the White Snake<br /> <br /> 4. Butterfly Lovers<br /> <br /> <br /> ====Cowherd and Weaving Girl====<br /> <br /> It is said that the story took place in the Western Zhou Dynasty. Cowherd was a simple and honest young man living in the Xiniu village of Nanyang city. His parents died early, so he lived a miserable life with an old ox. One day, Weaving Girl, the daughter of the God of Heaven, came down with other fairies from heaven and took a bathe in a river near Cowherd’s house. The old ox told the Cowherd to steal her clothes so that she was unable to return to the heaven and would stay here to be his wife. With the help of the old ox, Weaving Girl married Cowherd and had a son and a daughter. They led a happy life with husband laboring in the field and wife weaving at home. But their marriage didn't last long. It was discovered by the Queen Mother and incurred her wrath. Ignoring tearful Cowherd and two crying children, she broke up the couple and brought Weaving Girl back. It was the old ox that helped him again. It told Cowherd that it would die tonight and he needed to make three pair of shoes with its skin, which could help him go to heaven and find his wife. Cowherd did as the old ox said. Just as the cowherd was about to catch up with them, however, the Queen Mother took off her golden hairpin and separate them by a large river, which is now called the Milky Way. Hopelessly, the two lovers can only look at each other across the river. Fortunately, magpies were touched by their love. Hundreds of thousands of magpies flied and formed a bridge over the river. Finally the Queen Mother showed a little mercy, allowing them to meet once a year on the magpie bridge. The day was the seventh day of the seventh lunar month, which later has become the Chinese Valentine’s Day. <br /> <br /> ====Meng Jiangnu Crying on the Great Wall====<br /> <br /> During the reign of the first emperor of Qin Dynasty, Fan Xilang, a young man living in the surrounding area of Mengjiang mountain in Lizhou County, Hunan Province, had just finished the forced servitude and returned to his hometown to get married. But unfortunately, on the night of their wedding, Fan Xilang was sent to the north to build the Great Wall. He toiled away with hunger, cold and fatigue, and soon met a miserable death at the end of his efforts. His body was buried under the Great Wall. <br /> Meng Jiangnu, Fan’s new wife, got the bad news and went through all kinds of hardships to reach the Great Wall. She cried bitterly there for three days and three nights, and finally cried down the Great Wall and found her husband's remains. On her way to take him home, she suffered a lot and finally died of hunger and thirst in Tongguan County, Shaanxi Province. Sympathetic with the couple’s miserable experience and deeply moved by Meng’s spirits, the local people buried their remains and set up ancestral temples to commemorate them.<br /> <br /> ====The Story of the White Snake====<br /> <br /> Created in the Southern Song Dynasty and prevailed in the Qing Dynasty, the Story of the White Snake is a model of Chinese folk collective creation. In the book Stories to Warn Man compiled by Feng Menglong, The White Snake under the Leifeng Pagoda has been acknowledged as the first version of this story.<br /> After thousands of years of practice in Emei Mountain, two snake named Bai Suzhen and Xiaoqing translated into two beautiful girls and came to visit Hangzhou. After encountering with a young man named Xu Xian in the rain, Bai Suzhen fell in love with him and soon later they get married. But a monk called Fahai saw through Bai’s disguise and thought that it was an intrigue of the white snake to marry a man. He persuaded Xu Xian to intoxicate his wife with realgar wine on the Dragon Boat Festival. After being drunk, Bai Suzhen couldn’t control herself and showed the shape of a snake, which scared Xu Xian to death. Regardless of her own safety, Bai Suzhen went through many difficulties and got the magical grass, which finally brought Xu Xian back to life.<br /> But Fahai did not give up. He then lured Xu Xian to the Jinshan Temple to separate the couple. Bai Suzhen and Xiao Qing had no choice but to inundate the temple with flood. During the fierce battle, Bai was finally defeated and put into a small bowl under the Leifeng Pagoda. <br /> <br /> ====Butterfly Lovers====<br /> <br /> During the Eastern Jin Dynasty, Zhu Yingtai, a beautiful and intelligent girl born in a rich family in Shangyu County, Zhejiang Province, wanted to go to Hangzhou to study for there was no good teacher at home. Her father, seeing her eagerness to learn and her ability to disguise herself as a man, finally agreed to her request. On the way to Hangzhou, Zhu Yingtai met Liang Shanbo, a young man who had the same destination with her. He was sincere, gentle and knowledgeable and they clicked immediately. During the school years, they often talked about poetry and articles, cared for each other, and slept in the same bed at night. Zhu had gradually fallen in love with Liang, who, though did not know she was a girl, also cherished her and saw her as his best friend. <br /> Three years passed quickly. The moment when they had to part, Zhu constantly gave delicate indications to Liang that she was a girl and she loved him, but Liang failed to take her hint. Zhu had no choice but to lied to Liang that she had a little sister who was similar to her in appearance and learning and she wondered if Liang was willing to marry her. Liang Shanbo readily consented and promised that he would come to visit soon. A months later, Liang Shanbo went to Zhu's home and he was surprised to see Zhu Yingtai dressed up as a girl. Only then did he know the truth and figured all the things out. They then confessed their love to each other and pledged to marry without the permission of parents. <br /> But unfortunately, Zhu’s parents didn’t think much of this poor young man. They wanted to marry their daughter to Ma Wencai, the son of the local governor. Zhu Yingtai was unwilling to marry him but her protest was in vain, for her family was in financial crisis and needed Ma’s support. Hopelessly, the two young lovers was forced to part in tears. Since then, Liang slid into a depression. His spirit and health were soon crushed, and he died a few months later. On the wedding day, Zhu asked for a detour to pass by Liang 's tomb so that she could say goodbye to him. Wearing a bright red wedding dress, she knelt in front of his grave and cried bitterly. At that moment, lighting flashed, thunder rolled and the sky went dark. Liang's tomb suddenly cracked open and Ying-tai immediately jumped into it before it closed. Then under the shocked eyes of the onlookers, a pair of beautiful butterflies flied out of the graves and dancing in the sunlight. It is believed that these two butterflies are Liang Shanbo and Zhu Yingtai. They finally get rid of all the shackles and bounds and can stay together forever.<br /> <br /> <br /> Having been adapted into many films and TV plays, these four stories are well-known in China and the rest of the world. As the crystallization of folk culture, they not only represent the rich imagination of ancient Chinese people, but also show their hatred for evil forces and their pursuit for a free and happy life, which is exactly the positive part of folk literature.<br /> <br /> <br /> ===Vocabulary List===<br /> <br /> Cowherd and Weaving Girl 牛郎织女<br /> <br /> Meng Jiangnu Crying on the Great Wall 孟姜女哭长城<br /> <br /> Butterfly Lovers 梁山伯与祝英台<br /> <br /> the Queen Mother 王母娘娘<br /> <br /> Stories to Warn Man 《警世通言》<br /> <br /> The White Snake under the Leifeng Pagoda 《白娘子永镇雷峰塔》<br /> <br /> ===Questions===<br /> <br /> 1.What led to the death of Meng Jiangnu’s husband?<br /> <br /> 2.What did Xu Xian give Bai Suzhen to drink that made her reveal her snake form?<br /> <br /> 3.What did the Cowherd do to make Weaving Girl stay?<br /> <br /> 4.When did Liang Shanbo realize that Zhu Yingtai is actually a girl?<br /> <br /> 5.Why did Zhu Yingtai lie to Liang Shanbo that she has a little sister?<br /> <br /> ==Xu Jing 许静==<br /> '''Four Great Pavilions'''--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 06:21, 9 November 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> Chinese 4 great towers<br /> A. origin<br /> B. development<br /> --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:17, 2 November 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> Nanjing, An Ancient Capital of Six Dynasties--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 08:28, 2 November 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> The Five Constant Virtues<br /> A Benevolence<br /> <br /> B Righteousness<br /> <br /> C Propriety<br /> <br /> D Wisdom<br /> <br /> F Fidelity<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> Cheongsam--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:16, 2 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> Stinky Tofu<br /> <br /> ==Yi Zichu 义子楚==<br /> Panda--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 14:26, 2 November 2020 (UTC)<br /> <br /> ==You Yuting 游雨婷==<br /> '''Legalism'''--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 08:29, 18 November 2020 (UTC)<br /> <br /> '''1.Representative figures'''<br /> <br /> '''2.Values'''<br /> <br /> '''3.Works'''<br /> <br /> '''References'''<br /> <br /> '''Vocabulary List'''<br /> <br /> '''Questions'''<br /> <br /> ==Yu Ni 余妮==<br /> <br /> Four Famous lakes in China—中国四大名湖 --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 14:20, 29 November 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> '''Milk Tea'''<br /> <br /> We live in a modern world with countless yummy food where youngsters can’t live without milk tea. There is even one popular cyber saying that goes like this:”Youngsters continue their lives by drinking milk tea.”<br /> Milk tea, popular throughout the whole country, even the world, originated from bubble tea of Taiwan. Currently, we have entered “Milk Tea 4.0 Era”. Such an era has endowed milk tea with a brand-new meaning, becoming a cultural symbol pf modern civilization human life, especially youngsters’ lives, namely, a pursuit of identity recognition for youngsters.（李欣童.浅谈台湾奶茶文化的三十年变迁[J].传播力研究,2020,4(14):14-15.）<br /> So, is milk tea really so miraculous? Is it really so tasty? We may as well discuss the past and current situations of milk tea!<br /> <br /> '''A.The Origin of Milk Tea'''<br /> <br /> Each school holds its own opinion about the origin, but in fact, if we carefully analyse the fact, we can easily find its true origin, that is---”Mongolia Milk Tea” drunk by nomadic tribes in Mongolia Plateau. Till now, the nomadic tribes living in Inner Mongolia Autonomous Region of PRC still treat visitors with milk tea, which is an unshakable traditional custom.<br /> <br /> '''B.The Development of Milk Tea'''<br /> <br /> Due to the rampant global expansion of British colonists, lots of oriental local products, including milk tea of China, were also transported to the occidental world. Later, it was improved and developed in Britain.<br /> Since the introduction of milk tea into Britain, due to the distinction of climate and dietary habits, British gave up the utilization of spice, but mixed sundry kinds of tea to replace spice to make milk tea, and added maple sugar as condiment, thus giving birth to the rudiment of modern milk tea and its basic ingredients.（《世界著名奶茶大全》 厨影美食）<br /> Later, Taiwan introduced milk tea.<br /> In the spring of 1987, manager of a Taiwanese cold drink department---Ms. Lin Xiuhui of &quot;Chunshuitang&quot; , added local snack flour into milk tea, and after her successful promotion to consumers, Lin and her colleagues Shen Tonge, Lin Lingru and Wang Yufeng, were inspired by cooked flour whose shape is similar to black pearl, thus creating the name “Pearl Milk Tea”(Bubble tea, currently). Henceforth, the name full of aesthetic feeling was spread.（《世界著名奶茶大全》 厨影美食）<br /> By far, modern milk tea has preliminarily come into shape.<br /> <br /> '''C.A Comparison of Oriental and Foreign Milk Tea'''<br /> <br /> '''1.Local Changsha Milk Tea'''<br /> <br /> When in Changsha, talk as Changshanese do, so let’s talk about Changsha local milk tea first. As we all know, Changsha is famed as an Internet celebrity city, mostly due to “Sexytea”. Sexytea was founded in 2013 as Changsha’s original Chinese style tea brand, uniquely practicing the creation of “new Chinese-style fresh tea”, and staying committed to growing to an original tea beverage design brand. What Sexytea brings to customers is not only a cup of tea, but also an interesting lifestyle, thus showing the beauty of China on the basis of tea. All Sexytea milk tea is produced with Nestle fresh milk and excellent quality tea leaves as ingredients.<br /> The logo of Sexytea is mainly composed of a Jiangnan woman. A fan and a beauty vividly show the majesty and quaintness of antique Chinese style. Compared with other current milk tea brand logos, that of Sexytea has left a great impression on people.（茶颜悦色密码[J].国企管理,2020(20):68.）<br /> The signature milk tea of Sexytea is “black tea latte”, comprised of Ceylon black tea, Zelanian Anchor whipping cream and American pecans. On the top of the paper cup is Anchor whipping cream with pecans. Black tea latte emphasizes both milk and tea, with each flavor balanced pretty well.<br /> <br /> '''2.Hong Kong-style milk tea'''<br /> <br /> The inventor of Hong Kong-style milk tea is Lin Muhe, the founder of the time-honored brand Lanfangyuan in Central, Hong Kong. The 81-year-old &quot;Father of Hong Kong-style milk tea&quot; has never used silk stockings to make tea. When Lanfangyuan was firstly opened, silk stockings were not yet fashionable in Hong Kong. When Lin Muhe was about 10 years old, he worked in Hong Kong, with his wife and a clerk opened Lanfangyuan Food Stall in Baihua Street of Central in 1952. During those days, the small stall always attracted nearby dockers every afternoon, who enjoyed themselves watching Lin Muhe and his colleagues washing their tea bags to and fro. When they saw the brown color of tea bags, they thought it was silk stockings. After that, they would shout &quot;a cup of silk stockings milk tea&quot;. This is the origin of silk stockings milk tea(currently Hong Kong-style milk tea).（《百度百科——丝袜奶茶》<br /> <br /> '''3.Indian Masala Chai'''<br /> <br /> Authentic Masala Chai can only be drunk in India, which is cooked by delicate handicrafts. Due to the addition of various spices, the taste is strong, mellow, hot and spicy at the beginning. However, if the flavor is slightly changed, it will be sweet or spicy, or the various flavors will react with each other. It is just as confusing as Indian curry, but pretty fascinating. Maybe this is what Masala Chai should be. Drinking Indian milk tea is not only a baptism to taste, but also a return to primitive nature.（《世界著名奶茶大全》 厨影美食）<br /> <br /> '''C.Milk Tea and Health'''<br /> <br /> '''1.Advantages'''<br /> <br /> Drinking milk tea can quickly supplement sugar, increase body energy, decrease fatigue and improve working efficiency.<br /> <br /> '''2.Disadvantages'''<br /> <br /> Drinking too much milk tea will increase the possibility of getting fat. It will also increase cholesterol, and even lead to hyperlipidemia and hyperglycemia, doing harm to liver and kidney, increasing risks of angiocardiopathy, thus affecting study and memory, and damaging normal gastrointestinal function. It will even cause cancer if drunk for a long time.<br /> <br /> '''References'''<br /> <br /> 1.李欣童.浅谈台湾奶茶文化的三十年变迁[J].传播力研究,2020,4(14):14-15<br /> <br /> 2.《世界著名奶茶大全》 厨影美食 <br /> <br /> 3.《百度百科——丝袜奶茶》<br /> <br /> 4.茶颜悦色密码[J].国企管理,2020(20):68.<br /> <br /> '''Vocabulary List'''<br /> <br /> Milk tea 奶茶<br /> <br /> Spice 香辛料<br /> <br /> Rudiment 雏形<br /> <br /> Sexytea 茶颜悦色<br /> <br /> Black tea latte 幽兰拿铁<br /> <br /> Hong Kong-style milk tea 丝袜奶茶<br /> <br /> Cholesterol 胆固醇<br /> <br /> Hyperglycemia 高血糖<br /> <br /> Mongolian Plateau 蒙古高原<br /> <br /> Maple sugar 枫糖<br /> <br /> Bubble tea 珍珠奶茶<br /> <br /> Internet celebrity city网红城市<br /> <br /> Pecans 碧根果<br /> <br /> Masala Chai 马萨拉奶茶<br /> <br /> Hyperlipidemia 高血脂<br /> <br /> Angiocardiopathy 心血管疾病<br /> <br /> Gastrointestinal 肠胃的<br /> <br /> '''Questions'''<br /> <br /> 1.What is the origin of milk tea?<br /> <br /> 2.Who promoted milk tea?<br /> <br /> 3.What is the birth place of modern milk tea?<br /> <br /> 4.What is Changsha’s most famous Internet celebrity milk tea shop’s name?<br /> <br /> 5.Is Hong Kong-style milk tea produced with silk stockings?<br /> <br /> 6.What are the advantages of drinking milk tea?<br /> <br /> 7.What are the disadvantages of drinking milk tea?<br /> <br /> ==Zeng Liang 曾良==<br /> Qingming Riverside Landscape Garden<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> ===Batik(Lanran)===<br /> <br /> Batik is a traditional textile printing and dyeing craftsmanship in China. It was called wax valerian in ancient times, also known as one of the four ancient printing techniques which are twisted valerian (tie-dye), gray valerian (hollow printing), and clip-dyeing in ancient China.<br /> <br /> ===History===<br /> <br /> According to Interpretation of &quot;Laran&quot; in the collection of Wang Aijun of Junyou Society: Batik is an ancient dyeing technique. It is called Batik in Indonesia or Malaysia. The patterns dyed by this method embody both decorative interests and practical values.<br /> Batik art, with a long history, emerged in China. According to the records of the “Eryi Records”, Batik appeared in the Qin and Han Dynasties, and then became popular during the Six Dynasties. The court of the Sui Dynasty especially liked this kind of handicrafts, and special patterns appeared in this period.<br /> As for the unearthed objects, which was even earlier than it was documented, was a quilt dyed with valerian and excavated in the tomb of Chu in the Warring States Period in Changsha. An unearthed piece of finished product originated in the Jin Dynasty, with overlapping patterns, which is the so-called agate-patterned silk in the Tang and Song Dynasties. Batik was especially popular in the Tang Dynasty, during which the technology was more mature than before. At that time, batik can be divided into two types: single-color dyeing and multi-color dyeing, the latter of which can use as many as four or five colors. Later generations can get a glimpse of the luxurious and beautiful batik patterns in the Tang Dynasty from clothes of two women in Song Huizong’s copy of The Painting of Pounding the Texture by Zhang Xuan, and horsemen’s clothes in The Painting of Lady Guoguo on a Spring Outing.<br /> Due to the great influence of Chinese culture in the Tang Dynasty on Japan, Nara’s Shosoin has preserved various treasures of Chinese craftsmanship since the Tang Dynasty, including a set of batik folding screen, which was brought back to Japan by a monk in the Tang Dynasty. <br /> Batik has declined in China since the Song Dynasty, but it has become popular in various parts of Southeast Asia at the same time (especially in Java, Sumatra and other islands). So far, Indonesian and Malaysian clothes are almost all made of batik.<br /> <br /> ===Types===<br /> <br /> China's batik is mainly distributed in Guizhou, Yunnan, Guangxi, Hainan, Sichuan, Hunan, Guangdong, Taiwan, Jiangxi provinces. Chinese batik has different types, such as type of Danzhai, Chonganjiang, Zhijin, Rongjiang, Southern Sichuan, Hainan, Wenshan, etc. The use, craft, pattern and style of batik vary from region to region.<br /> <br /> ===Technical Process===<br /> <br /> ===Materials ===<br /> <br /> ===Patterns===<br /> --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 08:38, 10 November 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> Ancient Chinese weapons中国古代兵器--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:04, 9 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Terra-Cotta Warriors --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 02:32, 3 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> bonsai 盆景<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> TikTok（抖音） --[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 08:31, 21 November 2020 (UTC)Zhang Weihong<br /> <br /> ==Zhang Yinliu 张银柳==<br /> San Mao -三毛 OR Four Buddhist Shrines - 佛教四大名山<br /> <br /> ==Zhang Yu 张瑜==<br /> ===Compass===<br /> <br /> Compass, together with papermaking, gunpowder and printing was referred to the Four Great Inventions, celebrated in Chinese culture for their historical significance. Compass, as the ancient China’s advanced science and technology, has made great contribution to the navigation undertaking both in China and the rest of the world. China was the first one to find the magnetism that could guide the polarity and use the polarity in the earth’s magnetic field and invent the instrument that could guide the directions. The earliest reference to magnetism in Chinese literature, ''Devil Valley Master'', was found in the 4th century BC. It recorded that &quot;The lodestone makes iron come, or it attracts it&quot;. The earliest south-pointing device probably appeared in the Warring States Period. It seemed like a spoon made by lodestone. With round bottom, it could rotate freely in the smooth plate. When it stopped, the handle of the spoon would guide the South. Therefore, people all called it &quot;south-governor&quot; or Si Nan. However, in the process of making the south-governor, the lodestone was easy to lose its magnetism due to vibration. Besides, when rotating on the plate, it produced huge friction and resistance, which affected its effects. Therefore, the south-governor has not been applied in a wide range. In the Song Dynasty, the book ''Wu Jing Zong Yao''(''General Military Principles''), written by Zeng Gongliang and Ding Du in 1044, recorded a magnetic device used as a &quot;direction finder&quot;, called &quot;south-pointing fish&quot;. It made by thin iron slice and was magnetized by the earth's magnetic field. When people made use of it, they could float it in a bowl of water to guide the south. The device was recommended as a means of orientation &quot;in the obscurity of the night&quot;. Although it effectively avoided the shortcomings of the south-governor, the magnetism was weak acquired from the magnetic field, resulting in the decreased in practical values. In the South Song Dynasty, the book ''Dream Pool Essays'' written by Shen Kuo recorded the first magnetic needle compass, which was the combination of the magnetic needle and plate. This kind of compass had meridian indicator needle, which directed the south and the north. There are two types of magnetic needle compass, that is wet suspension compass and dry suspension compass. The wet suspension compass was used with its needle floating on the water. And the dry suspension compass was a wooden frame crafted in the shape of a turtle hung upside down by a board, with the lodestone sealed in by wax. When floating, the needle at the tail would always point at the northern cardinal direction.<br /> <br /> Compass, as an instrument to guide the direction, had played an important role in people’s daily life and navigation undertaking. At the beginning, the compass was used for geomancy (prognostication) to determine the best location and time for things such as burials and weddings. It was recorded that Qin emperor used the diving board and compass in royal court to affirm his right to the throne. The original shape of the compass made people believe that the square plate symbolized earth and the circular disc symbolized heaven. And around the circular disc, there inscribed the Eight Trigrams, the 24 directions (based on the constellations) and the 28 lunar mansions (based on the constellations dividing the Equator). Although the geomancy was a kind of superstition, the compass was endowed with people’s wishful thinking. Nowadays many people still use the concepts of Feng Shui to decide the location of buildings and enterprises as well as the auspicious time for open ceremony. <br /> <br /> Before the invention of compass, navigators usually depended on the positions of the sun, the moon and the polestar to take their bearings. However, relying on the celestial phenomena posed another problem. When the navigators met the rainy days, they were unable to distinguish the directions according to the celestial phenomena. The appearance of compass made up for the defect. The compass used for navigation started from the end of Northern Song Dynasty. In the Ming Dynasty, it was with the compass that the navigator, Zheng He, could made seven voyages to the western countries. The voyages expanded the foreign trade and promoted the exchanges of economy and cultures between China and western countries. The compass had played an important role in providing guidance.<br /> <br /> The compass was introduced to the Arab world and Europe during the Northern Song Dynasty. After the compass entered into the Europe, the Europeans further improved the compass and invented the dry compass with fixed support. Until 15th century, they invented the gimbal to keep the dry compass in a horizontal level. The application of compass in Europe promoted the coming of the age of sail. The great philosopher Marx pointed that Europe opened the global market and established the colony via the compass.<br /> <br /> [[File:Ming_Compass.jpg|250px|thumb|left|Diagram of a Ming dynasty mariner's compass, Public Domain license by Wikimedia. Click [https://en.wikipedia.org/wiki/Four_Great_Inventions#/media/File:Ming-marine-compass.jpg] for original source.]]<br /> <br /> ===References===<br /> *&quot;FOUR Great Inventions&quot;. China's Foreign Trade.05(2012):94.<br /> *&quot;Compass, One of the Four Great Inventions of Ancient China&quot;. China Week.04(2003):35.<br /> *鲁才全，黄惠贤. 《中华文明光耀寰宇 中国古代的“四大发明”及中华医药学》. 1995:1-11.<br /> <br /> ===Terms and Expressions===<br /> *Four Great Inventions四大发明<br /> *Devil Valley Master 鬼谷子<br /> *lodestone 天然磁石<br /> *south-governor司南<br /> *Wu Jing Zong Yao (General Military Principles) 《武经总要》<br /> *Zeng Gongliang曾公亮 <br /> *Ding Du丁度<br /> *south-pointing fish指南鱼<br /> *Dream Pool Essays 《梦溪笔谈》<br /> *wet suspension compass 水罗盘<br /> *dry compass旱罗盘<br /> *Eight Trigrams八卦<br /> *gimbal常平架<br /> <br /> ===Questions===<br /> *What’s the earliest reference to magnetism in Chinese literature? (Devil Valley Master, found in the 4th century BC)<br /> *When did the earliest south-pointing device appear? (In the Warring States Period)<br /> *Why had the south-governor not been applied in a wide range? (In the process of making the south-governor, the lodestone was easy to lose its magnetism due to vibration. Besides, when rotating on the plate, it produced huge friction and resistance, which affected its effects.)<br /> *What are the differences between the south-governor and the south-pointing fish? (The south-governor seemed like a spoon made by lodestone. With round bottom, it could rotate freely in the smooth plate. When it stopped, the handle of the spoon would guide the South. While the south-pointing fish was made by thin iron slice and was magnetized by the earth’s magnetic field. When people made use of it, they could float it in a bowl of water to guide the south.)<br /> *What are the two types of magnetic needle compass? (wet suspension compass and dry suspension compass)<br /> *What’s the symbol of the original shape of the compass? (the square plate symbolized earth and the circular disc symbolized heaven)<br /> *What did the navigator depend on before the invention of the compass? (Before the invention of compass, navigators usually depended on the positions of the sun, the moon and the polestar to take their bearings.)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> Strange Stories from a Chinese Studio<br /> <br /> ==Zhang Yuxing 张宇星==<br /> 四大家<br /> 儒家<br /> 墨家<br /> 道家<br /> 法家--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:42, 30 November 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> Four Treasures of the Study 文房四宝<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> Chinese Fairy Tales<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> ===Face Changing in Sichuan Opera===<br /> <br /> ===Vovabulary list===<br /> <br /> ===Questions===<br /> --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:42, 9 November 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> 中国古代选官制度--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 12:55, 27 November 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> Ancient Chinese Doors and Windows<br /> <br /> In the early age of human existence, the purpose for the construction of buildings was quite clear: to ensure security and ward off the cold. When doors and windows first came into existence, they only had the primary function of ventilation and lighting. Nowadays, the Chinese character for “window” is 窗（chuang），but in ancient times, its was written as 囱（cong），which, both in meaning and pronunciation is the same as the character for “chimney”. This clearly shows that, in ancient times, windows were used for ventilation, at least they were used more for ventilation than for lighting. The traditional Chinese character for “door” is 門（men），composed of two door leaves (hu, 户), originally meaning a door with two leaves. Thus, a door with two door leaves was called a men, and door with one leaf was known as a hu, 牖（you），which is seldom used now, meant a window in the wall, whereas cong was a window in the roof. It is important to acquire this basic knowledge for our understanding of the evolution of doors and windows. <br /> <br /> Although no buildings prior to the Qin dynasty have survived, we can imagine how simple they were. Huainanzi. On Mountains contains an illuminative depiction: “When light comes from a crack, a corner is illuminated; when light comes from a window in the wall, the north wall is illuminated; when light comes from the door, all the room is illuminated.” It further comments: “With ten windows fully open, the room is not as bright as when a door is open.” These remarks provide us with plenty of useful information. <br /> <br /> First, we know that at that time houses were constructed to face the south, and the direction of doors and windows were consistent with the architectural tradition which lasted thousands of years. Secondly, windows were quite small, to the extent that the area of ten windows was not as big as that of a door. <br /> Doors and windows at this time only had basic functions. We can assume that no decoration was applied, and that there were even no window rods. Windows with vertical rods appeared in the Han dynasty, which can only be seen in excavated funeral objects. As elaborate funerals were in fashion in the Han dynasty, construction models as funeral objects have occasionally been unearthed from Han tombs. On these objects ancient doors and windows can be identified. During Han times, paper was not used to cover windows. Although papermaking was invented in the Western Han (206BC-25AD), it was not until hundreds of years later that paper was installed in windows. Historic Records of Later Han (Houhanshu), Biography of Liang Ji describes: “All the windows are covered qi and green suo.” Qi is a kind of fabric that can ward off wind and allow light to enter. <br /> Great progress was made in architecture when windows with vertical rods came into existence. First of all, it made it possible to enlarge a window. If windows were not covered, the function of a house to ward off wind and cold would be diminished; if windows were too big, it would be difficult to close and block them up. Windows with vertical rods solved these problems perfectly. In addition, as fabric manufacturing in the Han dynasty was quite developed, windows covered with fabrics were both practical and good-looking. <br /> <br /> Windows with vertical rods began to be commonly adopted in Wei adn Jin times. During this period there was a row of windows with vertical rods installed in the enclosed walls of many private residences. In the competition among literati in garden building, the function of doors and windows became sophisticated. Installed between natural scenes and houses, they acted as partitions. Xie Lingyun (385-433), a famous poet and follower of Buddhism, wrote a beautiful couplet in his On the Mountain Cottage, “Ranges of mountains are invited into the door, and mirror-like quiescent water is displayed in front of the window.” To exhibit natural scenes through doors and windows added to the aesthetic function of doors and windows. <br /> During the period from the Sui and Tang dynasties to the Song dynasty, doors and windows in constructions gradually matured. From the drawings in the Building Standards, we can see diversified lattice patterns and elaborate carvings in waist panels, showing that a variety of decorative means for doors and windows were in place at that time. However, the style of lattice doors was comparatively simple, with only two types: single-waist-bar type and double-waist-bar type. The “waist bar” was a transversal wood bar inset in the part. Compared with a plank door, this kind of lattice door was better for lighting, more attractive in appearance, and lighter in weight. <br /> <br /> In the Song dynasty, windows with vertical rods remained prevalent, while windows with traceries or scroll work were occasionally installed. There were two kinds of lattices used in windows: flat lattice and cuspate lattice.. The cross section of a flat lattice strip was rectangular or square; whereas the cross section of a cuspate lattice strip was a triangle, with an angle pointing outwards and the bottom pointing inwards, so that the indoor side of the lattice could be pasted with paper or fabrics. <br /> During the evolutionary development of classical doors, between plank doors and lattice doors there was another kind of door called a “soft door”. A soft door was a frame structure, with a waist bar in the middle, and panels were inset in grooves above and below the bar. The advantage of a soft door was that it was light in weight and resistant to deformation. The soft door is considered to be the predecessor of the lattice door. <br /> <br /> Lattice doors in Song times were wide and low, while in the Ming and Qing such doors (renamed “partition doors) became narrower and higher. Two reasons were attributable to such changes. First, horizontal upper windows were seldom installed on top of partition doors in the Ming and Qing. Second, very often in Ming and Qing constructions, partition formed much of the facade of a house, and an increase in the number of such doors could create a more rhythmic effect, which would also make it easier to evenly distribute the doors. <br /> <br /> Innumerable doors and windows of the Ming and Qing, either from official buildings or from private residences, have survived today, including all kinds of exquisitely made partition doors and still windows. All the doors and windows illustrated in this book are products of the Ming and Qing dynasties. As the area south of the Yangtze River was prosperous and rich, and possessed a very talented society, doors and windows from this area are especially representative of the talents and adeptness of craftsmen in older times.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 01:05, 23 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> Yuelu Academy--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 02:29, 5 November 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> ===Jiaozi(A Paper Currency in Northern Song Dynasty)===<br /> <br /> [[File:jiaozi.jpg|160px|thumb|right|Jiaozi(A paper currency in Northern Song Dynasty)]]<br /> <br /> With the development of the exchange of goods, currency emerged. And at very begining, currency was served by certain recognized equivalents, such as seashells. Gradually precious metals like gold and silver took the place of those equivalents as currency. However, when metal currency was used for a long time, it became worn out and worthless. People realized that they could use other things to replace the metal currency in circulation, so paper currency appeared. The earliest paper currency in the world was the &quot;jiaozi&quot; of Chengdu, Sichuan province, during the Northern Song Dynasty. China was the first country in the world to use paper currency.<br /> <br /> ====The Emergence of Jiaozi====<br /> <br /> The appearance of paper currency in the Northern Song Dynasty was not accidental; it was an inevitable product of socio-political and economic development. With the rapid development of the commodity economy in the Song Dynasty, there was a need for more currency in circulation, but the copper coin was in shortage and couldn't meet the demand in circulation. Iron coin was common in the Sichuan region at the time, and was of low value and heavy weight, making it extremely inconvenient to use. Chengdu was an important economic centre, and the roads to the outside world were extremely rugged, so there was an objective need for a light currency, which is the main reason why paper currency first appeared in Sichuan. Furthermore, although the Northern Song Dynasty was a country of highly centralized feudal dictatorship, the national currency was not uniform and there were several currency zones, each with its own rules, which were not used by the other. In addition, the Song government was frequently attacked by the Liao, Xia and Jin dynasties, and had to issue paper currency to cover its financial deficit. All these reasons led to the creation of the paper currency, &quot;jiaozi&quot;.<br /> <br /> ====The Development of Jiaozi====<br /> <br /> Initially, jiaozi was issued freely by merchants. In the early years of the Northern Song Dynasty, &quot;jiaozi banks&quot; emerged in Chengdu, Sichuan province, for merchants carrying large sums of money who operated a cash deposit business. At this time, jiaozi was only a form of deposit and withdrawal receipt, not currency. With the development of the commodity economy, the use of jiaozi became more and more widespread, and many merchants joined together to set up jiaozi banks specializing in issuing and exchanging jiaozi, and they also opened branch banks in various places. Due to the creditworthiness of the jiaozi bank owners, people could withdraw their money as they came. And the printed designs of jiaozi were too exquisite to be forged, the bank owners began to print jiaozi with a uniform denomination and format, which was issued to the market as a new means of circulation. This kind of jiaozi was already the symbol for minted coins, and really became paper currency. But it had not yet been recognized by the government, and was still issued by private individuals as &quot;private jiaozi&quot;. Not all jiaozi banks were law-abiding and trustworthy. During the Jingde reign (1004-1007), Zhang Yong, the governor of Yizhou, reorganized the jiaozi banks, weeding out the outlaws and exclusively let sixteen wealthy merchant run the banks. It was only then that the issuance of jiaozi was recognized by the government. In the first year of the reign of Emperor Renzong of the Song Dynasty (1023), the government set up the Yizhou Jiaozi Affairs Department, with one or two officials as supervisors to preside over the issuance of jiaozi, and set up a paper-copying academy to eliminate currency forgery, strictly enforcing the printing process. This was the earliest paper currency officially issued by the government in China - the &quot;official jiaozi&quot;. <br /> <br /> ====The Influence of Jiaozi====<br /> <br /> The advent of jiaozi facilitated commercial exchanges and made up for the shortage of money in circulation, which is a major achievement in the history of China's currency. In addition, as the earliest paper currency issued in China and even in the world, jiaozi occupies an important position in the history of printing and printmaking, and is of great significance to the study of China's ancient paper currency printing technology, as well as a contribution of China's financial industry to the world.<br /> <br /> ===References===<br /> <br /> [1] He Shengming.Dictionary of Finance and Economics[M].China Finance and Economics Press,1990.<br /> <br /> [2] Paper currency.Modern Chinese Dictionary (7th Edition)[M].The Commercial Press,2016.<br /> <br /> [3] Jiaozi.Modern Chinese Dictionary (7th Edition)[M].The Commercial Press,2016.<br /> <br /> [4] Li You.Facts of The Song Dynasty[M].The Commercial Press,1935.<br /> <br /> [5] Xuan Yanwen.A Brief Analysis of Paper Currency in Song Dynasty-Jiaozi as An Example[D].Shanghai Academy of Social Sciences,2015.<br /> <br /> [6] Wang Baoping.On Jiaozi And The Commercial Prosperity of The Song Dynasty[J].Journal of Kaifeng Vocational College of Culture &amp; Art,2010,02:47-50.<br /> <br /> ===Vocabulary List===<br /> <br /> jiaozi 交子<br /> <br /> jiaozi bank 交子铺<br /> <br /> private jiaozi 私交<br /> <br /> Zhang Yong 张咏<br /> <br /> Yizhou 益州<br /> <br /> Yizhou Jiaozi Affairs Department 益州交子务<br /> <br /> official jiaozi 官交子<br /> <br /> ===Questions===<br /> <br /> 1.What is the earliest paper currency in the world?<br /> <br /> 2.Why did people in the Northern Song Dynasty give up using iron and copper coins as currency in circulation?<br /> <br /> 3.How did jiaozi come into being?<br /> <br /> 4.Which group of people firstly issued jiaozi?<br /> <br /> 5.When was jiaozi officially issued by the government?<br /> <br /> 6.What achievements did jiaozi make?<br /> <br /> 7.What other Chinese paper currency do you know?<br /> <br /> --[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 07:51, 11 November 2020 (UTC)Zou Xinyu<br /> <br /> ==Zubareva, Ekaterina==<br /> '''Chinese traditional make up--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 15:02, 14 November 2020 (UTC)<br /> '''<br /> <br /> '''I.Base make up'''<br /> <br /> '''II.Color make up'''<br /> <br /> '''III.Tang dynasty make up'''<br /> <br /> '''References'''<br /> <br /> '''Vocabulary List'''<br /> <br /> '''Questions'''</div>

Qu Miao https://bou.de/u/index.php?title=20201130_trans&diff=106444 2020-11-29T15:11:43Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> A good example to illustrate this is the cuisine that is often still defined by national borders (but certainly also in even smaller regional units). The existence of Italian cuisine is undisputed, but you don't have to go to Italy to eat quite authentic Italian food. Of course, there have always been Europeanized variations of Chinese cuisine (e.g. with thickened sauces), and the Istanbul native who orders a kebab in Germany will be surprised that he is served flat bread and not a plate of cutlery.<br /> <br /> Eating habits, especially at breakfast, seem to be difficult to change, so that the author did not get used to the Chinese breakfast (rice soup with salty vegetable side dish) in China for years.<br /> <br /> 这是一个很好的例子，证明美食通常是由国家特色来定义的（但也适用于更小的地区间）。意大利美食的存在是无可争议的，但是没有必要为了地道的意大利美食而专程去一趟。当然也有非常多具有欧洲特色版本的中国美食（例如加上很浓的酱汁）。在德国点烤肉串的伊斯坦布尔人，看到端上来的是面包而不是餐具，也会对此感到十分惊讶。<br /> <br /> 饮食习惯，尤其是早餐习惯，似乎是很难被改变的。尽管这位作家在中国待了很长的时间，但还是无法适应中式早餐（白米粥配咸菜）。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:55, 28 November 2020 (UTC)<br /> <br /> 要阐明美食通常由国界定义（在较小地区中也适用），这是个很好的例子。意大利菜的存在毋庸置疑，但不一定要去意大利才能吃到地道的意大利菜。当然还一直有欧化的中国菜肴（如加上浓郁的酱汁）。在德国点烤肉串的伊斯坦布尔人，看到端上来的是面包而不是餐具，也会对此感到十分惊讶。<br /> <br /> 饮食习惯，尤其是早餐习惯，似乎很难改变，就算作者在中国待了数年，也还是无法适应中式早餐（白米粥配咸菜）。 --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:53, 29 November 2020 (UTC)<br /> <br /> ==Chang Huiyue 常慧月==<br /> When Italian spaghetti with bolognese sauce was announced one lunchtime in the cafeteria of Beijing University, the joy was great, at least until the dish could be tasted. Obviously only the outward appearance had been preserved here, the appearance of the spaghetti largely corresponded to that which one can see in cookbooks. However, in terms of taste it was a catastrophe, the tomatoes used had obviously been understood by the cook not as vegetables but as fruit and the noodles had been overcooked for an extra long time.<br /> <br /> Also with the enterprises there are such cultures, German enterprises are considered e.g. in many countries as well organized. Even manufacturing processes for the same products often differ from country to country, but are increasingly standardized worldwide, especially when a company has a patented process in several countries.<br /> <br /> 北京大学食堂将意大利肉酱面作为一道午餐，在没吃到这顿饭之前，人们还是非常开心的。显然，只有外观保留了下来，意大利面的外观看起来与食谱上非常的相似，然而，它的味道却是糟糕至极，显然，厨师将番茄当作水果而不是蔬菜来烹饪的，面条煮得时间也过长。<br /> <br /> 同样企业中也存在这种文化。例如，德国企业在许多国家运行得有条不紊的，即使同一件产品的生产过程也因国家而异，但是在世界范围内却不断的标准化，特别是一个企业在几个国家中拥有专利过程时。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:25, 29 November 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> This can lead to interesting national solutions when the same task is set, namely to design a street cleaning vehicle:<br /> <br /> 当设定相同的任务时，即设计街道清洁车，这会带来有趣的国家解决方案。<br /> <br /> [[File:che1.jpg]]<br /> <br /> Street cleaning vehicle a) China<br /> <br /> 街道清洁车 a)中国<br /> <br /> [[File:che2.jpg]]<br /> <br /> Street cleaning vehicle b)<br /> <br /> 街道清洁车 b)<br /> <br /> Since the 1990s, the author has personally experienced the differences in working in a foreign Chinese software company in America (e.g. PC Express, later TwinBridge in Los Angeles), in a Chinese software company on the mainland (e.g. Suntendy, Beijing), in a German company in China and in a German-Chinese mixed company. These personal experiences flow into the present booklet.<br /> <br /> Thus, the term culture here is largely synonymous with tradition or philosophy, whereby tradition appears to be related to the past and philosophy often appears as reflected culture reduced to a few principles, and thus already consciously controlled and teleological. For these reasons, the author has chosen the term culture in the present context.<br /> <br /> 20世纪90年代以来，作者亲身体验了在美国的一家中外软件公司（如PC Express，后来在洛杉矶的TwinBridge）、中国本土的一家软件公司（如北京的新天地科技有限公司(Suntendy)）、中国的一家德国公司和一家中德混合公司工作的不同之处。这些亲身经历已写入这本手册。<br /> <br /> 因此，这里的“文化”一词在很大程度上与传统或哲学同义，传统通常与过去有关，哲学则往往反映简化为几个原则的文化，因而已经有意识地加以控制且带有目的论色彩。基于这些原因，作者在目前的语境中选择了“文化”一词。 --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:28, 29 November 2020 (UTC)<br /> <br /> ==Chen Hui 陈惠==<br /> Japanese production culture is known to us, the Chinese (here abbreviated CMPC) has hardly been investigated in literature, so this booklet has a pioneering character.<br /> <br /> In this booklet, the author draws on Geert Hofstede's comparative cultural model, which he discussed with him at the LMU in Munich on January 22, 2009, on fundamental observations on the Chinese economy from a macro perspective by Philip Huang, and on the results of a field study by Jianzhong Hong, Aino Pöyhönen, Kalevi Kyläheiku 1998-2000 (see bibliography). <br /> <br /> This booklet was prepared to be presented at the conference &quot;Beyond Japan - Values and Attitudes of Asian Production Cultures&quot; in autumn 2010. The author is grateful to Dirko Thomsen, AutoUni Wolfsburg, who invited the author to contribute to the conference.<br /> ==Chen Jiangning 陈江宁==<br /> '''Approaches/Perspectives'''<br /> <br /> The distinction between craftsman culture and trader culture has been established for some time. This means that in an economy, more emphasis is placed on developing products that are as perfect as possible, and constantly improving them. A dealer culture places more value on the profit that is made between the cheapest possible purchase and the most expensive possible sale. This distinction becomes clear when we examine a typical case of complaint: <br /> <br /> If a customer complains a product in a craftsman culture, then the salesman is concerned, offers an error free exchange product or a financial compensation and reports the product error further, sends the equipment possibly in, with the goal of letting the error, if it should occur e.g. at several devices, in principle of letting the development department eliminate the error.<br /> 方法/视角<br /> 工匠文化和商人文化的区分已经确立了有一段时间。这意味着在经济方面将会更多的精力放在开发尽可能完美的产品上，并不断地进行改善。经销商文化在尽可能以最低价格的购入和最高价格的售出之间所获得的利益上赋予更多的价值。我们在检查一个典型的投诉案例时，这种区别尤为明显：<br /> <br /> 一位顾客若是抱怨手工艺文化中的产品，那么销售员就会考虑提供无差错交换产品或是给予经济补偿，并进一步报道产品错误， 可能会将产品送回公司以便找出错误。如果产品在好几处设备上都发生错误，原则上让开发部门消除错误。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:32, 29 November 2020 (UTC)--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:38, 29 November 2020 (UTC)<br /> <br /> 方法/观点<br /> 工匠文化与商人文化的区分由来已久，这意味着在一个经济体中，将产品做到尽善尽美，不断提升产品质量会得到重点关注。经销商文化则将重点放在以尽可能便宜的价格购入和进可能贵的价格售出获得收益上。我们仔细研究一个典型投诉案例时，这种区别更加显而易见:<br /> 在工匠文化中，顾客投诉会让店员很担忧，店员会主动退换成质量良好的商品或者给予资金赔偿，进一步通知产品的差错，尽可能地将产品送回，检验差错，如果几个产品都出现了差错，原则上会让研发部门消除差错。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 12:52, 29 November 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> In a dealer culture the service and satisfaction of the customer is more important, here it is more important to see if the customer is angry and reacts accordingly to his complaint with apologies and compensation offers. Feedback to the manufacturer is of secondary importance. <br /> <br /> Here are some of the countries that fall under the relevant categories:<br /> <br /> Craftsmen's Culture Retailer Culture<br /> <br /> Germany, France Poland, USA, China, Korea<br /> <br /> Another distinction is made between production and design cultures. <br /> <br /> In the 19th and 20th centuries, a production culture developed in mechanical engineering in the USA, whereas in Germany a construction culture developed.<br /> <br /> 在经销商文化中，服务和客户的满意度更为重要，在这里，客户是否生气以及对客户的投诉做出道歉和相应的补偿就显得尤为重要。而向制造商反馈是次要的。<br /> 以下是一些属于相关类别的国家：<br /> 工匠文化 零售商文化<br /> 德国，法国，波兰，美国，中国，韩国<br /> 生产文化和设计文化之间还有另一个区别。<br /> 在19，20世纪，美国的机械工程发展了生产文化，而德国产生了建筑文化。 By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 08:06, 29 November 2020 (UTC)<br /> <br /> ==Chen Jingjing 陈静静==<br /> The experience of rationalization in the U.S. with the pioneer Frederick Winslow Taylor (1856-1915) was quickly received in Germany, among other things by establishing chairs of business administration in Berlin in 1904, Aachen in 1908 and Hanover in 1910. Accordingly, I follow Kunze in 2008 when he rejects Kothes' assertion that German production culture before 1914 is backward.<br /> <br /> In Germany as a culture of craftsmen, a diversification of products developed early on, which was made possible by constantly optimizing the product. Even in teams, the focus is still on the highly qualified individual who does his part of the teamwork independently and assumes responsibility.<br /> <br /> 在德国，弗雷德里克·温斯洛·泰勒率先在美国进行了合理化的各项工作，很快就为大众所接受，其中包括在1904年在柏林，1908年在亚琛以及1910年在汉诺威依次设立了工商管理部主任。因此，我认同库恩泽（Kunze)在2008年提出的观点，当时他对科斯关于1914年之前德国生产文化落后的看法是持反对意见的。<br /> <br /> 在德国，作为一种工匠文化，产品在早期就注重多样性，并通过不断优化来实现。即使是在团队中，焦点仍是那些高素质的人，他们独立完成团队任务并承担相应的责任。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:21, 28 November 2020 (UTC)Chen Jingjing<br /> <br /> ==Chen Sha 陈莎==<br /> In the USA, the goal is rather the production of a cost-effective mass product. Responsibility was delegated to teams and budget control was introduced to control these teams. However, this is more in keeping with the lawnmower principle and does not apply to the appropriateness of the individual special product or the individual employee.<br /> <br /> This can be illustrated in an overview:<br /> <br /> [[File:233.jpg]]<br /> ==Chen Sunfu 谌孙福==<br /> '''The Japanese Production Culture''' <br /> <br /> After World War II, Japan did not have as many investments available as Germany, for example, through the Marshall Plan. Out of necessity, the Japanese economy therefore did what was possible, namely an optimization of existing machines, processes and personnel. This also resulted in the development of a special national production culture, the characteristics of which can be seen in an overview:<br /> <br /> [[File:566.jpg]]<br /> <br /> 日本生产文化<br /> <br /> 二战后，日本不像德国那样通过马歇尔计划获得大量融资。出于自身需要，日本经济尽己所能，实现了现有机器、生产流程和员工的最优化。因此，一种独特的民族生产文化应运而生，其特征如下：<br /> <br /> 现代日本生产文化<br /> <br /> 二战后，资金匮乏，无法购置新机器=&gt;现有生产流程、员工和机器的最优化<br /> <br /> 日本生产理念=新生产技术的领头羊和现代工业化国家的标杆<br /> <br /> 1.精益生产（无污染生产得以推广）<br /> <br /> 2.准时生产/有序生产（高标准生产/高要求生产）<br /> <br /> 3.质量圈/今井正明优化团队<br /> <br /> 4.近期发展：多部门结构和去中央集权化--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 01:27, 29 November 2020 (UTC)<br /> <br /> 日本生产文化<br /> <br /> 二战后，日本不像德国那样通过诸如马歇尔计划等契机获得大量融资。迫于经济压力，日本竭尽所能实现了现有机器、生产流程和员工的最优化。这也催生了一种独特的民族生产文化，其总体特征如下：<br /> <br /> 现代日本生产文化<br /> <br /> 二战后，资金匮乏，无法购置新机器=&gt;现有生产流程、员工和机器的最优化<br /> <br /> 日本生产理念=新生产技术的领头羊和现代工业化国家的标杆<br /> =＞国际讨论，分析和效仿的结果<br /> <br /> 1. 精益化生产（推广零污染生产）<br /> <br /> 2. 准时制生产/有序生产（按需生产）<br /> <br /> 3. 质量研讨小组/优化改善小组<br /> <br /> 4. 近期发展：多部门结构和权力下放--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 08:48, 29 November 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> Today, the Japanese production philosophy is considered the pacemaker for new production technologies and the benchmark for modern industrial nations. Former Porsche boss Wendelin Wiedeking is an admirer and imitator of the Toyota Production System: &quot;Toyota is synonymous with consistency&quot;. It is the international standard by which the modernity of a factory is measured.<br /> <br /> The basic idea of the Japanese model was that storage costs were incurred because more was produced than purchased. So technologies were developed which ensured that the product was only (re)produced when the customer bought the product (production on demand). The higher costs of producing a single item are more than compensated by the savings in intermediate storage (and, in the case of slow-moving items, final storage) of products. This procedure is successfully used today, for example, in book production.<br /> <br /> 如今，日本的生产理念被认为是新生产技术的带头人，以及现代工业国家的基准。丰田生产体系的仰慕者和效仿者，保时捷前老板文德林•魏德金（Wendelin Wiedeking）表示：“丰田是一致性的代名词”。它是衡量工厂现代化程度的国际标准。<br /> <br /> 日本的生产模式认为，仓储成本的产生主要是由于供大于求。因此，开发了确保仅当客户购买产品时才（再）生产产品的技术（按需生产）。生产单个产品的较高成本可以通过节省产品的中间存储（对于缓慢移动的产品为最终存储）来弥补。如今，在书籍制作等领域，该做法已成功使用。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 14:00, 29 November 2020 (UTC)<br /> <br /> ==Cheng Yusi 成于思==<br /> More important, however, is the idea that there should be as few production interruptions as possible, and if so, that these should be eliminated as quickly as possible. A typical phenomenon on the construction site is that work stops because a certain part / material to be installed has not been delivered on time. In production plants, a machine in the assembly line production breaks down and the whole production is stopped. This is where the Japanese philosophy comes into play, training the individual employee to the extent that he or she can repair minor defects on their own and assigning the responsibility to them to do so. For larger defects, a central team is available.<br /> <br /> 然而，更重要的是要尽可能不去阻碍生产活动，如果有，则需要尽快消除。一个典型的现象是工厂因为某些待安装的材料未及时运输到位导致停工。在工厂，流水线生产中一台机器出了问题，整个生产都会停止。于是，日本的生产理念便起到作用。该理念旨在训练每一名员工能够自行修复小缺陷，并承担修复的责任。至于大一点的问题，则由团队来解决。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 08:01, 29 November 2020 (UTC)<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> This motivates them to ensure that these smaller defects do not occur in the first place and not only repairs the defect, but also thinks of a way to ensure that this defect does not occur in the future, i.e. they not only repair the defect, but also the cause of the defect.<br /> <br /> With production on demand, interruptions in production would also be conceivable if demand were to decline. Ideally, production then adjusts, i.e. it runs correspondingly slower or faster, depending on how strong demand is at the moment. The most important thing is that production is uninterrupted and trouble-free.<br /> <br /> 这促使他们确保这些较小的缺陷不会先出现，除了修复缺陷，还要想出一种防范此缺陷发生的方法，即，他们不仅修复缺陷，而且根除缺陷。<br /> <br /> 在按需生产的情况下，如果需求下降，生产也可能会中断。 理想情况下，生产会进行调整，即根据当前的需求量，生产速度相应地变慢或变快。最重要的是保证生产不间断且无故障。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 15:25, 26 November 2020 (UTC)<br /> <br /> 这促使他们确保这些小缺陷不会第一时间出现，一旦出现，不仅要修复缺陷，而且要想出避免缺陷再次发生的办法，即：他们不仅要修复缺陷，而且要找出缺陷出现的原因。<br /> <br /> 在按需生产的情况下，如果需求下降，生产中断的情况可能会出现。 然而在理想情况下，产量会根据需求进行调整，即根据当前的需求量，生产速度相应地减慢或加快，最重要的是保证生产无间断且不发生任何故障。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:27, 27 November 2020 (UTC)<br /> <br /> 这促使他们确保这些较小的缺陷不会首先出现，并且不仅要修复缺陷，而且还考虑一种方法，来确保将来不会出现这种缺陷，即他们不仅要修复缺陷，还要解决缺陷的原因。<br /> <br /> 在按需生产的情况下，如果需求下降，可以想象，生产也会中断。理想情况下，生产会进行调整，即根据当前需求的强劲程度，相应地降低或加快生产速度。最重要的是生产得不间断且无故障。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:26, 29 November 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> The Japanese reward system works in a similar way for innovations introduced by individual employees involved in the production process. Here, it is important that the person who had the idea receives a relevant sum of money immediately and unbureaucratically, long before the idea is implemented.<br /> <br /> Another element are the quality circles or Kaizen teams. These are smaller working groups that are responsible for a small part of the production. They should meet once at the beginning and then regularly at least once a week to openly discuss suggestions for improvement. <br /> <br /> Recently, other Japanese elements of production culture have also been mentioned, such as multi-divisional structures and decentralization. They are also found in the American production culture.<br /> <br /> 参与生产过程的员工可以提出自己的创新想法，日本的奖励制度与此类似。在这里，重要的是，在该想法实现之前，提出这个想法的人立即就得到一笔相关的钱，不需要重重审批。<br /> <br /> 另一个要素是质量圈或是持续改善团队。这些是比较小的工作组，负责生产环节的一小部分。他们应该在一开始就碰个面，然后至少每周定期开一次会，公开讨论改进建议。<br /> <br /> 最近，人们也提到了日本生产文化的其他因素，例如多部门结构和权力下放机制。它们也同样存在于美国的生产文化中。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:03, 27 November 2020 (UTC)<br /> <br /> 日本的奖励制度对参与生产过程的雇员个人提出的创新也有类似的作用。在这里，重要的是，有想法的人在想法实施之前很久就能立即无官僚主义地得到一笔相关的资金。<br /> <br /> 另一个要素是质量圈或Kaizen小组。这些是较小的工作小组，负责生产的一小部分。他们应该在开始时开一次会，然后定期至少每周开一次会，公开讨论改进的建议。<br /> <br /> 最近，日本生产文化的其他要素也被提及，如多部门结构和分权。美国的生产文化中也有这些内容。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:58, 28 November 2020 (UTC)<br /> <br /> 日本的奖励制度对参与生产过程的个体员工所引入的创新的运作方式与此类似。在这里，重要的是，在想法实现之前，有想法的人立即得到一笔相关的钱，而不是官僚作风。<br /> 另一个要素是质量循环或改善团队。这些是较小的工作组，负责生产的一小部分。他们应该在开始时开会一次，然后每周至少定期开会，公开讨论改进建议。<br /> 最近，日本生产文化的其他因素也被提到，例如多部门结构和权力下放。它们也存在于美国的生产文化中。--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 09:47, 29 November 2020 (UTC)Qi Kai<br /> <br /> ==Fang Jieling 方洁玲==<br /> The Japanese production culture, whose optimization was born out of necessity, proved to be more competitive than the cultures of other countries, which is why it quickly became the model, even the epitome, of modern production culture, and in the 1960s and 1970s it began a worldwide triumphal march.<br /> <br /> '''China - Factory of the world''' <br /> <br /> Today, however, China has replaced Japan and the other classic industrial nations as the factory of the world.<br /> <br /> [[File:fangjieling.jpg]]<br /> <br /> It also leads the emerging markets worldwide.<br /> <br /> In the projection of economic performance, Goldmann/ Sachs sees China ahead of the USA, India and Germany.<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> [[File:6.jpg]]<br /> <br /> So China is today again (after the period 0 A.D. until about 1200 A.D.) the leading economy in the world. One of the characteristics of the Chinese production culture is its continuity. For thousands of years, China has been producing products such as silk, tea, porcelain, etc. without interruption. Even though Chinese production was not a world leader in the period 1200 to 2000 A.D., it remained at a roughly constant level for a long time before it caught up with the Industrial Revolution in a rapid development. Such a long production culture is without equal worldwide.<br /> <br /> 因此，今天的中国再次成为世界领先的经济体（从公元0年到公元1200年）。中国生产文化的一个特点就是它的连续性。几千年来，中国一直不间断地生产丝绸、茶叶、瓷器等产品。尽管在公元1200年至2000年期间，中国的生产并不是世界领先的，但在很长一段时间内，它基本上保持在一个稳定的水平上，才赶上了工业革命的迅速发展。如此悠久的生产文化在世界范围内是无与伦比的。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:09, 29 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> It is still important to bear in mind that China is once again growing to become the leading economic nation, but in this most populous country not all Chinese are yet benefiting equally from this leadership role. This is easy to see when comparing the absolute figures (e.g. GDP in country comparison or related to the growth of its own GDP) with the relative figures (GDP/capita). Here is one such comparison with the <br /> <br /> 有一点仍然值得牢记，那就是中国正再一次成为经济领导国，但是在这个人口大国，并非所有的中国人都能从这个经济领导地位中获得相等的利益。当将绝对数据（如国内生产总值或与国内生产总值增长相关的数据）与相对数据（如人均国内生产总值）进行比较时，这种现象就很显而易见了。这里有一个类似的比较：<br /> <br /> [[File:7.jpg]]<br /> <br /> I would like to start my analysis of the importance of production culture with a few questions:<br /> <br /> 我想由以下几个问题来引出我对生产文化的重要性的分析：<br /> <br /> Does the production culture have anything to do with the rapid increase? Is it perhaps the cause of the increase? <br /> <br /> 生产文化和（经济的）快速增长之间有联系吗？它是否是（经济）增长的原因？<br /> <br /> Obviously, the Chinese production culture has not been an international model for modern production culture. Could the reason for this be the problem that the production culture is culture-specific? What other reasons could there be? Are these reasons justified?<br /> <br /> 显然，中国的生产文化还没有成为当代生产文化的一个国际模板。其原因是生产文化所具有的文化特异性吗？还有其他原因吗？其他原因又是否合理呢？<br /> <br /> In order to find clues to answer these questions, the Chinese production culture is examined and defined below.<br /> <br /> 为了找到回答这些问题的线索，下面对中国生产文化进行了考察与定义。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:35, 28 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==Gong Yumian 龚钰冕==<br /> '''Genuity of Chinese production culture'''<br /> <br /> The Silk Road has been documented since about the 5th century BCE, but gene analysis proves that it was used to trade domesticated plants and animals in both directions already about 10 millenia BCE. There is also proof of cultural exchange through this trade road. The following products manufactured in China were traded on it:<br /> <br /> ·Silk<br /> <br /> ·Tea<br /> <br /> ·Spices<br /> <br /> ·Ceramics/Porcellain<br /> <br /> ·Jade<br /> <br /> ·Bronze<br /> <br /> ·Lacquerware/Paints<br /> <br /> ·Iron<br /> <br /> ·Paper<br /> <br /> ·Gunpowder<br /> <br /> ·Furs etc. <br /> <br /> The Silk Road was of course used in both directions, gold, precious stones and for a long time glass were imported into China. If the New Silk Road can be built with rail roads, it will lower the costs and time of shipping several times compared to the current maritime container shipping.<br /> <br /> 中国生产文化的真实性<br /> 丝绸之路大约在公元前5世纪就有记载了，但是基因分析证明，大约在公元前1万年左右，丝绸之路就用来在双边贸易中，销售栽培植物与家养动物了。这条贸易之路也证明了文化交流的可能性。以下中国制造的产品在这条贸易之路上进行交易：<br /> ·丝绸<br /> ·茶叶<br /> ·香料 <br /> ·陶瓷<br /> ·玉器<br /> ·青铜器<br /> ·漆器<br /> ·铁<br /> ·纸<br /> ·火药<br /> ·毛皮等<br /> 当然，丝绸之路是双向的，黄金、宝石和玻璃很长一段时间都是从中国进口的。如果新丝绸之路能与铁路一起建成，将比目前的海运集装箱所需的运输成本和运输时间低好几倍。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 09:21, 29 November 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> With the world's largest merchant ships, junks, which could hold up to 4000 tons, China also dominated maritime trade for centuries. Already in the 3rd century B.C. the Emperor's Canal was built in China for inland navigation.<br /> <br /> 中国拥有世界上最大的商船--军舰，可容纳4000吨货物，中国也在海上贸易中占据了数百年的主导地位。早在公元前3世纪，中国就修建了皇帝运河，用于内河航运。<br /> <br /> [[File:gdf.jpg]]<br /> <br /> Previous picture: Chinese junk from the year 1804.[ John Barrow, „Travels in China: containing descriptions, observations, and comparisons, made and collected in the course of a short residence at the Imperial palace of Yuen-Min-Yuen, and on a subsequent journey through the country from Pekin to Canton“, Cambridge Scholars Publishing 12.1.2010, ISBN 9781153190947, 302 pp., p. 59.]<br /> <br /> [[File:gdf2.jpg]]<br /> <br /> Ming period junk (14th century).<br /> <br /> In the period from the birth of Christ until 1200 A.D., China had the highest gross domestic product in the world. Only in 1200 was China overtaken by Western Europe.<br /> ing时期的垃圾（14世纪）。<br /> <br /> 从基督诞生到公元1200年，中国的国内生产总值是世界上最高的。直到1200年，中国才被西欧超越。<br /> <br /> ==Guan Qinqing 管钦清==<br /> [[File:10.jpg]]<br /> <br /> Between 1200 and about 2000, China lagged far behind the West and was considered a developing country. Nevertheless, from 1700 until today, China has experienced the same population explosion as America and Europe.<br /> <br /> 在1200年到2000年之间，中国远远落后于西方，成为发展中国家。 然而，从1700年至今，与美国和欧洲一样，中国也经历了人口爆炸。<br /> <br /> [[File:11.jpg]]<br /> <br /> While Europe ensured the food supply of the larger population at the end of the 18th century with the Industrial Revolution, China slept through this development and caught up with it in fast motion from 1900 with its first factories, from 1950 with centrally planned larger production units and from 2000 with private enterprises, at first mainly joint ventures, which led to an uneven development in the country.<br /> <br /> 18世纪末，得益于工业革命，欧洲确保了更多人口的粮食供应。虽然在那时中国几乎处于休眠状态，但是到了20世纪，中国以迅雷不及掩耳之势赶上了欧洲：1900年，中国第一家工厂诞生；1950年，中央计划的大型生产单位出现；2000年私人企业产生，最初主要是合资企业，但这也导致了国内发展的不平衡。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 03:57, 29 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> The example of silk production in Japan and China already reveals the first differences in the production culture:<br /> <br /> In Japan, a loom was introduced that was copied thousands of times without a license, thus ensuring a nationwide standard. Silk from Japan was always woven in the same way, and buyers could always rely on the same product quality.<br /> <br /> In China there were various independent production facilities and regional traditions. So silk from China was of a variable quality.<br /> <br /> Another aspect of Chinese production culture is the ethnic component: <br /> <br /> ·Western companies have better cards in China if they use Chinese middlemen. <br /> <br /> ·Chinese companies that are active in Africa export their entire business model including employees, cook, buildings. <br /> <br /> ==Guo Lu 郭露==<br /> Nevertheless, today's Chinese production culture is no longer genuine, but is also more strongly influenced by history than the Japanese Western culture.<br /> <br /> Even party schools at the beginning of the 21st century are commissioning business faculties of American universities to conduct management training.<br /> <br /> '''Made in China'''<br /> <br /> The label &quot;Made in Germany&quot; was originally a British origin label to distinguish itself from poor quality German goods. It was only later that the mark of Cain became a trademark due to the improvement in quality.<br /> <br /> &quot;Made in China&quot; stands for cheap products, low wages, poor quality, mass production and plagiarism, hierarchical management and an &quot;ant-like&quot; workforce.<br /> <br /> <br /> 然而，如今中国的生产文化已不再封闭，比起日本受到西方文化的影响，中国受到历史影响的程度更深。甚至在21世纪初的党校也委托美国大学的商科对其进行管理培训。<br /> <br /> “中国制造”<br /> <br /> “德国制造”的标签原本是英国的标签，用来区别德国的劣质产品。直到后来，由于质量的提高，“德国制造”才成为商标。<br /> <br /> “中国制造”代表着廉价、低工资、劣质、大规模生产和剽窃、等级观念以及廉价劳动力。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 09:48, 27 November 2020 (UTC)<br /> <br /> 然而，今天的中国生产文化不再纯正了，而且比日本的西方文化更受历史的影响。<br /> <br /> 甚至连21世纪初的党校也委托美国大学的商学院进行管理培训。<br /> <br /> 中国制造<br /> <br /> “德国制造”的标签原本是英国的标签，用来把本国的产品与德国的劣质产品区别开。直到后来，由于质量的提高，这个罪恶的标记才成为商标。<br /> <br /> “中国制造”代表着廉价产品、低工资、低质量、大规模生产、抄袭、等级管理以及像“蚁族”一样的廉价劳动力。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:21, 27 November 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> But in fact this is only an impression that applied to the first mass products in China; in the meantime the picture has changed.<br /> <br /> 1 At the beginning of the 21st century, the labor market in China appears saturated for the first time. This is accompanied by extreme wage increases. In the meantime, one has to pay almost as much for a man-day of an engineer with comparable qualifications in China as for an engineer-man-day in western industrialized countries.<br /> <br /> 2. The previously most important productive sector is being replaced by the service sector as the most important economic sector.<br /> <br /> 3. Following the example of Western companies that have consistently introduced quality assurance in China, the proverbial poor quality of Chinese products is now a thing of the past. In many companies, quality assurance is now also practiced.<br /> <br /> 但是实际上这个印象也只是停留在中国第一次大量生产的时候；在此期间的情形已经变了。<br /> <br /> 1.在21世纪初，伴随着工资的极度增加，中国劳动市场第一次出现饱和。同时，支付给相对合格的一名中国工程师一天的工资和西方工业国家的是差不多的。<br /> <br /> 2.之前最重要的生产部门现在已被作为经济领域中最重要的服务部门所取代。<br /> <br /> 3.西方公司在中国一向都有质量保证的规则，中国也正在向西方学习。总所周知的劣质中国产品也已不再出现。在许多公司中，质量保证这一规则正在被实行。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:14, 27 November 2020 (UTC)<br /> <br /> 但事实上，这只是对中国第一次大规模生产的早期印象而已；与此同时，情况在不断地变化。<br /> <br /> 1 在21世纪初，中国的劳动市场第一次接近于饱和状态，这是由于工资的急剧增加。同时，一名合格的中国工程师的工资和西方工业国家的工资是差不多的。<br /> <br /> 2 服务业逐渐替代了早些年最重要的生产部门作为重要的经济组成部分。<br /> <br /> <br /> 3 中国现在也正在学习西方国家公司的质量保障规则，中国的产品很差这一传言已经成为了过去式了。如今在大部分的公司，质量保障这一规章用于实践。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:43, 27 November 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> 4. apart from the reproduction of products developed in the West, the first high-tech products that have been further developed in China (cell phones, notebooks, etc.) are already available.<br /> <br /> 5. Chinese companies are now buying companies worldwide with the required know-how (notebook division of IBM =&gt; Lenovo, Volvo etc.).<br /> <br /> 6. with a real ravenous appetite, Chinese managers devour bestsellers that explain Western management principles and apply them with playful curiosity and great zeal, such as team meetings. Meetings in Chinese companies are now more common (5 meetings/day) than in Germany (1-2 meetings/day).<br /> <br /> [[File:12.jpg]]<br /> <br /> 4，除了复制西方的产品，中国也已经有了在国内进一步发展的第一批高科技产品（手机和笔记本电脑等）。<br /> <br /> 5，中国公司如今正在全世界地购买一些掌握技术的公司（IBM笔记本部门=&gt;联想‘沃尔沃等）。<br /> <br /> 6，由于极大地需求，中国公司的管理人员几乎把那些介绍了西方管理规则的畅销书买完了，并且带着好奇心和热情把这些规则应用于实践，比如说西方比较盛行的小组会议。如今在中国的公司，开会的频率远远高于德国（中国一天5次会议，而德国一天1-2次会议）。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:26, 27 November 2020 (UTC)<br /> <br /> 4.除了再生产西方的产品，中国进一步发展的第一批高科技产品（手机，笔记本电脑等）已经可以买到。<br /> <br /> 5.中国公司现在正在世界各地收购具备所需技术的公司（IBM的笔记本部门--联想、沃尔沃等）。<br /> <br /> 6.由于庞大的渴求，中国公司的管理人员读完了所有讲述西方管理细则的畅销书，并带着极大的好奇心和热情将这些细则运用于实践之中，例如，小组会议。如今相较于德国公司来说，小组会议在中国公司更加的普遍。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 05:40, 28 November 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> '''Characteristics of Chinese production culture'''<br /> <br /> '''Hierarchy'''<br /> <br /> Chinese companies are traditionally strictly hierarchical, with many levels. Authority gives face. As in other countries, functions are called together with the name as titles. According to Hofstede, the yardstick for hierarchy is the power distance index.<br /> <br /> '''Appreciation of age''' <br /> <br /> In addition to hierarchies based on professional positions, age also has a corresponding authority. Older people are seldom deported to retirement homes after their retirement, but live until death in the extended family, in which they fulfill tasks until the end. The neighborhood also takes care of the elderly people by involving them in work assignments (street cleaning, support for traffic regulation) depending on their readiness.<br /> ==Hu Baihui 胡百辉==<br /> The older brother automatically has a more prestigious position than the younger one. In Chinese, kinship terms are strictly separated into &quot;older&quot; or &quot;younger&quot;. The preceding adjective &quot;alter&quot; in the confidential form of address is an honorific. <br /> <br /> In business life, too, older employees are respected because of their life experience (and possibly because of the large network of relationships to be expected). <br /> A positive side effect is that the experience remains in the company. New research also shows in the West: older employees are often underestimated, their experience must be used more and knowledge can be kept in the company.<br /> <br /> '''Concept of Face'''<br /> <br /> For the protection of the individual, there is the face concept, where everyone can preserve his or her honor, even if mistakes have been made or someone is inferior. For this purpose, unwritten rules (institutions) are observed in the company: No one criticizes the other person in front of others. If criticism must be exercised, then indirectly. A request is not rejected directly, there is no &quot;No! The Chinese employees are particularly sensitive to the nuances, to the &quot;maybe&quot; and know how to classify it accordingly without being damaged.<br /> <br /> 哥哥的地位自然比弟弟高。在汉语中，亲属称谓严格分为“长”和“幼”。前一个形容词“alter（改变）”在亲密形式中是一个敬语。<br /> 在商业生活中，年长的员工也会因为他们的生活经历而受到尊重（也可能是因为他们所拥有的庞大关系网）。一个积极的副作用是这种经验仍然存在于公司。新的研究还显示，西方国家的老员工往往被低估，他们的经验必须得到更多的利用，知识才能留在公司。<br /> <br /> ”面子的概念“<br /> 面子这个概念是为了保护个人，每个人都可以维护自己的荣誉，即使是那些犯了错误的人或者是等级低的。为此，公司遵守不成文的规则（制度）：不要在大众面前批评别人。如果必须进行批评，那么就委婉间接的说出来。一个人的请求不会被直接拒绝，我们不会直接说“不！”中国人对此的细微差别可能会有相应的分类。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:50, 27 November 2020 (UTC)<br /> <br /> “面子的概念<br /> 面子之所以存在，是为了自我保护，每个人都可以维护自己的荣誉，即使是那些犯了错误的人或者是等级低的也是如此。为此，公司有个不成文的规定：不要当众批评别人。如果必须要批评，那就婉约一点。我们不会直接拒绝别人的请求，不会直接说“不。”中国人对于这一观念极为敏感，他们“或许”知道怎样进行区分才能避免伤害。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 09:52, 27 November 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> '''Incompetence of bosses leads to informal decision-making'''<br /> <br /> Traditionally, the position of General Manager, or even senior positions in Chinese companies, is preferably filled with people who can be trusted by those making the appointments. The greatest trust is given by a family relationship, somewhat less so in the case of friendship between families or between individuals, or by shared periods of life, such as being born in the same village, attending the same school, the same club, etc. Of course, professional qualifications also help to build trust, but this is only of secondary importance. <br /> <br /> The leadership positions of the largest state-owned enterprises in China are assigned by the party, and these positions are cobbled together with correspondingly deserving cadres. <br /> <br /> One consequence of this appointment policy is the widespread incompetence of leaders.<br /> <br /> 老板的无能导致非正式的决策<br /> <br /> 传统上，总经理的职位，甚至中国公司的高级职位，最好是由可以任命的人所信任的人。 家庭关系给人最大的信任，家庭之间或个人之间的友情或家庭生活的共同点（例如在同一个村庄出生，在同一所学校，在同一家具乐部等）则给予最大的信任。 当然，专业资格也有助于建立信任，但这仅是次要的。<br /> <br /> 中国最大的国有企业的领导职务是由党派出的，这些职务与相应的应聘干部结合在一起。<br /> <br /> 这项任命政策的结果是领导人普遍无能。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 03:56, 27 November 2020 (UTC)<br /> <br /> 老板的无能导致非正式的决策<br /> 传统上，中国公司的总经理职位，甚至是高级职位，最好都是那些能被任命者信任的人。最大的信任是由家庭关系给予的,或者是通过共同的生活阶段，例如出生在同一个村庄，在同一所学校，同一个俱乐部，等等。当然，职业资格也有助于建立信任，但这种信任不是特别重要。<br /> 中国最大的国有企业的领导职务是党指定的，这些职位是由相应的干部结合而成的。<br /> 这种任命政策的一个后果是领导普遍无能。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 09:02, 27 November 2020 (UTC)<br /> <br /> 老板的无能导致非正式的决策<br /> 传统上，中国公司中的总经理及高级职位通常任命者所信任的。家庭关系给人最大的信任，比如家庭之间或个人之间的友情或家庭生活的共同点（例如在同一个村庄出生，在同一所学校，在同一家具乐部等）。 当然，专业资格也有助于建立信任，但这仅是次要的。<br /> <br /> 中国最大的国有企业的领导职务是由党派出的，这些职务与相应的干部结合在一起。<br /> <br /> 这项任命政策的结果是领导人普遍无能。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 09:51, 29 November 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> In economic terms, this too is an emergency situation, especially for the bosses concerned, who are surrounded by more competent subordinates. In combination with the facial concept, the bosses thus have to hide their incompetence on the one hand and on the other hand want to keep their position, i.e. they are under enormous pressure to make the right decisions. This has led to an informal decision-making system. The boss discusses possible alternatives informally with the experts. In the end, he has obtained a broad opinion and makes the decision that seems best to him alone. The fact that the laurels are actually due to others remains unspoken; it increases the intensity of the personal relationships (renqing) of the people involved. Once the boss has made a decision and communicated it, the employees will implement it without contradiction due to the hierarchical structures.<br /> 从经济角度来说，这也是一个紧急情况，尤其是对那些管理着更有能力的下属的老板们来说。因此，结合表层含义，一方面，老板们不得不隐藏自己的无能，另一方面又想保住自己的位置，也就是说，他们面临着做出正确决策的巨大压力。由此产生了一个非正式的决策体系。老板与专家非正式地讨论了可能的替代方案。最终，他获得了广泛的意见，并独自做出了对他来说最好的决定。桂冠实际上是别人的，这一事实仍未明说；它深厚了相关人员间的人情关系。一旦老板做出决定并传达给员工，员工就会执行，不会因为等级结构而产生矛盾。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 13:50, 27 November 2020 (UTC)<br /> <br /> 在经济领域，这也是一种紧急情况，尤其当老板手下有着更为出色的员工时。一想到面子理念，老板一方面会掩盖自己的无能，另一方面又想捍卫自己的地位。他们做出正确决策时面临巨大压力。由此产生了一个非正式的决策体系。老板和专家们随意讨论可行的替代性方案。结果是，老板听取了大量意见，做出了最利于其自身的决策。事实上，功劳属于那些默默献言的专家们。此举促进了相关人员间的人情往来。一旦老板制定并传达某个决策，员工们考虑到公司等级结构，便毫无异议地执行。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 01:46, 29 November 2020 (UTC)<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> If a superior's decision is not considered correct, the subordinate may not address the boss. Rather, when the hierarchical structures do not apply (joint leisure activities or similar), an opportunity must be sought to indirectly point out the wrong decision to the boss.<br /> <br /> Meetings per day C &gt; USA &gt; D<br /> <br /> The frequency of meetings is much higher in China than in Germany. In the country comparison of four selected countries/regions the following order results:<br /> <br /> 1. Hong Kong <br /> <br /> 2. China<br /> <br /> 3. USA<br /> <br /> 4. Germany<br /> <br /> 当下级认为某个上级的决定是错误的，他可能不会告知老板。然而，当层级结构不能适应（共同的休闲活动或类似问题上），下级就会寻求机会间接地将错误的决定传递给老板。<br /> <br /> 每天的会议 C&gt; USA&gt; D<br /> <br /> 中国开会的频率比德国高的多。对所选的4个国家或地区的顺序排名如下：<br /> <br /> 1. 香港<br /> <br /> 2. 中国<br /> <br /> 3. 美国<br /> <br /> 4. 德国<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> '''Shapes of modern Chinese production culture and their causes'''<br /> <br /> [[File:13.jpg]]<br /> <br /> Modern Chinese production culture shows the following characteristics:<br /> <br /> 1. in the area of know-how China lags behind the western industrial nations and Japan, which causes feelings of shame. Many Chinese feel that they are on the defensive and regard their country's relationship with the USA and Japan as the David's against Goliath. This results in a subjective legitimacy for broad-based industrial espionage with national interest and know-how theft.<br /> <br /> ==Jiang Hao 姜好==<br /> '''2. Innovation'''<br /> <br /> China is traditionally known as an empire of inventions, so letterpress printing, gunpowder, porcelain etc. were invented long before similar inventions were made elsewhere in the world. However, these inventions were often not brought to serial production and were produced in masses, as for example in Europe, where gunpowder led to the production of handguns and cannons. It can be exaggerated to say that gunpowder was used instead for New Year's fireworks by the nobility. This shows the Chinese characteristic of a capacity for innovation with a simultaneous lack of diffusion in the market.<br /> <br /> The Industrial Revolution also largely passed China by. Since China, like Europe, was experiencing a population explosion due to better hygiene and medicine, but at the same time the automation of food production did not go beyond manufactories, China fell behind in its standard of living.<br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> Traditionally, imitation has always been highly valued in China. A good copy was almost as important as the original. Thus, both the civil service examination system of previous centuries and today's school system were strongly oriented towards reproduction rather than creativity. One reason may be the enormous amount of characters that requires students to memorize for years.<br /> <br /> 自古以来，模仿对中国来说十分重要。好的模仿同原型几乎地位相等。因此，前几个世纪的公务员考试制度和如今的学校系统都着重指向再生产而非创造。其中一个原因可能是学生在多年里需要记忆大量的人物。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 01:53, 27 November 2020 (UTC)<br /> <br /> 从古至今，中国都十分重视效仿。好的副本与原本几乎同样重要。因此，先前世纪的公务员考试制度与现今学校系统都着重强调再生产而不是创新。其原因可能是学生们在几年里需要记的人物数不胜数。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:20, 27 November 2020 (UTC)<br /> <br /> 自古以来，中国就十分重视模仿。好的模仿几乎和原创一样重要。因此，前几世纪的公务员考试和现在的学校体制都以再生产为导向而不是创造性。其中一个原因可能就是其要求学生花费数年时间去记大量的人物。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:20, 27 November 2020 (UTC)<br /> <br /> 自古以来，中国就十分重视模仿。好的模本几乎和原本一样重要。因此，前几个世纪的公务员考试和现在的学校系统都以再生产为导向而不是创造性。其中一个证据就是其要求学生花费数年时间去记大量的人物。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 11:39, 29 November 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> The idea of copyright is also less rooted in China than in the West.<br /> <br /> When the Chinese were awakened from their sleep by the cannon thunder of the 1st Opium War, there was great regret that they had not carried out their own research and development. Although physical violence was disregarded, the foreigners were envied their technical superiority and since then they have propagated the idea of learning technology from foreigners and reproducing it in order to be able to defend their own cultural values and sovereignty more effectively. This feeling of envy gave rise to an extreme motivation to both imitate the superiority of others and ultimately to outdo them.<br /> <br /> 中国的版权意识没有西方那么深刻。<br /> 当中国人在第一次鸦片战争的炮声中惊醒时，他们非常遗憾没有自己的研发创造。国人虽然憎恨外国人的暴行，但仍旧羡慕他们的技术优势。从那以后，他们师夷长技，以便能够更有效地捍卫自己的文化价值观和国家主权。但这种嫉妒感催生了一种极端的动机，既模仿他人的优越感，最终在该方面又超越他人。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:40, 27 November 2020 (UTC)<br /> <br /> 与西方相比，中国的版权观念不那么根深蒂固。<br /> 当第一次鸦片战争的炮声把中国人从睡梦中惊醒的时候，他们没有进行自己的研究和开发是非常遗憾的。即使中国人可以忽略外国侵略者的暴力，但却羡慕他们的技术优势，从那时起，他们开始宣传向外国人学习技术并加以复制，以便能够更有效地捍卫自己的文化价值观和主权。这种嫉妒感产生了一种极端的动机，既模仿别人的优越感，又最终超越别人。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:59, 27 November 2020 (UTC)Li Lili<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> '''3. Competition'''<br /> <br /> The toughest competition worldwide is in China. Successful products immediately find numerous imitators. As soon as an imitator can produce the product at more favorable conditions, the client switches to him. Together with state arbitrariness, this has resulted in the emergence of a typical Chinese type of company: The financial holding company as a family-owned enterprise with involvement in various industries. This enables a company to survive even if the sales market for a product suddenly collapses. In hardly any other country in the world do companies have to be as vigilant as in China, adapting products to changing customer requirements within the shortest possible time and always being one step ahead of the competition. New trends have to be recognized early and capacities have to be built up or reduced flexibly.<br /> <br /> Those who survive in this hard school are also prepared for more peaceful and fairer markets like those in Europe and America.<br /> ==Kong Xianghui 孔祥慧==<br /> '''4. State control'''<br /> <br /> The reform and opening policy since 1978 has led to a predominance of foreign companies in China at the end of the 20th century. In order to protect their own industry, laws were introduced obliging companies to provide a certain percentage of their production in China locally. As a result, Chinese suppliers had to be sought who were able to contribute parts to the production chain. This promoted local industry and also the transfer of know-how. <br /> <br /> At the same time, foreign suppliers were also forced to follow the large companies to China if they did not want to be replaced by a Chinese company. This accelerated the settlement of foreign companies in China.<br /> 1978年以来的改革开放政策导致20世纪末外来企业占据了中国市场的主导地位。为了保护本国产业，中国出台了相关法律，要求外来企业必须在当地提供一定比例的产品。因此，他们必须寻找能够向生产链提供零部件的中国供应商。这促进了当地工业的发展，也促进了技术的转让。<br /> 与此同时，外国供应商如果不想被中国公司取代，他们就必须跟随大公司来到中国。这加快了外国公司在中国的落户。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 10:53, 27 November 2020 (UTC)<br /> <br /> '''4. 国家管控'''<br /> <br /> 1978年改革开放以来，直到20世纪末，外来企业占据了中国市场的主导地位。为保护本国产业，中国出台了相关法律，要求外来企业生产产品必须有一定比例的当地产品。因此，这些公司必须寻找中国的供应商以为生产链提供零部件，这促进了当地产业发展和技术转让。<br /> <br /> 与此同时，外国供应商如果不想被中国公司取代，他们就必须跟随大公司来到中国。这进一步加快了外国公司在中国的落户。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:44, 27 November 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> However, legislation (like the joint venture laws) and court decisions favoured domestic companies. Also, China has built up a state capitalism that sponsors industry, supports domestic industry on the world market and helps financing overseas investment. Also, copyright infringement and industrial espionage (including civil-military alliance) supports the Chinese economy. Under the Trump administration, the USA has responded with a protectionist “America first” strategy.<br /> <br /> '''5. Legal system'''<br /> <br /> The legal system in China is not independent. It acts at the behest of the state.<br /> <br /> Western companies came to China with superior know-how and financial power. These companies were admired in China, but at the same time a feeling of disadvantage arose with regard to their own backward industry.<br /> <br /> 然而，法规（例如，合资企业法）以及法庭判决都有利于国内企业。中国也已经建立起一种国家资本主义，用来资助企业、支持出于世界市场中的国内企业、为海外投资提供资助。除此之外，版权侵权法规和企业情报刺探（包括军民联合）都促使中国经济发展。在特朗普的治理下，美国提出了“美国第一”的保护主义策略，以此作为回应。<br /> <br /> '''5.法律体系'''<br /> <br /> 中国的法律体系不是彼此独立，互不相关的。它是应整个国家的要求而实行的。<br /> 西方公司带着先进的技术知识和强大的财政实力来到中国。中国欣赏这些公司，但是同时觉得这些公司会对自己国家落后的企业不利。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 05:03, 28 November 2020 (UTC)<br /> <br /> 中国的法律体系并非独立存在，而是顺应国家需要而实行的。<br /> <br /> 西方公司带着先进的技术知识和强大的经济实力来到中国。中国欣赏这些公司，但又怕它们会对自己国家落后的企业不利。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 04:07, 29 November 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> As a counterbalance to this perceived weakness in relation to the large foreign corporations, the legislation was designed and the judiciary was urged to protect their own corporations.<br /> <br /> This puts Chinese partners in a better position when joint ventures are dissolved (often the know-how and capital goes to the owner).<br /> <br /> '''Necessity is the mother of invention'''<br /> <br /> The reason for the increase in efficiency, known worldwide as Japanese management culture or production culture, was the lack of money for new machines in Japan after World War II.<br /> <br /> 制定立法并敦促司法机构保护本国公司，是为了平衡与大型外资企业相关的某种弱势情况。<br /> <br /> 当合资企业解散时，这使中国合作伙伴处于更有利的位置（通常专有技术和资本都归所有者所有）。<br /> <br /> '``必要是发明之母'''<br /> <br /> 效率提高的原因是，为全世界所熟知的日式管理文化或生产文化，在第二次世界大战后，缺乏资金购置新机器。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 09:52, 29 November 2020 (UTC)<br /> <br /> 制定立法并敦促司法机构保护本国公司，是为了平衡与大型外资企业相关的某种弱势情况。<br /> <br /> 当合资企业解散时，这使中国合作伙伴处于更有利的位置（通常专有技术和资本都归所有者所有）。<br /> <br /> '``需求是发明之母'''<br /> <br /> 在第二次世界大战后，日本缺乏资金购置新机器从而导致了效率的提高，这也是众所周知的日式管理文化或生产文化。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:03, 29 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> In China, another emergency situation is also the reason for developing a separate response to the challenges of the market: it is the professional incompetence of management personnel. This has grown historically. In China, management positions are primarily given to people who can be trusted. Traditionally, the most trustworthy people in China are family members or family members of old school friends, acquaintances who come from their own village and who have indulged in the same hobbies together (see Deng Xiaoping's Bridge round or the golf acquaintances in Western lobbying) etc. Loyalty to the party plays a secondary role. In principle, members of the Communist Party have it easier in business life, cadres even easier. Membership in the People's Liberation Army plays a similar role.<br /> <br /> 在中国，另一种紧急情况也是制定单独应对市场挑战的原因:管理人员的专业能力不足。这随历史的发展不断涌现。在中国，管理职位主要由可信赖的人担任。传统上最值得信赖的人是家庭成员或老同学的家庭成员，来自自己村庄的熟人，有共同爱好的熟人(比如邓小平的桥牌圈或西方游说中一起打的高尔夫熟人)等等。对党的忠诚是次要的。原则上，共产党员做生意很容易做起来，共产党员干部就更容易。中国人民解放军的战友也扮演着类似的角色。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:24, 26 November 2020 (UTC)Lei Kuangxi<br /> <br /> 在中国，另一种紧急情况也是制定单独应对市场挑战策略的原因:管理人员的专业能力不足。这种情况随历史的发展不断涌现。在中国，管理职位主要由可信赖的人担任。在中国传统中，最值得信赖的人是自己的或老同学的家人，同村的熟人和有共同爱好的熟人(比如邓小平的桥牌圈或在西方游说中一起打高尔夫的熟人)等等。对党的忠诚是次要的。原则上，共产党员很容易把生意做起来，共产党员干部就更容易。中国人民解放军的战友关系也起着类似的作用。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 15:54, 26 November 2020 (UTC)<br /> <br /> ==Li Haiquan 李海泉==<br /> Professional competence often plays no role at all. But here, too, a generational change has taken place; the highest leadership cadres in the Central Committee often had no education or training at all in the Soviet Union at the beginning, were replaced by technocrats in the 1980s, and at the beginning of the 21st century many have an American university degree. <br /> <br /> In the business sector, the leadership positions of the largest Chinese state-owned enterprises are still awarded by the party to deserving cadres.<br /> <br /> The professional incompetence of the bosses represents a plight that must be countered in daily work with a sophisticated strategy if one does not want to be replaced by a more professionally competent boss.<br /> <br /> 专业能力往往起不到任何作用。但这也发生了一代人的变化;最初，中央委员会的最高领导干部没有在苏联接受过教育或培训；20世纪80年代他们被技术官僚取代了；在21世纪初，他们中的许多人拥有美国大学学位。<br /> <br /> 在商业领域，中国最大国有企业的领导干部仍由党授予。<br /> <br /> 管理者们在职业上的无能产生了一种困境，如果你不想被一个更有专业能力的管理者取代，就必须在日常工作中采用一种复杂的策略去应对。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 09:39, 29 November 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> This strategy consists of the following:<br /> <br /> ·Avoiding the disclosure of own professional incompetence<br /> <br /> ·Informal consultation and coordination with the actual experts in the company before each decision process<br /> <br /> ·Announcement and representation of the decision by the boss alone, this decision may then also no longer be questioned<br /> <br /> This informal participation in the decision-making process is organized in a network which, however, in contrast to the Japanese model, is not lived out in team discussions, but rather through several face-to-face meetings between the boss and a different expert in each case, since if the boss sought the advice of a first expert in the presence of a second expert, he would lose face with the second expert. This network character is therefore very personal and usually consists of direct two-person relationships.<br /> <br /> 该战略包括以下内容：<br /> <br /> ·避免披露自己的职业能力不足<br /> <br /> ·在每个决策过程之前，与公司的专家进行非正式协商和协调<br /> <br /> ·由老板单独宣布和陈述决定后，这一决定也可能不再受到质疑<br /> <br /> 这种非正式参与决策过程是在一个网络中组织的，然而，与日本模式不同的是，这种网络不是通过团队讨论，而是通过老板和不同专家之间的几次面对面会议来进行的，因为如果老板在第二位专家在场的情况下征求第一位专家的意见，他会在第二个专家面前丢脸。因此，这种人际网络特征非常私人，通常由直接的两人关系组成。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:24, 27 November 2020 (UTC)Li Lili<br /> <br /> 该策略包括以下内容：<br /> <br /> ·避免披露自己的职业能力不足<br /> <br /> ·在每个决策过程之前，与公司真正的专家进行非正式的协商和协调<br /> <br /> ·由老板单独宣布和陈述决定后，这一决定也可能不再受到质疑<br /> <br /> 这种非正式参与决策过程是在一个网络中组织的，然而，与日本模式不同的是，这种网络不是通过团队讨论，而是通过老板和不同专家之间的几次面对面会议来进行的，因为如果老板在第二位专家在场的情况下征求第一位专家的意见，他会在第二个专家面前丢脸。因此，这种人际网络特征非常私人，通常由直接的两人关系组成。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:49, 27 November 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> However, it is also possible to contact a third person who knows the second person, whereby the second person then only establishes contact and then withdraws.<br /> <br /> A further emergency in China is that due to the sleepy industrial revolution and the lack of information diffusion in the market, no research and development tradition of its own has been established to date. Instead of carrying out basic research for a long time, information about the state of the art of advanced competitors was obtained and attempts were made to copy and eventually outperform them. Only recently, due to enormous governmental support, e.g. in hybrid drive technology and electric motor technology, self-developed products have been created in China.<br /> 但是，也可以联系认识第二人的第三人，第二人随后只建立联系，然后退出。<br /> 中国的另一个紧急情况是，由于困乏的工业革命和市场缺乏信息传播，迄今为止还没有形成自己的研发传统。他们没有长期进行基础研究，而是获得了先进竞争对手的最新技术信息，并试图模仿并最终超越他们。直到最近，由于政府的大力支持，例如在混合动力驱动技术和电动机技术方面，中国才出现了自主研发的产品。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:40, 28 November 2020 (UTC)<br /> <br /> 但是，也可以联系认识第二个人的第三人，而第二个人只是建立联系，然后就退出。<br /> 中国的另一个紧急情况是，由于工业革命停滞不前，市场上缺乏信息传播，迄今为止还没有建立起自己的研发传统。在很长一段时间里，研究者们没有进行基础研究，而是获得了先进竞争对手的最新技术信息，并试图模仿他们，最终超越他们。直到最近，由于政府的大力支持，例如在混合动力驱动技术和电动机技术方面，中国才出现了自主研发的产品。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 09:35, 29 November 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> '''Changes in the Chinese production culture'''<br /> <br /> When the production site in China opened up to the global industry, the egalitarianism of the planned economy had already erased the tradition of quality assurance from the memory of the factory workers. In the decades before, they had been used to selling along with the scrap. The first factories, which produced goods in China due to the low labor costs, also delivered rejects accordingly. The foreign investors first had to reintroduce the quality assurance concept in China. Due to the strong competition in China and the orientation towards world market prices and standards, quality assurance has now been internalized in China.<br /> <br /> “中国生产文化的变化”<br /> <br /> 当中国的生产基地向全球产业开放时，计划经济的平均主义使得工厂工人追求质量保证这一传统不复存在。在过去的几十年里，工人已经习惯了把废料一同出售。由于劳动力成本低廉，在中国生产商品的第一批工厂也相应地交付了废料。外国投资者须先重申质量保证的重要性，唤起中国生产商的重视。与此同时，由于中国市场的激烈竞争以及其对世界市场价格和标准的关注，质量保证在中国内部现已普及。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:28, 26 November 2020 (UTC)<br /> <br /> '''中国生产文化的变化'''<br /> <br /> 在中国生产基地向全球产业开放时，计划经济的平均主义已经从工厂工人的记忆中抹去了质量保证的传统。在过去的几十年中，它们已经习惯与废料一同出售。 由于劳动力成本低廉，在中国生产商品的第一批工厂也相应地交付了废品。 外国投资者首先必须在中国重申质量保证理念。 由于中国的激烈竞争以及对世界市场价格和标准的遵循，质量保证现已在中国内部化。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 06:40, 27 November 2020 (UTC)<br /> <br /> '''中国生产文化的变化'''<br /> <br /> 当中国的生产基地向全球工业开放时，计划经济的平均主义已经从工厂工人的记忆中抹去了质量保证的传统。几十年里，他们已经习惯了和废品一起销售。由于劳动力成本低，第一批在中国生产商品的工厂也相应地交付了次品。外国投资者首先不得不在中国重新引入质量保证概念。由于中国市场的激烈竞争和对世界市场价格和标准的追求，质量保证在中国已经内化。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:42, 28 November 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> The originally traditional lifelong relationship with the employer, as we also know it from Japan, has now been reversed. China currently has one of the highest employee turnover rates in the world, even higher than the already high rate in the USA.<br /> <br /> In the period 1950 to 1980, the production culture was characterized by blind fulfillment of plans; since 1980, production has been oriented to the market.<br /> Today, management concepts are as en vogue in China as political campaigns were in the past. They are read and discussed, but often misunderstood due to the lack of foreign language skills and context/background knowledge.<br /> <br /> 通过日本我们可以知道，最初的传统终生雇佣关系现在已被颠覆。中国是目前世界上员工流动率最高的国家之一，甚至高于员工流动率本就很高的。<br /> <br /> 在1950年至1980年期间，生产文化的特征是盲目地执行计划；自1980年以来，生产一直面向市场。 如今，管理理念在中国就像过去的政治运动一样流行。 它们被阅读和讨论，但由于缺乏外语技能和语境背景知识而常常被误解。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 07:59, 26 November 2020 (UTC)<br /> <br /> <br /> <br /> 通过日本我们也可以知道，最初的传统终身雇佣关系现已被颠覆。中国是目前世界上员工流动率最高的国家之一，甚至高于员工流动率已经很高的美国。<br /> <br /> 在20世纪50年代至80年代，生产文化的特点是盲目执行计划; 自1980年以来，生产一直面向市场。如今，在中国，管理理念就像过去的政治运动一样流行。他们被阅读和讨论，但常因为缺乏外语技能和背景知识而被误解。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:42, 27 November 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> Similar to the campaigns, the concepts are introduced with an eternal claim, but only last as long as a seasonal fashion. This type of management, which is based on current trends in management strategies, could also be called guerrilla management, following Sebastian Heilmann's concept of &quot;guerrilla politics&quot;.<br /> <br /> In China, a culture of secrecy (ID badges, access restrictions), especially among high-tech companies, is prevalent, which is exactly the same as in America. In China, this culture was simply copied from the USA, certainly also due to the findings of Chinese industrial espionage abroad that know-how, e.g. in German companies, is often insufficiently protected against access by third parties.<br /> <br /> ==Li Yongshan 李泳珊==<br /> '''Roles in the Chinese production culture''' <br /> <br /> The central role in the Chinese production and management culture is played by the boss. This can also be seen in the comparatively high values of China's Power Distance Index.<br /> <br /> The specific behavior of the boss in the decision making process has already been explained above.<br /> <br /> In the following, the difference in the relationship between the boss and his subordinates in China and Germany will be described.<br /> <br /> The team member in Germany expects a target for the overall project and the specification of the assigned subarea within the project, feels responsible for the timely achievement of his own and the team goal and wants to find the way to this goal independently. <br /> ==Li Yu 李玉==<br /> It would like to be little supervised and communicates intensively with the other team members. The team leader in Germany is rather a primus inter pares, who has a small area of responsibility as a specialist and is responsible for coordination. The success is always a success of the team.<br /> <br /> In China, the boss has a much higher position than the other team members. He gives each team member the individual goal and the individual steps to reach this goal. He closely monitors the progress and cares for the team members, also regarding job satisfaction and in private matters. <br /> ==Lin Min 林敏==<br /> He expects a feedback only to him and no exchange of information between the team members. If the input of the first team member is a prerequisite for the work of the second team member, the boss himself forwards the intermediate / work results of the first to the second team member. <br /> <br /> The role of the employee in China is determined by the following characteristics: He cultivates a culture of error, in which it is important not to make any mistakes of his own, and in case mistakes are made, to correct them if possible without being noticed and in case they are noticed, to at least not immediately admit the guilt. <br /> ==Lin Xin 林鑫==<br /> In all these behaviours, the principle of face awareness applies.<br /> <br /> As mentioned above, the loyalty of employees to an employer in China is extremely low at the beginning of the 21st century. For a few yuan a month, workers change employers. Headhunters intercept employees at the factory gate, ask about the salary and offer correspondingly more. <br /> <br /> The paid passing on of information, especially about customers, suppliers, purchase prices and patents, is also considered a trivial offence. <br /> Chinese companies communicate less and employees are more demotivated. This is mainly due to the high production pressure, as case studies by Hong/Pöyhönen/Kyläheiku 2006 show (see list of literature in the appendix).<br /> <br /> ==Ling Zijin 凌子瑾==<br /> '''The Intermezzo of Socialism from 1949-1979'''<br /> <br /> In the phase of socialism, the centrally planned economy applied in it blossomed as follows:<br /> <br /> When the news reached the top, there was a culture of whitewashing.<br /> <br /> The breakup of the unions made the culture of co-determination in companies even more informal.<br /> <br /> '''Gaming in the Chinese production culture'''<br /> <br /> In China, playful experimentation is a core element of the production culture. In this way, individual management elements, but also entire foreign production philosophies can be tried out in a playful way.<br /> ==Liu Bo 刘博==<br /> One of the main differences between young people in China and those in the West is that, even as young adults, they can still play hilariously without making themselves look ridiculous to others. The joy of playing is particularly unrestrained if the ambition is there to copy a foreign product as similar as possible or even to surpass it and also to implement, for example, a new management concept or a production philosophy. <br /> <br /> New rules of the game are accepted very quickly. The introduction of a reward system (''incentives'') for long service has led to a situation in China where it is always calculated when a change is worthwhile.<br /> <br /> 中国的年轻人和西方的年轻人最主要的一个不同点就在于，即使已经成年了，年轻人仍然可以快乐的玩耍，别人也不会认为他们很可笑。如果野心是尽可能地模仿外国产品甚至是超越它并投入实施，例如一个新的管理概念或者生产哲学，那么玩的乐趣是无拘无束的。<br /> 新的游戏规则很快被接受。在中国，奖励机制的引入以及长期使用已经导致了一种问题：当这个机制需要改变的时候总是通过计算来完成。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 02:49, 29 November 2020 (UTC)<br /> <br /> 中国的年轻人和西方的年轻人最主要的一个不同点是：即使已经成年了，他们仍然玩得滑稽可笑，但他们自己却不会使人觉得很荒唐。如果他们是立志于效仿国外同样的产品甚至是超越它并将如一个新的管理概念或者生产哲学等投入实施，那么玩的乐趣就无穷无尽。<br /> <br /> 新的游戏规则很快就被人们所接受。在中国，奖励机制的引入以及长期使用已经造成一种局面：当需要改变的时候，总是通过计算来完成。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 08:47, 29 November 2020 (UTC)<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> Sustainable concepts can only be introduced if the benefits of the concept are clear. Other concepts with no discernible added value, such as alignment with the American corporate philosophy on mergers and acquisitions, are forgotten just as quickly as they were introduced, and people return to old habits.<br /> <br /> '''Effects on the company''' <br /> <br /> In China today, we find a modern production culture that is international but has its Chinese characteristics. <br /> <br /> It has positive and negative effects on the company:<br /> <br /> ==Liu Liu 刘柳==<br /> '''Positive effects of the Chinese management and production culture (CMPC)'''<br /> <br /> ·Networks<br /> <br /> ·the preferential treatment of Chinese companies (e.g. in tenders, competition, within corporate groups such as joint ventures)<br /> <br /> ·playful enthusiasm for technology<br /> <br /> ·Brutality, which in turn promotes competition<br /> <br /> '''Negative effects of the Chinese management and production culture (CMPC)'''<br /> <br /> ·through their distortion of competition <br /> <br /> ·by promoting incompetence in management positions<br /> <br /> ·through their priority of personal rather than non-cash benefits, which is fundamentally negative for the production culture <br /> <br /> ·through rituals/conventions (face, criticism, status etc.)<br /> <br /> ·intransparent state sponsoring and corruption<br /> <br /> '''中国管理与生产文化的积极影响(CMPC)'''<br /> <br /> •网络<br /> <br /> •中国企业的优惠待遇（例如在投标、竞争中，在合资企业等企业集团内）<br /> <br /> •对科技的狂热<br /> <br /> •残酷，这反过来又促进了竞争<br /> <br /> '''中国管理与生产文化的消极影响(CMPC)'''<br /> <br /> •扭曲竞争<br /> <br /> •助长管理职位的不称职<br /> <br /> •优先个人利益而不是非现金利益，从根本上来说对生产文化是消极的<br /> <br /> •仪式/惯例（面子、批评、地位等）<br /> <br /> •不透明的国家赞助和腐败--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:48, 29 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> The fundamental difference of the free trade zone established by China, Japan, Australia and other Asian Pacific countries in 2020 from suggestions of free trade zones involving the US or the EU is, that state-sponsoring and corruption are not restricted. Therefore China benefits most of this new free trade zone.<br /> <br /> '''Where is modern Chinese management and production culture (CMPC) an international role model?'''<br /> <br /> 2020年设立的由中国、日本、澳大利亚及其他亚太地区国家组成的的自由贸易区，与建议设立的由美国或者欧盟参与的自贸区的最大不同是，前者对国家支持和贪污腐败没有约束。因此，中国从这个新贸易区受益最多。<br /> <br /> '''现代中国在哪些方面可以作为管理和产业文化的国际标杆？'''<br /> <br /> 由中国、日本、澳大利亚及其他亚太地区国家在2020年设立的自由贸易区，与建议由美国或欧盟参与的自贸区的最大不同在于，前者对国家支持和贪污腐败没有约束。因此，中国从这个新贸易区受益最多。<br /> <br /> '''现代中国在管理和产业文化在哪些方面可以称为国际标杆？'''--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 12:32, 29 November 2020 (UTC)<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> The Chinese management and production culture (CMPC), as explained in the previous chapters, has its own characteristics that distinguish it from, for example, the Japanese or American management and production culture. Nevertheless, the CMPC is successful and manages the world's largest production market. Elements of the Japanese production culture have been successfully used worldwide to modernize production facilities. Can Chinese elements also lead to global success?<br /> <br /> The following 5 elements appear at least compatible on the international market:<br /> <br /> '''1. informal decision making through horizontal and vertical network management'''<br /> <br /> In China, important and unimportant decisions are seldom made by competent committees or officials, but rather are investigated informally.<br /> ==Liu Yi 刘艺==<br /> The hierarchical position in the company of those involved in the decision-making process is irrelevant, only their professional competence. Questioning the most competent is possible because this questioning is completely detached from the honor and reward system, but takes place in a parallel world, the so-called personal relationship system (Chinese: guanxi 关系). Due to this decoupling, the responsible decision-maker does not mind questioning other, not responsible but more competent colleagues/employees/outsiders. At the same time, the colleague/employee/external is motivated to give the best possible decision support, since he can score points in the parallel world.<br /> <br /> The results are well-founded and accepted decisions.<br /> <br /> 参与决策过程的人在公司中的等级地位无关紧要，只有他们的专业能力。对最有能力的人提出质疑是可能的，因为这种质疑完全脱离了荣誉和奖励系统，而是发生在一个平行的世界，即所谓的个人关系系统中。由于这种脱钩，负责任的决策者并不介意质疑其他不负责任但更有能力的同事/员工/外人。同时，同事/员工/外部人员也有动力给予尽可能好的决策支持，因为他可以在平行世界中得分。<br /> <br /> 结果是有理有据，被接受的决策。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:57, 28 November 2020 (UTC)<br /> <br /> 参与决策过程的人与其在公司的级别地位是不相关的，与之相关的仅仅是他的能力。质疑最有能力的人是可取的，因为这种质疑完全脱离了荣誉奖励系统，而是发生在一个平行世界，即所谓的人际关系系统中。基于关系系统的分离，决策者也就不介意质疑其他不负责任但是能力更强的同事、员工或者外人。同时，这些人也会更有动力去给予尽可能好的决策支持，因为他们会在这个平行世界中得分。<br /> 最终得到有理有据并且可以接受的决策。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 02:49, 29 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> '''2. playfully trying out new forms of production and management (attention: hermeneutics/sustainability)'''<br /> <br /> The play instinct in people up to old age is socially sanctioned. In phases when there is little to do in the office, a Mahjong or Go board or cards are taken out as a matter of course. Similarly, new methods, often imported from the West or Japan, are tried out with playful zeal. An incentive system, for example, challenges colleagues to earn as much capital as possible in the form of incentives in as short a time as possible. It is not unusual for hit lists to be posted in the office, so that colleagues encourage each other. <br /> ==Liu Zhiwei 刘智伟==<br /> But it is important to pay attention to three aspects:<br /> <br /> 1. the actual goals should be achieved without neglecting other aspects of the work or even worsening the overall result, because the colleagues are addicted to the urge to play. The introduction of new management or production strategies is nothing new for Chinese employees, they know this from political or education-oriented campaigns (e.g. traffic education). <br /> <br /> The second aspect that must be kept in mind is the understanding of the corresponding philosophies. For this it is important, for example, when importing Western management culture into China, that the correct Chinese term is first found for the fashionable e.g. English expression.<br /> <br /> 我们要重点注意以下三个方面：<br /> 1、最终目标的实现不能否定其他方面的工作，甚至恶化整个大局，因为同事们都沉迷于游戏。新型的管理或生产策略在中国员工看来都是见怪不怪了，他们从政治或教育运动（如交通教育）中了解到这一点。<br /> 二要牢记理解相关哲学。说这一点重要，是因为当重要的西方管理文化进入中国时，正确的中文术语应首要出现以顺应潮流，比如英式表达。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 02:34, 29 November 2020 (UTC)<br /> <br /> 但重要的是要注意这三个方面：<br /> 1.实际的目标应该在不忽视工作的其他方面的情况下实现，因为同事们都沉迷于玩乐会使整体的结果恶化。对中国员工来说，引入新的管理或生产策略并不是什么新鲜事，他们从政治或教育导向的活动（如交通教育）中已经了解到这一点。必须牢记的第二个方面是对相应的哲学方面的理解，这一点很重要，例如，在向中国引进西方管理文化时，最重要的是首先找到正确的中文术语，如英式表达。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:09, 29 November 2020 (UTC)<br /> <br /> ==Lou Cancan 娄灿灿==<br /> Terms that are translated incorrectly or not at all lead to success messages that a new system has been introduced, with what was understood by it being introduced instead. <br /> <br /> A third aspect that must be considered in this context is sustainability. Many new concepts that have been introduced are forgotten after a few weeks and the old rut has returned. Only individual, often senior employees still remember the newly introduced things and occasionally refer back to them without being able to enforce them on their employees.<br /> <br /> 翻译不正确或根本没有翻译的术语会带来成功信息，即引入了一个新系统，而引入了该系统所理解的内容。<br /> <br /> 在这情形下必须考虑的第三个方面是可持续性。许多引入的新概念在几周后就被遗忘而老一套又回来了。只有个别的，通常是高级员工还记得新引进的东西，偶尔也会提到，但不能强加在他们的员工身上。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:40, 27 November 2020 (UTC)<br /> <br /> 翻译错误或根本没有翻译的术语也会有所成果，其引入了一个新系统，并引入了该系统所理解的内容。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:45, 27 November 2020 (UTC)Mo Ling<br /> <br /> 在这种情况下，可持续性是必须考虑的第三个方面。许多引入的新概念在几周后就为人们所遗忘，取而代之的是重蹈覆辙的老一套概念。只有个别人，通常是高层还记得新引进的东西，他们偶尔也会提起，但却无法强迫他们的员工也记得。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:45, 27 November 2020 (UTC)Mo Ling<br /> <br /> ==Luo Weijia 罗维嘉==<br /> A process description system that is integrated into the daily work routine (e.g. daily used computer work surface) is useful here, where the employees make or execute decisions and processes in the given paths.<br /> <br /> All in all, the playful approach reduces fear of contact with new things, the daily work routine is varied and the employees gain further qualifications.<br /> <br /> '''3. speed and flexibility in product development'''<br /> <br /> One of the hallmarks of the Chinese manufacturing industry is the speed at which products are cribbed and developed further, or at which they react to changing customer requirements or market conditions.<br /> <br /> 与工作日程（例如日常使用的计算机工作界面）相结合的过程描述系统非常有用，员工可以按照给定的路径来制定或执行决策或流程。<br /> <br /> 总而言之，游戏化的方法减少了接触新鲜事物的恐惧，工作日程多样化，员工也能进一步获得资格。<br /> <br /> 3.产品开发的速度和灵活性<br /> <br /> 中国制造业的一个标志是产品加工和发展的速度之快，以及它们对不断变化的客户要求或市场条件作出的快速反应。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 12:26, 29 November 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> The ambition that Chinese product developers put into developing solutions for specific requirements is comparable to the play instinct described above.<br /> <br /> 他希望中国的产品开发人员为特定需求开发解决方案，这一雄心壮志与上述游戏本能不相上下。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:37, 26 November 2020 (UTC)<br /> <br /> This high speed and flexibility strengthens the competitiveness of Chinese companies. Western companies can learn these qualities by locating in China and thus benefit from these experiences in the comparatively sluggish production location in their home countries.<br /> <br /> 这种高速和灵活性增强了中国企业的竞争力。西方企业可以在中国开公司来学习这些品质，从经验中获益，与本国相对迟缓的生产环境来说。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:37, 26 November 2020 (UTC)<br /> 这种高速和灵活性增强了中国企业的竞争力。处在本国相对迟缓的生产环境下的西方企业可以落户中国来学习这些品质，并从这些经验中获益。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:07, 27 November 2020 (UTC)<br /> <br /> '''4. focusing on personal competence instead of things or functions'''<br /> <br /> 4注重个人能力而不是事物或职能--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:37, 26 November 2020 (UTC)<br /> <br /> Interesting and certainly typical Chinese is the fixation on people instead of the thing.<br /> <br /> 有趣的是，中国人是典型的对人不对事。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:37, 26 November 2020 (UTC)<br /> <br /> 有趣无疑的是，大凡中国人都对人不对事。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 11:50, 26 November 2020 (UTC)<br /> <br /> ==Ma Juan 马娟==<br /> <br /> [[File:majuan]]<br /> An original feature is the logistics. As this picture illustrates, existing primitive means are exploited to the utmost. Admirable is the matter-of-course way in which the extremes are mastered.<br /> <br /> For a long time, production capacity in China grew faster than logistics. Only at the beginning of the 21st century are delivery services and infrastructure (highways, high-speed train connections, etc.) catching up.<br /> <br /> 最初的特征物流。正如这张图片所示，现有的原始手段被开发到了极致，能够驾驭极端的自然方式最令人钦佩。<br /> <br /> 过去很长一段时间，中国的生产力比物流发展更快。到21世纪初期，快递业务和基础设施（高速公路，高速铁路等）才追赶上来。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 08:25, 29 November 2020 (UTC)<br /> <br /> <br /> 原始功能是物流。如图所示，现有的原始手段得到最大限度的利用。令人钦佩的是控制极端情况的过程方法。<br /> <br /> 长期以来，中国的生产能力快于物流业的发展。在21世纪初，送货服务和基础设施（高速公路，高速铁路等）才开始迎头赶上。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 11:38, 29 November 2020 (UTC)Ou Rong<br /> <br /> ==Ma Shuya 马淑雅==<br /> '''The Freedom of Intellectual Exchange'''<br /> <br /> Starting to work on the modern Chinese literary essay in the 1990s, I published my Ph.D. thesis ''The History of the Chinese Essay'' in 1998. Because it was written in German, I hoped since then to raise interest in this subject in the anglophone world, too. With this volume in hand, this wish has become true. Some of the topics I dealt with in my thesis like the development of the genre, biblio-biographies of several essayists etc., are elaborated here extensively by my collegues in English and more detailed than I could do it in my first ground work in German. <br /> ==Ma Zhixing 马智星==<br /> Moreover, this collection documents the lively discussion, which started among sinologists in the last years of the 20th century.<br /> <br /> I remember quite clearly, how the idea of the conference was born during a meal at the Boston AAS conference hotel with King-Fai Tam. Leo Ou-fan Lee had helped to bring both of us together, knowing that we shared a seemingly specialized hobby, the modern Chinese essay. King-Fai was preparing two collection of essay translations, one with essays from mainland China and one from Taiwan. The first is scheduled for publication. I prepared another collection of essays with both, Chinese original and English translation, published by The University Press Bochum half a year ago. The common intention of both of us is to make more Chinese essays available in English translations. <br /> ==Meng Ying 孟莹==<br /> King-Fai Tam and me are both fascinated of the idea of promoting this long time neglected genre and to find out more about its characteristics and the reasons of its success in the 1920s and 1930s as well as in the 1980s and 1990s. On a napkin, we outlined an AAS panel, an international conference and a volume with essays on the essay. All of these ideas are now becoming real more or less in the way we planned it: The AAS panel became an NEAAS panel at Yale, the conference took place in August 25-27, 2000 at the Academy of Euro-Asian Economy and Culture in Achern, in the Black Forest, Germany. <br /> ==Mo Ling 莫玲==<br /> 14 scholars of Chinese literature, from the States, Taiwan, the United Kingdom and Germany took part. All of them share the fascination of the phenomenon of the essay. Language was no barrier: The conference was conducted in English with the exception of a few papers in Chinese with English abstracts.<br /> <br /> The collection of essays on the essay are the conference proceedings in hand, this book contains extended versions of the conference papers. It was published by The University Press Bochum in December 2000. More important is the fact, that through this opportunity, we now have lively email discussions and a website with updated information on the Chinese essay.<br /> <br /> 来自中国大陆、台湾、英国以及德国的14位研究中国文学的学者参加了此次会议。他们都分享了论文中令人着迷的表达。语言没有边界：大会虽用英文举行，但也破例宣读了部分含有英文摘要的中文论文。<br /> <br /> 按照大会的流程，这些论文中的一部分会组成一本文集。这本文集中的文章都是大会论文的修改版，在2000年由波鸿大学出版社出版。更重要的是，通过这一契机，如今我们能进行实时邮件讨论，并且能在网站上看到不断更新的中文论文。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:02, 27 November 2020 (UTC)Mo Ling<br /> <br /> 来自美国、中国台湾、英国和德国的14位中国文学领域的学者都参加了此次会议。他们都分享了论文中有趣的现象。语言无边界：大会除了部分论文是含有英文摘要的中文论文之外，其余都是用英文展开的。<br /> <br /> 会议过程中的论文选集发到人们手中，这本文集中的文章都是大会论文的修改版。在2000年12月由波鸿大学出版社出版。更重要的是，通过这一契机，如今我们能借助邮件展开激烈的讨论，并且能在网站上获取不断更新的中文论文。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 01:40, 28 November 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> Here I would like to take the opportunity to thank the members of the organizing committee Charles Laughlin, Xinmin Liu, King-Fai Tam, and Alexandra Wagner for their great help. I very much enjoyed the discussions via email.<br /> <br /> A common philosophy stands behind the whole project: We want to share information, help each other and do not care about language barriers. Everybody can contribute in English or Chinese, some of us like me being non-native English speakers.<br /> <br /> We encourage the reader to make use of the large margins for personal notes in the awareness of pursuing a tradition dating back to the very origins of essay writing. <br /> ==Nie Xiaolou 聂晓楼==<br /> Having most of the conference papers in hand with this book, everybody is welcomed to give a feed back. This kind of free intellectual exchange I first experienced in the States when Leo Ou-fan Lee invited me to stay from 1998-1999 as a visiting scholar at the Department of East Asian Languages and Civilizations at Harvard University.<br /> <br /> The contributors to this volume can only introduce and draw the attention of the readers to this Chinese genre, the joy of reading remains to the reader himself.<br /> <br /> M.W.<br /> <br /> 这本书中含有大部分会议所用论文，因此，欢迎每位与会者给出反馈。我第一次进行这种自由的学术交流是在美国，当时李欧梵邀请我作为访问学者到哈佛大学东亚语言与文明系学习，时长为1998到1999年。这期期刊的撰写者只能吸引中国读者的注意力，但阅读的乐趣得靠读者自己领会。<br /> <br /> M.W.--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 03:28, 28 November 2020 (UTC)Nie Xiaolou<br /> <br /> 本书中有大部分的会议论文，欢迎大家给予反馈。我第一次体验这种自由的知识交流是在美国，当时是1998年到1999年，李欧梵邀请我作为访问学者留在哈佛大学东亚语言与文明系学习。<br /> <br /> 本书的编者只能介绍这种中式体裁和吸引读者对这种中式体裁的注意，而阅读的乐趣得靠读者自己领会。<br /> <br /> M.W.--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 07:55, 29 November 2020 (UTC)<br /> <br /> ==Ou Rong 欧蓉==<br /> ''The Flourishing of the Chinese Essay''<br /> <br /> Martin Woesler<br /> <br /> The flourishing of essay publication in the periods of accelerated modernization, the Western-influenced one (1920s/30s) and the one of liberated economical actors (1980/90s), was helped in part by the appearance of new magazines and book series that existed chiefly as vehicles for contemporary essayists. The emergence of this media show a clear trend: the essay is a genre of overwhelming and increasing interest among Chinese authors and readers.<br /> <br /> There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s:<br /> <br /> 中国散文的繁荣发展<br /> <br /> 吴漠汀<br /> <br /> 加速建设现代化时期、西学东渐时期（1920至1930年代）、经济解放之一时期（1980至1990年代）论文出版出现繁荣发展。这在一定程度上得益于新的杂志和丛书的出现，它们主要被用作当代散文家的工具。这种媒介的出现表现出明显的趋势：于中国作者和读者而言，论文是一种压制和增长兴趣的媒介类型。<br /> <br /> 在1990年代中期，中国的论文产量和受欢迎程度上升的三个原因是：--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 11:27, 29 November 2020 (UTC)Ou Rong<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> ·The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition”[ Donald Hall, The Contemporary Essay (New York: St. Martin’s Press, 1984) xiii. In this textbook, Hall has chosen a wide range of contemporary American essayists. In his introduction, Hall applies for clear writing, and active reading.]; <br /> <br /> ·the increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands; <br /> <br /> ·a revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.<br /> Because of its increasing importance, the essay can now be assigned its proper place in the canon of contemporary genres and in the history of literature.<br /> ==Ouyang Ling 欧阳玲==<br /> In the last two decades of the 20th century, the essay has been the main communication medium between the discourse of the intelligentsia and the mass of readers of daily newspapers. Therefore we have a genre which transports ideas of the elite in small pieces and common language and functions as the link between mass and elite culture.<br /> <br /> December 2000<br /> <br /> 20世纪最后20年中，小品文成了知识分子和那些读日报的普罗大众沟通的主要媒介，由此，这种文学体裁开始以小篇幅和通用语将精英分子的思想传播开来，成为了大众文化和精英文化间的纽带。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:02, 27 November 2020 (UTC)Ouyang Ling<br /> <br /> 在二十世纪最后二十年中，小品文成了知识分子话语圈和日报读者群的主要沟通媒介。因此，我们拥有了一种文学体裁，这种体裁能用小篇幅传播精英分子的思想，也能充当大众文化和精英文化之间的纽带。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 03:43, 28 November 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> '''Keynote: “Let us Assign the Essay its Proper Place in Chinese Literature!”'''<br /> <br /> ''Martin Woesler''<br /> <br /> '''Abstract'''<br /> <br /> The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. We are used to the established narratives of C.T. Hsia, Průšek, and Anderson, which let Chinese literature appear overshadowed by its elder brother, fiction. The latter has been prized ever since the valuing of fictional literature and the vernacularization of writing in early Republican China, which followed from the master narrative established by the May 4th movement.<br /> <br /> Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly: <br /> ==Peng Juan 彭娟==<br /> •The essay had a direct impact on Chinese society throughout history. The impact of the essay genre, with its direct language, its connection to life, and its direct access to the individual reader through newspapers, was larger than the indirect effects of fiction or poetry.<br /> <br /> •The essay also reflects trends in society better than poetry and fiction. Individualism is expressed in the essay more directly than in the poem, which is limited in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.<br /> <br /> 这篇文章对整个中国社会产生了直接的影响。散文体裁的影响，它的直接语言，它与生活的联系，以及它通过报纸直接与个人读者接触，比小说或诗歌的间接影响更大。<br /> 这篇文章还比诗歌和小说更能反映社会趋势。个人主义在散文中比诗歌更直接地表现出来，这在内容和形式上都是有限的。短小的散文体现了短暂的生命力，可以在上班的地铁上阅读，在那里，诗歌可能不会如此自然地被欣赏。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 14:23, 29 November 2020 (UTC)pengjuan<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> •The essay reaches a larger part of the population than poetry, and does not require the large amount of time spent on reading novels. The essay itself is a genre of high actuality, if not simply the genre of today.<br /> <br /> •The volume of essay production exceeds the volume of xiaoshuo production.<br /> <br /> Can the picture of Chinese literature remain unchanged if we take the essay into consideration? As stated above, there is a large contrast between the true value and the current valuing of the essay. Let us assign the essay its proper place!<br /> <br /> •与诗歌相比，论文占人口的比例更大，不需要花大量时间阅读小说。论文本身是一种高度现实的类型，即使不仅仅是今天的类型。<br /> <br /> •论文的产量超过小说的产量。<br /> <br /> 如果考虑到这篇论文，中国文学的图画能否保持不变？ 如上所述，论文的真实价值与当前价值之间存在很大的反差。让我们为论文分配适当的位置！--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 09:23, 28 November 2020 (UTC)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 09:23, 28 November 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> '''The unknown genre'''<br /> <br /> The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90); whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement. Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.<br /> <br /> '''未知的体裁'''<br /> <br /> 由20世纪选集和文集讲述的文学历史叙事所绘画出的中国文学图景并不完整：即散文体裁的缺失。长期以来，人们有意（马古烈 1949，施密特·格林策 1990）或无意地(麦克诺顿 1974，莱顿 1988-90）忽视了这种体裁的优点：然而，自从五四运动确立主叙事、民国初期重视小说文学和创作通俗化以来，散文的兄长--小说就一直受到珍视。现代选集会让读者相信，诗歌、小说和戏剧的三足鼎立才是中国现代文学作品的支柱。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 06:10, 27 November 2020 (UTC)<br /> <br /> ···未知体裁···<br /> 20世纪的选集和文集所记叙的文学史，勾勒出一幅不完整的中国文学图景：散文的体裁是缺乏的。长期以来，散文作为一种功利性文体被忽视（马格里斯1949年，施寒微1990年）或被忽略（麦克诺顿1974年，莱顿1988-90年）；而它的兄长--小说，自民国初年重视小说文学和写作白话化以来，在五四运动确立的总叙事之后，一直受到重视。现代选本会让读者相信，诗歌、小说、戏剧三驾马车构成了中国现代文学创作的主干。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:12, 27 November 2020 (UTC)Yang Chenting<br /> <br /> 20世纪文学选集对于中国文学史的叙述是不完整的，其中缺失了散文这一体裁。长期起来，人们有意（马古烈 1949，施密特·格林策 1990）或无意地(麦克诺顿 1974，莱顿 1988-90）地忽视了这一出色的体裁，但与此同时，由于五四运动树立起了以叙事为主的创作风格，到民国初期发展为重视小说体裁和通俗化创作，散文的兄长--小说，则一直受到重视。而现代文选则告诉读者，诗歌、小说和戏剧的三足鼎立才是中国现代文学的支柱。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:27, 27 November 2020 (UTC)Ouyang Ling<br /> <br /> ==Peng Yongliang 彭永亮==<br /> Two times in the 20th century the Chinese essay was flourishing, first in the 1920s and 1930s, then in the 1980s and 1990s. <br /> <br /> Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'', see works of Laughlin, Klaschka). The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文丛书 (essay bookseries). <br /> <br /> The increase in essay production right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.<br /> <br /> ==Peng Yuzhi 彭育志==<br /> Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging ''xiangtu'' literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.<br /> <br /> Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:<br /> <br /> The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political ''zawen'' of Lu Xun, until today are mostly presented in essay form). <br /> <br /> ==Qi Kai 漆凯==<br /> The impact on literary reflection and theory is shown in the collection ''Modern Chinese Literary Thought'' 1996 (see Denton). The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry. The poem is the genre of retreat from social life, from political issues and time references.<br /> <br /> Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of ''novel'' and ''opera'' in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.<br /> <br /> 其对文学反思和理论的影响在1996年出版的《中国现代文学思想》一书中有所体现。散文体裁的影响，其直接的语言，它与生活的联系(例如，它在与文化大革命的适应中所起的作用)，以及它通过报纸直接接触到个人读者。这种影响比小说或诗歌的间接影响更大。这首诗是一种逃避社会生活，逃避政治问题和时间的文体。<br /> 胡适认为，在现代性的进程中，诗歌是最重要的，因为诗歌引起了情感。但它也依赖于图像和语言节奏。梁启超强调小说和戏剧在社会变迁中的作用。但三文却能给事物命名，它反映了生命，宛如万花筒。现代主体性是以三文为工具建构的。--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 09:45, 29 November 2020 (UTC)Qi Kai<br /> <br /> ==Qu Miao 瞿淼==<br /> The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.<br /> <br /> - The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too. The essay itself a genre of high actuality, if not simply the genre of today.<br /> <br /> - The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society. Many authors turned to essay writing in the later periods of their lives, like Lu Xun, Ba Jin, and Wang Meng.<br /> <br /> 散文也比诗歌和小说更好地反映了社会潮流:个人主义在散文中比诗歌更直接地表现出来，但在内容和形式上都有一定的局限性。短暂性体现在短文的简短形式上，人们可以在上班的地铁上读到这些短文，而在地铁里，人们可能不会那么自然地欣赏诗歌。<br /> <br /> 阅读散文的人比读诗歌的人多，花在阅读小说上的时间也可以追溯到过去。散文本身是一种高度现实性的体裁，如果不只是当今的体裁的话。<br /> <br /> 这篇文章告诉我们更多的是关于一个作家和他的时代而不是小说或诗歌，因为在这种体裁中，我们可以不受韵律限制地见到作者本人。我们以真实的眼光看待他所处的当代社会。许多作家在他们生命的后期开始从事散文写作，如鲁迅、巴金和王孟。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:11, 29 November 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> -The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[ Shenbao, Shibao, etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his zawen), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang'' lu derived).<br /> <br /> Let us assign the essay its proper place<br /> The consequence which must be derived from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place! <br /> <br /> Taking into consideration the essay will rewrite the history of Chinese literature<br /> I will name a few points to illustrate what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Pršek and Anderson.<br /> <br /> <br /> “杂文”制作量超过“小说”制作量：从十九世纪七十年代起，中国报纸（申报，时报等等。梁启超认为报纸的作用既自由又权威：一方面，他认为新闻媒体是控制政府的机构，另一方面，他赞成审查制度。）作为20世纪初期的大众传播媒介，报纸以序列化形式仅展示一个或两个虚构的故事，不过它发明了杂文专栏，如“杂感 ”（鲁迅从中发展了他的杂文），和“ 随笔”或“ 随想”（从其中衍生出像巴金的《穗香路》这样的著名收藏）。<br /> <br /> 让我们为杂文指定适当的位置<br /> <br /> 必须从以上提出的杂文价值与评价之间的对比中得出以下结论：让我们为散文指定适当的位置！<br /> <br /> 重新考虑杂文将会改写中国文学的历史<br /> <br /> 我仅举几例来说明杂文对中国文学的贡献，迄今为止，由于C.T. Hsia, Prçšek and Anderson等人的叙述，小说的光芒盖过了杂文。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 04:12, 28 November 2020 (UTC)<br /> <br /> ==Sagara Seydou ==<br /> We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the yuanyang hudie pai played in the choir of different voices in the awoken intellectual debate in the beginning of this century. The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.<br /> ==Shi Diwen 石迪文==<br /> In the following, I will name two aspects (chronologically sorted by past, and modern times) to promote the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.<br /> <br /> 1. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned<br /> How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay both in China and the West are notes written in the margins of books, as well as letters and travel notes saved. These notes differed from the canonized literature through its informal style, its expression of individuality and subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber.''<br /> ==Shi Haiyao 石海瑶==<br /> From the very beginning, the essay was valued lower than poetry: the oldest reference[ This is older than the ones referred to in Morohashi, 5:529a / sequential page counting 5167a, and in the The Encyclopaedic Dictionary of the Chinese Language, vol. 73c / s.p.c. 6137c.] this far for the term sanwen that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù. 詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatells, is limited. Luo Dajing 14:Baihai:1). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.<br /> <br /> 从一开始，人们就认为散文的价值低于诗歌:最古老的参考文献[这比在Morohashi, 5:529a /连续页数5167a，和在中国语言的百科词典，第73卷/ s.p.c. 6137c中提到的更古老。)“散文”这个术语,我发现是罗大经提出(?- 1248年之后):“詩騷妙天下,而散文頗覺瑣碎局促”。诗歌以一种美妙的方式感化人类，散文则是不连贯的杂谈，影响有限。罗大经 14: Baihai: 1)。罗大经提出的另一种质疑则更为正式:与具有高度艺术性和百年历史的诗歌创作传统相比，在他看来，直接的、通常是白话的散文没有什么价值。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 09:19, 27 November 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> <br /> In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge. The reorganization originated from the observations of Copernicus, which destroyed the whole conception of the world of the Middle Ages.<br /> <br /> In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters. The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of ''san'' 散 as to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''. Xunzi delivered the prototype of the later essay with his philosophical treatises.<br /> <br /> <br /> 在西方，真正的“文章写作的艺术”于16世纪被提出来作为新的重组知识的媒介。这种重新组织来源于哥白尼的观察，这摧毁了中世纪的所有观念。<br /> <br /> 在中国，特别是公元四、五世纪对佛教的争论，导致了文学这一传统的起源。然而，中国的“散文(essay)”传统中，对“散”的理解即为驱散、空余、松散、放松、不规则的又自由的风格，在从对话中剥离出来之前不为人知的自由性散文诗或是仍能够在哲学书籍《论语》中见到的谚语。荀子通过他的哲学性论述确立了后来的散文雏形。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 13:33, 28 November 2020 (UTC)<br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.<br /> <br /> During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written in the paper margins originated the ''biji'' 筆記 (occasional notes), flourishing in the Ming dynasty. The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as ''a genre of its own'' originated in China not before the Qing 清 dynastie, when numerous essay anthologies were compiled.<br /> <br /> ==Su Lin 苏琳==<br /> <br /> Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences. Until now, the Chinese pre-''Honglou meng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.<br /> <br /> Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the “Eight legged essay” as as appealing and intoxicating as the “pleasure of doing opium.” (Zhou Zuoren 1932c, 148).<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, 71).<br /> <br /> Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''wen yi zai dao'' 文以載道 (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.<br /> <br /> Liang Qichao developed a ''xin wenti'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.<br /> <br /> 但他也认为这是一种在现代作品中流行的体裁，如洋八股和党八股（吴志辉，71）。<br /> 理学强调文以载道。如果从体裁的角度重新解读这一措辞，我们可以说，当时的散文已被视为表达真理、主体性和自我的重要工具。<br /> 梁启超受西方语言的影响，发展了一种新文体，但这种文体在报纸成为大众传媒之前就开始流行起来，语言也变成了白话。<br /> --[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 12:40, 26 November 2020 (UTC)<br /> <br /> 但他也认为这是一种在现代作品中流行的体裁，如洋八股和党八股（吴志辉，71）。<br /> 理学强调文以载道。如果从体裁的角度重新解读这一措辞，我们可以说，当时的散文已被视为表达真理、主体性和自我的重要工具。<br /> 受西方语言的影响，梁启超发展了一种新文体，但这种文体在报纸成为大众传媒媒介之前就流行起来，新文体的语言也变成了白话。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:25, 26 November 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> '''2. The essay as the medium of modernity'''<br /> <br /> The essay was ''the'' genre of the modernizing society of the early 20th century. It was short, dealt with reality, there was no limitation regarding the contents, therefore it was also capable of documenting and spreading the ideas about the best form of society. It was simply the best form to transport the thoughts of the intellectual leaders of the time to the public and to create a public sphere. Imagine the May Fourth Movement without essays! Most of Lu Xun's work consists out of essays!<br /> <br /> Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming “needs” of society, which also claimed the author to be one of its products.<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is “a genre of self-reflection”. Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art. <br /> <br /> Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays.<br /> <br /> I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).(文献 无需翻译)<br /> <br /> 但是从本质上说，这篇论文在形式和内容上设定了新的界限，因此不仅脱离了意识形态限制，而且在其中建立了自己的批判亚文化。这篇文章不仅是我们今天讨论的媒介和社会政治背景的记录，还是关于作家在不断变化的环境中寻找定位的个人奋斗的记录，因为这篇文章是“反思类型”。有些文章甚至像左派意识形态之一一样破坏了主叙述，通常只是将其与主观经验，现实或艺术联系起来去面对。<br /> <br /> 如果我们考虑论文的话，会对文学的整体理解发生了变化，如果我们既看作者的小说诗歌作品，又看他们的论文的话，对单一作者的观点也会改变。<br /> <br /> 我想提到文学的另一种立场，强调文学对生活的影响，特别是在革命前夕对生活的影响。按照这种观点，所有文学都是政治性的（詹姆森）。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:17, 26 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> '''The Aesthetic of Marginalism and the Impact of the West on the Chinese Essay'''<br /> ''Martin Woesler''<br /> <br /> '''Abstract'''<br /> Chinese and Western essays derived from the notes in the margins of books. With this step from the private to the public sphere, we find the impact of subjectivity and individualism on literature. The origin of the essay has influenced the later essay tradition in its ephemeral, subjective, marginal character; its claim for understatement; the conversational and colloquial style of expression; and its eclecticism. The essay itself often deals with one subject, but this topic is looked on from different perspectives.<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> The aesthetic of marginalism, invented by Schlette in 1977 and further developed by Pfeiffer and others in 1996, proves helpful for understanding the character of the essay. Following its methodological perspective, marginalism grants the essayist a distant view of the text body itself from the margins of the book. This enables the essayist to think unorthodoxly, the condition ''sine qua non'' of critique and protest. <br /> <br /> In my paper, I use the concept of marginalism to explain the rhetorical means of digression in Lu Xun's essays. Lu Xun seems to digress: 1) on purpose for rhetorical effects; 2) going off-target for arts’ sake; 3) as an experiment; 4) for its own sake with socio-critical side blows; 5) as understatement with surprising effects. Further I will show marginalism in the founder of Western essayism, Montaigne, and the Chinese scholar Qian Zhongshu.<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> As for the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, both traditions are relevant: The current form of the genre is mostly based on the influence of Western essay translations, starting from 1907. From this, there first developed a Chinese essay tradition which consciously leaned upon the Western model in language, form and terminology. Later, the Chinese essay’s own proponents succumbed to the temptation to derive a tradition of the Chinese essay from Chinese history alone. The legendary authors of the May Fourth movement considered the English essay as the father of the Chinese essay. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition.<br /> <br /> 中国散文是源于本土传统？还是产自西方翻译？这个问题一直是个争议。但无论如何，这两种说法本身就具关联性：自1907年起直至现在，中国散文的体裁形式主要出自西方的散文译本。从这一点来看，中国散文自发展伊始就一直在语言、形式和术语上借鉴西方模式。后来，中国散文的推行者无奈只能仅仅诉诸于中国历史来证明中国本土散文的渊源。五四运动中涌现的传奇作家认为英语散文是中国散文的起源。但之后其中一些作家改变观念，通过证明中国散文自成一家来支撑自己的散文理论。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 02:23, 28 November 2020 (UTC)<br /> <br /> ==Tao Ye 陶冶==<br /> <br /> Wherever on earth human beings developed a high culture, the written language was its essence. Early traces we find in the pictograms of the Near East, Latin America and China. The more the characters remind of the ontological world, the more the written language itself was an object of cult. From the Chinese we know the use of characters in the tortoise shell oracles, from the Germans in sacrificial stones. Later, with the improvement of writing material, the first rolls were created, either from papyrus (Egypt), pergament (Europe) or bamboo (China). Due to the expensive material, written rolls were reserved to wealthier people. The texts were reduced to the documentation of important things.<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> For the first time, it was possible not only to document events and therefore to extend the human mind and memory, but to communicate complex information from one author to another or more readers. At this stage, the first reading notes were written. Due to the lack of the precious writing material, the margins of the rolls were used. Still today we find these notes as well as on early European (for example ancient Greek) rolls as well as on Chinese ones. These notes were personal thoughts about the text, explanations of places and events maybe unknown to third readers, interpretations of unclear text passages, alternatives to seemingly miswritten characters, sometimes only marks for structuring the texts, which were used as school textsoles to teach reading, too.<br /> <br /> 这是第一次，不仅可以记录事件，从而扩展人类的思维和记忆，而且可以将复杂的信息从一位作者传达给另一位作者或更多的读者。在这一阶段，第一份读书笔记就此写下了。由于那时缺少珍贵的书写材料，所以用了书卷的边边角角。时至今日，我们在早期欧洲（例如古希腊）和中国的书卷上都能找到这些笔记。这些笔记是个人对于阅读文本的想法、第三方读者对于未知地方和事件的解释、对于不清晰文本段落的解释，对看似书写错误的字符的替代字符，有时只是用来构思文本的标记符号。学校也用这些笔记符号来作为课本来教授学生阅读。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:24, 29 November 2020 (UTC)<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> Some notes were intended for other readers, and from this in Europe and China the tradition of commentary developed. Other notes were of a private nature, personal comments to the text, not written down for other people. And both, in Europe as in China, the same evolution took place, when the authors of the notes discovered, that the notes were worth collecting. From these collections of notes they compiled short essays. These notes differed from the canonized literature through its informal style, its expression of individuality and subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.<br /> <br /> ==Wang Yu 王煜==<br /> <br /> The names given to these essays reminded of their origin. In Europe they were called “marginal notes,” “marginalia,” in China “brush notes” (''biji'' 筆記, or occasional notes). They were flourishing in the Ming dynasty. They could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as ''a genre of its own'' originated in China not before the Qing 清 dynasty, when numerous essay anthologies were compiled.<br /> <br /> All these terms for the essay, and also the term “essay” itself, which means “try, attempt,” invented by Montaigne, reflect the ephemeral, subjective, marginal character of the essay. The term itself carried the claim for understatement, which is substantial especially when you want to express subjective, individual thoughts, in order not to seem schoolmasterly to the reader.<br /> <br /> 这些文章的名字使人想起了它们的起源。在欧洲，它们被称为“旁注”、“边注”，在中国被称为“笔记”（biji筆記，或临时记录）。它们在明朝盛极一时。它们可以是私人的史料、轶事、谈话和沉思。然而，作为一种特有的体裁，人们有散文意识的时候已经是清朝过后了，当时已有大量的散文选集被编撰出来。<br /> <br /> 这些文章的名字使人想起了它们的出处。在欧洲，它们被称为“边注”，“旁注”，在中国被称为“笔记”(biji筆記，或“偶注”)。它们在明朝很兴盛，可以包含私人的历史笔记、轶事、交流和沉思。然而，“自成一种”的散文意识并非起源于中国清代，当时已编撰了大量的散文选集。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 09:09, 29 November 2020 (UTC)<br /> <br /> 所有这些散文术语，以及蒙田创造出的“随笔”这个词本身，即“尝试，试图”，都反映出散文短暂的、主观的、边缘化的特点。这个词本身就带有轻描淡写的意思，尤其是当你想表达主观的个人想法时又为了不让读者觉得自己很有学究气的时候就更显得具有实质性。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:12, 28 November 2020 (UTC)<br /> <br /> ==Wang Yuan 王源==<br /> <br /> From this origin, different characteristics of the essay came, which are still valid for essays today. One is the conversational style of expression, which comes while you create the sentences from the notes the very moment you are writing them down. From Greek philosophers we know that they sat relaxed in the yard, while one person was reading them their notes from the margins of the books which the philosopher transformed into sentences orally, while another person wrote it down. This also explains the colloquial character of the essays. In fact, the whole development of ideas was based on a conversation in mind with the author of the original role, and many Greek philosophical schools knew about the importance of dialogues for the development of thoughts.<br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> Another characteristic of the essay is its eclecticism. While reading an original text, the educated scholar constantly thinks of quotations and links to other works. Therefore many notes consist out of references to other works. The essay itself therefore often deals with one subject, but is looked on from different perspectives.<br /> <br /> 这篇文章的另一个特点是折衷主义，即在阅读原文时，学者们经常联想与其他文章的引述和联系之处，因而有许多注释没有标注对其他作品的引用。<br /> <br /> In 1977 Heinz Robert Schlette developed the aesthetic of marginalism, in 1996 Klaus-Peter Pfeiffer developed this concept further. It proves helpful for the understanding of the character of the essay. In its methodological understanding, marginalism grants the essayist a distant view from the margins of the book to the text body itself. Following Schlette, marginalism is only possible where dissident thinking is possible. Marginalism is the private sphere left to the reader during the reading process.<br /> <br /> 1977年罗伯特·施莱特发展出边际主义美学说，1996年克劳斯·彼得·菲弗进一步完善该学说，这有助于对这篇文章的特征进行理解。从方法论的角度上来说，边际主义给作者提供了从书本白边回溯到文本本身的宏大视角。施莱特认为，只有政见不同，边际主义才得以存在。边际主义是在阅读过程中留给读者的私人发展空间。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 11:19, 29 November 2020 (UTC)<br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> It is the condition sine qua non of critique and protest. A marginalist reader is one, who reads a text critically. Also Montaigne saw himself as a marginalist (Ulke, 31 - 38).<br /> <br /> Let us now use the concept of marginalism to look on the 20th century Chinese essay. I choose here the example of Lu Xuns' essays. One of Lu Xun's rhethorical means in his essays is the digression. The digression is closely related to marginalism and essayism: <br /> <br /> In some of his essays, Lu Xun digresses from his actual subject. This phenomenon increases in his later work. Following Wilpert, digression is one possible expression of conscious scepticism and a warning signal, that something is wrong.<br /> <br /> 这是批评和抗议的必要条件。 边缘主义的读者就是带有批判性阅读文章的人。 同样，蒙田（Montaigne）视自己为边缘主义者（Ulke，31-38）。<br /> <br /> 现在让我们用边缘主义的概念来研究20世纪中国的论文。 在这里，我以鲁迅的论文为例。 离题是鲁迅在其论文中的修辞手段之一。 题外话与边缘主义和散文主义密切相关：<br /> <br /> 鲁迅在他的一些论文中偏离了他的实际主题。 这种现象在他晚期的文章中有所增加。 在威尔珀特之后，离题是有关于怀疑意识和警告信号的一种表达的可能性，即某些事情出错了。<br /> --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:10, 29 November 2020 (UTC)Weiyafei<br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> Walf 1996 in his article “Marginalism in the Daoism” portrays the margi¬na¬lis¬m as an aesthetic, which in China are linked close to the tradition of scepticism of Wang Chong (27 - 97). As a youth, Lu Xun was optimistic about the impact of literature on society. He soon lost this optimism, as documented in “Preface to ‘Call to Arms’” (Lu Xun 1922b). Finally, he became a sceptic regarding the possibilities of literature to change society.<br /> <br /> 1, digression on purpose<br /> <br /> In 1926, in his essay on “Wuchang, the Ghost of Perishable Life” (Lu Xun 1926b) Lu Xun digressed to contemporary critic on his contemporary Chen Xiying. In “Illustrations of 24 Examples of Children Piety” (Lu Xun 1926a), he protested against the slogan “Down with the colloquial language”. Lu Xun uses here historiographical and autobio¬gra¬phical essays for appeals of daily-political value.<br /> <br /> 沃夫1996年在他的文章《道家的边缘主义》中将边缘主义描绘为一种美学，这在中国与王充(27 - 97)的怀疑主义传统密切相关。青年时期，鲁迅对文学和社会的影响持乐观态度。他很快就失去了这种乐观，正如鲁迅在他的《呐喊》序言中所描述的那样。最后，他对文学改变社会的可能性产生了怀疑。<br /> 1.故意离题<br /> 1926年，鲁迅在他的文章《武昌，生命的幽灵》(鲁迅1926b)中转移了对他同时代的陈希英的当代批评。在《24个孩子虔诚的例子的插图》(鲁迅1926a)中，他抗议“打倒白话”的口号。鲁迅在这里使用史学和自传体散文来呼吁日常政治的价值。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 08:57, 26 November 2020 (UTC)<br /> <br /> 1996年沃夫在他的文章《道家的边缘主义》中将边缘主义描绘为一种美学，在中国，这种边缘主义与王充(27 - 97)的怀疑主义传统密切相关。青年时期，鲁迅对文学和社会的影响持乐观态度。但这种乐观很快就消失不见，，正如鲁迅在他的《呐喊》序言中所描述的那样。最后，他对文学能否改变社会产生了怀疑。<br /> 1.故意离题<br /> 1926年，鲁迅在他的文章《武昌，生命的幽灵》(鲁迅1926b)中改变了与他同时代的陈希英的批评。在《24个孩子虔诚的例子的插图》(鲁迅1926a)中，他抗议“打倒白话”的口号。鲁迅在这里使用史学和自传体散文来呼吁日常政治的价值.--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:51, 26 November 2020 (UTC)<br /> <br /> 1996年沃夫在他的文章《道家的边缘主义》中将边缘主义描绘为一种美学，这种边缘主义与中国的王充(27 - 97)的怀疑主义传统密切相关。青年时期，鲁迅对文学和社会的影响持乐观态度。但这种乐观很快就消失不见，正如鲁迅在《呐喊》序言中所描述的那样。最后，他对文学能否改变社会产生了怀疑。<br /> 1.故意离题<br /> 1926年，鲁迅在《无常，生命的幽灵》(鲁迅1926b)一文中改变了他对同时代的陈西滢的评判。在《24孝图》(鲁迅1926a)中，他反对“打倒白话”的口号。鲁迅在这里使用回忆性和自传体散文来呼吁白话的日常和政治的价值.--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 05:10, 29 November 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> 2, not targeted digression<br /> <br /> In May 1927, Lu Xun starts his “Morning Blossoms Picked at Dusk - Afterword,” continues to write it until July 11 (Lu Xun 1928b). It becomes a full-length essay, which again describes historiographically the character of the servant of the underworld Huo Wuchang and Si Youfen. <br /> <br /> 3, Marginalism as experiment<br /> In the essay “What the Youth Should Read” (Lu Xun 1919), the actual essay does not appear in the text body, but in the footnote. On a questionnaire Lu Xun answers the question about recommended literature shortly, that he never paid attention to this and therefore could not recommend anything. But he makes a footnote, where he starts writing freely. The subject of the questionnaire with the essay in the footnote corresponds parodistically to the classical “discussion” of a “subject”.<br /> <br /> 2.非针对性的离题<br /> 从1927年5月开始，鲁迅撰写《朝花夕拾后记》直到7月11日（鲁迅 1928b）。这是一篇长篇散文，其中再次历史性地描述了活无常和死有分这两个来自阴间的人物。 <br /> 3.实验性边际主义<br /> 关于“青年应该读什么”（鲁迅1919），这篇文章没有出现在正文中，而是出现在脚注中。鲁迅在问卷中简要回答了有关推荐文学的问题，他提到自己从未关注过这一问题，因此没有什么可推荐的作品。但是他在脚注里写了一些内容。对于这个文章出现在脚注里的问卷来说，该问卷的主题与经典探讨的主题严重偏离。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 04:55, 29 November 2020 (UTC)<br /> <br /> 2.非针对性的离题<br /> 从1927年5月开始，鲁迅撰写《朝花夕拾后记》直到7月11日（鲁迅 1928b）。这一长篇散文再次历史性地描述了黑白无常这两个来自阴间的人物。 <br /> 3.实验性边际主义<br /> 关于“青年应该读什么”（鲁迅1919），这篇文章没有出现在正文中，而是出现在脚注中。鲁迅在问卷中简要回答了有关推荐文学的问题，他提到自己从未关注过这一问题，因此没有什么可推荐的作品。但是他在脚注里写了一些内容。对于在这篇文章脚注中出现问卷，其主题与经典探讨的主题出现了严重偏离。<br /> --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:10, 29 November 2020 (UTC)Wei yafei<br /> <br /> ==Wu Kai 吴恺==<br /> <br /> 4, Marginalismus for its own sake with sociocritical side blows<br /> <br /> In 1924, Lu Xun writes the consciously trivial essay “My Moustache” (Lu Xun 1924). In this essay, he makes fun of the things, other people are interpreting into the shape of his moustache. After that, he writes the even more trivial essay “From the Moustache to the Teeth” (Lu Xun 1925a), where he mocks about the fact, that the readers are reproaching him with banality.<br /> <br /> 5, Marginalism as understatement with surprising effect<br /> <br /> Montaigne, too, consciously introduces his essays with understatement. Lu Xun wraps explosive contents into essays, which are titled with marginal headers: In the essay “Idle Thoughts at the End of Spring” he compares the paralyzing effect of Confucianism with the poison of a dangerous wasp (Lu Xun 1925b).<br /> <br /> 4、社会批判的一面打击了边缘主义<br /> <br /> 1924年，鲁迅写了一篇自觉琐碎的散文《我的胡子》（鲁迅1924）。在这篇文章中，他调侃的事情，别人都在解读成他的胡子形状。在那之后，他写了一篇更为琐碎的文章《从胡子到牙齿》（鲁迅1925a），他嘲笑读者指责他平庸的事实。<br /> <br /> 5、边缘主义是一种效果惊人的轻描淡写<br /> <br /> 蒙田也有意识地低调地介绍他的文章。鲁迅把爆炸性的内容包装成随笔，这些文章的标题是边缘标题：在《春末闲思》一文中，他把儒家思想的麻痹作用比作危险黄蜂的毒药（鲁迅1925b）。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 11:39, 27 November 2020 (UTC)<br /> <br /> 4、边缘主义本身就带有社会批判的一面<br /> <br /> 1924年，鲁迅写了一篇自觉琐碎的散文《我的胡子》（鲁迅1924）。在这篇文章中，他取笑的事情，别人都解读成他的胡子形状。在那之后，他写了一篇更为琐碎的文章《从胡子到牙齿》（鲁迅1925a），他嘲笑读者指责他平庸的事实。<br /> <br /> 5、边缘主义是效果惊人的轻描淡写<br /> <br /> 蒙田也有意识地低调地介绍他的文章。鲁迅把爆炸性的内容包装成随笔，这些文章的标题是边缘标题：在《春末闲思》一文中，他把儒家思想的麻痹作用比作危险黄蜂的毒药（鲁迅1925b）。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 06:14, 28 November 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> In “Casual Remarks under the Shine of a Lamp” he assumes the Chinese people, that they wanted to be slaves forever, in history as well as in the future (Lu Xun 1925c). In the autobiographical essay “Lightweight Reminiscences” he explains his decision to go to study in Japan (Lu Xun 1926c).<br /> <br /> Another example for the awareness of the origin of the essay is Qian Zhongshu's essay collection ''Marginalia of Life'', Shanghai 1941. In it, Qian mocks about human failures, like hypocrisy, humorlessness and groups of people like guards of morality, charlatans, literary reviewers, etc. (see Ba Ping, 1168 - 1173).<br /> <br /> '''Questioning the genuiness of the Chinese essay'''<br /> <br /> 在《灯光下的随评》中，他认为不论是过去还是将来，中国人都想成为永远的奴隶。在自传体散文《无关紧要的回忆》中，鲁迅表明他决意去日本学习。散文起源认识的另一例子是1941年钱锺书在上海发表的“围城”散文集。文中，他嘲讽人类的失败，比如伪善，缺乏幽默感，以及一群如道德卫士，江湖骗子和文学评论员等的人。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 09:45, 26 November 2020 (UTC)<br /> <br /> 在《灯光下的随评》中，他认为中国人想成为永远的奴隶，不论是在过去还是在未来(Lu Xun 1925c)。在自传体散文《轻量回忆》中，鲁迅表明他决意去日本学习(Lu Xun 1926c)。关于这种意识的起源在文章中的体现，另一例子是1941年钱锺书在上海发表的散文集《写在人生边上》。文中，他嘲讽人类的失败，如伪善，缺乏幽默感，以及一群人如道德卫士、江湖骗子、文学批评家等等。(see Ba Ping, 1168 - 1173) 质疑中文文章的真实性--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:24, 27 November 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> To solve the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Washington Irving's essays by Lin Shu 1907, Joseph Addison's by Ma/Gan 1911). The current form of the genre is mostly based on the influence of Western essay translations (for Chinese translations of English essays in the 1980s and 1990s see appendix). First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only.<br /> <br /> 为了解决有关中国文论是起源于本土传统还是受西方翻译影响的争议，人们认为这两种传统有相通之处：从1907年开始，西方翻译就通过中文翻译引入文学改革运动的作家们的文论，（1907年林纾翻译的华盛顿欧文的文论，1911年马/甘翻译的约瑟夫·艾迪生的文论）。 该类型的当前形式主要是基于西方文论翻译的影响（有关20世纪80年代和90年代英语论文的中文翻译，请参见附录）。 首先发展了中国散文传统，有意识地在语言，形式和术语上依赖西方模式，其拥护者很快屈从于仅从中国历史中继承中国文论传统的诱惑。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 01:00, 27 November 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).<br /> Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin 1992, Fan Peisong 1993; for Western impact in general see Pršek 1964, Gálik 1966, McDougall 1971. Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.<br /> <br /> 中国教科书中出现了一种看似无法打破“文言散文”的中国传统（于在春，1978至1982年，李喜尚1985年）。中国学者对中国传统散文写作的价值和西方对其影响仍有争议。一些人承认西方的影响对当今我们理解中国散文十分重要。（王斌，1992年,范培松，1993年；西方的总体影响参考普罗西克，1964年，盖利克，1966年，麦克杜格尔1971年）。其他学者认为西方的影响被高估了。1996年丹顿表明中国缺少理解西方文学理论的理论背景，建议我们首先按照本国传统理解散文。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:49, 28 November 2020 (UTC)<br /> <br /> 汉语教科书中出现了一种看似完整的“文言散文”中国传统（于再春，1978至1982年，李喜尚1985年）。然而，学者们对中国传统散文的价值以及西方对其影响仍有争议。有些人承认，西方的影响在我们现在所理解的中国散文中十分关键。(王斌,1992年，范培松，1993年；西方的总体影响参考普罗西克，1964年，盖利克，1966年，麦克杜格尔1971年）也有学者认为西方的影响被高估了。在1996年，丹顿指出，中国缺少理解西方文学的理论背景，并建议我们首先基于民族传统来理解散文。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:55, 29 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition: for example, Lu Xun with his theory “'Zhankai' shuo yu 'mengya' lun “展開”說與“萌芽”論” (Theory of “Starting” and “Blossoming”) came to see the fighting and critical character of the essay of the Jin Dynasty (265-420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the biji (occasional notes) of the Ming, although he still tried to integrate the English essay in his “Gonganpai yu Yingguo xiaopin 'hecheng' lun 公安派與英國小品“合 成”論” (Theory of the Synthesis of the Gongan School and the Engli¬sh Essay).<br /> <br /> 后来，其中有些作家转变了自己的想法，他们通过寻找中国本土散文传统的证据，来支持散文中本人的理论：比如，鲁迅及其理论——“展开”说与”萌芽“论——视金朝（265-420）散文中的斗争性和批判性特征为中国“散文之父”；另外，周作人首先研究英国散文（1921），随后研究明朝笔记，但是他仍然尝试将英国散文融入自己公安派与“英国小说‘合成’论”之中。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 07:31, 28 November 2020 (UTC)<br /> <br /> 后来，其中有些作家改变了自己的想法，他们通过寻找一种中国本土散文传统的证据，来支撑自己的散文理论：比如，在鲁迅及其“展开说”与“萌芽论”中，将金朝（265-420）散文中的斗争性和批判性特征视为中国“散文之父”；另外，周作人首先研究英国散文（1921），随后研究明朝笔记，尽管他仍然尝试将英国散文融入自己公安派与英国小品“合成”论中。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 12:32, 28 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement. All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1934, the anarchist and later member of the Guomindang Wu Zhihui [1932].<br /> <br /> Wang Zengqi in 1993 regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays. The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay. One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.<br /> <br /> 五四运动时期的许多作家都可以被称为传奇，他们演绎着个人的观点对叙述史实有多大的影响。所以作家都认为英文文章是中文文章的鼻祖：周作人，1921，鲁迅，1934，无政府主义者以及后来的国民党吴稚晖（1932）。<br /> <br /> 汪曾祺1993年写到他感到很遗憾五四运动时期文学作品里的中国传统文化没有留下，当代文学作品中也没有体现，中国文学主要是用来学习的，人们主要是通过查阅其来证明其中的理论。你可以找到每一时期每个话题的例子，因为文章海纳百川。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 09:30, 27 November 2020 (UTC)Wu Zijia<br /> <br /> 五四运动时期的传奇作家可以告诉我们个人观点对史实阐述而产生的影响有多大。这些作家都认为英国散文是中国散文的鼻祖：周作人，1921，鲁迅，1934，无政府主义者以及后来的国民党吴稚晖（1932）。<br /> <br /> 汪曾祺1993年写到他感到很遗憾，在五四运动时期文学作品中中国传统文化没有占据一席之地，在当代文学作品中也没有得到传承。中国文学适合用来学习研究，因为人们可以通过查阅来证明文章中的理论。正是因为文章海纳百川，所以你可以找到任何时期任何话题的范例。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 07:45, 28 November 2020 (UTC)<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> '''Formation of Modern Subjectivity and Essay:''' <br /> <br /> '''Zhou Shoujuan’s “In the Nine-Flower Curtain”'''<br /> <br /> '''Jianhua Chen'''<br /> <br /> '''Abstract'''<br /> <br /> How to define the modern Chinese essay? Is it modern because of using ''baihua''? Does it start from its naming of ''sanwen''? While scholars identified its origins with May Fourth literature, the complicated trends of literary modernity in the first two decades of the 20th century was neglected. Relating Zhou Shoujuan, a major figure in the Mandarin Ducks and Butterflies school, to his contribution to the formation of modern Chinese essay has to encounter the problems of literary canons in modern China. <br /> <br /> Zhou Shoujuan’s “In the Nine-Flower Curtain” (''Jiuhua zhang li'') reveals that this 1917 vernacular “pillow talk” (''qinghua'') in the wedding night came out of chaotic conditions of literary genre before the generic system of poetry, fiction, prose, and drama is established in the May Fourth period.<br /> <br /> 如何界定现代汉语散文?是因为使用了“百花”才变得现代吗?它是从“三文”的名字开始的吗?虽然学者们将其根源归结为五四文学，但20世纪头20年文学现代性的复杂趋势却被忽视了。把鸳鸯蝴蝶派的主要人物周瘦娟与他对中国现代散文形成的贡献联系起来，必然会遇到中国现代文学经典的问题。<br /> <br /> 周瘦娟的《九花帘》揭示了这段1917年《新婚之夜》中的白话“枕边话”（“清华”）是在“五四”时期诗歌、小说、散文、戏剧的通俗体系建立之前，从文学体裁的混乱状态中走出来的。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:01, 26 November 2020 (UTC)Xiao Shuangling<br /> <br /> 如何界定中国现代散文?是因为使用了“白话”才成为现代散文吗?“散文”这一名字出现就有了现代散文吗?当学者们将其根源归结于五四文学，便忽视了20世纪前20年文学现代化的复杂趋势。鸳鸯蝴蝶派的重要人物周瘦娟对中国现代散文的形成作出了重要贡献，但仍面临着现代中国文学经典的问题。<br /> 周寿鹃的《九花帐里》揭示了在五四时期诗歌、小说、散文、戏剧等整体体系尚未建立之前，1917年出版的《新婚夜》中的白话“情话”是在文学体裁混乱的情况下产生的。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 12:56, 26 November 2020 (UTC)<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> Obsessed with first person narratives it hybridizes diary, love-letter, autobiography, and journalist reportage. I will argue that this Butterflies obsession with subjective genres in the early 20th-century lays a foundation for the growth of modern Chinese essay. <br /> <br /> The theatrical devices used in this work create a double self in the narrative space - the self as a performer and the self in the beholders’ gaze. This paper emphasizes that the rhetoric of theatricality is indebted to the repertoires of traditional poetry and drama, which become unavailable when the New Literature triumphs in the 1920s. <br /> <br /> Furthermore, I will elaborate how the theatricality helps to construct an early Republican subjectivity based on the divisions between the individual, family and nation-building.<br /> <br /> 痴迷于第一人称叙事，它杂糅了日记、情书、自传和记者报道。我将认为，《蝴蝶》在20世纪初对主观文体的这种痴迷，为中国现代散文的成长奠定了基础。<br /> 这部作品所使用的戏剧手段在叙事空间中创造了一个双重的自我--作为表演者的自我和观看者目光中的自我。本文强调，戏剧性的修辞是依赖于传统诗歌和戏剧的剧目，而当新文学在20世纪20年代取得胜利时，这些剧目就变得不可用了。<br /> 此外，我还将阐述戏剧性如何帮助建构一种基于个人、家庭和国家建设之间划分的早期民国主体性。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:10, 26 November 2020 (UTC)Xiao Ting<br /> <br /> 由于痴迷于第一人称的叙述，它混合了日记，情诗，自传和新闻报道这些体裁。我认为 20世纪初对《蝴蝶》这种主观体裁的痴迷为中国现代散文打下了基础。<br /> 作品中的戏剧手段在叙述空间中创造出了双重自我- 身为表演者的自我和旁观者眼中的自我。本文强调戏剧性的修辞得益于传统诗歌和戏剧，当20世纪20年代新文学成为主流时传统诗歌和戏剧就退出了舞台。<br /> 此外，我将阐述戏剧性如何帮助建立一种基于个人、家庭和国家建设划分之上的早期的民国主体性。 --[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 07:44, 27 November 2020 (UTC)Xu Mengdie<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> ''Twilight is that moment of the day that foreshadows''<br /> <br /> ''the night of forgetting, but that seems to slow time itself,''<br /> <br /> ''an in-between state in which the last light of the day may''<br /> <br /> ''still play out its ultimate marvels.'' <br /> <br /> Andreas Huyssen. ''Twilight Memories''<br /> <br /> By way of tackling the origins of modern Chinese ''sanwen'', this paper opens up a zone of “twilight memories” of literary modernity early in the twentieth century, which has recently haunted the field of modern Chinese literature. In terms of modern Chinese ''essay'' or ''prose'', how do we define this genre? Is it modern because it uses ''baihua''? Does its ''modern'' start from being called ''sanwen''? How was the May Fourth generic system established? And what were its consequences to literary history? <br /> <br /> Andreas Huyssen, Twilight Memories: Making Time in a Culture of Amnesia (New York and London: Routledge, 1995) 3（文献 无需翻译）<br /> <br /> Since the 1980s, searching for Chinese literary modernities other than May Fourth have continued with rigor. In this vital current of scholarly reflections on Chinese literary modernities, prominent are Milena Dolezelova-Velingerova’s emphasis on late Qing origins of modern Chinese literature (“The Origins of Modern Chinese Literature,” in Merle Goldman, ed., Modern Chinese Literature in the May Fourth Era (Cambridge and Mass.: Harvard University Press 1977) 17-36; The Turn of the Century Novel (Toronto University Press, 1981), Perry Link’s path-breaking study of the Mandarin ducks and Butterflies fiction (Mandarin Ducks and Butterflies: Popular Fiction in Early Twentieth Century China (Berkeley: University of California Press, 1981)), Liu Ts’un-yan’s advocacy of “Middle-blow Fiction” (Chinese Middle-blow Fiction: From the Ch’ing and Early Republican Era (Hong Kong: The Chinese University, 1984)), and recently David Wang’s exciting and sophisticate interpretation of late 19th-century novels (Fin-de-Siecle Splendor: Repressed Modernities of Late Qing Fiction, 1848-1911 (Stanford: Stanford University Press, 1997)). In a larger context, approximately in the same period, this basically north American academia has interacted the rapidly changed literary criticism in China - from the theories and practices of “rewriting literary history” with a revision of “twentieth-century Chinese literature” (Chen Guoqiu, ed., Zhongguo wenxueshi de xingsi (Reflections on the history of Chinese literature) (Hong Kong: Sanlian shudian, 1993).（文献，无需翻译）<br /> <br /> “黄昏是一天中有预兆的时刻”<br /> “遗忘之夜，却似乎延缓了时间本身，”<br /> “一种中间的状态，在这种状态下，可能是白天的最后一丝阳光”<br /> “仍在上演它的终极奇迹。”<br /> Andreas Huyssen。<br /> 《暮光之城》的记忆”<br /> 本文通过对中国现代“散文”起源的探究，开辟了20世纪初文学现代性的“朦胧记忆”区，这一“朦胧记忆”区最近一直困扰着中国现代文学领域。从现代汉语的“文章”或“散文”来看，我们如何定义这一体裁?它之所以现代是因为它使用了“白话”吗?它的“现代”是从被称为“散文”开始的吗?五四通用制度是如何建立的?它对文学史的影响是什么?<br /> 自20世纪80年代以来，对“五四”以外的中国文学现代性的探索一直在继续。<br /> 在对中国文学现代性的学术反思中，最突出的是Milena Dolezelova-Velingerova对晚清中国现代文学起源的强调(“现代中国文学的起源”，Merle Goldman, ed.，《五四时期的现代中国文学》17-36;世纪之交的小说，Perry Link对鸳鸯蝴蝶小说的开创性研究(《鸳鸯蝴蝶:二十世纪初中国的通俗小说》)，刘子彦对“中庸小说”的倡导，以及最近王大卫对19世纪晚期小说的激动人心的、复杂的解读。在一个更大的背景下，大约在同一时期，这一基本上是北美的学术界从“重写文学史”的理论和实践与《二十世纪中国文学》(陈国秋主编，《中国文学》)的修订，相互影响了迅速变化的中国文学批评。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 08:29, 27 November 2020 (UTC)Xiao Xi<br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> With these questions, our inquiry into the formation of modern sanwen is inevitably engaged with a process of canon formation, and perhaps this is the appropriate genre by which we can trace the birth of modern subjectivity. In analyiss of Zhou Shoujuan’s (1894-1968) “In the Nine-Flower Curtain” (Jiuhua zhang li), a vernacular autobiographical fiction published in 1917, I will reveal no more than a historical chaos of literature in which a subjectivity was constructed with complex strands in fusion and contestation. This subjectivity owed much to first person narratives Zhou had intensely experimented in his earlier writings; its double voice was not only helped by the traditional theatricality and poetics, but also linked to the modern spatial perception of cinematic representation.<br /> <br /> 有了这些问题，我们对现代散文形成的探究就必然涉及到一个经典形成的过程，也许这正是我们追溯现代主体性诞生的合适体裁。通过对周寿娟（1894-1968）1917年出版的白话自传体小说《九花帘幕》的分析，我将揭示一场文学的历史混沌，在这种混沌中，用融合和争鸣的复杂线索建构了一种主体性。这种主观性在很大程度上得益于周作人在早期作品中所做的大量实验，它的双重声音不仅得益于传统的戏剧性和诗学，而且与现代电影表现的空间感知有关。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 07:57, 26 November 2020 (UTC)Xiao Yining<br /> <br /> 随着这些问题的出现，我们对现代散文形成的探究就必然涉及到一个经典形成的过程，也许这正是我们追溯现代主体性诞生的合适体裁。通过对周瘦娟（1894-1968）1917年出版的白话自传体小说《九花帘幕》的分析，我将揭示的不过是一场文学的历史混乱，在这种混乱中，主体性是由复杂的线在融合和争鸣中建构起来的。这种主观性在很大程度上得益于周作人在早期作品中所做的大量实验，它的双重声音不仅得益于传统的戏剧性和诗学，而且与现代电影表现的空间感知有关。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:27, 26 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xie Fan 解帆==<br /> <br /> To set the terms from the outset, the ''sanwen'' will be treated historically as a canonical category grown out of the May Fourth literature. The term ''xiaoshuo'' (fiction, small talk) by which Zhou’s work was categorized will also be historicized. Immune from the modern generic system, it was transitionally intertwined with prose, fiction, drama, and other subgenres in the repertoire of traditional literature. My analysis of the work in question aims at revealing literary modernity of the period in its own terms, rather than redeem Zhou, a key figure of the so-called “Mandarin Ducks and Butterflies school” (''Yuanyang hudie pai''), for his contribution to the birth of modern essay. Nor will I provide a generic definition of modern essay other than open up a new terrain to inquire different genealogies of literary modernity.<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> '''Literary Modernization: Generic and Canonical'''<br /> <br /> One of the spectacles in the literary arena of late 1990s China was the revival of the Mandarin Ducks and Butterflies (hereafter Butterfly) literature. Along with countless reprints of Butterfly fiction commercially catering to the post-socialist urban readers, there were sympathetic academic reappraisals that apparently challenged the May Fourth canon. Since the 1980s, the rapidly changed landscape of literary criticism marked a transformation of the critical codes from “revolutionary literature” to “literary modernity.” “Pure literature” (''chun wenxue''), a core value of literary modernity, was developed by a new generation of literary critics and academics and was ambiguously engaged with the post-socialist conditions: on the one hand, literary criticism was academically institutionalized and practiced with certain intellectual authorities; on the other hand, the “pure literature” was suspicious of its modernist poetics which implied a subversive force to the status quo.<br /> <br /> In recent few years around a dozen of scholarly-edited series of Butterfly literature appeared, not to mention other numerous compilations for commercial purpose. To mention a few: Fan Boqun, ed., Zhongguo jin xiandai tongsu zuojia pingzhuan congshu (Nanjing: Nanjing chubanshe, 1994); Fan Boqun and Fan Zijiang, eds., Yuanyang hudie-Libailiu pai jingdian xiaoshuo wenku (Nanjing: Jiangsu wenyi chubanshe, 1996); Wei Shaochang, ed., Yuanyang hudie pai libai liu xiaoshuo. (Tianjin: Chunfeng wenyi chubanshe, 1997); Yu Runqi, ed., Qingmo minchu xiaoshuo shuxi (Beijing: Zhongguo wenlian chuban gongsi, 1997). （文献，无需翻译）<br /> <br /> 1990年代后期中国文学舞台上的奇观之一是文华鸭和蝴蝶（以下简称蝴蝶）文学的复兴。除了无数版的《蝴蝶小说》在商业上迎合后社会主义都市读者的小说外，还有一些富有同情心的学术评估显然挑战了“五四”教规。自1980年代以来，文学批评的格局迅速变化，标志着批判密码从“革命文学”到“文学现代性”的转变。作为文学现代性的核心价值的“纯文学”（“纯文学”）是由新一代的文学评论家和学者开发的，并与后社会主义的环境am昧地联系在一起：一方面，文学批评是在学术上制度化并在某些智力权威上实践；另一方面，“纯文学”怀疑它的现代主义诗学，这暗示着对现状的颠覆力量。<br /> <br /> 在最近几年中，出现了大约十二本经过学术界编辑的蝴蝶文学系列，更不用说其他许多用于商业目的的汇编了。仅举几例：范伯群主编，《中国近代通俗作》《平传丛书》（南京：南京市出版社，1994）；范伯群和范子江，主编，《 yang阳呼迪-李白柳排经编小说说文库》（南京：江苏文艺出版社，1996）。魏绍昌主编，Yuan阳护蝶派立派刘小硕。 （天津：春风文艺出版社，1997）；于润奇编，《清末民初小说集》（北京：中国文联出版公司，1997）。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 11:47, 28 November 2020 (UTC)<br /> <br /> <br /> <br /> 二十世纪九十年代末中国文坛的一个奇观是鸳鸯蝴蝶（以下简称蝴蝶）文学的复兴。为了迎合后社会主义城市读者的需求，蝴蝶派小说进行了无数次的再版，还有一些富有同情心的读者也对此重新做出评价，这显然是对五四文学主义发起了挑战。20世纪80年代以来，迅速变化的文学批评格局标志着批判原则从 &quot;革命文学 &quot;转变为 &quot;文学现代性 &quot;。&quot;纯文学&quot;作为文学现代性的核心价值，是由新一代文学批评家和学者发展起来的，并与后社会主义条件下的文学批评进行了暧昧的交锋：一方面，文学批评在学术上被制度化，并由某些权威学者实行；另一方面，&quot;纯文学 &quot;对其现代主义诗学持怀疑态度，意味着它具有对现状的颠覆性力量。[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:46, 29 November 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> Today, the difference between May Fourth and Butterfly was not discussed in terms of “revolutionary vs. reactionary” or “progressive vs. backward,” but rather in terms of ''ya'' (elitism, elegance) vs. ''su'' (populism, commonality). While the Butterfly scholarship carved out a critical space in the name of “popular,” the price was high: their proteges can only be canonized through the codes of May Fourth literary modernity. If what underlay the literary modernity, - the premises of progressive history or of national literature - remained unquestionable, then Butterflies can only be considered inferior.<br /> <br /> 如今，五四学派与蝴蝶学派之间的区别不在于“革命与反动”或“进步与后退”，而在于“雅”（优雅的精英主义）与“俗”（具有共同性的平民主义）方面的讨论。 蝴蝶奖学金以“大众”的名义开辟了一个批判空间，但其代价是高昂的：他们的庇护者只能通过遵守五四文学现代性的规范来获得推崇。 如果说文学现代性的基础（进步的历史或民族文学的前提）仍然是不容置疑的，那么蝴蝶学者只能屈居下等。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:15, 29 November 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许晶==<br /> <br /> For example, in his recent reevaluation of ''Yuanyang hudie pai'', Wei Shaochang, whose pathbreaking bibliography of Butterfly published in the early 1960s made a study of this school possible, affectionately called this term “a beautiful cap” (''meili de maozi''). Yet this metaphor implies a re-justification of the “cap” imposed on it by the May Fourth writers. Accordingly, Wei maintained that even the best Butterfly works, despite their accomplishments, fail to compete with Lu Xun, Mao Dun and other modern literary giants in terms of intellectual and aesthetic qualities. <br /> <br /> Furthermore, until recently scholarly interests in Butterfly never went beyond fiction.<br /> <br /> See Wei Shaochang, Wo kan Yuanyang hudie pai (My view of the Mandarin Ducks and Butterflies literature) (Taiwan: Commercial Press, 1992) 1-11. One month ago, the first international conference on Butterfly school was held at Suzhou University, China, and one of its designed events was to celebrate the publication of A History of Modern Chinese Popular Literature, an enormous and enduring project fulfilled by the Chinese department of the host university. With a massive masquerade of Butterfly literature from the late Qing to Republican era (1,500,000 characters), this book boldly claims a new theory that the modern Chinese literature is constituted by a “pair of wings” - May Fourth and Butterfly. In this revision, the literary histories heretofore are invalid since they missed the other half - the popular literature. Thus, a new correct history of modern Chinese literature was called for. Impressively, this theory was unanimously accepted by all the participants, including notable May Fourth scholars Jia Zhifang, Yan Jiayan, and Qian Gurong. Nevertheless, this acceptance seemed more theoretical than practical, more sympathetic than critical. The problem remained unsolved and more crucial to the future of Butterfly scholarship: How to evaluate Butterfly in terms of aesthetic values? During the conference, the debates over the term “tongsu” (popular), by which the Butterfly was labeled, revealed certain anxiety. This anxiety had some reason: if Butterfly is limited to the popular, it would be inferior to the “pure literature” (chun wenxue), and, of course, ultimately it would be subject to the elite - May Fourth. In other words, if this popular “wing” is not strong enough, the double wing theory itself would hardly hold. The hidden core of the debates is that the May Fourth canon continues to dominate the field of literary criticism.(文献，无需翻译)<br /> <br /> <br /> 例如，早在1960年代初魏绍昌发表了具有开创性的鸳鸯蝴蝶派书目，使这一派别的研究成为可能。最近他对“鸳鸯蝴蝶派”重新进行了评价，将其亲切地称为“美丽的帽子”。然而，这种隐喻却暗示着五四作家对鸳鸯蝴蝶派扣上“帽子”的再一次辩护。因此，魏先生坚称，哪怕是取得成功的最出色的鸳蝶派作品，论才智，论美学，他们都无法与鲁迅，茅盾和其他现代文学巨人媲美。<br /> 此外，到目前为止，人们对鸳蝶派的学术兴趣从未超越小说。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 11:10, 28 November 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> <br /> In 1997, a new claim for Butterfly essay arose when an eight-volume series ''The Compendium of Essays by Mandarin Ducks and Butterflies school'' (Yuanyang hudie pai sanwen daxi) was published. Implicitly, by the term ''daxi'' in the title, this series contended with the May Fourth canon, as it reminded one of the well-known ''Zhongguo xin wenxue daxi'' (The Compendium of Modern Chinese Literature) in ten volumes published in 1935, which became a monumental for the May Fourth literature. In his introduction, Yuan Jin, chief-editor of this ''Compendium of Butterfly Essay'', asserts that prior to the May Fourth period Butterflies had greatly achieved in essay writings. <br /> <br /> Yuan Jin, Yuanyang hudie pai sanwen daxi: 1909-1949 (Shanghai: Dongfang chuban zhongxin, 1997) 3-4. （文献，无需翻译）<br /> <br /> 1997年，《鸳鸯蝴蝶派文章汇编》（Yuanyang hudie pai sanwen daxi）八卷本丛书出版，蝴蝶文章出现了新的主张。这套丛书在书名中暗含着与五四典籍相抗衡的意思，因为它让人想起了1935年出版的著名的《中国现代文学纲要》十卷本，成为五四文学的不朽之作。这本《蝴蝶散文汇编》的主编袁锦在序言中断言，五四时期之前蝴蝶在散文创作上已经取得了很大的成就。<br /> 袁进，《鸳鸯湖底派三文大义》。1909-1949 (上海：东方楚岸中新，1997) 3-4。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 12:37, 29 November 2020 (UTC)<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> <br /> Although after the 1920s most of them gradually accepted the new concept of ''sanwen'' used by May Fourth writers, they wrote in both vernacular and classical, and their essays still inherited the traditional literature, specifically the styles of ''xiaopin'' and ''biji''. Emphatic on their thematic and aesthetic characteristics as “representing quotidian life, the private feelings and tastes,” Yuan suggests that the Butterfly essay has its own literary and cultural roots. <br /> <br /> The ''Compendium of New Literature'' serves a linkage ''par excellence'', for it displays how a canon is formed by defining a genre.<br /> <br /> 尽管在20世纪20年代以后，他们大多数都逐渐接受了五四作家用的“散文”这个新概念，他们既用白话文也用文言文写作，他们的文章仍然继承着传统文学，尤其是“小品”和“笔记”的风格。袁强调这些文章的主题和美学要素“体现着现代生活，私人感情，和品位，”他认为蝴蝶散文的文学性和文化都有着自己的来源。<br /> 《新文学纲要》起着连接伟大作品的作用，它体现了经典是如何通过定义一种文学流派而形成的。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 07:29, 27 November 2020 (UTC)Xu Mengdie<br /> <br /> 虽然20世纪20年代以后，他们中的大多数人逐渐接受了“五四”作家有关“散文”的新观念，但他们既用白话文也用文言文写作，他们的文章仍然继承传统文学，特别是“小品”和“笔记”的风格。袁着重指出，《蝴蝶随笔》具有“代表日常生活、私人情感和情趣”的主题和审美特征，并认为《蝴蝶随笔》有其独特的文学和文化根源。《新文学纲要》起着连接“卓越”的作用，因为它展示了经典作品是如何通过定义一种流派而形成的。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 05:08, 28 November 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> <br /> As the view that the form of modern Chinese essay was born from May Fourth literary movement was still prevailing, it is necessary to see how this modern myth was made. At least, a kind of authentic definition of modern essay was explicated by Yu Dafu (1896-1945) and Zhou Zuoren (1885-1968) in their introductions to the ''sanwen'' anthologies they separately compiled for the ''Compendium''.<br /> <br /> At the time, almost two decades had elapsed since the May Fourth movement. And the New Culture, as incessantly embracing diverse isms from the West on the one hand and tortured by national and intellectual crises on the other, became more ideologically charged and consequently split into antagonistic camps.<br /> <br /> For example, Fan Peisong. Zhongguo xiandai sanwen shi (A History of Modern Chinese Essay) (Nanjing: Jiangsu jiaoyu chubanshe, 1993) 3. The first sentence: “The history of modern Chinese essay opened its curtain when the May Fourth new cultural movement started.”（文献，无需翻译）<br /> <br /> 有观点任务中国现代散文的形式诞生于五四文学运动，这一观点仍然盛行，该现代迷思是如何产生的值得一看。至少，郁达夫（1896-1945）和周作人（1885-1968）在他们各自为《纲要》编撰的“散文”选集时，于引言部分给予了现代散文一个真正的定义。<br /> <br /> “五四文学运动是现代中国散文形式的诞生地”这一观点至今仍在流行，该现代迷思是如何产生的值得一看。至少，郁达夫(1896-1945)和周作人(1885-1968)在为《纲要》分别编撰的“三文”选集的引言中，对现代散文的一种真实定义进行了解释。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 09:03, 29 November 2020 (UTC)<br /> <br /> 当时，五四运动已经过去了近二十年。新文化运动一方面不断地接受来自西方的各种主义，另一方面又受到民族和知识危机的折磨，更受意识形态的控制，并因此分裂成对立的阵营。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:26, 26 November 2020 (UTC)Xu Pengfei<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> As for these invited editors, their relationships (for example, between Hu Shi and Lu Xun, or between Mao Dun and Yu Dafu) were ruined by political arguments, or by personal quarrels and insults. All these, however, did not prevent them from being together to make a new literary myth. It was unlikely that they would return to the old days, yet this tremendous project certainly offered each of them a role of literary master in reshaping the May Fourth history.<br /> <br /> 至于这些被邀请的编辑，他们的关系（如胡适与鲁迅的关系，茅盾与郁达夫的关系），则毁于政治争论，或个人的争吵与侮辱。然而，所有这些，都不妨碍他们在一起创造新的文学神话。他们不可能再回到从前，然而这个巨大的工程无疑给他们每个人提供了作为文学大师重塑五四历史的机会。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:06, 27 November 2020 (UTC)Yang Chenting<br /> <br /> 至于这些被邀请的编辑，他们的关系(例如胡适和鲁迅的关系，茅顿和郁达夫的关系)被政治争论、个人争吵和侮辱所破坏。然而，这一切并没有阻止他们共同创造一个新的文学神话。他们不太可能回到过去的日子，但这个宏大的计划无疑让他们每个人都成为了重塑五四历史的文学大师。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 08:30, 27 November 2020 (UTC)Xiao Xi<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> Compromises were necessary, yet, as a matter of fact, the ''Compendium'' cannot be easily assessed as a whole, for all the works included were miscellaneous and conflicted in content and form. As most editors claimed, using ''baihua'' is the hallmark for the new literature, but there was some flaw in their consensus of excluding the Butterfly School and the Shanghai School (''haipai''), for both schools also wrote in ''baihua''; rather, the exclusions implied moral bias against urbanism. It was no wonder that a great collective effort was made to reconstruct the conception of new, which itself was authoritative, at least theoretically, inbred with the ideas of progressive history, humanistic universality, and the utopian future.<br /> <br /> 妥协是必要的，但事实上，《纲要》不能轻易地作为一个整体加以评估，因为所包括的都是杂七杂八的内容，并且在内容和形式上都有冲突。正如大多数编辑所说，使用白话是新文学的标志，但他们在排除蝴蝶派和上海派(haipai)的共识上有一些缺陷，因为这两个派也用白话文写作;相反，这种排除暗含了对城市主义的道德偏见。毫无疑问，人们作出了巨大的集体努力来重建“新”的概念，这个概念本身至少在理论上是权威的，它与进步的历史、人道主义的普遍性和乌托邦的未来相结合。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 09:00, 29 November 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> Thus, traced back to the moment of revolutionary departure, the new literature was portrayed as a myth of rootless origins, a timeless creation, isolated from the past; accordingly, the series presented their self-portraits as literary revolutionaries and cultural iconoclasts. In defining the modern essay, Yu Dafu can hardly figure out where the term ''sanwen'' comes from, left with a vague notion that it probably comes from the translation of the English term “prose.”<br /> <br /> As Yu stressed in his introduction, the greatest contribution the ''sanwen'' genre makes to May Fourth literature is the free expression of individualism.<br /> <br /> <br /> 因此，追溯到革命离开的那一刻，新文学被描绘成一个无根起源的神话，一个与过去隔离的永恒的创造；在此基础上，以文学革命者和文化偶像派的形象展现了他们的自我形象 .在界定现代散文时，郁达夫很难找出“三文”这个词的来源，留下了一个模糊的概念，即它可能来自于英语“散文”这个词的翻译。<br /> <br /> 正如余在导言中强调的那样，“三文”体裁对五四文学的最大贡献就是个人主义的自由表达。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:55, 26 November 2020 (UTC)<br /> <br /> 因此，追溯到革命离开的那一刻，新文学被描绘成一个无根源的神话，一个与过去隔绝的永恒的创造；因此，这一系列作品呈现了他们作为文学革命者和文化偶像破坏者的自画像。郁达夫在定义现代散文时，很难弄清楚“三文”这个词的来源，只留下一个模糊的概念，认为它可能来自英语“散文”一词的翻译 <br /> <br /> 正如俞正声在引言中所强调的那样，“三文”体裁对五四文学的最大贡献就是个人主义的自由表达。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:43, 26 November 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> He is fascinated by this new and independent genre, with its multiple modes of representation and creative linguistic capacities distinct from those of fiction, poetry and drama. It is no accident that as a novelist well known for his autobiographical fiction displaying his sentimental, decadent and masochist personae, Yu believes that the essay should be a kind of self-writing in nature. In the same vein, Zhou Zuoren asserts that the modern essay was born from the linguistic shift from ''wenyan'' to ''baihua'', which of course should be attributed to the May Fourth literary achievement. He also gives the highest credit to this genre for its casualty, fluidity and flexibility - its specific capabilities of expressing the author’s own material and spiritual world.<br /> <br /> 他着迷于这一新的独立的文体，其多样的表现方式和创造性的语言能力不同于小说、诗歌和戏剧。作为一个以表现自己感伤、颓废、受虐倾向的自传体小说而闻名的小说家，自然而然地，郁达夫会认为散文本质上应该是一种自我的书写。周作人同样认为，现代散文是在“文言”向“白话”的语言转换中诞生的，这当然要归功于“五四”的文学成就。他还高度赞扬了这一体裁的随意性、流动性和灵活性——这些特质可以表达出作者的物质和精神世界。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 12:11, 26 November 2020 (UTC)<br /> <br /> 他着迷于这一新的独立文体，其具有不同于小说、诗歌和戏剧的多种表现方式和创造性的语言能力。绝非偶然，作为一个以自传体小说表现自己多愁善感、颓废和受虐倾向而著称的小说家，郁达夫认为，散文在本质上应该是一种自我的书写。同样，周作人断言，现代散文诞生于从“文言文”到“白话文”的转变，这当然应该归功于五四文学的成就。他还对这一文体的随意性、流动性和灵活性--表达作者自身物质世界和精神世界的特殊能力给予了最高的评价。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:42, 27 November 2020 (UTC)Xiao Ting<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> In exalting the sanwen for its charismatic power, both Zhou and Yu exhibit a kind of anxiety, symbolically related to their status not only as masters of modern essay but, more interestingly, as spokesmen of May Fourth individualism. Their anxiety were charged with different motivation and rhetoric, however, for in the mid-1930s, their political and cultural stands were in stark contrast. More pessimistic to China’s internal and external crises, Zhou retreated from the revolutionary frontier of New Culture and turned to cultural conservatism. On the other hand, Yu was more inclined toward the Left Wing radicalism to redeem himself from his early decadent proclivity.<br /> <br /> 在赞扬散文的魅力时，周作人和郁达夫都表现出一种焦虑，这是由于他们不仅是现代散文大师，更有趣的是，他们是五四个人主义的发言人。 然而，他们的焦虑来源于不同的动机和言辞，因为在20世纪30年代中期，他们的政治和文化立场形成了鲜明的对比。周作人对中国内忧外患更加悲观，因此他从新文化革命的前沿退隐，转向文化保守主义。另一方面，郁达夫为了弥补自己早期的颓废倾向，所以更倾向于左翼激进主义。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:33, 26 November 2020 (UTC)<br /> <br /> <br /> 周瑜在提升三文的魅力时，表现出一种焦虑，象征着他们不仅是现代散文的大师，更有趣的是，他们是五四个人主义的代言人。他们的焦虑带有不同的动机和言辞，但在 1930 年代中期，他们的政治和文化立场形成了鲜明的对比。对中国的内外危机更加悲观的是，周从新文化的革命前沿退缩，转向文化保守主义。另一方面，余更倾向于左翼激进主义，以弥补自己早期的堕落倾向。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:57, 26 November 2020 (UTC)<br /> <br /> 在赞扬散文的魅力力量时，周和郁都表现出一种焦虑，这象征着他们不仅是现代散文大师，更有趣的是，他们是“五四”个人主义的代言人。然而，他们的焦虑被归咎于不同的动机和言辞，因为在20世纪30年代中期，他们的政治和文化立场形成了鲜明的对比。周对中国内忧外患更加悲观，从新文化革命的前沿退隐，转向文化保守主义。另一方面，为了弥补自己早期的颓废倾向，俞正声更倾向于左翼激进主义。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:03, 26 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> While characterizing the modern essay in social and ideological context, Yu emphasized the essayists’ responsibility to search for a harmony between the individual, nature and society. Moreover, he pointed out that May Fourth writers have endured an intellectual ordeal as they had first embraced the individuality and finally discovered the necessity to connect it to society and collectivity thanks to their moral conscience awakened by the bloody May Thirtieth incident. In contrast, Zhou showed a strong tendency of aestheticism and nihilism when claiming that he dislikes discussing ''sanwen'' in terms of history, political partisanship or any new isms.<br /> <br /> 在描述社会和意识形态背景下的现代论文的特点时，于强调了论文家在个人，自然与社会之间寻求和谐的责任。 此外，他指出，“五四”作家首先接受了个性，然后由于血腥的“五月三十号”事件唤醒了他们的道德良心，最终发现了将其与社会和集体联系起来的必要性，因此经受了一次智力考验。 相比之下，周声称自己不喜欢在历史，政治党派或任何新思想上讨论“三文”时，表现出强烈的唯美主义和虚无主义倾向。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:59, 27 November 2020 (UTC)<br /> <br /> Yu Dafu. “Daoyan,” in Zhongguo xin wenxue daxi - Sanwen er ji (Shanghai: Liangyou tushu chuban gongsi, 1935) 1-19.（文献，无需翻译）<br /> <br /> 在描述社会和意识形态背景下的现代散文的特点时，于强调了散文家在个人、自然与社会之间寻求和谐的责任。 此外，他指出，“五四”作家首先接受了个性，然后由于血腥的“五月三十号”事件唤醒了他们的道德良心，最终发现了将其与社会和集体联系起来的必要性，因此经受了一次智力考验。 相比之下，周声称自己不喜欢在历史，政治党派或任何新思想上讨论“三文”时，表现出强烈的唯美主义和虚无主义倾向。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:00, 28 November 2020 (UTC)<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> Despite their different views, they actually shared the historical perspective in discussing the development and characteristics of modern essay, and neither of them could see beyond their own historical limits. In their reinterpreting the ''new'' literature, the history of form was encoded by the new ideology. First of all, integral with the canonical codes and process, the Compendium definitively presented the modern generic division of ''xiaoshuo'', ''shige'', ''xiju'', and ''sanwen''. Lydia Liu called this four-way division a “self-colonizing project” as these terms were perfectly translatable into “fiction,” “poetry,” “drama,” and “familiar essay,” respectively, in English. Historically, as she pointed out, the canonization of these “translated” norms of literary form radically subverted the classical canon as the legitimate source of meaning for Chinese culture and literature.<br /> <br /> 尽管他们意见分歧，但在讨论现代论文的发展和其特点时，他们历史观点其实一样的，他们都无法超越自己的历史束缚。 在他们重新解释“新”文学时，形式的历史是由新意识形态编码的。 首先，与规范代码和过程集成在一起，该纲要明确地提出了“小说”，“诗歌”，“戏局”和“散文”的现代通用划分。 吕迪亚·刘（Lydia Liu）将此四分方式称为“自我殖民化项目”，因为这些术语完美地翻译成英语中的“小说”，“诗歌”，“戏剧”和“熟悉的论文”。 正如她所指出的那样，从历史上看，对这些文学形式“已译”规范的规范化从根本上颠覆了经典规范作为中国文化和文学意义的合法来源。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:45, 26 November 2020 (UTC)<br /> <br /> 尽管意见存在分歧，但在讨论现代论文的发展和其特点时，他们历史观点其实一样的，这些文章都无法超越自身的历史束缚。 他们在重新解释“新”文学时指出，形式的历史是由新意识形态编码而成的。 首先，该纲要将规范代码和过程融合在一起，明确地提出了“小说”，“诗歌”，“戏局”和“散文”的现代通用划分。 吕迪亚·刘（Lydia Liu）将这四种方式称为“自我殖民化项目”，这是因为这些术语能完美对应英语中的“小说”，“诗歌”，“戏剧”和“熟悉的论文”。 正如她所指出的那样，从历史上看，对这些文学形式的翻译标准规范化从根本上颠覆了经典规范作为中国文化和文学意义的合法来源。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:50, 27 November 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> Both Yu and Zhou took this modernized generic system for granted. The genre of essay, according to Zhou, represents the finest achievement of New Literature thanks to its capacities to represent widest scopes of life and individual emotions and reflections, with multiple, sophisticate techniques and styles, yet it is succeeded lastly compared to fiction and drama. Zhou’s discontent can be heard when he traced the tradition of modern essay back to the late Ming ''xiaopin wen'', a move showing his pro-tradition revision that was arguable within the May Fourth camp. But he treated ''sanwen'' as an integral part in the system of four genres, and his discussion of formal problems was restricted by this systemic framework.<br /> <br /> 郁达夫和周作人都视这种现代化的通用体系为理所当然。在周看来，散文这种文体代表着新文学的最好成就。因为散文能够以多样的，复杂的技巧和风格体现广阔的生活视野和个人的情感与思考，它最终与小说和戏剧相比也是成功的。周的不满可以从他追溯现代散文传统到晚明时期的小品文的中寻迹。此举表明了他对传统的修正，也引发了五四阵营中的争论。但他将散文视为四种文体体系中的一个重要组成部分，对形式问题的探讨就受到了这一体系框架的制约。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 10:55, 26 November 2020 (UTC)<br /> <br /> 郁和周都认为这种现代化的通用体系是理所当然的。 在周看来，散文代表着新文学的最佳成就，这是因为散文能够以多样，复杂的技巧和风格，展现最广泛的生活画面和个人情感和思考，最终与小说和戏剧相比较也是成功的。 周的不满体现在他追溯现代散文的传统至明晚期的“小品文”，此举表明他亲传统的修正，在五四阵营中是有争议的。 但是他将“散文”视为锶中文体系中不可或缺的一部分，他对形式问题的讨论受到这种系统框架的制约。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 08:11, 27 November 2020 (UTC)<br /> <br /> ==Yi Huan 易欢==<br /> <br /> It was with this canon of modernized generic division that both Zhou and Yu described sanwen in rational terms, defining its linguistic and literary features in order to assert its superiority to other genres. This assertion was grounded on the legitimacy of the generic system and ultimately verified the system as a scientific and organic whole. In characterizing ''sanwen''’s representational capacities, Zhou used three terms: narrating, reasoning, and expressing emotions. More elaborate was Yu’s characterization with four terms, each of which was matched with an English equivalent in parenthesis – “description,” “narration,” “exposition,” and “persuasion” or “argumentation.” A slightly variant explication was allowed when he at the same time showed his favor to other categorical terms such as the reasoning, lyricism, description, and narration.<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> Here Zhou’s notion of ''meiwen'' (beautiful essay) invites our special attention as it is involved with his historical speculation of the genre, which nonetheless suggests something else. Citing his published articles in chronological order, Zhou shows how he had tirelessly explored ''sanwen'' as a new form and at the same time elaborated his own theory of the genre. As he says he still cherishes his original idea that essay should be as perfect as ''meiwen'', which he had advocated as early as the late 1910s. This historical tracing seemed not only to review his insights from the mirror of history, as a matter of fact it aimed at reshaping his politics of “aesthetic essay” in the new cultural situation.<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> Nevertheless, Zhou’s historicity in the 1935 introduction might reveal more about his painstaking search for the ideal concept of literature if he had drawn deeper from his memory. As early as 1908, he wrote a long essay, whose importance was manifested by its title “On the Significance and Mission of Writing and the Mistakes in Recent Chinese Literary Criticism” (Lun wenzhang zhi yiyi ji qi shiming, yin ji Zhongguo jinshi lunwen zhi deshi). It reveals his initial idea of ''meiwen'' as he had already talked about it, yet the fact that it was neglected by Zhou in 1935 might be more revelatory, for in 1908 what he really argued for was the term ''wenzhang'' (literature) rather than ''meiwen''. In other words, the excavation of Zhou’s literary past repressed by himself opens up a zone of “twilight memories” to serve my purpose.<br /> <br /> 然而，如果周能从自己的记忆中汲取更多的话，他在1935年序言中的历史性可能会更多地揭示出他对文学理想的苦苦追寻。早在1908年，他就写了一篇题为《论写作的意义和使命及中国近代文学批评中的错误》的长文，他的重要性就体现在这篇长文上。正如他之前所说，这本书揭示了他对“文学性”的最初想法，但更具有启示性的是，这本书在1935年被周忽视了，因为在1908年，他真正主张的是“文学”一词，而不是“美文”。换句话说，对曾为周所压抑的文学的挖掘，打开了一个“朦胧记忆”的区域，为我的目的服务。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:24, 27 November 2020 (UTC)<br /> <br /> 然而，如果周能回忆起更多细节的话，他在1935年所作序言中的历史性可能会更多地揭示出他对理想化文学概念的苦苦追寻。早在1908年，他就写了一篇题为《论文章之义以及其使命及中国近代文学批评中的错误》的长文，其重要性正如标题所言。这本书揭示了他对美文的最初想法，但令人惊喜的是，周的这一观点早在1935年提出过，但却未得到重视。因为在1908年，他真正主张的是“文学”一词，而不是“美文”。换句话说，对周树人文学经历的挖掘为我展现了一块“暮光记忆”的区域，对本篇文章的论述大有裨益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 02:07, 28 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> The essay shows how he intensely seeks a legitimate idea of literature between the terms of ''wenzhang, wenxue, and xiaoshuo'', or in a sense it epitomizes a battlefield of naming literature at the time. While sharing the contemporary intellectual consensus that literary discourse is one of the most viable medium to reshape national spirit, Zhou attempts to construct a system of literature by glorifying the idea of ''wenzhang'' which he identifies with the Latin word ''literature''. The ideal of wenzhang is embodied by artistic and affectionate expressions in archaic style (no wonder this essay was written in classical language). In order to enthrone his concept of ''wenzhang'' as a kind of new authentic classicism, he annotates the term by deriving from Western literary theories on the one hand, and on the other he combatively denounces other influential terms such as ''wenxue'' or ''xiaoshuo''.<br /> <br /> 本文从文章、文学、小说三个方面表明了他在文学方面的探索。从某种意义上说，这也是当时名为文学的战场的缩影。在认同文学话语是重塑民族精神最可行的媒介之一这一当代知识分子共识的同时，周试图通过美化“Literature”这一拉丁词文学来构建文学体系。理想的文章体现在艺术和深情的表达上（难怪这篇文章是用古典语言写的）。为了使“文章”这一概念成为一种新的正宗古典主义，他一方面借鉴西方文论对“文章”进行注释，另一方面又对“文章”等其他有影响的词进行了有力的抨击，比如“文学”或“小说”。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 12:44, 29 November 2020 (UTC)<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> Paradoxically, Zhou criticizes Liang Qichao’s notion of ''xiaoshuo'' for its utilitarian bent, yet he embraces it to such an extent that he equates it with the ''wenzhang'', lest it should be furnished with true sincerity in describing reality so as to move human emotions. The terms ''sanwen'' and ''meiwen'' do appear, once for each, and yet were casually treated; the former means trivial and lack of aesthetic quality, and the latter is less than a concept.<br /> <br /> 矛盾的是，周批评梁启超“小说”的功利主义倾向，却又欣然接受，甚至将小说与文章相提并论，惟恐文章在描写现实时表现出真诚，从而打动人心。“散文”和“美文”这两个词确实各自出现过一次，但却被随意对待;前者意味着琐碎和缺乏审美品质，后者则称不上是一个概念。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 04:54, 28 November 2020 (UTC)<br /> <br /> 矛盾的是，周批评梁启超的“小说”功利主义倾向，但又欣然接受，甚至将其等同于文章，惟恐它在描写现实时表现出真诚，从而打动人心。“散文”和“美文”这两个词确实都出现过一次，但都被随意对待;前者意味着琐碎且缺乏审美品质，后者则算不上是一个概念。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 02:14, 29 November 2020 (UTC)<br /> <br /> <br /> Lydia Liu, Translingual Practice: Literature, National Culture, and Translated Modernity China, 1900-1937 (Stanford: Stanford University Press, 1995) 235.<br /> <br /> Charles A. Laughlin excellently analyzed Zhou Zuoren's advocacy of late Ming xiaopin and its tension within the May Fourth literary theory in his paper &quot;Legacies of Leisure: Late Imperial Influences on the 20th Century Chinese Essay&quot; held at the essay conference in Achern (Germany) in August 25-27, 2000.<br /> <br /> Zhou Zuoren, “Daoyan”, in Zhongguo xin wenxue daxi, Sanwen yi ji (Shanghai: Liangyou tushu gongsi, 1935) 1-14.<br /> <br /> Zhou Zuoren, “Lun wenzhang zhi yiyi ji qi shiming, yin ji Zhongguo jinshi lunwen zhi deshi.” In Wang Yunxi, Wu Guoping, and Huang Lin, eds., Zhongguo wenlun xuan, jindai juan (Selections of Chinese literary criticism, The modern period) (Nanjing: Jiangsu wenyi chubanshe, 1996) 689-725.<br /> （文献无需翻译）<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> Obviously, the text, with his idea and style, looked outmoded by 1935. He had lost the battle of naming. The contestation of these terms resulted in the establishment of literary hierarchy consisted by the concepts of ''wenxue'' that meant literature in general sense, and the genres of ''xiaoshuo'' and ''sanwen'' as its major constituents. While forgetting his past as a neo-classicist, Zhou’s memory was effected by the canonical process of modern division of genres. Nevertheless, dimly echoing his early neo-classical vision he rebelled against the literary division while identifying the “beautiful essay” with late Ming ''xiaopin wen'', though in the end he must remain as a modern master essayist, filled with agony and nostalgia.<br /> <br /> 显然，1935年时，再回首他的这篇文章，从思想和风格来看，都已经过时了。周作人已经输掉了这场命名之战。关于这些术语的论战，直接促成了文学分层。而文学分层主要是由“文学”概念构成，并且还主要包含“小说”和“散文”这两个体裁。周作人虽然业已忘却他身为新古典主义作家的过去，不过他的思维还是受到了现代体裁划分的经典过程影响。不过，在用明朝晚期的“小品文”来判别“优美的散文”同时，简单地重复周作人反对文学层次划分的早期新古典主义思想，他也还是满腹悲伤与思乡，哪怕最终他必须捍卫自己现代散文大师的身份。<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> '''Search for New Form and Subject'''<br /> <br /> While the Poetry Revolution (''shijie geming''), Prose Revolution (''wenjie geming'') and Fiction Revolution (''xiaoshuojie geming''), launched by Liang Qichao from 1899 to 1902, signified that Chinese literature entered the modern epoch, the division of literary genres emerged. The most influential and controversial was the Fiction Revolution, for it was traditionally despised yet directly linked with the mass politics that loomed at the threshold of the century. In his famous essay “On the Relationship Between Fiction and the Government of the People” (Lun xiaoshuo yu qunzhi zhi guanxi), Liang claimed that “fiction is the crowning glory of literature,” and that the “new fiction” should embody a new national soul. This intellectual subservience to populism was not whimsical, rather the subversion of poetic reign within the hierarchy of traditional genres served a metaphor for the collapse of traditional value system.<br /> <br /> 寻求新形式、新主旨<br /> 梁启超在1899年至1902年发动的诗界革命、文界革命和小说界革命，预示着中国文学开启了现代化的纪元，不同的文学体裁开始出现。小说界革命是影响力最大的，也最受争议，因为它历来受到鄙视，但与降临于世纪之初的群众政治有着直接联系。梁在其著名文章《论小说与群治之关系》中声称“小说是文学的无上光荣”，“新小说”应该体现一种新的民族魂。这对于有民粹主义倾向的知识分子来说，不是在异想天开，相反，它颠覆了诗歌在传统体裁等级制度下的统治地位，象征着传统价值体系的崩塌。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 01:32, 28 November 2020 (UTC)<br /> <br /> 寻求新形式、新主旨<br /> 1899年至1902年，梁启超发起的诗界革命、文界革命和小说界革命，预示着中国文学开启了现代化的纪元，开启出现不同的文学体裁。小说界革命是影响力最大的，也最受争议，因为它历来受到鄙视，但与降临于世纪之初的群众政治有着直接联系。梁在其著名文章《论小说与群治之关系》中声称“小说是文学的无上光荣”，“新小说”应该体现一种新的民族魂。这对于有民粹主义倾向的知识分子来说，不是在异想天开，相反，它颠覆了诗歌在传统体裁等级制度下的统治地位，象征着传统价值体系的崩塌。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 12:53, 29 November 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> As Ted Huters explicated, the transformation of prose theories in late Qing period resulted in the ascendancy of the status of “writing” (''wen'') that is closer to the modern conception of “literature” (''wenxue''). Yet, the Fiction Revolution changed the generic course drastically. Widely anticipated for its superiority in mass education, the concept of xiaoshuo was elevated to the ontological level, as important as that of ''wen''. Although the Prose Revolution carried with it the power of “new prose style” (''xin wenti'') invented by Liang himself, it could hardly compete with the Fiction Revolution. While the “new prose style” was limited in its modes of expression, the literary contours were more vibrant with the movement of ''xiaoshuo''. Put it simply, in this period, what determined the formation of modern essay were the theory and practice of ''xiaoshuo'' rather than those of ''wen''.<br /> <br /> 正如胡志德（Ted Huters）所阐明的那样，清末时期的散文理论导致“文”地位的上升，更接近于现代的“文学”概念。然而，小说革命彻底改变了通用路线。由于小说在大众教育的地位显著，小说的概念已提升到本体论的水平，与“文”的地位同等重要。虽然散文革命有梁启超提出的“新文体”，但其地位还是难以与小说革命相媲美。“新文体”在表达方式上受限，但其文学轮廓比小说革命更加鲜明。简而言之，在这个时期，决定现代散文形成的原因是小说理论和实践的出现，而非“文”理论和实践的提出。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 14:57, 26 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> As a matter of fact, literary tradition was reinvented by the notion of new fiction. Contrary to Liang’s expectation, ''xin xiaoshuo'' was still entangled with its tradition; selected and combined by new rules, the tradition offered ''new fiction'' possibilities to adopt literary techniques from the West. Perhaps Liang and his followers created this ambiguity, as the ''xiaoshuo'' came from the Japanese translation of Western “fiction” or “novel” and at the same time it was mixed with traditional popular genres of drama and ''tanci'' (musical and performing story-telling). Ironically, while claiming for its capacities to represent the human realms with “complexity, penetration, vividness, and thoroughness” (''quzhe touda, linli jingzhi''), it was also offered with almost a full range of traditional literary genres for choice.<br /> <br /> 实际上，文学传统是由新小说的概念再创的。与梁启超的期望相反，“新小说”仍然与其传统相联系；通过新规则的选择与结合，这一传统为“新小说”提供了接受西方文学技法的可能性。也许梁启超和他的追随者创造了这种模棱两可，因为“小说”来自于日本对西方&quot;fiction“或&quot;novel&quot;的翻译，与此同时，它又混合了传统的流行戏剧和”弹词“（音乐和表演故事）。具有讽刺意味的是，尽管它以”复杂,渗透，生动，彻底“宣称人类领域的能力，它也出于自己的喜爱得到了一种全方位的传统文学种类。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:42, 28 November 2020 (UTC)<br /> <br /> 实际上，文学传统是由新小说的概念再创的。不如梁启超期待的那样，新小说仍与其传统有着千丝万缕的联系；受新规选择、结合，这一传统为新小说吸收西方文学技巧提供了可能。因为“小说”来自于日本对西方&quot;fiction“或&quot;novel&quot;的翻译，与此同时，它又混合了传统的流行戏剧和”弹词“（音乐和表演故事），所以也许是梁启超及其追随者创造了这种模棱两可。讽刺的是，尽管新小说宣称其具有代表人类所涉及领域的能力，该能力具有“复杂性、穿透性、生动性及彻底性”，新小说同样具有几乎所有传统文学有的文学类型，供人们选择。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 07:27, 29 November 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> There was a tension within the “new fiction” between its lofty mission to save China and its tradition of “small talk” - fiction for popular desires. The pendulum did not go back to the “small talk” until the mid-1910s when a new wave of urban periodicals surged, this time catering to intimate space and individual pleasure. This was the time of despair and expectation, of reshaping the public and private spheres, full of conflicts between tradition and modernity in terms of social norms of love, marriage and family. New interests in romances were accompanied with the aspiration for first person narratives from the West, such as memoir, love-letter, diary, and confession. It was no accident that popular magazines and newspapers were saturated with the sad love stories, among which Xu Zhenya’s (1889-1937) ''Yu li hun'' (Jade Pearl Spirit) became a bestseller in 1914.<br /> <br /> “新小说”中有种矛盾，即既要带有拯救中国的崇高使命，又要保留迎合大众需求的“闲谈”风格的传统，这两者的矛盾。但“新小说”的风格并没有偏向“闲谈”风格，直到19世纪10年代中期，掀起了一股城市期刊的浪潮，在此期间，“新小说”倾向于有关亲密关系与个人取乐的内容。这是期望与绝望共存的时期，不仅重塑了大众和私人的范围，在社会有关爱情、婚姻和家庭方面的规定上充斥着传统与现代的冲突。对爱情小说也有新的关注，兼带着学习西方以第一人称叙述的期望，例如自传，情书，日记及忏悔。不出意外的，流行杂志与报纸上充斥着悲伤爱情故事，其中包括1914年畅销书作家徐枕雅的《玉梨魂》（1889-1937）。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 14:36, 28 November 2020 (UTC)<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> This weird combination - a tragic romance interwoven with the author’s memory of youth and the style of archaic parallelism - seemed to attract more the refined reading public. Wu Shuangre (1884-1934), a writer also known for tragic romance, redefined the ''xiaoshuo'' as the “opposite to the big discourse (''dashuo''),” his emphasis on the ''smallness'' of fiction was urged by new desire and social needs.<br /> <br /> 这种怪异的组合-悲剧性的浪漫情怀与作者对青年的记忆和古老的平行主义风格交织在一起-这似乎吸引了更多精准的读者。 吴双热（1884-1934），又是一位以悲剧性的浪漫闻名的作家，将“小说”重新定义为“与大话语（“大说”）相对”，新的欲望和社会需求促使他强调小说的“小”。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 03:11, 28 November 2020 (UTC)<br /> <br /> 这种奇怪的组合-悲剧性的浪漫故事与作者对青春的记忆和古老的平行主义风格交织在一起-似乎吸引了更多精准的读者。吴双热（1884-1934），一位以悲剧性浪漫闻名的作家，将“小说”重新定义为“大篇幅（大说）的对立面”，他受到新欲的望和社会需求的敦促，强调小说的“小”。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 06:05, 28 November 2020 (UTC)<br /> <br /> [[Media:Example.ogg]]==Zhang Hu 张虎==<br /> <br /> Zhou’s intellectual background behind his critique of Liang Qichao and Lin Shu should not be ignored. Influenced by Zhang Taiyan whom Zhou and his brother Zhou Shuren (later Lu Xun) followed during their stay in Japan, Zhou’s archaic vision of literature was based on the conviction that learning from the West by deriving from the Chinese past with deeper and wider scopes can prevent from the danger of populism and mass politics. <br /> <br /> Liang Qichao, “On the Relationship Between Fiction and the Government of the People.” Trans. Gek Nai Cheng, in Kirk Denton, ed., Modern Chinese Literary Thought, 74-81.<br /> <br /> Theodore Huters, “From Writing to Literature: The Development of Late Qing Theories of Prose.” Harvard Journal of Asiatic Studies 47 (1987) 51-90.<br /> （参考文献不用翻译）<br /> <br /> 周批判梁启超和林纾背后的知识背景不容忽视。周和他的兄弟周树人(后来的鲁迅)在日本期间跟随张太炎，受张太炎的影响，周对文学的陈旧看法是建立在这样一种信念之上的，即从更深更广的范围借鉴中国的过去，学习西方，以此防止出现民粹主义和大众政治的危险。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 06:08, 28 November 2020 (UTC)<br /> <br /> 周批判梁启超、林纾的学术背景不容忽视。周和他的兄弟周树人（后鲁迅）在留日期间追随章太炎，受章太炎的影响，周的古代文学观建立在这样一种信念上：即从中国过去中汲取教训，以更深刻、更广的范围学习西方，可以防止民粹主义和大众政治的危险。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:44, 29 November 2020 (UTC)Xiao Yining<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> See, “Zhongguo weiyi zhi wenxue bao Xin xiaoshuo” (The only literary magazine New Fiction in China). Xinmin congbao 14 (1902). When the New Fiction magazine was inaugurated in 1902, Liang and his colleagues lent its representational capacities the widest scopes of lifeworld and the richest literary resources, though in the name of “Western fiction.” The genres include popular song, rhythmic expressions such as drama and musicala storytelling.<br /> <br /> <br /> 参见《中国文学史》。（中国唯一的文学杂志《新小说》）。 新民同保14（1902）。 1902年，《新小说》（New Fiction）杂志发行时，梁和他的同事们以“西方小说”的名义，将其代表能力赋予了世界最广泛的领域和最丰富的文学资源。 种类包括流行歌曲，有节奏的表现形式，例如戏剧和音乐剧故事。<br /> <br /> 参见《中国唯意志文学报新小说》。（中国唯一的文学杂志《新小说》）。 新民从报14（1902）。 1902年，《新小说》（New Fiction）杂志创刊时，梁启超和他的同事们虽然打着 &quot;西洋小说 &quot;的旗号，将其代表能力赋予了全世界最广泛的领域和最丰富的文学资源。体裁包括流行歌曲、戏剧等韵律性的表现形式和音乐剧故事。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:12, 26 November 2020 (UTC)<br /> <br /> 参见《中国文学史》。（中国唯一的文学杂志《新小说》）。 新民同保14（1902）。 1902年，《新小说》（New Fiction）杂志发行时，梁和他的同事们虽以“西方小说”的名义，但将其代表能力赋予了世界最广泛的领域和最丰富的文学资源。 种类包括流行歌曲，有节奏的表现形式，例如戏剧和音乐剧故事。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:27, 27 November 2020 (UTC)<br /> <br /> 参见《中国唯意志文学报新小说》。（中国唯一的文学杂志《新小说》）。 新民从报14（1902）。1902年，《新小说》（New Fiction）杂志发行时，梁和他的同事们虽以“西方小说”的名义，但将其代表能力赋予了世界最广泛的领域和最丰富的文学资源。 种类包括流行歌曲，有节奏的表现形式，例如戏剧和音乐剧故事。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 03:54, 29 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Zhou meticulously experimented with first person narratives in the mid-1910s. In the wake of collapse of traditional values, literature became a vent for repressed psychology, and meanwhile functioned in reordering the structures of feelings and perceptions that purported to pave a way to rebuilding national spirituality. Therefore, intellectual anxiety was attached to seeking new literary genres. At the time, Zhou was spotlighted on the literary arena with ''Saturday'' (Libailiu), a weekly popular magazine aimed to entertain and educate urban readers mainly by the principles of literary pleasure aimed to articulate and regulate desires of everyday life and consumer psychology. This boom of urban print culture signified an inversion to the previous Fiction Revolution devoted to patriotism and national ethos; its representations focused more on the private realms and individuals, revealing a clearer character of the “small talk.” In this sense, Zhou’s intense uses of first person narratives were a necessity for him to represent a kind of the autonomous individual in urban space as an integral part of the periodical culture.<br /> <br /> 周在20世纪10年代中期对以第一人称来叙事进行了细致的尝试。在传统价值观瓦解后，文学成为压抑心理的发泄渠道，同时也重构了情感和观念结构，为重建民族精神铺平了道路。因此，寻求新的文学体裁必然伴随着知识分子的焦虑。当时，周以《星期六》（Libailiu）走红文坛，这是一本旨在娱乐和教育都市读者的周刊，主要以文学愉悦为原则，旨在表达和调节日常生活欲望和消费心理。这种都市印刷文化的繁荣，标志着它与以往致力于爱国主义和民族精神的小说革命发生了逆转；它的表现更多地集中在私人领域和个人身上，揭示了“闲谈”更为鲜明的特征。从这个意义上说，周对第一人称叙事的大量运用是在城市空间中表现一种自主个体的必然，是期刊文化的重要组成部分。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:19, 29 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> “In the Nine-Flower Curtain” appeared in 1917, in the ''Pictorial Story'' (Xiaoshuo huabao) edited by Bao Tianxiao, who announced from the outset that this monthly fiction magazine aims to promote the ''baihua'' fiction. In a history of Chinese literature published in late-1950s, this story was picked out as a typical Butterfly work: “[it is] empty and poor in its content, full of meaningless words and sentences.” However, this biased criticism neglected the fact that this short story was a pioneering ''baihua'' fiction, which appeared in a fiction magazine, which advocated the ''baihua'' prior to the May Fourth movement! <br /> <br /> 《九花帘幕》出现于1971年由包天晓主编的《晓说花宝》中，他从一开始就宣布，这本小说月刊旨在推广“百花”小说。在20世纪50年代末出版的《中国文学史》中，这个故事被选为典型的蝴蝶作品:内容空洞贫乏，充满无意义的字句。然而，这种偏颇的批评忽略了这篇短篇小说是“百花”小说的先驱，它出现在一本小说杂志上，早在在五四运动之前就主张“百花”。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 03:52, 29 November 2020 (UTC)<br /> <br /> 1971年，《九花帘幕》在由包天晓主编的《晓说花宝》中出版，他从一开始就宣布这本小说月刊旨在推广白话小说。在20世纪50年代末出版的《中国文学史》中，这部小说被评选为一部典型的蝴蝶作品：“（这本小说）内容空洞贫乏，充满了毫无意义的字句。”然而，这种偏颇的批评忽视了这篇短篇小说是白话小说的先驱，在一本小说杂志上出版，在五四运动之前就提倡白话文！--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:25, 29 November 2020 (UTC)<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> Indeed, “In the Nine-Flower Curtain” was labeled as ''xiaoshuo'', but the notion of ''xiaoshuo'' in the teens ambiguously crossed the boundaries of old and new, and Zhou had barely the idea of modern ''sanwen''. Rather, shown by the story mixed with the elements of poetry, prose and drama, his understanding of ''xiaoshuo'' was conventional and transitional. Interestingly, some critic conceived that the notion of ''sanwen'' was stemmed from ''xiaoshuo''. In 1914, Cheng Zhi’s essay “Miscellaneous Remarks on Fiction” (Xiaoshuo conghua) holds that nowadays only ''xiaoshuo'' can do what literature can do; it is so important and enchanting that it can fulfill the task of literature while artistically expressing human emotions and aesthetic thoughts. Since all literary expressions, according to him, appeal to optic and audio perceptions, ''xiaoshuo'' contains both ''sanwen'' (prosaic) and ''yunwen'' (rhythmic) texts. The former can be the vernacular or literary language; the latter includes romance drama and rhythmic story-telling. As the chart intricately shows, the ''sanwen'' is sandwiched: on one side it grows out of the trunk of ''xiaoshuo'', and on other side it bifurcates its own branches of literary and vernacular languages. We cannot decide to what extent this concept of ''sanwen'' can be related to that of the May Fourth generic system, yet its connotations were still valid in the Butterfly use after the 1920s. <br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> The chaotic conditions of literary genres opened up new possibilities, and “In the Nine-Flower Curtain,” as a kind of self-representation, exhibited Zhou’s obsession with subjective writings, blended with the elements of dairy, love-letter, confession, and fictional autobiography. Here, I only briefly show Zhou’s devotion to two kinds of the first person narratives - autobiography and lover-letter. These forms adopted by Zhou, no matter it belongs to the concept of ''xiaoshuo'' at the time or more to the ''sanwen'' in today’s standard, had a specific charm of lyricism and sensuality that most appealed to him. One type referred to the subgenre of autobiography - amorous memoirs - a colorful branch in Ming-Qing erotic-sentimental tradition, represented by Mao Xiang’s ''Memoirs of the Plum Shadow Studio'' (Ying mei an yiyu) and Jiang Tan’s ''Reminiscences of the Autumn Lamp'' (Qiu deng suoyi). These texts were included in an anthology titled ''Selections of Memoirs'' (Yiyu xuan) Zhou edited and published in 1920s.<br /> <br /> 杂乱无章的文学体裁，开启了新的可能性，《九花帘》作为一种自我表征，展现了周作人对主观书写的执着，融合了乳品，情书，自白，虚构自传等元素。在这里，我只简单地展示了周小川对自传和情书这两种第一人称叙事的倾注。周小川所采用的这些形式，无论属于当时的“小说”概念，还是更多地属于今天的“三文”标准，都具有一种特定的抒情性和感性魅力，最能吸引周小川。一种类型是指自传的子体裁--风情回忆录--明清情色传统中的一个丰富多彩的分支，以毛翔的《梅影画室回忆录》和蒋坦的《秋灯回忆录》为代表，其中以《梅影画室回忆录》和《秋灯回忆录》为代表，以《梅影画室回忆录》为代表，以《秋灯回忆录》为代表，以《梅影画室回忆录》为代表，以《梅影画室回忆录》为代表，以《梅影画室回忆录》为代表。周小川在20世纪20年代编辑出版的《回忆录选》中收录了这些文本。<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Another inspiration came from Washington Irving, whom Zhou considered a literary genius. He highly praised Irving’s ''Sketch-Book'' for its “creativity and uniqueness”; he appreciated most “Westminster Abbey,” “The Legend of Sleepy Hollow,” “The Broken Heart” and “RipVan Winkle.” Interestingly, Zhou understoods Irving through the window of Chinese literary past. He translated the ''Sketch-Book'' into the form of ''biji'', with his comments saturated with the classical poetics: “His writings are secluded and flagrant, limped and stretching far (''youxin danyuan''), like violets in flower-shrubes; they are also delicate and charming, drifting aloof (''qingqian piaoyi''), like a pen thrown into the sky becomes a capricious dragon.”<br /> <br /> 另一个灵感来源于华盛顿·欧文，周认为欧文是一个文学天才。周因欧文作品《见闻札记》中的创造力和独特性高度赞扬了这部作品。周最欣赏的就是《威斯敏斯特教堂》、《沉睡谷传奇》、《破碎的心》和《瑞普·凡·温克尔》。有趣的是，周通过中国文学的窗口了解欧文。他将《见闻札记》翻译成笔记的形式，他的评论充斥着古典诗学：“他的著作隐蔽而又明目张胆的，一坡一拐而延伸得很远（“ 忧心淡远”），像灌木丛中的紫罗兰；它们既细腻又迷人，飘荡的超然感（清浅飘逸），就像扔向天空的钢笔变成了反复无常的龙。”--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 07:34, 29 November 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> Zhou’s mania for love-letters evinces his pursuit of the fashion, chic and commercial, in contrast to his literati personality immersed in the erotic-sentimental poetics. Raoul Findeisen rightly pointed out that the genre of love-letter enhances to codify the heterosexual love in modern Chinese literature. This form was introduced into China hand in hand with the assimilation of Western-style customs and the idea of free communication between man and woman. At least in 1911, ''qingshu'' as a translated term for “love-letter” appeared in a funny essay “Ji qingshu zhi xinfa” (A new way to send a love-letter) in ''Shenbao''. As a piece of passionate ''qinghua'', “In the Nine-Flower Curtain” should be connected to Zhou’s “Qingshu hua” (On love-letter), a series of essays he contributed to ''Shenbao'' in 1919. These essays talk about the world famous love stories of Napoleon, Byron, Hugo, and many others, and specifically about how they wrote love-letters. For example, amidst wars Napoleon never forgot to write to Josephine; Zhou translated his words: “I am begging you to receive my thousand kisses, and don’t give me back any of your’s, otherwise my blood will boil.” Also with great zeal he talks about how Hugo wrote 120 letters to his fiancee Adele Forcher. <br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> Known as master of the “sad love story” in the mid-1910s, he wrote numerous short stories which appeared in around a dozen periodicals and newspapers; among them a number of first person narratives were in best quality. While breaking with the traditional love discourse and modes of romance, his love stories depicted new urban subjects in newly formed public spaces such as the public park, tramcar, medical clinic, and movie theater. Most noticeable is his ''Short Stories from Famous European and American Writers'' (Oumei mingjia dianpian xiaoshuo congkan) published in 1917, revealing his ways of dealing with the personal pronounces under chaotic conditions. Among fifty stories included, twenty-six stories belong to first person narrative. Interestingly, in all the eight vernacular texts the first person pronoun is ''wo'', and in the rest eighteen stories in classical language, the first person pronouns are variantly used between ''yu'', ''yu'' and ''wu''.<br /> <br /> 作为1910年代中期描写爱情悲剧的大师，他写了许多短篇故事，并发表在众多期刊和报纸上；其中，那些以第一人称的角度叙述的故事是最好的。他打破了传统爱情故事的语言和抒情方式，他的爱情故事描述了发生在公园、电车、诊所、电影院等新式公共空间的新的城镇主体。更惹人注意的是，他的译作《欧美名家短篇小说丛刊》在1917年出版，揭示了他在嘈杂的环境中处理个人观点的方式。书中所包含的50个故事，其中26个从第一人称的角度进行叙述。有趣的是，在8篇用方言写的文本中，第一人称的代词用的是“wo”，在剩下的18篇用古典语言写的故事中，第一人称的代词多用“yu”“yu”和“wu”。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:05, 27 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> This selection of ''wo'' for the vernacular seemed identical to the establishment of “I” as the male subjectivity in May Fourth literature, but they bore different logic of modernity. Perhaps there was another kind of “translated modernity” in Zhou: the vernacular ''wo'' is not the absolute in the whole anthology. Zhou’s selected uses of the personal pronouns include not only the first person pronouns but the second and third person pronouns, showing a chaotic state of literary subject. He is more plural and playful while experimenting with both the vernacular and the classical, and one is not subject to the other. Fascinated by multiple possibilities in the new literary situations, he was more concerned with ways of using different first person pronouns to suit different modes and styles of representations, in accordance with his own linguistic sensitivity and capability.<br /> <br /> 白话小说中“我”一词的选择似乎与“五四”文学中确立“ l”作为男性主观性是相同的，但是它们具有不同的现代逻辑。 在鲁迅的作品中也许还有另一种“翻译的现代性”：白话用词&quot;我&quot;在整个选集中不是绝对的。 周对人称代词的使用不仅包括第一人称代词，还包括第二和第三人称代词，表现出文学主体的混乱状态。 他尝试了同时使用白话文和文言文并把它们放在平等的位置，具有多元化的特点。在新的文学情境中，他着迷于多种可能性，更加致力于利用自己的敏感的语言天赋，使用不同的第一人称代词来适应各种表达方式和风格。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:42, 29 November 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> Fan Boqun pointed out that Zhou contributed to modern literature in its early phase by experimenting with psychological forms such as diary, epistoral fiction, and that his creative writings were indebted to his translation. See, “Zhu, bian, yi jie jing de ‘wenzi laogong’: Zhou Shoujuan pingzhuan” (A literary laboror in his refined achievements of writing, editing and translating: A biography of Zhou Shoujuan), in Fan Boqun, ed., Zhongguo jin xiandai tongsu zuojia pingzhuan congshu (A series of modern Chinese popular writers) vol. 4, 177. If this was a late credit to Zhou, there had been another one about his 1917 translation of Famous European and American Short Stories. In the early 1960s he wrote to his daughter revealing the fact that his 1917 translation was praised by Lu Xun and awarded by the Republican Education Bureau, and that he did not know this until he had read Zhou Zuoren’s memoir in the early 1950s. This information was revealed after his literary career was criticized as a reactionary current against the new literature.<br /> <br /> 范伯群（Fan Boqun）指出，周小川（Zhou Xiaochuan）对现代文学的早期贡献在于心理文学方面，例如日记、书信体小说等，同时，他的翻译对其创作贡献极大。见“朱，卞，易节经得‘文子劳公'：《周守隽（Zhou Shoujuan)评传》”（文学工作者，在写作、编辑、翻译方面取得卓越成就:《周守隽传》），范伯群编:《中国现代通俗作家丛书》第4卷，177页。如果说这本书是周小川迟来的荣誉的话，那么他1917年翻译的欧美著名短篇小说就是他的另一荣耀。上世纪60年代初他给女儿写的信中表明，他1917年的译作受到了鲁迅的赞赏和民国教育局的嘉奖，但是这一点还是他在上世纪50年代初读周作人的回忆录中知晓的。他的文学生涯被批判为反对新文学的反动潮流后，这一信息才透露出来的。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:35, 27 November 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> Lydia Liu deals with the use of first person pronoun wo that designates “I” as a central issue of “translated modernity” in modern Chinese literature. Along with wo becoming the only victor in the contests of first person pronouns through heavy traffic of transnational cultures, the male vernacular subjectivity is established (see Lydia Liu, 154-55).<br /> <br /> The Poetics of Persuasion“In the Nine-Flower Curtain” was the author’s “love talk” (''qinghua'') to his bride in the first night of marriage, a passionate confession of his bitter past, with sentiment and self-esteem, and meanwhile he expresses his love and hope for their conjugal life in the future. The narrative begins with a third person account of how the author’s wedding ceremony was held in ''Yeshiyuan'', one of famous public parks in the city, and how in the night his friends gathered in the wedding chamber making fun of the new couple.<br /> <br /> 莉迪亚·刘指明“I”的第一人称代词“我”的运用作为现代中国文学中翻译现代化的核心问题。随着wo成为通过跨国文化在阻力很大的前进路线上第一人称代词竞赛的唯一胜利者，男性白话主体性得到了确立（见莉迪亚·刘，154-55）。<br /> <br /> 《九花帐里》是作者在新婚夜晚对他新娘的情话,他充满激情,带有情绪和自尊地忏悔着他痛苦的过去，同时表达了他对未来夫妻生活的爱和希望。故事以第三人称开始叙述，描述了作者在城市著名的公园之一，也是园的婚礼是如何举行的，在新婚夜里他的朋友聚在新房里如何打趣这对新人的。 --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:13, 28 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> This brief opening is like the “prologue” in premodern vernacular stories, a device originated from thirteen-century drama. By this convention a stage is set for the drama of the pillow talk, predicting his theatricality. Nevertheless, with the phrase “Zhou Shoujuan says” at the very beginning, the tradition is inverted, for in old days, fiction writing is not a respectful job and the author’s name never appeared. While the vernacular storytellers were too humble to claim his authorship, literati were too proud to do so. Perhaps it was Lin Shu who self-consciously broke with the tradition as he signed his name on the novels he translated.<br /> <br /> 这种简短的开场白就像前现代白话故事中的 &quot;序幕&quot;，这种手法源于十三世纪的戏剧。通过这个惯例，为枕边话的戏剧性搭建了一个舞台，预示着他的戏剧性。不过，一开始就用“周守娟说”这句话来颠覆了传统，因为在旧社会，写小说并不是什么尊贵的工作，作者的名字从来没有出现过。白话故事家谦虚得不敢宣称自己的作者身份，但文人却为之骄傲。也许是林纾自觉地打破了传统，他在自己翻译的小说上签上了自己的名字。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:04, 26 November 2020 (UTC)<br /> <br /> 这种简短的开场白就像前现代白话故事中的 &quot;序幕&quot;，这种手法源于十三世纪的戏剧。通过这个惯例，为枕边话的戏剧性搭建了一个舞台，预示着他的戏剧性。不过，有了开头的 &quot;周寿娟说 &quot;这句话，这个传统就被颠覆了，因为在旧社会，写小说并不是什么尊贵的工作，作者的名字从来没有出现过。白话故事家谦虚得不敢宣称自己的作者身份，文人却骄傲得不敢。也许是林纾自觉地打破了传统，他在自己翻译的小说上签上了自己的名字。<br /> <br /> 这种简短的开场白就像前现代白话故事中的 &quot;序幕&quot;，其手法源于十三世纪的戏剧。通过这个惯例，作者为枕边话剧搭建了舞台，预示着他的戏剧性。不过，有了开头 &quot;周寿娟说 &quot;这句话，这个传统就被颠覆了，因为在旧社会，写小说并不是什么体面的工作，作者的名字从来没有出现过。白话故事家谦虚得不敢宣称自己的作者身份，文人却骄傲得不屑。也许是林纾自觉地打破了传统，他在自己翻译的小说上签上了自己的名字。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:52, 28 November 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> This self-referential information at the outset is more than a self-promotion: it sets a tone of respectfulness and expectation, evoking a blissful and jubilant atmosphere for what follows. Moreover, the voice from a famous writer suggests new semantics of love and new ways of expressing love. Of course, the marriage is a new chapter in his life; it was the fashion to have a Western-style wedding (''wenming jiehun'') in a public park. The guests are celebrities, novelist, journalists and print entrepreneurs, such as Bao Tianxiao, Chen Diexian, Ding Song, indicative of a newly born social stratum recognized by the urban public.<br /> <br /> 这种自我参照的信息在一开始就不仅仅是自我推销:它设定了尊重和期待的基调，为接下来的事情唤起一种幸福和欢乐的氛围。此外，一位著名作家的声音暗示了爱的新语义和表达爱的新方式。当然，婚姻是他人生的新篇章;在公园举行西式婚礼是当时的时尚。受邀的嘉宾有名人、小说家、记者和报业大亨，如鲍天晓、陈蝶仙、丁松等，他们代表着城市公认的新生社会阶层。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 27 November 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> When Zhou promises to satisfy his friends’ curiosity about what he said to the bride “inside the curtain” in the first night, he deliberately shifts the scene from the backdrop to the main tableau - the curtain. His wedding, albeit part of his private life, was already exposed by Bao Tianxiao and Chen Diexian who, as Zhou mentioned, had written about this event and published them in newspapers. And Zhou himself announced that his own pillow talk would appear in the ''Pictorial Story''. Aware of his privacy under the public gaze, Zhou spotlighted the “curtain” as center stage, namely in the innermost space of the chamber; this is bold and unconventional. Of the marriage rituals and symbols familiar to the Chinese, those descriptions related to the wedding chamber are most erogenous and mysterious, arousing their erotic and voyeurist desire.<br /> <br /> 当周承诺满足朋友们对他在第一个晚上“在帘子里”对新娘说的话的好奇心时，他故意将场景从背景转移到主要场景——帘子上。他的婚礼虽然是他私生活的一部分，但已经被鲍天晓和陈叠贤曝光，正如周所提到的，他们写了这件事并将其发表在报纸上。周本人也宣布，他自己的枕边谈话将出现在《画报》上。在公众的注视下，周意识到自己的隐私，他把“帘子”作为中心舞台，即房间的最内部空间;这是大胆的并且是非常规的。在中国人所熟悉的婚姻仪式和象征中，涉及婚房的描述是最性感的和最神秘的，激起了他们的情欲和窥探欲。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 02:07, 29 November 2020 (UTC)<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> In ''Six records of a floating life'' (Fusheng liu ji), a classical autobiography, Shen Fu (1763-?) vividly depicts, “I saw by the light of our wedding candles that Yun’s figure was as slim as before. When her veil was lifted we smiled at each other. And we had shared the ceremonial cup of wine and sat down together for the wedding banquet, I secretly took her small hand under the table. It was warm and it was soft, and my heart beat uncontrollably.” However, readers might be disappointed as there is no such details they expected. Yet to great writers, dealing with the first wedding night is a moment to play with readers’ expectation. For example, in one of Li Yu’s stories, after the bridegroom undresses the bride, he is shocked by the fact that she is a “stone woman” who lacks the sexual organ! In ''Dream of the Red Chamber'', when Baoyu lifts the bride’s veil, he finds Baocai instead Daiyu - he is cheated by his family seniors who makes the substitute; thus the dark side of traditional marriage system is unveiled and the tragic theme of the novel reaches its climax.<br /> 在“浮华生活的第六记录里”(浮生六记)，一本经典自传体，沈复(1763-)生动地描绘到，“借着婚烛我看见云的身材和以前一般苗条。当她的面纱被揭开后，我们面面相觑了一下。我们喝了交杯酒，然后一道坐下加入婚宴。我暗自抓住了她在桌下小巧的手。很暖和，很柔软，我的心按耐不住地跳动着。”然而，读者可能会觉得失望，因为这里没有出现他们期待的细节描述。而对于大作家而言，描写新婚夜可以符合读者的期待。比如，在李煜的一篇故事里，新娘给新郎更衣后，他看见新娘是“铁女子”后震惊了，她没有性器官”。在“红楼梦”里面，当宝玉讲新娘的面纱揭开时，发现是宝钗而不是黛玉--他被家里的长辈欺骗了，新娘被调换了。因此，传统婚姻体制的阴暗面被揭开了，小说的悲剧性主题也达到了高潮。<br /> --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 02:31, 29 November 2020 (UTC)Zhou Shiqing<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> The narrator’s loving voice begins with: “My Phoenix Lady: This is the first night of our marriage, the first day to raise the curtain of our family life. Whether our chamber will be paradise or hell, the drama opens from the present; whether our life will be sad or happy, we will open our theater today.” The long and passionate pillow talk is lyrical and decorative in style, with verbal and imagery rhetorical devices such as the poetic couplets and parallel sentences, metaphors, and repetitions, blending the classical and Western-style vocabulary and grammar. The bridegroom says: <br /> <br /> From now on, you become a member of my family; your name Hu Fengjun is crowned with the surname Zhou. Since you stepped into the door of Zhou, naturally you will do something for his family. The domestic duty falls on us with weight; we should carry it together: the half of it is on my shoulder, the other half on your’s. We should become one heart in order to overcome innumerable difficulties ahead of us. My old mother needs your good service, the multiple household needs your great care. If sometimes I am worried, you should understand me, and care about me.<br /> <br /> 叙述者充满爱意的声音开始说道：“我的凤凰夫人：这是我们结婚的第一晚，这是拉开我们家庭生活帷幕的第一天。无论我们的房间是天堂还是地狱，这部戏都是从现在开始的。 无论我们的生活是悲伤还是幸福，我们今天都会开始我们的剧场。”漫长而充满激情的枕边细语是抒情的和装饰性的，带有言语和意象的修辞手段，如诗对联和平行句子，隐喻和重复，融合了古典和西式的词汇和语法。<br /> 新郎说：从现在开始，你成为我的家人； 你胡凤君之名将冠以周姓。自你走进周家门起，你自然会为他的家人做些事情。 家务负担沉重地落在我们身上；<br /> 我们应该一起承担：一半在我的肩上，另一半在你的肩上。我们应该结成一颗心来克服我们面前的无数困难。 我的老母亲需要你的优质服务，<br /> 多户家庭需要您的精心照顾。如果有时候我感到焦虑，您应该了解我，关心我。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 14:23, 29 November 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> The most important word for husband and wife is “love,” which comes from their mutual understanding and mutual care. If we love each other until the last day of our life, we will spend our whole life in a wonderland with flower and the moon. Every second of our time is gilded with honey and sugar; everywhere in this world is as beautiful as rose. At our ears we often hear the singing birds; before our eyes we often see the flowers in smile. In four seasons, we always have bright and fantastic landscapes around us; the sky looks embroidered, even from cruel storm and frost there grows out the splendid Spring.<br /> <br /> Therefore it is truly important for a couple to love each other, and nothing else is so important. If you have a plenty of money but no love, if you are so tightly fastened by the “red string” that you cannot escape from it, then although you are still husband and wife, how can you feel any happy? Since the ancient time, countless virtuous women were victimized as such. In this first day of our marriage, we should think of a way to make our love forever: each day we should let our hearts meet and mirror each other.<br /> <br /> 夫妻之间最重要的词是“爱”，它来自于彼此的理解和关心。如果我们相爱直到生命的最后一天，我们将在一个有花有月的仙境度过我们的一生。我们的每一秒都充满了甜蜜与糖;世界上任何地方都像玫瑰一样美丽。我们经常听到鸟儿在耳边歌唱;我们经常看到微笑的花朵出现在眼前。在四季中，总是有明亮的和奇妙的风景在我们周围;天空看起来像绣了花一样，即使是残酷的风暴和霜冻也会带来灿烂的春天。<br /> <br /> 因此，夫妻彼此相爱是非常重要的，没有什么比这更重要了。如果你们有很多钱却没有爱情，如果你们被那根“红线”拴得死死的，那么即使你们还是夫妻，你们怎么能感到幸福呢? 自古以来，有无数贤惠的妇女成为这样的受害者。在我们结婚的第一天，我们应该想办法让我们的爱永远:每一天我们应该让我们的心相遇，彼此关照。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 09:57, 26 November 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> A reader of modern taste may frown at the rhetoric of excess and hyperbole, the naive self-indulgence, and the Chauvinist male voice in this early ''baihua'' prattle. But in this early modern phase, what most fascinates the contemporaries are its novelty and hybridity of diverse images and grammars; i.e. the unfamiliar is within the familiar, the modern within the traditional. Perry Link asserted that Butterfly fiction provides “psychological comfort” to the urban readers who feel the pressure of modernity. Yet, “In the Nine-Flower Curtain” provides something more positive than the “psychological comfort”: the narrator’s persuasive voice throughout this pillow talk.<br /> <br /> 具有现代品味的读者可能会对早期的白话闲聊中过分夸张的修辞、幼稚的自我放纵和沙文主义的男性声音感到不适。但在这个早期的现代阶段，最吸引同时代人的是它新奇和混杂的意象和语法;也就是说，熟悉之中带有陌生感，传统之中带有现代感。佩里·林克认为，蝴蝶小说为感到现代化压力的城市读者提供了“心理安慰”。然而，《九花帘幕》提供了比“心理安慰”更积极的东西：带有劝慰性的叙述者的语言贯穿了整个枕边谈话。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:40, 26 November 2020 (UTC)<br /> <br /> 具有现代品味的读者可能会对早期的白话闲聊中过分夸张的修辞、幼稚的自我放纵和大男子主义色彩的男性话语感到不适。但在这个早期的现代阶段，最吸引同时代人的是它新奇和混杂的意象和语法;也就是说，熟悉之中带有陌生感，传统之中带有现代感。佩里·林克认为，蝴蝶小说为感到现代化压力的城市读者提供了“心理安慰”。然而，《九花帘幕》提供了比“心理安慰”更积极的东西：带有劝慰性的叙述者的语言贯穿了整个枕边谈话。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:52, 27 November 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> Embedded in a kind of love philosophy mixed with late Ming discourse of passion (''qing'') and the Romantic influence from the West, this love talk asserts that true love is primarily based on mutual understanding and mutual compassion. A persuasive tone, rather than the didactic or authoritative, prevails the text, and when the persuasion itself it a crucial way to reach and fulfill true love and compassion, its effect depends on refined speech and aesthetic values. For instance, the use of rhythmic repetitions aims to be chantable and enchanting; this audio characteristic is discernibly linked to traditional poetry and drama. The variations of the parallel sentences, poetic couplet, idiomatic phrase and resonant words display the author’s grasp of the repertoire of traditional literature. The sentences “My old mother needs your good service, the multiple household needs your great care” resemble the “four-six” parallelism; the pair of colloquial phrase ''haohao'er'' (well, greatly) comes from vernacular drama or fiction. A contemporary reader might be excited by this Western-style couplet, “You are like the warm sunshine in the summer; I am the bright moon in the autumn.” Or readers may be fascinated by the fresh expression such as “We a pair of mandarin ducks were hit by the Cupiter’s arrow.”<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> Narrative strategies are organized around the poetics of persuasion. By the resonant repetitions and variations the narrator changes his manners and tones to make his linguistic performances most persuasive. The nuanced tones range from the stronger “you should,” to the milder “naturally you will” and to the asking “do you understand.” Apart from the prosaic sentences that function in describing things or reasoning the love sermon, the parallel sentences are divided into two kinds: one addresses melodiously to the bride and the other describes lyrically the fantastic scenes.<br /> 叙事策略是围绕说服诗学而构成的。通过反复的共鸣，叙述者调整他的举止和语调，使他的语言表演更具有说服力。 细微的色调从较强的“您应该”到柔和的“您自然会”或 询问“您明白了吗”等等。 平行句除了在描述事物或讲述爱情之道中起作用外，平行句子还分为两种：一种是向新娘悠扬悦耳地称呼，另一种是抒情地描写梦幻般的场景。 --[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 10:45, 29 November 2020 (UTC)<br /> <br /> 叙事策略是围绕说服诗学而构成的。 通过反复的共鸣，叙述者改变了他的举止和语调，使他的语言表演更具说服力。细微的色调从较强的“您应该”到柔和的“您自然会”以及询问“您是否理解”等。 除了在描述事物或讲述爱情之道中起作用外，平行句子还分为两种：一种是向新娘悠扬地称呼，另一种是抒情地描写梦幻般的场景。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 14:35, 29 November 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> In order to set role models for the bride, a gallery of world-famous women are introduced to add another dimension of the persuasive, mixed with eroticism and ethics, literary references of the East and West. Mrs. Tolstoy helps her husbands devote to and achieve in writing. Liang Hongyu, a legendary heroine who joins her husband to defeat the foreign invaders in thirteenth-century China. It is a persuasive way for a cultural balance in transnational traffic: while the latter a local patriot is internationalized, the former is internalized a la traditional “virtuous wife and good mother.”<br /> <br /> 为了给新娘树立榜样，一家画廊引入了一个举世闻名的一些女性以增加说服力，并结合了情欲和伦理学，东西方的文学作为参照。 托尔斯泰夫人帮助她的丈夫投身于写作，并取得巨大成就。 传说中的女主人公梁红玉与她的丈夫一起击败了在十三世纪来中国的外国入侵者。 这是在不同国家实现文化平衡的一种有说服力的方式：后者是本地爱国者的国际化，而前者则是传统的“贤妻良母”的内在化。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 07:15, 29 November 2020 (UTC)<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> So far the kind of masculine persuasion is tinged with pedagogy and the sublime, what follows turns to be sweet and flattery. The narrator says he received a letter from his friend, in which the bride is likened to the beautiful Spring Goddess of Greek mythology, to the sweet Julie and the noble Botia, the heroines in Shakespeare’s plays. This symbolic showcase of female world celebrities, whether it be factual or imaginary, articulate to circulate and assimilate not only modern knowledge but refined taste for urban readers; at the same time, the author shows off his familiarity with the Western novelties necessarily acquired by this fashionable writing. Also noticeable is the intertextual traffic in the circulation and assimilation of cultural information occurred in everyday urban space. While the Julia and Botia are transplanted from Lin Shu’s classical translations onto his writing, Zhou popularizes the Western classics and meanwhile elevates the vernacular. One more tricky detail: all about these foreign literary women, as the narrator says, are from his friend’s letter in English, which adds this pillow talk a savor of exoticism and universality. By this Zhou plays out the fancy and fashion with a fashionable style in this fiction.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> Cinematic Representation and Republican Subjectivity<br /> <br /> In this story, the ''curtain'' crucially serves thematic and formal purposes. It is a piece of furniture that is decorative and ritualistic in the innermost space of the conjugal life, yet by infusing this interior curtain with a cinematic curtain, the narrator creates an illusion of a double curtain, which facilitated his double voice. His self is represented as an individual and collective being, and at the same time speaks to the private and public audience.<br /> <br /> <br /> 电影呈现和民国主体性<br /> <br /> 在这个故事中，幕布在主题和形式目的表现上起到至关重要的作用。窗帘是一种在夫妻生活中最隐秘空间里具有装饰性和仪式性的家具，但通过将这种室内幕布与电影幕布融合在一起，叙述者创造了一种双重幕布的幻觉，从而为表达双重声音起到作用。他的自我表现为个人和集体的存在，同时又向私人（演员）和公众（观众）交谈。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:31, 29 November 2020 (UTC)<br /> <br /> 电影表现和共和主体性<br /> <br /> 在这个故事中，幕布对主题和形式至关重要。幕布是一件在夫妻生活中的最隐秘空间里具有装饰性和仪式性的家具，但通过将这种室内幕布与电影幕布融合在一起，叙述者创造了一件双重幕布的幻觉，从而促进双重声音。他的自我表现为个人和集体的存在，同时又与私人和共同听众对话。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 13:43, 29 November 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> The phrases “raising the curtain” (''kaimu'') and “opening our theater” (''kaichang'') are cliches for something to start, but the term ''mu'' referring to the theatrical or cinematic curtain was new, after the oral drama and film were introduced from the West at the turn of the twentieth century. Zhou’s pronouncement of opening a theater addressed to the bride sounds happy for pronouncing their new family life; also it is theatrical as the narrator consequently conjures up a “paradise” within the curtain, where birds sing and flowers smile in the spring. Nevertheless, the repetition of theater at the outset of this ''qinghua'' addresses not only to his bride - the exclusive beholder inside the curtain, but also to an audience, namely this curtain faces the implied beholders. Readers are already aware from the prologue that the author predicts to show this pillow talk to his friends. The visual characteristic of the text is inscribed by the imagery title “In the Nine-Flower Curtain,” and by the metaphor of curtain the intimate space is turned into a theater under the public watch. Against a larger cultural canvas, as a kind of imported cultural material, the curtain was applied as a new decorum in urban spaces, such as art studio, or photograph studio. Consequently, it functioned in shaping modern perception about the relations between space, life-world and work of art.<br /> <br /> “拉开帷幕”（开幕）和“开放剧场”（开场）是老生常谈的话题，但“幕”指的是戏剧或电影的帷幕，是二十世纪初从西方引进话剧和电影之后的新词。周先生说要给新娘开戏院，这听起来像是在宣告他们新家生活的幸福，同时也是戏剧性的，因为叙述者由此在幕布内想象出一个“天堂”，在那里鸟语花香，春意盎然。然而，这段情话一开始就重复的桥段不仅是给新娘即帘子里的专属看客看的，也是给观众看的，换句话说这帘子面对的是隐含的看客。读者从序言中已经知道，作者预言要把这番枕边话给朋友看。文本的视觉特征是通过意象标题“九花帘中”来刻画的，通过帘子的隐喻，私密空间变成了公众注视下的剧场。在更大的文化背景下，幕布作为一种舶来的文化材料，以一种新的装饰品被应用于城市空间，如艺术工作室，或摄影工作室。因此，幕布在塑造现代人对空间、生活世界和艺术作品之间关系的认知方面发挥了作用。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:35, 27 November 2020 (UTC)Zou Xinyu</div>

Qu Miao https://bou.de/u/index.php?title=20201123_cult&diff=106443 2020-11-29T15:08:09Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Alsied, Saffana==<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> 1 中国武术不仅涵盖了西方体育的多种运动形式，而且，还拥有独特的东方传统运动形式、深邃的思想和厚重的文化。<br /> <br /> Chinese martial arts not only covers multiple sports forms of western sports, but also has a unique eastern traditional sports form, profound thoughts and culture.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 08:53, 28 November 2020 (UTC)<br /> <br /> 2 气功的内容非常广泛，其特点是通过练功者的主观努力对自己进行身心锻炼，主要包括调身、调心、调息、自我按摩和肢体活动等。<br /> <br /> The content of Qigong is very extensive, and its characteristic is to exercise the body and mind through the practitioner‘s efforts , which mainly includes body adjustment, heart adjustment, breath adjustment, self-massage and physical activities.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 08:53, 28 November 2020 (UTC)<br /> <br /> <br /> 3 霍元甲故居纪念馆从建成之日起已有数万的爱国人士前来参观瞻仰，重温霍元甲这位爱国英雄的传奇事迹和感人精神。如今，纪念馆已列为天津市重点文物保护单位和天津市青少年爱国主义教育基地。<br /> <br /> Tens of thousands of patriots have come to visit and admire the Former Residence Memorial Hall of Huo Yuanjia since it was completed, relive the legendary deeds and moving spirit of this patriotic hero. Today, the memorial hall has been listed as a key cultural relic protection unit and a youth patriotism education base in Tianjin.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 08:53, 28 November 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> <br /> 1. 新中国为顺应国际形势，以全国之力全民发展竞技体育，导致中国武术被卷入体育范畴，以比赛、竞技等形式进行“发展”。<br /> <br /> Since its founding, China developed competitive sports along with the international trend supported by the whole nation. Therefore, wushu was involved in sports and developed in the form of competition and athletics. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:05, 28 November 2020 (UTC)<br /> <br /> To be kept abreast of the international trend, China promoted competitive sports for all as a national effort, thus Chinese martial arts being included in sports and developing in the form of competition.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 10:32, 29 November 2020 (UTC)<br /> <br /> 2. 与体育锻炼相比，气功更强调人的心理状态对人体健康的影响，强调通过主动的自我精神活动来调整自身的生理活动。<br /> <br /> Compared with physical exercise, qigong emphasizes the influence of men’s psychological states on their own health, and it focuses on regulating physiological processes through mental activities on their own initiative. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:05, 28 November 2020 (UTC)<br /> <br /> Compared with physical exercise, qigong places more emphasis on the influence of the psychological states on human health, and on regulating physiological processes through spontaneous spiritual cultivation.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 10:32, 29 November 2020 (UTC)<br /> <br /> 3. 1901年，有一俄国人来津在戏园卖艺，他在报纸上发广告，自称“世界第一大力士”，打遍中国无敌手。霍元甲看了广告极为气愤，并提出要与之决一雌雄。或许是迫于霍元甲的气势，“俄国大力士”竟灰溜溜地逃离了天津。<br /> <br /> In 1901, a Russian came to Tianjin and made a living as a performer in an opera garden. He advertised on newspaper that he was the most powerful man in the world and was undefeated in China. When reading that, Huo Yuanjia was furious and asked for fighting it out. Forced by the momentum of Huo, the so-called &quot;Russian strongman&quot; departed Tianjin in disgrace. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:05, 28 November 2020 (UTC)<br /> <br /> In 1901, a Russian came to Tianjin and made a living as a performer in a theater. He advertised in the newspaper that he was the “World’s Greatest Hercules” and that he had no rivals in China. Huo Yuanjia was furious at the advertisement and proposed a duel with him. Perhaps due to Huo’s deterrence, the “Russian Hercules” fled Tianjin in disgrace.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 10:32, 29 November 2020 (UTC)<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> 1.若舍弃我武之魂，去炫耀，去张扬，去异门竞技，去追逐异族之魂（譬如奥林匹克精神），则只会自我主动降损安全性，和制造仇敌，对自身并无任何裨益。<br /> <br /> Showing off power and seeking competence and spirit like Olympic spirit instead of keeping the spirit of our martial art only incur self-damaging and more enemies and will not do any good to yourself. <br /> <br /> 2.遗憾的是文化大革命把中国的传统文化——气功打入十八层地狱的最底层。搞气功的都成了“牛鬼蛇神”。<br /> <br /> Unfortunately, due to the Cultural Revolution, Qigong, Chinese traditional culture, was dumped to the lowest depth of the hell and was disdained by people. People engaged in this are deemed to be evil and bad. <br /> <br /> 3.霍元甲死于日本人的恶意下毒，这样的剧情处理是比较经济的选择，因为这样编织剧情比较简单，轻松，不必像荷马先生那样绞尽脑汁想出个阿喀琉斯的脚后跟却费力不讨好。<br /> <br /> Huo Yuanjia was maliciously poisoned by Japanese, which seemed to be a relatively reasonable choice to deal with the plot, much more simple and easy, unlike Homer, who racked up his mind and came up with the Achilles’s Heel but get little reward.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:54, 28 November 2020 (UTC)Chen Jingjing<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> 1. So a definition of Chinese martial arts is the art of stopping war or the art of stopping violence. <br /> 因此，中国武术的定义是制止战争的艺术或制止暴力的艺术。<br /> <br /> 2. Qigong is a philosophy of physical and meditative routines, and the tai chi exercise people practice in the parks can be considered a type of qigong too. <br /> 气功是一种身体和冥想活动的哲学，人们在公园里练习太极拳也可以被认为是一种气功。<br /> <br /> 3. He would spend hours peeping through a hole he’d made in the courtyard wall. <br /> 他会花几个小时从他在院墙上挖的洞里偷窥.<br /> <br /> ==Chen Yongxiang 陈永相==<br /> 1.武术（功夫）起源于中国古代约2500年以前。在众多武术套路中，太极拳最流行,而少林拳亦历史悠久，享有盛名。<br /> <br /> Wushu (or Kungfu) appeared in ancient China as early as 2, 500 years ago. Among the many forms, Taijiquan may enjoy the highest popularity. Shaolin-quan is one of the well-known forms of Wushu with a long history.<br /> <br /> 2.气功，中国的一种健身运动，动作轻柔，注重冥想和吐纳，功效广泛，比如改善身体协调能力，降血压，甚至还有缓解抑郁的功能。<br /> <br /> Qigong, a Chinese health practice based on gentle movements, meditation and breathing, has wide-ranging benefits, including improving balance, lowering blood pressure and even easing depression.<br /> <br /> 3.霍元甲的生活故事被改编成许多电影和电视连续剧。在这些改编作品中，他被描绘成一位英雄武术家，在面对外国侵略时竭力维护中国人民的尊严。<br /> <br /> Huo's life story has been adapted into a number of films and television series. In these adaptations, Huo is typically depicted as a heroic martial artist who fights to uphold the dignity of the Chinese people in the face of foreign aggression. --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:45, 29 November 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> 1. 武术的本质是阴阳学说、五行学说和八卦理论。根据黄河所划分的地理区域，中国武术的风格可分为北方风格和南方风格。<br /> <br /> The essence of Wushu rests on the theories of Yin and Yang, the five elements and eight diagrams. Styles of Chinese martial arts can be categorized as the Northern style and the Southern style according to the geographical regions divided by the Yellow River.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 16:12, 27 November 2020 (UTC)<br /> <br /> 2. 自中华人民共和国成立以来，气功得到进一步发展，主要用于康复和保健，成为医学、生理学、生物学等学科的重要学习科目。<br /> <br /> Since the founding of People’s Republic of China, qigong has been further developed for healing and health preservation purposes, and has been studied as an important subject not just within medicine, but also in physiology and biochemistry.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 16:12, 27 November 2020 (UTC)<br /> <br /> Since the founding of People’s Republic of China, qigong has been further developed. It is mainly for healing and health care and has been an important subject of medicine, physiology and biochemistry.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:34, 29 November 2020 (UTC)<br /> <br /> 3.霍元甲一生虽然短暂，却因其武艺出众、执仗正义、扬我国威而家喻户晓。<br /> <br /> Although Huo Yuanjia's life was short, he became a household name because of his outstanding martial arts, upholding justice and promoting China's prestige.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 16:12, 27 November 2020 (UTC)<br /> <br /> Although Huo Yuanjia's life was short, he became known to every household because of his outstanding martial arts, upholding justice and promoting China's prestige.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:34, 29 November 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> <br /> 1.改革开放后,武术一般按其内容分为套路和搏击格斗两个类别。<br /> After the reform and opening up, martial art is generally divided into two categories of routine and fighting.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:42, 29 November 2020 (UTC)<br /> <br /> After the reform and opening up, martial art is generally divided into two categories--routine and fighting.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 08:56, 29 November 2020 (UTC)<br /> <br /> 2.气功是一种中国传统的保健、养生、祛病的方法。<br /> Qigong is a traditional Chinese method of health care, health preservation and disease elimination.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:42, 29 November 2020 (UTC)<br /> <br /> 3.在国人的印象中，北有霍元甲，南有黄飞鸿，南北双侠都是中国武林有史可查的大英雄。<br /> In the impression of Chinese people, there are Huo Yuanjia in the north, Huang Feihong in the south, and both the northern and southern swordsmen are great heroes in the history of Chinese martial arts.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:42, 29 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> 1、中国武术，有着悠久的历史，最早可以追溯到商周时期，具有极其广泛的群众基础，是中国劳动人民在长期的社会实践中不断积累和丰富起来的一项宝贵的文化遗产。<br /> <br /> Wushu with a long history can be dated back to Shang and Zhou dynasties. It has a broad mass base and is a precious cultural heritage being accumulated and enriched by Chinese labors through long-term social practices.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:05, 28 November 2020 (UTC) <br /> <br /> 2、气功认为人有三宝:精气神。通过修炼人身体内的这三宝，积精累气，凝神静心，达到经络通达，强壮身体，祛除疾病，甚至挖掘人体潜力的目的。<br /> <br /> It is believed in Qigong that people have three treasures: essence, energy and spirit. Cultivating the three treasures in our bodies through saving essence and energy and calming down spirit can help dredge meridians, build up a strong body, remove diseases and even exploit our potentials.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:05, 28 November 2020 (UTC)<br /> <br /> 3、孙中山对霍元甲“以武保国强种”的胆识给予了很高的评价。在精武会成立10周年之际，他亲临大会，题写了“尚武精神”四个大字，以示对霍元甲的纪念。<br /> Sun Yat-sen spoke very highly of Huo Yuanjia’s courage and insight that Chinese people should protect the country and strengthen themselves through force. On the 10th anniversary of the Jingwu Association, Sun Yat-sen was present and wrote the four Chinese characters “尚武精神” (the spirit of martial arts) to memorize Huo Yuanjia.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:05, 28 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==Grosheva, Anna==<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> 1. 中国武术的起源可以追溯到原始社会。当时的人类用棍棒等工具与野兽搏斗，逐渐积累了一些攻防经验。而商代产生田猎更被视为武术训练的重要手段。<br /> <br /> The origin of Chinese martial arts can be traced back to primitive society. At that time, humans used sticks and other tools to fight with wild animals, and gradually accumulated some experience in attack and defense. In the Shang Dynasty, hunting was considered an important means of martial arts training.<br /> <br /> 2.气功在保健方面有独特的功效。他是建立在整体生命观理论基础上，通过主动的内向性运用意识活动的锻炼，改造、完美、提高人体的生命功能，把自然的本能变为自觉智能的实践。气功与中医、武术一起，被认为是重要中华传统文化之一，受到世界范围内许多人的喜爱。<br /> <br /> Qigong has unique effects on health care. It is based on the theory of a holistic view of life. It is a practice that transforms, perfects and improves the life functions of the human body through the active inward application of conscious activity, turning natural instincts into conscious intelligence. Along with Chinese medicine and martial arts, qigong is considered to be one of the most important traditional Chinese cultures and is loved by many people around the world.<br /> <br /> 3. 也许，历史迷雾中的霍元甲故事，有这样或者那样艺术加工的部分，但是，霍元甲所创精武体育会时倡导的“国民欲拒辱，必当自强”的尚武自强意识，确实是那个时代以来前赴后继的国人的真实愿望和想法。<br /> <br /> The story of Huo Yuanjia in the fog of history may have one or more artistic processing, but Huo Yuanjia created the Jingwu Sports Association advocated that &quot;the people want to resist humiliation, must be self-improvement,&quot; the sense of self-strengthening martial arts, is indeed the real wishes and thoughts of the people since that era.<br /> <br /> ==Guan Qinqing 管钦清==<br /> 1.中国是东方武术的主要发源地，有着世界上独一无二的“武文化”。中国武术又被称为“功夫”，是中国传统文化的很重要一环，是中国民族体育的主要内容之一，是几千年来中国人民用以锻炼身体和自卫的一种方法。以往，人们只能在一些书中或者表演中感受到中国武术的影响力，现在它的影响力已经体现在一些电影电视中，有了更多的观众群体。中国武术已经传播到国外，吸引了全世界的广泛注意。<br /> <br /> As one of the main birth places of Oriental martial arts, China has the unique “martial culture” in the world. Chinese martial arts, also known as Kung Fu, is an important component of Chinese culture, a major part of Chinese national sport, as well as a way for Chinese people to build their bodies and defend themselves over the past thousands of years. In the past, the influence of Chinese martial arts could be felt only in books or performances. Nowadays, the influence has found expression in some movies and television programs, so that it is reaching a much wider audience. As a result, Chinese martial arts have spread beyond China’s borders and captured the wide attention of the people around the world.<br /> <br /> 2.气功是中国文化的杰出遗产，也是传统中医的一个重要组成部分。它是以调心、调息、调身为手段的身心锻炼方法。气功能解乏并改善睡眠质量，从而提高工作效率。因此，在当代中国气功仍然很流行。气功分为医疗气功和健身气功两类：医疗气功用于治疗身体疾病;健身气功主要用于强健体魄，延缓衰老。越来越多的外国人加入练气功的行列。<br /> <br /> Qigong is an outstanding legacy of Chinese culture as well as an important part of traditional Chinese medicine.It is to exercise both the body and the mind through the regulation of the mind,the breath and the body.Qigong relieves fatigue and improves sleep quality so as to improve work efficiency,which is why it is still popular in China now.There are two kinds of Qigong practices,that is,healing Qigong and fitness Qigong. The former serves as a treatment for diseases while the latter is used for strengthening the body and delaying aging.An increasing number of foreigners join the ranks of practicing Qigong.<br /> <br /> 3.在我国武术史上一共有几个与帝国主义侵略者斗争的武术大师，其中最为让后世子孙和国人所敬仰的就是霍元甲。后来在新中国成立之后，有不少影视公司以霍元甲的原型拍电影以作纪念。<br /> <br /> In the history of Chinese Wushu, there are several masters who fought against imperialist invaders. Among them,Huo Yuanjia is the one that is most admired by future generations and people. Later, after the founding of New China, many film and television companies used his prototype to make movies as a commemoration.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 03:12, 29 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> 1-Chinese martial arts, often named under the umbrella terms kung fu, kuoshu or wushu, are several hundred fighting styles that have developed over the centuries in China. These fighting styles are often classified according to common traits, identified as &quot;families&quot;, &quot;sects&quot; or &quot;schools&quot; of martial arts.<br /> <br /> 中国武术，通常以“功夫”，“武术”或“武术”等统称命名，是数百年来在中国发展起来的数百种格斗风格。这些格斗风格通常根据共同特征进行分类，即武术的“家庭”，“教派”或“学校”。<br /> <br /> 2-Qigong (pronounced chee-gong) is an ancient Chinese exercise and healing technique that involves meditation, controlled breathing and movement exercises. Qi is a concept from traditional Chinese culture that roughly means vital energy, information, breath or spirit.<br /> <br /> 气功（发音为气功）是一种古老的中国运动和康复技术，涉及冥想，控制呼吸和运动锻炼。气是中国传统文化中的一个概念，大致意味着生命力，信息，呼吸或精神。<br /> <br /> 3-Huo Yuanjia, courtesy name Junqing, was a Chinese martial artist and a co-founder of the Chin Woo Athletic Association, a martial arts school in Shanghai.<br /> <br /> 霍元嘉（Junqing）有礼貌，是中国武术家，是上海武术学校进和田径协会的联合创始人。--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 16:04, 28 November 2020 (UTC)<br /> <br /> 霍元甲，字俊卿，中国武术家，精武体育会、上海体育学校共同创始人之一。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 03:18, 29 November 2020 (UTC)<br /> <br /> ==Guo Lu 郭露==<br /> <br /> ==Ha, Thi Thu Hang==<br /> 1. Many Japanese judo wrestlers in Shanghai grudged Huo Yuanjia his name and success. <br /> <br /> 上海的许多日本柔道摔跤手都对霍元佳的名字和成功表示了憎恨。<br /> <br /> 许多在上海的日本柔道摔跤手都嫉妒霍元甲的名声和成就。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:11, 28 November 2020 (UTC)<br /> <br /> 2. A museum and an arena for martial contests have also been built to memorialize Huo’s heritage. <br /> <br /> 为了纪念霍的遗产，还建立了一个博物馆和一个武术比赛场地。<br /> <br /> 为纪念霍元甲留下的武术遗产，还建立了一所博物馆和一个武术竞技场。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:11, 28 November 2020 (UTC)<br /> <br /> 3. According to traditional Chinese medicine, it is the channels and collaterals that link the five viscera and six entrails, limbs and bones, five senses and nine orifices with the various tissues and organs of the superficial portion of the body, giving the body an organic integrity. <br /> <br /> 在古代，气功被称为金枪鱼（呼气和吸气），练气（生命力的训练），倒阴，内功（内部自我锻炼），静静地坐着，冥想或呼吸运动。--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 09:12, 28 November 2020 (UTC)<br /> <br /> 根据中医的说法，经络将五脏六腑、四肢骨骼、五官九孔同人体浅表部位的各种组织和器官相连，形成人体的有机整体性。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:11, 28 November 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> <br /> ==Hu Baihui 胡百辉==<br /> 1.武术是古代军事战争一种传承的技术。习武可以强身健体，亦可以防御敌人进攻。<br /> <br /> Wushu is a kind of inherited technology in ancient military war. Practicing martial arts can strengthen the body and defend the enemy's attack.<br /> <br /> 2.气功是一种中国传统的保健、养生、祛病的方法。以呼吸的调整、身体活动的调整和意识的调整为手段，以强身健体、防病治病、健身延年、开发潜能为目的的一种身心锻炼方法。<br /> <br /> Qigong is a traditional Chinese method of health care and health preservation. It is a kind of physical and mental exercise method which takes the adjustment of breath, physical activity and consciousness as the means to strengthen the body, prevent and treat diseases, keep fit and prolong life, and develop potential.<br /> <br /> 3.在国人的印象中，北有霍元甲，南有黄飞鸿，南北双侠都是中国武林有史可查的大英雄。霍元甲拳打西洋力士、脚踢东洋武士；黄飞鸿虎鹤双形名扬武林，威震香江。<br /> <br /> In the impression of Chinese people, there are Huo Yuanjia in the north and Huang Feihong in the south. Both the northern and southern swordsmen are great heroes in the history of Chinese martial arts. Huo Yuanjia punches Western warriors and kicks Japanese warriors; Huang Feihong, tiger and crane, is famous in the Wulin and famous in Xiangjiang.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 09:11, 27 November 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> 1. 武术不仅以外在的形体美著称，如架势、动作以及技巧，而且其内在美更为独特，被称为“生活之本，力量之源”。武术的本质是阴阳学说、五行学说和八卦理论。<br /> <br /> 1. Wushu is characterized not only by exterior beauty, found in postures, movements and techniques, but also deep interior beauty, emphasizing “life essence, vital energy, and spirit”. The essence of Wushu rests on the theories of Yin and Yang, the five elements and eight diagrams. --[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 13:06, 26 November 2020 (UTC)<br /> <br /> 1. Wushu is known not only for exterior beauty, found in postures, movements and techniques, but also for deep interior beauty, referred to as “the essence of life and the source of energy”. The essence of Wushu rests on the theories of Yin and Yang, the Five Elements (Wu Xing) and the Eight Trigrams (Ba Gua).--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:42, 27 November 2020 (UTC)<br /> <br /> 2. 气功是一种心身锻炼，锻炼姿势、呼吸和精神集中度，以疏通经络，重建身体平衡.中医认为这种生理变化是通过经络在全身循环的气的流动和功能的波动和变化的结果。<br /> <br /> 2. Qigong is a psychopneumatological exercise,drills posture, respiration and focus of the mind in order to unclog the channels and collaterals and re-established body equilibrium. Traditional chinese medicine regards such physiological changes as results of fluctuations and changes in the flow and functions of Qi which circulate throughout the body through channels and collaterals. --[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 13:06, 26 November 2020 (UTC)<br /> <br /> 3. 霍元甲是一位中国武术家，也是上海金宇体育协会的创始人之一。作为武术大师，霍在中国被视为英雄，因为他在备受关注的比赛中击败了外国拳手，而此时中国的主权正受到外国帝国主义、租界和势力范围的侵蚀。<br /> <br /> 3. Huo Yuanjia was a Chinese martial artist and a co-founder of the Chin Woo Athletic Association, a martial arts school in Shanghai. A practitioner of the martial art mizongyi, Huo is considered a hero in China for defeating foreign fighters in highly publicised matches at a time when Chinese sovereignty was being eroded by foreign imperialism, concessions and spheres of influence. --[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 13:06, 26 November 2020 (UTC)<br /> <br /> Huo Yuanjia was a Chinese martial artist and a co-founder of the Chin Woo Athletic Association, a martial arts school in Shanghai. As a practitioner of martial arts, Huo is considered a hero in China for defeating foreign fighters in highly publicised matches when Chinese sovereignty was being eroded by foreign imperialism and concessions.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:03, 28 November 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> 1. 武术发源于传统中国武术，是一种展示性运动，也是一种全接触型运动。1949年后，武术在中国得到发展，以推动传统中国武术的标准化，以及多样而分散的武术传统的结构化。<br /> <br /> Wushu is both an exhibition and a full-contact sport derived from traditional Chinese martial arts. It was developed in China after 1949, in an effort to standardize the practice of traditional Chinese martial arts and attempt to structure the various decentralized martial arts traditions.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:56, 28 November 2020 (UTC)<br /> <br /> 2. 气功是一种中国传统的保健、养生、祛病的方法。古代或名“丹道”，以呼吸的调整、身体活动的调整和意识的调整为手段，以强身健体、防病治病、健身延年、开发潜能为目的的一种身心锻炼方法。 我国古代气功文献资料浩如烟海，在道家、儒医、医家书记中有大量气功文献记载。挖掘整理工作，是一项既重要又艰巨的任务，它不仅要求研究者有较高的医学、气功学及古汉语、现代汉语等方面的知识，还须自身有较高的气功功底。 <br /> <br /> Qigong is a traditional Chinese method of health care, keeping fit and eliminating diseases. In ancient times, it was also called &quot;Dan Dao&quot;, a physical and mental exercise method with the means of adjusting breath, physical activities and consciousness, aiming at strengthening the body, preventing and treating diseases, keeping fit, prolonging life and developing potentials. And there is a vast amount of qigong literature in ancient China, which is recorded in Taoist, Confucian and medical works. So founding and sorting related materials is an important and arduous task, which requires the researchers to have not only rich knowledges of medicine, qigong, ancient Chinese and modern Chinese, but also a great foundation of qigong.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:56, 28 November 2020 (UTC)<br /> <br /> 3. 霍元甲（Fearless，1868年1月18日-1910年9月14日），字俊卿，生于天津静海县，清末著名爱国武术家，沧州十大武术名人之一。 霍元甲喜行侠仗义，曾打败俄国大力士、英国大力士、日本柔道会，后在上海创办中国精武体育会，掀起习武热潮。<br /> <br /> Huo Yuanjia ( English name: Fearless, January 18th, 1868 - September 14th, 1910), whose style name is Junqin, was born in Jinghai County, Tianjin. He was a noted patriotic martial artist in late Qing Dynasty, one of the ten famed martial artists in Cangzhou. Huo Yuanjia had a strong sense of justice and was ready to help the weak. He once defeated Russian hercules, British hercules and Japanese judo association. After that, he founded China Jingwu Sports Association in Shanghai and set off a wave of martial arts practice.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:56, 28 November 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> 1. 咏春拳是一种十分科学、实战性强的拳术，它拳快而防守紧密，马步灵活而上落快，攻守兼备及守攻同期，注重刚柔并济，气力消耗量少。<br /> <br /> Wing Chun Boxing is a very scientific and practical boxing. It is fast in attack and tight in defense, flexible in horse stance and fast in going up and down, both offensive and defensive at the same time, both rigid and soft, and less in strength consumption.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:40, 27 November 2020 (UTC)<br /> <br /> 2. 八段锦为传统医学中的绚丽多彩之瑰宝。一般有八节，锦者，誉其似锦之柔和优美。<br /> <br /> Baduanjin Exercise is a colorful treasure in traditional medicine. Generally, there are eight sections, and the word &quot;jin&quot;, which means brocade in Chinese, represents that the exercise has both softness and beauty like brocade.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:40, 27 November 2020 (UTC)<br /> <br /> 3. 霍元甲是清末著名爱国武术家。1910年6月1日，霍元甲结合时势，在农劲荪等武术界同仁协助下，在上海创办了“中国精武体操会”（后改名精武体育会）。<br /> <br /> Huo Yuanjia was a famous patriotic martial artist in the late Qing Dynasty. On June 1, 1910, with the help of Nong Jinsun and other martial arts colleagues, Huo Yuanjia founded the &quot;Chinese Jingwu Gymnastics Club&quot; (later renamed Jingwu Sports Club) in Shanghai.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:40, 27 November 2020 (UTC)<br /> <br /> 1. Yongchun is a very scientific and practical boxing style. It is fast and defensive, flexible and quick while emphasizing strength and flexibility, thus consuming little energy. <br /> <br /> 2. Baduanjin is the colorful treasure of traditional medicine. There are generally eight sections, and “Jin” is described as soft and graceful like brocade.<br /> <br /> 3. Huo Yuanjia was a famous patriotic martial artist of the late Qing Dynasty, who founded the “China Jingwu Gymnastics Association” (later renamed “Jingwu Sports Association”) in Shanghai on June 1, 1910, with the assistance of Nong Jinsun and other martial artists, taking into account the current situation.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:20, 27 November 2020 (UTC)Yang Chenting<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> 1.中国武术作为中国传统文化的瑰宝，能够深刻反映出中华文化的特质和哲学智慧，其蕴含的文化、思想、智慧，至今仍发挥着重要的价值。<br /> <br /> As the treasure of the traditional Chinese culture, Chinese martial can deeply reflect the characteristics and philosophical wisdom of Chinese culture, and the culture, thoughts, and wisdom they contain still play an important value.<br /> <br /> As the treasure of the traditional Chinese culture, Chinese martial arts can deeply reflect the distinguish characteristics and philosophical wisdom of Chinese culture, and the culture, thoughts, and wisdom they contain still hold great value.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:02, 29 November 2020 (UTC)Xiao Ting<br /> <br /> 2.中华气功,是人类养生、健身、强身的重要方法,是开启生命科学的金钥匙。<br /> <br /> Chinese qigong is an important method for human health, fitness, and health strengthening, and is the golden key to open the life sciences.<br /> <br /> Qi gong of China is an important way for people to stay healthy,work out and get stronger,which is also an golden key for the door of life sciences.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]])Xiao Ting<br /> <br /> 3.电影《精武英雄》中的主角是精武门五弟子陈真,而精武门中除了陈真之外,还有另一位传奇人物,那就是陈真的师父,也就是精武门的创立人——霍元甲。<br /> <br /> In the movie &quot;Hero of Jingwu,&quot; the main character is Chen Zhen, one of the five disciples of the Jingwu Sect, and in addition to Chen Zhen, there is another legendary figure, Chen Zhen's master, Huo Yuanjia, the founder of the Jingwu Sect.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 09:10, 28 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> 1、表演与竞技、体育等，是近代对武术的曲解。当我们以表演、竞技、体育等来衡量我们的武术，其实，是以我们非常有限的几十年、上百年的&quot;知识认知&quot;，来定义我们沉淀进化亿万年而得的身体的使用价值，是非常局限的。<br /> <br /> Performance and competition, sports and so on, are modern misinterpretations of martial arts. When we measure our martial arts in terms of performance, competition, sports, etc., in fact, it is very limited to define the use value of our bodies, which we have accumulated and evolved over hundreds of millions of years, based on our very limited &quot;knowledge cognition&quot; of decades or hundreds of years.<br /> <br /> 2、气功的好处除了保健作用外，也有治疗疾病的作用。如果病人选择气功作为辅助疗法，那么应根据不同的疾病选择不同的气功。<br /> <br /> The benefits of Qigong are not only health care, but also the treatment of diseases. If patients choose qigong as adjuvant therapy, different qigong should be selected according to different diseases.<br /> <br /> 3、作为一个经常在电视荧幕上出现的武术家，霍元甲的种种传奇故事已经被很多人所熟知。但是，在很多人眼里，霍元甲仅仅是一个武林高手，却忘了，他同样是一位爱国人士。从生到死，他都在以自己独特的方式为国家民族争取尊严。<br /> <br /> The legend of Huo Yuanjia, a martial artist who often appears on TV, is well known to many people. However, in the eyes of many people, Huo yuanjia is just a martial arts master, but forget that he is also a patriot. From birth to death, he fought for the dignity of his country and nation in his own unique way.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 08:46, 29 November 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Lili 李丽丽==<br /> 1.武术是古代军事战争一种传承的技术。习武可以强身健体，亦可以防御敌人进攻。<br /> Wushu is a kind of inherited technology from ancient military war. Practicing martial arts can strengthen the body and defend the enemy's attack.<br /> <br /> 2.我国古代气功文献资料浩如烟海，在道家、儒家、医家书中有大量气功文献记载。挖掘整理工作，是一项既重要又艰巨的任务，它不仅要求研究者有较高的医学、气功学及古汉语、现代汉语等方面的知识，还须自身有较高的气功功底。<br /> There are a myriad of Qigong documents in ancient China, which are recorded in Taoist, Confucian and medical books. Mining and sorting out process is an important and arduous task. It requires researchers not only to have a higher knowledge of medicine, qigong, ancient Chinese and modern Chinese, but also to have a good level of Qigong.<br /> <br /> 3.在国人的印象中，北有霍元甲，南有黄飞鸿，南北双侠都是中国武林有史可查的大英雄。<br /> In the impression of Chinese people, there are Huo Yuanjia in the north of China, Huang Feihong in the south, and the both men are great heroes in the history of Chinese martial arts.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:46, 27 November 2020 (UTC)Li Lili<br /> <br /> 1.Wushu is a technology inherited from ancient military wars. Martial arts can strengthen the body and defend against the enemy's attack.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 16:33, 27 November 2020 (UTC)<br /> <br /> 2.There are numerous documents related to qigong in ancient China, which are recorded in Taoist, Confucian and medical books. Excavating and sorting work is an important and arduous task, which requires researchers not only to have higher knowledge of medicine, qigong, ancient Chinese and modern Chinese, but also to master qigong skills.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 16:33, 27 November 2020 (UTC)<br /> <br /> 3.In the impression of Chinese people, there are Huo Yuanjia in the north of China, Huang Feihong in the south, and both the men are great heroes in the history of Chinese martial arts.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 16:33, 27 November 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> 1. 武术具有消停战事、维护和平的实力。作为中华民族炎黄子孙的生存技能，中国传统武术伴随着中国历史与文明发展，走过了几千年的风雨历程，成为维系这个民族生存和发展的魂。中国武术最早起始于原始时代，当时的人们为了生存经常需要和动物打斗，于是在打斗过程中产生了一系列的格斗技巧和防护技巧。<br /> <br /> Wushu has the power to stop wars and maintain peace. As the survival skills of the descendants of the Chinese people, it has gone through thousands of years of ups and downs in the course of Chinese history and civilization, becoming a bond that sustains the survival and development of this nation. Wushu originated in primitive times, when people had to fight with all kinds of animals in order to survive. It is in this process that a series of fighting and protecting skills were generated. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:12, 26 November 2020 (UTC)<br /> <br /> Martial arts have the power to stop wars and maintain peace. As a survival skill of the Chinese people, traditional Chinese martial arts have accompanied the development of Chinese history and civilization for thousands of years and have become the soul that sustains the survival and development of the nation. The earliest Chinese martial arts began in primitive times, when people often had to fight with animals in order to survive, so a series of fighting skills and protective techniques were developed during the fighting process.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:24, 27 November 2020 (UTC)<br /> <br /> 2. 气功是源于中国的一种自我身心锻炼的方法，尽管气功功法种类很多，但是强调放松入静是共同的。气功包含身心两部分活动，并从天、地、人的关系中获得启示。气功作为中国传统文化的组成部分和民族传统体育项目，具有一定的强身健体作用，千百年来受到许多群众的喜爱。<br /> <br /> Qigong originating in China is a self-training approach of the body and mind. Although there are varieties of Qigong exercises, it is common to emphasize relaxation and meditation. The Qigong, involving both physical and mental activity, drew inspiration from the relationship between heaven, earth and man. It can improve people’s physical health, and is an integral part of Chinese traditional culture and national sport. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:12, 26 November 2020 (UTC)<br /> <br /> Although there are many different types of qigong methods, the emphasis on relaxation and meditation is common to all. Qigong consists of both physical and mental activities and draws inspiration from the relationship between heaven, earth and man. As a part of traditional Chinese culture and a traditional national sport, qigong has a certain role in strengthening the body and has been enjoyed by many people for thousands of years.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:24, 27 November 2020 (UTC)<br /> <br /> 3. 霍元甲幼年体弱，因此父亲不让他学习武术，担心元甲习武日后有损霍家名声。但元甲志存高远，想尽各种办法学艺苦练。<br /> <br /> Huo Yuanjia was weak at an early age, so his father restrained him from learning Wushu for fear that he would damage the reputation of the Huo family. Inspired by lofty ambitions, he was committed to learning it and practicing whenever he could. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:12, 26 November 2020 (UTC)<br /> <br /> Huo Yuanjia was weak at a young age, so his father forbade him from learning martial arts, fearing that Yuanjia's martial arts training would harm the Huo family's reputation later on. However, Yuanjia was ambitious and tried every possible way to learn and practice.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:24, 27 November 2020 (UTC)<br /> <br /> Huo Yuanjia was weak at a young age, so his father forbade him from learning martial arts, fearing that Yuanjia would damage the Huo family's reputation later on. However, Yuanjia was ambitious and tried every possible way to learn and practice.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 04:02, 28 November 2020 (UTC)<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1.作为中华民族炎黄子孙的生存技能，中国传统武术伴随着中国历史与文明发展，走过了几千年的风雨历程，成为维系这个民族生存和发展的魂和承载中华儿女基因构成的魄。<br /> <br /> As the survival skills of the descendants of the Chinese nation,Chinese traditional martial arts has gone through ups and downs along with the development of Chinese history and civilization for thousands of years.It has become the soul sustains the survival and development of the Chinese nation and that carries the genetic composition of the Chinese people.<br /> <br /> As a survival skill of the Chinese descendants,traditional martial arts has gone through ups and downs in the course of the development of Chinese history and civilization for thousands of years.It has become the soul that sustains the survival and development of the Chinese nation and carries the genes of the Chinese people.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:27, 29 November 2020 (UTC)Gao Mingzhu<br /> <br /> 2.体育锻炼非常重视心理状态的影响，几乎所有体育项目的竞技成绩都与运动员的心理稳定性有关，只是影响的程度不同，情绪的任何波动都可能大大影响成绩。<br /> <br /> Physical exercise attaches great importance to the influence of psychological states, almost all the performances of sports events are related to the psychological stability of athletes, only the degree differs.Any emotional fluctuation may greatly affect the performances.<br /> <br /> 3.据说农劲荪是霍元甲在政治上的启蒙者及几乎所有事业的幕后支持者，正是在他的谆谆教诲及不懈的包装下，霍元甲从靠拳头吃饭的一介武夫，最终树立了民族英雄的光辉形象。<br /> <br /> It is said that Nong Jinsun was Huo Yuanjia’s enlightenment politically and backer of almost all his careers.It was under Nong’s inculcation and unremitting package that Huo finally set up a glorious image as national hero when initially made a living as rough-neck.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:57, 29 November 2020 (UTC)<br /> <br /> It is said that Nong Jinsun was Huo Yuanjia’s enlightenment politically and backer of almost all his careers.It was under Nong’s inculcation and unremitting package that Huo finally set up a glorious image as a national hero while he initially made a living as a rough-neck.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:27, 29 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> 1．《卧虎藏龙》是由李安执导，周润发、杨紫琼和章子怡等联袂主演的一部武侠动作电影。影片讲述一代大侠李慕白有退出江湖之意，托付红颜知己乐秀莲将自己的青冥剑带到京城，作为礼物送给贝勒爷收藏。李慕白隐退江湖的举动实际却是惹来更多的江湖恩怨。<br /> <br /> The Wuxia film ''Crouching Tiger, Hidden Dragon'' was directed by Li An and acted by Chow Yunfat, Michelle Yeoh and Zhang Ziyi, which depicted a story that the martial art master Li Mubai (act by Chow Yunfat) intended to withdraw from the martial art community so that asked his female bosom friend Xiu Lian (act by Michelle Yeoh) to bring his Qing Ming sword as a gift to Beile (a royal family member). However, Li’s withdraw brought about more enmity from the martial art community. --[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 10:14, 29 November 2020 (UTC)<br /> <br /> 2．王林自称用气功能做到空盆来蛇、空杯来酒等绝活，及为外国首脑高官治病的特异功能。 <br /> <br /> Wang Lin, the charlatan who self-announced as a Qigong master, said that he can fetch snake or wine with empty cups and possessed the mystical skill which had cured the foreign high rank officials. --[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 10:14, 29 November 2020 (UTC) <br /> <br /> 3．霍元甲生在一个迷踪拳的世家。父亲霍恩第以保镖（护送财物或保护雇主人身安全）为业，因霍恩第的迷踪拳出神入化，所以很多大商人都求他保镖，霍恩第只镖穷苦百姓、清白之人，对贪官污吏决不保镖。<br /> <br /> Huo Yuanjia was born in a family which holding reputation for Mizong Boxing for generations. His father Huo Endi was a master of boxing and dealing with envoy business, so many merchants wanted to invite him to work. Huo Endi, however, rejected the corrupt officials and only serviced for the decent merchants and poor people.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 10:14, 29 November 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> 1、中国武术，伴随中华文明4000多年流传至今，是捍卫我族文明迄今屹立不倒的、重要的文化组成部分，不可割裂。它将引导我族携中国文化带领世界人民走向精神与物质并存的高度文明，是我国以文化崛起、文明治国不可或缺的核心元素之一。<br /> <br /> Chinese martial arts, which have been handed down along with Chinese civilization for more than 4,000 years, are an important and inseparable part of the culture that has safeguarded our civilization so far. It is one of the indispensable core elements of our country's cultural rise and civilizational rule.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:21, 27 November 2020 (UTC)<br /> <br /> 2、武术气功是锻炼人体内的气与力在意志支配下自由上下来去，是一种气与力的内在运动。它是旁人所看不见的，只能自己体会，因此必须自下决心，一旦练到量变到质变，即是功成之日。<br /> <br /> Wushu qigong is the inner movement of qi and force within the human body that is exercised to come up and go down freely under the control of the will. It is invisible to others and can only be experienced by oneself, so one must make up one's own mind, and once one's practice has changed from quantitative to qualitative, that is the day one's work is accomplished.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:21, 27 November 2020 (UTC)<br /> <br /> 3、霍元甲逝世。“下毒说”是武侠小说、影视安排主角之死采用得最普遍的一种做法，一个武功高强、智慧过人、道德高尚的侠客和英雄，如果他非死不可的话，他的死一般来说总是对手卑鄙暗算的结果。霍元甲死于日本人的恶意下毒，这样的剧情处理是比较经济的选择。<br /> <br /> Huo Yuanjia passed away. &quot;A highly skilled, intelligent, morally upright swordsman and hero, if he had to die, his death would generally be the result of a dastardly plot by his opponent. Huo Yuanjia's death by Japanese poisoning was a more economical choice for this scenario.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:21, 27 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 1 少林武术是我国极具代表性的传统武术流派，在历史发展过程中不断延伸，形成了庞大的体系和丰富的文化积淀。长久以来，少林功夫以武艺精湛闻名于世，同时远遁世俗，颇具高深莫测的神秘之感。<br /> <br /> The Shaolin Temple is one of the most famous traditional schools in China. Throughout history, it has developed and formed a rich system with abundant cultural accumulation. For a long time, shaolin kungfu has been renowned for its magnificent techniques, as well as a sense of mystical seclusion.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:59, 27 November 2020 (UTC)<br /> <br /> The Shaolin martial art is one of the most representative traditional schools in China. Throughout history, it has developed and formed an enormous system with abundant cultural accumulation. For a long time, Shaolin kungfu has been renowned for its consummate techniques as well as a sense of mystical seclusion.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:29, 27 November 2020 (UTC)Mo Ling<br /> <br /> The Shaolin Temple is one of the most representative traditional schools in China. Throughout history, it has developed and formed a rich system with abundant cultural deposits. For a long time, shaolin kungfu has been renowned for its magnificent techniques, as well as a sense of mystical seclusion.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 12:56, 28 November 2020 (UTC)Chen Jingjing<br /> <br /> 2 气功是一种中国传统的保健、养生、祛病的方法。古代或名“丹道”，以呼吸的调整、身体活动的调整和意识的调整为手段，以强身健体、防病治病、健身延年、开发潜能为目的的一种身心锻炼方法。<br /> <br /> Qigong is a traditional Chinese method of health care, keeping fit and curing diseases. In ancient times, it was also called &quot;Dan Dao&quot;, a physical and mental exercise method with the meeans of adjusting breath, physical activity and consciousness, aimed at strengthening the body, preventing and treating diseases, keeping fit, extending the longevity and developing the potential.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:59, 27 November 2020 (UTC)<br /> <br /> 3 霍元甲是一代武术传奇，以一套千变万化的“迷踪艺”声震四方，曾在国家危难之际，参与建立成立于1910的精武会。<br /> <br /> Huo Yuanjia was a legendary kung fu master famous for the complicated art called Mizongyi (literally &quot;lost track fist&quot;). He helped established the Chin Woo Athletic Association in 1910 when the country was vulnerable to imperialism.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:59, 27 November 2020 (UTC)<br /> <br /> Huo Yuanjia was a legendary kung fu master famous for the complicated art called Mizongyi (literally &quot;lost track fist&quot;). He helped establish the Chin Woo Athletic Association in 1910 when the country was vulnerable to imperialism.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 12:56, 28 November 2020 (UTC)Chen Jingjing<br /> <br /> ==Luo Weijia 罗维嘉==<br /> 1、中国武术，有着悠久的历史，最早可以追溯到商周时期，具有极其广泛的群众基础，是中国劳动人民在长期的社会实践中不断积累和丰富起来的一项宝贵的文化遗产。<br /> <br /> Wushu, with a long history, can be dated back to Shang and Zhou dynasties. It has a broad mass base and is a precious cultural heritage accumulated and enriched by Chinese labors through long-term social practices.<br /> <br /> 2.气功是一种中国传统的保健、养生、祛病的方法。以呼吸的调整、身体活动的调整和意识的调整为手段，以强身健体、防病治病、健身延年、开发潜能为目的的一种身心锻炼方法。<br /> <br /> Qigong is a traditional Chinese method of health care and health preservation. It is a kind of physical and mental exercise method which takes the adjustment of breath, physical activity and consciousness as the means to strengthen the body, prevent and treat diseases, keep fit and prolong life, and develop potential.<br /> <br /> 3. 霍元甲幼年体弱，因此父亲不让他学习武术，担心元甲习武日后有损霍家名声。但元甲志存高远，想尽各种办法学艺苦练。<br /> <br /> Huo Yuanjia was weak at a young age, so his father forbade him from learning martial arts, fearing that Yuanjia would damage Huo family's reputation later. But Yuanjia was ambitious and tried every possible way to learn and practice.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 11:54, 29 November 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> 1.中国武术，延衍流长，流传迄今可考证史实有4200年的中华文明史，文武相承相传。然当今武门外人对中国武术的理解，大部分局限在将武术定义为观赏性与竞技性范围内，而忽略武术给修习者带来的高度安全的核心价值，同时不注重自身身体的锻练，导致出现对中国传统武术的误解，不利于真正中国武术的修习和传播。<br /> <br /> Chinese martial arts have a long history and can be verified by a 4200 year history of Chinese civilization, showing that civil and military traditions are handed down from generation to generation. However, most of laymen's understanding of Chinese martial arts is limited in the definition of Wushu as ornamental and competitive, while neglecting the core value of high security brought by martial arts to practitioners, and neglecting their own body training, which leads to misunderstanding of Chinese traditional martial arts, which is not conducive to the cultivation and dissemination of real Chinese martial arts.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:44, 26 November 2020 (UTC)<br /> <br /> 2.如果从现代行为医学的角度看，气功锻炼是对一种有利于心身健康的良性行为进行学习训练，最终以条件反射方式固定下来的行为疗法。<br /> <br /> From the perspective of modern behavioral medicine, Qigong exercise is a kind of behavior therapy which is beneficial to mental and physical health and which is fixed in the form of conditioned reflex.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:44, 26 November 2020 (UTC)<br /> <br /> From the perspective of modern behavioral medicine, Qigong exercise is a kind of behavior therapy which is beneficial to mental and physical health.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 09:13, 27 November 2020 (UTC)<br /> <br /> 3.元甲天资聪颖，毅力惊人，功艺长足进步，在兄弟之中出类超群，并在24岁那年5分钟之内击败了一位打败了霍元甲的哥哥与弟弟的人。父见此，一改旧念，悉心传艺于他。后元甲以武会友，融合各家之长，将祖传“秘宗拳”发展为“迷踪艺”，使祖传拳艺达到了新的高峰。<br /> <br /> Huo Yuanjia is talented and has made great progress in his skills with his sheer will-power. He is outstanding among his brothers. He defeated a man who had defeated his brother and younger brother in five minutes when he was 24 years old. After having seen this, his father changed his old thoughts and devoted all his attention to passe on his skills to Huo Yuanjia. Later Yuanjia met friends with martial arts , combined the strengths of various schools, and developed the ancestral &quot;secret boxing&quot; into &quot;lost track school&quot;, which made the ancestral boxing reach a new peak.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:44, 26 November 2020 (UTC)<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.先有舞，后有武。武，举戈而舞，旌旗、震慑。<br /> <br /> Dancing is the predecessor of martial arts,which is a kind of dance with weapons and flags for deterrence.<br /> <br /> 2.练气要诀：专心呼吸，轻松舒适，静观其变，顺其自然，自然而然，聚精会神，感生化力。<br /> <br /> There are some knacks when practising Qigong:firstly people should concentrate their breath and be relaxed and comfortable;secondly they should wait and see the changeand then let nature take its course;finally they can feel the emergence of energy with high concentration.<br /> <br /> 3.在国人的印象中，北有霍元甲，南有黄飞鸿，南北双侠都是中国武林有史可查的大英雄。霍元甲拳打西洋力士、脚踢东洋武士；黄飞鸿虎鹤双形名扬武林，威震香江。<br /> <br /> Upon the perception of Chinese people,Huo Yuanjia from the North and Huang Feihong from the South are both renowned heroes among Chinese martial-arts circle.The former beat the Western hercule by pugilism and kicked the Japanese warrior;the latter was famous for his tiger-crane shaped boxing and was honored by the whole Xiang River region.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:21, 27 November 2020 (UTC)Mo Ling<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> 1. 武术，止戈的技术，消停战事的技术，是物质文明的保障和导向。武术分别体现在国家的国防实力、和个人的安全防卫方面，在不同的时期和不同地方，有不同形式的应用和进步。<br /> <br /> Wushu, the skill to avert conflicts and stop warfare, provides security and guidance in the material civilization. It is represented in the national defense capabilities and personal security. From time to time and place to place, it has different forms of application and progress.<br /> <br /> 2. 直到“文革”结束之后，气功事业发生了空前的变化，正道功派发展成为一门独特的科学。大家都懂得“气功”并非玄虚之事，而是一门特殊的学问，“气功”成了关于人们身心健康的一门特殊学问的代名词了。<br /> <br /> After the Cultural Revolution, unprecedented changes happened to the development of Qigong, through which the authentic schools developed into a special science. Since eople got to know Qigong is not a matter of mystery, but a special science, it has become a term of a special science on people's physical and mental health.<br /> <br /> After the Cultural Revolution, unprecedented changes happened to the development of Qigong, through which the authentic schools developed into a special science. Since people started to know Qigong is not a matter of mystery, but a special science, it has become a term of a special science on people's physical and mental health.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:34, 29 November 2020 (UTC)Gao Mingzhu<br /> <br /> 3. 电影《霍元甲》所表现出来的民族精神包括自强不息，崇尚武德，爱国主义，博大宽容和团结互助等方面。这些民族精神给观众以强烈的震撼，并在社会主义建设事业中发挥着精神激励和民族凝聚力的作用。<br /> <br /> The film ''Huo Yuanjia'' present several national spirits including self-striving, promoting Wushu virtuousness, patriotism, fraternity and tolerence and unity and mutual help, which greatly shock the audience and provide the spiritual encouragement and national cohesion for the task of socialist construction. --[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 06:46, 27 November 2020 (UTC)Ouyang Ling<br /> <br /> The film ''Huo Yuanjia'' presents several national spirits including self-striving, promoting Wushu virtuousness, patriotism, fraternity and tolerence and unity and mutual help, which greatly shock the audience and provide the spiritual encouragement and national cohesion for the task of socialist construction.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 13:02, 28 November 2020 (UTC)Chen Jingjing<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> 1.中国武术，首先是一门制止侵袭的技术；在这个基础上，我们可以获得从身体到头脑、到心性方面融汇贯通的个人修习、获得从安全到快乐的满足，安以常乐。<br /> <br /> Chinese martial arts, first of all, is a technique to stop invasion; on this basis, we obtain personal training that integrates the transition from the body to the mind, to the mind and nature, obtains the satisfaction from safety to happiness, and enjoys constant happiness.<br /> <br /> 2.气功的好处除了保健作用外，也有治疗疾病的作用。如果病人选择气功作为辅助疗法，那么应根据不同的疾病选择不同的气功。<br /> <br /> The benefits of Qigong are not only health care, but also disease treatment. If the patient chooses Qigong as an auxiliary therapy, then different Qigong should be chosen according to different diseases.<br /> <br /> 3.霍元甲故居纪念馆从建成之日起已有数万的爱国人士前来参观瞻仰，重温霍元甲这位爱国英雄的传奇事迹和感人精神。如今，纪念馆已列为天津市重点文物保护单位和天津市青少年爱国主义教育基地。<br /> <br /> Tens of thousands of patriots have come to visit and admire the Fearless Former Residence Memorial Hall since it was completed, relive the legendary deeds and moving spirit of this patriotic hero. Today, the memorial hall has been listed as a key cultural relics protection unit in Tianjin and a youth patriotism education base in Tianjin.--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 09:32, 28 November 2020 (UTC)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 09:32, 28 November 2020 (UTC)<br /> <br /> ==Phyo, Su Kyi==<br /> 1-武术既有武术元素，也有中国传统体操甚至中国戏曲的元素。<br /> <br /> Wushu has martial elements, but also elements taken from traditional Chinese gymnastics and even Chinese opera.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 03:46, 26 November 2020 (UTC)Phyo Su Kyi <br /> <br /> Wushu is a kind of martial art and contains elements taken from traditional Chinese gymnastics and even Chinese opera.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 12:58, 26 November 2020 (UTC)<br /> <br /> 2-气功可以协调，增强所有内脏和身体系统的功能，并具有治愈作用。它增加了能量在整个身体中的供应和流动，可以具有多种恢复活力的作用，被认为可以延长寿命，并且可以诱发镇定的精神和情绪状态。<br /> <br /> Qigong can harmonise, strengthen, and have a healing effect on the functioning of all the internal organs and bodily systems. It increases the supply and flow of energy throughout the body, can have a variety of rejuvenating effects and is believed to increase longevity, and it induces calm mental and emotional states.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 03:46, 26 November 2020 (UTC)Phyo Su Kyi<br /> <br /> 3-霍元嘉（1868年1月18日至1910年8月9日），[1]礼貌名俊俊，是中国武术家，也是上海武术学校进和田径协会的联合创始人。霍先生是武术武术宗师[2]，在中国主权受到外国帝国主义，让步和势力范围侵蚀的时候，因在公开宣传的比赛中击败外国战士而被认为是中国的英雄。<br /> <br /> Huo Yuanjia (18 January 1868 – 9 August 1910),[1] courtesy name Junqing, was a Chinese martial artist and a co-founder of the Chin Woo Athletic Association, a martial arts school in Shanghai. A practitioner of the martial art mizongyi,[2] Huo is considered a hero in China for defeating foreign fighters in highly publicised matches at a time when Chinese sovereignty was being eroded by foreign imperialism, concessions and spheres of influence. --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 03:46, 26 November 2020 (UTC)Phyo Su Kyi<br /> <br /> ==Pingki, Tanchangya==<br /> 1.武术是中国传统的搏击风格，在中国发展了很长的历史，被称为``功夫''。<br /> <br /> Wushu is a Chinese traditional fighting style which has developed over a long historical period in China, known as Kung Fu.Wushu came under the influence of Buddhism and taoism.<br /> <br /> 2.气功被认为是中国功夫的精髓，它是一个古老的中国保健系统，集体育锻炼，呼吸控制和心理训练于一体。<br /> <br /> Qigong is considered an essence of China kung fu, it is an ancient chinese Health care system that integrates physical exercise, breath control and mental training.<br /> <br /> 3.霍元嘉是中国武术家，是上海武术学校的联合创始人。 霍被视为中国英雄。<br /> <br /> Huo Yuanjia is known as a Chinese martial artist and co-founder of a martial arts school in Shanghai. Huo is considered as a hero in China.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 11:31, 27 November 2020 (UTC)<br /> <br /> ==Qu Miao 瞿淼==<br /> 1. 我们的承传的中国武术文化，就是一套全面精湛的“自保”文化，而非“攻击”文化。因为攻击最终也是为了获得生存、生活、快活、快乐，而不是为了攻击、而攻击。 <br /> Chinese martial arts that we inherit is a set of comprehensive and consummate culture of “self-defense” culture, instead of “attack”, since even if it contains attack actions, it attacks ultimately for substance, living, joviality and happiness, rather than attacking for the sake of attacking.<br /> <br /> 2. 气功是一种中国传统的保健、养生、祛病的方法。古代或名“丹道”，以呼吸的调整、身体活动的调整和意识的调整为手段，以强身健体、防病治病、健身延年、开发潜能为目的的一种身心锻炼方法。<br /> Qigong is a Chinese traditional way to keep healthy, cultivate onself and dispelling disease. Also named Dandao in ancient times, it is a method of exercising physically and mentally, which aims at body building, preventing and curing disease, and prolonging life through adjusting breathe, body motion, and conciousness.<br /> <br /> 3. 霍元甲的徒弟和朋友们拿着霍元甲每日吃的药去化验，才知是一瓶慢性烂肺药，明白了这是日本人暗下的毒手。逝世时年仅42岁。<br /> After assaying the medicine that Huo Yuanjia took everyday, his apprentices and friends finally got to know that it was those Japanese who murdered Huo. He passed away when he was only fourty-two years old.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:08, 29 November 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ==Seydou, Sagara==<br /> <br /> ==Shi Haiyao 石海瑶==<br /> 1. 少林武功是中国武术最具代表性，最具权威性，又最具神秘感的中国武功流派，它无疑已成为中国武术的主流学派。<br /> <br /> Shaolin Kung Fu is the most representative, authoritative and mysterious school of Chinese martial arts. It has undoubtedly become the mainstream school of Chinese martial arts.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 01:38, 28 November 2020 (UTC)<br /> <br /> Shaolin Kung Fu is the most representative and authoritative school of Chinese martial arts with mystery. Undoubtedly, it has become the mainstream school of Chinese martial arts.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:26, 28 November 2020 (UTC)<br /> <br /> 2.气功之兴于中国，由来尚矣。其于保健强身及防病治病，功亦伟矣。然学术界中，议论纷纷，褒贬不一。<br /> <br /> With a long history, Qigong originated from China. It contributes to health care and disease prevention and treatment. However, in the academic circles, there are many comments on it, including both praise and criticism.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 01:37, 28 November 2020 (UTC)<br /> <br /> 3.周杰伦作为中国歌坛流行天王，几乎每一首歌都受到热捧。其中《霍元甲》这首歌，更是因为旋律动人，歌词出彩，传唱度极高。<br /> <br /> As the king of pop music in China, almost every song of Jay Chou makes a hit，among which &quot;Huo Yuanjia&quot; is widely sung owing to its moving melody and excellent lyrics.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 01:37, 28 November 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> <br /> 1.中国武术，延衍流长，流传迄今可考证史实有4200年的中华文明史。然当今武门外人对中国武术的理解，大部分局限在将武术定义为观赏性与竞技性范围内，而忽略武术对修习者带来&quot;消停侵袭&quot;所达到的高度安全的核心价值，导致对中国传统武术的误解，不利于真正中国武术的修习和传播。<br /> China’s Wu Shu can be dated back to 4200 years ago. But laymen are limited in defining it as ornamental and competitive sports and ignore the core value that it can bring practitioner high safety from “preventing attack”, which adds to their misunderstandings of China’s Wu Shu. It can thus bring negative influence to the practice and spread of Wu Shu.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:09, 28 November 2020 (UTC)<br /> <br /> 2.气功养生，就是通过有意识的自我身心调整，来达到养生保健、防病治病的锻炼方法。在学习气功养生前，首先要了解和掌握一下气功养生有哪些禁忌，以便日后练习中达到事半功倍的效果。<br /> Health-keeping Qigong is an exercise that helps maintain health and prevent diseases through conscious mental adjustments. Before learning it, one has to know and grasp taboos in health-keeping Qigong so that achievements can be gained with only half work done.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:09, 28 November 2020 (UTC)<br /> <br /> 3.霍元甲生在一个迷踪拳的世家。父亲霍恩第以保镖为业，因霍恩第的迷踪拳出神入化，所以很多大商人都求他保镖，霍恩第只镖穷苦百姓、清白之人，对贪官污吏决不保镖。<br /> Huo Yuanjia was born in a family that had the tradition of practicing Mizong strike. His father Huo Endi worked as a bodyguard. As he was excellent in playing Mizong strike, many businessmen asked him to be their bodyguard. However, Huo Endi only protected the poor and the innocent but not corrupt officials.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:09, 28 November 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> 1.武术最初作为军事训练手段, 与古代军事斗争紧密相连，其技击的特性是显而易见的。在实用中，其目的在于杀伤、制限对方，它常常以最有效的技击方法，迫使对方失去反抗能力。这些技击术至今仍在军队、公安中被采用。<br /> <br /> Wushu was originally used as a means of military training and was closely related to ancient military combat. Its martial arts characteristics are obvious. In practice, its purpose is to kill and restrict the opponent, and it often uses the most effective combat methods to force the opponent to lose the ability to resist. These martial arts are still used in the army and police.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:54, 26 November 2020 (UTC)<br /> <br /> 2.直到&quot;文革&quot;结束之后，气功事业发生了空前的变化，正道功派发展成为一门独特的科学。大家都懂得&quot;气功&quot;并非玄虚之事，而是一门特殊的学问，&quot;气功&quot;成了关于人们身心健康的一门特殊学问的代名词了。<br /> <br /> Until the end of the &quot;Cultural Revolution&quot;, the cause of Qigong has undergone unprecedented changes, and the Zhengdao Gong school has developed into a unique science. Everyone knows that &quot;Qigong&quot; is not a mystery, but a special knowledge, a synonymy to people's physical and mental health.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:54, 26 November 2020 (UTC)<br /> <br /> 3.孙中山对霍元甲“以武保国强种”的胆识给予了很高的评价。在精武会成立10周年之际，他亲临大会，题写了“尚武精神”四个大字，以示对霍元甲的纪念。<br /> <br /> Sun Yat-sen spoke highly of Huo Yuanjia's courage to &quot;strengthen the country with military force&quot;. On the occasion of the 10th anniversary of the establishment of the Jingwu Association, he personally visited the conference and inscribed the four characters &quot;尚武精神&quot; （Spirit of Martial Arts） to commemorate Huo Yuanjia.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:54, 26 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> 1.少林拳发展到近现代，运动特点表现为禅拳一体、神形一片，硬打快攻、齐进齐退。<br /> <br /> Shaolin boxing in modern times is characterized by the integration of the spirit and form of Zen boxing, hard hitting and fast attacking, and advancing and retreating together.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 01:11, 28 November 2020 (UTC)<br /> <br /> 2.练功时，以坐势为主，立势为辅，坐即盘腿而坐，单盘，双盘，任其自便。身体平正，目视东方周身放松。心平气和，精神集中双手互握轻轻放在腿根或腹前。<br /> <br /> When practicing Qigong, the sitting posture is the mainstay, supplemented by the standing posture. Sitting is sitting with legs crossed, one leg crossed or both, as you like. The body is flat and relaxed with the eyes looking east. The mind is calm and concentrated, and the hands are gently placed on the roots of the legs or in front of the abdomen.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 01:11, 28 November 2020 (UTC)<br /> <br /> 3. 精武以体，智，德三星会旗和三星会徽为标记，代表精武以体，智，德三育为宗旨，倡导和发扬爱国，修身，正义和助人的精武精神。<br /> <br /> The flag and emblem of the three stars represent the Jingwu spirit of patriotism, self-cultivation, justice and helping others.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 01:11, 28 November 2020 (UTC)<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> 1.武术，是修习一门制止侵袭的高度自保技术，它在切实解决安全问题的基础上，使我们的头脑得到应变能力的训练，简便易行、能够轻松提升人的精神和身体素质，防卫健身.<br /> <br /> Wushu is a highly self-protection technology to stop being attacked. On the basis of solving the security problems, it can train our minds to improve the adaptability. Easily operative and convenient,it can easily enhance people's mental and physical quality, defend yourself and keep you fit. --[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:09, 29 November 2020 (UTC)<br /> <br /> 2.气功的好处除了保健作用外，也有治疗疾病的作用。如果病人选择气功作为辅助疗法，那么应根据不同的疾病选择不同的气功。如胃溃疡胃病患者可练习内养功;肿瘤患者可选择行步功或郭林新气功、自控气功等;高血压、神经衰弱及疼痛病人可选择放松功。<br /> <br /> Qigong has the benefits of health care and treatment of diseases. If patients choose Qigong as auxiliary therapy, they should choose different kinds of Qigong according to different diseases. For example, patients with gastric ulcer and stomach disease can choose internal nourishing work; cancer patients walking exercise or Guo Linxin Qigong and self-control Qigong; patients with hypertension, neurasthenia and pain relaxation exercise.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:10, 29 November 2020 (UTC)<br /> <br /> 3.在国人的印象中，北有霍元甲，南有黄飞鸿，南北双侠都是中国武林有史可查的大英雄。霍元甲拳打西洋力士、脚踢东洋武士；黄飞鸿虎鹤双形名扬武林，威震香江。<br /> <br /> In Chinese people’s minds, there was Huo Yuanjia in the North, Huang Feihong in the South, both of whom were great heroes in the history of Chinese martial arts. Huo Yuanjia punched Western warriors and kicked Japanese warriors; Huang Feihong, was greatly well-known and deterrent in the Wushu circle and Xiangjiang region with his unique skill of Tiger and Crane .--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:09, 29 November 2020 (UTC)<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> ==Wu Qiong 吴琼==<br /> 1. 2020年1月8日，在瑞士洛桑举行的国际奥委会执委会会议通过了武术列入第四届青年奥林匹克运动会正式比赛项目的申请，这是武术首次成为奥林匹克系列运动会正式比赛项目。<br /> <br /> On January 8, 2020, the application of martial arts to be included in the official event of the Fourth Youth Olympic Games. has been approved in the International Olympic Committee Executive Committee Cinference in Lausanne, Switzerland. And this is the first time that martial arts has become an official event of the Olympic series.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:39, 27 November 2020 (UTC)<br /> <br /> On January 8, 2020, the application of martial arts to be included in the official event of the Fourth Youth Olympic Games. has been approved in the International Olympic Committee Executive Committee Cinference in Lausanne, Switzerland，which is the first time that martial arts has become an official event of the Olympic series.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:15, 29 November 2020 (UTC)<br /> <br /> 2.我国古代气功文献资料浩如烟海，在道家、儒医、医家书记中有大量气功文献记载。挖掘整理工作，是一项既重要又艰巨的任务。<br /> <br /> There are a vast array of ancient Qigong documents in my country, and there are a large number of qigong documents recorded in Taoism, Confucian medicine, and medical secretaries. Digging and settling is an important and arduous task.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:39, 27 November 2020 (UTC)<br /> <br /> There are a vast variety of ancient Qigong documents in ancient Chinese,and a large number of qigong documents recorded in Taoism, Confucian medicine, and medical secretaries. Digging and settling these docements is an important and arduous task.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:15, 29 November 2020 (UTC)<br /> <br /> 3. 霍元甲逝世后，当时精武会弟子和上海武术界爱国人士为霍元甲举行了隆重葬礼，敬献了“成仁取义”挽联，安葬于上海北郊。<br /> <br /> After Huo Yuanjia's death, disciples of the Jingwu Club and patriots from the Shanghai martial arts circle held a grand funeral for him, and presented the elegiac couplet of &quot;sacrificed live for justice&quot;. He was buried in the northern suburbs of Shanghai.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:39, 27 November 2020 (UTC)<br /> <br /> After Huo Yuanjia's death, disciples of the Jingwu Club and patriots from the Shanghai martial arts circle held a grand funeral for him, and presented the elegiac couplet of &quot;sacrificed live for justice&quot;. Huo was buried in the northern suburbs of Shanghai.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:15, 29 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> 1.中国武术，伴随中华文明4000多年流传至今，是捍卫我族文明迄今屹立不倒的、重要的文化组成部分，不可割裂。它将引导我族携中国文化带领世界人民走向精神与物质并存的高度文明，是我国以文化崛起、文明治国不可或缺的核心元素之一。<br /> <br /> Chinese martial arts, which have been handed down with the Chinese civilization for more than 4,000 years, are an essential and inseparable part of the Chinese culture . It will lead the Chinese people with Chinese culture to be the guide of the world to a highly civilized coexistence of spirit and material. In addition, it is one of the indispensable core elements of China’ s rise and governance by culture and civilization.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:22, 28 November 2020 (UTC)<br /> <br /> 2.气功养生，就是通过有意识的自我身心调整，来达到养生保健、防病治病的锻炼方法。在学习气功养生前，首先要了解和掌握一下气功养生有哪些禁忌，以便日后练习中达到事半功倍的效果。<br /> <br /> Qigong can preserve one’s health. Consciously adjusting one’s body and mind is the way to keep health, prevent and treat diseases. Before learning Qigong to keep health, one should learn and master the taboo of it so as to yield twice the result with half the effort in the future practice.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:22, 28 November 2020 (UTC)<br /> <br /> Health-keeping Qigong is an exercise that helps adjust one’s body and mind to keep health, prevent and treat diseases. Before learning it, one should learn and master the taboo of it so as to yield twice the result with half the effort done.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:38, 28 November 2020 (UTC)<br /> <br /> 3.霍元甲幼年体弱，父亲霍恩第不让他习武，担心元甲习武日后有损霍家名声，拒不授艺于他。但元甲志存高远，偷艺于父传兄弟之机。<br /> <br /> As Huo Yuanjia（1868-1910）was weak in his childhood, his father, Huo Endi didn’t allow him to learn Martial art. He also worried that Yuanjia would humiliate the reputation of Huo family after his learning of Martial art, so he refused to teach him. But Yuanjia had high aspiration so that he learned secretly while his father was teaching his brothers.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:22, 28 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> 1.武指军事或武术，术指艺术。武术运动是从20世纪40年代中国武术发展起来的，目的是规范传统武术。<br /> <br /> 1.Wushu actually means martial arts in Chinese: Wu means military or martial, and Shu means art. The sport of wushu was developed from Chinese martial arts in the 1940’s. The goal was to standardize the practice of traditional martial arts.<br /> <br /> 2.传统中医理论描述了特殊的穴位，或指穴位，它们位于体内的经脉上。据信，在人体内的经脉（这些经脉并不真实存在）里流动着一股能量——一种叫做“气”的生命力。<br /> <br /> 2.Traditional Chinese medical theory describes special acupoints, or acupressure points, that lie along meridians, or channels, in your body. It is believed that through these invisible channels flows vital energy -- or a life force called qi (chi).<br /> <br /> 3.霍元甲（1868年1月18日－1910年9月14日），清末著名爱国武术家，字俊卿，生于天津静海县。霍元甲出身镖师家庭，继承家传“秘宗拳”绝技。<br /> <br /> 3.Huo Yuanjia(1868.1.18-1910.9.14),whose name is junqin,was a famous martial arts master and patriots in the late Qing dynasty.Born in a guard family in jinghai, Tianjin,he was the heir of &quot;mizongquan&quot; (the secert of punch).--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 05:59, 28 November 2020 (UTC)Wu Zijia<br /> <br /> 3.Huo Yuanjia(1868.1.18-1910.9.14),whose courtesy name is junqin,was a famous martial arts master and patriots in the late Qing dynasty.Born in a guard family in jinghai, Tianjin,he was the heir of &quot;mizongquan&quot; (the secert of punch).--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 08:51, 29 November 2020 (UTC)<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> 1.中国武术，伴随中华文明4000多年流传至今，是捍卫我族文明迄今屹立不倒的、重要的文化组成部分，不可割裂。它将引导我族携中国文化带领世界人民走向精神与物质并存的高度文明，是我国以文化崛起、文明治国不可或缺的核心元素之一。<br /> <br /> 1.Chinese Wushu, which has been handed down for more than 4000 years with Chinese civilization, is an important part of Chinese culture, which can not be separated. It will guide our nation to carry Chinese culture and lead the people of the world to a high degree of civilization where spirit and material coexist. It is one of the essential core elements for China's cultural rise and civilized governance.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:08, 26 November 2020 (UTC)Xiao Shuangling<br /> <br /> 2.气功在保健方面有独特的功效。他是建立在整体生命观理论基础上，通过主动的内向性运用意识活动的锻炼，改造、完美、提高人体的生命功能，把自然的本能变为自觉智能的实践。<br /> <br /> 2.Qigong has a unique effect on health care. It is based on the overall theory of life, through the active internality of the use of conscious exercise, to transform, perfect, improve the life function of the human body, the nature of the instinct into conscious intelligence practice.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:08, 26 November 2020 (UTC)Xiao Shuangling<br /> <br /> 2.Qigong has a unique effect on health care. It is based on the overall theory of life. Through the active internality, it uses conscious exercise to transform, perfect, improve the life function of the human body and transfer the nature of the instinct into conscious intelligence practice.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:44, 27 November 2020 (UTC)<br /> <br /> 3.两次打擂霍元甲都不战而胜，人们其实佩服的是霍元甲的精神和勇气，在别人都不敢站出来的时候他站了出来，这种精神是不死的。<br /> <br /> 3.Huo Yuanjia won the two fights without a fight. What people actually admire is Huo Yuanjia's spirit and courage. He stood up when others were afraid to stand up. This spirit is immortal.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:08, 26 November 2020 (UTC)Xiao Shuangling<br /> <br /> In both attempts, Huo Yuanjia won without a fight. In fact, what people admire most is his spirit and courage. He stood up bravely when others were afraid of failure, and it is an immortal spirit. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:20, 26 November 2020 (UTC)<br /> <br /> ==Xiao Ting 肖婷==<br /> 1. 功夫，是在中国清末出现的、关于“武术”的别称，主要体现在个人在武术上的应用和造诣。杀伤性强，观赏性较之武术略显不足。<br /> <br /> Kung Fu, a nickname for &quot;martial arts&quot; that appeared in late Qing China, is a term used to describe an individual's application and attainment in martial arts. It is highly lethal and slightly less ornamental than martial arts.<br /> <br /> Kung fu, as known as &quot;martial arts&quot;, which appeared in the late Qing dynasty of China, mainly to show one's application and talent on Kung fu. It has strong lethality, but slightly less ornamental than martial arts.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:01, 27 November 2020 (UTC)<br /> <br /> 2.随着科学的向前发展，我们可以用现代科学的有关知识来认识气功，这将更加深化我们对气功实质的认识。<br /> <br /> With the development of science, we can use the relevant knowledge of modern science to understand Qigong, which will deepen our understanding of qigong's essence.<br /> <br /> With the further development of science, we can use the relevant knowledge of modern science to learn about Qigong, and it will deepen our understanding to the essence of Qigong.<br /> <br /> 3.有传说霍元甲被日本人下毒药害死之后，他的爱徒陈真替他报仇。这个传说在1972年首次被搬上大银幕（电影《精武门》）。但其实历史上并没有“陈真”这个人物，“陈真”是艺术家们根据刘振声的若干事迹塑造出来的，目的是为了让电影情节更好看。<br /> <br /> Legend has it that after Huo Yuanjia was killed by poison from the Japanese, then his beloved disciple Chen Zhen avenged his death. This legend was first brought to the big screen in 1972 (the movie &quot;Jing Wu Men&quot;). However, there is no &quot;Chen Zhen&quot; in history, but rather he was created by artists based on some of Liu Zhensheng's deeds in order to make the plot of the movie more exciting.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:01, 27 November 2020 (UTC)Xiao ting<br /> <br /> According to the tale, after Huo Yuanjia was murdered by Japanese poison medicine, ChenZhen, his beloved disciple, avenged for him. And this tale was firstly moved to the big screen in 1972. (the movie &quot;Fist of Fury&quot;). However there is no such a person in history actually, Chenzhen is a virtual character wrote in terms of some stories of Liu Zhensheng by artists, thus to make the movie's plots more vivid.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:01, 27 November 2020 (UTC)<br /> <br /> ==Xie Fan 解帆==<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> 1.武术是一种哲学。在汉字里，武是由止和戈两个字组合成的，止戈为武，因此武术蕴含着终止战争的意思，是一种停止战斗的艺术，而非发起战斗的技术。<br /> <br /> Kung Fu, formally called martial arts, is a philosophy. In Chinese character, martial is composed of two words meaning stop and weapon. Therefore Kung Fu contains the meaning of termination of war. It stops fighting rather than starts fighting.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:49, 27 November 2020 (UTC)Xu Jia<br /> <br /> Martial arts is a kind of philosophy. In Chinese character, Wu is composed of two words which means stop and weapon respectively. Therefore, martial arts contains the meaning of termination of war. It is a technique that stops a fighting rather than starts a fighting.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:49, 28 November 2020 (UTC)<br /> <br /> <br /> 2.疫情期间，很多人都注意到了包括健身气功在内的中国传统功法在增强抵抗力、防病治病方面的积极作用，健身气功广为流行。<br /> <br /> During the epidemic, many people have noticed the benefits of traditional Chinese exercises such as Health Qigong, which has gained popularity for it can help to strengthen resistance and prevent and treat diseases.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:49, 27 November 2020 (UTC)Xu Jia<br /> <br /> During the outbreak of the epidemic, many people have noticed the positive roles that traditional Chinese exercises play such as Health Qigong which has gain a great popularity for it helps to strengthen resistence,and prevent and treat diseases.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:49, 28 November 2020 (UTC)<br /> <br /> 3.孙中山对霍元甲“以武术保国”的胆识给予了很高的评价。在精武会成立10周年之际，他亲临大会，题写了“尚武精神”四个大字，以示对霍元甲的纪念。<br /> <br /> Sun Yat-sen thought highly of Huo Yuanjia for his courage to defend the country with martial arts. To commemorate him, Sun attend the celebration for the 10th anniversary of the Jingwu Association 's establishment and wrote four character&quot;Shang Wu Jing Shen&quot;, which means paying tribute to warrior spirit.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:49, 27 November 2020 (UTC)Xu Jia<br /> <br /> Sun Yat-sen thought highly of Huo Yuanjia for his courage to &quot;defend the country with martial arts“. To commemorate him, Sun attended the celebration for the 10th anniversary of the Chin Woo Federation's establishment and wrote four characters &quot;Shang Wu Jing Shen&quot;, which means paying tribute to militarism.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:49, 28 November 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> <br /> 1. 先是从捕猎和战斗中被创造出来，接着到冷兵器时期具备了不俗的技击属性，再到后来为了便于武术的流传和官方的管理开始逐渐出现武术套路......中国武术伴随着中国历史和文明发展，流传了几千年。<br /> <br /> It was first created from hunting and fighting, then during the Cold War it developed its remarkable striking properties, and then martial arts routines gradually appeared in order to facilitate the spread and official management of the martial arts...... The Chinese martial arts have accompanied the development of Chinese history and civilisation for thousands of years.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 12:25, 29 November 2020 (UTC)<br /> <br /> 2. 今天人们所说的“气功”，内容非常宽泛，不仅包括古代的行气、导引，还附会易理，掺杂数术，融合医、儒、释、道，旁涉武术技击和幻化之术，连国外的同类也包括在内，比如印度瑜伽，甚至还吸收了现代科学的概念和术语，比如“场”“能量”“分子结构”等，可谓芜杂，金子都被沙子掩盖了。再加上有一些人浑水摸鱼，自封大师，招摇撞骗，败坏了气功的声誉。<br /> <br /> What people today call &quot;qigong&quot; is very broad in scope, including not only the ancient methods of qi movement and guidance, but also Yi Li, mixed with mathematical techniques, and a mixture of medicine, Confucianism, Buddhism and Taoism, as well as martial arts techniques and illusions. Moreover, some foreign counterparts, such as Indian yoga, and modern scienctic terms, such as &quot;fields&quot;, &quot;energies&quot;, &quot;molecular structures&quot;, etc., are also included, which can be described as a mishmash, with the gold being covered up by the sand. Besides, some people who fish in troubled waters, appoint themselves masters, and beckon and deceive, ruin the reputation of qigong as well.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 12:25, 29 November 2020 (UTC)<br /> <br /> <br /> 3. “据老人们传说，霍元甲少年时期身体较弱，父亲霍恩第就害怕他练武不成，反倒坏了霍家‘迷踪拳’的名声，所以不允许他习武。”<br /> <br /> &quot;According to old stories, when Huo Yuanjia was young, his weak constitution prevented him from being allowed to learn martial arts, for his father, Huo Endi, feared that he would ruin the Huo family's reputation of a 'elusive punch'.&quot;--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 12:25, 29 November 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 1. 中国武术，有着悠久的历史，最早可以追溯到商周时期，具有极其广泛的群众基础，是中国劳动人民在长期的社会实践中不断积累和丰富起来的一项宝贵的文化遗产。<br /> <br /> Chinese Wushu, with a long history dating back to the Shang and Zhou dynasties, have an extremely broad mass base. It is an invaluable cultural heritage that has been accumulated and enriched by Chinese working people in their long-term social practice.<br /> <br /> Chinese martial art, with a long history which can be traced as early as the Shang and Zhou dynasties, has an extremely broad mass base. It is a precious cultural heritage which has been accumulated and enriched by the Chinese working people in their long-term social practice.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:25, 24 November 2020 (UTC)<br /> <br /> The time-honored Chinese Wushu, a precious cultural heritage constantly accumulated and enriched during Chinese labor people's long-term social practices, which can be dated back to Shang and Zhou Dynasties, boasts supremely wide mass basis. --[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 04:34, 26 November 2020 (UTC)<br /> <br /> 2. 如果从现代行为医学的角度看，气功锻炼是对一种有利于心身健康的良性行为进行学习训练，最终以条件反射方式固定下来的行为疗法。<br /> <br /> If we look at it from the perspective of modern behavioral medicine, Qigong is a kind of behavioral therapy for learning and training a virtuous behavior conducive to mental and physical health, eventually fixing it in a reflexive manner.<br /> <br /> If it is viewed from the perspective of modern behavioral medicine, Qigong is a behavioral therapy that learns and trains a virtuous behavior conducive to mental and physical health, and is finally fixed in a reflexive way.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:11, 26 November 2020 (UTC)<br /> <br /> <br /> 3. 综合以上，关于霍元甲死亡的说法现今主要有两种，一种是被日本人毒死，还有一种就是少年练气功致病，死于自身病症。<br /> <br /> To summarize, there are two main theories about Huo Yuanjia’ s death. One is that he was poisoned by the Japanese, and the other is that he died of his own illness, caused by practicing qigong when he was young.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:16, 24 November 2020 (UTC)Yang Chenting<br /> <br /> To sum up, there are two main claims about the death of Huo Yuanjia, one is poisoned by the Japanese, and the other is that young people practice Qigong to cause disease, death from their own diseases.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 09:14, 26 November 2020 (UTC)<br /> <br /> ==Yang Hairong 杨海容==<br /> 1.武术，制止侵袭、停止战斗的技术。拥有消停战事、维护和平的实力，通过武化流传，是物质文明的保障和导向。<br /> Martial arts, the art of stopping aggression or fighting. It is the guarantee and guidance of material civilization to have the strength to stop wars and maintain peace and spread through military civilization.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 08:47, 29 November 2020 (UTC)<br /> <br /> Martial arts has the power to stop aggression and maintain peace. Its spread provides guarantees and guide for the material civilisation.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:04, 29 November 2020 (UTC)Xu Jia<br /> <br /> 2.中国气功强调天人合一，人和自然界有着密切不可分割的联系，人的机体受到气候、环境等因素的影响。中国气功重视人与自然界的动态适应。<br /> Chinese Qigong emphasizes the unity of individual and nature. Individual and nature have a close and inseparable relationship. Human organism is affected by climate, environment and other factors. Chinese Qigong attaches importance to the dynamic adaptation between human and nature.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 08:47, 29 November 2020 (UTC)<br /> <br /> 3.孙中山先生对霍元甲将迷踪拳公之于世的高风亮节非常赞许，亲笔写下了“尚武精神”四个大字，赠送给精武体育会。<br /> Sun Yat-sen expressed his approval to the world that Huo Yuanjia had unveiled his fan boxing to the public. He wrote down in his handwriting the four-character &quot;Martial Spirit&quot; and presented it to the Jingwu Sports Association.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 08:47, 29 November 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> 1.穷文富武，真正传统武术家都和宗教、帮会、官僚、商人有着密切关系。一九四九年以后历次政治运动，很多武术家被作为反革命、牛鬼蛇神、封建会道门]成员镇压迫害下放逐，境遇非常悲惨。<br /> <br /> Poor and rich, the real traditional martial artists and religion, gangs, bureaucrats, businessmen have a close relationship.In all political movements since 1949, many martial artists have been subjected to oppression and devolution as counter-revolutionaries, ghosts and monsters, and members of the feudal society.<br /> <br /> Poor people learn arts while affluent people learn martial arts. The real traditional martial artists have a close relationship with religion, gangs, bureaucrats and businessmen.In all political movements since 1949, many martial artists have been subjected to oppression and devolution as counter-revolutionaries, ghosts and monsters, and members of the feudal society.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:03, 26 November 2020 (UTC)<br /> <br /> 2.气功本分两类，一类是静立、静坐、静卧，使精神集中，并用特殊的方式进行呼吸，促进循、消化等系统的机能。另一类是用柔和的运动操、按摩等方法，坚持经常锻炼，以增强体制。<br /> Qigong is divided into two categories: standing still, sitting still and lying still, concentrating the mind, breathing in special ways, promoting the functions of the following systems, such as digestion and so on.The other is to use gentle exercise, massage and other methods, adhere to regular exercise, to enhance the system.<br /> <br /> There are two types of Qigong. One is standing still, sitting still and lying still, which can help to concentrate on the mind and to promote the functions of circulation and digestion system by breathing in a special way. The other is to use some methods like soft exercise, massage etc.and adhere to regular exercise to strengthen the system.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 12:01, 26 November 2020 (UTC)<br /> <br /> 3.霍元甲幼时体弱多病。其父霍恩第是名显一时的秘宗拳师。他担心元甲习武日后有损霍家名声，拒不授艺于他。但元甲志存高远，他日日留心，处处参察，偷艺于父传兄弟之机。<br /> Huo yuanjia is weak and sickly when young.His father, Horndie, was a one-time secret boxer.He feared that Yuan Jia's martial arts would harm his family's reputation and refused to teach him.But Yuan Jia's aim is high, and he keeps an eye on it every day.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 09:09, 26 November 2020 (UTC)<br /> <br /> Huo Yuanjia was weak and sickly when he was young. His father, hohendi ,a famous secret boxer, was afraid that Yuanjia would damage the reputation of Huo family and refused to teach him martial arts. However, having set his aims high. Yuanjia paid close attention to martial art day by day and seized the opportunity to learn it when his father was passing on martial atr to his brother.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 12:01, 26 November 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> 1、武术不仅以外在的形体美著称，如架势，动作以及技巧，而且其内在美更为独特，被称为“生活之本，力量之源”。武术的本质是阴阳学说、五行学说和八卦理论<br /> <br /> Wushu is characterized not only by exterior beauty, found in postures, movements and techniques, but also deep interior beauty, emphasizing “ life essence, vital energy and spirit.” The essence of Wushu rests on the theories of Yin and Yang, the five elements and eight diagrams.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:35, 27 November 2020 (UTC)<br /> <br /> <br /> 2、气功是源于中国的一种自我身心锻炼的方法，尽管气功功法种类很多，但是强调放松入静是共同的。气功是中华民族文化的瑰宝，是孕育中华文化人文精神一颗明珠，是传承中国传统文化的重要形式。 <br /> <br /> Qigong, originating from China, is a self-training approach of the body and mind. Although there are varieties of qigong exercises, it is common to emphasize relaxation and meditation. Qigong is the gem of Chinese culture , a bright pearl which gives birth to the humane spirits of Chinese culture, and an important form which inherits our traditional culture.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:35, 27 November 2020 (UTC)<br />  <br /> <br /> <br /> 3、霍元甲是清末著名爱国武术家，他的武艺出众，继承家传“迷踪拳”绝技。他的一生虽然短暂，但却轰轰烈烈，充满传奇色彩。<br /> <br /> Huo Yuanjia is a famous patriotic martial artist in the late Qing Dynasty. His skill in martial arts is outstanding and he inherits his family’ s unique skill“Mi Zong Boxing”. His whole life is brief, but magnificent and victorious, be full of legend color.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:35, 27 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> 中国武术，伴随中华文明4000多年流传至今，是捍卫我族文明迄今屹立不倒的、重要的文化组成部分，不可割裂。<br /> Chinese martial arts, which has passed on with Chinese civilization for more than 4,000 years, is an important cultural component that has stood up to defend our civilization and cannot be separated.<br /> <br /> Chinese martial art, which has passed on with Chinese civilization for more than 4,000 years, is an important cultural component that has stood up to defend our civilization and cannot be separated.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:21, 27 November 2020 (UTC)<br /> <br /> 如果从现代行为医学的角度看，气功锻炼是对一种有利于心身健康的良性行为进行学习训练，最终以条件反射方式固定下来的行为疗法。<br /> From the perspective of modern behavioral medicine, qigong exercise is a behavioral therapy that trains a benign behavior that is conducive to mental and physical health, and is finally fixed in a conditioned way.<br /> <br /> From the perspective of modern behavioral medicine, Qigong exercise trains a benign behavior that is conducive to mental and physical health and is finally fixed in a conditional reflex way.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:21, 27 November 2020 (UTC)<br /> <br /> 霍元甲的品牌在上海滩立足后，同盟会再接再厉，于1909年当年就开始在闸北的王家宅筹备 “精武体操会”.<br /> After Huo Yuanjia’s brand gained a foothold in Shanghai, Tongmenghui continued its efforts. In 1909, it began preparations for the &quot;Martial Arts Gymnastics Club&quot; at Wangjiazhai in Zhabei.<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> ==You Yuting 游雨婷==<br /> 1.中国武术是一种中国特色的文化。当然，它首先应该是一种格斗术。武术起源和流传的意义都在于它的格斗价值，但与拳击不一样，它除了格斗部分外还融入了医学与哲学的成分。<br /> <br /> Chinese Wushu is a culture with Chinese characteristics. Of course, it should be a fighting art in the first place. The origin and the point of spreading martial arts lie in its fighting value, but unlike boxing, it also integrates itself with medical and philosophical elements in addition to the fighting part.<br /> <br /> 2.如果从心理生理学过程看的话，可将气功定义为: 主要是通过使用自我暗示为手段，促使意识进入到自我催眠状态，通过心理-生理-形态自调机制调整心身平衡，达到健身治病目的方法。<br /> <br /> From the perspective of the psychophysiological process, Qigong can be defined as a method that mainly uses self-suggestion to promote consciousness into a self-hypnosis state, and adjusts the balance between mind and body through the self-adjustment mechanism of psychology-physiology-form, so as to achieve the purpose of fitness and treatment.<br /> <br /> 3.霍元甲故居纪念馆从建成之日起已有数万的爱国人士前来参观瞻仰，重温霍元甲这位爱国英雄的传奇事迹和感人精神。<br /> <br /> Since the memorial hall of Huo Yuanjia's former residence was built, tens of thousands of patriotic people have come to visit and paid their respects, reviewing the legendary deeds and moving spirit of Huo Yuanjia, a patriotic hero.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:14, 27 November 2020 (UTC)<br /> <br /> Since the memorial hall of Huo Yuanjia's former residence was built, tens of thousands of patriotic people have come to visit and shown their respects, to review the legendary deeds and moving spirit of Huo Yuanjia, a patriotic hero.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 13:56, 29 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> 1.中国传统武术，是修习一门制止侵袭的高度自保技术，它在切实解决安全问题的基础上，使我们的头脑得到应变能力的训练，简便易行、能够轻松提升人的精神和身体素质，防卫健身，精进卓越，快乐通融。<br /> <br /> Chinese traditional martial arts is a highly self-protection technology to stop the invasion. On the basis of solving the security problems, it can train our minds to adapt to the changes, which is easy to improve people's mental and physical quality, defend and keep fit, making great progress and beinh happy and flexible.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 13:20, 29 November 2020 (UTC)<br /> <br /> 2.我国古代气功文献资料浩如烟海，在道家、儒医、医家书记中有大量气功文献记载。气功主要是通过使用自我暗示为核心的手段，促使意识进入到自我催眠状态，通过心理—生理—形态自调机制调整心身平衡，达到健身治病目的的自我锻炼方法。<br /> <br /> There are a lot of Qigong documents in ancient China, which are recorded in Taoism, Confucian and medical books. Qigong is a kind of self exercise method, which mainly uses self suggestion as the core to promote consciousness to enter into self hypnosis state, to adjust the balance of mind and body through the self regulating mechanism of psychology, physiology and morphology, so as to achieve the purpose of fitness and treatment.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 13:20, 29 November 2020 (UTC)<br /> <br /> 3.孙中山对霍元甲“以武保国强种”的胆识给予了很高的评价。在精武会成立10周年之际，他亲临大会，题写了“尚武精神”四个大字，以示对霍元甲的纪念。<br /> <br /> Sun Yat Sen spoke highly of Huo Yuanjia's courage of &quot;protecting the country and strengthening the species by military means&quot;. On the occasion of the 10th anniversary of the establishment of the Jingwu Association, he personally attended the meeting and inscribed the four characters &quot;warrior spirit&quot; to commemorate Huo Yuanjia.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 13:20, 29 November 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> 孙中山对霍元甲“以武保国强种”的胆识给予了很高的评价。在精武会成立10周年之际，他亲临大会，题写了“尚武精神”四个大字，以示对霍元甲的纪念。<br /> <br /> Sun Yat-sen gave a high praisel of Huo Yuanjia for his courage to &quot;protect the country and strengthen the nation by means of Chinese martial arts&quot;. He, on the occasion of the 10th anniversary of the establishment of the Jingwu Association, personally attended the conference and inscribed &quot;Warrior Spirit&quot; to commemorate Huo Yuanjia.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 04:29, 26 November 2020 (UTC)<br /> <br /> Sun Yat-sen highly praised Huo Yuanjia for his courage to &quot;protect the country and strengthen the nation by means of Chinese martial arts&quot;. He, on the occasion of the 10th anniversary of the establishment of the Jingwu Association, attended the conference in person and inscribed &quot;Warrior Spirit&quot; to commemorate Huo Yuanjia.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 03:59, 27 November 2020 (UTC)<br /> <br /> Sun Yat-sen spoke highly of Huo Yuanjia for his courage to &quot;protect the country by means of Wu&quot;. On the occasion of the 10th anniversary of the establishment of the Jingwu Association, he personally attended the conference and inscribed the four characters &quot;Warrior spirit&quot; to commemorate Huo Yuanjia.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 27 November 2020 (UTC)<br /> <br /> <br /> 如果从气功作用的心理生理学过程看的话，可将气功定义为：主要是通过使用自我暗示为核心的手段，促使意识进入到自我催眠状态，通过心理—生理—形态自调机制调整心身平衡，达到健身治病目的的自我锻炼方法。<br /> <br /> In terms of the psychological and physiological process of Qigong, it can be defined as a self-exercise method that mainly utilizes self-suggestion as the kernel to promote consciousness into a self-hypnosis state, and adjusts the mind-body balance through the self-adjustment mechanism of psychology-physiology-shape, so as to keep fit and cure diseases.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 04:29, 26 November 2020 (UTC)<br /> <br /> <br /> 中国武术，以中国文化为基础的、停止战斗的技术。武术，使用打斗等手法、来达到停止战斗的目的、的技术。武，是停止战斗的技术，而并非发起战斗的技术。所以，但凡主动发起、挑衅起战斗的，都违背了武，是灭武的行为。<br /> <br /> Chinese Wushu is a technique based on Chinese culture that stops fighting. Wushu uses techniques such as fighting to stop fighting. Wushu is the art of stopping combat, not starting it. Therefore, whoever initiates or provokes a battle violates the basic rules of Wushu, which disobeys Wushu.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 04:29, 26 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> 1.武术是古代军事战争一种传承的技术。习武可以强身健体，亦可以防御敌人进攻。<br /> Martial art is a technique inherited from the ancient military wars. Learning martial arts can not only build up our body, but also defend attacks from enemies.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 08:54, 28 November 2020 (UTC)<br /> <br /> 2.随着科学的向前发展，我们可以用现代科学的有关知识来认识气功，这将更加深化我们对气功实质的认识。<br /> With the development of science, we can use the relevant knowledge of modern science to know qigong, which will deepen our understanding to the essence of it.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 08:54, 28 November 2020 (UTC)<br /> <br /> 3.霍元甲逝世后，当时精武会弟子和上海武术界爱国人士为霍元甲举行了隆重葬礼。<br /> After Huo Yuanjia’s death, the disciples of Chin Woo Federation and patriots from the circle of martial arts in Shanghai then held a grand funeral for him. After Huo Yuanjia's death, disciples of the Jingwu Club and patriots from the Shanghai martial arts circle held a grand funeral for Huo Yuanjia.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 08:54, 28 November 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> 我们修习武术，是让我们从身到心、由魂而魄得到提升而充满安全感，精壮神足，具有安然自胜的实力。Learning and practicing martial arts is to improve and fulfill us with sense of security from exterior to interior, through which we can be energetic, so as to be comfort and composed.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:52, 28 November 2020 (UTC)<br /> <br /> 我国古代气功文献资料浩如烟海，在道家、儒医书记中有大量气功文献记载<br /> Files of qigong in ancient China are as vast as the open sea, in which have many recordings of qigong, including medical books of Taoism, and Confucianism.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:52, 28 November 2020 (UTC)<br /> <br /> 霍元甲，清末著名爱国武术家，字俊卿，生于天津静海县。<br /> Huo Yuanjia, a famous patriotic martial artist in the late Qing Dynasty, with Junqing as his surname, was born in Jinghai county in Tianjin Province.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:52, 28 November 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> 1.中国武术不仅涵盖了西方体育的多种运动形式，而且，还拥有独特的东方传统运动形式、深邃的思想和厚重的文化。<br /> <br /> Chinese martial arts not only covers a variety of sports forms of Western sports, but also has a unique oriental traditional sports form, profound thoughts and profound culture.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:43, 26 November 2020 (UTC)<br /> <br /> The Chinese martial arts not only encompasses many forms of Western sports, but also has a unique oriental tradition of sports, profound thoughts and a strong culture.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:54, 26 November 2020 (UTC)<br /> <br /> The Chinese martial arts contains many forms of Western sports, what's more, it has a unique oriental tradition sports form, profound thoughts as well as profound culture.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 10:05, 27 November 2020 (UTC)Li Lili<br /> <br /> 2.如果从现代行为医学的角度看，气功锻炼是对一种有利于心身健康的良性行为进行学习训练，最终以条件反射方式固定下来的行为疗法。<br /> <br /> From the perspective of modern behavioral medicine, Qigong exercise is a behavioral therapy that learns and trains a benign behavior that is conducive to mental and physical health, and is finally fixed in a conditioned reflex way.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:43, 26 November 2020 (UTC)<br /> <br /> If we look at it from the perspective of modern behavioral medicine, qigong exercises are behavioral therapies for learning and training a virtuous behavior conducive to mental and physical health, and eventually fixing it in a reflexive manner.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:54, 26 November 2020 (UTC)<br /> <br /> From the perspective of modern behavioral medicine, practicing Qigong is a behavioral therapy that learns and trains a benign behavior that is conducive to mental and physical health, and is finally fixed in a conditioned reflexive way.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 10:05, 27 November 2020 (UTC)Li Lili<br /> <br /> 3.霍元甲故居纪念馆从建成之日起已有数万的爱国人士前来参观瞻仰，重温霍元甲这位爱国英雄的传奇事迹和感人精神。<br /> <br /> Tens of thousands of patriots have come to visit and admire the Huo Yuanjia Former Residence Memorial Hall since it was completed, relive the legendary deeds and moving spirit of this patriotic hero.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:43, 26 November 2020 (UTC)<br /> <br /> From the day it was built, tens of thousands of patriots have visited Huo Yuanjia's former residence to relive the legendary deeds and touching spirit of the patriotic hero.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:54, 26 November 2020 (UTC)<br /> <br /> Tens of thousands of patriots have come to visit and admire the Huo Yuanjia Former Residence Memorial Hall since it was completed, reliving the legendary deeds and moving spirit of the patriotic hero.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 10:05, 27 November 2020 (UTC)Li Lili<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> 1. 武术是中国社会重要的集体记忆之一，在各种文学、电影、戏剧中经常出现，对中国社会有着深刻而无可取代的人文意义。<br /> <br /> As one of the important collective memories in Chinese society, Wushu often appears in various literature, movies and dramas, and has profound and irreplaceable humanistic significance to Chinese society. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 09:18, 29 November 2020 (UTC)<br /> <br /> 2. 气功强调天人合一，人和自然界有着密切不可分割的联系，人的机体受到气候、环境等因素的影响。<br /> <br /> Qigong emphasizes that man is an integral part of nature. Man and nature are closely linked. Human body is affected by climate, environment and other factors. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 09:18, 29 November 2020 (UTC)<br /> <br /> 3. 霍元甲逝世后，当时精武会弟子和上海武术界爱国人士为霍元甲举行了隆重葬礼，敬献了“成仁取义”挽联，安葬于上海北郊。<br /> <br /> After Huo Yuanjia passed away, the disciples of Chinwoo and patriots of Shanghai Wushu circle held a grand funeral for him, presented the elegiac couplet of &quot;die for a just cause&quot;, and buried him in the northern suburb of Shanghai. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 09:18, 29 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> 武术 气功 霍元甲<br /> 中国的武术，是包括有着悠久的历史，最早可以追溯到商周时期，具有极广泛的群众基础。<br /> Wu Shu,which can date back to the Shang and Zhou Dynisties, has a prfound history and widespread public recorgnition.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:56, 27 November 2020 (UTC)<br /> <br /> Wu Shu, with a profound history dating back to the Shang and Zhou Dynisties, has a widespread public recorgnition.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:32, 27 November 2020 (UTC)<br /> <br /> Chinese martial arts, with a long history, which can be traced back to the Shang and Zhou Dynasties, is supported by a lot of people.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:25, 28 November 2020 (UTC)<br /> <br /> 气功是中国传统的保健、养生、祛病的方法，以呼吸作为手段。<br /> Qigong(a system of deep breathing exercises), is a method to achieve fitness, health and illneses.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:56, 27 November 2020 (UTC)<br /> <br /> Qigong(a system of deep breathing exercises), can help people get rid of illnesses to keep fitness and health.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:32, 27 November 2020 (UTC)<br /> <br /> Qigong is a method of health care, recuperation, and elimination of disease in Chinese tradition, the method of which is to breathe.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:25, 28 November 2020 (UTC)<br /> <br /> 霍元甲是清朝末年的武术家。他年幼体弱，但志向高远。<br /> Hu Yuanjia is a martial artist of China in the late Qing Dynasty, who was frail in health in his childhood but had high aspiration.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:56, 27 November 2020 (UTC)<br /> <br /> Hu Yuanjia, a martial artist of China in the late Qing Dynasty, owned high aspirationwas although was frail in his childhood.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:32, 27 November 2020 (UTC)<br /> <br /> Huo Yuanjia, a martial artist in the late Qing Dynasty, who was frail in his childhood, but had high aspirations.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:25, 28 November 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> 1. Wushu<br /> 相比于中国武术，“中国功夫”的称法更具有国际性，它甚至使英语世界为之创造了一个新词汇“Kongfu”。但是，中国功夫只是一种搏击术，而武术不是。武术蕴含着世界上独一无二的“武文化”，它是在中国历史和文化土壤中培育出来的中华之花。<br /> Compared with Chinese martial arts, the term &quot;Chinese Kung Fu&quot; is more international. It even makes the English-speaking world create a new word &quot;Kongfu&quot;. However, Chinese kung fu is only a kind of martial arts, while martial arts are not. Wushu contains a unique &quot;martial arts culture&quot; in the world. It is the flower of China cultivated in the soil of Chinese history and culture.<br /> <br /> 2. Qigong<br /> 我国古代气功文献资料浩如烟海，在道家、佛医、儒医、医家书记中有大量气功文献记载。挖掘整理工作，是一项既重要又艰巨的任务，它不仅要求研究者有较高的医学、气功学及古汉语、现代汉语等方面的知识，还须自身有较高的气功功底。<br /> There are numerous Qigong documents in ancient China, and there are a large number of Qigong documents recorded in Taoism, Buddhist medicine, Confucian medicine and doctor secretaries. Digging and sorting out is an important and arduous task. It requires researchers not only to have higher knowledge of medicine, Qigong, ancient Chinese, modern Chinese and other aspects, but also to have higher Qigong skills.<br /> <br /> 3. Huo Yuanjia<br /> 霍元甲是清朝末年的一位武术大师，在国内外享有盛名。有人据此推想，霍元甲是被日本医生借给他看病之机毒死的。也有人认为真正导致霍元甲死亡的原因是肺病。1901年，霍元甲33岁。<br /> Huo Yuanjia was a martial arts master in the late Qing Dynasty and enjoyed a great reputation at home and abroad. According to this, some people infer that Huo Yuanjia was poisoned by a Japanese doctor who lent him a chance to see a doctor. Some people also believe that the real cause of Huo Yuanjia's death is lung disease. In 1901, Huo Yuanjia was 33 years old.<br /> --[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 14:48, 29 November 2020 (UTC) Zhang Weihong<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.作为炎黄子孙的生存技能，中国传统武术伴随着中国历史与文明发展，走过了几千年的风雨历程，成为维系这个民族生存和发展的魂、和承载中华儿女基因构成的魄。<br /> <br /> As the survival skills of Chinese people, with the development of Chinese history and civilization, traditional Chinese Wushu went through the trials and hardships for thousands of years. It became the spirit of maintaining the national subsistence and development as well as carrying the Chinese people’s genetic make-up.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 06:48, 26 November 2020 (UTC)<br /> <br /> As the survival skills of Chinese people, traditional Chinese Wushu, with the development of Chinese history and civilization, has gone through the trials and hardships for thousands of years, becoming the spirit of maintaining the national subsistence and development as well as carrying the Chinese people’s genetic make-up.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:52, 26 November 2020 (UTC)Xiao Shuangling<br /> <br /> 2.随着科学的向前发展，我们可以用现代科学的有关知识来认识气功，这将更加深化我们对气功实质的认识。<br /> <br /> With the progressive development of science, we are able to make use of the modern scientific knowledge to recognize the Qigong, which will deepen our understanding to the essence of Qigong.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 06:48, 26 November 2020 (UTC)<br /> <br /> With the development of science, we can make use of the modern scientific knowledge to recognize the Qigong, which will deepen our understanding to the essence of Qigong.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:52, 26 November 2020 (UTC)Xiao Shuangling<br /> <br /> With the advancement of science, we can give a full play to the role of relevant knowledge of modern science in understanding the Qigong, which will deepen our understanding of its essence.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:25, 26 November 2020 (UTC)<br /> <br /> 3.孙中山在精武会成立10周年之际，他亲临大会，题写了“尚武精神”四个大字，以示对霍元甲的纪念。<br /> <br /> In the 10th anniversary of the founding of the Jingwu Society, Sun Yat-sen made a personal appearance at the event and inscribed four characters “Shang Wu Jing Shen” (encouragement of a military spirit), showing the honor to Huo Yuanjia.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 06:48, 26 November 2020 (UTC)<br /> <br /> On the occasion of the 10th anniversary of the founding of the Jingwu Society, Sun Yat-sen made a personal appearance at the event and inscribed four characters “Shang Wu Jing Shen” (encouragement of a military spirit), showing the honor to Huo Yuanjia.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:52, 26 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 1.武术是古代军事战争一种传承的技术。习武可以强身健体，亦可以防御敌人进攻。<br /> <br /> Martial arts is an inherited technique in ancient military warfare. Practicing martial arts can strengthen the body, and can also defend against enemy attacks.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:41, 29 November 2020 (UTC)<br /> <br /> 2.气功是一种中国传统的保健、养生、祛病的方法。<br /> <br /> Qigong is a traditional Chinese method of health care, health preservation, and disease healing.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:41, 29 November 2020 (UTC)<br /> <br /> 3.霍元甲是清末著名爱国武术家，沧州十大武术名人之一。 霍元甲喜行侠仗义，曾打败俄国大力士、英国大力士、日本柔道会，后霍元甲在上海创办中国精武体育会，掀起习武热潮。<br /> <br /> Huo Yuanjia is a famous patriotic martial artist in the late Qing Dynasty and one of the top ten martial arts celebrities in Cangzhou. Huo Yuanjia was a knight of action, and once defeated Russian Hercules, British Hercules, and Japanese Judo Club. After that, Huo Yuanjia founded the Chinese Jingwu Sports Association in Shanghai, which set off a wave of martial arts.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:41, 29 November 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> 1. 武术更应有着它的文化和智慧，有着它的精神内涵，这是一种道，包括儒家思想、道家精神、释家涵养等丰富内涵。<br /> <br /> Martial arts should have its culture, wisdom and spiritual connotation, which is a kind of Tao, including Confucianism, Taoist spirit, Buddhist self-restraint and other rich connotations.<br /> <br /> Martial arts should boast culture, wisdom and spirit of its own, which is a kind of Tao, including rich connotations like Confucianism, Taoist spirit, Buddhist self-restraint and so on.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 01:47, 28 November 2020 (UTC)<br /> Matial arts should have its culture, wisdom and spiritual connotation, which is a kind of Tao, comprising Confucianism, Tao spirit, Buddihist self-restraint.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 03:43, 29 November 2020 (UTC)<br /> <br /> 2. 如果从现代行为医学的角度看，气功锻炼是对一种有利于心身健康的良性行为进行学习训练，最终以条件反射方式固定下来的行为疗法。<br /> <br /> From the perspective of modern behavioral medicine, Qigong is a behavioral therapy that learns and trains a benign behavior beneficial to mental and physical health and is finally fixed in condition reflex.<br /> <br /> <br /> <br /> 3. 坐落在天津市西青区小南河村 ，1986年天津市西青区人民政府整修了霍元甲故居、修建了霍元甲陵园，用以纪念这位名震中外的爱国武术家。<br /> <br /> Located in Xiaonanhe Village, Xiqing District, Tianjin, the People's Government of Xiqing District of Tianjin renovated Huo Yuanjia's former residence and built Huo Yuanjia Cemetery in 1986 to commemorate this famous patriotic martial artist at home and abroad.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:27, 27 November 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> 1.武术，是修习一门制止侵袭的高度自保技术，它在切实解决安全问题的基础上，使我们的头脑得到应变能力的训练，简便易行、能够轻松提升人的精神和身体素质，防卫健身，精进卓越，快乐通融。<br /> <br /> Martial art is a highly self-protective technique, which trains the ability to deal with emergencies based on practically solving security problems. It is convenient to act, easy to improve people’s mental and physical health, and beneficial to self defend and bodybuilding, diligent, outstanding, delighted and harmonious.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 03:39, 27 November 2020 (UTC)<br /> <br /> Martial art is a highly self-protective technique to stop invasions. It is based on the practical solution of safety problems, so that our minds can be trained in resilience. It is simple and easy to use, and easily improve people's mental and physical fitness with the features of fitness, diligence and excellence, happiness and harmony.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 09:34, 27 November 2020 (UTC)<br /> <br /> 2.蒋维乔、刘贵珍、王乡斋、周潜川、胡耀贞等一代气功先驱，从发挥气功的健身治病角度，采用通俗语言，简化功法程序，推广了气功。<br /> <br /> Such generations of pioneers as Jiang Weiqiao, Liu Guizhen, Wang Xiangzhai, Zhou Qianchuan and Hu Yaozhen have adopted popular language, simplified exercise procedures and successfully promoted Qigong.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 03:39, 27 November 2020 (UTC)<br /> <br /> A generation of qigong pioneers such as Jiang Weiqiao, Liu Guizhen, Wang Xiangzhai, Zhou Qianchuan, Hu Yaozhen, etc., from the perspective of exerting qigong for fitness and treatment, adopted popular language, simplified exercise procedures, and successfully promoted qigong.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 09:36, 27 November 2020 (UTC)<br /> <br /> A generation of pioneers such as Jiang Weiqiao, Liu Guizhen, Wang Xiangzhai, Zhou Qianchuan and Hu Yaozhen, based on the goal of making Qigong play the role of keeping fit and curing diseases, adopted popular language, simplified exercise procedures and successfully promoted Qigong.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:12, 27 November 2020 (UTC)<br /> <br /> 3.二十世纪初开始不断被表述的霍元甲故事，既承接了长期以来社会心理对英雄的需要，也体现在近代西方文明的冲击下，国人对侠客的诉求出现新的变化。<br /> <br /> At the beginning of 20th century, the stories of Huo Yuanjia started to be expressed constantly, which not only carried on the long-term needs of the social psychology to heroes, but also symbolized the new changes of demands to knife-errant. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 03:39, 27 November 2020 (UTC)<br /> <br /> Huo Yuanjia's story, which has been constantly told since the beginning of the twentieth century, has not only undertaken the long-term social psychological need for heroes, but also embodied in the impact of modern Western civilization, new changes in the Chinese people's demands for knights.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 09:33, 27 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 1.武术具有极其广泛的群众基础，是中国人民在长期的社会实践中不断积累和丰富起来的一项宝贵的文化遗产，是中国民族的优秀文化遗产之一。<br /> <br /> Wushu has an extremely broad mass foundation, which is a precious cultural heritage that the Chinese people have accumulated and enriched in long-term social practice, as well as one of the outstanding cultural heritage of the Chinese nation.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:51, 26 November 2020 (UTC)<br /> <br /> Wushu has an extremely broad mass base, and is a valuable cultural heritage that has been accumulated and enriched by the Chinese people in their long-term social practice, and is one of the outstanding cultural heritages of the Chinese nation.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:14, 26 November 2020 (UTC)<br /> <br /> 2.气功作为中华古老文化中的一朵奇葩，对中华文化产生了深远的影响,它与古代的政治哲学思想、宗教医学观念和文学艺术思潮都有着密切的联系。<br /> <br /> As a wonderful flower in the ancient Chinese culture, Qigong has had a profound impact on Chinese culture, closely relating to ancient political and philosophical thoughts, religious medical concepts, and literary and artistic trends of thought.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:51, 26 November 2020 (UTC)<br /> <br /> Qigong, as a wonderful flower in ancient Chinese culture, has had a profound impact on Chinese culture and is closely related to ancient political and philosophical thought, religious and medical concepts, and literary and artistic trends.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:14, 26 November 2020 (UTC)<br /> <br /> 3.霍元甲天资聪颖，毅力惊人，功艺长足进步，在兄弟之中出类超群，并在24岁那年5分钟之内击败了一位打败了霍元甲的哥哥与弟弟的人。<br /> <br /> Huo Yuanjia was a brilliant and resilient man who had made great strides in his skills,standing out among his brothers. and at the age of 24, he defeated a man who had defeated both his older and younger brothers in five minutes.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:51, 26 November 2020 (UTC)<br /> <br /> Huo Yuanjia was a brilliant and resilient man who had made great strides in his skills,standing out among his brothers.He defeated a man who had defeated both his older and younger brothers in five minutes when he was 24 years old. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:49, 26 November 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> 1. 中国武术，延衍流长，流传迄今可考证史实有4200年的中华文明史，文武相承相传。然当今武门外人对中国武术的理解，大部分局限在将武术定义为观赏性与竞技性范围内，而忽略武术对修习者带来“消停侵袭”所达到的高度安全的核心价值，导致对中国传统武术的误解，不利于真正中国武术的修习和传播。<br /> <br /> Wushu in China has a long history and can be traced back to 4,200 years of Chinese civilization. However, nowadays, most laymen's understanding to wushu is limited to appreciation and competition, and they ignore the core value of eliminating invasion that wushu brings to the learners, which leads to the misunderstanding of traditional Chinese martial arts and is not conducive to the practice and dissemination of real Chinese martial arts.<br /> <br /> 2.气功就是通过特定的修炼方法使机体的组织、器官在功能上更佳有序化与协同化的生理变化过程。由于修炼的方法不同，所导致的生理变化也会不一样，这种不一样就是气功的生理效应。是通过心理活动使生物能对机体或事物产生作用。气功学即心理物理学。<br /> <br /> Qigong is a physiological change process in which the tissues and organs of the body are better organized and coordinated in function through specific methods of training. Due to the different methods of practice, the physiological changes will be different, which is the physiological effects of Qigong. It is through psychological activities that biology can produce effects on the organism or things. Qigong is psychophysics.<br /> <br /> 3.精武会创办于1910年，初由：陈公哲，农劲荪，陈其美，陈铁生等倡导，是中国建立最早的体育团体。 精武以体，智，德三星会旗和三星会徽为标记，代表精武以体，智，德三育为宗旨，倡导和发扬爱国，修身，正义和助人的精武精神，还订有包括人格，风度，言行，服务，友谊等行为规范。<br /> <br /> Chin Woo Athletic Association was founded in 1910, initiated by Chen Gongzhe, Nong Jinsun, Chen Qimei and Chen Tiesheng. It is the earliest sports association in China. Jingwu is marked by the three-star flag and the three-star emblem of physical, intellectual and moral education, advocating the spirit of patriotism, self-cultivation, justice and helping others, as well as the code of conduct including personality, demeanor, words and deeds, service and friendship.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:15, 26 November 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> 在中国武术界，有一个寺院极负盛名，这就是少林寺，在这个寺院产生的少林功夫，是中国宝贵的文化遗产。<br /> there is a extremely famous monastery in the Chinese martial arts，which is the Shaolin Temple. The Shaolin Kungfu produced in this monastery is a precious cultural heritage of China.<br /> <br /> 五禽戏最初是东汉著名中医学家华佗根据虎、鹿、熊、猿、鸟五种动物的动作和神态创编而成的中医保健气功。<br /> <br /> Wu Qin Xi was originally a traditional Qigong created by the famous Chinese medicine expert Hua Tuo in the Eastern Han Dynasty based on the movements and expressions of five animals: tiger, deer, bear, ape and bird to keep health. <br /> <br /> 霍元甲、黄飞鸿和叶问是三位实有其人的武者,也是香港功夫片的著名角色。<br /> Huo Yuanjia, Huang Feihong and Ye Wen are three real warriors, and they are also famous roles in Hong Kong kung fu movies.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 06:58, 29 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> 1.中国武术作为中华民族传统文化的一个有机组成部分和独特表现形式，一方面跟中国的古典哲学、政治伦理、军事思想、文化艺术、医学理论、社会习俗等等互相联系，相互作用，共同组成绚烂多姿的中国文化整体；另一方面则从一个侧面反映出整个中国文化的基本特征。<br /> <br /> As an integral part of traditional Chinese culture and a unique form of expression, Chinese martial arts are interconnected with classical Chinese philosophy, political ethics, military ideology, culture and art, medical theory, social customs, and so on, to form a gorgeous and colorful Chinese cultural whole.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 08:54, 29 November 2020 (UTC)<br /> <br /> 2.气功还有助于免疫系统。研究表明，它能刺激白血球类型的形成，这对淋巴系统是有益的。淋巴系统又是强大免疫系统的重要组成部分，因为淋巴管是免疫系统的重要运输通道，也是病菌和毒素的过滤站。<br /> <br /> Qigong also helps the immune system. Studies showed that it stimulates the formation of white blood cell types, which is beneficial for the lymphatic system. The lymphatic system, in turn, is an important component of a strong immune system, since the lymphatic vessels are key transport channels for the immune system, and filter stations for germs and toxins.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 08:54, 29 November 2020 (UTC)<br /> <br /> 3.霍元甲故居纪念馆从建成之日起已有数万的爱国人士前来参观瞻仰，重温霍元甲这位爱国英雄的传奇事迹和感人精神。<br /> <br /> Tens of thousands of patriots have come to visit and admire the Huo Yuanjia's Former Residence Memorial Hall since it was completed, relive the legendary deeds and moving spirit of this patriotic hero.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 08:54, 29 November 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> 1.武术在其发生、发展的过程中，和中国历史上的哲学、政治、经济、军事、宗教、伦理道德、教育等许多方面都有密不可分的联系，具有浓厚的中华民族的色彩，是我国珍贵民族文化遗产的瑰宝。<br /> <br /> In the process of its occurrence and development, Wushu is closely related to philosophy, politics, economy, military, religion, ethics, education and many other aspects in Chinese history. It has a strong Chinese national color and is a precious treasure in our national cultural heritage.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 01:46, 27 November 2020 (UTC)Zou Xinyu<br /> <br /> In the course of its occurrence and development, martial art is closely related with the philosophy, politics, economy, military, religion, ethics, education and many other aspects of Chinese history, and is a precious treasure of national cultural heritages with a strong color of Chinese nation.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 03:54, 27 November 2020 (UTC)<br /> <br /> 2.移魂换体、灵魂出窍、身体变大变小，这些其实都是气功书里面常常提到的练功感受，也是练功不同层次的阶段性目标，但是却可以在实验室中可靠地复现。所以说，气功的本质很可能就是一种练功者对自己的大脑进行的神经系统实验。<br /> <br /> Those, like moving the soul into another body, moving the soul out of the body, and getting body bigger or smaller, are actually the exercise experience often mentioned in qigong books, and are also the stage goals of different levels of exercise. But they can be reliably reproduced in the laboratory. Therefore, the essence of qigong is probably a kind of neurological experiment performed by practitioners in their own brains.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 01:46, 27 November 2020 (UTC)Zou Xinyu<br /> <br /> 3.霍元甲在药栈期间，因为力大无比，一直被身边的人称为霍力士，于是他结合特点，对燕青拳加以改进，使拳法中花哨的套路变得更加实用，但并未与人交手，直至其去世前，才与日本武士有过一次正式交手，并将其臂骨磕断，此后没过多久，霍元甲就与世长辞。<br /> <br /> During his stay in the pharmacy, Huo Yuanjia was always called Huo Lishi(Lishi means a man of great strength.)by people around him because of his immense power, so he combined his characteristics and improved Yanqing pugilism to make its fancy routines more practical, but he hadn't used it to fight with others. It was not until his death that he had a formal fight with a Japanese samurai and broke samura's arm. And not long after that, Huo passed away.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 01:46, 27 November 2020 (UTC)Zou Xinyu<br /> <br /> ==Zubareva, Ekaterina==</div>

Qu Miao https://bou.de/u/index.php?title=20201123_trans&diff=105602 2020-11-23T08:19:14Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> History of Chinese Studies <br /> <br /> 国际汉学史<br /> <br /> Martin Woesler 吳漠汀 (Witten/Herdecke University, Peking Normal University 德國維籐大學，中國北京師範大學)<br /> <br /> Abstract: The roots of Chinese Studies lie as early as Chinese people started to reflect on parts of Chinese culture, which was as early as Chinese culture emerged. Especially foreign people defined Chinese culture distinctly in separation of their own culture, like ancient Greek philosophers and early delegations from the Roman Empire.<br /> <br /> 摘要：汉学的根源可以追溯到中国人开始对中国文化进行反思的时候，也可以追溯到中国文化出现之初。尤其是一些外国人，如古希腊哲学家和罗马帝国的早期代表团，他们定义下的中国文化是与自己本土文化完全分开的。<br /> <br /> ==Chang Huiyue 常慧月==<br /> From the very beginning, Western Scholars of Chinese Studies were closely cooperating with Chinese partners, so that Chinese Studies cannot be limited to Overseas Chinese Studies. Merchants went beyond their trade business and created travel reports and first translations of Chinese literature. Missionaries for the first time studied systematically the Chinese language and culture, translated the Chinese Classics and Four Books into Latin.<br /> 起初，研究汉学的西方学者与中国伙伴密切合作，所以汉学研究并不局限于海外汉学研究。商人不仅从事商业贸易，撰写旅行游记，并且首次翻译了中国文学。传教士第一次系统研究了中国语言和文化，将中国文学名著和四书译成拉丁语。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 01:29, 21 November 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> Their idealized descriptions of China stimulated the Chinoisérie and the positive reception of China among philosophers of the enlightenment, which saw China as a secular empire. Then, the China-image turned to the worse with Western scholars ascribing China a static nature creating the so-called “Great Divergence”.<br /> <br /> 他们对中国的理想化描述促进中国风形成以及促使启蒙哲学家对中国的积极接受，这种变化已然是把中国看作一个世俗帝国。随后，中国形象恶化，西方学者把中国定性为静态，形成了所谓的“大分流”。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:48, 21 November 2020 (UTC)<br /> <br /> ==Chen Hui 陈惠==<br /> This narrative was challenged in the early 1980s with the start of the Opening and Reform Policy. Finally colleges and professorships were established first in the West and then in China. Today, Chinese Studies in the West and in China are enriching each other and are inseparably connected.<br /> <br /> Key Words: Chinese Studies, Sinology, Hanxue, Guoxue, delegations, philosophers, merchants, travel reports, translations, missionaries, enlightenment, Chinoisérie, Great Divergence<br /> 上世纪80年代初，随着改革开放政策的开始，这种说法受到了挑战。最后，学院和教授职位首先在西方建立，然后在中国。今天，西方的中国学与中国的中国学相互 促进，密不可分。<br /> <br /> 关键词:汉学、汉学、汉学、国学、代表团、哲学家、商人、游记、翻译、传教士、启蒙、中国文化、大分流--[[User:Chen Hui|Chen Hui]] ([[User talk:Chen Hui|talk]]) 08:07, 20 November 2020 (UTC)Chen Hui<br /> <br /> <br /> 上世纪80年代初，在改革开放政策实施以后，这种说法遭到了质疑。最后，学院和教授职位首先在西方建立，然后在中国。今天，西方的中国学与中国的国学研究相互促进，密不可分。<br /> <br /> 关键词:汉学、汉学、汉学、国学、代表团、哲学家、商人、游记、翻译、传教士、启蒙、中国文化、大分流--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 11:51, 22 November 2020 (UTC)Xu Jia<br /> <br /> <br /> == Headline text ==<br /> ==Chen Jiangning 陈江宁==<br /> Definition 定義<br /> <br /> Chinese Studies, also called Sinology (in German: Sinologie) or China Studies (in German: Chinawissenschaften, Chinakunde), is the academic discipline to study China in its geography, history, society, culture(s), language(s), literature(s) etc. It is mainly divided into the study of ancient and premodern China and of modern and contemporary China.<br /> 定义 Definition<br /> 汉语研究是一门研究中国地理、历史、社会、文化、语言等的学术科目，人们也称之为汉学（德语叫做 Sinologie）或者叫中国研究（德语叫做 Chinawissenschaften,Chinakunde）。汉语研究主要分为中国古代和近代研究，以及中国现当代研究。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 03:40, 20 November 2020 (UTC)<br /> <br /> 定义 <br /> <br /> 汉语研究也称作汉学（德语叫做 Sinologie）或中文研究（德语叫做 Chinawissenschaften,Chinakunde），这是一门研究中国地理、历史、社会、文化、语言等各方面的学科，并主要分为中国古代研究、中国近代研究，以及中国现当代研究。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 03:17, 21 November 2020 (UTC)<br /> <br /> 定义<br /> 汉语研究也称作汉学（德语叫做 Sinologie）或中文研究（德语叫做 Chinawissenschaften,Chinakunde），是一门研究中国地理、历史、社会、文化、语言、文学等方面的学科，主要分为中国古代研究、中国近代研究，以及中国现当代研究。--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 02:13, 23 November 2020 (UTC)Nie Xiaolou<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> In the Chinese language, internationally the term “Hanxue” is used (first used in Japan as kangaku漢學/汉学, parallely to the term “Hanyu” 漢語/汉语 for Chinese). The term is not meant discriminative against non-Han minorities, since we have terms like “Hanyu” or “Germanic Studies” (the Germans were an ethnic tribe of many in todays Deutschland). In Chinese, domestically more often the terms “guoxue” 國學/国学 or “Zhongguo xue” 中國學 etc. are used.<br /> 在中文里，“汉学”这一词在国际上被广泛使用（它最早在日本被称为汉学，类似中文被称为“汉语”)。这一词语并不意味着排斥非汉人的少数群体，因为我们也有类似于“汉语” 或“日耳曼研究” （日耳曼人是指在当今德国占数较多的一个的民族)的词语。中国国内“国学”或“中国学”等词更为广泛使用。By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 06:44, 21 November 2020 (UTC)<br /> <br /> 在中文里，“汉学”一词在国际上被广泛使用（它最早在日本被称为漢學/汉学，类似于中文中“漢語/汉语”一词)。这一词语并不意味着歧视非汉人的少数民族，因为我们也有类似于“汉语” 或“日耳曼学” （日耳曼人是指在当今德国占数较多的一个民族)的词语。在汉语中，“國學/国学”或“中國學”等词更为广泛使用。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 07:37, 22 November 2020 (UTC)<br /> <br /> ==Chen Jingjing 陈静静==<br /> There is a trend to divide Chinese Studies in sub disciplines dealing with traditional or modern China, while the term “Sinology” is more often applied to the traditional part. In quantity, scholars dealing with traditional China become less and those dealing with modern or contemporary China more. Of course, there are other exotic terms for phenomena related to China or Chinese people, like the term “Tang People Street” 唐人街 for Chinatowns.<br /> <br /> 汉语研究之下往往又分为不同的子学科，致力于研究中国古代或现代，然而“汉学”这一术语更适用于中国古代。在数量上，研究中国古代的学者越来越少，而研究中国现代或当代的学者则越来越多。当然，还存在一些与中国或中国人相关现象的外来词，如“Tang People Street” 即唐人街。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 12:10, 21 November 2020 (UTC)Chen Jingjing<br /> <br /> ==Chen Sha 陈莎==<br /> Some Chinese scholars interpret the term “Hanxue” as reserved for the study of China by foreigners, implying often that the real “guoxue” could only be conducted by Chinese scholars, arguing you need to grow up in China in order to understand it. However, confronted with the case of overseas Chinese scholars or Western scholars growing up and working in China, the limitation of this racist distinction becomes obvious.<br /> <br /> 有些中国学者将“汉学”一词解释为外国人研究中国的专有术语，这往往暗示真正的“国学”只能由中国学者来进行，认为只有在中国长大的人才能理解“国学”。然而，当涉及在中国长大和工作的海外华人学者或西方学者时，这种种族差异的局限性就显而易见了。--[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 07:08, 23 November 2020 (UTC)<br /> <br /> ==Chen Sunfu 谌孙福==<br /> Although in history we have rare examples of foreigners who were able to study China without Chinese partners (starting with language teachers) or without visiting the country, and Chinese Studies today often is conducted by mixed teams of domestic and foreign scholars.<br /> <br /> 尽管有史以来，外国人不结交中国伙伴或是没去过中国就研究中国的例子鲜少出现。如今研究中国的通常都是都是由国内外学者组成的团队。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:39, 21 November 2020 (UTC)<br /> <br /> 虽然在历史上，我们很少有外国人能够在没有中国伙伴的情况下(这些伙伴开始会是语言教师)或在没有访问过中国的情况下研究中国的例子，但如今的中国研究往往是由国内外学者以混合团队的形式进行的。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:45, 21 November 2020 (UTC)<br /> <br /> 尽管在历史上我们很少有外国人能够在没有中国伙伴（从语言老师开始）或没有访问中国的情况下来中国学习的例子，但是今天的中国研究通常由国内外学者组成的混合团队进行。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 12:55, 21 November 2020 (UTC)<br /> <br /> 纵观历史，很少有外国人能够在没有中国伙伴（最初为语言老师）或没有拜访过中国的情况下研究中国，而且直至今日，中国研究也通常是在国内外学者协同合作的情况下进行的。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 12:13, 22 November 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> The discipline itself, as established at universities, had a natural focus on language and literature (philology). Today, we have a broad range of sub disciplines like Chinese literature [epigraphy], language, culture, philosophy/ethics/aesthetics, history, political science, sociology, economy) 正如大学所建立的那样，该学科本身就专注于语言与文学（语言学）。如今，我们拥有广泛的子学科，例如中国文学[金石学]，语言，文化，哲学/伦理/美学，历史，政治学，社会学，经济）--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:30, 23 November 2020 (UTC)<br /> <br /> ==Cheng Yusi 成于思==<br /> Emergence<br /> <br /> Although the first university professorships as we know them today were established only in the 1814, we find the origins of Chinese Studies in early descriptions of China by philosophers. That the empires knew early about each other is proven by delegations, exchanged even two thousand years ago between the Roman Empire and China.<br /> <br /> 诞生<br /> <br /> 虽然，如我们今天所知，第一个大学汉语教授职位于1814年才确立，关于汉学的起源我们能追溯到哲学家对中国早期的描述。各国代表团证实了各帝国之间相互知悉的事实，而早在两千年前，罗马帝国和中国之间就有了往来。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 07:21, 22 November 2020 (UTC)<br /> 兴起<br /> 尽管我们今天所知的第一个大学教授职位是在1814年才设立的，但我们在哲学家对中国的早期描述中发现了国学的起源。早在两千年前，罗马帝国和中国之间就交换了代表团，这证明了两个帝国很早就已经相互了解。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 13:55, 22 November 2020 (UTC)<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> Later we have records and first translations of travelling merchants (Marco Polo lived in the 13th century and travelled on land and by ship) and then by missionaries (starting with the 16th century). Later we have western philosophers (like Leibniz) and reports in journals dedicated to China.<br /> <br /> 后来，我们有了旅行商人的记录和第一批翻译作品（13世纪的马可·波罗（Marco Polo）在陆地和海上旅行），然后有了传教士（从16世纪开始）。 再后来，我们有了西方哲学家（例如莱布尼兹（Leibniz）），他们在研究中国的期刊上进行报道。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:33, 21 November 2020 (UTC)<br /> <br /> 后来出现了行商的记载和第一批翻译作品（13世纪的马可·波罗（Marco Polo）在陆地和海上航行），之后出现了传教士（始于16世纪）。 再后来，出现了西方哲学家（例如莱布尼兹（Leibniz）），以及他们探索中国所留下来的有关记载。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 08:55, 21 November 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> The first scholarly view on China had the Christian missionaries, who studied Chinese language and culture in China. Therefore, the first translations of Chinese classics were done into Latin. The term “sinology” since the Latin term “sina” for China seems to point to the Qin Dynastie since 221 BCE. The main purpose of the missionaries was to baptize and therefore they also translated the bible into Chinese and reported on the so far mostly unknown China to Europe, reports which met a huge interest and demand in Europe.<br /> <br /> 基督教传教士是最早对中国持有学术观点的人，他们在中国研究中国语言和文化。因此，第一批翻译的中国经典著作也就翻译成了拉丁文。汉学“sinology”一词源于拉丁语中的“sina”，意指公元前221年以来的秦朝。传教士的主要目的是施洗，因此他们也将《圣经》翻译成中文，并向欧洲报道迄今几乎不为人知的中国，这些报道满足了欧洲巨大的兴趣和需求。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:23, 21 November 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> Resources 资源<br /> <br /> There are a lot of national histories of Chinese Studies so far, but no detailed international or global history (see references).<br /> The Overseas Chinese Studies Center 海外漢學研究中心 at Peking Foreign Language University 北京外語大學 under the leadership of Zhang Xiping張西平 has been renamed in the 2010s to Research Center for the Study of Chinese Culture 中國文化研究中心#. Here a list of works on the History of Sinology:<br /> <br /> 资源<br /> 迄今为止，有许多关于汉学研究的民族历史，但是并没有十分详细的国际或者全球历史（参阅参考资料）<br /> 在张西平的领导下，北京外国语大学的海外汉学研究，在2010年改名为中国文化研究中心。以下是汉学研究作品的列表。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 13:13, 22 November 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> First contacts: Trade (without written documents)<br /> <br /> Genetic evidence shows that there were trade relations from Mesopotamia to Europe and China as early as 11000 BCE (cows, horses) and 10000 BCE (crops). <br /> China very early became an export region, as we can trace the genes of animals back to China 10000 BCE (pigs), 8000 BCE (chicken), and of silk cloth 5000 BCE.<br /> <br /> 首次接触：贸易（无书面文件）<br /> <br /> 基因证据表明：早在公元前11000年了，美索不达米亚就和欧洲，中国有牛羊贸易关系，公元前10000年，就有了农作物贸易关系。追溯到公元前1000年的猪和公元前8000年的鸡身上的动物基因，以及公元前5000年的丝绸来看，中国很早就是个出口地区了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 02:03, 20 November 2020 (UTC)<br /> <br /> 首次接触：贸易(无书面文件)<br /> <br /> 遗传证据表明，早在公元前11000年(出现如像牛、马等动物贸易)和公元前10000年(出现农作物的贸易)，美索不达米亚与欧洲和中国之间就有贸易关系。追溯到公元前10000年猪的贸易和公元前8000年鸡的贸易，从中发现的动物基因，以及公元前5000年所交易的丝绸来看，中国很早就成为了一个出口地区。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:18, 20 November 2020 (UTC)Lei Kuangxi<br /> <br /> 遗传学证据显示，早在公元前11000年美索不达米亚就和欧洲就有了牛马贸易往来；早在公元前10000年，美索不达米亚就和中国有了作物贸易往来。追溯动物基因，我们可以发现，公元前10000年中国就有了猪，公元前8000年就有了鸡，公元前5000年就有了丝绸。因此，中国很早就成为了商品出口地区。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 04:28, 20 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> The Emergence of Chinese Studies: Philosophers<br /> Aristotle (384-322 BC) writes in the 4th century BC: “Those who live in a cold climate and in Europe are full of spirit, but wanting in intelligence and skill; and therefore they retain comparative freedom, but have no political organization, and are incapable of ruling over others. Whereas the natives of Asia are intelligent and inventive, but they are wanting in spirit, and therefore they are always in a state of subjection and slavery.”[ Aristoteles: Politeia, Book VII, Part VII, translated by Benjamin Jowett, http://evans-experientialism. freewebspace.com/aristotle_politics07.htm, last visited Dec 5, 2010. In German: „Die Völkerschaften nämlich, welche innerhalb der kalten Gegenden in Europa wohnen, sind zwar voll Muth, aber weniger mit Geist und Kunstfertigkeit begabt. Daher behaupten sie zwar leichter ihre Freiheit, aber sie sind zur Bildung staatsbürgerlicher Gemeinwesen untüchtig [...]. Die Völkerschaften Asiens dagegen sind klugen und kunstfertigen Geistes, aber ohne Muth. Daher leben sie in Unterwürfigkeit und Sklaverei.“, from: Aristoteles: Werke. Griechisch und Deutsch, vol. 6, ed. by Franz Susemihl, Aalen 1978 (Reprint of the edition Leipzig 1879), p. 409.]<br /> <br /> 汉学的起源：哲学家<br /> 亚里士多德（公元前384年-公元前322年）在公元前4世纪写道：“那些生活在欧洲寒冷地区的人们精气神十足但是缺乏智慧和技巧；所以虽然他们保留了相对的自由，却没有政治组织，也没有管理的能力。然而，亚洲人聪明且富有创造力，但是他们缺乏勇气，所以他们总是顺从和被奴役。” [ 亚里士多德：《政治学》，第七卷，第七部分，由本杰明·乔伊特翻译，http://evans-experientialism. freewebspace.com/aristotle_politics07.htm，最近一次访问日期2010年12月5日。德语原文为： „Die Völkerschaften nämlich, welche innerhalb der kalten Gegenden in Europa wohnen, sind zwar voll Muth, aber weniger mit Geist und Kunstfertigkeit begabt. Daher behaupten sie zwar leichter ihre Freiheit, aber sie sind zur Bildung staatsbürgerlicher Gemeinwesen untüchtig [...]. Die Völkerschaften Asiens dagegen sind klugen und kunstfertigen Geistes, aber ohne Muth. Daher leben sie in Unterwürfigkeit und Sklaverei.“，引自：《亚里士多德作品集-希腊人和德国人》，第六卷，由Franz Susemihl, Aalen在1978年出版（1879年在莱比锡再版），第409页。]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:39, 21 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==Gong Yumian 龚钰冕==<br /> The Emergence of Religious Missions with the Study of China as a by-product<br /> Between 1593-1607 the Spanish Dominican mission in Manila operated a press and produced 4 books on Christian belief. <br /> <br /> 1593-1607西班牙多明我会使团在马尼拉经营的出版社出版了4本基于基督教信仰的书<br /> <br /> In 1583 the influential Jesuit Matteo Ricci arrived in Canton and spent the rest of his life in China.<br /> <br /> 1583利玛窦（耶稣会会士）抵达广州，在中国度过余生。<br /> <br /> 宗教传教的出现<br /> 1593年至1607年间，西班牙多米尼加使团在马尼拉经营的出版社出版了4本基于基督教信仰的书。<br /> 1583年，颇具影响力的耶稣会士利玛窦（Matteo Ricci），抵达广州，在中国度过余生。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 09:30, 21 November 2020 (UTC)<br /> <br /> 1593-1607西班牙多明我会使团在马尼拉经营的出版社出版了4本基于基督教信仰的书，这是汉学研究中有关宗教使命起源部分的衍生产物。<br /> 1583年，颇具影响力的耶稣会士利玛窦（Matteo Ricci），抵达广州，并在中国度过余生。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:10, 22 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==Gu Dongfang 顾东方==<br /> Interest by European emperors in the beginning of the 18th century<br /> In France, the study of China and the Chinese language began with the patronage of Louis XIV. In 1711, he appointed a young Chinese, Arcadio Huang to catalog the royal collection of Chinese texts. Huang was assisted by Étienne Fourmont, who published a Chinese grammar in 1742.<br /> <br /> 在法国，对中国和中国语言的研究始于路易十四的赞助。在1711，他任命了一位年轻的中国人Arcadio Huang对皇家藏书的中文文本进行目录整理。黄的助手艾蒂安Fourmont，在1742年发表了一本中国语法书。<br /> ==Guan Qinqing 管钦清==<br /> In 1732 a missionary priest of the Sacred Congregation &quot;De propaganda fide&quot; from the kingdom of Naples, Matteo Ripa (1692–1746), created in Naples the first Sinology School of the European Continent: the &quot;Chinese Institute&quot;, the first nucleus of what would become today's Università degli studi di Napoli L'Orientale, or Naples Eastern University. Ripa had worked as a painter and copper-engraver at the imperial court of the Kangxi Emperor between 1711 and 1723. Ripa returned to Naples from China with four young Chinese Christians, all teachers of their native language and formed the Institute sanctioned by Pope Clement XII to teach Chinese to missionaries and thus advance the propagation of Christianity in China.<br /> <br /> 1732年，来自那不勒斯的传布信仰圣部的传教牧师Matteo Ripa马国贤（1692–1746），在那不勒斯创建了欧洲大陆的第一个汉学学校：“中国学院”，它后来成为了今天的那不勒斯东方大学。马国贤曾在1711和1723之间担任康熙皇帝的宫廷画家和雕刻师。马国贤从中国回到那不勒斯时，带回了四个年轻的中国基督徒。他们都是汉语教师，组建了学院，在教皇克莱门特十二世的批准下向牧师们教授中文，从而推进了基督教在中国的传播。<br /> <br /> 1732年，那不勒斯王国“圣公会”的传教士马国贤（Matteo Ripa)在那不勒斯创建了欧洲大陆第一所汉学学校“中国学院”，即后来的那不勒斯东方大学。马国贤曾在1711至1723年间担任康熙皇帝的宫廷画师和雕刻师。当他回国的时候，他带回了四个年轻的中国基督徒。他们在教皇克莱门特的授意下，组建学院、担任汉语教师，向牧师们教授中文，从而推进了基督教在中国的传播。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:45, 20 November 2020 (UTC)<br /> <br /> 1732年，那不勒斯王国“传信部”的传教士马国贤（Matteo Ripa)在那不勒斯建立了欧洲大陆第一所汉学学校“中国学院”，即当今的那不勒斯东方大学。马国贤曾在1711至1723年间担任康熙皇帝的宫廷画师和雕刻师。在回到那不勒斯时，他带了四个年轻的中国基督徒。在教皇克莱门特十二世的授意下，他们组建学院，担任汉语教师，向牧师们教授中文，从而推进了基督教在中国的传播。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 21 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> Chinoiserie<br /> <br /> Chinese objects of art as symbols of Chinese cultural tradition early spread to Europe, reaching the peak in the 18th century during the period of Chinoisérie“中国风”. Fascinated Collectors saved several artefacts for following generations. Their selection criteria allow to approach the guiding aesthetic principles behind their fascination. European imitations of these artefacts show in their similarities and differences to the originals and to the own cultural traditions the principles they followed to catch the reason for the experienced exoticism during the consumption of the cultural goods. Imitated imitated Chinese-style architecture, imitated Chinese paintings and imitated characters in paintings, tattoos and design, reveal what principles Westerners believed to guide Chinese traditional art.<br /> <br /> 中国风<br /> <br /> 作为中国传统文化象征的中国艺术品很早就传播到了欧洲，在“中国风”时期达到了顶峰。对此十分着迷的收藏家们为后人保存了几件文物。他们的选择标准很接近他们所欣赏的指导性美学原则。欧洲的工艺模仿品表明了他们自己的文化传统和原型的相似性和差异性，他们遵循的原则符合在文化商品的消费过程中对异国情调的体验。在绘画、纹身和设计方面的模仿特点、模仿中国风格的建筑和仿作的中国画，揭示了西方人眼里的中国传统艺术的指导原则。--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 06:05, 23 November 2020 (UTC)<br /> <br /> ==Guo Lu 郭露==<br /> Europe: Enlightened Philosophers end of the 18th century 欧洲：第18世紀末的启蒙哲学家<br /> <br /> During the enlightenment process in Europe, philosophers in their search for a vision of a world without religious control, discovered China and wanted to understand it as a secular ideal alternative to Europe. (Leibniz: Novissima Sinica, The Orphan of Zhao, Voltaire: wrote play “L'orphelin de la Chine” portrait of Confucius, Giambattista Vico.<br /> <br /> 启蒙哲学家在欧洲汉学（莱布尼茨：《中国近事》，伏尔泰：《赵氏孤儿》、孔子肖像，维柯。<br /> <br /> 1789-… Enlightened philosophers: Saw China as an enlightened kingdom with ethics instead of church and religion<br /> <br /> 1789…启蒙哲学家：看到中国作为一个有伦理的开明王国而不是教会和宗教伦理<br /> <br /> 一个不受宗教控制的世界时<br /> <br /> 在欧洲的启蒙运动中，哲学家们在寻找一个不受宗教控制的世界时，了解到了中国这一国度，并将其视为欧洲脱离世俗的替代品。（莱尼兹：诺威西玛·辛尼卡，《赵氏孤儿》，伏尔泰：写下孔子朱安·巴蒂斯塔·维柯的剧本《中国的左撇子》。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 19 November 2020 (UTC)<br /> <br /> 一个不受宗教控制的世界时<br /> 在欧洲启蒙运动的进程中，哲学家们在寻找一个不受宗教控制的世界时，发现了中国，并希望可以将其视为欧洲脱离世俗理想替代品。莱尼兹：诺威西玛·辛尼卡，《赵氏孤儿》，伏尔泰：写下孔子朱安·巴蒂斯塔·维柯的剧本《中国的左撇子》 --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 09:10, 19 November 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> Europe: Professorships<br /> <br /> The study of Assyriology and Egyptology developed before the serious study of China because of their connections to the Bible; the study of Indology represented a breakthrough in the development of linguistics. Chinese texts, perhaps because they did not have these connections, were the last to be studied in European universities until around 1860 except in France (Zurndorfer, China Bibliography 1999 p. 6, quoted from Wikipedia “Sinology”, August 6, 2018).<br /> <br /> 由于和圣经的紧密联系，亚述学、埃及学的研究在正规的中国研究前发展充分；印度学研究代表了语言学发展的突破口。可能是因为中国文本和它们没有联系，所以直到1860左右，它才成为除了法国外的欧洲大学最后的研究对象。<br /> <br /> 由于和圣经联系紧密，亚述学、埃及学的研究在中国正式研究前就已经展开了；印度学研究是语言学发展的突破口。或许是因为中国文本缺乏这些联系，所以直到1860年左右，它才成为除法国外欧洲大学最后的研究对象。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 12:35, 21 November 2020 (UTC)Chen Jingjing<br /> <br /> 欧洲：教授职位展正式<br /> 由于和圣经的联系，亚述学和埃及学的研究的发展都在中国研究之前；印度学的研究在语言学中是一个极大突破。中国的文本可能是因为缺少这些联系因而在欧洲大学界最后才开始研究直到大约1860年，法国除外（Zurndorfer,中国圣经学 1999版，p.6, 引自维基百科《汉学》，2018年8月6日）。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 07:20, 22 November 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> The first college to study Chinese was established in Italy. At the Academy in St. Petersburg in Russia, on March 23, 1741, the lecturer 伊拉利昂·罗索欣 started to teach Chinese Studies. He was also part of a mission sent to emperor Kangxi in Qing Dynasty.de<br /> <br /> 首个教授汉语的大学创建于意大利。1741年3月23日，在俄罗斯圣彼得堡的学院，讲师伊拉利昂·罗索欣开始教授汉语学。他还参加了清朝对康熙帝进行的宣教活动。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 01:22, 21 November 2020 (UTC)<br /> <br /> 首个学习汉语的学院创建于意大利。1741年3月23日，讲师伊拉利昂·罗索欣在俄罗斯圣彼得堡学院开始讲授汉学。该讲师也曾参加清朝对康熙帝进行的宣教活动。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:54, 21 November 2020 (UTC)<br /> <br /> 首个研究汉语的学院是在意大利建立。 1741年3月23日，讲师伊拉利昂·罗索欣在俄罗斯圣彼得堡学院开始教授汉语。他还参加了清朝对康熙进行的宣教活动。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 07:24, 22 November 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> On December 11, 1814, the first Professorship of Chinese and Manchu was established at the Collège de France, the sinologist 雷慕莎 Jean-Pierre Abel-Rémusat, who taught himself Chinese, filled the position, becoming the first professor of Chinese in Europe. By then the first Russian Sinologist, Nikita Bichurin, had been living in Beijing for ten years. <br /> <br /> 1814年12月11日，法兰西公学院成立了首个汉学和满学的讲座席位。汉学家雷慕莎（Jean-Pierre Abel-Rémusa）自学了中文，获得了这一席位，成为了欧洲第一位汉学教授。而之后的第一个俄罗斯汉学家尼基塔·比丘林则曾在北京生活了十年。--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 07:56, 23 November 2020 (UTC)<br /> <br /> 1814年，研究中国和满族的讲学席位在法国的大学成立。雷慕莎自学了中文，占据了这一位置，成为了欧洲第一个汉学教授。而之后的第一个俄罗斯汉学家尼基塔·比丘林则曾在北京生活了十年。<br /> 1814年，首个研究中国和满族的讲学席位在法国的大学成立，雷慕莎自学中文，登上了这一席位，成为了欧洲第一个汉学教授。而之后的第一个俄罗斯汉学家尼基塔·比丘林则曾在北京生活了十年。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 00:47, 21 November 2020 (UTC)<br /> <br /> 1814年12月11日，首个汉学和满学的讲座席位在法兰西公学院成立，汉学家雷慕莎（Jean-Pierre Abel-Rémusa）自学了中文，登上了这一席位，成为了欧洲第一任汉学教授。而之后俄罗斯的汉学奠基人尼基塔·比丘林则曾在北京生活了十年。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 11:48, 21 November 2020 (UTC)<br /> <br /> ==Hu Baihui 胡百辉==<br /> Abel-Rémusat's counterparts in England and Germany were Samuel Kidd (1797–1843) and Wilhelm Schott (1807–1889) respectively, though the first important secular sinologists in these two countries were James Legge and Hans Georg Conon von der Gabelentz. Scholars like Legge often relied on the work of ethnic Chinese scholars such as Wang Tao (Zurndorfer, China Bibliography 1999 p. 8-14, quoted from Wikipedia “Sinology”, August 6, 2018).<br /> <br /> 雷慕莎的同仁分别有英国的Samuel Kidd（1797–1843）和德国的Wilhelm Schott（1807–1889），虽然在这两个国家头等重要的世俗汉学家是理雅各和加贝伦茨。理雅各等学者常常依靠华人学者如王韬等人的作品。<br /> <br /> <br /> 阿贝尔·雷穆萨在英国和德国的同行分别是塞缪尔·基德（Samuel Kidd，1797-1843）和威廉·肖特（Wilhelm Schott，1807-1889），不过这两个国家最早出现的重要世俗汉学家是詹姆斯·莱格和汉斯·格奥尔格·科农·冯·德加布伦茨。像莱格这样的学者经常依赖于像王韬这样的华裔学者的作品。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:08, 19 November 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> Stanislas Julien served as the Chair of Chinese at the Collège de France for over 40 years, starting his studies with Rémusat and succeeding him in 1833. not only of classical texts but also works of vernacular literature, and for his knowledge of Manchu. Édouard Chavannes succeeded to the position after the death of Marquis d'Hervey-Saint-Denys in 1893. Chavannes pursued broad interests in history as well as language (Zurndorfer, China Bibliography 1999 p. 8-14, quoted from Wikipedia “Sinology”, August 6, 2018).<br /> <br /> 儒莲担任法兰西学院的汉学教授超过40年，他与雷慕莎一起开始他的研究，并在1833年继承了雷慕莎的工作。他以不仅针对古典文学、而且涉猎白话文学作品的翻译工作和和对满族的了解而闻名。沙畹在德理文于1893去世后继承了他的位置，沙畹在历史和语言领域上兴趣广泛。<br /> <br /> 斯塔尼斯拉斯·朱利安（Stanislas Julien）在法兰西学院（Collègede France）担任中文主席40多年，从雷穆萨（Rémusat）开始学习，并于1833年继任。他不仅学习古典文学作品，还学习白话文学作品，并了解满族。 爱德华·沙畹在1893年侯爵·圣赫尔·圣丹尼斯（Marquis d'Hervey-Saint-Denys）去世后继任。沙畹追求历史和语言的广泛利益（Zurndorfer，中国参考书目1999年第8-14页，引自Wikipedia“ Sinology”， 2018年8月6日）。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 09:13, 19 November 2020 (UTC)<br /> <br /> Rulian served as a professor of Sinology at the French Academy for more than 40 years. He started his research with Remusa and inherited Remusa's work in 1833. He is famous for his translation work not only for classical literature, but also for vernacular literary works and his understanding of Manchu. Chavannes inherited his position after De Liwen died in 1893. Chavannes has a wide range of interests in history and language. --[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 09:13, 19 November 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> After the Opium war 1840, the Department of Oriental Studies at Cambridge University and the SOAS/London University were established.<br /> <br /> In 1875, Leiden University in the Netherlands started and in 1890 the sinologist 考狄 founded the first academic journal by Westerners on China, the Toung Pao 通报.<br /> <br /> 1840年鸦片战争后，剑桥大学东方研究院和英国伦敦大学亚非学院成立。<br /> <br /> 1875年，荷兰莱顿大学成立，1890年，汉学家考狄创办了第一个由西方人撰写的关于中国的学术期刊—《通报》。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 13:10, 19 November 2020 (UTC)<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> In 1912, Richard Wilhelm, who had lived in China for about 30 years, taught at the Friedrich Wilhelm University in Frankfurt and established a Chinese Seminar “中国学社” and together with Beiping’s Furen University the journal华裔学志.<br /> <br /> At the end of the 19th century, in Sweden the University of Gotheburg established East Asian Language and Culture Seminar, starting with Sven Hedin, who explored Western China, followed by the the Chinese linguist 高本汉.<br /> <br /> 1912年，在中国居住了约30年的理查德·威廉在法拉克福的弗里德里希·威廉大学任教，并成立了中文研讨会“中国学社”，并与北平辅仁大学合作创办了《华裔学志》杂志。<br /> <br /> 19世纪末，瑞典哥德堡大学创办了东亚语言文化研讨会，首创人是研究中国西部的斯文·赫丁，其后是中国语言学家高本汉。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 12:02, 22 November 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> The image of China as an essentially Confucian society conveyed by Jesuit scholars dominated Western thought in these times. While some in Europe learned to speak Chinese, most studied written classical Chinese. These scholars were in what is called the “commentarial tradition” through critical annotated translation. <br /> <br /> 那时，中国在西方的形象是靠耶稣会学者传达的，本质上是儒家社会的形象，这样的形象主导了西方思想。在欧洲，有一些人学习说汉语，但大部分人学习写文言文，这些学者学习时会使用批判性的注释，属于“注释传统”的行列。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:05, 20 November 2020 (UTC)<br /> <br /> <br /> 在那个时候，中国在西方的形象在本质上是以耶稣会学者传达的儒家社会为主。在欧洲，有些人学学习说中文，大多数人则学写书面文言文。这些学者们通过批判的注释性翻译处在了所谓的“注释传统”。<br /> <br /> 当时，耶稣会学者所传达的中国本质上是儒家社会的形象主导了当时的西方思想。在欧洲，虽然有些人学说汉语，但大多数人学的是文言文。这些学者是在所谓的“评论传统”通过批评注释翻译。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 07:32, 20 November 2020 (UTC)Li Lili<br /> <br /> 耶稣会士学者传达的中国作为一个儒家社会的形象在当时根深于西方人的思想中。 尽管有些欧洲人学会了说中文，但大多数人仍然学习古典汉语。 这些学者通过批判性的注释翻译而处于所谓的“注释传统”中。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 01:31, 21 November 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> This emphasis on translating classical texts inhibited the use of social science methodology or comparing these texts of other traditions. One scholar described this type of sinology as “philological hairsplitting” preoccupied with marginal or curious aspects (Zurndorfer, China Bibliography 1999 p. 14-15, quoted from Wikipedia “Sinology”, August 6, 2018). Secular scholars gradually came to outnumber missionaries, and in the 20th century sinology slowly gained a substantial presence in Western universities.<br /> <br /> 这种强调翻译经典文本的做法阻碍了社会科学方法论的使用或与其他传统的文本的比较。有学者称这类汉学描述为专注于边缘或好奇方面的“语言学上的吹毛求疵”。世俗学者逐渐多于传教士，并在西方大学为20世纪的汉学慢慢积累了实质性存在。<br /> 这种对翻译经典文本的强调抑制了社会科学方法论的使用或对其他传统文本的比较。有学者将这种类型的汉学描述为专注于边缘或好奇方面的“语言学上的吹毛求疵”。世俗学者的人数逐渐超过传教士，并且到了20世纪，汉学在西方大学中也慢慢占据了一席之地。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 13:43, 22 November 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Sinology in Germany <br /> <br /> Today, in Germany there are about 30 universities and universities of applied sciences with Chinese Studies.<br /> <br /> Since the beginning of the 19th century, people started to conduct research on China. In 1829–1831, the orientalist Carl Friedrich Neumann bought 12,000 Chinese books in Canton, which he shipped to Munich and which became the foundation of the East Asian Collection of the Bavarian State Library as well as the Berlin State Library. Since 1833 Wilhelm Schott taught Chinese and Chinese philosophy in Berlin.<br /> <br /> 德国的汉学<br /> 如今，在德国有大约30所大学以及应用科学大学开设了汉学专业。19世纪伊始，人们开始研究中国。1829年至1831年，东方学专家卡尔·弗里德里希·诺伊曼于广州购置了12000本中文书籍，将其运至慕尼黑。这一举措使慕尼黑成为了巴伐利亚州立图书馆和柏林州立图书馆东亚收藏所的基础。1833年起，威廉·肖特在柏林教授中文与中国哲学。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:10, 21 November 2020 (UTC)<br /> <br /> 德国汉学<br /> <br /> 今天，大约有30所德国大学和应用科技大学开设了汉学专业。19世纪伊始，人们开始研究中国。1829年至1831年，东方学专家卡尔·弗里德里希·诺伊曼于广州购置了12000本中文书籍，将其运至慕尼黑，这一举措奠定了巴伐利亚州立图书馆和柏林州立图书馆东亚收藏所的根基。1833年起，威廉·肖特在柏林教授中文与中国哲学。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 11:58, 22 November 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> Pioneering research on China were the geological-geographical research trips by Ferdinand von Richthofen since the early 1860s. In 1887 the first Chinese language classes and sinological classes started at the Seminar for Oriental languages in Berlin. In 1889, the first German Chair of Sinology was established at the University of Leipzig, the first full professor was Hans Georg Conon von der Gabelentz. In 1912 the 2nd chair was established in Berlin with J. J. M. de Groot and in 1914 at the Colonial Institute in Hamburg with Otto Franke.<br /> <br /> 19世纪60年代初以来，费迪南·冯·李希霍芬的地质地理研究之旅是对中国的开创性研究。1887年，柏林东方语言研究会开设了第一批汉语班和汉学班。1889年，德国第一个汉学讲座在莱比锡大学成立，第一个全职教授是汉斯·格奥尔格·科农·冯·德·加贝伦茨。1912年，第二任主席由格鲁特在柏林设立，1914年由奥托·福兰阁在汉堡殖民地研究所设立。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:12, 20 November 2020 (UTC)<br /> <br /> 19世纪60年代初以来，费迪南·冯·李希霍芬的地质地理研究之旅是对中国的开创性研究。1887年，柏林东方语言研究会开设了第一批汉语班和汉学班。1889年，德国第一个汉学委员会在莱比锡大学成立，第一个全职教授是汉斯·格奥尔格·科农·冯·德·加贝伦茨。1912年，第二个委员会由格鲁特在柏林设立，1914年由奥托·福兰阁在汉堡殖民地研究所设立了另一委员会。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 12:38, 20 November 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> During colonial times, in which the German Empire held the Chinese colony “Kiautschou”, the interest in Chinese culture grew. The exile of many Chinese scientists in the period of National Socialism harmed the German Sinology sustainably. Since the opening up of the People's Republic of China in the 1980s, Sinology in Germany is no longer among the orchid subjects and new students of Sinology have good job prospects.<br /> <br /> 在殖民时期，德意志占领了中国山东青岛的胶州市，人们对中国文化的兴趣与日俱增。纳粹时期许多中国科学家背井离乡，对德国汉学造成了持续的伤害。自20世纪80年代改革开放以来，德国汉学不再被束之高阁，汉学新生就业前景良好。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 11:48, 22 November 2020 (UTC)<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> The change of attitude among early China experts with the example of the early reception of the Red Chamber Dreams<br /> <br /> The Red Chamber Dreams shortly after publication in 1791 spread fast among the foreigners’ community including Robert Morrison (who incorporated parts of it into his language teaching material and dictionary already by 1813-1815).<br /> <br /> 早期中国专家态度的转变-以早期接受《红楼梦》为例<br /> 《红楼梦》在1791年出版后不久，就在国外迅速传播包括罗伯特·莫里森（Robert Morrison）。罗伯特·莫里森（Robert Morrison）早在1813年至1815年就将其部分内容纳入了他的语言教材和词典中。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 08:59, 19 November 2020 (UTC)<br /> <br /> 早期中国作家的态度转变，以《红楼梦》的早期收录为例<br /> <br /> 1791年，《红楼梦》出版后不久，便在包括罗伯特·莫里森(Robert Morrison)在内的国外社会迅速流传。（莫里森早在1813年-1815年就将《红楼梦》的部分内容引入其语言教材和词典中）--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:48, 21 November 2020 (UTC)<br /> <br /> 早期中国专家态度的转变-以早期接受《红楼梦》为例<br /> 《红楼梦》在1791年出版后不久，就在国外迅速传播包括罗伯特·莫里森（Robert Morrison）。罗伯特·莫里森（Robert Morrison）早在1813年至1815年就将其部分内容纳入了他的语言教材和词典中。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:18, 21 November 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> The novel also was made known in partial translation both in English and French (by John Francis Davis) in Europe in 1819. However, for a few decades, the Western reviews of the book were mostly negative, revealing an ethnocentric approach, valuing Chinese literature below Western literature.<br /> <br /> 1819年，《红楼梦》的英语和法语（John Francis Davis译）的部分翻译使这部小说知名于欧洲。然而，几十年之后，西方对于该书的评论大多是消极的，他们认为该书呈现出种族中心主义的观点，并且认为西方文学高于中国文学。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:27, 20 November 2020 (UTC)<br /> <br /> 1819年,该小说还被译成英语和法语（约翰·弗朗西斯·戴维斯译（John Francis Davis）），因而在欧洲为人所知。然而，几十年来，西方对该书的评论大多是负面的，这揭示了西方的一种民族中心主义，即认为西方文学高于中国文学。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:43, 21 November 2020 (UTC)<br /> <br /> 1819年，这部小说在欧洲被部分翻译成英语和法语（作者:约翰·弗朗西斯·戴维斯）。然而，几十年来，西方对该书的评论大多是负面的，即揭示了一种民族中心主义的态度，对中国文学的评价低于西方文学。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 01:36, 22 November 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> It took almost a century to get to know each other better, to change attitudes from ethnocentric to dialectical, to stop exploiting the novel and to come to the insight that Chinese literature with Dream as one of its masterpieces was not only comparable to other world literatures but also could bring value to Western readers (Mayers 1867).<br /> <br /> 经过几乎一个世纪，双方增进了解，并从“民族中心主义”的优越感向辩证思想转变，停止利用小说互相攻击，开始深入了解中国文学，不仅将《红楼梦》这类杰作与其他世界文学相比较，而且，更重要的是将价值观带给西方读者。（梅辉立(Mayers) 1867年）。<br /> <br /> 几乎一个世纪,增进了彼此的了解。双方从“民族中心主义”转向辩证思想，停止利用小说互相攻击，并开始深入了解中国文学。不仅将《红楼梦》这类杰作与其他世界文学相比较，更是将价值观带给西方读者。（梅辉立(Mayers) 1867年）。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:17, 20 November 2020 (UTC)<br /> <br /> 近一个世纪，彼此之间增进了了解，从”民族中心主义“的优越感转向辩证思想，停止利用小说互相攻击，并开始深入了解以《红楼梦》为代表的中国文学，它不仅可以与世界其他文学相媲美，而且还可以为西方读者传递价值观。（梅辉立（Mayers） 1867年）。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:30, 20 November 2020 (UTC)<br /> <br /> <br /> 经过近一个世纪的发展之后，中西双方彼此之间有了更好的了解。在态度上，由“民族中心主义”转变为辩证思想，并停止了对对方小说的抨击。在此基础上，他们意识到：以《红楼梦》为代表的中国文学不仅可以与世界其他文学媲美，同时也可以为西方读者带来价值（梅辉立（Mayers ）1867）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 06:51, 23 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> Main Controversies<br /> <br /> a) The Great Divergence<br /> <br /> One of the main controversies in Chinese Studies is that for a long time China appeared economically backward (compared to Western European nations). Sociologists (Marx), philosophers (Hegel), economists (Kenneth Pomeranz: The Great Divergence) and sinologists tried to explain this with the static nature of Chinese economy due to Confucianism.<br /> <br /> 主要的争议<br /> <br /> a)大分流<br /> <br /> 汉学研究的主要争议之一是，长期以来，中国出现了经济落后的情况(与西欧国家相比)。许多社会学家(如马克思)，哲学家(如黑格尔)，经济学家(如肯尼斯·彭慕兰：《大分流》)和汉学家试图用儒家思想所导致的中国经济的静态性来解释这一现象。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:06, 20 November 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Haiquan 李海泉==<br /> Scholars have questioned this: Angus Maddison suggested that China was leading (rotating ranks with India) by GDP from 0 to 1550 so that the current development was a return to old status. Philipp C.C. Huang concentrated on rural developments and argued that only the concentration of production capibilities during the socialist reforms laid the foundation for today’s Chinese economical miracle. Today, sinologists argue that Confucianism is one of the main reasons for the economical miracle.<br /> <br /> 学者们对此提出了质疑:安格斯•麦迪森认为，中国从0年到1550年在GDP上处于领先地位(与印度轮流排名)，所以目前的发展是一种对旧地位的回归。菲利普•黄关注农村的发展，认为只有在社会主义改革中集中生产能力，才能为今天中国经济奇迹奠定基础。今天，汉学家认为儒家思想是经济奇迹的主要原因之一。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 11:11, 22 November 2020 (UTC)<br /> <br /> 学者们提出质疑，奥格斯·麦迪逊认为中国从开始到1550年GDP一直处于领先地位（与印度不分伯仲），所以中国当今的发展只是回到了旧时的社会地位。菲利普 C.C.黄专注于乡村发展，并且认为社会主义改革时期将重心放在生产力上为如今中国经济奇奠定了基础。如今，汉学家认为儒家思想是中国经济奇迹的主要原因之一。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 12:06, 22 November 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> “The Chinese have as a general characteristic, a remarkable skill in imitation, which is exercised not merely in daily life, but also in art. They have not yet succeeded in representing the beautiful, as beautiful; for in their painting, perspective and shadow are wanting.<br /> “中国人有种普遍特征，即拥有卓越的模仿能力，这种能力不仅体现在日常生活中，也体现在艺术中。但由于其绘画领域中缺乏透视法和阴影画法，他们无法充分展现事物的美。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 07:25, 20 November 2020 (UTC)Li Lili<br /> <br /> “总之，这个民族有种罕见的模仿能力，这不仅体现在他们的日常生活中，也用运到了艺术创作当中。美作为美的事物去展示对于这个民族来说并不成功，因为在绘画中缺少了透视和阴影。<br /> <br /> 中国人有一个总体特征，那就是其超凡脱俗的模仿能力。这不仅体现在他们的日常生活中，也运用到了艺术创作当中。由于其绘画中缺乏透视法和阴影，他们无法淋漓尽致地表现出事物的美。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:28, 18 November 2020 (UTC)Mo Ling<br /> <br /> “中国人有种普遍特征：一种卓越的模仿能力，这种能力不仅运用于日常生活中，也运用在艺术领域。但由于画中缺乏透视和阴影，中国人没能成功展现出美感”--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:47, 20 November 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> And although a Chinese painter copies European pictures (as the Chinese do everything else) correctly; although he observes accurately how many scales a carp has; how many indentations there are in the leaves of a tree; what is the form of various trees, and how the branches bend; - the Exalted, the Ideal and Beautiful is not the domain of his art and skill. The Chinese are, on the other hand, too proud to learn anything from Europeans, although they must often recognize their superiority.” <br /> Hegel, The Philosophy of History (transl. J. Sibree, p. 155)<br /> <br /> 即使中国画家原封不动地模仿欧洲的绘画，如若他知道鲤鱼有多少鳞片……，崇高的、理想的、美的事物也不是他的艺术土壤和擅长之处。” 黑格爾，《历史哲学讲演录》<br /> <br /> 尽管一个中国画家原封不动地地复制了欧洲的图画（就像中国人所做的所有事那样）；尽管他能准确地观察到鲤鱼有多少鳞片；一棵树的叶子上有多少凹痕；各种树木的形状是什么，树枝是如何弯曲的；崇高、理想和美丽不是他的艺术领域和技巧。另一方面，中国人过于骄傲，不愿向欧洲人学习任何东西，虽然他们必须经常认识到自己的优越性。J、 西布里，第155页）--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 01:34, 22 November 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> b) Chinese and Western scholarship<br /> <br /> Traditional Chinese education (focusing on self development and social harmony) differed much from Western scholarship (search for truth and universal human values). Chinese scholars of guoxue often do not recognize Western scholars of Hanxue as their colleagues. Today there are trends to return to Confucian education, teaching and scholarship in China, taking the Hanlin academy as example (see: Hong Kong College).<br /> <br /> b）中西学问<br /> <br /> 中西方在传统教育方面又很大不同，前者侧重于追求自我发展和社会和谐，后者寻求真理和普世价值观。中国国学学者通常不把西方汉学学者当作同行。如今，儒家教育以及儒学研究在中国如火如荼，以翰林书院为例（见：香港大学）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 07:19, 18 November 2020 (UTC)<br /> <br /> b）中西学术<br /> 中国传统教育（注重自我发展和社会和谐）与西方学术（追求真理和普遍的人类价值）有很大不同。中国国学学者往往不承认西方汉学学者是他们的同僚。今天，中国教育有向儒学教育回归的趋势，以翰林院为例（参见：香港大学）。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:17, 19 November 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> Also Traditional Chinese Medicine has continued to be an alternative to Western medicine, although the general grouping into Yin and Yang has been proven to be arbitrary since objects/organs etc. historically were assigned to Yang for a time and to Yin at other times. However, acupuncture has been recognized by Western medicine to be effective. Western reproach towards Chinese scholarship is that it is not conducted in a free environment.<br /> <br /> 此外，传统中医仍然是西方医学的替代品。尽管因为物体/有机体等在历史上一段时间被指定为阳，一段时间被指定为阴，一般的阴阳分类已经被证明是随意的。然而，针灸仍被西医认为是有效的。西方对中国学术的指责是，它不是在一个自由的环境中进行的。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 16:51, 21 November 2020 (UTC)<br /> <br /> 此外，传统中医仍然是西方医学的替代品。尽管因为物体、器官等在历史上一段时间被指定为阳，一段时间被指定为阴，但是一般的阴阳分类已经被证明是任意的。然而，针灸已为西医所认可，但西方学者指责中国学术不是在自由的环境中进行的。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 07:16, 22 November 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> From Ethnocentrism and Exoticism to Universalism and Dialogue: <br /> the General Trend of Chinese Studies in the West - <br /> A Case Study of the Early Western Reception of Red Chamber Dreams<br /> <br /> 从种族中心主义和异国主义到普遍主义和对话：<br /> 西方中国学之总趋势——以《红楼梦》早期西方接受为例<br /> <br /> Martin Woesler <br /> (Witten/Herdecke University, Peking Normal University, Nanking Normal University)<br /> <br /> Abstract<br /> “Chinese Studies” (Sinology, Chinakunde, Études Chinoises etc.) in general from its origins until today sees a main trend from ethnocentrism and exoticism to universalism and dialogue. Undergoing historical periods of Chinoisérie and then China-bashing during imperialist and colonialist times, Chinese Studies at universities and in associations like the German China Association has established a more objective view on China. <br /> 摘要<br /> “汉学” （又名“国学”、“中国学” 等等）自起源至今，大体上经过这样一条发展主线：从种族中心主义和追求异域风情发展至普世主义和对话机制。在经过中国风(Chinoisérie)时代，到批判和抨击中国（China-bashing）的帝国主义和殖民主义时代之后，汉学在大学和学术协会（如德中协会）里建立了一个对中国更为客观的看法。<br /> 摘要<br /> “汉学” （又名“国学”、“中国学” 等等）自起源至今，大体上经过这样一条发展主线：从种族中心主义和追求异域风情发展至普世主义和对话机制。在经过中国风(Chinoisérie)时代，到批判和抨击中国（China-bashing）的帝国主义和殖民主义时代之后，大学和学术协会（如德中协会）的汉学建立了一个对中国更为客观的看法。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 00:40, 21 November 2020 (UTC)<br /> <br /> ==Li Yongshan 李泳珊==<br /> Ethnocentrism is still existing among Western sinologists today and has to be fought. Still, the contemporary trends globalization, digitalization and travel freedom offer the current generation of sinologists so far unseen possibilities of international cooperation, promising extremely fruitful especially between distant cultures like China and the West. <br /> 但是，在当代西方汉学家中间仍然还存在民族中心主义，我们需要为此而抗争。随着全球化、数字化和“出境自由行”这三种当代趋向的出现，新一代汉学家获得了前所未见的国际合作可能，特别像是中西间如此大跨度的文化差异，其国际合作的前景和潜力更是无可估量。<br /> 今天，很多西方汉学家依然带着民族优越论的思想，我们需要为此抗争。伴随着全球化、数字化和旅行自由的潮流，当代汉学家在国际合作上有了前所未有的可能；尤其是像中西这样如此大跨度的两个文化间，其合作的前景更是无可估量。--[[User:Li Yongshan|Li Yongshan]] ([[User talk:Li Yongshan|talk]]) 05:57, 23 November 2020 (UTC)<br /> <br /> ==Li Yu 李玉==<br /> Key words<br /> Ethnocentrism, Exoticism, Universalism, Chinese Studies, German China Association, universal values, Gregor Paul, cooperation, China and the West<br /> <br /> 關鍵詞<br /> 宗族中心主義、異國主義、普遍主義、漢學/中國學、德中協會、普遍價值觀、Gregor Paul、合作、中國與西方<br /> <br /> When we define an academic category like “Chinese Studies”, we pay respect to the fact that the world historically has developed differently in different regions.<br /> <br /> 关键词<br /> 宗族中心主义、异国主义、普世主义、汉学/中国学、德中协会、普世价值观、格力高•保罗、合作、中国与西方<br /> <br /> 当我们定义一个类似于“汉学”的学术大类时，我们考虑的是这样一个事实，即从历史的维度上说，这个世界在不同地区的发展是不同的。--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 07:33, 23 November 2020 (UTC)<br /> <br /> ==Lin Min 林敏==<br /> Of course the world was far less connected than today, with slow carriers like horses and ships and often bad or risky infrastructure like roads. Therefore it appears on first sight that these regions have developed their culture, their civilization and even first written languages on their own, independently.<br /> <br /> 当然，世界之间的联系远不如今天，诸如马和轮船之类的速度较慢的运输工具，以及诸如道路之类的基础设施往往损坏或危险丛丛。 因此，乍看之下，这些地区已经独立地发展了自己的文化、文明甚至第一语言。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 08:29, 21 November 20<br /> 当然，世界各地区间的联系远不如今天；当时使用的都是马和船只这样的慢速运输工具，道路之类的基础设施也往往很原始，危险重重。--[[User:Li Yongshan|Li Yongshan]] ([[User talk:Li Yongshan|talk]]) 06:02, 23 November 2020 (UTC)<br /> <br /> ==Lin Xin 林鑫==<br /> The oldest evidence of written civilizations, dating back around 3500 years BC, we find in the fertile crescent Mesopotamia with the clay tablets of the Sumerer. A little bit later there is evidence in Ancient Egypt, then in Proto-India and finally also in China.<br /> <br /> 最古老的文字文明的证据，可以追溯到公元前3500年，我们在美索不达米亚平原这片新月状的沃土中找到了苏美尔人的粘土板。随后在古埃及，然后是印度，最后在中国也相继找到了证据。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 12:03, 20 November 2020 (UTC)<br /> <br /> 书面文明最古老的证据可以追溯到约公元前3500年，我们在美索不达米亚平原这片新月状的沃土中找到了当时苏美尔人的粘土板。紧接着，在古埃及、原始印度最后在中国也出现了书面文明的证据。--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 07:40, 23 November 2020 (UTC)<br /> <br /> ==Ling Zijin 凌子瑾==<br /> But the more we explore history, the more fascinating evidence comes to light that these seemingly independently developing regions have had more trade relations and exchange of ideas than seems likely bearing in mind mobility: The Silk Road is not only rediscovered and reevaluated historically, but also rebuilt as a political agenda today. We today find early evidence of European civilizations in America and Asia as well as the Chinese civilization also in America and Europe.<br /> <br /> 但是我们对历史探索得越多,就有更多有趣的证据证明，比起看似可能存在的思维迁移，这些看似独立的发展中地区存在更多的贸易关系和思想交流，从历史角度来看，我们并不只是重新发现和重新评估丝绸之路,也是作为一个政治议程来重建它。我们今天在美洲和亚洲发现了欧洲文明的早期证据，在美洲和欧洲也发现了中国文明的早期证据。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 09:23, 20 November 2020 (UTC)<br /> 但我们越是探索历史，就会发现更有吸引力的证据：这些看似独立发展的地区之间的贸易关系和思想交流比思维流动性更频繁：丝绸之路不仅在历史上被重新发现和重新评价，而且在今天也被重建为政治议程。如今，我们在美洲和亚洲发现了欧洲文明的早期证据而在美洲和欧洲也同样发现了中国文明。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 06:55, 21 November 2020 (UTC)<br /> <br /> ==Liu Bo 刘博==<br /> Cultural Science is more influenced by its subject than other sciences, since we are part of it and cannot leave it to examine it. The history of cultural science has developed from the first times of intercultural encounters to today’s life, in which cultures are mixed and people understand each other as being part of different cultures simultaneously.<br /> 文化科学比其他科学更受其研究对象的影响，因为我们是它的一部分，不能离开它去研究它。文化科学的历史从最初的跨文化冲突发展到今天的生活，文化相互交融，人们作为不同文化的一部分互相理解。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 06:51, 21 November 2020 (UTC)<br /> <br /> 与其他科学相比，文化科学受其研究对象影响更大，因为我们是文化科学的一部分，不能独立于它去研究它。文化科学的历史已经从最初的跨文化交流发展到今天，文化相互交融，同时人们作为不同文化的一部分相互理解。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 17:10, 21 November 2020 (UTC)<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> However, there will always be differentiation between cultures, simply because the trends of integration and separation occur at the same time.<br /> <br /> When there is different cultures, there is an interest in comparing these. This medal has two sides. As soon as you start to compare, you may value. Cultural encounters happened before there were experts or a whole discipline.<br /> 然而，文化之间的差异总是存在的，那是因为整合和分离的趋势是同时发生的。<br /> 当不同文化存在时，对它们的比较便存在意义。文化有两个方面。一旦开始比较，便会发现其价值。在没有专家或该学科之前就已经发生了文化交流。--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 03:20, 23 November 2020 (UTC)<br /> <br /> ==Liu Liu 刘柳==<br /> So the first comparisons between cultures were ethnocentric: You compared whatever you encountered as “other”, “foreign” or “alien”, to your own culture. This was often accompanied with feelings. There was both, the feeling of fear of the unknown and curiosness in the exotic.<br /> <br /> 因此，文化间的第一次比较是具有种族中心主义的：你拿你遇到的任何事物与你自己的文化相比较，认为它们是“其他的”、“外国的”、“外来的”。这时常伴随着情绪：既有对未知的恐惧，也有对异国的好奇。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 15:33, 21 November 2020 (UTC)<br /> 因此，文化之间的第一次比较是具有民族中心主义的：拿你所接触的任何事物与自己的文化相比较，发现他们是“其他的”、“外国的、“异样的” 这常常混杂着个人情感的：既有对未知的恐惧，也有对异国的好奇。--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 03:27, 23 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> You may categorize civilizations into so-called “high civilizations” and “low civilizations”, into “developed” and “underdeveloped” cultures. This was an ethnocentric approach in the age of cultural relativism. Today in the age of post-growth economy and after tragic experiences of colonialization and missionization, we know that each culture is equal and cannot be ranked to be higher or lower, of more or less value than the other.<br /> <br /> 你可以将文明分为所谓的“高级文明”和“低级文明”，“发达”和“欠发达”文化。 在文化相对主义时代，这是一种以民族为中心的方法。 但在后增长经济时代的今天，在经历了殖民化和传教化的不幸经历之后，我们知道，每种文化都是平等的，不能认为哪种文化的价值更高或更低。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 14:48, 21 November 2020 (UTC)<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> While very early there were historians collecting knowledge from travel reports or official delegations visiting foreign cultures, in the middle ages handbooks collected the knowledge to describe different cultures. Even the Romans had words for the Chinese (Seres in the North and Sinae in the South) and attributed to Asian-looking people certain characteristics of behaviour, attitudes, value systems, beliefs, morals and character. <br /> <br /> ==Liu Yi 刘艺==<br /> The first in-depth analysis of the Chinese culture through Western people came not with the merchants, but with the Jesuits. How few was known about China can be seen from the fact, that only the Jesuits managed to clarify, that the myth of the two empires, Tartary and Kitai/Cathay, in fact both were the same (China).<br /> <br /> 第一次通过西方人对中国文化进行深入的分析，不是来自商人，而是来自耶稣会士。对中国的了解是多么的少，这可以从以下事实中看出，只有耶稣会士设法澄清了鞑靼和基泰/卡泰两个帝国的神话，事实上，这两个帝国都是同一个（中国）。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 02:36, 20 November 2020 (UTC)<br /> <br /> 第一次对中国文学进行深入分析的西方人不是商人，而是耶稣会士。西方人对中国知之甚少可以从以下事实看出：只有耶稣会士成功地澄清了鞑靼和契丹这两个帝国的神话事实上是相同的（都属于中国）。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:44, 20 November 2020 (UTC)<br /> <br /> 西方第一次对中国文学进行深入分析的是耶稣会士，而不是商人。从只有耶稣会士才设法阐明鞑靼和契丹这两个帝国的神话实质上是相同的（讲的都是中国）这一事实来看，西方对中方的了解少之甚少。--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 09:04, 22 November 2020 (UTC)Qi Kai<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> However, the Jesuit’s approach was still ethnocentric and cultural relativist, because by portraying (like Du Halde) China as a seemingly ideal state suitable for mission work, they contributed to subjective views on China. <br /> <br /> Around 1720 presumably the French Jesuit Jean-François Noëlas even translated the Dao de jing into Latin.[ Collani, Claudia von, Harald Holz, Konrad Wegmann eds. Uroffenbarung und Daoismus: jesuitische Missionshermeneutik des Daoismus. Europ. University Press, 2008. [Partial retranslation Chinese-Latin-German.]] <br /> <br /> ==Liu Zhiwei 刘智伟==<br /> The translation turns out to deviate from the original in the way that we suddenly find the Christian trinity god in it.<br /> <br /> This is the starting point of an ethnocentric tradition to read the self and the own into the other and the alien, instead of respecting the other as a value by itself and allowing it to even challenge the own beliefs.<br /> <br /> 翻译偏离了原文，我们才猛然发现其中基督教三位一体的上帝。<br /> 这是一种种族中心主义传统的出发点，它把原文本身解读成他者并异化，而不是把他者当作一种价值观来尊重，甚至允许它挑战自己的信仰。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 12:42, 22 November 2020 (UTC)<br /> <br /> ==Lou Cancan 娄灿灿==<br /> Even the German Christian missionary and sinologist Richard Wilhelm used a Christian language (belief, heavens’ doors, life after death etc.) in his influential 1919 Taoteking translation and in 1925 he translated “god” into the Analects of Confucius.<br /> <br /> The missionaries baptized the seemingly “backward” aborigines in several continents, sometimes supported by the sword.<br /> <br /> 连德国基督教传教士兼汉学家理查德·威廉在其影响深远的1919年道教翻译中也使用了基督教语言(信仰、天堂之门、来生等)，并在1925年在《论语》中使用上帝这一翻译。<br /> <br /> 传教士们在几个大陆上给看似“落后”的土著人施洗，有时还用武力威胁。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 02:23, 22 November 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> A lot of cultures, considered less “developed”, were heavily influenced or even destroyed and extinguished. Earlier, the “Warriors of the Cross” even fought wars and devastated complete regions.<br /> <br /> The other aspect, the exotization of the other was expressed by the way the first Chinese people who came to Europe were received: They were passed on at tea meetings and gazed at like animals.<br /> <br /> 许多被认为不太“发达”的文化受到了严重影响，甚至遭到破坏并且已经消亡。早些时候，“十字军”甚至发起战争，摧毁了整个地区。<br /> <br /> 另一方面， 异域化表现在第一批来到欧洲的中国人所能接受的方式：这些文化在茶话会上被传下来，受到瞩目。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:56, 21 November 2020 (UTC)<br /> <br /> 许多在人们看来不是太“发达”的文化遭受了重创，甚至已经毁灭或消亡。早些时候，“十字军”发起战争，摧毁了整个地区。<br /> <br /> 另一方面，对其他文化的异域化影响则表现在第一批来欧洲的中国人被欧洲人接纳：他们在参加各种茶话会，被人们奇怪地看待。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:33, 23 November 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> Soon Chinese goods became the symbol of the exotic. Chinese porcellain and nick-nacks, even Chinese-style buildings were recreated in Europe. The fever-like admiration of a China image, which certainly was not the true China, is called Chinoiserie. The Chinoiserie even involved European philosophers like Voltaire and Leibniz, who compared China to an ideal country without religion and still moral values, represented by a wise emperor.<br /> <br /> 很快中国货就成了异国情调的象征。中国的瓷器和小装饰品，甚至中国风格的建筑都在欧洲得以重现。狂热崇拜中国形象，被称为中国热，当然不是对真正中国形象的狂热。这股中国热甚至影响到伏尔泰和莱布尼茨这样的欧洲哲学家，他们把中国比作一个理想国家，这个国家没有宗教信仰和道德价值观，由一位睿智的皇帝所代表。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 05:03, 22 November 2020 (UTC)<br /> <br /> ==Ma Juan 马娟==<br /> In Europe, the first experts on Chinese culture were entrusted with the task to explain the Chinese culture no longer from the ethnocentric viewpoint, but from a scientific one: Professorships at universities were established. Their early translations show traces of admiration of the exotic. Chinoiserie was also countered by Européerie in China.<br /> <br /> 在欧洲，第一批中国文化的专家的任务是不再从民族中心主义的角度而是从科学的角度来解释中国文化，许多大学给予很多人教授头衔，他们早期的翻译显示出外来的附加痕迹，“中国风”也被中国的“山寨风”所抵制。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:20, 23 November 2020 (UTC)<br /> <br /> ==Ma Shuya 马淑雅==<br /> However, this phase did only last as long as it fit to European politics. As soon as the import of colonial goods (and resources) became an economic factor, the (wrong) image of the ideal China changed into a negative one (similarly wrong). Not only mission and belief were motifs to look down on the Chinese culture, but also the comparison of economic development and living standards. <br /> <br /> ==Ma Zhixing 马智星==<br /> Hegel continued the ethnocentric view on China with his ranking of cultures. Although Confucius already had developed a “Golden Rule” principle comparable to Kant’s “Categorical Imperative”, Hegel declared Chinese philosophy as inferior to European philosophy, and even saw a geographical step by step development from Confucius over Buddha, Zarathustra, the ancient Greek and the Roman philosophy, leading to the European philosophy.黑格尔以他的文化排名延续了对中国的种族中心主义观点。尽管孔子已经发展出一套可与康德的“绝对命令”相媲美的“黄金法则”原则，但黑格尔却宣称中国哲学不如欧洲哲学，甚至认为看到了从孔子到佛陀、查拉图斯特拉、古希腊和罗马哲学的一步一步的地理发展，引领了欧洲哲学。--[[User:Zhixing ma|Zhixing ma]] ([[User talk:Zhixing ma|talk]]) 04:44, 23 November 2020 (UTC)<br /> --[[User:Zhixing ma|Zhixing ma]] ([[User talk:Zhixing ma|talk]]) 04:44, 23 November 2020 (UTC)<br /> <br /> ==Meng Ying 孟莹==<br /> A ladder only second by the Arab philosophy. At the turn from the 19th to the 20th century, China was suddenly considered as static, as “the sick man of Asia”. Actually semi-colonialism in China helped to hinder development there. <br /> <br /> Rereading the reviews of Chinese literature in contemporary Western journals, it is astonishing, how disrespectful even men of letters treated Chinese literature, even during a time, when it was not yet available in translation, so that it is save to say that ethnocentric attitude prevailed over knowledge.<br /> <br /> ==Mo Ling 莫玲==<br /> This can be proven by the many mistakes you can find in the reviews (Morrison: the book was of low literary quality, but written in Peking dialect and therefore useful as language learning material; Gützlaff: the protagonist Baoyu is a petulant woman; Giles: the words “Red Chamber Dreams do not appear in the book” etc.).<br /> <br /> 错误百出的评论可以证明这一点（马礼逊：这本书没什么文采，但由于它是用北京方言所写，因而可以作为语言学习材料；居茨拉夫：主角宝玉真是一个爱耍小性子的女人；贾尔斯：“红楼梦没有在书中出现过”等等。）。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:17, 18 November 2020 (UTC)Mo Ling<br /> <br /> <br /> 书评中许多人对其的误解能证明这一点（马礼逊：这本书文笔拙劣，但由于是用北京话写的，因此可以用作语言学习材料;居茨拉夫：主角宝玉是一个被宠坏的女子; 贾尔斯：“红楼梦”一词没有在书中出现等）。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:47, 20 November 2020 (UTC)Ou Rong<br /> <br /> ==Mo Nan 莫南==<br /> Also, the tradition of the title translation as “Dream of the Red Chamber” can be traced back to the origins of the better translation as “Red Chamber Dreams”, sacrificed by Francis Davis finally in favor of the powerful tool of Morrison’s dictionary calling it “Dream of the Red Chamber”.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> Here, the exotic was used to make fun of China. Barrow introduces an excerpt, describing the outward appearance of Baoyu and Xifeng, translated by Francis Davis into English, explicitely for the reason to “amuse the beaux and belles”. Francis Davis himself picks two poems from the novel for translation, but not for its own sake, but to use them as a proof for his own (minority) opinion that the Chinese poetry knew a certain, “descriptive” function of poems in novels.<br /> <br /> 在这里，外来翻译只是用于取笑中国。巴罗介绍了一段《红楼梦》节选，描述的是宝玉和熙凤的外貌，弗兰西斯•戴维斯将其翻译成英文，但显然是为了“嘲笑花花公子和美丽佳人”。弗兰西斯•戴维斯从这本小说中挑选了两首诗歌翻译，但其目的不是为了诗歌本身，而是为了证明他自己的观点（这也是少数人的观点）—中国诗人明白，小说中的诗歌是具有一定“描写”功能的。--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 06:47, 22 November 2020 (UTC)Nie Xiaolou<br /> <br /> 此处，外来翻译只是用于取笑中国。巴罗挑选了《红楼梦》一节来描述宝玉和熙凤的外貌。弗兰西斯•戴维斯将其译成英文，但显然是为了“嘲笑花花公子和美丽佳人”。弗兰西斯•戴维斯从这本小说中挑选了两首诗歌翻译，但其目的不是为了诗歌本身，而是为了证明他自己的观点（这也是少数人的观点）—中国诗人明白，小说中的诗歌是具有一定“描写”功能的。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 11:24, 22 November 2020 (UTC)<br /> <br /> ==Ou Rong 欧蓉==<br /> In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “[dreams of the red chamber.” He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation.<br /> <br /> <br /> 1815年，澳门牧师罗伯特·莫里森（Robert Morrison，1782-1834年）在其《汉语词典》中将小说的标题称为“红楼梦”，从而创造了该小说的标题的西译本。[他解释道小说红楼梦中一个叫妙玉的女子就像是一块令人钦佩的宝石，参见罗伯特·莫里森：《汉语词典》三部分，澳门：东印度公司出版社1815年，第一卷p930，此处p614，左栏。印刷版出版24年后，这是第一次提及该小说，并将其标题翻译成迄今已知的西方语言。如果没有更早的发现，则意味着莫里森所创作的译本一直持续到今天几乎不变。]他选择了复数形式，这是相当合理的，因为小说中有许多梦想。似乎在27年后，复数的“梦”变成了单数的“梦”，听起来更笼统，因此也是一种合理的翻译。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:35, 20 November 2020 (UTC)Ou Rong<br /> <br /> 1815年，澳门牧师罗伯特·莫里森(1782-1834)在他的《汉语词典》中将《红楼梦》称作“dreams of the red chamber”，从而创造了小说的英文译名。他把《红楼梦》这本小说中一个女性人物的名字“妙玉”中的“妙”字解释为“令人艳羡的宝石”，（参见罗伯特·莫里森《汉语词典》，澳门：东印度公司出版社，1815年，第一卷第936页，此处第614页左栏)。在印刷版出版24年后，这是第一次提到并将标题翻译成西方语言。如果找不到比这还早的标题翻译，便意味着莫里森创造的翻译一直持续到今天都几乎发生没有改变。“梦”这个词的译文他选择了复数“dreams”，这是相当合理的，因为在小说中有许多梦。27年后，复数的“梦”（dreams)变成了单数的“梦”(dream)，这听起来有点笼统，但也是一个合理的翻译。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 12:35, 20 November 2020 (UTC)<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> ''Red Chamber Dreams'' is the most common translation in English and, in its variations, in all Western languages so far.<br /> <br /> In 1817 Rev. Robert Morrison published a book for studying Chinese,[ Robert Morrison, A view of China for philological purposes: containing a sketch of Chinese Chronology, Geography, Government, Religion &amp; Customs, designed for the use of persons who study the Chinese language, Macao: East Asia Company Press, 1817, 141 S., hier S. 120-121.] in which he recommended “''Dreams of the Red Chamber''” as beginner readings, together with the novel Hao qiu zhuan, which was available mostly in English and partly in Portuguese by 1719, and fully in English by 1761. Both were written in colloquial style.<br /> <br /> 在所有的翻译中，“ Red Chamber Dreams”是到目前为止英语以及所有西方语言中最常见的翻译。<br /> <br /> 1817年，罗伯特·莫里森牧师出版了一本研究汉语的书，[罗伯特·莫里森，出于语言学目的对中国的看法：包含对中国年历，地理，政府，宗教和习俗的描写，旨在供学习汉语的人使用。 澳门语言：东亚公司出版社，1817年，141 S.，hier S. 120-121。]，其中他推荐“红楼梦”和小说《好秋传》作为初学者的读物。 到1719年，红楼梦的翻译大部分是英语，部分是葡萄牙语。在1761年以后全部用英语翻译。两种都是口语化的。--[[User:OUYANGJINGLAN|OUYANGJINGLAN]] ([[User talk:OUYANGJINGLAN|talk]]) 03:14, 23 November 2020 (UTC)OuYang Jinglan 欧阳静兰<br /> <br /> 在所有的翻译中，“ Red Chamber Dreams”是到目前为止英语以及所有西方语言中最常见的翻译。<br /> <br /> 1817年，罗伯特·莫里森牧师出版了一本研究汉语的书，[罗伯特·莫里森，出于语言学目的对中国的看法：包含对中国年历，地理，政府，宗教和习俗的描写，旨在供学习汉语的人使用。 澳门语言：东亚公司出版社，1817年，141 S.，hier S. 120-121。]，其中他推荐“红楼梦”和小说《好秋传》作为初级读物。 到1719年，《好秋传》的翻译大部分是英语，部分是葡萄牙语。在1761年以后全部用英语翻译。两种都是口语化的。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 06:19, 23 November 2020 (UTC)<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> Morrison claims that ''Dream'' was written in Peking dialect. This does not hold true, since the author’s family Cao came from the South and many people in the novel have Nanking dialect sprinkles. In fact, the highly artful and intentional switch of dialects and sociolects contributed to the later fame of the novel. Morrison’s mistake developed its own tradition.[ Even in 1995, you could read that the ''Dreams'' is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.]<br /> <br /> 马礼逊称《红楼梦》是用北京方言写的，但他的说法并不属实，因为书的作者曹雪芹其实是南方人，书中很多角色有时候还会说南京方言。实际上，书中地方方言和社会方言的切换十分巧妙，也是作者有意而为之，这也是此作品之后享有盛名的原因之一。马礼逊的这一错误还持续了很长一段时间。[ 甚至到了1995年仍有人说《红楼梦》是用北京方言写成。]--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 11:07, 18 November 2020 (UTC)Ouyang Ling<br /> <br /> 马礼逊认为，《红楼梦》是用北京方言写的，但他的说法并不属实，《红楼梦》的作者曹雪芹其实是南方人，书中很多角色在某些场合甚至还会说南京方言。实际上，书中地方方言和社会方言的切换十分巧妙，这是作者有意而为之，也是《红楼梦》在后来享有盛名的原因之一。马礼逊的这一错误还持续了很长一段时间。[ 甚至到了1995年时，仍有人认为《红楼梦》是用北京方言写成。]--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:22, 19 November 2020 (UTC)<br /> <br /> 马礼逊声称《红楼梦》是用北京方言写成的。这一说法是不正确的，因为作者曹雪芹来自南方，小说中很多人说话都有南京方言的色彩。事实上，方言和社会用语的巧妙和有意的转换为这部小说后来的名声做出了贡献。马礼逊的错误持续了很长一段时间。[即使是在1995年，还有人说《红楼梦》是用北京方言写成的。]--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 09:29, 20 November 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> Barrow mentioned the title “[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams” on June 4, 1819, in the Quarterly Review. He inserted this （导言）reference into a review[ My own findings, so far not discussed in 20th century hongxue, and published first in October 2010. John Barrow, “Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. This edition appeared (only by) June 4, 1819 with 13,000 copies. The author follows here the argumentation of the assignment to the author Barrow due to the following indications: “Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p.76) and Raffles's account of Java reviewed by Barrow in #422. In his Q[uarterly] R[eview] articles, it was Barrow's signature practice to refer to his own works, see “Quarterly Review Archive” http:// www.rc.umd.edu/reference/qr/index/41.html, last visited Dec 5, 2010.] of Clarke Abel’s report of a journey through China.[ Clarke Abel, Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited, F.L.S. London 1818.] He interrupted his review with an excursus on the uniform appearance and static nature of the Chinese, in line with the contemporary China-bashing of Herder and Hegel.<br /> 巴罗在1819年6月4日的季刊上提到了书名“[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams”。他在一篇评论中这样写道：这是我自己的发现。迄今还未被20世纪的红学讨论过，第一次发表是在2010年10月。1816年和1817年在中国内陆的旅行，以及往返于那个国家的航行;书中记载了阿默斯特公爵驻北京法院的大使馆最有趣的事情，以及对它访问过的国家的观察(克拉克阿裨尔，伦敦，1818，于威廉吉福德，季刊21:41,1819年1月，67-91页，79-80页）这个版本仅仅在1819年6月4日发行了13000本。作者在此遵循了对作者巴罗任务的论证，原因如下:“绅士杂志(1844年3月)，246-47。这篇文章的作者提到了#415和#438(包括一个特定的引用)，它们都是关于同一个主题的，都是巴罗写的。还有关于杀婴的讨论(第76页)和巴罗在第422页审查过的莱佛士对爪哇的描述。在他的Q[uarterly] R[eview]文章中，巴罗的标志性做法是引用他自己的作品，参见“季刊评论档案”，http:// www.rc.umd.edu/reference/qr/index/41.html，上一次访问是在2010年12月5日。克拉克·阿贝尔(Clarke Abel)关于中国之旅的报道。[克拉克·阿贝尔，1816年和1817年在中国内陆的旅行，以及往返于那个国家的航行;书中记载了阿默斯特公爵驻北京法院的大使馆最有趣的事情，以及对它访问过的国家的观察，1818年伦敦F.L.S.。他以一段关于中国人千篇一律的外表和一成不变的本质的论述打断了他的评论，这与当时赫尔德和黑格尔对中国的抨击一致。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 06:12, 23 November 2020 (UTC)<br /> <br /> ==Peng Juan 彭娟==<br /> For contemporary Europeans, the Chinese appeared abnormally uniform and simple in their clothes and appearance. They would not be subordinated to the tyranny of fashion; their culture was static. In order to entertain the “belles and beaux of Great Britain,” Barrow provides a foil to this general impression by quoting the descriptions of the garments and anatomy of two characters, Wang Xifeng and Jia Baoyu, from chapter 3 of J. Davis’ translation of Dream.<br /> 对于当代欧洲人来说，中国人看起来异常的统一，衣着和外表都相当简单。他们不会屈从于暴政时尚;他们的文化是静止的。为了娱乐“大不列颠的美女和美人”，巴罗（Barrow）引用了杰·戴维斯《翻译的梦》第三章，对服装的描述和对两个人物的剖析，来衬托这个总体印象。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 06:26, 22 November 2020 (UTC)pengjuan<br /> <br /> 对于当代欧洲人，中国人的穿着和外表显得异常统一和朴素。 他们不会服从时尚的暴政。 他们的文化是静态的。 为了娱乐“大不列颠的风向标”，巴罗引用了戴维斯红楼梦翻译第3章中对两个人物王熙凤和贾宝玉的服装和人物性格剖析的描述。--[[User:OUYANGJINGLAN|OUYANGJINGLAN]] ([[User talk:OUYANGJINGLAN|talk]]) 03:25, 23 November 2020 (UTC)OuYang Jinglan 欧阳静兰<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> In fact the graphic comparisons given in these descriptions were simply strange to Europeans of that time, since they apparently did not correspond to the European’s own ideal of beauty.<br /> <br /> Even in 1842 Gützlaff criticized: “the author [makes] many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] the style is without any art […] whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage”[ “Amongst the novels of the Chinese, this work holds a decidedly high rank. The author, after making many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] Having brought this tedious story to a conclusion, in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces. Some words that are used in a sense different from that in ordinary writings, and others are formed for the occasion, to express provincial sounds. But after reading one volume the sense is easily understood, and whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage.” ibid., p. 273.]<br /> <br /> 实际上，这些描述中给出的图形比较对于当时的欧洲人来说简直是陌生的，因为它们显然不符合欧洲人自己的美感。<br /> <br /> 甚至在1842年，居茨拉夫（Gützlaff）都批评说：“作者[对]他无法对这个主题伸张正义，提出了许多抗议，这确实是书中唯一的道理。以说北方法院方言的方式，可以有利地细读这部作品” [“在中国小说中，这部作品绝对享有很高的地位。在多次抗议他无法公正对待这个主题之后，这确实是本书中唯一的真相[...]总结了这个乏味的故事，在表达我们对表演文学价值的看法后，我们可以说这种风格没有任何艺术意义，实际上是北部省份上层阶级的口头语言。有些词的用法与普通著作有所不同，而另一些词的用法则是为了表达省级声音。但是，读完一卷书后，这种感觉很容易理解，并且无论谁希望熟悉北部法院方言的表达方式，都可以从中受益。同上，p。273.]<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 03:49, 20 November 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> In 1867, 78 years after the first Chinese printed edition, we find a first real in-depth review of two pages by William Frederick Mayers:[ William Frederick Mayers, in: Notes and Queries (Dec 31, 1867) pp. 167-168, here p. 167. Mayers was Chinese secretary of the British Legation at Peking. He gives also short extracts in translation: <br /> “Vast as is Heaven above or Earth below – <br /> Sighs may such limits fill for passion vainly past <br /> Grieve for the senseless youth, the hapless maiden’s woe ! <br /> Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […] <br /> Vain to be soft in temper, mild in ways, <br /> Fair as the fairest … (p. 168) <br /> […] <br /> Not often shines <br /> thy longings too are vain ! ” (p. 168)].]<br /> <br /> “If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed.<br /> <br /> 1867年，即第一本中文印刷版出版78年之后，我们对梅辉立的两页进行了首次真正的深入回顾：[梅辉立，在：中日释疑（1867年12月31日）,第167-168页，此处第167页。梅辉立曾担任英国使馆驻北京的中国秘书。他还给出了一些翻译中的简要摘录：<br /> “天堂之上或地狱之下都很广阔–<br /> 叹息可能会限制过去的激情<br /> 为无知的青年，不幸的少女而悲伤！<br /> 最后，爱的誓言不是经常被兑现的！ ”（第167页）[…]<br /> 不会脾气柔和，方式温和，<br /> 公平为最公平…（第168页）<br /> […]<br /> 不常发光<br /> 你的渴望也是徒劳的！ ” (第168页)].]<br /> <br /> “如果公然宣称对任一中国作品充满热情的感觉是合法的，那么要对红楼梦或‘Dreams of the Red Chamber’的无端指摘表示真正的钦佩是不可能的。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 13:37, 19 November 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors.<br /> <br /> <br /> 在英国文学中，萨克雷和布尔沃的作品经常被与前几代令人厌倦和不熟练的作品相比较，就如同红楼梦被与其他中国作家的小说作品作比较一样。--[[User:Peng Yongliang|Peng Yongliang]] ([[User talk:Peng Yongliang|talk]]) 14:22, 22 November 2020 (UTC)<br /> <br /> 在英国文学中，萨克雷和布尔沃的作品经常被拿来和早期一些令人厌倦和不熟练的作品作比较，同样地，人们也经常把《红楼梦》与其他中国作家的小说作比较。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 06:12, 23 November 2020 (UTC)Ouyang Ling<br /> <br /> ==Peng Yuzhi 彭育志==<br /> Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance;<br /> <br /> 复杂多变的人物性格，错综复杂的家庭关系，猛烈的激情，追求爱情而不得的折磨，凡此种种，作者都以具有技巧和才识的笔触描绘出来，这事实上展现了他与两位英国浪漫小说大师的相似之处。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 04:41, 21 November 2020 (UTC)<br /> <br /> 作者那具有技巧和才识的笔触下的这些，性格复杂多变的人物，错综复杂的家庭关系，猛烈的激情，追求爱情而不得的折磨，事实上展现了他与两位英国浪漫小说大师的相似之处。--[[User:Peng Yongliang|Peng Yongliang]] ([[User talk:Peng Yongliang|talk]]) 14:32, 22 November 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end.<br /> <br /> 同时，就像在自然界的生存戏剧中一样，风暴和阳光的反射紧密地交织在一起，喜剧的轻快线与故事的黑暗主线并排而行，故事的黑暗主线以悲伤的预兆开始，以泪洗面而终。--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 12:35, 20 November 2020 (UTC)Qi Kai<br /> <br /> 同时，正如自然存在本身就具有戏剧性，风暴与阳光之间的映射紧密纠缠，明亮的喜剧线与黑暗的故事主线并肩而行，展开故事，它以悲伤的预兆开头，并最终导向令人垂泪的结局。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 04:56, 21 November 2020 (UTC)<br /> <br /> ==Qu Miao 瞿淼==<br /> If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]”<br /> 同时,如果一点微弱的-一点非常微弱的超自然色彩展现在故事中,这就不仅是完全符合目标读者的口味,而且还远远不如目前最受欢迎的小说中的相似素材那么突兀。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:19, 23 November 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> Reading through almost 80 years of reviews, during which more and more chapters of the novel became available, the ethnocentric attitude gradually changes to the scientific one and finally, with Mayr’s review of 1867 to a dialectic one, not only admitting that the Chinese novel was a piece of world literature, but even leaving open the possibility that it surpassed literary achievements of the own culture.<br /> <br /> 梅尔读了近80十年的书评，在阅读过程中，他能读懂越来越多的章节，所以他民族中心主义的观点逐渐变化，最后变成了科学的观点。他1867年的书评呈现了辩证的态度，他不仅承认中国小说是世界小说的一部分，甚至对中国小说有没有可能超越其本国文化取得的成就持开放态度。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 11:48, 22 November 2020 (UTC)<br /> <br /> ==Sagara Seydou ==<br /> This process certainly has been brought to a good end with the establishment of further diversified Chinese Studies in Europe and the USA, with the role of overseas Chinese at American universities, with further translations especially through Franz Kuhn in the 1930s and with the establishment of the German China Association in the 1950s.<br /> 随着在欧洲和美国建立更多多元化的中文研究，在美国大学中扮演海外华人的角色，尤其是在1930年代通过Franz Kuhn进行的进一步翻译以及 1950年代的德国中国协会.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 03:12, 20 November 2020 (UTC)<br /> <br /> 随着在欧洲和美国建立更多样化中国研究中心，随着海外华人在美国大学中角色的改变，随着二十世纪三十年代翻译进一步发展，这其中弗兰克·库恩（Frank kuhn)是典型代表，随着二十世纪五十年代德国中国协会的建立，这个过程完满结束了。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 11:29, 22 November 2020 (UTC)<br /> <br /> ==Shi Diwen 石迪文==<br /> <br /> During its 60 years of history, the German China Association (next to the developing chairs of Chinese Studies at universities and next to other organizations dealing with China like friendship associations and Confucius Institutes) has helped to overcome prejudices, cultural relativism with diversity and tolerance. This is especially challenging, because the cultures and languages are quite distant and German media and internet community tends to bash China.<br /> <br /> During the last 20 years, the German China Association was shaped through its prolific president, Gregor Paul, who has shaped the prestige of the Association with his sharp and precise analysis of a common logic in China and the West as well as universal values, including human rights, worth to strive for both in the West and in China.<br /> <br /> <br /> 在其60年的历史中，德国中国协会(旁边是正在发展的大学中国研究中心，旁边是其他与中国打交道的组织，如友好协会和孔子学院)以多样性和宽容帮助克服偏见和文化相对主义。这尤其具有挑战性，因为两国文化和语言相当遥远，而德国媒体和互联网社区往往会抨击中国。<br /> 在过去的20年里,德国的中国协会在优秀的主席格雷戈尔保罗领导下建立,通过敏锐和精确的分析中国和西方的一个共同的逻辑，还有普世价值,包括值得一起追求的人权，他建立起了这个协会的声誉。--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 04:17, 21 November 2020 (UTC)<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> His entertaining and informative lectures used a rhethoric often referring to persuasive conventional wisdom, e.g. that differences often come from different opinions instead of a difference of the nature of the things, as can be seen from a quarrel with his wife about what both remembered had happened the day before. Paul is a consequent logician and a real universalist and he has added to Germany’s international reputation as “the land of poets and thinkers”.<br /> <br /> The process of doing more justice to China today culminates in the cooperation between Chinese and Western scholars at international conferences, in research projects or international book projects like “A Harvard Literary History of Modern China”.<br /> <br /> 他的演讲娱乐性强，内容翔实，善用修辞，引经据典。例如：分歧往往源于意见不和，而非事情性质不一致，这从他和妻子的争吵中可以看出，他们都记得前一天发生的事情。保罗是一名逻辑学家和普遍主义者，他提升了德国的国际声誉，德国被誉为“诗人和思想家的国度”。<br /> <br /> 如今，中国与西方学者在国际会议、研究项目或诸如“现代中国的哈佛文学史”之类的国际图书项目上的合作，是对中国更加公正的体现，也是合作达到高潮的体现。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 06:18, 21 November 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> <br /> Europeans (and later US-Americans) have made a contribution to Chinese Studies in general. They were influenced heavily by the idealizers (Jesuits, European philosophers of the enlightenment) and by China-bashers (Hegel, the German emperor...). It took 100 years for a Chinese piece of world literature to be recognized as such in Europe. But today, Chinese literature and culture is recognized with the Nobel Prize and Confucius Institutes do successful work in the whole work promoting and exporting Chinese culture abroad.<br /> <br /> However, we should not overestimate the European contribution. There are still examples of ethnocentrism, even of religiously motivated reading of things into Chinese literature. One of these examples is the 10 volume ''History of Chinese Literature'' published in Bonn.<br /> <br /> 总体上来说，欧洲人（以及后期的美国人）对中国的研究做出了贡献。研究很大程度上受到了理想主义者（耶稣会士和德国启蒙哲学家）以及抨击中国者（黑格尔和德国教皇）的影响。中国的文学作品花费了100年的时间才能得到像欧洲文学那样的认可。但是如今，中国文学和文化已经受到诺贝尔奖的认可，孔子学院也成功地在国外传播弘扬中国文化。<br /> <br /> 然而，我们不能高估欧洲对中国文学的贡献。仍有很多民族中心主义的例子，甚至有宗教鼓励性的读物混入中国文学当中。其中一个例子便是在波恩出版的《十卷中国文学史》。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 03:12, 22 November 2020 (UTC)<br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> In two volumes, the one about the origins of Chinese literature and the one on Chinese poetry, a German sinologist, who formerly was a priest, defines, that the origin of Chinese literature lies in the dialogue of the author with god. This reminds us again of the Jesuit reading of things into Chinese texts, it reminds us of the attempts, to impose your own culture on other seemingly backward cultures, in this case even the try to impose the Western god on the Chinese culture of a time, when China had a totally different understanding of the world and of heaven than that of a Christian god. The emergence of Chinese literature comes from songs, speeches and paintings, from the wish to document events, family etc., but not from an encounter with god.<br /> <br /> 其中的两卷，一卷关于中国文学的起源，另一卷关于中国的诗歌。有位曾担任过牧师的德国汉学家认为，中国文学源于作家与上帝的对话。这让我们再次想起耶稣会教士对中文文本的解读，他们试图将其自身文化强加到其他看似落后的文化上。在这本书中，这位汉学家甚至试图把西方的上帝强加到某一时期的中国文化上，尽管中国对世界和天堂的理解与西方完全不同。其实，中国文学兴于诗歌、演讲和绘画，把美好愿景和文献记载世代相传，而非源自与上帝的邂逅。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 13:20, 19 November 2020 (UTC)<br /> <br /> 其中的两卷，一卷关于中国文学的起源，另一卷关于中国的诗歌。有位曾担任过牧师的德国汉学家认为，中国文学源于作家与上帝的对话。这让人联想到耶稣会教士对中文文本的解读，他们试图将其自身文化强加到其他看似落后的文化上。在这本书中，这位汉学家甚至试图把西方的上帝强加到某一时期的中国文化上，而这个时候中国对世界和天堂的理解与西方完全不同。其实，中国文学兴于诗歌、言论和绘画，从美好愿景到记载事件、家族等，而非源自与上帝的邂逅。--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 04:25, 21 November 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> The same German sinologist retranslated the Analects, attributed to Confucius, and translated some of the more than 50 occurrences of “heaven” or “demon/ghost” with the term “god”. <br /> <br /> Experts on Confucius also quote the few passages, where Confucius addresses the question of the supranatural like ghosts etc. and analyze that Confucius may have been at best not interested or even negative about the belief in ghosts, while he was positive about the social stability and peace rituals brought for the people.<br /> <br /> This reminds us of the fact, that it is to us to make sure that ethnocentrism is still existing today and that science is a field that needs to be aware of and cautious about it. And it needs courage to speak out against it.<br /> 这位德国汉学家重新翻译了源于孔子的《论语》，并用“神”一词翻译了50多个“天堂”或“恶魔/鬼魂”的事件。研究孔子的专家也引用了一些孔子说的鬼神等超自然的问题。而且他还分析到孔子充其量对鬼神的信仰可能不太感兴趣，甚至持有消极的态度，但他对其为人民带来的社会稳定与和平持积极态度。这提醒了我们一个事实，那就是我们要确保民族中心主义在今天仍然存在，并且科学是一个需要警惕和谨慎的领域。公开反对它需要勇气。<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> “We were wrong” – Coming to terms <br /> with failed master narratives of Chinese Studies<br /> “我们错了”——汉学应对主流叙事传统<br /> <br /> Martin Woesler 吴漠汀<br /> <br /> Abstract<br /> 摘要<br /> <br /> We, the international scholars of Chinese Studies, apologize for two main misinterpretations of China. 1. The master narrative of Jesuits and others who tried to proof the Western Christian god in ancient Chinese texts. As a tool, they used a distortion of the Chinese texts by manipulated translation. <br /> <br /> 我们是中国研究的国际学者，对中国的两个主要误解道歉。 1.耶稣会士和其他人在古代中国文本中试图证明西方基督教之神的主要叙事。作为一种工具，他们通过操纵翻译来歪曲中文文本。<br /> <br /> “我们错了”--关于汉学错误的主流叙述<br /> <br /> 吴漠汀<br /> <br /> 摘要<br /> <br /> 我们作为研究汉学的国际学者，为我们对于中国的两个主要误解道歉。 1.耶稣会士和其他人的主流叙事中试图证明在古代中国作品中存在西方基督教之神。他们通过操纵翻译这一工具来歪曲中国作品。<br /> --[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 01:07, 23 November 2020 (UTC)<br /> <br /> “我们错了”---学会接受错误的汉学主流叙述<br /> <br /> 吴漠汀<br /> <br /> 摘要<br /> <br /> 我们作为汉学的海外学者，要向中国道歉，因为我们在两个方面误读了中国。1. 耶稣会教士和其他人的主流叙事试图证明古代中国作品存在西方的基督教上帝。他们通过操纵翻译来歪解中国作品。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:36, 19 November 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> 2. The master narrative of the stagnation of China, sometimes claimed to be inherent and systemic, often reasoned with Confucianism. This narrative was a dogma for 150 years between 1830 and 1980. The disruptive economic development since 1978 has proven this narrative wrong, Confucianism is seen as one reason for the economic miracle. <br /> <br /> 2.关于中国停滞的主要叙述，有时被称为固有的和系统性的，常常用儒家思想来推理。这种叙述是1830年至1980年间150年的教条。自1978年以来的破坏性经济发展证明了这种叙事错误，儒家思想被视为经济奇迹的一个原因。<br /> <br /> 常以儒家思想为依据的中国停滞论有时被认为是固有的和系统性的。在1830-1980年这150年间，这种说法如同教条主义一般。直到1978年中国经济飞速发展才证明这种说话是错误的，儒家思想也被视为中国经济奇迹的原因之一。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 04:49, 22 November 2020 (UTC)<br /> <br /> 2.中国停滞的主要叙述有时是内在的、系统的，通常由儒家思想所论证。这种叙述是1830年至1980年间150年的教条。自1978年以来的破坏性经济发展证明了这种叙述是错误的，而儒家思想被视为经济奇迹的原因之一。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:31, 19 November 2020 (UTC)<br /> <br /> 关于中国发展停滞不前的大体说法有时被认为是固定的、系统的，且往往以儒家思想为依据。在1830-1980年这150年里，这种说法像教条一样根植人心。直到1978年以后，中国经济的腾飞推翻了这一说法，儒家思想也被视为是中国经济奇迹的原因之一。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 03:20, 22 November 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> 3. The master narrative of the Great Proletarian Cultural Revolution as a successful Communist reform. During the 1970s, Western sinologists abandoned basic principles of neutrality, distance and fact-seeking and, based on propaganda, enthusiastically celebrated the Cultural Revolution and became dedicated followers of Mao Zedong, holding up the Little Red Book.<br /> <br /> 无产阶级文化大革命的主要叙事是成功的共产主义改革。在20世纪70年代，西方汉学家放弃了中立，距离和事实寻求的基本原则，并在宣传的基础上，热烈地庆祝文化大革命，成为毛泽东的忠实粉丝，举起小红皮书。相信中国宣传的意愿部分是出于将中国理想化为一种模式的愿望，这种模式可以为西方社会的改革指明方向。<br /> <br /> 主述将无产阶级文化大革命（文革）描述为共产党的一场成功改革。20世纪70年代，西方汉学家放弃了中立、保持距离、实事求是的基本原则，并在宣传的基础上，热衷于庆祝文化大革命，高举小红书，成为毛泽东的忠实追随者。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:40, 19 November 2020 (UTC)<br /> <br /> 在主流叙事中，无产阶级文化大革命是一场成功的共产主义改革。20世纪70年代，西方汉学家放弃了中立、保持距离、实事求是的基本原则，并在宣传层面上热烈庆祝文化大革命，高举小红书，成为毛泽东的忠实追随者。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 01:16, 23 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> The readiness to believe in the Chinese propaganda was partly motivated by the wish to idealize China into a model which could show the way for a reform of Western societies.<br /> <br /> 相信中国宣传的意愿部分是出于将中国理想化为一种模式的愿望，这种模式可以为西方社会的改革指明方向。<br /> <br /> 人们愿意信任中国的宣传，部分原因是希望将中国理想化为一种典范，而这种典范可以为西方社会改革指明道路。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 04:49, 23 November 2020 (UTC)<br /> <br /> 人们愿意相信中国的宣传，部分原因是希望将中国理想化为一种典范，可以为西方社会改革指明道路。 --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 05:07, 22 November 2020 (UTC)<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> Key words<br /> <br /> 关键词<br /> <br /> Apology, errors, mistakes, manipulation, ethnocentrism, eurocentrism, master narratives, Chinese Studies, sinology, coming to terms with the past<br /> <br /> 道歉，错误，错误，操纵，种族中心主义，欧洲中心主义，大师叙事，中国研究，汉学，与过去达成协议<br /> <br /> 关键词<br /> 道歉，错误，失误，操纵，种族中心主义，欧洲中心主义，大师叙事，中国研究，汉学，与过去达成协议<br /> --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 11:55, 22 November 2020 (UTC)Tang Ming<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> 1. God in China上帝在中国<br /> <br /> Human beings develop ancestor worship, complemented by natural religions. The natural religions established a layer of shamans who interpreted the will of the natural gods. <br /> <br /> 人类发展祖先崇拜，辅以自然宗教。自然宗教建立了一套解释自然神灵意志的法则。<br /> <br /> 人类开创了祖先崇拜的先例，并辅以自然宗教。自然宗教组建了一支能解释自然神灵意志的萨满法师队伍。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 02:38, 22 November 2020 (UTC)<br /> <br /> [[File:[[File:Example.jpg]]]]==Tao Ye 陶冶==<br /> <br /> In India, the layer of priests of the Vedan religion alienated from the people, because the religious texts of Vedan religion brought a conservating effect to language, texts were canonized and finally not understood by ordinary people any more. <br /> <br /> 在印度，Vedan宗教的神职人员与人民疏远，因为Vedan宗教的宗教文本对语言产生了保护作用，文本被册封，最后不再为普通人所理解。<br /> 在印度，吠檀教的祭司层与人们疏远，因为吠檀教的宗教文本给语言带来了保守的效果，文本被封为圣徒，最终不再为普通人所理解。--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 06:52, 23 November 2020 (UTC)Tao Ye<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> Finally, only the Vedan priests could understand the Vedan texts any more. This was the start of the so-called “anti-religious” start of Buddishm.<br /> <br /> 最后，只有Vedan牧师才能理解Vedan文本。这是Buddishm所谓的“反宗教”起源的开始。<br /> <br /> <br /> 最后，只有Vedan牧师才能理解Vedan文本。这是佛教所谓的“反宗教”起源的开始。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:50, 20 November 2020 (UTC)<br /> <br /> 最后，只有Vedan牧师才能理解Vedan文本。佛教所谓的“反宗教”起源由此开始。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:56, 22 November 2020 (UTC)<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> Due to the alienation of people and the religious texts and its priests, Buddha was able to establish Buddhism. He claimed that every individual was able to find his or her own way to self-perception and spiritual liberation (nirvana). <br /> <br /> 由于人与宗教文本及其祭司的异化，佛陀能够建立佛教。他声称每个人都能找到自己的自我认知和精神解放的方式（涅槃）。<br /> <br /> 由于人与宗教文本和祭司关系并不紧密，佛陀才能建立佛教。他声称每个人都能找到自己的自我认知和精神解放的方式--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 13:36, 22 November 2020 (UTC)Wang Xuan<br /> <br /> <br /> 由于人们和宗教文本及其祭司的异化，佛陀得以建立佛教。他宣称，每个人都能找到自己的方式来实现自我认知和精神解脱（涅槃）。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 02:38, 20 November 2020 (UTC)<br /> <br /> 人们和宗教由于文本及其祭司发生了异化，佛陀得以建立佛教。佛陀宣称，每个人都能找到自己的方式来实现自我认知和精神解脱（涅槃）。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:59, 20 November 2020 (UTC)<br /> <br /> ==Wang Yu 王煜==<br /> <br /> Although Buddha did not abandon priests, he established the new tradition that masters would have their disciples and these could overcome their masters. Also, Buddha destroyed the perfectionism of the almighty god by claiming that the life of imperfect men simply was much more interesting. <br /> <br /> 虽然佛陀没有放弃传教者，但他建立了新的传统，即主人会有他们的门徒，这些人可以推翻他们的主人。此外，佛陀通过声称不完美男人的生活更加有趣，摧毁了全能神的完美主义。<br /> <br /> 尽管佛陀没有放弃祭司，但他创建了新传统，即大师们会收弟子，弟子们也能青出于蓝而胜于蓝。并且，佛陀摧毁了全能神的完美主义，他认为不完美的人的人生会更精彩。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:53, 22 November 2020 (UTC)<br /> <br /> 佛陀尽管没有放弃祭司，但是他创立了新传统，即大师们会收弟子，弟子们可以青出于蓝而胜于蓝。此外，佛陀认为不完美之人的人生更加精彩，从而摧毁了全能神的完美主义。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 10:26, 22 November 2020 (UTC)<br /> <br /> ==Wang Yuan 王源==<br /> <br /> In China, ancestor worship has kept its dominant role until today. Although there was the age of shamans, since several millenia every family clan had its own tradition of ancestor worship. It was believed that the ancestors in heaven watched over and influenced the lives of their descendants on earth. <br /> <br /> 在中国，从古至今祖先崇拜一直保持其主导地位。虽然有巫师的时代，但自几千年以来，每个家族宗族都有自己的祖先崇拜传统。人们相信，天上的祖先会注视着并影响他们的后代在地球上的生活。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 01:19, 23 November 2020 (UTC)<br /> <br /> <br /> 在中国，从古至今祖先崇拜一直占据其主导地位。尽管有过巫师的时代，但是几千年来，每个家族都有其自己的祖先崇拜传统。人们相信，天上的祖先会注视并影响着其后代在地球上的生活。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 04:58, 23 November 2020 (UTC)<br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> So the most important unit were family clans. Even rulers used fire cracks and characters inscribed in turtle shells or cattle bones to communicate with the ancestors and to predict the future. <br /> <br /> 所以最重要的单位是家族。甚至统治者也使用火龟纹和龟壳或牛骨上的字符来与祖先交流并预测未来。<br /> <br /> 因此最核心的单位是家族。统治者甚至通过把火裂纹和符号刻在龟壳和牛骨上的方式和祖先进行交流和预测未来。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 05:24, 22 November 2020 (UTC)<br /> <br /> 因此，最重要的单位是宗族。甚至统治者也会将火裂纹和字符刻在龟壳或牛骨上，用来与祖先交流并预测未来。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 01:25, 23 November 2020 (UTC)<br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> However, when the dynasty changed and a new ethnic group took over, they could not claim the ancestors to be their relatives any more, so the shangdi concept was replaced by heaven (tian) and related understandings like “son of heaven”, “mandate of heaven” etc., supllying them with legitimization of power. <br /> <br /> 然而，当王朝改变并且一个新的族群接管时，他们不能再宣称祖先是他们的亲戚，所以上帝的概念被天堂（天）和相关的理解所取代，如“天堂之子”，“任务”天国等等，用权力合法化来贬低他们。<br /> <br /> <br /> 然而，当王朝更迭并且被一个新的族群所接替时，他们不能再宣称祖先是他们的亲戚。所以上帝的概念被天堂（天）和其相关的理解所取代，如“天之子”“天之使命”等等，用权力合法化来作为补充。--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:46, 22 November 2020 (UTC)Weiyafei<br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> Although there were mythical divine creatures, the understanding of gods was not developed as distinct and authoritative as in Europe and Egypt. Egypt and Europe both further developed from multi theism to mono theism.<br /> <br /> 虽然有神话般的神圣生物，但对神的理解并没有像欧洲和埃及那样发展出独特和权威。埃及和欧洲都从多神论到单一神论进一步发展。<br /> <br /> 虽然有神话中的神创物，但对神的理解并没有像在欧洲和埃及那样发展得独特而权威。埃及和欧洲都从多神论进一步发展到一神论。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 02:21, 21 November 2020 (UTC)<br /> ----<br /> 尽管存在神话中的神圣生物，但对神灵的了解却没有欧洲和埃及那样独特而权威。埃及和欧洲都是从多神论进一步发展到一神论的。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 08:46, 21 November 2020 (UTC)<br /> <br /> <br /> 虽然有神话中的神圣生物，但对神灵的了解却没有欧洲和埃及那样独特而权威。埃及和欧洲都是从多神论进一步发展到一神论的。--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:48, 22 November 2020 (UTC)Weiyafei<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> Theism established a layer of priests, occupying the role of mediators between god and men. Since every uncontrolled authority abuses its power, these mediators gained earthly wealth and took advantage of their control over people by abuse of their work force and even sexual abuse. <br /> <br /> 有神论建立了一套祭祀法则，成为了神与人之间调解者的角色。由于每个不受控制的权威都滥用权力，这些调解人获得了人间的财富，并利用他们对工作人员的滥用甚至性虐待来控制他们。<br /> 有神论确立了一些神职人员来充当上帝和人民之间的调停者。无限制的权力会导致权力的滥用，因此这些调停者不仅获得了大量的财富，还利用自己对人民的控制来压榨他们的劳动力甚至是通过性虐待来达到此目的。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 14:08, 21 November 2020 (UTC)<br /> <br /> ==Wu Kai 吴恺==<br /> <br /> In Europe, the power was divided among the rulers and the church, represented by the pope, the cardinals, the bishops and the priests. <br /> <br /> 在欧洲，权力在统治者和教会之间分配，由教皇，红衣主教，主教和神父代表。<br /> <br /> 在欧洲，权力被统治者和以教皇、红衣主教、主教和神父为代表的教会所控制，并且被分享、分配。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:21, 21 November 2020 (UTC)<br /> <br /> 在欧洲，由统治者和以教皇，红衣主教，主教和神父为代表的教会掌控分配权力。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:55, 21 November 2020 (UTC)<br /> <br /> 在欧洲，统治者和以教皇，红衣主教，主教和神父为代表的教会分配权力。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 04:02, 21 November 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> Since religion in general claims to be valid for all of menkind, when new territories were discovered in East Asia and Africa, the missionaries tried to enlarge the territorium under their control by forcing locals to accept European religions and societal development models like modernization and economical development. <br /> 因为宗教通常声称对所有人都有效，所以当在东亚和非洲发现新的领土时，传教士试图通过迫使当地人接受欧洲宗教和社会发展模式，如现代化和经济发展，来扩大他们控制下的领土。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 08:34, 21 November 2020 (UTC)<br /> <br /> 由于宗教一般主张对所有人都有效，所以当在东亚和非洲发现新的领土时，传教士会试图通过强迫当地人接受欧洲的宗教和社会发展模式，如现代化和经济发展，来扩大自己控制的领土。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 04:56, 22 November 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> After the first missionaries arrived in China and saw that the exchange was positive for both sides, they also developed a motivation to keep the missionaries alive, which was a second motivation for them. <br /> <br /> 在第一批传教士抵达中国，并看到双方的交流是积极的之后，他们也发展了一种让传教士活动的动力，这是他们的第二个动机。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 07:47, 20 November 2020 (UTC)<br /> <br /> 在第一批传教士抵达中国后，并看到这种交流对双方来说都是积极的，他们也就产生了另一个动力，让传教士们积极活动。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:11, 20 November 2020 (UTC)Xu Mengdie<br /> <br /> 第一批传教士抵达中国并看到双方的交流是积极的以后,他们又发展了一种保持传教士活力的动力，这是他们发展的第二个。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 13:36, 22 November 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> Since the Christian religion is a religion revealed in divine texts, the missionaries had a strong motivation to find evidence in the classical Chinese texts that the Christian god also existed there. So among the first texts, they selected, translated and sorted were the canonized texts. A good example is the Daodejing which they translated in a distorted way, allowing them to proof the existence of the Christian god in China.<br /> <br /> 由于基督教是一种神圣文本中所揭示的宗教，传教士有强烈的动机在中国古典文本中找到证据，证明基督教的神也存在于那里。 因此，在第一批文本中，他们选择、翻译和排序的是册封文本。一个很好的例子就是《道德经》，他们以扭曲的方式翻译，使他们能够证明中国基督教神的存在。<br /> <br /> 由于基督教起源于神圣文本，所以传教士很想在中国古典作品中找到基督教的神亦存在的证据。因此，他们最初选择、翻译、排序的文章都是经典作品。这些传教士歪曲事实，翻译《道德经》是一个很好的证明。其目的是证明中国存在基督教的神。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 04:35, 22 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> This was the first major mistake, the attitude of Europeans to find evidence of their European god in Chinese roots. This attidtude lead to translation practises abandoning the basic rules of the profession: <br /> <br /> 这是第一个重大错误，即欧洲人在中国人根源中找到欧洲神的证据的态度。这种原因导致翻译实践放弃了专业的基本规则：<br /> <br /> 这是第一个重大错误，即欧洲人想寻找证据，证明自己的欧洲神明存在于中国人根源之中的这种态度。这种态度导致其在翻译实践中放弃专业的基本规则：--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:14, 21 November 2020 (UTC)<br /> <br /> 这是第一个重大错误，即欧洲人试图在中国根源中找到欧洲神的证据的态度。这种态度导致翻译实践放弃了专业的基本规则：--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 02:24, 21 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Terms, concepts and ideas sounding familiar were forcibly changed into the original European meaning. However, the published translations did only show a slight influence of this practise, the main translations, e.g. of the Daodejing first were not published, but discussed internally. <br /> <br /> 熟悉的术语、概念和想法被强制改变，具有原欧洲意义。但是，已发表的翻译并没有受太大影响，主要翻译，例如最初没有发表的《道德经》，在内部进行了讨论。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 03:25, 19 November 2020 (UTC)Wu Zijia<br /> <br /> 为人熟知的术语、概念和想法被强制改变为原欧洲意义。然而，已发表的翻译作品仅受到了轻微影响。但主要的翻译作品，例如最初没有发表的《道德经》，在内部进行了讨论。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:35, 20 November 2020 (UTC)<br /> <br /> 为人所熟知的术语、概念和思想，被迫改为原来的欧洲含义。然而，已发表的翻译只是受到了这种做法的轻微影响，但主要的翻译作品，如《道德经》最初没有出版，而是进行内部讨论。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:07, 20 November 2020 (UTC)<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> The outcome of the discussion was that the deviations in the translations would have to go too far and ultimately that there was no proof of the Christian god in ancient Chinese texts. <br /> <br /> 讨论的结果是，翻译中的偏差必须走得太远，最终在中国古代文本中没有基督教之神的证据。<br /> <br /> 讨论的结果是，译本的偏差会太大，最终导致在古代中国文本中没有基督教上帝存在的证据。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 01:21, 21 November 2020 (UTC)Xiao Shuangling<br /> <br /> 讨论的结果是译本可能会偏差过大，最终导致在中国古籍中没有基督教存在的依据了。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 07:50, 21 November 2020 (UTC)Xiao Ting<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> Nonetheless, since then several missionaries, priests (Richard Wilhelm) and sinologists (Wolfgang Kubin) still tend to translate the Chinese concept of “heaven” into concepts familiar to Europeans like “god”. <br /> <br /> <br /> 尽管如此，从那时起，几位传教士，牧师（理查德威廉）和汉学家（顾彬）仍然倾向于将中国的“天堂”概念翻译成欧洲人熟悉的概念，如“上帝”。<br /> <br /> 尽管如此，从那时起，一些传教士、牧师（如理查德·威廉）和汉学家（如沃尔夫冈·库宾）还是倾向于把中国的“天”译作欧洲人所熟悉的概念，如“上帝”--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 07:41, 21 November 2020 (UTC)Xiao Ting<br /> <br /> <br /> 尽管如此，从那时起，一些传教士、牧师(理查德·威廉)和汉学家(沃尔夫冈·库宾)仍然倾向于把中国的“天堂”概念翻译成欧洲人熟悉的概念，比如“上帝”。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 01:26, 21 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> This is wrong and we as sinologists, apologize to the Chinese citizens for this eurocentric approach. We hope to overcome this historical mistake by cooperation with our Chinese colleagues.<br /> <br /> 这是错误的，我们作为汉学家，为这种以欧洲为中心的方法向中国公民道歉。我们希望通过与中国同事的合作修正这一历史错误。<br /> <br /> 这是错误的，并且作为汉学家，我们为这种以欧洲为中心的做法向中国公民道歉。我们希望通过与中国同事的合作来纠正这一历史错误。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 06:29, 20 November 2020 (UTC)Xiao Xi<br /> <br /> 这种以欧洲为中心的做法是不对的。作为汉学家，我们为此向中国公民道歉，希望能够和中国汉学家合作来纠正这个历史错误。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 04:45, 22 November 2020 (UTC)<br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> All institutionalization develops inertia, the Chinese society was very instituionalized, therefore the Christianization in general failed. However, he secondary aims of the missions, to bring the European understanding of societal development (development of economy, health, education bringing about progress and modernization) were a success.<br /> <br /> 所有制度化都发展了惯性，中国社会非常机构化，因此基督教化总体上失败了。 然而，他的使命的次要目标，使欧洲对社会发展的理解（经济、健康、教育带来进步和现代化）的成功是成功的。<br /> <br /> <br /> 一切制度化都滋长了惰性，中国社会非常制度化，因此基督教化总体上失败了。然而，他的任务的第二个目标是，使欧洲人了解社会发展（经济、卫生、教育的发展带来进步和现代化），这个目标成功了。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:42, 20 November 2020 (UTC)Xiao Yining<br /> <br /> <br /> 一切制度化滋长了惰性，中国社会非常制度化，因此基督教化总体上失败了。然而，他的任务的第二个目标：使欧洲人了解社会发展（经济、卫生、教育的发展带来进步和现代化），成功了。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 02:34, 22 November 2020 (UTC)<br /> <br /> ==Xie Fan 解帆==<br /> <br /> The missionaries translated European books of knowledge into Chinese and therefore practically performed a knowledge transfer. Also the learning of foreign languages enhanced.<br /> <br /> 传教士将欧洲知识书籍翻译成中文，实际上不仅传递了知识，也提高了他们外语学习的能力。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:27, 20 November 2020 (UTC)<br /> <br /> 传教士将欧洲的知识书籍译成了中文，从而将知识的传递落到了实处。人们的外语学习能力也得到了提高。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 00:53, 21 November 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> During history, the authoritarian rule was replaced by democracies. In China, this was the case with the establishment of the Republic of China in 1912. During history, the power of the church was also restrained with protestant reformism.<br /> <br /> 在历史上，专制统治被民主取代。 在中国，1912年中华民国成立就是这种情况。在历史上，教会的权力也受到新教改良主义的制约。<br /> <br /> 在历史上，专制统治被民主制所取代。 在中国，1912年中华民国成立就是这种情况。在历史上，新教改革派也限制了教会的权力。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 04:23, 21 November 2020 (UTC)<br /> <br /> 在历史上，独裁统治被民主政体所取代。而在中国，中华民国于1912年成立就是这样的事件。历史上，教会的权力也受到新教改革主义的制约。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:27, 21 November 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> Religions are more or less tolerant regarding people believing in different religions or regarding atheists. Islam in average is less tolerant the Christianity. <br /> <br /> 宗教对于相信不同宗教或无神论者的人或多或少都是宽容的。平均而言，伊斯兰教对基督教的宽容度较低。<br /> <br /> 各大宗教对于有别的宗教信仰的人或无神论者或多或少持宽松态度。一般而言，伊斯兰教对基督教徒的宽松度较低。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 05:32, 22 November 2020 (UTC)Xu Jia<br /> <br /> 任何宗教对于信仰不同宗教的人或无神论者都有着或多或少的宽容。一般来说，伊斯兰教对基督教的宽容度较低。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 06:07, 22 November 2020 (UTC)<br /> <br /> 宗教对于有着不同信仰的信徒或者无神论者有着或多或少的包容。但是，总体而言，伊斯兰教对于基督教信徒的包容度较低。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 07:52, 23 November 2020 (UTC)<br /> <br /> ==Xu Jing 许晶==<br /> <br /> Since two millenia, Europe has been dominated by Christianity and China mostly by ancestor worship, with a huge tolerance towards Buddhism, Daoism and other forms of religious practises. <br /> <br /> 自两千年以来，欧洲一直由基督教和中国主导，主要是祖先崇拜，对佛教、道教和其他形式的宗教活动有着巨大的容忍。<br /> <br /> 自从两千年以来，欧洲一直以基督教为主，中国大多以崇拜祖先为主，对佛教，道教和其他形式的宗教活动具有极大的容忍度。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 06:02, 22 November 2020 (UTC)<br /> <br /> 自两千年以来，欧洲一直为基督教所主导，而中国主要为祖先崇拜所主导，对佛教、道教和其他形式的宗教信仰有着极大的宽容。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:46, 22 November 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> <br /> 2. Stagnant China停滞的中国<br /> <br /> Times when international China watchers (scholars, philosophers) and China experts (merchants, missionaries, members of delegations, scholars) idealized China (Chinoiserie) and when they demonized her (stagnation, Yellow peril) followed each other. <br /> <br /> 国际中国观察家（学者、哲学家）和中国专家（商人、传教士、代表团成员、学者）理想化中国（中国风）以及妖魔化她（停滞、黄祸）的时代相互依存。<br /> <br /> 国际上中国的关注者（学者、哲学家）和对中国颇为了解的人（商人、传教士、代表团成员、学者）先是把中国理想化（Chinoiserie），接着又把中国妖魔化（停滞、黄祸）。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:00, 21 November 2020 (UTC)<br /> <br /> 国际上中国的观察者们（学者、哲学家）和中国通（商人、传教士、代表团成员、学者）把中国理想化(中国风）、妖魔化（停滞、黄祸）的时期是互相交汇的。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 05:34, 22 November 2020 (UTC)<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> <br /> Western Sinology has long declared the &quot;stagnation&quot; in China as being “without an alternative” and as “being caused by Confucianism”. However, China showed a disruptive economical development since 1978, which proves this narrative wrong. Now also the Chinese &quot;economic miracle&quot; is explained by the Western sinologists with Confucianism. <br /> <br /> 西方汉学早就宣称中国的“停滞”是“没有其他选择”和“由儒学引起的”。 然而，自1978年以来，中国显示出飞速的经济发展，证明这种说法是错误的。 现在中国的“经济奇迹”也被西方汉学家用儒学解释了。<br /> <br /> 西方汉学早就宣称中国的“停滞”是“无法避免的”，“由儒学造成的”。然而，从1978年来，中国的经济出现了颠覆性的发展，证明这种说法是错误的。现在，西方汉学家又用儒学去解释中国的“经济奇迹”。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:00, 20 November 2020 (UTC)Xu Mengdie<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> <br /> Now is the time for Western Sinology to admit its historical mistake and to overcome the eurocentric and racist dogma of “stagnation” by diversification. The exchange with Chinese colleagues like here at the congress offers a good opportunity to do so.<br /> <br /> 现在是西方汉学承认其历史错误、克服多元化“停滞”的欧洲中心和种族主义教条的时候了。在这里与大会上的中国同事交流提供了一个很好的机会。<br /> <br /> <br /> 现在，西方汉学应当承认自己的历史错误，并通过多样化来克服“停滞”的欧洲中心主义和种族主义教条。本次大会上与中国同事的交流为此提供了一个很好的机会。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 04:53, 20 November 2020 (UTC)Xu Pengfei<br /> <br /> 现在是西方汉学承认历史错误，通过多元化克服“停滞”的欧洲中心主义和种族主义教条的时候了。本次大会上与中国同事的交流提供了一个很好的机会。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:45, 20 November 2020 (UTC)Xiao Yining<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> With the overall turn from admiring China to demonizing China, also Hegel started to judge on China as a “stagnant” empire. <br /> <br /> 随着从钦佩中国到妖魔化中国的整体转变，黑格尔也开始判断中国是一个“停滞不前”的帝国。<br /> <br /> 从钦佩中国到妖魔化中国，黑格尔也开始认为中国是一个“停滞不前”的帝国。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:22, 20 November 2020 (UTC)Yang Chenting<br /> 随着黑格尔从钦佩中国到妖魔化中国的全面转变，他也开始认为中国是一个“停滞”的帝国。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 04:21, 22 November 2020 (UTC)Xiao Xi<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> Although he found evidence that Confucius had invented the Golden Rule, he described China as the lowest stage of a stairways to the world Geist# with Berlin at the top. His condemnation of China was taken over by Marx who condemned China too. <br /> <br /> 尽管他发现了孔子发明黄金法则的证据，但他将中国描述为通往世界精神阶梯的最低阶段，而柏林位居榜首。他对中国的谴责也被谴责中国的马克思所接管。<br /> <br /> 尽管他发现了黄金法则由孔子发明，但他仍将中国描述为通往世界精神阶梯的最低阶段，而柏林位居阶梯之首。他对中国的谴责也由谴责中国的马克思所接替。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 06:23, 22 November 2020 (UTC)<br /> <br /> 尽管他发现了黄金法则是由孔子发明的证据，他仍将中国描述为通往世界精神阶梯的最低阶段，而柏林位居该阶梯之首。他对中国的谴责为同样谴责中国的马克思所接管。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 07:46, 22 November 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> There were several narratives establishing a Great Divergence or arguing for little divergences during the early stage of globalization. However, new rediscoveries of ancient Chinese translations of Western books of knowledge and new statistics of sugar consumption (which was for the most time higher in China than in Europe) question these narratives today.<br /> <br /> 在全球化的早期阶段，有几种叙述形成了一种大分歧或争论很少的分歧。 然而，中国古代西方知识翻译的新发现以及食糖消费的新统计数据（这在中国的时间比欧洲最高）在今天质疑这些叙述。<br /> <br /> 有几种说法造成了巨大的分歧，或主张在全球化的早期阶段几乎没有分歧。然而，对西方知识书籍和糖消费新统计数据 (中国的糖消费量比欧洲高得多) 的中国古代翻译的新发现质疑了今天的这些说法。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 12:56, 22 November 2020 (UTC)<br /> <br /> <br /> 在全球化的早期阶段，有几种叙述形成了极大的分歧，或争论较小的分歧。 然而，如今，有关西方叙事的古汉语翻译的新发现和食糖消费的新统计数据（在中国多数时候高于欧洲）都质疑这些叙述。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:44, 22 November 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> '''3. Western Sinologists as Red Guard作为红卫兵的西方汉学家'''<br /> <br /> Whenever science and scholarship serves an ideology or a religion, it gives up its objectivity and it betrays the fundamental principles of science and scholarship, e.g. the principle that you conduct research independantly without any predestined results and that you accept the results whatever they are.<br /> <br /> 每当科学和学术服务于意识形态或宗教时，它就会放弃其客观性，并背叛科学和学术的基本原则，例如： 你独立进行研究而没有任何预定结果的原则，你接受的结果无论它们是什么。<br /> <br /> 每当科学和学术服务于一种意识形态或宗教时，它就会失去其客观性，并会违背科学和学术的基本原则，例如这一项原则：当你独立地进行一项没有任何注定结果的研究时，你就得接受任何研究结果。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 06:21, 22 November 2020 (UTC)<br /> <br /> 每当科学和学术服务于意识形态或宗教时，它就会放弃其客观性，并背叛科学和学术的基本原则，例如： 在你独立进行研究时，你可能会想要一个预定好的结果。你可能不太愿意接受不想要的答案。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:22, 20 November 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> Sinologists and scholars of Chinese Studies are scholars who deal with the subject of China. To keep the distance, it is good that they are able to freely travel to and out of China in order to be able to change perspectives and to keep the distance.<br /> <br /> 中国研究的汉学家和学者是处理中国主题的学者。为了保持距离，他们能够自由地进出中国以便能够改变视角并保持距离。<br /> <br /> 汉学家和中国研究学者都是研究中国主题的学者。为了区分不同，他们能够自由进出中国，以便能够改变视角去研究不同方面，这是非常好的方法。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:44, 20 November 2020 (UTC)<br /> 汉学家和中国研究学者是研究中国问题的学者。为了保持距离，他们能够自由地往返于中国，以便能够改变视角，保持距离，这是很好的。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 12:40, 21 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> There was a time at the end of the 1960s, when the Western capitalism and establishment was challenged, initi-ated by images from the Vietnam war, dismantling the cruelty of war, where American soldiers used unfair tech-niques like chemical weapons against civilians in Vietnam. The photo of the naked children, scared to death from the napalm air strikes and running away in panic, changed the attitude of the people in the USA and in Europe against the institutionalized form of capitalism. Suddenly, the people, who were assured to be the “good ones” asked instead if they were the “bad ones” and had to change their systems towards peaceful coexistence. <br /> <br /> 20世纪60年代末，西方资本主义的形成和建立受到挑战，受到越南战争的影响。资本主义使战争看上去不那么残酷，美国士兵在越南对平民使用化学武器等不公平技术。看到裸体儿童的照片，看到他们在凝固汽油弹袭击中惊恐万分的模样，惊慌而逃的身影，改变了美国和欧洲人民对制度化资本主义的态度。 突然之间，那些发誓要成为“好人”的人们反而会质疑自己是否是“坏蛋”，并且不得不改变他们自己的方式以实现和平共处。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:13, 20 November 2020 (UTC)<br /> <br /> 20世纪60年代末，西方资本主义和建立受到越南战争的影响，摧毁了战争的残酷，美国士兵在越南对平民使用化学武器等不公平技术。 裸体儿童的照片，在凝固汽油弹袭击中惊恐万分，在恐慌中逃跑，改变了美国和欧洲人民对制度化资本主义形式的态度。 突然之间，那些被保证成为“好人”的人们反而要求他们是“坏人”，并且不得不改变他们的制度以实现和平共处。<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> Western sinologist in the whole world were too ready to believe the propaganda of a successful “Great Proletari-an Cultural Revolution”. In 1961 Defense Minister Lin Biao instructed the army journal ''People’s Liberation Army Daily'' to print one saying of Mao each day. Sorted thematically, the first collection of these sayings was published in 1964. The little red book with sayings by Mao Zedong was printed more than 740 million times in China to supply every citizen with a copy. During its peak of popularity 1966-1971, it was the most printed book, it was printed in more than 30 languages more than a billion times. <br /> <br /> 全世界的西方汉学家都准备好相信成功的“无产阶级文化大革命”的宣传。 1961年，国防部长林彪指示军民报“人民解放军报”每天打印一篇毛泽东的语录。 按主题排序，这些说法的第一个集合于1964年出版。毛泽东的红宝书在中国印刷了7.4亿多次，为每个公民提供了一份副本。 在1966年至1971年的人气高峰期间，它是印刷最多的书，以超过30种语言印刷超过十亿次。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 03:20, 20 November 2020 (UTC)<br /> <br /> 全世界的西方汉学家都不敢相信“伟大的无产阶级文化大革命”的宣传竟如此成功。1961年，国防部长林彪指示军队日报《人民解放军日报》每天刊登一篇毛泽东语录。按主题分类，这些语录的第一本合集于1964年出版。《毛泽东语录红皮书》在中国印刷了7.4亿多册，几乎人手一本。在1966至1971年间，该书的印刷量达到顶峰，被翻译成30多种语言，印刷超过10亿次。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 06:46, 20 November 2020 (UTC)<br /> <br /> 整个世界的西方汉学家都太相信“伟大的无产阶级-文化革命”的宣传了。1961 年，国防部长林彪指示“人民解放军日报”每天刊登一篇关于毛泽东的文章。按主题分类，这些谚语的第一次收集是在 1964 年出版的。毛泽东写的红色小本子在中国印刷了 7.4亿 多次，为每个公民提供了一本。在 1966-1971 年的鼎盛时期，它是最受欢迎的印刷书籍，以 30 多种语言印刷了超过 10亿 次--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 12:58, 22 November 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> Jean-Luc Godard released his film “La Chinoise” in August 1967, displaying a youthful Parisian Maoist sect. This lead to a popularity of this ideology among Western experts of Chinese Studies.<br /> <br /> Jean-Luc Godard于1967年8月发行了他的电影《中国姑娘》，展示了一个年轻的巴黎毛派教派。这导致了这种意识形态在西方中国研究专家中的流行。<br /> <br /> 让-吕克·戈达尔（Jean-Luc Godard）于1967年8月发行了电影《中国姑娘》，展示了一个年轻的巴黎毛派教派。随后，此意识形态在西方中国研究专家中流行。--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 06:31, 20 November 2020 (UTC) Zhang Weihong<br /> <br /> 1967年8月，让-吕克·戈达尔（Jean-Luc Godard）发布了其电影《中国姑娘》，电影中展示了一个年轻的巴黎毛派教派。随后，此意识形态在那些做中国研究的西方专家中流行开来。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 00:45, 21 November 2020 (UTC)<br /> <br /> ==Yi Huan 易欢==<br /> <br /> Recently, Cambridge University Press published a collection of memories of how Western sinologists and young intellectuals have received and embraced Maoism in the 1960s and 1970s. <br /> <br /> 最近，剑桥大学出版社出版了一系列关于西方汉学家和年轻知识分子如何在20世纪60年代和70年代接受和信奉毛泽东思想的回忆。<br /> <br /> 最近，剑桥大学出版社出版了一系列回忆录，里面记录了西方汉学家和年轻知识分子如何在20世纪60年代和70年代就已接收并信奉毛泽东思想。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 00:19, 21 November 2020 (UTC)<br /> <br /> 最近，剑桥大学出版社出版了一系列回忆录，里面记录了西方汉学家和年轻知识分子在20世纪60年代和70年代对毛泽东思想的接受和信奉情况。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 02:28, 22 November 2020 (UTC)<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> John Gray in a book review has summarized main points of the book. I mostly follow his summary here. He de-scribes how French thinkers received this film:<br /> <br /> 约翰格雷在书评中总结了本书的要点。 我在此将列出他主要的总结。他描述了法国思想家如何评价这部电影：<br /> <br /> <br /> 约翰格雷在书评中总结了这本书的要点。 我将在此列出他主要的总结。他描述了法国思想家如何评价这部电影：--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 03:21, 20 November 2020 (UTC)<br /> <br /> 约翰·格雷在书评中总结了他这本书的主要观点。在这里，我主要是跟随着他的总结。他描述了法国的思想者是如何接受这部电影的：--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:25, 20 November 2020 (UTC)Yang Chenting<br /> <br /> 约翰格雷在书评中总结了本书的要点。 我在此将列出他主要的总结。他讲述了法国思想家对这部电影的评价：--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 04:38, 23 November 2020 (UTC)<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> [Julian] Bourg: “Mao’s language of violence had a certain rhetorical appeal.” In fact, it was his combination of rhetorical violence with sub-Hegelian dialectical logic that proved so irresistible to sections of the French intelligentsia. Eulogising Mao’s distinction between principal and secondary contradictions, Louis Althusser deployed Maoist categories as part of an extremely abstract and, indeed, largely meaningless defence of “the relative autonomy of theory”. <br /> <br /> [Julian] Bourg：“毛泽东的暴力语言具有一定的修辞吸引力。”事实上，正是他将修辞暴力与次黑格尔辩证逻辑相结合，证明了法国知识分子的各个部分是如此不可抗拒。 颂扬毛泽东对主要和次要矛盾的区分，路易斯·阿尔都塞将毛派分类作为极其抽象的，实际上在很大程度上毫无意义地保护“理论的相对自治”的一部分。<br /> <br /> <br /> [Julian] Bourg:“毛泽东暴力语言具有一定的修辞吸引力。”事实上，正是他的修辞暴力与亚黑格尔的辩证逻辑相结合，对法国知识分子的各个部分来说是如此难以抗拒。 颂扬毛泽东对主要和次要矛盾的区分,路易·阿尔都塞将毛泽东主义者分类作为极其抽象的,实际上是对“理论相对自治”的毫无意义的辩护的一部分。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 07:46, 20 November 2020 (UTC)<br /> <br /> [Julian] Bourg：“毛泽东的暴力语言具有一定的修辞吸引力。”事实上，正是因为他将修辞暴力与次黑格尔辩证逻辑相结合，才证明了法国知识分子的各个部分是如此不可抗拒。 路易斯·阿尔都塞颂扬毛泽东对主要和次要矛盾的区分，并将毛派分类作为极其抽象的，实际上是对“理论的相对自治”的毫无意义的辩护的一部分。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:27, 22 November 2020 (UTC)<br /> <br /> [Julian] Bourg：“毛泽东的暴力语言具有一定的修辞吸引力。”实际上，正是他将修辞暴力与次黑格尔辩证逻辑相结合，才证明了法国知识分子的各个部分是如此不可抗拒。 颂扬毛泽东对主要和次要矛盾的区分，路易斯·阿尔都塞将毛派分类作为极其抽象的，实际上在很大程度上毫无意义地保护“理论的相对自治”的一部分。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:43, 22 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> Althusser’s student Alain Badiou (for many years professor of philosophy at the École Normale Supérieure) continued to defend Maoism long after the scale of its casualties had become undeniable. As recently as 2008, while commending himself for being “now one of Maoism’s few noteworthy representatives”, Badiou praised Mao’s thought as “a new politics of the negation of the negation”. From one point of view, this stance is merely contemptible – a professorial pirouette around a vast pile of corpses. But one must bear in mind the fathomless frivolity of some on the French left. Already in 1980, two former Maoist mili-tants had announced their rejection of the creed in the language of fashion: “China was in . . . Now it is out . . . we are no longer Maoists.” Against this background, Badiou’s persistence is almost heroically ab-surd. <br /> <br /> 阿尔都塞的学生Alain Badiou（多年来在巴黎高等师范学院的哲学教授）在其伤亡人数不可否认之后很久就继续捍卫毛派。 就在2008年，尽管称赞自己是“现在是毛派少数几个值得注意的代表之一”，但巴迪欧称赞毛泽东的思想是“否定否定的新政治”。 从一个角度来看，这种立场仅仅是可鄙的 - 围绕着一大堆尸体的教授旋转。 但是人们必须牢记法国左翼一些人的无聊轻浮。 早在1980年，两位前毛泽东武装分子就已经宣布以时尚语言拒绝信条：“中国是在中国。。。 现在它出来了。。。 我们不再是毛泽东思想者。”在这种背景下，巴迪欧的坚持几乎是荒谬的荒谬。<br /> <br /> 阿尔都塞的学生阿兰·巴迪欧（多年来一直是巴黎高等师范学院的哲学教授）在伤亡人数不可否认之后很久仍继续捍卫毛派。就在2008年，巴迪欧称自己“现在是毛泽东主义为数不多的重要代表之一”，并称赞毛泽东的思想是“否定否定的新政治”。某种程度上来说，这种姿态简直是可鄙的——围绕着一大堆尸体旋转的教授。但是，我们必须记住一些法国左翼人士不可理喻的轻浮。早在1980年，两位前毛泽东武装分子已经用时尚的语言宣布拒绝这一信条：“中国在。现在它出来了。在这样的背景下，巴迪欧的坚持几乎是英勇无畏的。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:14, 22 November 2020 (UTC)<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> Dominique Kirchner Reill has documented, that Maoist influence in Italy and Yugoslavia was even wider: <br /> <br /> Dominique Kirchner Reill证明，毛派在意大利和南斯拉夫的影响甚至更为广泛：<br /> <br /> “In Italy Mao-mania was not purely a left-wing phenomenon. Some ultra-right groups quoted their Little Red Books to justify their arguments.” In 1968-73 the neo-fascist party Lotto di Popolo (“the people’s fight”) lauded Mao as an exemplary nationalist and resolute opponent of US global hegemony. <br /> <br /> “在意大利，毛派狂热不仅仅是一种左翼现象。 一些极权团体引用他们的红皮书为他们的论点辩护。“1968年-1973年，新法西斯政党Lotto di Popolo（”人民的斗争“）称赞毛泽东是模范民族主义者和美国全球霸权的坚决反对者。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:13, 21 November 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> In a footnote he observes <br /> 在他的脚注中，他注意到：<br /> <br /> “Nazi-Maoist movement in Italy included many other figures and groups” besides the Lotto di Popolo. <br /> <br /> 除了Lotto di Popolo之外，“意大利的纳粹毛派运动包括许多其他人物和团体”。<br /> <br /> Gray beklagt#: “It is a pity this aspect of Mao’s influence is not explored in greater detail.” One of the reasons may be that the generation of Maoist sinologists later were the ones to document their own history, the history of sinologists, but they never came to terms with it, very much like the 1960s activists with sympathy for the German “Red Army Fraction”, who later became part of the establishment, even ministers in the government, and did not want to be reminded of their past.<br /> <br /> 灰色beklagt＃：“遗憾的是，毛泽东影响力的这一方面没有得到更详细的探讨。”其中一个原因可能是后来毛派汉族的一代人要记录他们自己的历史，也就是汉学家的历史，但是 他们从来没有接受过它，非常像20世纪60年代积极分子同情德国“红军分数”，后来成为该组织的一部分，甚至是政府的部长，并且不想被提醒他们的过去。<br /> <br /> 在他的脚注中，他表示，参与者除了Lotto di Popolo外，“意大利纳粹毛派运动还包括许多其他人物和团体”。<br /> Gray beklagt#表示：“遗憾的是，在这个层面，毛泽东的影响未得到更细致的探讨。”其中一个原因可能是，后来的毛泽东思想汉学家只记载他们自己的历史，即汉学家的历史。他们从不接受毛泽东思想，这就很像二十世纪六十年代的积极分子同情德国“红军纵队”。该纵队的人后来成为该组织的一部分，有的甚至还成了政府机关部长。这些汉学家不想回忆起自己的历史。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 04:18, 20 November 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> Gray writes in his book review: 格雷在他的书评中写道：<br /> <br /> “In a programmatic introductory essay Alexander C Cook compares the Chinese leader’s book to a “spir-itual atom bomb” and considers its global fallout. Showing how it reflects the influence of the choral sing-ing introduced into China by 19th-century Christian missionaries, Andrew F Jones provides an illuminating account of the rise of the Maoist pop song. Taking as her starting point the global distribution of the Little Red Book to over a hundred countries in the eight months between October 1966 and May 1967, Xu Lanjun examines the process of translation in the context of Maoist ideas of global revolution. Quinn Slo-bodian discusses the impact the book had in eastern and western Germany. In the concluding essay, Ban Wang considers the Little Red Book and “religion as politics” in China. Elsewhere, its influence in Tanzania, India, Peru, Albania and the former Soviet Union is discussed.”<br /> <br /> “在一篇程序化的介绍性文章中，亚历山大·库克将中国领导人的书与“精神原子弹”进行了比较，并考虑了它的全球影响。 安德鲁·F·琼斯（Andrew F Jones）展示了它如何反映19世纪基督教传教士引入中国的合唱歌曲的影响，为毛泽东主义流行歌曲的兴起提供了一个有启发性的说明。 在1966年10月至1967年5月的八个月中，徐兰军以红宝书的全球分布为一百多个国家，在毛泽东的全球革命思想背景下考察了翻译的过程。 Quinn Slobodian讨论了该书在德国东部和西部的影响。 在最后的文章中，王班并认为红宝书和中国的“宗教为政治”。在其他地方，讨论了它在坦桑尼亚、印度、秘鲁、阿尔巴尼亚和前苏联的影响。”<br /> <br /> “在一篇纲领性的导言文章中，亚历山大·C·库克（Alexander C Cook）把这位中国领导人的书比作是一颗“精神原子弹”，并认为这对全世界都产生了辐射效应。安德鲁·F·琼斯（Andrew F Jones）展示了19世纪基督教传教士将合唱引入中国后所造成的影响，并生动地讲述了毛泽东主义流行歌曲是如何兴起的。在1966年10月至1967年5月的八个月中，徐兰军以红宝书销往的全球一百多个国家为着手点，考察了在毛泽东的全球革命思想背景下的翻译过程。奎因·斯洛博迪安（Quinn Slo-bodian）探讨了该书对德国东部和西部的影响。在这篇文章的最后，王斑研究了红宝书并将其视为中国的“宗教政治”。除了探讨对中国的影响，还讨论了在坦桑尼亚、印度、秘鲁、阿尔巴尼亚和前苏联的影响。&quot;--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 11:45, 21 November 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> “In West Germany in the late 1960s, the Little Red Book “resembled simultaneously an accessory of the classical workers’ movement and a modish commodity of the educated elite”. In theatres, across from the refreshments, there were glass cases “full of pretty red Mao bibles (two Deutsche Marks each)”. As an anti-consumerist commodity, the book became “a marker of social distinction within a commercial market”.”<br /> <br /> “在20世纪60年代后期的西德，红宝书”同时也是古典工人运动的一部分，也是受过教育的精英的一种时尚商品”。 在茶馆对面的剧院里，有一些玻璃盒子“里面装满了漂亮的红宝书（每个都有两个德国马克）”。 作为一种反消费主义商品，这本书成为“商业市场中社会区别的标志”。”<br /> <br /> “在20世纪60年代后期的西德，（毛泽东的）红宝书“是古典工人运动的读物，同时也是教育良好的精英阶层中的畅销书。”在茶馆对面的剧院里，有一些玻璃盒子“里面装满了漂亮的红宝书（每个都有两个德国马克）”。作为一种反消费主义的商品，这本书成为了“商业市场中社会差异的标志”。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 03:20, 20 November 2020 (UTC)<br /> <br /> “Condemned as distorting Mao’s ideas and exerting a “widespread and pernicious influence”, the book was withdrawn from circulation in February 1979 and a hundred million copies pulped.”<br /> “这部书被谴责为歪曲毛泽东的思想并发挥“广泛而有害的影响”，于1979年2月撤销流通，并且有数亿份纸张被废弃。”<br /> <br /> “这本书受到了人们的谴责，认为书中歪曲了毛泽东的思想，并带来“广泛而有害的影响”，因此，该书于1979年2月停止发行，数亿份书籍被废弃。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 03:20, 20 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> The popularity of the Chinese system in the West was at the peak when it had the most victims.<br /> <br /> 中国体制在西方的受欢迎程度因其最多的受害者而达到了峰值。<br /> <br /> 当受害者人数最多时中国制度在西方的受欢迎程度达到顶峰。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:29, 21 November 2020 (UTC)<br /> <br /> Today, even in China, the Cultural Revolution is evaluated as “10 Years of Chaos”. Mao Zedong’s approach to mobilize the masses in endless revolutions turned out to be a historical failure. <br /> <br /> 今天，即使在中国，文化大革命也被评为“十年动乱”。 毛泽东在无休止的革命中动员群众的方法被证明是历史性的失败。<br /> <br /> 今天，即使在中国，文化大革命也称为“十年动乱”。毛泽东发动群众进行无休止革命的做法被证明是历史性的失败。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:29, 21 November 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> However, domestic Science and Scholarship today once more receives incentives to pretend an ideological use-fulness of their research results when applying for funds to conduct research projects. However, an independant science and scholarship serves any government best, because a government needs real and true research results, not sugar coated ones.<br /> <br /> 然而，今天的国内科学和奖学金再次获得激励，在申请资金进行研究项目时，假装其研究成果具有意识形态的有用性。 然而，独立的科学和奖学金最适合任何政府，因为政府需要真实和真实的研究结果，而不是糖衣。<br /> <br /> 然而，如今国内学科及奖学金再次受到鼓励，要求在申请项目研究资金时伪称其研究结果具有意识形态有用性。但由于政府需要真实准确的研究结果，而非华而不实的研究结果，一项独立的学科及奖学金对任何政府都是绝佳选择。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 02:59, 21 November 2020 (UTC)<br /> <br /> 然而，如今国内的科学学术研究就再次要求在申请研究项目资金时，其研究结果须表现为有助于意识形态建设。然而，独立的科学与学术研究能够最大程度地服务政府，因为政府需要的是真实的研究成果，而不是让其巧加粉饰。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:32, 21 November 2020 (UTC)<br /> <br /> 然而，今天国内的科学和学术再次获得激励，在申请资金进行研究项目时，可以假装其研究成果具有意识形态的有用性。 然而，真正独立的科学和学术才能够最好地服务于政府，因为政府需要真正的和真实的研究结果，而不是徒有其表的。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 01:54, 22 November 2020 (UTC)<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> Freedom is always the freedom within the limits not to restrict the freedom of others. But this historical event posed a new question: When is it time to kill a massmurderer? If communism threatens to enslave a whole population with millions of death victims – how far is it justified to intervene or not to intervene? But when it is not just a mass murderer, but a whole group of people mislead by a leader, a whole administration of a country, how can you clearly differentiate between good and evil? Reality often consists out of different levels of grey.<br /> <br /> 自由永远是限制的自由，而不是限制他人的自由。但这一历史事件提出了一个新问题：什么时候杀死一名群众？ 如果共产主义威胁到全世界数百万死亡受害者的奴役 - 干预或不干预到底有多大理由？ 但是，当它不仅仅是一个大规模杀人犯，而且还是一群人误导领导者，一个国家的整个政府时，你怎么能清楚地区分善恶呢？ 现实通常由不同级别的灰色组成。<br /> <br /> 自由永远是在不限制他人自由的范围内的自由。但是这一历史性事件向我们提出了一个新的问题：什么时候应该杀死一个杀人凶手？如果共产主义威胁要奴役数以百万计的死亡受害者，那么进行干预或不进行干预的合理性有多大差别？但是，当它不仅是一个大规模杀人犯，而且是一群人被一个领导人，一个国家的整个政府误导时，该如何清楚地区分善与恶？现实通常是由不同层次的灰色组成的。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 13:28, 20 November 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> 湖南师范大学洪堡跨学科研究中心<br /> <br /> Humboldt Center for Transdisciplinary Studies at Hunan Normal University<br /> <br /> 揭牌仪式<br /> <br /> Launch Ceremony<br /> <br /> 2020年9月14日<br /> <br /> September 14, 2020<br /> <br /> I congratulate the Humboldt Center for Transdisciplinary Studies 洪堡跨学科研究中心 for its opening at Hunan Normal University and especially my German colleague and Humboldt expert Professor Ottmar Ette奥特玛·埃特教授 for his dedication to realize the Center. Ette is one of the leading experts about Humboldt, in 2014-2017 he was responsible for the part “Genealogy, Chronology, Epistemology” of the BMBF research project about Humboldt in the United States.<br /> <br /> 祝贺湖南师范大学洪堡跨学科研究中心成立，尤其感谢我的德国同事、洪堡专家奥特玛·埃特教授为中心的建成所做的贡献。埃特教授是研究洪堡的主要专家之一，2014-2017年，他负责美国BMBF关于洪堡研究项目中“系谱、年代学、认识论”的部分。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 03:56, 21 November 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> The Center has the best starting conditions: It is backed by the University Potsdam and the Berlin-Brandenburg Academy of Sciences and Humanities 柏林-勃兰登堡科学与人文学院, which spon-sors a 18 year long research project until 2033 “Science on the Move” about Humboldt, lead by Prof. Ette.<br /> <br /> 该中心拥有最佳的启动条件：它由波茨坦大学和柏林-勃兰登堡科学与人文学院共同支持的，该基金会资助了一项由埃特（Ette）教授领导，历时18年，一直进行到2033年，即关于洪堡“移动中的科学”的研究。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 13:54, 20 November 2020 (UTC)<br /> <br /> 该中心具有最佳的启动条件：它由波茨坦大学和柏林-勃兰登堡科学与人文学院提供支持，该基金会赞助了直到2033年一项长达18年的研究项目，即“洪堡运动科学”，由埃特教授领导。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:08, 20 November 2020 (UTC)<br /> <br /> 该中心具备最佳的启动条件：它由波茨坦大学和柏林-勃兰登堡科学与人文学院共同支持。直到2033年，该基金会一直赞助这一历时18年的研究项目，即埃特教授领导的“洪堡运动科学”研究。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 00:48, 21 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> The Center could not have found a better Chinese partner: This new Center is opened at a Hum-boldian University, with a long tradition in transdisciplinary research and teaching, with chancel-lor Professor Jiang Hongxin 湖南师范大学党委书记蒋洪新教授, who is not only an internation-ally renowned scholar in English literature, but also the driving factor behind the internationaliza-tion and opening up of Hunan Normal University.<br /> <br /> 洪堡跨学科交流中心找到了最佳的中国合作伙伴——湖南师范大学。该中心设立在洪堡大学，洪堡大学在跨学科研究和教学领域有着悠久的历史。湖南师范大学党委书记蒋洪新教授不仅是国际知名的英语文学学者，也是湖南师范大学国际化、对外开放的带头人。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 06:29, 20 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> The success of Hunan Normal University is displayed in the rising position in the university rank-ings, in the number of study programs ranking top nationwide, in the growing community of in-ternational experts working at Hunan Normal University, in international cooperations, joint school projects etc. Also the staff working at the Center are ideally chosen, Ren Haiyan 中心副主任任海燕博士, who is familiar with English literature of the 18th century, Fan Ni, who is currently building up the German Department as well as Li Yaqin.<br /> 湖南师范大学的成功体现在:在高校排名中不断上升，学习交流项目数量居全国前列，国际专家队伍不断壮大，国际合作日益广泛，在合作办学卓有成效。<br /> 同时，师大的领导班子也是经过精心挑选，如师大中心副主任任海燕博士，熟知18世纪英国文学。范尼和李艳青教授最近联合开办了德语系。<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> Changsha is both the place of one of the earliest universities in China, founded in 976 CE, the Yuelu Academy 岳麓书院, and together with its attached High School, Hunan Normal University and its Foreign Studies College founded by Qian Zhongshu is famous for its history of educating leaders with a thinking outside of the box. Similarly, Humboldt has said: “How a person masters his fate is more important than what his fate is.” This is just what Humboldt fought for. Humboldt is famous not just in Germany and Europe, but also in the United States, Russia, Asia and world-wide. He shaped our understanding of universities, research, teaching and education. Today, it is safe to say that the German universities are Humboldian universities, also European ones, Ameri-can ones and certainly also Hunan Normal University.<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> When Humboldt traveled Central Asia and wrote about China, he certainly never would have dreamed of the realization of such a Center to his honor in Changsha. However, he would have been overwhelmed and would see his dreams realized here. With this Research Center it is now possible to explore the relation of Humboldt and China in great detail. Moreover, the relation between China and Europe can be explored here from a transdisciplinary perspective. Coopera-tion is key. With Humboldt’s words: “Collaboration operates through a process in which the suc-cessful intellectual achievements of one person arouse the intellectual passions and enthusiasms of others.”<br /> <br /> 当洪堡游历中亚，写到中国时，肯定做梦也想不到长沙会是实现他梦想中荣耀的地方。但那样的话，他虽会看到自己实现梦想，也会不堪重负。现在有了这一研究中心，我们可以更详细地探讨洪堡与中国的关系。而且，可以从跨学科的角度来探讨中欧的关系。其关键是合作。正如洪堡所说:“合作是是通过一个人的智慧成就激发其他人的智力激情和热情来实现的”<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> As Jean Monnet Chair of Hunan Normal University 欧盟“让•莫内讲席教授” and as the direc-tor of the International Chinese Studies Center at Foreign Studies Center I reach out with both hands to the new Center and offer to bring in European and Chinese networks, to start immediate and concrete joint research. <br /> <br /> I close with a final quote from Humboldt: “The most dangerous worldview is the worldview of those who have not viewed the world.” Therefore, the Center now allows scholars from other places in the world to see China and offers Chinese colleagues a bridge to Europe and interna-tional scholarship.<br /> <br /> And I wish the Humboldt Center for Transdisciplinary Studies great success!<br /> <br /> 作为湖南师范大学欧盟“让•莫内讲席教授”以及外国研究中心国际汉语研究中心主任的让·莫内主席，我两手准备着新的中心，并提议向欧洲和中国引进网络，以开始目前的具体的联合研究。<br /> <br /> 最后，我引述洪堡的最后一句话：“最危险的世界观是那些没有看过世界的人的世界观。” 因此，该中心欢迎来自世界各地的学者参观中国，并为中国同事搭建通往欧洲和国际奖金的桥梁。<br /> <br /> 祝洪堡跨学科研究中心取得圆满成功！--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 07:35, 20 November 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> MARTIN WOESLER<br /> <br /> '''THE CHINESE PRODUCTION CULTURE<br /> <br /> Genuity, changes and compatibility with modern international production culture'''<br /> 中国制造哲学<br /> <br /> 原始传统、变化和对现代国际制造文化的兼容<br /> <br /> 吴漠汀著<br /> <br /> <br /> European University Press 2011<br /> <br /> Content<br /> <br /> Modern Chinese Production Culture<br /> <br /> Does this global factory provide a model for an international production culture?<br /> <br /> Cultural approach<br /> <br /> National Cultures<br /> <br /> Approaches/Perspectives <br /> <br /> The Japanese Production Culture<br /> <br /> 欧洲大学出版社2011<br /> <br /> 内容<br /> <br /> 中国现代生产文化<br /> <br /> 这家全球工厂是否提供国际生产文化的典范？<br /> <br /> 文化方法<br /> <br /> 民族文化<br /> <br /> 方法/观点<br /> <br /> 日本生产文化--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 07:25, 23 November 2020 (UTC)<br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> China - Factory of the world<br /> <br /> 中国——世界工厂<br /> <br /> Genuity of Chinese production culture<br /> <br /> Made in China<br /> <br /> 中国制造<br /> <br /> Characteristics of Chinese production culture<br /> <br /> 中国商品文化的特征<br /> <br /> Shapes of modern Chinese production culture and their causes<br /> <br /> 现代商品文化的形成及其原因<br /> <br /> Necessity is the mother of invention<br /> <br /> 创造始于需要<br /> <br /> Changes in the Chinese production culture<br /> <br /> 中国商品文化的发展<br /> <br /> Roles in the Chinese production culture<br /> <br /> 中国商品文化的作用<br /> <br /> The Intermezzo of Socialism from 1949-1979<br /> <br /> 1949-1979年社会主义的插曲<br /> <br /> Gaming in the Chinese production culture<br /> <br /> 中国商品文化的博弈<br /> <br /> Effects on the company<br /> <br /> 对公司产生的影响<br /> <br /> Where is modern Chinese management and production culture (CMPC) an international role model?<br /> <br /> 中国现代经营理念和商品文化是全球的标杆，这一点体现在哪里？<br /> <br /> Logistics<br /> <br /> 物流<br /> <br /> Appendix: References <br /> <br /> 附录：参考文献<br /> <br /> Appendix: Historical Timeline China<br /> <br /> 附录：中国历史时间轴<br /> <br /> Index<br /> <br /> 索引<br /> <br /> '''Modern Chinese Production Culture<br /> <br /> 中国现代商品文化<br /> <br /> Does this global factory provide a model for an international production culture?<br /> <br /> 中国作为全球工厂是否为国际商品文化树立标杆？--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:38, 20 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> In the aftermath of the Second World War, the Japanese economy lacked the finances for new machinery and, in consequence, decision-makers concentrated on optimizing existing resources and processes. Soon lean production, just in time production and quality circles became export hits, even though Japanese production culture in many ways remained typically Japanese - for instance on issues such as hierarchy and loyalty on the part of employees. Today, the modernity of a factory is measured by the extent to which these characteristics of Japanese production culture are put into practice. After the Second World War, this approach developed into a model for an international production culture.<br /> By the beginning of the 21st century, the Chinese economy had surpassed that of Japan;<br /> <br /> 二战后，日本财政无力支撑新型制造业的发展，决策者只能大力利用已有的资源和工艺技术。尽管日本的制造文化在许多方面仍然具有典型的日本特征，比如等级制度以及雇员的忠诚度等问题，但很快，精益生产以及品质圈成为出口热门。而今，日本制造文化应用于实践的程度是衡量工厂现代化程度的重要标准。二战后，这种方法成为一种典型的国际制造文化。<br /> 到了21世纪初，中国经济超越了日本。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:21, 20 November 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> today, China is a global factory. This subproject analyzes and defines the &quot;Chinese production culture“ and focuses on the question of whether any of its modern characteristics can serve as a model for international production culture. Based on surveys by Hofstede (2009), case studies by Hong/Pöyhönen/Kyläheiku (2006) and on fundamental thinking of Philip Huang, the project takes as its premise that the development of Chinese production culture falls into different historical periods: from the genuinely Chinese production culture of silk, china and tea production over the slumbering industrial revolution, the import of Western manufacturing culture, the building of larger production units in the socialist a tradition, to today’s mixed production culture with Japanese and Western elements.<br /> <br /> 如今，中国是一个“世界工厂”，本子项目对“中国生产文化”进行了分析和界定，并着重探讨了中国生产文化的现代特征是否可以作为国际生产文化的典范这一问题。该项目基于霍夫斯特德（2009年）、洪/佩赫宁/凯莱海库（2006年）的案例研究和黄菲浦的基本思想，以中国生产文化发展为前提，从不同的历史时期进行探讨：从沉睡的工业革命时期真正的中国丝绸、瓷器、茶叶生产文化，西方制造文化的进口，社会主义传统中大型生产单位的建设，到当今中日两国混合生产文化与日西元素的混合。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 13:02, 20 November 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> But still today's production culture comes with some genuinely Chinese characteristics: the Confucian understanding of the relation boss - team leader – employee, hierarchy, the concept of face (and critique), the informal network management in the decision finding process, the esteem for the concept of age, nepotism, the play instinct (including imitation), flexibility and speed. This subproject explores which of these elements are exportable in principle and which ones can be profitably implemented within international production cultures.<br /> <br /> 但今天的生产文化仍然具有一些真正的中国特色：儒家对老板-团队领导-员工关系的理解、等级、脸观（和批评）、决策查找过程中非正式的网络管理、对年龄概念的尊重、裙带关系、游戏本能（包括模仿）、灵活性和速度。此子项目探讨哪些元素原则上是可输出的，哪些元素可以在国际生产文化中有利可图地实现的。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 06:12, 20 November 2020 (UTC)<br /> <br /> <br /> 但如今的文化生产仍然具有一些真正的中国特色：儒家对“老板-团队领导-员工”关系的理解、等级、脸面观（和批评）、决议过程中非正式的网络管理、对年龄概念的尊重、裙带关系、好玩的天性（包括模仿）、灵活度和速度。此子项目探讨哪些元素原则上是可以输出的，哪些元素可以在国际文化生产中有利可图。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:22, 21 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> '''Cultural approach'''<br /> 文化方法<br /> <br /> As a cultural scientist, the author of this script applies the approach of Cultural Science to describe economical cultures or subcultures. One of the subcultures of economical culture is the way or culture of management and production.<br /> <br /> 作为文化科学家，该脚本的作者运用文化科学的方法来描述经济文化或亚文化。 经济文化的亚文化之一是管理和生产的方式或文化。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:44, 20 November 2020 (UTC)<br /> <br /> <br /> 作为一名文化科学家，本文作者运用文化科学的方法来描述经济文化或亚文化。经济文化的亚文化之一是管理和生产的方式或文化。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:08, 20 November 2020 (UTC)<br /> <br /> After a phase of several decades in which mathematics has found its way into economics, cultural studies has also been rediscovered by economics in recent years.Cultural studies can be a helpful supplement, for example, when predictions for economic behavior need to be made, for example in models. The economic sciences initially contribute Homo oeconomicus, the self-interest maximizer. In recent years, especially since 2000, many experiments have shown that humans often behave diametrically opposed to self-interest:<br /> <br /> 经过几十年的数学进入经济学的阶段之后，近年来文化也被经济学重新发现了，例如当需要对经济行为进行预测时， 比如在一些模型中，文化研究可以作为有益的补充。经济科学起初是对自利最大化者经济人的贡献。 近年来，尤其是自2000年以来，许多实验表明，人类的行为常常与自我利益截然相反：--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:44, 20 November 2020 (UTC)<br /> <br /> 经过几十年的数学进入经济学的阶段后，近年来经济学也重新发现了文化研究。例如，当需要对经济行为进行预测时，比如在模型中，文化研究可以是一种有益的补充。经济科学最初贡献了“经济人”，即利己最大化者。近年来，特别是自2000年以来，许多实验表明，人类的行为往往与自身利益截然相反:--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:08, 20 November 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> '''Case 1) The bag of oranges'''<br /> <br /> Initial situation: An orange seller sells bags of oranges to tourists. He has a few rotten oranges that he could put in the bags at the bottom. The tourists would not notice it when buying and would not go to this place again because of a few rotten oranges. <br /> <br /> Behavior: He does not do it, however, but throws the rotten oranges away.<br /> <br /> Cultural-scientific explanation: In the present case, the merchant is thus ethically-morally socially responsible out of a sense of justice.<br /> 案例1)橘子袋<br /> 最初的情况:一个卖橘子的人把成袋的橘子卖给游客。他有几个烂橘子，他可以把它们放进底部的袋子里。游客在购买时不会注意到它，也不会再去这个地方，因为有几个烂橘子。<br /> 行为:但是他没有这样做，而是把烂橘子扔了。<br /> 文化-科学的解释:在当时的情况下，商人出于正义感而负有伦理道德上的社会责任。<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> One can try to construct a self-interest with the help of neurobiology: Biology leaves him no choice - if he behaves justly, although he might behave unjustly, he is rewarded with dopamine and other happiness hormones. If he were to behave unfairly at all times, he would have a guilty conscience, coupled with the fear of being caught, and sooner or later he might get stomach ulcers. In the long run, acting justly secures his life statistically better, also with regard to the economic value of his own life. <br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> However, if you ask the orange seller, he will at best say that it would be unfair to cheat his customers. Of course, there will always be a small number of fraudulent orange sellers in such experiments who value short-term profit more highly than long-term physical damage, if they expect it at all. And they will perhaps adopt a world view to avoid a guilty conscience, such as that rich tourists should give some of their wealth to poor orange sellers. And there will be people who cannot distinguish right from wrong due to a corresponding anatomically detectable defect in the reward system.<br /> 然而，如果你问卖橘子的商家，他充其量会告诉你欺骗他的顾客不公平。当然，总会有一小部分虚假的商贩，他们考虑更多的是短期内的获利而不是长期上身体方面的伤害。而且，在他们的世界观里面，会存在去避免良知羞愧的想法，比如认为：富有的游客理应给贫穷的卖橘子的商贩一些金钱。并且由于在奖惩体系里面有一种自动化的追踪手段，有些人就不会在对和错之间进行区分。<br /> --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 02:58, 23 November 2020 (UTC)Zhou Shiqing<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> The following experiments are some of the classic and most frequently conducted and tested experiments to complement the maximization of self-interest:<br /> <br /> '''Case 2) Ultimatum game: share 10 Euros'''<br /> <br /> Initial situation: A student in Bonn is offered 10 €. The only condition: He has to give any partial amount to his fellow student. His fellow student has the right either to accept the amount allocated to him or to refuse to accept the whole 10 € for him and his fellow student.<br /> <br /> 以下实验是一些经典且最常进行和测试的实验，以补充自我利益的最大化：<br /> 案例2）最后通牒博弈：分享10欧元<br /> 初始情况：向波恩的一名学生提供10欧元。 唯一的条件：他必须给他的同学任何部分款项。 他的同学有权接受分配给他的款项，或者拒绝接受他和他的同学的10欧元。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:36, 22 November 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> Prediction according to the self-interest maximization: The first student will keep 9,99 € and give 0,01 € to the fellow student. The fellow student would have to accept the 0.01 €, as this is more than 0.00 €.<br /> <br /> Conduct: In fact, about 90% of the students in similarly conducted experiments worldwide give 5 € to their fellow student. In the few cases in which the students want to give 2 € to their fellow student and keep 8 €, the fellow student refuses the 10 € completely, and so both go away empty-handed.<br /> 根据自身利益最大化的预测:第一个学生将保留9,99欧元，并给予同伴0,01欧元。这个同学将不得不接受这0.01欧元，因为这超过了0.00欧元。<br /> 行为:事实上，在全球范围内进行的类似实验中，大约90%的学生会给他们的同学5欧元。在少数情况下，学生想给他们的同学2欧元，留下8欧元，那个同学完全拒绝了这10欧元，所以两人都空手而去。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 12:35, 21 November 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 04:38, 23 November 2020 (UTC)<br /> <br /> The maximization of self-interest cannot explain the behavior in both situations. Here, cultural studies provide an explanation that is supported by neurobiologists. <br /> <br /> Cultural studies explanation: <br /> <br /> For the fellow student, relative justice is more important than his own absolute gain. If the student takes more for no reason, there are various reasons not to allow this, e.g. educational. Furthermore, this is a decision under observation and the reward system rewards behavior in the sense of justice all the more, if justice has to be bought even with one's own loss.<br /> <br /> 个人利益最大化无法解释这两种情况下的行为。在这里，文化研究提供了一个解释，这个解释为神经生物学家所认可。<br /> <br /> 这个解释如下:<br /> <br /> 对于获得奖学金的研究生来说，相对的公正比自己的绝对利益更重要。有很多理由反对学生无故得到超过自己应得的利益，比如教育方面的原因。此外，这种决定处于监察之下。如果个人利益的损失能换来公正，奖励系统更会奖励正义感的行为。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 03:30, 22 November 2020 (UTC)<br /> <br /> 个人利益最大化无法解释这两种行为。在这里，文化研究提供了一个神经生物学家所认可的解释。<br /> 这个解释如下：<br /> 对于获得奖学金的研究生来说，相对的公正比自己的绝对利益更重要。如果某同学无缘无故地得到更多，那么他就有更多样的理由不去遵守规则，比如在教育方面。此外，这种决定处于监察之下。如果个人利益的损失能换来公正，奖励系统更会鼓励正义行为。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 12:56, 22 November 2020 (UTC)<br /> <br /> 个人利益最大化无法解释这两种行为。在这里，文化研究提供了一个神经生物学家所认可的解释。<br /> 这个解释如下：<br /> 对于获得奖学金的研究生来说，应当将评选中的公平原则置于自己的绝对利益至上。如果某同学无缘无故地得到更多，那么他就有更多样的理由不去遵守规则，比如在教育方面。此外，这种决定处于监察之下。如果个人利益的损失能换来公正，奖励系统更会鼓励正义行为。<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> Neurobiologists also explain that men consider a constellation such as this experiment like a zero-sum game and feel a sense of competition, i.e. they see the greater gain of the other as a loss for themselves.<br /> <br /> By the way, the environment also influences the degree of self-maximization against a sense of justice:<br /> <br /> 神经生物学家也解释道，人们将这个实验视为一种零和博弈，并且感到一种竞争感。也就是说，人们将他人的更大收获视作自己所遭受的损失。并且，环境也会影响到自我利益最大化和公正感之间的对比。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 14:30, 22 November 2020 (UTC)<br /> <br /> ==Zhou Yujuan 周玉娟==--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 05:42, 23 November 2020 (UTC)<br /> <br /> '''Case 3) Bank bill in letter'''<br /> <br /> If one lets a 5 Euro bill shine through the window of an envelope that is half hanging out of the mailbox, 4 out of 10 unobserved passers-by will grab it. If you paint a graffiti on the wall next to the mailbox and put some garbage next to the mailbox, 8 out of 10 unobserved passers-by will access it.<br /> 如果把一封装有5欧元的钞票的半透明信封从窗户扔下去，那么十个路人中会有四个会捡起它。如果在邮箱旁边的墙上画上涂鸦，并在邮箱旁边放了一些垃圾，则每10个路人中就有8个人会走过去，对其视而不见。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 05:42, 23 November 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> Case 4) Primates<br /> <br /> Behavioral researchers have successfully demonstrated homo economicus in primates: There chimpanzees help each other to get shared food. If the first chimpanzee has the opportunity to give both of them the same amount or more food, it will give as much food as possible.<br /> <br /> 案例4）灵长类动物<br /> <br /> 行为研究人员已经成功地证明了灵长类动物在经济观：黑猩猩之间互相帮助，获取共同的食物。 如果第一个黑猩猩有机会给他们两个人相同或更多的食物，它将给予尽可能多的食物。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 07:41, 21 November 2020 (UTC)<br /> <br /> 案例4)灵长类动物<br /> <br /> 行为研究人员已经成功地证明了灵长类动物中的“经济人”:黑猩猩会帮助彼此以获得共同的食物。如果第一只黑猩猩有机会给它们两只本身相同数量或更多的食物，它就会尽可能给予更多的食物。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 11:17, 21 November 2020 (UTC)<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> Of course, the assumption of self-interest is a reasonable approach to explain phenomena in economic life, since companies are primates in many things, but in marketing they want to appear inwardly and outwardly as human, with social responsibility and a sense of justice. The Chinese Management and Production Culture (CMPC) has a clear distribution of power in the hierarchy, which corresponds to the maximization of self-interest, but the boss has a stronger responsibility towards his employees, which also includes private areas, so that there is an above-average social component.<br /> <br /> 当然，个人利益的假设是解释经济生活现象的一种合理方法。因为在很多事上公司是灵长类动物，但公司在市场上向内向外都想像人一样呈现出一种社会责任感和正义感。中国管理和生产文化部门有着权力分布明确的等级制度，这符合个人利益最大化，但老板对其职员的责任更重，员工也包括私人领域，以至于社会因素平均高于其他因素。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 05:02, 23 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> References<br /> <br /> Häring, Norbert: „''Der Homo oeconomicus ist tot''“, in: Financial Times Deutschland (14.3.2001) http://ockenfels.uni-koeln.de/download/press/ftd-14032001. pdf<br /> <br /> Schlicht, Ekkehart: „''Der homo oeconomicus unter experimentellem Beschuß''“, in: Martin Held, Gisela Kubon-Gilke &amp; Richard Sturn (Hrsg.): ''Experimente in der Ökonomik. Jahrbuch normative und institutionelle Grund-fra¬gen der Ökonomik 2.'' Metropolis-Verlag, Marburg 2003, ISBN 3-89518-414-4, http://www.semverteilung.vwl.uni-muenchen.de/mitarbeiter/es/paper/schlicht-homo-oeconomicus.pdf<br /> <br /> 参考文献<br /> <br /> 诺伯特·海灵（Häring），“经济人已死”，载于：《德国金融时报》（14.3.2001）http://ockenfels.uni-koeln.de/download/press/ftd-14032001. pdf<br /> Schlicht，Ekkehart：“实验经济下的同等经济”，载于：Martin Held，Gisela Kubon-Gilke和Richard Sturn（编）：经济学实验。 《经济学年鉴规范和制度基本问题》，第二届大都会出版社，马尔堡，2003年，ISBN 3-89518-414-4，http://www.semverteilung.vwl.uni-muenchen.de/mitarbeiter/es/paper/schlicht-homo-oeconomicus.pdf--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 14:44, 22 November 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> '''National Cultures''' <br /> <br /> Cultural differences decrease as the world becomes globalized. National characteristics become blurred, companies have to operate in different locations worldwide and sell their products in different markets.<br /> <br /> Nevertheless, there are historically grown traditions that come from a time when there was often already intensive global trade, but less intensive cooperation and less exchange of information.<br /> <br /> '''民族文化'''<br /> <br /> 随着世界全球化，文化差异减少。民族特征变得模糊起来，企业不得不在全球各地运营和在不同市场上销售产品。尽管如此，仍有传统沿着历史发展至今，那时全球贸易虽然已经十分密集，但密切合作更少，信息交流也更少。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 08:51, 20 November 2020 (UTC)Zou Xinyu<br /> <br /> 随着世界日益全球化，文化差异减少。民族特征也变得模糊起来，企业需在全球各地运营并将其产品销往各国市场。尽管如此，仍有传统沿着历史发展保留至今，那时全球贸易虽已十分频繁，但密切的合作以及信息的交流远不如今。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:38, 20 November 2020 (UTC)<br /> <br /> 全球化程度愈深，文化差异愈少。民族特色模糊起来，企业需要在世界范围内运营，其生产的产品也将销往世界各地。但是，仍有传统沿袭历史发展至今，那时国际贸易已十分频繁，但合作及信息交流远不及今。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 13:13, 20 November 2020 (UTC)</div>

Qu Miao https://bou.de/u/index.php?title=20201116_cult&diff=105587 2020-11-23T08:00:56Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Alsied, Saffana==<br /> <br /> 1.An all-round top-notch performer of Beijing Opera, for instance, must be good- looking or attractive when appearing in make-up, of pleasing physical proportions, with a pair of expressive eyes and a rich variety of facial expressions.<br /> <br /> 例如，京剧的一位顶级表演者在化妆时必须好看或有吸引力，具有令人愉悦的身体比例，一双富有表情的眼睛和丰富多样的面部表情。--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 23:31, 21 November 2020 (UTC)<br /> <br /> 例如，一位多才多艺的一流京剧演员上妆后必须要好看或有吸引力，有漂亮的身材比例，一双有表现力的眼睛及丰富的面部表情。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 07:11, 22 November 2020 (UTC)<br /> <br /> 2. He was the first to change the tradition that female characters paid attention only to the art of singing or acrobatic skills.<br /> <br /> 他是第一个改变传统的女性角色只关注歌唱或杂技技巧的传统。--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 23:31, 21 November 2020 (UTC)<br /> <br /> 他是第一个改变女性角色只关注歌唱或杂技技巧这种传统的人。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 07:11, 22 November 2020 (UTC)<br /> <br /> 3.As acrobatics became a folk art, it absorbed rich nourishment from the lives of ordinary people. <br /> <br /> 随着杂技成为一种民间艺术，它从普通百姓的生活中吸收了丰富的营养。--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 23:31, 21 November 2020 (UTC)<br /> <br /> 随着杂技成为一种民间艺术，它从普通百姓的生活中汲取了丰富的素材。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 07:11, 22 November 2020 (UTC)<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> 1 京剧以历史故事为主要演出内容，传统剧目约有一千三百多个，常演的在三四百个以上。<br /> <br /> The main performance of Peking Opera is historical stories. There are more than 1,300 traditional repertoires, and more than 300 or 400 are often performed.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 12:22, 21 November 2020 (UTC)<br /> <br /> 2 梅兰芳在50余年的舞台生活中，发展和提高了京剧旦角的演唱和表演艺术，形成一个具有独特风格的艺术流派，世称“梅派”。<br /> <br /> In more than 50 years of stage life, Mei Lanfang has developed and improved the singing and performing arts of “Dan” in Peking Opera, forming a unique style of art genre, known as &quot;Mei School&quot; in the world.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 12:22, 21 November 2020 (UTC)<br /> <br /> In his career of more than 50 years, Mei Lanfang has developed and improved the singing and performing arts of the Dan role in Peking Opera, forming a unique art school, known as &quot;Mei School&quot; in the world.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:02, 22 November 2020 (UTC)Xu Jia<br /> <br /> 3 解放后，杂技艺术获得新生。杂技艺术从简单的技巧表演发展到有乐队、舞蹈、灯光等配合的综合艺术表演。<br /> <br /> After liberation, acrobatics gained a new life. Acrobatics have developed from simple technical performances to comprehensive art performances with bands, dances, and lighting.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 12:22, 21 November 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> <br /> 1. 京剧脸谱，是具有民族特色的一种特殊的化妆方法，由于每个历史人物或某一种类型的人物都有一种大概的模式，就像唱歌、奏乐都要按照乐谱一样，所以称为“脸谱”。<br /> <br /> Beijing Opera facial makeup is a kind of special makeup method with national characteristic. As each historical figure or a certain type of person has an approximate style, like singing, playing music according to the music score, it is called “facial makeup in operas”. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:08, 20 November 2020 (UTC)<br /> <br /> 2. 梅派最大的特点就是没有特点，抓住某一个特点很难抓，讲究的是范本之美，一招一式、一字一腔、发声运气都强调非常规范。<br /> <br /> The main feature of the Mei Langfang school is featurelessness. It is quite difficult to capture one characteristic from the school as it focuses on the beauty of model. Every gesture and motion, word and tune, and the process of modulating air current to utter the sound all follows the requirements of the model. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:08, 20 November 2020 (UTC)<br /> <br /> 3. 跟头本来是杂技技巧中重要一项，在清代戏曲中，它被戏曲表演所吸收化用在方方面面，故清末有所谓“京剧里的跟斗，杂技里的顶”的俗话。<br /> <br /> Turning a somersaults is an important skill in acrobatics. During the Qing Dynasty, it was absorbed by opera and became a part of its performance. Therefore, there is an old saying in the late Qing Dynasty, &quot;Where there is somersault in Beijing opera, there is handstand in acrobatics&quot;. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:08, 20 November 2020 (UTC)<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> 1.清初，京城戏曲舞台上盛行昆曲与京腔。乾隆中叶后，昆曲渐而衰落，京腔兴盛取代昆曲一统京城舞台。<br /> <br /> During the early Qing Dynasty, Kunqu opera and Beijing accent were frequently performed on the stage in Beijing. After the mid-Qing period, Kunqu opera gradually declined and was replaced by the Beijing accent, which started to prosper and dominate the Beijing stage.<br /> <br /> In the early Qing Dynasty, Kunqu Opera and Beijing accent prevailed on the opera stage in Beijing. After the mid-Qianlong period, Kunqu opera gradually declined, and the prosperity of Beijing accent replaced Kunqu opera to dominate the Beijing stage.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 12:39, 22 November 2020 (UTC)<br /> <br /> 2.梅兰芳苦涩地回忆着这几年的沧桑历程，心境忧闷地对朋友说：“一个演员正在表演力旺盛之际，因为抵抗恶劣的社会环境，而蓄须谢绝舞台演出，连嗓子都不敢吊，这种痛苦我无法用语言来形容。我之所以绘画，一半是为了维持生活，一半是借此消遣。否则，我真是要憋死了。”<br /> <br /> Looking back the past bitter years, Mei Lanfang said to her friend in a depressing mood, &quot;A singer was forced to step back from the stage due to the adverse social environment and was even afraid to do vioce exercises. This kind of sorrow was beyond words. I chose to draw both for livelihood and amusement, otherwise, I will suffer to death.&quot;<br /> <br /> 3.春秋战国时代很多杂技艺术的创造者是诸侯的门客和武士，他们以一技之长，投身公卿大夫，并不完全为了表演，但关键时候，却往往以其技辅助主人，创造出一些轰轰烈烈的事业。<br /> <br /> A great number of creators of acrobatics during the Spring and Autumn(770-476 BC) and Warring States(475-221 BC) periods belong to hangers-on and men of great physical prowess of the feudal princes. They go and seek refuge with high-ranking officials in court by dint of their professional skill though not wholly for performing. However, they would always rely on this skill to assist their masters to achive a grand career.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 13:29, 21 November 2020 (UTC)Chen Jingjing<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> 1. Some of the newer operas were adopted from literature and classical novels during the rise of communism. <br /> <br /> 在共产主义兴起期间，一些较新的歌剧被文学和古典小说所采用。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 13:34, 19 November 2020 (UTC)<br /> <br /> 共产主义崛起时期，一些新歌剧改编自文学和古典小说。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:09, 20 November 2020 (UTC)<br /> <br /> 2.At age 13 he joined the Xiliancheng Theatrical Company and, through performances in Shanghai and elsewhere, acquired a national reputation. <br /> <br /> 13岁那年，他加入了戏联城剧院公司，并通过在上海和其他地方的演出获得了全国声誉。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 13:34, 19 November 2020 (UTC)<br /> <br /> 13岁那年，他加入了“喜连成”戏剧班，在上海和全国各地进行演出，享誉全国。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:09, 20 November 2020 (UTC)<br /> <br /> 3.The acrobats may perform scenes from popular legends, stories, or novels of the ancient past such as The Monkey King. <br /> <br /> 杂技演员可以表演诸如《孙悟空》之类的古代传说，故事或小说中的场景。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 13:34, 19 November 2020 (UTC)<br /> <br /> 杂技演员可以表演诸如《美猴王》之类的民间传说、故事或古代小说中的场景。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:45, 19 November 2020 (UTC)Mo Ling<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> 1.京剧被视为中国的国剧，有着悠久的历史和完整的舞台表演体系。它最初是安徽省的一种地方剧。京剧吸收了其前身的各种元素，如唱歌、跳舞和杂技，并在语言和演唱风格上为北京观众做了调整。随着时间的推移，京剧在全国各地广受欢迎，成为中国舞台上最流行、影响力最大的戏剧形式。<br /> <br /> Peking Opera is regarded as the national opera in China. It has a long history and a complete system of stage performance. It was originally a local drama in Anhui Province.Peking Opera absorbed various elements of its forerunner, such as singing，dancing and acrobatics，and adapted itself in language and style of singing for Beijing audiences. As time went by，it gained popularity all over the country and became the most popular and influential dramatic form on Chinese stage.<br /> <br /> 2.京剧行当中梅兰芳最擅演的是“旦”.京剧中把女性统称为“旦”，其中按照人物的年龄、性格又可细分为许多行当，饰演大家闺秀和有身份的妇女称为“正旦”，正旦在京剧中俗称“青衣”，这就是因为正旦所扮演的角色常穿青色的长衫而得名。<br /> <br /> Meilanfang is good at playing the role of women in Beijing operas, called “Dan”. According to the age and personality of the character, there are many different kinds of Dans. If she is a decent girl, will be called “Zhengdan” or “Qingyi” if she is just a young girl; the character on the stage is usually dressed in blue.<br /> <br /> 3.杂技是展现高超的平衡技巧和动作协调能力的表演。杂技常和广泛使用体操技能的活动相联系，比如马戏、体操，但许多其他运动，如武术、芭蕾和跳水也可能采用杂技元素。 <br /> <br /> Acrobatics is the performance that shows excellent skills of balance and action coordination. Acrobatics is most often associated with activities that make extensive use of gymnastic skills, such as circus and gymnastics, but many other activities，such as wushu,ballet and diving may also adopt elements of acrobatics.<br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 05:32, 23 November 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> 1. 京剧，曾称平剧，中国五大戏曲剧种之一。场景布置注重写意，腔调以西皮、二黄为主，用胡琴和锣鼓等伴奏。<br /> <br /> Beijing Opera, once called pingju, is one of the five major operas in China.The scene layout pays attention to freehand brushwork, tone to xipi, erhuang mainly, with the accompaniment of huqin, gongs and drums.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:37, 19 November 2020 (UTC)<br /> <br /> 2. 梅兰芳成功地进行了一系列京剧艺术的改革，为整个戏剧文化的改革发展提供了榜样，对今天戏剧文化的发展具有重要的提示意义。<br /> <br /> Mei Lanfang successfully made a series of reformation of Beijing opera and made an example of the opera culture reformation, which laid an important influence on the today's opera culture.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:37, 19 November 2020 (UTC)<br /> <br /> Mei Lanfang has successfully carried out a series of reforms of Beijing Opera art, which provids an example for the reform and development of the whole drama culture, and is of great significance to the development of drama culture today.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:07, 19 November 2020 (UTC)<br /> <br /> 3. 吴桥县是中国杂技的发源地，其杂技历史悠久，表演艺术完善，为中外人士所熟知。据说，当地的人都或多或少地会表演杂技，不管他是99岁还是刚学会走路。<br /> <br /> With a long acrobatics history and perfect performing arts, Wuqiao county is well known by Chinese people and foreigners as the birthplace of the famous Chinese acrobatics. It is said that the local people there are all able to perform acrobatics more or less, no matter he is just 99 or just learning to walk.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:37, 19 November 2020 (UTC)<br /> <br /> Wuqiao County is the origin of Chinese acrobatics, with long acrobatic history and perfect performing arts, known to Chinese and foreign people. It is said that locals can perform acrobatics more or less, whether he is 99 or just learning to walk.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:07, 19 November 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 1.2006年5月，京剧被国务院批准列入第一批国家级非物质文化遗产名录。2010年，被列入联合国教科文组织非物质文化遗产名录人类非物质文化遗产代表作名录。<br /> <br /> In May 2006, Beijing Opera was approved by the State Council to be included in the first batch of national intangible cultural heritage list. Then in 2010, it was included as representatives in the UNESCO list of intangible cultural heritage.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:31, 20 November 2020 (UTC)<br /> <br /> 2. 梅兰芳在50余年的舞台生活中，发展和提高了京剧旦角的演唱和表演艺术，形成一个具有独特风格的艺术流派，世称“梅派”。<br /> <br /> In his stage lifetime of more than 50 years, Mei Lanfang has developd and improved the singing and performing arts of the role &quot;Dan&quot; in Beijing Opera, finally formed an art school with a unique style, whinch is known as &quot;Mei&quot; school.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:31, 20 November 2020 (UTC)<br /> <br /> 3.杂技艺术在中国已经有2000多年的历史。杂技在汉代称为“百戏”，隋唐时叫“散乐”，唐宋以后为了区别于其他歌舞、杂剧，才称为杂技。<br /> <br /> Acrobatics has a history of more than 2,000 years in China. It was called &quot;baixi&quot; in the Han Dynasty, &quot;Sanle&quot; in the Sui and Tang Dynasties. Later in the Tang and Song dynasties, it was called &quot;Acrobatics&quot; in order to distinguish from other songs, dances and zaju.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:31, 20 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> 1、京剧是融唱念做打于一体的戏剧表演形式，19世纪中期，孕育于民间，融合了中国南北方戏剧元素的京剧，在北京发展成熟，广泛流布于全国。<br /> <br /> Beijing opera is a kind of opera performances which consists of singing, reading, doing and playing. Being conceived in Chinese folk and developing into maturity in Beijing, it integrated opera elements from north and south China and was spread widely across the country.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:10, 20 November 2020 (UTC)Gao Mingzhu<br /> <br /> 2、绘画大师刘海粟：“梅先生的表演风格，以画相喻，应是工笔重彩的牡丹花，花叶则以水墨写意出之，雍容华贵中见洒脱，浓淡相宜，艳而不俗。”<br /> <br /> The drawing master Liu Haisu once said:”If drawing an analogy with painting, Mr Mei’s performance style should be a painting of heavy-colored peonies with ink-wash flowers and leaves, being free and easy amongst elegance, shading appropriate, and being showy but not vulgar. ”--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:10, 20 November 2020 (UTC)Gao Mingzhu<br /> <br /> 3、杂技艺术在中国已经有2000多年的历史。杂技在汉代称为“百戏”，隋唐时叫“散乐”，唐宋以后为了区别于其他歌舞、杂剧，才称为杂技。<br /> <br /> Acrobatics has a long history of more than 2000 years in China. It was called “Bai Xi”(a general term for folk performing arts) in the Han dynasty and “San Yue”(a synonym of Bai Xi) in the Sui and Tang dynasties. It was not until the Tang and Song dynasties that we had the name “Za Ji”(Acrobatics) for it in order to distinguish it from songs and dances as well as other performing arts. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:10, 20 November 2020 (UTC) Gao Mingzhu<br /> <br /> 1. Beijing Opera is a theatrical performance form that combines singing, reading, doing and playing. In the mid-19th century, Beijing Opera, born from the folklore, which combined elements from the north and south of China, matured in Beijing and became widespread throughout the country.<br /> <br /> 2. Liu Haisu, a master painter said that Mr. Mei’ s performance, if compared to the painting, should be a heavy-colored peony flower with heavy brushwork, while the flowers and leaves are painted in ink, showing a free expression of grace and elegance, appropriate in intensity and lightness, bright but not vulgar.<br /> <br /> 3. The art of acrobatics has a history of more than 2000 years in China. In Han Dynasty, it was called “Baixi”; in Sui and Tang Dynasties, it was called “Sanle”; after Tang and Song Dynasties, it was called acrobatics in order to distinguish it from other dances and operas.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 09:20, 22 November 2020 (UTC)Yang Chenting<br /> <br /> ==Grosheva, Anna==<br /> <br /> 1.The traditional operas consist of main tales of preceding dynasties, important historical events, emperors and empresses, ministers and generals, geniuses and great beauties. <br /> <br /> 传统戏曲主要包括前朝的故事，重要的历史事件，皇帝和皇后，大臣和将军，天才和大人物。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 12:32, 22 November 2020 (UTC)<br /> <br /> 2.Thereafter he did both stage and film work and served as director or member of several cultural organizations. <br /> <br /> 此后，他从事舞台和电影工作，并担任多个文化组织的导演或成员。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 12:32, 22 November 2020 (UTC)<br /> <br /> 3.Chinese acrobats intensively practice timing and coordination. The individual performers practice cooperating precisely. <br /> <br /> 中国杂技演员集中练习时间安排和协调。 各个表演者练习精确合作。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 12:32, 22 November 2020 (UTC)<br /> <br /> 中国杂技演员进行高强度练习，提高时机的把握技巧和协调能力。 各个表演者加强训练，提高配合默契度。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 02:49, 23 November 2020 (UTC)Wu Zijia<br /> <br /> ==Gu Dongfang 顾东方==<br /> 1.京剧走遍世界各地，分布地以北京为中心，遍及中国，成为介绍、传播中国传统艺术文化的重要媒介。在2010年11月16日，京剧被列入“世界非物质文化遗产代表作名录”<br /> <br /> Peking Opera is distributed all over the world, mainly in Beijing , and has become an important medium for introducing and spreading Chinese traditional art and culture. On November 16, 2010, Peking Opera was inscribed on the &quot;Representative List of the Intangible Cultural Heritage of the World&quot;.<br /> <br /> 2.梅兰芳的戏剧艺术并非完全没有现实主义的成分，它并不具有立体派绘画、抽象的阿拉伯装饰或几何舞蹈设计所具有的那种涵义。跟它确切相似的是中国绘画和雕刻。遗留在我们记忆里的是对他们的抽象画和装饰性的印象，但是我们往往对那种精确性感到惊讶，自然界，一片叶子，一束花朵，一只鸟，一只手，一件斗篷，都被观察得极为精确细致，同时我们也对它们那具有特征的细节所呈现的使人眼花缭乱的色彩缤纷标志感到惊奇。<br /> <br /> Mei Lanfang's theatrical art is not completely devoid of realism, and it does not have the same connotations as Cubist painting, abstract arabesques, or geometric choreography. Its exact resemblance is to Chinese painting and sculpture. What remains in our memory are impressions of their abstract paintings and ornamentation, but we often surprized at the precision with which nature, a leaf, a bouquet of flowers, a bird, a hand, a cloak, are observed with great precision and detail, and we are amazed at the dazzling array of colorful symbols in their characteristic detail!<br /> <br /> Mei Lanfang's theatrical art is not completely devoid of realism, and it does not have the same connotations as Cubist painting, abstract arabesques, or geometric choreography. It bears a close resemblance to Chinses painting and sculpture. What remains in our memory are impressions of their abstract paintings and ornamentation, but we often surprize at the precision with which nature, a leaf, a bouquet of flowers, a bird, a hand, a cloak, are observed and we are amazed at the dazzling array of colorful symbols in their characteristic details.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 13:49, 21 November 2020 (UTC)Chen Jingjing<br /> <br /> 3.大约在新石器时代，中国的杂技就已经萌芽。原始人在狩猎中形成的劳动技能和自卫攻防中创造的武技与超常体能，在休息和娱乐时，在表现其猎获和胜利的欢快时，被再现为一种自娱游戏的技艺表演，这就形成了最早的杂技艺术。<br /> <br /> Around the Neolithic period, acrobatics had already sprouted in China. The labor skills developed by primitive man in hunting and the martial skills and extraordinary physical abilities created in self-defense were reproduced as a technical performance of self-entertaining games during rest and recreation, while expressing the joy of their hunt and victory, which led to the earliest acrobatic art.<br /> <br /> ==Guan Qinqing 管钦清==<br /> 1.京剧是中国的国粹。作为一门古老的艺术，京剧的服饰、脸谱等很受观众欢迎。精致的面部化妆和华丽的服饰是京剧的两大特色。不同的服装类型反映不同人物的身份特征。脸谱是京剧中塑造人物形象的重要手段，它是用不同的颜色在脸上勾画出来的。脸谱的颜色让人一看便知角色的善恶。<br /> <br /> Beijing Opera is the quintessence of Chinese culture.As an ancient art,the costume and facial makeup of Beijing Opera are very popular among audience.Elaborate and gorgeous facial make-up and costumes are two distinguished characteristics of Beijing Opera. Different styles of costumes are used to reflect the identity of different characters.<br /> Painting faces with different colors are important ways to portray a character.People can tell a hero from a villain by the colors of the masks.<br /> <br /> Beijing Opera is the quintessence of Chinese culture.As an ancient art,the costume and facial makeup of Beijing Opera are very popular among audience.Elaborate facial make-up and gorgeous costumes are two distinguished characteristics of Beijing Opera. Different styles of costumes are used to reflect the identity of different characters.<br /> Painting faces with different colors is an important way to portray a character.People can tell a hero from a villain by the colors of the masks.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 14:31, 21 November 2020 (UTC)Chen Jingjing<br /> <br /> 2.梅兰芳出生于京剧世家，8岁开始学习表演艺术，10岁开始登台演出，在二十世纪初成为了超级明星，使花旦成为京剧中重要的角色。在其60年的戏剧生涯中，梅兰芳演出创作了200多部剧，在唱腔、台词、舞蹈、音乐、服饰、化妆等方面做出了贡献，逐渐形成了自己独特的风格，被称为“梅派”。<br /> <br /> Born in the family of Beijing Opera actors,Mei Lanfang began to laern the performing art at eight,to make his debut at ten and become a super star in the early 20 centuries,thus turning Dan (female roles) to a prominent role of Beijing Opera.During his 60 years of performing years,Mei performed and created over 200 plays,making contributions in such aspects as singing patters, speaking lines, dance, music, costumes and make-up and gradually forming his unique style, the so called ‘Mei School’. <br /> <br /> Born in the family of Beijing Opera actors,Mei Lanfang began to learn the performing art at eight and made his debut at ten, a super star in the early 20th century,thus turning Dan (female roles) to a prominent role of Beijing Opera.During his 60 years of performing years,Mei performed and created over 200 plays,making contributions in such aspects as singing patters, speaking lines, dance, music, costumes and make-up and gradually forming his own unique style, called ‘Mei School’. --[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 14:31, 21 November 2020 (UTC)Chen Jingjing<br /> <br /> 3.中国杂技(acrobatics)有着悠久的历史和浓郁的民族特色。它是中国人最喜爱的艺术形式之一。杂技的表演融合了力量和技巧。它与人们的生产和日常生活有着密切的联系。表演的道具(props)包括碗、盘子和梯子等。在旧中国， 因为被封建阶级(feudal class)瞧不起，杂技从未在剧场里表演过。自新中国成立以来，中国政府大力发展民族艺术，使杂技获得了新的生命。<br /> <br /> The Chinese acrobatics has a long history and rich national flavor. It is one of the Chinese favorite art forms.It is one of the Chinese favorite art forms. Acrobatics combines strength and skill. It closely relates to people's production and daily life activities with props being bowls, plates, ladders, and so on. In old China, acrobatics was never performed in theatres because it was looked down upon by the feudal class. Since the founding of new China, the Chinese government has made great efforts to develop national arts, giving acrobatics a new life.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 02:15, 20 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> 1.京剧集传统音乐、舞蹈、诗歌、杂耍、武术于一身，以华丽的戏服、逼真的脸谱和程式化的演出套路而闻名。<br /> <br /> It is a synthesis of traditional music, dancing, poetry, acrobatics and martial arts. It is famous for its exquisite costumes, beautiful make-up or painted face, and established performing conventions and rules.<br /> <br /> 2.京剧行当中梅兰芳最擅演的是“旦”。京剧中把女性统称为“旦”，其中按照人物的年龄、性格又可细分为许多行当，饰演大家闺秀和有身份的妇女称为“正旦”，正旦在京剧中俗称“青衣”，这就是因为正旦所扮演的角色常穿青色的长衫而得名。<br /> <br /> Mei Lanfang is good at playing the role of women in Beijing operas, called “Dan”. According to the age and personality of the character, there are many different kinds of Dans. If she is a decent girl, will be called “Zhengdan” or “Qingyi” if she is just a young girl; the character on the stage is usually dressed in blue. The heroine of “Dou E’s Grievance” is a typical “Qingyi” character. <br /> <br /> 3.吴桥是中国众所周知的杂技之乡。据说吴桥的所有居民，从学步孩童到白发老人，都多少会点杂技。年轻人在工作间隙练习杂技。许多家庭都有独特的技艺代代相传。<br /> <br /> Wuqiao is well known as the hometown of acrobatics in China. It is said that all residents in Wuqiao, from kids learning to walk to the old with grey, know some acrobatics. Young people practice the art during the breaks from work.Many families have their unique skills handed down through generations.--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 05:48, 23 November 2020 (UTC)<br /> <br /> ==Guirou, Barthelemy==<br /> 1-The Beijing Opera is considered the quintessential Chinese performance art.  It originated in Beijing but has spread all around China to become a symbol of Chinese culture. Combining singing, dancing, dialogue and martial arts, it has five main types of characters: Sheng, Dan, Jing, Mo, Chou. These refer to male characters, female characters, forceful characters, middle-aged male characters and comedic figures respectively. Because the Beijing Opera was originally a feature of the imperial palace, it had stricter requirements for the performance, costumes, makeup and songs.<br /> <br /> 京剧被认为是中国典型的表演艺术。 它起源于北京，但已遍布中国各地，成为中国文化的象征。 结合唱歌，跳舞，对话和武术，它具有五个主要类型的字符：圣，旦，京，莫，仇。 这些分别指男性角色，女性角色，有力角色，中年男性角色和喜剧人物。 由于京剧最初是皇宫的特色，因此对表演，服装，化妆和歌曲有更严格的要求。<br /> <br /> 2-Mei Lanfang, Wade-Giles Romanization Mei Lan-fang, (born October 22, 1894, Beijing, China—died August 8, 1961, Beijing), Chinese theatrical performer, one of the greatest singer-actor-dancers in Chinese history.<br /> <br /> 梅兰芳（Wade-Giles Romanization）梅兰芳（1894年10月22日生于中国北京，1961年8月8日卒于北京），中国戏曲演员，中国历史上最伟大的歌手，演员和舞者之一。<br /> <br /> 3-Chinese acrobats focus especially on developing strength in the waist and legs. Strong abdominal muscles are the key to all precisely controlled movement involving the torso. Strong legs are essential for maintaining perfect balance while standing on a tightrope or other objects or on other acrobats.<br /> <br /> 中国的杂技演员特别注重腰部和腿部力量的发展。 强大的腹部肌肉是所有精确控制躯干运动的关键。 站立在绳索或其他物体或其他杂技演员上时，强壮的腿对于保持完美的平衡至关重要。--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 12:07, 21 November 2020 (UTC)<br /> <br /> ==Guo Lu 郭露==<br /> <br /> 1. 京剧结合音乐，杂技舞蹈和壮观的服饰，讲述中国历史和民间传说的故事。 演员使用富有戏剧性意义的抽象，象征性手势，代表了英雄，神圣和动物界的人物，常常是在武术中使用。 面具般的妆容和精致服装的传统特征立即为认识的观众标识了角色。<br /> <br /> Beijing Opera combines music, acrobatic dance, and spectacular costumes to tell stories from Chinese history and floklore. Using abstract, symbolic gestures rich in dramatic meaning, actors represent personages from the heroic, divine, and animal worlds, often in martial exploits. The traditional features of the masklike makeup and elaborate costumes immediately identify the characters to a knowing audience.<br /> <br /> Beijing Opera, combining music and acrobatic dance with spectacular costumes, tells stories from Chinese history and floklore. Often in martial arts, the actors plays the role from the heroic, divine, and animal worlds by using abstract and symbolic gestures rich in dramatic meaning. The traditional features of the masklike makeup and elaborate costumes immediately identify the characters to a knowing audience.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 16:17, 19 November 2020 (UTC)<br /> <br /> 2. 梅兰，艺名梅兰芳 ，是中国现代戏剧中著名的京剧演员。梅兰芳被称为“京剧大师”。他以女性角色“旦”而出名，尤其以青衣为主，即年轻或中年的优雅女子。梅兰芳和尚小云、程砚秋、荀慧生一起，被誉为“四大名旦”。<br /> <br /> Mei Lan, better known by his stage name Mei Lanfang, was a notable Peking opera artist in modern Chinese theater. Mei was known as &quot;Queen of Peking Opera&quot;. Mei was exclusively known for his female lead roles (dan) and particularly his &quot;verdant-robed girls&quot; (qingyi), young or middle-aged women of grace and refinement. He was considered one of the &quot;Four Great Dan&quot;, along with Shang Xiaoyun, Cheng Yanqiu, and Xun Huisheng.<br /> <br /> Mei Lan, with a stage name Mei Lanfang, was a notable Peking opera artist in modern Chinese theater. Mei Lanfang was famed as &quot;Queen of Peking Opera&quot;. He was exclusively famous for his femal role &quot;Dan&quot; and particularly his verdant-robed girl &quot;Qingyi&quot;, namely, young or middle-aged elegance woman. He was fameded the &quot;Four Great Dan&quot;, along with Shang Xiaoyun, Cheng Yanqiu, and Xun Huisheng.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 16:17, 19 November 2020 (UTC)<br /> <br /> Mei Lan, whose stage name was Mei Lanfang, represented one of the most famous Peking Opera actors in the history of modern Chinese opera. He was also famed as &quot;the Master of Peking Opera&quot;. And he was notable for his performance as a female character &quot;Dan&quot;, especially &quot;verdant-robed girls&quot; (qingyi), namely, young or middle-aged elegant women. Mei Lanfang, as well as Shang Xiaoyun, Cheng Yanqiu, and Xun Huisheng, was fameds as &quot;the Four Great Dan&quot;.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:46, 19 November 2020 (UTC)<br /> <br /> 3.杂技是各种技艺表演的总和，以高、难、险、奇而和谐的技能为特征。杂技的艺术语言主要是超高技巧肢体动作，包括柔身术、绳技、顶碗、滚杯等。<br /> <br /> Characterized by high, difficult, dangerous, strange and harmonious skills, acrobatics is the sum of various performances, its artistic language mainly includes super-skilled body movements, including contortionist, rope skill, bowling, and cup rolling.<br /> <br /> --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:48, 19 November 2020 (UTC)<br /> <br /> Acrobatics is the sum of various technical performances, marked by high, difficult, dangerous, strange and harmonious skills. It’s artistic language is the highly-skilled body movements, including contortionist, rope skill, bowling and cup rolling. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 03:37, 19 November 2020 (UTC)<br /> <br /> ==Ha, Thi Thu Hang==<br /> 1. Beijing Opera was the product of the merging in Beijing of Anhui and Hubei opera styles in the late 18th and early 19th centuries.<br /> <br /> 京剧是18世纪末至19世纪初融合安徽和湖北京剧风格的产物。<br /> <br /> 2. Mei was born in Beijing into a family of Beijing Opera performers. He started to learn the art of opera when he was a little boy. He made his debut at the age of 11 and became well-known before he reached 20.<br /> <br /> 梅出生于北京一个京剧演员家庭。 他从小就开始学习歌剧艺术。 他在11岁时首次亮相，并在20岁之前就广为人知。梅兰芳出生于北京的一个京剧世家。 他从小就开始学习戏剧艺术，11岁时首次表演，并在20岁之前就广为人知。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 06:33, 21 November 2020 (UTC)<br /> <br /> <br /> 3. Chinese Acrobatics became an independent and highly skilled art form about 2,000 years ago. Han Dynasty acrobatics programs included items such as walking on a tight rope, along with conjuring tricks such as legerdemain, knife swallowing and fire eating. <br /> <br /> 大约2000年前，中国杂技成为一种独立的高技能艺术形式。 汉代的杂技节目包括紧绳走动等项目，还有莱格德（Legerdemain），吞刀和吞火等魔术。--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 03:21, 20 November 2020 (UTC)<br /> <br /> 中国杂技大约在2000年前就已经成为一种独立的艺术形式，而且技术要求很高。在汉代，杂技节目涵盖了走钢丝，以及变戏法、吞剑和吞火等魔术等表演。--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 06:18, 23 November 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> 1.中国的京剧舞台，呈现的是浓厚的色彩之美，是一种错彩镂金的绚烂之美。<br /> <br /> China's Peking Opera radiates with the beauty of resplendent color——vivid, intense and glamorous.<br /> <br /> 2. 梅兰芳在舞台上的容貌、服饰、舞姿、身段、唱腔，无一处不美。<br /> <br /> Mei Lanfang's appearance, costumes, dance, movements and singing onstage are all extremely striking.<br /> <br /> 3.中国的杂技艺术历史悠久，源远流长，是中华民族珍贵的优秀文化遗产。<br /> <br /> Chinese Acrobatics has a profound history and is honored as a precious and fine cultural heritage of the Chinese people.--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 06:08, 23 November 2020 (UTC)<br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> 1.京剧是中国五大戏曲剧种之一，另外四种分别为越剧、黄梅戏、评剧和豫剧。<br /> <br /> Peking Opera is one of the five major operas in China. The other four are Yue opera, Huangmei Opera, Ping opera and Henan opera.<br /> <br /> Beijing Opera is one of the five major operas in China, and the other four are Yue opera, Huangmei Opera, Ping opera and Henan opera.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 08:20, 19 November 2020 (UTC)<br /> <br /> 2.梅兰芳先生是世人景仰的京剧艺术大师，他创造的独树一帜“梅派”艺术，在国内外享有盛誉。他所取得的辉煌成就，给我们留下了弥足珍贵的艺术遗产，他为中国戏剧艺术做出的杰出贡献，将永载戏剧史册。<br /> <br /> Mr. Mei Lanfang is a Beijing Opera master admired by the world. His unique &quot;Mei school&quot; art has enjoyed a high reputation at home and abroad. His brilliant achievements have left us a precious artistic heritage. His outstanding contributions to Chinese drama will be forever recorded in the history of drama.<br /> <br /> Mr. Mei Lanfang, a master of Beijing Opera, is admired by the world. His unique “Mei School” art enjoys a high reputation both at home and abroad. His brilliant achievements have left us with precious artistic heritage, and his outstanding contribution to Chinese drama will be recorded in the history of drama forever.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 08:20, 19 November 2020 (UTC)<br /> <br /> <br /> 3.中国杂技大约在新石器时代就已经萌芽。秦统一中国后，吸收各国角抵的优点，形成了一种娱乐性的杂技节目——角抵戏。汉代，角抵戏的内容更充实，品种更丰富，技艺更高超。到东汉时，则形成了一种以杂技艺术为中心，汇集各种表演艺术于一堂的新品种——“百戏”体系。<br /> <br /> Chinese acrobatics began to sprout in the Neolithic age. After the unification of China, Qin Dynasty absorbed the advantages of Jiaodi from other countries and formed an entertainment acrobatic program called Jiaodi opera. In the Han Dynasty, the content of Jiaodi opera was more substantial, the variety was richer, and the skill was more excellent. In the Eastern Han Dynasty, a new variety of &quot;Baixi&quot; system with acrobatics as the center and various performing arts in one hall was formed.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:37, 19 November 2020 (UTC)<br /> <br /> Chinese acrobatics began to sprout around the Neolithic Age. After unifying China, Qin Dynasty absorbed the advantages of Jiaodi from various countries and formed an entertaining acrobatic program called Jiaodi Opera. In the Han Dynasty, Jiaodi Opera was richer in content, more abundant in variety and more excellent in skill. By the Eastern Han Dynasty, a new variety named “Baixi” was formed. It was a system which centered on acrobatic art and brought together various performing arts.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 08:20, 19 November 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> 1. 京剧结合了音乐、杂技舞蹈和华贵的戏服来讲述中国历史和民间传说。演员使用抽象的象征性手势，富有戏剧性的含义，饰演英雄、神和动物世界的人物，并且通常是军功累累。<br /> <br /> 1. Peking Opera combines music, acrobatic dance, and spectacular costumes to tell stories from Chinese history and folklore. Using abstract, symbolic gestures rich in dramatic meaning, actors represent personages from the heroic, divine, and animal worlds, often in martial exploits.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 12:54, 19 November 2020 (UTC)<br /> <br /> 1. Peking Opera combines music, acrobatic dance, and spectacular costumes to tell stories from Chinese history and folklore. With abstract, symbolic gestures rich in dramatic meaning, actors represent personages from the heroic, divine, and animal worlds, often in martial exploits.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:37, 22 November 2020 (UTC)<br /> <br /> 1. Peking Opera combines music, acrobatic dance, and spectacular costumes to tell stories from Chinese history and folklore. Using abstract, symbolic gestures rich in dramatic meaning, actors represent personages from the heroic, divine, and animal worlds, often in martial exploits.--[[User:Root|Root]] ([[User talk:Root|talk]]) 07:51, 23 November 2020 (UTC)<br /> <br /> 2. 梅兰芳是伟大的京剧表演艺术家。可他小时候却被认为是“言不出众，貌不惊人”，不是学戏的料。梅兰芳小时候是个没人管的野孩子。<br /> <br /> 2. Mei Lanfang was a great performer of Beijing opera. As a child, he was judged to be “mediocre in speech and plain in apperance,” without the markings of an actor. In his childhood, Mei Lanfang was a neglected child.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 12:54, 19 November 2020 (UTC)<br /> <br /> 2. Mei Lanfang was a great performer of Beijing opera. As a neglected child, he was considered to be “mediocre in speech and plain in appearance,” not a talent for performing.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:37, 22 November 2020 (UTC)<br /> <br /> 3. 中国杂技是一门结合了身体力量和技巧的表演艺术。它是最受中国人欢迎的艺术形式之一。杂技在中国已经存在了两千多年。早在战国时期就已经出现了杂技的雏形。到了汉代，杂技或“百戏”进一步丰富了其内容和种类。古往今来，杂技表演融入了许多不同的表演艺术，例如传统戏剧、舞蹈和武术的优点，作为回报，它也为后者提供了灵感。<br /> <br /> 3. The Chinese acrobatics is a performing art which combines physical strength and skills. It is one of the most popular art forms welcomed by the Chinese people. The acrobatic art has existed in China for more than two thousand years. As early as the Warring States Period, there appeared embryonic form of acrobatics. By the time of the Han Dynasty, the acrobatic art or “Baixi” was further enriched both in contents and varieties. Acrobatic performances through the ages have incorporated strong points of many different performing arts such as traditional operas, dance and martial art, and provided the latter with inspiration in return.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 12:54, 19 November 2020 (UTC)<br /> <br /> 3. The Chinese acrobatics is a performing art which combines physical strength and skills, which is one of the most popular art forms welcomed by the Chinese people. The acrobatic art has existed in China for more than two thousand years. As early as the Warring States Period, there appeared embryonic form of acrobatics. By the time of the Han Dynasty, the acrobatic art or “Baixi” was further enriched both in contents and varieties. Acrobatic performances through the ages have incorporated strong points of many different performing arts such as traditional operas, dance and martial art, and provided the latter with inspiration in return.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:37, 22 November 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> 京剧场景布置注重写意，腔调以西皮、二黄为主，用胡琴和锣鼓等伴奏，是清代四大徽班陆续进入北京，与湖北的汉调艺人合作，同时又接受了昆曲、秦腔的部分剧目、曲调和表演方法，吸收地方民间曲调，通过不断的交流、融合的结晶。它走遍世界各地，是介绍、传播中国传统艺术文化的重要媒介。<br /> <br /> Peking Opera, emphasizing on the imaginative, the accent of which is mainly Xi Pi and Er Huang, accompanied by Huqin, gongs and drums, is the result of the continuous exchange and fusion between the four Anhui classes in the Qing Dynasty, who entered Beijing one after another, and collaborated with the Chinese opera artists in Hubei Province, while accepting parts of the repertoire, tunes and performance methods of Kunqu Opera and Qin Opera, and absorbing local folk tunes. It has travelled all over the world and became an important medium for introducing and spreading traditional Chinese art and culture.<br /> <br /> 二十世纪二三十年代，梅巧玲之孙梅兰芳继承并发展了梅派艺术，当时的男旦艺术在京剧史上出现了“梅尚程荀”四大名旦，让整个京剧发展步入了巅峰时期，这是京剧走向兴盛的重要标志。<br /> <br /> In the 1920s and 1930s, Mei Lanfang, the grandson of Mei Qiaoling, inherited and developed the art of the Mei School. The art of male dancers emerged in the history of Peking Opera as the &quot;Mei Shangcheng Xun&quot; the Four Great Dancers, bringing the entire Peking Opera to its peak, which was an important sign of its prosperity.<br /> <br /> 广义的杂技是各种超常技艺的统称，在原始艺术综合发展的阶段，它与乐舞不分，成为当时文化的主导。<br /> <br /> Acrobatics in a broad sense is a collective term for a variety of extraordinary skills which, at the stage of integrated development of the primitive arts, became dominant in the culture of the time with an integration with music and dancing .--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:25, 22 November 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> 1. 京剧曾称平剧，亦称乱弹、国剧，是中国五大戏曲剧种之一，被视为中国国粹，位列中国戏曲三鼎甲“榜首”，是中国和世界的非物质文化遗产。 京剧场景布置注重写意，腔调以西皮、二黄为主，用胡琴和锣鼓等伴奏，是清代四大徽班陆续进入北京，与湖北的汉调艺人合作，同时又接受了昆曲、秦腔的部分剧目、曲调和表演方法，吸收地方民间曲调，通过不断的交流、融合的结晶。它走遍世界各地，是介绍、传播中国传统艺术文化的重要媒介。<br /> <br /> Peking Opera, once called Ping Opera, also known as Luantan and national opera, is one of the five major operas in China. It is regarded as the quintessence of Chinese culture and ranked the top among the three operas in China. And it is an intangible cultural heritage of China and the world. With setting featuring freehand style, Peking Opera holds Xipi and Er'huang as its main tunes, accompanied by huqin, gong, drum and so on. The four Hui Combos of the Qing Dynasty successively entered Beijing and cooperated with Han melody artists from Hubei province. At the same time, they assimilated some plays, tunes and performance methods of Kunqu Opera and Qinqiang Opera, absorbed local folk tunes, then became the crystallization of continuous communication and integration. Advancing around the world, Peking Opera plays a vital role in introducing and disseminating Chinese art and culture.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:01, 21 November 2020 (UTC)<br /> <br /> 2.梅兰芳（名澜，字畹华，1894年10月22日－1961年8月8日），出生于北京，祖籍江苏泰州，中国京剧表演艺术大师，与程砚秋、尚小云、荀慧生并称“四大名旦”。其生前曾任中国京剧院院长、中国戏曲研究院院长、中国戏剧家协会副主席。 在梅兰芳50余年的舞台生活中，发展和提高了京剧旦角的演唱和表演艺术，形成一个具有独特风格的艺术流派，世称“梅派”。其代表作有《贵妃醉酒》、《天女散花》、《打渔杀家》等。 1961年8月8日，梅兰芳因病在北京病逝，享年67岁。<br /> <br /> Mei Lanfang ( personal name, Lan, style name Wanhua, October 22, 1894 - August 8, 1961), was born in Beijing, with ancestral home in Taizhou, Jiangsu province. He is a grand master of Chinese Peking Opera performing art, who, together with Cheng Yanqiu, Shang Xiaoyun and Xun Huisheng, is known as the &quot;four greatest Dans&quot;. He was the president of the Chinese Peking Opera Theatre, president of the Chinese Academy of Traditional Chinese Opera, and vice chairman of the Chinese Dramatists' Association. During his more than 50 years of performing life, he developed and improved the singing and performing arts of Dan in Peking Opera, and formed an artistic school with a unique style, known as the &quot;Mei School&quot;. His representative works include Drunken Concubine, Heavenly Maids scattering blossoms, Revolt of the Fishing Folks, etc. On August 8, 1961, Mei Lanfang died of illness in Beijing at the age of 67.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:01, 21 November 2020 (UTC)<br /> <br /> 3. 杂技是集平衡、敏捷、运动协调等非凡技艺于一体的表演。许多表演艺术、运动赛事以及武术中都有其身影。<br /> <br /> Acrobatics is the performance of extraordinary feats of balance, agility, motor coordination and so on. It can be found in many of the performing arts as well as in many sports events, and martial arts. --[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:01, 21 November 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> 1. 京剧《贵妃醉酒》取材于中国唐朝帝王唐玄宗的宠妃杨玉环的部分人生经历，通过优美的动作和华美的唱词、曲调，表达杨贵妃由期盼到失望，再到怨恨的复杂心情。<br /> <br /> The Peking Opera The Drunken Beauty is based on some life experiences of Yang Yuhuan, the favorite concubine of Emperor Xuanzong of Tang Dynasty in China. Through beautiful movements, gorgeous lyrics and tunes, it expresses Yang Guifei's complex mood from expectation to disappointment and resentment.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:30, 20 November 2020 (UTC)<br /> <br /> 2. 梅兰芳的一生，体现了不断革新、精益求精的敬业精神，他将诸多艺术领域的创作思想融于了京剧艺术舞台表演之中，使京剧旦行的唱腔、表演艺术臻于完美的境界，成为旦行中影响深远的流派。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:30, 20 November 2020 (UTC)<br /> <br /> Mei Lanfang's whole life embodies his dedication to his diligence of continuous innovation and Excellence. He has integrated his creative ideas in many artistic fields into the stage performances of Peking Opera, making the singing and performing arts of Peking Opera perfect and becoming a far-reaching school in female roles.<br /> <br /> 3. 中国的杂技艺术历史悠久，源远流长，是中华民族珍贵的优秀文化遗产。<br /> <br /> Acrobatic art in China has a long history, which is a precious and excellent cultural heritage of the Chinese nation.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:30, 20 November 2020 (UTC)<br /> <br /> With a time-honored history, Acrobatic is a precious and excellent cultural heritage of the Chinese nation. --[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 06:33, 20 November 2020 (UTC)Zhang Weihong<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> 1.京剧是国粹，是积淀了民族审美习惯和文化传统的艺术瑰宝。中国人含蓄、稳健、精致、典雅的精神品格在京剧艺术里有着最丰富、最集中、最生动的体现。<br /> <br /> Peking Opera is a national treasure that has accumulated national aesthetic habits and cultural traditions. The subtlety, steadfastness, refinement and elegance of the Chinese spirit are most abundant, concentrated and vividly embodied in the art of Peking Opera.<br /> <br /> 2.梅兰芳是一个稀世之才,一个中国奉献给世界的超级明星。在他精彩纷呈的艺术生涯之外,梅先生本人的人生故事,也和他演绎的那些才子佳人的悲欢离台一样真实,甚至更为美丽。<br /> <br /> Mei Lanfang was a rare talent, a superstar that China dedicated to the world. In addition to his brilliant artistic career, Mr. Mei's own life story is just as real, if not more beautiful, than his rendition of the tragic and joyous departure of those talented and beautiful women from the stage.<br /> <br /> 3.民间杂技是一种有着两千五百多年历史的民间表演艺术，深深地根植于民众的土壤之中，有着悠久的历史和深厚的传统。<br /> <br /> The folk traditional acrobatics is one kind of folk performing art with a history of 2500 years, and is deeply rooted in populaces soil with a long history and deep tradition.<br /> <br /> --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 12:47, 20 November 2020 (UTC)<br /> <br /> The folk acrobatics is a kind of performing art extending for more than 2500 years, and is deeply rooted in populaces with a long history and deep tradition.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 07:08, 21 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> 1、京剧享誉全国，影响甚广，有&quot;国剧&quot;之称。以梅兰芳命名的京剧表演体系被视为东方戏剧表演体系的代表，为世界三大表演体系之一。京剧是中华民族传统文化的重要表现形式，其中的多种艺术元素被用作中国传统文化的象征符号。<br /> <br /> Peking Opera is well known throughout the country and has a wide influence. It is called &quot;National opera&quot;. The Peking Opera performance system named after Mei Lanfang is regarded as a representative of the Oriental drama performance system, and is one of the three major performance systems in the world. Peking Opera is an important manifestation of Chinese traditional culture, in which various artistic elements are used as symbols of Chinese traditional culture.<br /> <br /> 2、梅兰芳八岁学艺，11岁登台。梅兰芳是近代杰出的京昆旦行演员，“四大名旦”之首，“梅派”艺术创始的人；同时也是享有国际盛誉的表演艺术大师，其表演被推为“世界三大表演体系”之一。在西方人的眼中，梅兰芳就是京剧的代名词。<br /> <br /> Mei Lanfang studied the Opera at the age of eight and went on stage at the age of 11. Mei Lanfang , an outstanding actor of Jingkun Dan in modern times, the first of the &quot;four famous Dan&quot; and the founder of the &quot;Mei School&quot; art. At the same time, he is also an international renowned master of performing arts whose performance has been promoted as one of the &quot;three major performance systems in the world&quot;. In the eyes of westerners, Mei Lanfang is synonymous with Peking Opera.<br /> <br /> Mei Lanfang studied the Opera at the age of eight and went on stage at the age of 11. Mei Lanfang , an outstanding female lead heroine in Beijing and Kun operas in modern times, ranked first among the &quot;four famous Dan(&quot;Dan&quot; referring to female characters in Beijing Opera)&quot; and founded the &quot;Mei School&quot; art. At the same time, he is also an international renowned master of performing arts whose performance has been promoted as one of the &quot;three major performance systems in the world&quot;. In the eyes of westerners, Mei Lanfang is synonymous with Peking Opera.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 07:08, 22 November 2020 (UTC)Gao Mingzhu<br /> <br /> 3、特别重视腰腿顶功的训练是中国杂技的第一个特点。中国杂技自古重视顶功。汉代画像砖石和壁画、陶俑中，有许多拿顶和翻筋斗的形象。中国杂技艺人，即使是表演古代戏法的演员也要有扎实的功夫基础。<br /> <br /> One of the characteristics of Chinese acrobatics isthat stressed the basic training of the waist and legs. Since ancient times, Chinese acrobatics have attached great importance to top up art. In the han Dynasty, there are many figures of holding the top and somersaulting in the wall paintings, murals and clay figures. Chinese acrobats, even those performing ancient tricks, must have a solid foundation in kung fu.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 04:30, 20 November 2020 (UTC)Lei Kaungxi<br /> <br /> One of the characteristics of Chinese acrobatics is that it stressed the basic training of the waist and legs. Since ancient times, Chinese acrobatics have attached great importance to top up art. There are many figures of holding the top and somersaulting in the wall paintings, murals and clay figures which belong to Han dynasty. Chinese acrobats, even those performing ancient tricks, must have a solid foundation in kung fu.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 07:08, 22 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==Li Lili 李丽丽==<br /> <br /> 1.京剧，又称平剧、京戏，是中国影响最大的戏曲剧种，分布地以北京为中心，遍及全国各地。<br /> <br /> Beijing opera, also known as Pingju and Peking Opera, is the most influential opera in China, with Beijing as the center and across all over the country.<br /> <br /> Beijing opera, also known as Pingju and Peking Opera, is the most influential opera in China, spreading across all over the country with Beijing as the center.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 07:11, 22 November 2020 (UTC)Gao Mingzhu<br /> <br /> 2.梅兰芳在50余年的舞台生活中，发展和提高了京剧旦角的演唱和表演艺术，形成一个具有独特风格的艺术流派，世称“梅派”。 <br /> <br /> Mei Lanfang has developed and improved the singing and performing arts of Dan roles in Peking Opera in his more than 50 years of stage life, forming an art school with unique style, known as &quot;Mei school&quot; .<br /> <br /> 3.杂技艺术在中国已经有2000多年的历史。杂技在汉代称为“百戏”，隋唐时叫“散乐”，唐宋以后为了区别于其他歌舞、杂剧，才称为杂技。在我国古代文献中，很早就有关于杂技的文学记载了。<br /> <br /> Acrobatics enjoys a history of more than 2000 years in China. It was called &quot;Baixi&quot; in Han Dynasty and &quot;Sanyue&quot; in Sui and Tang Dynasties. But it was called acrobatics after this period in order to distinguish it from other songs, dances and zaju. It has been long recorded in ancient Chinese literature.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 07:37, 20 November 2020 (UTC)Li Lili<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> 1. 京剧是中国影响最大的戏曲剧种，分布地以北京为中心，遍及全国各地。2006年5月，京剧被国务院批准列入第一批国家级非物质文化遗产名录。然而，京剧发展当前存在一些问题：一是创作人才匮乏；二是缺乏固定的演出场所；三是经费投入不足。令人担忧的是京剧是否会像旧城区一样，成为中国疯狂的商业化和现代化进程的牺牲品。<br /> <br /> Beijing Opera is the most influential opera in China, with Beijing as the center and all over the country. In May 2006, it was approved by the State Council to be included in the first national intangible heritage list. However, it has encountered some problems, including the lack of creative talents, fixed performance venues, and investment funds. The worry, though, is that, like the old neighborhoods, Beijing opera could fall victim to China’s rampant commercialism and modernization. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 03:21, 19 November 2020 (UTC)<br /> <br /> <br /> 2. 梅兰芳、程砚秋、尚小云和苟慧生被合称为京剧四大名旦，梅兰芳被公认为是中国表演艺术的代表。在他的演艺生涯中，他将自我天赋加入传统的人物性格中，形成了自己的风格，并且成立了“梅兰芳京剧学校”。<br /> <br /> Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, and Gou Huisheng are recognized as the four greatest artists of Beijing Opera, of which Mei Landang is acknowledged to be the symbol of China’s performing art. Over the course of his career, he added his own flair to traditional characters, shaping a style of his own and forming “The Mei Lanfang School”. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 03:21, 19 November 2020 (UTC)<br /> <br /> Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, and Gou Huisheng are recognized as the four greatest female role players of Beijing Opera, of which Mei Landang is acknowledged to be the symbol of China’s performing art. Over his career, he added his own flair to traditional characters, shaping a style of his own and establishing “The Mei Lanfang School”. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 03:21, 19 November 2020 (UTC)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:32, 20 November 2020 (UTC)<br /> <br /> <br /> 3. 杂技艺术在中国已经有2000多年的历史。 “杂技”一词，是1950年中国杂技团成立时，由周恩来总理定名的。近年来，中国杂技界以发展先进文化为己任，与时俱进，已经成为对外文化交流，弘扬中华民族优秀文化的重要渠道。<br /> <br /> In China, acrobatics has a history of more than 2000 years. The term “acrobatics” was given by Premier Zhou Enlai in 1950 when the Chinese Acrobatic Troupe was founded. Over the years, the Chinese Acrobatics Society has been developing advanced culture and keeping pace with the times. It has become an significant channel for advancing foreign cultural exchanges and promoting the brilliant culture of the Chinese nation. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 03:21, 19 November 2020 (UTC)<br /> <br /> Acrobatics has a history of more than 2000 years in China. The term &quot;acrobatics&quot; was named by Premier Zhou Enlai when the Chinese acrobatic troupe was founded in 1950. In recent years, China's acrobatic circle has taken the development of advanced culture as its own responsibility and kept pace with the times, which has become an important channel for foreign cultural exchange and the promotion of the excellent culture of the Chinese nation.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:39, 19 November 2020 (UTC)<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1. 京剧舞台艺术在文学、表演、音乐、唱腔、锣鼓、化妆、脸谱等各个方面，通过无数艺人的长期舞台实践，构成了一套互相制约、相得益彰的格律化和规范化的程式。<br /> <br /> Through the long-term stage practice of countless artists,the stage art of Beijing Opera has formed a set of rhythmic and standardized patterns that restrict and complement each other in the aspects of literature,performance,music,singing,gongs and drums,makeup and facial makeup.<br /> <br /> 2. 梅兰芳的一生，体现了不断革新、精益求精的敬业精神，他将诸多艺术领域的创作思想融入了京剧艺术舞台表演之中，使京剧旦行的唱腔、表演艺术臻于完美的境界，成为旦行中影响深远的流派，形成独特的艺术风格。<br /> <br /> Mei Lanfang’life embodies the dedication of continuous innovation and perfection.He has integrated the creative ideas of many arts fields into the stage performance of Beijing Opera,making the singing and performing arts of Dan (the female roles in Beijing Opera) reach a perfect state,thus becoming a far-reaching school in Dan and forming a unique artistic style.<br /> <br /> 3. 近半个世纪以来，中国杂技演员足迹遍布世界，在五大洲的一百多个国家留下了他们的艺术风采，甚至当时一些尚未与中国建交的国家，也都欢迎中国杂技团的演出，并在他们的艺术表演中感受到与中国人民的友谊，加速了中国与这些国家友好交往的进程。<br /> <br /> For nearly half a century,Chinese acrobats have performed all over the world,displaying their artistic style in more than 100 countries in 5 continents.Even some countries that had not established diplomatic relations with China at that time welcomed the performances of Chinese acrobatics troupe,and felt their friendship with Chinese people in their artistic performances,which accelerated China’s process of friendly exchanges with these countries.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 06:32, 23 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> 1.京剧，又称平剧、京戏，是中国影响最大的戏曲剧种，分布地以北京为中心，遍及全国各地。<br /> <br /> Beijing Opera, or Ping Opera and Jing Opera, is the most influential opera in China, which centered in Beijing and extend all over the nation.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 14:30, 21 November 2020 (UTC)<br /> <br /> 2.电影《梅兰芳》讲述了一代京剧大师梅兰芳先生传奇的一生。 围绕着这两个人之间的故事展开的，以梅兰芳引路人和保护者自居的邱如白因为不能忍受梅兰芳和孟小东的爱情，在幕后导演了刺杀梅兰芳的事件。<br /> <br /> The film Mei Lanfang tells the story of the Master of Beijing Opera. The main content of the film was Qiu Rubai, the self-appointed instructor and protector of Mei, intended to kill him for his falling in love with Meng Xiaodong.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 14:30, 21 November 2020 (UTC)<br /> <br /> The film Mei Lanfang tells the story of the Master of Beijing Opera Mei Lanfang's whole life. The main content is Qiu Rubai, the self-appointed instructor and protector of Mei, intended to kill Mei for Mei's falling in love with Meng Xiaodong.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:34, 22 November 2020 (UTC)<br /> <br /> 3.现代杂技特指演员靠自己身体技巧完成一系列高难动作的表演性节目。&quot;杂技&quot;一词，是1950年中国杂技团成立时，由周恩来总理定名的。<br /> <br /> The modern acrobatics refers to the acrobat completes a series of complicated actions by his movement skills. The name “Zaji” was settled by Premiere Zhou Enlai in 1950 when the China National Acrobatic Troupe was founded.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 14:30, 21 November 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> 1、在表演艺术上广征博采吸取诸家剧种之长，融于徽戏之中。兼之演出阵容齐整，上演的剧目丰富，颇受京城观众欢迎。自魏长生被迫离京，秦腔不振，秦腔艺人为了生计，纷纷搭入徽班，形成了徽、秦两腔融合的局面。<br /> <br /> In terms of performance art, it draws on the strengths of all kinds of plays and incorporates them into the Huizhou opera. In addition, with a complete performance lineup and a rich repertoire, it was quite popular with the audience in the capital. Since Wei Changsheng was forced to leave the capital, the Qin opera was sluggish, and the Qin opera artists, in order to make a living, had to join the Hui class, forming a fusion of Hui and Qin operas.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 02:31, 20 November 2020 (UTC)<br /> <br /> 2、梅兰芳在50余年的舞台生活中，发展和提高了京剧旦角的演唱和表演艺术，形成一个具有独特风格的艺术流派，世称“梅派”。 梅兰芳的艺术造诣正如北大书法史巨匠李志敏的狂草一样耐人回味，可谓炉火纯青、臻入胜境。<br /> <br /> In more than 50 years of stage life, Mei Lanfang developed and improved the art of singing and performing the female roles in Peking Opera, forming a unique school of art with a unique style, known as the &quot;Mei School. Mei Lanfang's artistic attainments are just as evocative as the wild grasses of Li Zhimin, a master calligrapher at Peking University, which can be said to be pure and perfect.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 02:31, 20 November 2020 (UTC)<br /> <br /> 3、南北朝时期，各族艺术交流频繁，使这一时期的杂技呈现出兼收并蓄，多姿多彩的特点，不仅民间基础丰厚，而且各朝宫廷表演也异彩纷呈。<br /> <br /> During the Northern and Southern Dynasties, there were frequent artistic exchanges among various ethnic groups, which made the acrobatics of this period eclectic and colorful, not only with a rich folk base, but also with various court performances.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 02:31, 20 November 2020 (UTC)<br /> <br /> During the Northern and Southern Dynasties, there were frequent artistic exchanges among various ethnic groups, which made the acrobatics of this period eclectic and colorful. As such, the acrobatics not only had a rich folk foundation, but also had a variety of court performances. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 11:42, 20 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 1 京剧的历史可以追溯到1790年，当时四大徽班进京演出，为庆祝清朝乾隆皇帝的80大寿。这次演出轰动一时，因此戏班也留在了北京。<br /> <br /> Beijing Opera dates back to the year 1790, when the famous Four Anhui Opera Troupes first came to Beijing in celebration of the 80th birthday of Emperor Qianlong (1711-1799) of the Qing Dynasty (1644-1911). The tour was a hit and the troupes stayed.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:56, 22 November 2020 (UTC)<br /> <br /> 2 在他的演绎生涯中，他将自我天赋加入传统的人物性格中，形成了他自己的风格，并且成立了“梅派”。<br /> <br /> Over the course of his career, he added his own flair to traditional characters, shaping a style of his own and forming &quot;The Mei Lanfang School&quot;.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:56, 22 November 2020 (UTC)<br /> <br /> 3 大约在新石器时代，中国的杂技就已经萌芽。原始人在狩猎中形成的劳动技能和自卫攻防中创造的武技与超常体能形成了最早的杂技艺术。<br /> <br /> Acrobatics had sprung up in China around the Neolithic Age. The primitive man's labor skill formed in hunting and the martial skill and extraordinary physical strength created in the self-defense and attack formed the earliest acrobatic art.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:56, 22 November 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> 1.京剧曾称平剧，亦称乱弹、国剧，是中国五大戏曲剧种之一.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:39, 22 November 2020 (UTC)<br /> Peking Opera, once called Ping Opera, also known as Luantan and national opera, is one of the five major operas in China.<br /> <br /> 2.梅兰芳在50余年的舞台生活中，发展和提高了京剧旦角的演唱和表演艺术，形成一个具有独特风格的艺术流派，世称“梅派”。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:39, 22 November 2020 (UTC)<br /> During her 50 plus years of stage life, Mei Lanfang improved the singing and performing arts of female roles in Beijing Opera, forming an art school with a unique style, which is known as the &quot;Mei School&quot;<br /> <br /> 3.中国的杂技演员从第一次出国演出，就成为中国文化的使者、和平友谊的使者。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:39, 22 November 2020 (UTC)<br /> Chinese acrobats have been envoys of Chinese culture, peace and friendship since their first performance abroad.<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> 1.京剧流播全国，影响甚广，有“国剧”之称。以梅兰芳命名的京剧表演体系被视为东方戏剧表演体系的代表，为世界三大表演体系之一。京剧是中华民族传统文化的重要表现形式，其中的多种艺术元素被用作中国传统文化的象征符号。<br /> <br /> Beijing opera has been widely spread all over the country and is known as &quot;National Opera&quot;. The Peking opera performance system named after Mei Lanfang is regarded as the representative of the Oriental drama performance system and one of the three major performance systems in the world. Beijing Opera is an important form of Chinese traditional culture, in which a variety of artistic elements are used as symbols of Chinese traditional culture.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 04:47, 22 November 2020 (UTC)<br /> <br /> 2.京剧形成初期，以梅巧玲为代表的一代老前辈艺术家开启了京剧男旦艺术的篇章。梅巧玲开创的梅派艺术，对京剧旦角表演艺术的提高与发展做出了卓越的贡献，也成为了梅派男旦的重要奠基人。到第二代梅派传人梅巧玲之子梅竹芬承父衣钵，良好地继承了梅巧玲的唱法，他对梅派艺术的传承功不可没。<br /> <br /> In the early stage of the formation of Peking Opera, Mei Qiaoling, as the representative of the older generation of artists, opened the chapter of male Dan art in Peking Opera. Mei Qiaoling created the Mei school art, which made outstanding contributions to the improvement and development of the performance art of Peking Opera Dan roles, and he became the important founder of Mei school male Dan. Mei Zhufen, the son of Mei Qiaoling, the second generation descendant of Mei school, inherited Mei Qiaoling's singing style and made great contributions to the inheritance of Mei Qiaoling's art.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 04:47, 22 November 2020 (UTC)<br /> <br /> 3.汉代杂技的卓越成就，首先表现在它的各种节目已成系列，具备了后世杂技体系的主要内容，这在全世界各国的表演艺术中，恐怕是绝无仅有的。汉代出土的画像砖石中对各类节目都有形象记载。<br /> <br /> The outstanding achievements of acrobatics in the Han Dynasty, first of all, is shown that its various programs have become a series, with the main content of the acrobatic system of later generations, which is probably unique in the performing arts of various countries in the world. There are vivid records of all kinds of programs in the relief bricks and stones unearthed in the Han Dynasty.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 04:47, 22 November 2020 (UTC)<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.随着社会经济的发展和戏曲声腔昆山腔的兴起，徽州商人纷纷蓄养家班，角色斗艺，并卖力为乾隆下江南收集声色歌舞，不惜重金包装徽剧色艺，客观上为徽剧进京创造了条件。<br /> <br /> With the development of economy and the emergence of Kunshan Opera,merchants in Huizhoul successively fostered their own family troupes,competed skills and devoted to collect wonderful songs and dances for Emperor Qianlong’s coming to the south of Yangtze River.Besides,they spent numerous money in polishing the appearances and skills of those performers,which created favorable conditions for Huizhou Opera marching into the Forbidden City.<br /> <br /> With the socio-economic development and the rise of the Kunshan opera voice, Huizhou merchants have saved up their families and roles to fight art, and worked hard for Qianlong to go to the south of the Yangtze River to collect voices and dances, at great expense to package Huizhou opera color art, which objectively created the conditions for Huizhou opera to enter the Beijing.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 02:33, 20 November 2020 (UTC)<br /> <br /> 2.梅兰芳之青衫亦为都中第一流人物，色艺之佳，早已名满都下二难兼并，必有特异之技艺以动人，观听者有梨园癖者自必联翩往观，第一台又将座物隙地矣。《申报》<br /> <br /> Green shirt played by Meilanfang ranked first in Beijing for his splendid appearance and skills.Those spectators who were keen on Beijing Opera always flooded to his show and all seats were occupied.---''Shen Bao''<br /> <br /> Mei Lanfang's blue shirt is also a first-class figure in the city, the color art of the good, has long been famous in the city two difficult to merge, there must be a special technique to move people, listeners who have a pear garden fetish will be linked to the view, the first Taiwan will be the gap between the object and the ground.---''Shen Bao''--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 02:33, 20 November 2020 (UTC)<br /> <br /> Mei Lanfang’s Qingshan is also a first-rate figure in the with good color and art. It has long been known as a dilemma while there must be special skills to move people. Those who have pear garden addicts will come together to see them. The platform will be on the ground again.---''Shen Bao''-----[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:51, 22 November 2020 (UTC)<br /> <br /> 3.《简明不列颠百科全书》称杂技是“一种有悠久历史的专门艺术，包括跳、身体技巧和平衡动作，较晚时又使用长杆，独轮自行车、球、桶、绷床及吊架等器械”。<br /> <br /> ''Concise Encyclopedia Britanica'' calls acrobatics “a kind of special art with a long history,including jumping,body skills and balanced motions.Later,there emerged other apparatuses such as long rods,unicycles,balls,buckets and hangers,etc.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:39, 19 November 2020 (UTC)Mo Ling<br /> <br /> The Concise Encyclopedia Britannica describes acrobatics as &quot;a specialized art with a long history that includes jumping, body tricks, and balancing movements and, later, the use of instruments such as long poles, wheeled bicycles, balls, barrels, bandages, and hammocks.&quot;--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 02:33, 20 November 2020 (UTC)<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> 1. 京剧，又称平剧、京戏，是中国影响最大的戏曲剧种，分布地以北京为中心，遍及全国各地。<br /> <br /> Beijing Opera, also known as Ping Opera and Peking Opera, is the most influential Chinese opera genre. It is distributed in Beijing and spread all over the country.<br /> <br /> Beijing Opera, also known as Ping Opera and Peking Opera, is China's most influential genre of opera. It is first appeared in Beijing and then spread across China.<br /> <br /> <br /> 2. 梅兰芳（1894年10月22日－1961年8月8日），名澜，又名鹤鸣，乳名裙姊，字畹华 ，别署缀玉轩主人，艺名兰芳 ，清光绪二十年（1894年）出生于北京，祖籍江苏泰州。中国京剧表演艺术大师。<br /> <br /> Mei Lanfang (October 22, 1894 - August 8, 1961), or Ming Lan, also known as Heming, with the stage name of Xiongzi, the pen-name Wanhua, and the master of Yuxuan, stage name Lanfang, Guangxu 20 Born in Beijing in 1894, his ancestral home is Taizhou, Jiangsu. He's a master of Chinese Peking Opera performing arts.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> 1.在京剧表演中，通常越精彩的戏越往后排，防止观众中途离场，同时营造出演出气氛节节高的效果，而排在最后的大轴戏无疑是整场演出最重头的戏码。<br /> <br /> As a routine, the best Beijing Opera shows are always saved to the end, in case the audience leave too early, and to help raising audience’s anticipation. The “grand finale” is undoubtedly the most important show.<br /> <br /> As a routine, the best Beijing Opera shows are always saved to the end, in case the audience leave too early, and it can also help raising audience’s anticipation. The “grand finale” is undoubtedly the most important show.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 02:02, 22 November 2020 (UTC)<br /> <br /> 2.此后，一出又一出脱胎于传统文化经典的古装新戏在梅兰芳和梅党文人们的集体创作中连续推出，他们广泛地从昆曲和中国古典绘画、雕塑和舞蹈等艺术中吸取营养，同时又严格遵循传统京剧中的写意风格，从而真正契合了京剧从听戏向看戏转变的时代潮流。<br /> <br /> Since then, Mei Lanfang and scholars of the Mei Party created a series of new ancient-costumed operas, based on traditional cultural classics. They extracted the essence from Kunqu Opera, classical Chinese paintings, the art of sculpting and dancing. They gave people a brand new impression on traditional Beijing Opera while preserved its traditional style. Audiences therefore gradually shifted from listening to traditional Chinese opera to watching it.<br /> <br /> 3.中国杂技艺术要创新，思想观念必须转变，体制机制必须突破。需要有新的经营理念来指导艺术生产，颠覆以往“一招鲜，吃遍天”的创作思路，形成“创意为先”、“以销定产”的新理念，认真研究演出市场，细分目标观众群，根据观众的欣赏口味创作构思。<br /> <br /> The transformation of ideas and breakthrough of the system must be made in the innovation of Chinese acrobatic art. People need to come up with a new business philosophy in the industry as a guideline. They have to transform the previous idea of relying on the only one attraction into the new one, which is to put the creativity first and produce based on demands. They should make a careful analysis of the performance market, classify the target audience and arrange and preform based on audiences’ taste.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:00, 21 November 2020 (UTC)Ouyang Ling<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> 1.京剧流播全国，影响甚广，有“国剧”之称。以梅兰芳命名的京剧表演体系被视为东方戏剧表演体系的代表，为世界三大表演体系之一。京剧是中华民族传统文化的重要表现形式，其中的多种艺术元素被用作中国传统文化的象征符号。<br /> <br /> Peking opera is broadcast throughout the country and has a wide impact, and is known as the &quot;national opera&quot;. The Peking Opera performance system named after Mei Lanfang is regarded as the representative of the Oriental theater performance system and is one of the three major performance systems in the world. Peking opera is an important form of expression of the traditional Chinese culture, and a variety of artistic elements are used as symbols of traditional Chinese culture.<br /> <br /> 2.梅兰芳在50余年的舞台生活中，发展和提高了京剧旦角的演唱和表演艺术，形成一个具有独特风格的艺术流派，世称“梅派”。 <br /> <br /> In more than 50 years of stage life, Mei Lanfang has developed and improved the singing and performing arts of Peking Opera Danjiao, forming a unique style of art genre, known as &quot;Mei School&quot; in the world.<br /> <br /> Mei Lanfang has developed and improved the singing and performing arts of female roles in Peking Opera for over 50 years of stage life, forming a unique style of art school, known as &quot;Mei School&quot; around the world.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 06:43, 21 November 2020 (UTC)<br /> <br /> 3.中国的杂技艺术历史悠久，源远流长，是中华民族珍贵的优秀文化遗产。中国的杂技之乡有多个，像河南的濮阳东北庄、山东的菏泽，德州、聊城、江苏的盐城、河南的周口，湖北的天门、安徽的广德、天津的武清、河北的沧州吴桥、肃宁、霸州、以及2014年成为杂技之乡的广西博白等。<br /> <br /> China's acrobatics have a long history and a long history. It is a precious and outstanding cultural heritage of the Chinese nation. There are many acrobatics hometowns in China, such as Puyang Dongbei Village in Henan, Heze in Shandong, Dezhou, Liaocheng, Yancheng in Jiangsu, Zhoukou in Henan, Tianmen in Hubei, Guangde in Anhui, Wuqing in Tianjin, Wuqiao in Cangzhou, Hebei , Suning, Bazhou, and Guangxi Bobai, which became the hometown of acrobatics in 2014.<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 03:57, 20 November 2020 (UTC)<br /> <br /> ==Phyo, Su Kyi==<br /> 1- 京剧已有近200年的历史。 ...它是中国所有歌剧中最重要的一部，拥有丰富的曲目和众多著名艺术家，在中国具有深远的影响。传统戏剧在保护下一代中国文化方面发挥着重要作用。<br /> <br /> Beijing Opera has a history of nearly 200 years. ... It is the most significant of all operas in China, and it has a richness of repertoire and a large number of famous artists that give it a profound influence in China. The traditional plays share a large role in preserving Chinese culture for new generations.<br /> <br /> 2-梅兰以艺名梅兰芳而闻名，他是中国现代戏剧界著名的京剧艺术家。梅被誉为“京剧皇后”。梅因其女主角而著称，尤其是他的“翠绿抢劫的女孩”，年轻或中年女性风度翩翩而又优雅。<br /> <br /> Mei Lan, better known by his stage name Mei Lanfang, was a notable Peking opera artist in modern Chinese theater. Mei was known as &quot;Queen of Peking Opera&quot;. Mei was exclusively known for his female lead roles and particularly his &quot;verdant-robed girls&quot;, young or middle-aged women of grace and refinement.<br /> <br /> 3- 1：杂技演员的艺术，表演或活动。 2：涉及敏捷性或复杂性的壮观，艳丽或令人震惊的表演或演示。<br /> <br /> 1 : the art, performance, or activity of an acrobat. 2 : a spectacular, showy, or startling performance or demonstration involving great agility or complexity.<br /> <br /> ==Pingki, Tanchangya==<br /> 1.Beijing Opera is a Chinese theatical form of Chinese Opera which combines with music, vocal, mime, dances and acrobatics performance.<br /> <br /> 京剧是中国戏曲的一种戏剧形式，集音乐，声乐，哑剧，舞蹈和杂技表演于一体。<br /> <br /> 1.Beijing Opera is a Chinese theatrical form of Chinese Opera which combines with music, vocal, mime, dances and acrobatics performance.<br /> <br /> 京剧是中国戏曲的一种形式，集音乐，声乐，哑剧，舞蹈和杂技表演于一体。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 05:49, 23 November 2020 (UTC)Ouyang Ling<br /> <br /> 2.Mei lanfang was a notable peking Opera artist in modern Chinese theatre and great Master of Beijing Opera. He become well-known before he reached 20.<br /> <br /> 梅兰芳是中国近代戏剧界著名的京剧艺术家和京剧大师，在20岁之前就广为人知。<br /> <br /> 3.Mei lanfang,In 50 years of his career, he played more than 100 roles which are women generals,daughter of noble families and goddesses.<br /> <br /> 梅兰芳，在他的职业生涯的50年中，他扮演了100多个角色，这些角色是女将军，贵族家庭和女神的女儿。--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 04:32, 23 November 2020 (UTC)<br /> <br /> 在梅兰芳50年职业生涯中，他扮演了100多个角色，这些角色包括女将军、贵族之女和女神。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 05:49, 23 November 2020 (UTC)Ouyang Ling<br /> <br /> ==Qu Miao 瞿淼==<br /> 1.Beijing Opera<br /> 京剧，又称平剧，是中国影响最大的戏曲剧种，分布地以北京为中心，遍及全国各地。<br /> Beijing Opera, also known as Ping Opera, is the most influential type of opera in China, with Beijing as the center and spreading all over the country.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:00, 23 November 2020 (UTC)<br /> <br /> 2.Mei Lanfang<br /> 梅兰芳8岁学戏，9岁拜吴菱仙为师学青衣，10岁登台。后又求教于秦稚芬和胡二庚学花旦。1915年4月至1916年9月，新排演了《宦海潮》、《牢狱鸳鸯》、《思凡》等11出戏。<br /> Mei Lanfang began to learn opera performing at the age of 8, and at the age of 9, he learned to play the role of Qingyi( a female role of Chinese opera who is always a dignified young and middle-aged woman) from Wu Lingxian. At 10, he went on stage.<br /> After seeking advice in Qin Zhifen and Hu Ergeng about playing the role of hua Dan(a female role in Chinese operawho is always a young women who are often innocent and lively). From April 1915 to September 1916, eleven new operas were rehearsed, including Eunuch Tide, Mandarin Ducks in Prison and Thinking of Nature.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:00, 23 November 2020 (UTC)<br /> <br /> 3.Acrobatics<br /> 中国杂技大约在新石器时代就已经萌芽。秦统一中国后，吸收各国角抵的优点，形成了一种娱乐性的杂技节目——角抵戏。<br /> Chinese acrobatics has been in bud since about neolithic age.<br /> After the unification of China, Qin absorbed the advantages of various countries and formed a kind of entertaining acrobatic show -- Jiaodi Opera.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:00, 23 November 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> 1. Beijing Opera is the most representative of all forms of traditional Chinese dramatic art. <br /> <br /> 京剧是中国传统戏剧艺术中最具代表性的. <br /> <br /> 2. Beijing Opera was the product of the merging in Beijing of Anhui and Hubei opera styles in the late 18th and early 19th centuries.<br /> <br /> 18世纪末至19世纪初，京剧是安徽和湖北京剧风格融合的产物。<br /> <br /> 3. Mei was born in Beijing into a family of Beijing Opera performers. He started to learn the art of opera when he was a little boy.<br /> <br /> 梅出生于北京一个京剧演员家庭。 他从小就开始学习歌剧艺术。<br /> <br /> 4. As acrobatics became a folk art, it absorbed rich nourishment from the lives of ordinary people.<br /> <br /> 随着杂技成为一种民间艺术，它从普通百姓的生活中吸收了丰富的营养。--[[User:RAJABOV ANUSHERVON 10|RAJABOV ANUSHERVON 10]] ([[User talk:RAJABOV ANUSHERVON 10|talk]]) 10:28, 22 November 2020 (UTC)<br /> <br /> ==Seydou, Sagara==<br /> 1京剧 或京剧，是中国戏曲的最主要形式，集音乐，演唱，哑剧，舞蹈和杂技于一体. 它起源于清朝中叶（1636年至1912年），并在19世纪中叶得到充分发展和认可.<br /> Peking Opera is the main form of Chinese opera, which integrates music, singing, pantomime, dance and acrobatics. It originated in the middle of Qing Dynasty (1636-1912), and was fully developed and recognized in the middle of 19th century--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 07:43, 20 November 2020 (UTC)Li Lili<br /> <br /> 2梅兰芳是一位艺术收藏家，也是一位经验丰富的业余书法家。 他对中国历史的兴趣促使他根据比明朝更早的原型制作了新的舞台服装. 他指出，演员应该具有良好的历史知识.<br /> Mei Lanfang is an art collector and an experienced amateur calligrapher. His interest in Chinese history prompted him to make new stage costumes based on earlier prototypes than the Ming Dynasty. He pointed out that actors should have good knowledge of history. --[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 07:43, 20 November 2020 (UTC)Li Lili<br /> <br /> 3在中国奥运会期间，观众对中国杂技表演印象深刻.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 03:58, 20 November 2020 (UTC)<br /> During the Chinese Olympic Games, the audience was deeply impressed by Chinese acrobatics.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 07:43, 20 November 2020 (UTC)Li Lili<br /> <br /> ==Shi Haiyao 石海瑶==<br /> 1. 京剧是我国的国粹。从清末徽班进京到今天，京剧作为一种独具魅力的艺术形式，见证了社会的更替，经历了历史的淘沙。<br /> <br /> As the quintessence of China, Beijing Opera is an art form with unique charm, which has witnessed the change of society and gone through the course of history since the end of the Qing Dynasty, Anhui Opera has been in Beijing until today.<br /> <br /> Peking opera is the quintessence of our country. From the time when Huiban entered Beijing in the late Qing Dynasty to today, Peking Opera, as a uniquely glamorous art form, has witnessed the transformation of society and experienced the sandstorm of history.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 12:37, 22 November 2020 (UTC)<br /> <br /> 2. 梅兰芳先生是一个爱国主义者，在抗日战争期间，他坚决拒绝为敌演出，有着强烈的爱国情感和崇高的民族气节。<br /> <br /> Mei Lanfang was a patriot. During the Anti-Japanese War, he resolutely refused to perform for the enemy with a strong sense of patriotism and lofty national integrity. <br /> <br /> 3. 中国杂技从石器时代就已经开始了，古人在日常的劳作和捕猎过程中，逐渐的创造出令人惊叹的超强体能，捕猎成功庆祝之时，就有人开始展现自己创造的神器绝活，慢慢的这种绝活演变成了娱乐表演，也就形成了最早的杂技表演形式。<br /> <br /> Chinese acrobatics has begun since the Stone Age, at that time, ancient people gradually created amazing physical strength through their daily work and hunting. As the hunt was celebrated, people began to show off their creations of unique techniques, which gradually evolved into entertainment and formed the earliest acrobatics.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 07:40, 21 November 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> <br /> 脸谱的演变和发展，不是某个人凭空臆造的产物，而是戏曲艺术家们在长期艺术实践中，对生活现象的观察、体验、综合，以及对剧中角色的不断分析、判断，作出评价，才逐步形成了一整套完整的艺术手法。<br /> <br /> The evolution and development of facial masks does not come from random creations. Instead, it is a set of arts created by opera artists during a long-term practice, which requires their observance, experience and summary for life as well as analysis, judgement and evaluation for characters.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 04:06, 22 November 2020 (UTC)<br /> <br /> 梅兰芳的一生，体现了不断革新、精益求精的敬业精神，他将诸多艺术领域的创作思想融于了京剧艺术舞台表演之中，使京剧旦行的唱腔、表演艺术臻于完美的境界，成为旦行中影响深远的流派。<br /> <br /> The life of Mei Lanfang displays his professional ethics that include revolutionary spirit and excellence pursuit. He filled creative thoughts in many artistic fields into opera performance, making the singing and performing of opera reach a perfect standard and becoming a school that has profound impacts in female-role playing.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 04:06, 22 November 2020 (UTC)<br /> <br /> 在中国古代工艺品中，常常可以看到杂技的生动形象，画师们也喜欢把杂技演出作为绘画的重要内容。这些保存下来的艺术珍品，如实地反映了当时的杂技情况，同时也说明了杂技艺术在人民的生活中，占据了何等重要的位置。<br /> <br /> In some ancient handicrafts, one can see vivid images of acrobatics and painters like to paint acrobatic performance. The saved artistic treasures faithfully reveals the acrobatic performance and explains how important acrobatic art is in people’s life.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 04:06, 22 November 2020 (UTC)<br /> <br /> In ancient hadicrafts，those images of acrobatics are vivid and are usually taken as the mian content of paiting by painters. So the saved artistic treasures faithfully represent acrobatic performance at that time and also reflects the important position of acrobatic art in people’s life.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 09:51, 22 November 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> 1.京剧流播全国，影响甚广，有“国剧”之称。以梅兰芳命名的京剧表演体系被视为东方戏剧表演体系的代表，为世界三大表演体系之一。京剧是中华民族传统文化的重要表现形式，其中的多种艺术元素被用作中国传统文化的象征符号。<br /> <br /> Peking opera is widely performed throughout the country and is known as the &quot;national opera&quot;. Peking Opera, named after Mei Lanfang, is regarded as the representative of the oriental theater performance system, and is one of the three major performance systems in the world. Peking Opera is an important expression of traditional Chinese culture, and many of its artistic elements are used as symbols of traditional Chinese culture.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:29, 19 November 2020 (UTC)<br /> <br /> Peking opera is broadcast throughout the country and has a wide impact, and is known as the &quot;national opera&quot;. The Peking Opera performance system named after Mei Lanfang is regarded as the representative of the Oriental theater performance system and is one of the three major performance systems in the world. Peking opera is an important form of expression of the traditional Chinese culture, and a variety of artistic elements are used as symbols of traditional Chinese culture.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:32, 19 November 2020 (UTC)<br /> <br /> 2.二十世纪二三十年代，梅巧玲之孙梅兰芳继承并发展了梅派艺术，当时的男旦艺术在京剧史上出现了“梅尚程荀”四大名旦，让整个京剧发展步入了巅峰时期，这是京剧走向兴盛的重要标志。<br /> <br /> In the 1920s and 1930s, Mei Lanfang, the grandson of Mei Qiaoling, inherited and developed the art of the Mei School, when the art of male dancers appeared in the history of Peking Opera, &quot;Mei Shangcheng Xun&quot; four famous dancers, so that the development of the entire Peking Opera entered the peak period, which is an important symbol of the prosperity of Peking Opera.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:29, 19 November 2020 (UTC)<br /> <br /> 3.唐代时，一些节目得到了惊人的发展，出现了前所未有的高超技艺。其中“载竿”之艺极高，马术节目也有很大发展，驯兽也达到了相当高的水平。<br /> <br /> During the Tang dynasty, a number of shows developed in an astonishing way, and unprecedented skills emerged. Among them, the art of &quot;Jie Guan&quot; was extremely high, equestrian shows also developed greatly, and the taming of animals also reached a very high level.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:29, 19 November 2020 (UTC)<br /> <br /> In the Tang Dynasty, some programs developed astonishingly, with unprecedented superb skills. Among them, the art of &quot;carrying poles&quot; is extremely high, equestrian programs have also developed greatly, and animal training has reached a very high level.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:32, 19 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> 1.京剧被誉为“东方歌剧”，是地道的中国国粹。京剧以12世纪中国传统习俗为依据，融音乐、戏剧、舞蹈、杂技以及精美的服饰与道具为一体。<br /> <br /> Chinese Beijing Opera is praised as — Oriental Opera. Beijing Opera is a genuine national quintessence of China, which synthesizes music, drama, dancing and acrobatics along with very elaborate costumes and a minimum of props, according to traditions and customs dating back as far as twelfth century.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 04:38, 23 November 2020 (UTC)<br /> <br /> 2.中国杂技渊源流长，是中华民族文化艺术的瑰宝，是人体机能的异化与延伸，更是人类劳动技能的提高和升华，与人们的生产生活紧密相关。<br /> <br /> Chinese acrobatics, with a long history, is a treasure of Chinese culture and art. It is not only the dissimilation and extension of human body function, but the improvement and sublimation of human labor skills. Moreover, it has close relationship with people’s production and life.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 04:38, 23 November 2020 (UTC)<br /> <br /> 3.梅兰芳在京剧表演艺术上之所以取得那么大的成就，主要原因在于如下几端：一是与时俱进，出新求变；二是兼收并蓄，博采众长；三是随时请益，从善如流。<br /> <br /> The main reasons why Mei Langfan has made such great achievements in the performing art of Peking Opera are as follows:first, he keeps pace with the times and strives for innovation; second, he is inclusive and boldly learns from others; third, he is always ready to ask for suggestions and readily adopts them.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 04:38, 23 November 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> 1.穿林海跨雪原气冲霄汉！抒豪情寄壮志面对群山。愿红旗五洲四海齐招展，哪怕是火海刀山也扑上前。<br /> <br /> Crossing the sea of forests and the snowy plains, my morale rises to the sky! I pour my lofty sentiments and ambitions to the mountains. May the red flag be unfurled in all parts of the world, even if it is a sea of fire and a mountain of knives.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:31, 22 November 2020 (UTC)<br /> <br /> 2.京剧中把女性统称为“旦”，其中按照人物的年龄、性格又可细分为许多行当，饰演大家闺秀和有身份的妇女称为“正旦”，正旦在京剧中俗称“青衣”。<br /> <br /> In Peking Opera, women are collectively called “Dan”, which can be subdivided into many professions in line with the age and personality of the characters. Women who play the role of a lady or women of status are called “Zheng Dan”.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:31, 22 November 2020 (UTC)<br /> <br /> 3.1958年，沧州吴桥县小马厂村出土的距今约1500年前南北朝东魏时期的古墓壁画上，就描绘着倒立、肚顶、转碟、马术等杂技表演形象。<br /> <br /> In 1958, unearthed in Cangzhou County, Wuqiao County, Xiao Ma Chang Village, the tomb wall paintings, whose history can be traced back to about 1500 years ago (the North and South Dynasties, the Eastern Wei period) depicted many acrobatic performances such as handstand, belly tops, plate-spinning, horsemanship, etc.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:31, 22 November 2020 (UTC)<br /> <br /> ==Wang Meiling 王美玲==<br /> 1.京剧舞台艺术在文学、表演、音乐、唱腔、锣鼓、化妆、脸谱等各个方面，通过无数艺人的长期舞台实践，构成了一套互相制约、相得益彰的格律化和规范化的程式。它作为创造舞台形象的艺术手段是十分丰富的，而用法又是十分严格的。不能驾驭这些程式，就无法完成京剧舞台艺术的创造。<br /> <br /> Through the long-term stage practice of countless and endless artists, the stage art of Peking Opera has formed a set of rhythmic and standardized procedures that restrict and complement each other in the aspects of literature, performance, music, singing, gongs and drums, makeup and facial makeup. As an artistic means of creating stage image, it is of great variety,whose usage, nevertheless, is of pretty restriction. If these programs couldn’t be controlled, Beijing opera won’t deliver its creation of stage art. --[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 09:33, 19 November 2020 (UTC)<br /> <br /> 2.他是个勤勉好学的演员，从青年时代起就认真钻研古典文学、国画、民族音乐、民族舞蹈、民俗学、音韵学和服饰学等多方面的祖国传统文化，并把这些知识融合到他的艺术中去，从而创造了大量优秀剧目，形成了具有独特风格、大家风范的艺术流派——梅派。<br /> <br /> What an industrious and studious actor he is.Since his youth, he had been studying the traditional Chinese culture in many aspects, such as classical literature, traditional Chinese painting, national music, national dance, folklore, phonology and costume science .  Moreover,he integrated these knowledge into his art, thus creating a large number of excellent plays and forming Mei school, a art school with unique and everybody style.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 09:33, 19 November 2020 (UTC)<br /> <br /> 3.中国的杂技演员从第一次出国演出，就成为中国文化的使者、和平友谊的使者。近半个世纪以来，中国杂技演员足迹遍世界，在五大洲的一百多个国家留下了他们的艺术风采，甚至当时一些尚未与中国建交的国家，也都欢迎中国杂技团的演出，并在他们的艺术表演中感受到中国人民的友谊，加速了与这些国家友好交往的进程。<br /> <br /> Chinese acrobats have been envoys of Chinese culture, peace and friendship since their first performance abroad. For nearly half a century, Chinese acrobats have traveled all over the world, leaving their artistic style in more than 100 countries on five continents. Even some countries that had not established diplomatic relations with China at that time also welcomed the performances of Chinese acrobatics troupes, and caught the feelings of friendship from Chinese people in their artistic performances, which accelerated China’s process of friendly exchanges with these countries.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 09:33, 19 November 2020 (UTC)<br /> <br /> ==Wang Xuan 王轩==<br /> 1. 中国传统戏剧与印度梵剧、古希腊悲喜剧一起，是世界上最古老的三种戏剧。<br /> 它是中国传统文化的重要组成不分，是我国的国宝。<br /> <br /> Chinese traditional drama, together with Indian Sanskrit opera and ancient Greek tragicomedy, are the three oldest dramas in the world.<br /> It is an important part of Chinese traditional culture and a national treasure of our country.<br /> <br /> 2. 梅兰芳是所见过的最杰出的演员之一，纽约还从来没有见识过这样的演出。<br /> Mei Lanfang is one of the most outstanding actors she has ever seen. New York has never seen such a performance.<br /> <br /> 3. 许多杂技艺术团先后出国访问，并屡获国际大奖，成为世界著名的杂技大国。<br /> Many acrobatic troupes have visited abroad and won many international awards. They have become famous acrobatics countries in the world.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 06:34, 23 November 2020 (UTC)Wang Xuan<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> 1. 京剧是中华民族传统文化的重要表现形式，其中的多种艺术元素被用作中国传统文化的象征符号。<br /> Beijing opera is a significant expression form of the traditional Chinese culture, and a variety of artistic elements are used as symbols of traditional Chinese culture.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:47, 21 November 2020 (UTC)<br /> <br /> Beijing opera is a significant expression form of the traditional Chinese culture, whose artistic elements in great many are used as symbols of traditional Chinese culture.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 01:23, 22 November 2020 (UTC)<br /> <br /> 2. 以梅兰芳命名的京剧表演体系被视为东方戏剧表演体系的代表，为世界三大表演体系之一。<br /> The Beijing Opera performance system named after Mei Lanfang is regarded as the representative of the Oriental theater performance system and is one of the world's top three.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:47, 21 November 2020 (UTC)<br /> <br /> The Beijing Opera performance system named after Mei Lanfang is considered as the representative of the Oriental theater performance system and is one of the world's top three.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 03:16, 22 November 2020 (UTC)<br /> <br /> <br /> 3. 现代杂技特指演员靠自己身体技巧完成一系列高难动作的表演性节目。<br /> Modern acrobatics refer specifically to performers who rely on their own physical skills to complete a series of highly difficult performances.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:47, 21 November 2020 (UTC)<br /> <br /> Modern acrobatics refer specifically to performance programs in which performers rely on their own physical skills to complete a series of difficult performances.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 03:16, 22 November 2020 (UTC)<br /> <br /> Modern acrobatics refers to the performance programs in which performers complete a series of difficult stunts with their own physical skills.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 05:58, 22 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> 1.新中国成立后，京剧的对外交流主要是由文化部和外交部组织的，京剧成为国家的文化使者。<br /> <br /> Since the founding of the People’s Republic of China，overseas exchanges of Beijing Opera mainly have been organized by the Ministry of Culture and Ministry of Foreign Fairs，and it becomes the cultural emissary of our country.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 03:25, 21 November 2020 (UTC)<br /> <br /> 2.1919—1935年梅兰芳的海外京剧演出消除了当时西方对中国戏剧甚至中国人的偏见，促进了中国京剧在海外的传播，增进了东西方文化交流。中国京剧这一东方艺术瑰宝在世界戏剧舞台上大放光彩。<br /> <br /> From 1919 to 1935，Mei Lanfang’s overseas performance of Beijing Opera removed the prejudice and misunderstanding of the western to China’s opera，even to Chinese people，which promoted the spread of Beijing Opera in foreign countries and enhanced cultural exchanges between the west and east world. Since then，Beijing Opera，the eastern art treasure，started to shine in the world stage for opera. --[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 03:25, 21 November 2020 (UTC)<br /> <br /> 3.中国杂技艺术保留着历史最悠久的传统节目，以无与伦比的精湛技艺，绚丽多姿的传统节目，独特鲜明的民族风格，博得了国内外广大观众的赞赏和喜爱。<br /> <br /> Chinese acrobatics reserves the most time-honored traditional programs and won appreciation and affection of the audience at home and abroad with its incomparable skills，diversified traditional programs and unique and distinctive national style.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 03:25, 21 November 2020 (UTC)<br /> <br /> Chinese acrobatics retains the longest history of traditional programs. With unparalleled superb skills, colorful traditional programs, and unique and distinctive national styles, it has won the appreciation of audiences at home and abroad.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:50, 21 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> 1.京剧主要是通过融合唱念做打的方式来叙述故事情节或表达人物的喜怒哀乐，惊讶或是恐惧。<br /> <br /> 1.Beijing Opera is a synthesis of stylized action, singing, dialogue, mime, acrobatic fighting and dancing to represent a story or depict different characters and their feelings of gladness, anger, sorrow, happiness, surprise, fear and sadness. <br /> <br /> 2.梅兰芳小时候并不被看好，说他不是唱戏的料<br /> <br /> 2.When he was young ,Mr.Mei was not regarded suitable for singing.<br /> <br /> 3.杂技在一系列复杂的杂技武术动作中加入了许多传统舞蹈元素。<br /> <br /> 3. Acrobatic arts combines many classic dance elements with a physical conditioning that allows you to undertake the complex acrobatic moves that are part of the style.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 02:16, 23 November 2020 (UTC)Wu Zijia<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> 1.京剧行当的划分，除依据人物的自然属性（性别、年龄）和社会属性（身份、职业）外，主要是按人物的性格特征来分类。<br /> <br /> 1.In addition to the natural attributes (gender, age) and social attributes (identity, occupation) of the characters, Peking Opera is mainly classified according to their personality characteristics.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:15, 21 November 2020 (UTC)Xiao Shuangling<br /> <br /> 2.梅兰芳先生的理性阐述，根植于中华民族文艺理论的沃土之中，深入浅出、通俗易懂。<br /> <br /> 2.Mr. Mei Lanfang's rational exposition, rooted in the fertile soil of Chinese literary theory, is simple and easy to understand.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:15, 21 November 2020 (UTC)Xiao Shuangling<br /> <br /> 3.通过国粹中华濒危艺术这个大舞台，让中华民族杂技艺术释放无穷的魅力，成为连接世界和平使者的纽带，并通过这个特殊的文化纽带架起世界人民友谊的桥梁。<br /> <br /> 3.Through the great stage of Chinese endangered art, the acrobatic art of the Chinese nation releases its endless glamour , becomes the link of world peace messenger, and builds the bridge of friendship among people of the world through this special cultural bond.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:15, 21 November 2020 (UTC)Xiao Shuangling<br /> <br /> Through the great stage of Chinese endangered art, the acrobatic art of the Chinese nation releases its infinite charm, becomes the link of world peace messenger, and builds the bridge of friendship among people of the world through this special cultural bond.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:09, 22 November 2020 (UTC)Xiao ting<br /> <br /> ==Xiao Ting 肖婷==<br /> 1 业内人士表示，武戏是艺术瑰宝，对京剧的发展有积极意义，不可或缺，应该加以拯救和保护，让它重新在舞台上焕发活力。<br /> According to industry insiders, martial arts is an artistic treasure that is positive and indispensable to the development of Peking Opera and should be saved and protected so that it can be revitalized on the stage.<br /> <br /> industry insiders said that milatary plays are art treasures, which are of positive and indispensable to the development of Beijing opera. It should be saved and protected to rejuvenate its vitality on the stage.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 05:02, 22 November 2020 (UTC)<br /> <br /> 2 梅兰芳将艺术和生活，和兴趣走到了一起，让中国传统书画走进戏剧，扩展了艺术领域，同时将原有的艺术壁垒打破，开创出新的出路，并将这种新式事物传到了国外。<br /> Mei Lanfang combined art and life, and interests together.He brought traditional Chinese painting and calligraphy into the theater, expanded the field of art, while breaking down existing artistic barriers, created new outlets, and spreaded this new style abroad.<br /> <br /> Mei Lanfang combined art and life together with interest, brought traditional Chinese calligraphy and painting into drama,and thus expanded the field of art. At the same time he broke the original art barriers, created a new way out, and spread this new thing abroad.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 05:02, 22 November 2020 (UTC)<br /> <br /> 3 汉代杂技的卓越成就，首先表现在它的各种节目已成系列，具备了后世杂技体系的主要内容，这在全世界各国的表演艺术中，恐怕是绝无仅有的。<br /> The extraordinary achievement of the Han dynasty acrobatics is reflected in the fact that its various programs have become a series in the first place, concluding the main elements of the later acrobatic system, which is probably unprecedented among the performing arts of all countries in the world.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:57, 22 November 2020 (UTC)Xiao ting<br /> <br /> The outstanding achievements of acrobatics in the Han Dynasty, first of all, is reflected in the fact that its various programs have become a series with the main content of the acrobatic system of later generations, which is probably unprecedented among the performing arts of all countries in the world.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 05:02, 22 November 2020 (UTC)<br /> <br /> ==Xie Fan 解帆==<br /> 1.京剧是中华民族传统文化的重要表现形式，其多种艺术元素被用作中国传统文化的象征符号。<br /> <br /> Beijing Opera is an important form of Chinese traditional culture, whose various artistic elements are the symbols of Chinese traditional culture.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:21, 20 November 2020 (UTC)<br /> <br /> Beijing Opera is an important form of traditional Chinese culture, the various artistic elements of which are symbols of traditional Chinese culture.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:51, 20 November 2020 (UTC)<br /> 2.梅兰芳在50余年的舞台生活中，发展和提高了京剧旦角的演唱和表演艺术，形成一个具有独特风格的艺术流派，世称“梅派”。<br /> <br /> During her 50 plus years of stage life, Mei Lanfang improved the singing and performing arts of female roles in Beijing Opera, forming an art school with a unique style, which is known as the &quot;Mei School&quot;.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:21, 20 November 2020 (UTC)<br /> <br /> 3.现代杂技特指演员靠自己身体技巧完成一系列高难动作的表演性节目，包括口技、顶碗、走钢丝、变戏法、舞狮子等技艺。<br /> <br /> Modern acrobatics refers to a series of highly difficult program performed by acrobats with their physical techniques, including ventriloquism，pagoda of bowls，wirewalking，conjuring tricks，lion dances and other skills. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:21, 20 November 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> 1. 在1840年，京剧正式成形，并且在“戏迷”慈禧太后掌权期间迅速发展, 风靡全国。<br /> <br /> It was after 1840 that Beijing Opera formally took shape, growing even faster during the reign of  the Empress Cixi (1835-1908), who was an opera fan. As a result of this, Beijing Opera became popular around the country.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 03:21, 22 November 2020 (UTC)Xu Jia<br /> <br /> <br /> 2. 梅兰芳的表演属于传统京剧。然而，他在舞台设计中引入了许多新的元素，进一步丰富了旦角的表演。他创造了一个新的风格，花衫。它是内敛的青衣与花旦的结合，在其中演员要掌握唱和模仿技巧，有时甚至加入杂技。由此，梅兰芳拓宽了旦角表演范围。<br /> <br /> Mei Lanfang worked with traditional Peking Opera. However, he introduced many new features to its stagecraft and enriched the dan role category further. He created a new sub-category, the so-called huashan or the “flower robe”. It is a combination of the restrained qingyi or noble lady and huadan or the coquettish woman, in which the actor should master both singing and miming skills, sometimes even acrobatics. Mei Lanfang thus widened the scope of dan acting.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 03:21, 22 November 2020 (UTC)Xu Jia<br /> <br /> <br /> 3. 演出中，中国杂技团将中国传统的抖空竹、戏车融合在整场演出中，并用探宝的主题将表演故事化。观看节目的中外媒体在欣赏精彩绝伦的杂技演同时，也亲身感受到中国古老文化与现代艺术的交融与碰撞。<br /> <br /> The Chinese Acrobatic Troupe integrated Chinese traditional skills of playing diabolo and performing with the bicycle or unicycle into the whole performance, and presented the audience a story of treasure exploration. The Chinese and foreign media watching the performance could not only enjoy the wonderful acrobatic show, but also feel the fusion and collision of ancient Chinese culture and modern art.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 03:21, 22 November 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许静==<br /> 1. 而京剧舞台上的人物造型也是在程式规定中尽出变化，在运用眼神和面部表情方面也要做到“眉目传情”。<br /> <br /> The actor performing the Beijing Opera must be as dyanamic as possible based on all the restrictions, with the use of the eyes and facial expressions being expressive and attractive.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 06:55, 21 November 2020 (UTC)<br /> <br /> 2. 二十世纪，梅兰芳大师为了加强女性角色在演唱中浓重和深沉的韵律增加了京二胡，配合京胡的演奏丰富了京剧乐队的声部，从而增加了演唱韵味。<br /> <br /> In the 20th century, Master Mei Lanfang added the Jing Erhu in order to enhance the strong and deep rhythms of the female characters in singing, which, together with the playing of the Jing Hu, enriched the vocal parts of the Peking Opera orchestra, thus adding to the charm of the singing.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 06:55, 21 November 2020 (UTC)<br /> <br /> 3. 近年来，杂技节目以及杂技剧的发展趋势主要是在“技”与“情节”中寻找融合点，借鉴舞蹈、戏曲等姊妹艺术的表现形式和手法，通过音乐、舞美等多种舞台元素配合，实现艺术的综合创新。<br /> <br /> In recent years, the trend of acrobatic shows and acrobatic theatre has been to look for a fusion of &quot;technique&quot; and &quot;plot&quot; to realise comprehensive artistic innovation, mainly through the co-ordination of various stage elements such as music and choreography, and through the practice of the expressions and techniques of relative arts such as dance and opera.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 06:55, 21 November 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 1. 戏曲艺术的长远发展，既要顺应时代潮流更应保留精华特色，戏曲人的“破圈”之路可谓任重而道远。<br /> <br /> For the long-term development of opera art, it is necessary to follow the trend of the times and retain the essence of its characteristics.<br /> <br /> For the long-term development of opera, it is necessary to conform to the trend of the times and retain its essence. Therefore, opera artists still have a long way to go.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 07:15, 23 November 2020 (UTC)<br /> <br /> 2. 梅兰芳所创新的京剧梅派艺术，不仅是中国京剧与整个中国戏曲艺术的高峰，而且还位列世界三大表演体系之一。<br /> <br /> Mei Lanfang’ s innovation, the Mei School of Peking Opera, is not only the peak of Peking Opera and Chinese opera as a whole, but also one of the three major performance systems in the world.<br /> <br /> 3. 中国杂技的意义是多方面的，其中根本两点：一是中国杂技艺术具有的悠久传统和丰厚的历史积累，为其提供了创新的基础；二是中国杂技有它鲜明而独特的艺术风格，使其卓立于世界杂技之林。<br /> <br /> The significance of Chinese acrobatics is multifaceted, including two fundamental points—first, the long tradition and rich history provide the basis for its innovation; Second, Chinese acrobatics has its own distinctive and unique artistic style, which makes it stand out in the world. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 09:13, 22 November 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> 1. 京剧曾称平剧，徽剧是京剧的前身。同时又接受了昆曲、秦腔的部分剧目、曲调和表演方法，与民间曲调，通过不断的交流、融合，最终形成京剧。京剧走遍世界各地，分布地以北京为中心，遍及中国。<br /> Peking Opera was once called Ping Opera, and Hui Opera was the predecessor of Peking Opera. At the same time, it accepted part of the repertoire, tunes and performance methods of Kunqu Opera and Qin Opera. Through continuous communication and integration with folk tunes, Peking Opera was finally formed. Peking opera has spread all over the world, with Beijing as the center and it is popular all over China.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 06:59, 22 November 2020 (UTC)<br /> <br /> 2. 梅兰芳是中国京剧史上鼎盛期和清末以及中华民国成立后文化繁荣时期，承上启下最具有代表性的人物。他在五十余年的舞台生涯中，塑造了众多的优美的妇女艺术形象，积累了大量优秀剧目，发展了京剧旦角的表演艺术。<br /> Mei Lanfang is the most representative person in the heyday of Chinese Peking Opera history, the late Qing Dynasty and the cultural prosperity after the founding of the Republic of China. he has created many beautiful artistic images of women in his more than 50 years of stage career, which accumulated a large number of outstanding plays, and developed the performance art of Peking Opera.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 06:59, 22 November 2020 (UTC)<br /> <br /> 3. 汉代是中国杂技的形成和成长期，汉代角抵戏迅速充实内容，增加品种，提高技艺，终于在东汉时代形成了一种以杂技艺术为中心汇集各种表演艺术于一堂的新品种——“百戏”体系。<br /> The Han Dynasty was the formation and growth period of Chinese acrobatics. Jiaojia Opera at this time quickly enriched its content, increased its variety, and improved its skills. Finally, in the Eastern Han Dynasty, a new variety of performing arts centered on acrobatics was formed——&quot; Baixi&quot; system.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 06:59, 22 November 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> 1.徽剧是京剧的前身。清代乾隆五十五年起，原在南方演出的三庆、四喜、春台、和春，四大徽班陆续进入北京，他们与来自湖北的汉调艺人合作，同时又接受了昆曲、秦腔的部分剧目、曲调和表演方法，民间曲调，通过不断的交流、融合，最终形成京剧。<br /> The Hui Opera is the predecessor of Beijing Opera.Since the reign of Emperor Qianlong in the Qing Dynasty in 55, the four emblems of the Southern Dynasties have entered Beijing . They have cooperated with the Han tune artists from Hubei Province and accepted some plays, tunes and performance methods of Kunqu Opera and Qin dialect.<br /> <br /> 2.梅兰芳八岁学艺，11岁登台。梅兰芳是近代杰出的京昆旦行演员，“四大名旦”之首,“梅派”艺术创始的人;同时也是享有国际盛誉的表演艺术大师，其表演被推为“世界三大表演.体系”之一。<br /> Mei Lanfang studied art at the age of eight and went on stage at the age of 11.Mei Lanfang is an outstanding actor in modern Beijing, the head of &quot; Four Famous Dans &quot; and the founder of &quot; Mei Pai &quot; art ;At the same time, it is also an internationally renowned master of performing arts whose performances have been promoted as one of the &quot; three major performances in the world . &quot;<br /> <br /> 3.杂技的起源是人类生存、智慧的积淀，是人类文化经验的积淀，是情感的宣泄，在漫长的人类进化过程中，人们击地而舞，铿锵而歌，在空地_上展现着最原始的杂技技巧，是那么尽情、那么投入。<br /> The origin of acrobatics is the accumulation of human existence and wisdom, the accumulation of human cultural experience, is the catharsis of emotions, in the long process of human evolution, people hit the ground and dance, sonorous songs, in the open space--showing the most primitive acrobatic skills, is so full, so devoted.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 12:47, 22 November 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> 1、京剧脸谱，是具有民族特色的一种特殊的化妆方法。由于每个历史人物或某一种类型的人物都有一种大概的谱式，就像唱歌、奏乐都要按照乐谱一样，所以称为“脸谱”。<br /> <br /> Beijing opera types of facial makeup in operas, is a special cosmetic method with national characteristics. As each historical figure or a certain type of person has a general spectral type, just like singing and playing music, it is so called“ types of facial makeup in operas”.<br /> <br /> Beijing opera facial makeup is a special makeup method with national characteristics. Since each historical figure or a certain type of character has a general notation, just like singing and playing music, it is called &quot;facial makeup in Beijing Opera&quot;.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 06:59, 20 November 2020 (UTC)<br /> <br /> 2、梅兰芳是著名京剧表演艺术家。他刻苦学习昆曲、练功，经过长期的舞台实践，对京剧旦角的唱腔、念白、舞蹈、音乐、服装、化妆等各方面都有所创造发展，形成了自己的艺术风格，世称“梅派”。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:32, 20 November 2020 (UTC)<br /> <br /> Mei Lanfang is a famous artist of Beijing Opera performance. He worked hard in learning Kun Opera and practicing his skills. After long period of stage practice, he made great progress in the aspects of the aria of female role in Beijing Opera, the spoken part, the dance performance, the music, the costume and the make-up. Thus he formed his own artistic style, which was called“ Mei School”.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:32, 20 November 2020 (UTC)<br /> <br /> <br /> 3、中国杂技是历史悠久的传统表演艺术之一。秦统一中国后，吸收各国角抵的优点，形成了一种娱乐性的杂技节目——角抵戏。<br /> <br /> Chinese acrobatics is one of the traditional performance arts with a long history. After Qin unified China, it absorbed the advantages of different countries and formed a kind of entertaining acrobatics show—— Jiao-Di opera.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:32, 20 November 2020 (UTC)<br /> <br /> Chinese acrobatics is one of the traditional performance arts with a long history. After Qin unified China, it absorbed the advantages of a special type called &quot;Jiao Di&quot; in different countries and formed a kind of entertaining acrobatics show—— Jiao-Di opera.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 06:59, 20 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> 1. 京剧是中华民族传统文化的重要表现形式，其中的多种艺术元素被用作中国传统文化的象征符号。<br /> <br /> Peking opera is an important form of expression of the traditional Chinese culture, and a variety of artistic elements are used as symbols of traditional Chinese culture.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 06:50, 20 November 2020 (UTC)<br /> <br /> Peking opera is an important form of expression of the traditional Chinese culturethe,various artistic elements of which are symbols of traditional Chinese culture.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:15, 21 November 2020 (UTC)<br /> <br /> 2. 梅兰芳在50余年的舞台生活中，发展和提高了京剧旦角的演唱和表演艺术，形成一个具有独特风格的艺术流派，世称“梅派”。<br /> <br /> Mei Lanfang has been on stage for more than 50 years, and he has developed and improved the singing and performing arts of female roles in Peking Opera , forming a unique style of art genre, known as &quot;Mei School&quot; in the world.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 06:50, 20 November 2020 (UTC)<br /> <br /> In the past 50 years or so on the stage, Mei Lanfang has developed and improved his singing and performing skills of female roles in Beijing Opera, forming a unique style of art genre, known as &quot;Mei School&quot; in the world.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:15, 21 November 2020 (UTC)<br /> <br /> 3. 中国杂技早在汉代就形成以“顶功”为中心的形体技巧，顶功就要求有过硬的腰功、腿功、倒立和跟斗基本功，这种传统一直至今。<br /> <br /> As early as the Han Dynasty, Chinese acrobatics formed body skills centered on &quot;top skills&quot;. Top skills require excellent waist skills, leg skills, handstands and solid somersault skills. This tradition has continued to the present day.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 06:50, 20 November 2020 (UTC)<br /> <br /> As early as the Han Dynasty, Chinese acrobatics formed body skills centered on &quot;top skills&quot;, which requires excellent waist skills, leg skills, handstands and solid somersault skills. This tradition has continued to the present day.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:15, 21 November 2020 (UTC)<br /> <br /> ==Yi Zichu 义子楚==<br /> 1，“生”是男性正面角色，“旦”是女性正面角色，“净”是性格鲜明的男性配角，“丑”是滑稽幽默的人物或者反面角色<br /> Sheng is the positive male role, and Dan is the positive female role, while jing is a supporting male role with a distinctive character and chou is the clown or a negative character.<br /> 2, 在人的脸上涂上某种颜色以象征这个人的性格和品质，角色和命运，是京剧的一大特点，也是理解剧情的关键<br /> One major characteristic of Peking opera is the colors painted on the face of a character that shows the personality, quality, role and fate. It is also the key to understand the plot.<br /> 3,红脸含有褒义，代表忠通；黑脸代表中性，代表猛智；黄脸和白脸含贬义，代表凶诈<br /> Red is positive, standing for loyalty and valor; black represents a natural role, representing vigor and wisdom; yellow and white both suggest canning and negative characters.<br /> --[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 04:57, 23 November 2020 (UTC)<br /> <br /> ==You Yuting 游雨婷==<br /> 1.京剧的发展已有2百多年的历史,它是我国传统文化与历史的积淀,也是我国传统文化的载体。它的博大精深值得广大有知识，有抱负，有热情的青年学子去发掘与体验。京剧与大学在某些方面具有互补性。大学作为莘莘学子求学探索与攀登的殿堂,需要具有更高内涵和素养的文化来丰富和完善;<br /> <br /> The development of Peking Opera has a history of more than 200 years which is the accumulation of China's traditional culture and history, as well as the carrier of China's traditional culture. Its extensiveness and profoundness is worth of being explored and experienced by young students with knowledge, ambition and enthusiasm. Peking Opera and university are complementary in some ways. As a palace for students to explore and climb, universities need to enrich and improve their culture with higher connotation and accomplishment.<br /> <br /> 2.梅兰芳是中国近代杰出的表演艺术家，举世闻名的中国戏曲艺术大师，“四大名旦”之首，其表演被推为“世界三大表演体系”之一。他不但有精妙的艺术，更有高尚的品德，是中国向海外传播京剧艺术的先驱。<br /> <br /> Mei Lanfang is an outstanding performing artist in modern China, a world-renowned master of Chinese Opera art, and the first of the &quot;four famous denier&quot;, whose performance has been promoted as one of the &quot;three world performance systems&quot;. He has not only the exquisite art, but also the noble moral character. He is the pioneer of Spreading Peking Opera art to overseas.<br /> <br /> Mei Lanfang， an outstanding performing artist in modern China, is worldwidely famous for Chinese Opera art. As the first of the &quot;four famous denier&quot;, his performance has been promoted as one of the &quot;three world performance systems&quot;. He has not only the exquisite art, but also the noble moral character, which makes him the pioneer of Spreading Peking Opera art to overseas.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:51, 22 November 2020 (UTC)<br /> <br /> 3.大约在新石器时代，中国的杂技就已经萌芽。原始人在狩猎中形成的劳动技能和自卫攻防中创造的武技与超常体能，在休息和娱乐时，在表现其猎获和胜利的欢快时，被再现为一种自娱游戏的技艺表演，这就形成了最早的杂技艺术。<br /> <br /> Acrobatics emerged in China around the Neolithic Age. The primitive man's labor skill formed in hunting and the martial skill and extraordinary physical strength created in the self-defense attack and defense were redeemed as a kind of self-entertaining game performance in the rest and entertainment, showing the joy of hunting and victory, which formed the earliest acrobatic art.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:18, 19 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> 1.京剧是我国的国粹，是流行于全国的重要剧种之一。伴奏乐器以京胡为主，二胡、月琴、三弦为辅。<br /> <br /> Beijing Opera is the quintessence of China and one of the most popular operas in China. The accompaniment instruments are mainly Jinghu, supplemented by erhu, Yueqin and Sanxian.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:23, 22 November 2020 (UTC)<br /> <br /> 2.绘画大师刘海粟:“梅先生的表演风格，以画相喻，应是工笔重彩的牡丹花，花叶则以水墨写意出之，雍容华贵中见洒脱，浓淡相宜，艳而不俗。'<br /> <br /> Master of painting Liu Haisu said that Mr. Mei's performance style, compared with painting, should be the peony colorful flowers with Meticulous Brushwork. The flowers and leaves are freehand and easy to see in the elegant, appropriate shade, and gorgeous but not vulgar. --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:23, 22 November 2020 (UTC)<br /> <br /> 3.吴桥人练杂技有古老的传统风俗。据记载，吴桥是庙会盛地，过去吴桥境内庙宇林立，庵寺错落，庙会繁多。庙会上，除了做法事之外，都要举行娱乐性的表演。<br /> <br /> In Wuqiao, acrobatics has an ancient traditional custom. According to records, Wuqiao is a place of temple fairs. In the past, there were many temples, scattered temples and numerous temple fairs. At temple fairs, entertainment performances are held in addition to practices.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:23, 22 November 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> 大约在新石器时代，中国的杂技就已经萌芽。原始人在狩猎中形成的劳动技能和自卫攻防中创造的武技与超常体能，在休息和娱乐时，在表现其猎获和胜利的欢快时，被再现为一种自娱游戏的技艺表演，这就形成了最早的杂技艺术。<br /> <br /> Acrobatics sprang up in China around the Neolithic Age. The labor skills of primitive men formed in hunting and the martial skills and extraordinary physical strength created in the self-defense attack and defense were reproduced as a kind of self-entertaining game skill performance in the rest and entertainment, showing the joy of hunting and victory, thus giving birth to the earliest acrobatic art.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:40, 19 November 2020 (UTC)<br /> <br /> 梅兰芳在50余年的舞台生活中，发展和提高了京剧旦角的演唱和表演艺术，形成一个具有独特风格的艺术流派，世称“梅派”。 <br /> <br /> During his more than 50 years of stage life, Mei Lanfang developed and improved the singing and performing arts of Danjiao in Peking Opera, forming an art school with a unique style, which is known as the &quot;Mei School&quot;.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:40, 19 November 2020 (UTC)<br /> <br /> 京剧流播全国，影响甚广，有“国剧”之称。以梅兰芳命名的京剧表演体系被视为东方戏剧表演体系的代表，为世界三大表演体系之一。京剧是中华民族传统文化的重要表现形式，其中的多种艺术元素被用作中国传统文化的象征符号。<br /> <br /> Peking Opera is famed as “the National Opera” for its spread and influence across the whole nation. The performing system of Peking Opera named by Mei Lanfang was viewed as the representative of the Eastern opera performing art, belonging to one of the three major performing systems in the world. Peking Opera is also a significant form of expressing traditional Chinese culture, in which numerous artistic elements are utilized as traditional Chinese culture symbols.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:40, 19 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> 1.当你来到中国的时候，一定要去看一场京剧，就像是你到了意大利一定要去听一场歌剧一样。<br /> It is necessary to see Peking Opera while you are in China, just as seeing an opera while in Italy.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:00, 21 November 2020 (UTC)<br /> <br /> It is necessary to see Peking Opera while you are in China, just as to see an opera while in Italy.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:29, 21 November 2020 (UTC)Xiao Shuangling<br /> <br /> 2.梅先生还是一位伟大的爱国主义者，抗战期间蓄须明志，拒绝演出，靠写字卖画为生。<br /> Mr. Mei, who was also a great patriot, once started the pogonotrophy, rejected all the perform opportunities, and made a living by writing and selling paints. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:00, 21 November 2020 (UTC)<br /> <br /> Mr. Mei, who was also a great patriot, once started the pogonotrophy, rejected all the opportunities to perform, and made a living by writing and selling paints during the War of Resistance Against Japanese Aggression.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:29, 21 November 2020 (UTC)Xiao Shuangling<br /> <br /> 3.各种戏剧表演，杂技表演，绘画，书法和美食会让你眼花缭乱。<br /> A variety of opera performances, acrobatics shows, paintings, calligraphy and food will dazzle you.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:00, 21 November 2020 (UTC)<br /> <br /> A variety of opera performances, acrobatic shows, paintings, calligraphy and food will dazzle you.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:29, 21 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> 清代乾隆五十五年（1790年）起，原在南方演出的三庆、四喜、春台、和春四大徽班陆续进入北京，与来自湖北的汉调艺人合作，同时接受了昆曲、秦腔的部分剧目、曲调和表演方法，又吸收了一些地方民间曲调，通过不断的交流、融合，最终形成京剧。 [1] <br /> Since the 55th year of Qianlong’s reign in the Qing Dynasty, the four troupes of Hui School which are Sanqing, Sixi, Chuntai, and Hechun went to Beijing consecutively, and cooperated with artists of Handiao( a local drama in Wuhan, Hubei Province). Meanwhile, they accepted part of operas, melodies, and perform methods of Kunqu Opera and Shanxi Opera, and absorbed some folk musics, through unceasingly communicate and integrate of which, the Beijing Opera was formed.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 02:28, 21 November 2020 (UTC)<br /> <br /> 梅兰芳在50余年的舞台生活中，发展和提高了京剧旦角的演唱和表演艺术，形成一个具有独特风格的艺术流派，世称“梅派”。 <br /> During his 50 years’ stage life, Mei Lanfang developed and improved singing and performing art of Dan or female role in Beijing Opera, forming a art school with unique style, which is known as “ Mei School”.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 02:28, 21 November 2020 (UTC)<br /> <br /> 这些奇技异巧，场面盛大的演出，使四方来客大为惊叹，深服汉帝国的广大和富强。<br /> These wonderful skills, pomp and pageantry of performance make visitors from all over the world surprised and admired the immensity and prosperity of the Empire of Han.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 02:28, 21 November 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> 1.京剧是中华民族传统文化的重要表现形式，其中的多种艺术元素被用作中国传统文化的象征符号。<br /> <br /> Peking opera is an important form of expression of the traditional Chinese culture, and a variety of artistic elements are used as symbols of traditional Chinese culture.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:27, 19 November 2020 (UTC)<br /> <br /> Peking Opera is an important expression of traditional Chinese culture, and many of its artistic elements are used as symbols of traditional Chinese culture.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:38, 19 November 2020 (UTC)<br /> <br /> Beijing Opera,as an important form expressing the traditional Chinese culture,including many artistic elements that symbolize Chinese tradition culture.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 02:14, 20 November 2020 (UTC)<br /> <br /> <br /> 2.梅兰芳先生是世人景仰的京剧艺术大师，他创造的独树一帜“梅派”艺术，在国内外享有盛誉。<br /> <br /> Mr. Mei Lanfang is a well-respected master of Peking opera. He has created a unique &quot;Mei School&quot; art and enjoys a high reputation both at home and abroad.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:27, 19 November 2020 (UTC)<br /> <br /> Mr. Mei Lanfang is a universally admired master of the Peking Opera, and his creation of the unique &quot;Mei School&quot; of art is highly regarded both at home and abroad.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:38, 19 November 2020 (UTC)<br /> <br /> <br /> <br /> 3.杂技艺术作为一种古老的原始艺术，与舞蹈一样，它产生的文化机制是多方面的。<br /> <br /> Acrobatic art is an ancient primitive art. Like dance, the cultural mechanism it produces is multifaceted.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:27, 19 November 2020 (UTC)<br /> <br /> As an ancient and primitive art, acrobatics, like dance, has a variety of cultural mechanisms at work.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:38, 19 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> 1.京剧艺术是在我国许多民族古老戏曲艺术创作成果的基础上成长起来的，它所以取得今天的辉煌成就，是经过几辈人悉心继承，努力创新的结果。<br /> <br /> The art of Beijing opera has grown up on the basis of the artistic achievements of many ancient operas of many nationalities in China. Its brilliant achievements today are the result of painstaking inheritance and innovation of several generations. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 11:33, 20 November 2020 (UTC)<br /> <br /> 2. 梅兰芳在促进东西方文化交流方面作出了卓越的贡献，也是中国向海外传播京剧艺术的先驱。在国内外，梅兰芳先生被誉为伟大的演员和美的化身。<br /> <br /> Mei Lanfang has made outstanding contributions to the promotion of cultural exchanges between the East and West, and he is also a pioneer in spreading Beijing opera abroad. At home and abroad, Mr. Mei Lanfang is known as a great actor and the embodiment of beauty. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 11:33, 20 November 2020 (UTC)<br /> <br /> 3. 新石器时代开始，中国的杂技就已经萌芽。原始人在狩猎中形成的劳动技能和自卫攻防中创造的武技与超常体能。在休息和娱乐时，在表现其猎获和胜利的欢快时，被再现为一种自娱游戏的技艺表演。这就形成了最早的杂技艺术。<br /> <br /> Chinese acrobatics germinates from the Neolithic age. The labor skills formed by primitive people in hunting and the martial arts and extraordinary physical fitness created in self-defense and attack are reproduced as a skill performance of self entertainment games. This formed the earliest acrobatic art. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 11:33, 20 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> 国粹，是指一个国家固有的文化精华，中国的国粹有很多，其中与誉满中外的中国京剧、中国武术、中国书法、中国医学，被世人称为“中国的四大国粹”。<br /> <br /> The quintessence of the nation is the inherent essence of it culture. There are many nation treasures in China, among which, Peking Opera, Chinese martial arts, Chinese calligraphy and Chinese medicine, which are well known at home and abroad, are called&quot; the four national treasures of China.&quot;--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 02:08, 20 November 2020 (UTC)<br /> <br /> The quintessence of a nation is its inherent cultural essence . There are many nation treasures in China, among which, Beijing Opera, Chinese kungfu, Chinese calligraphy and Chinese medicine are well known at home and abroad.They are called‘the four national treasures of China .’--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 02:29, 20 November 2020 (UTC)<br /> <br /> 梅兰芳是伟大的京剧表演艺术家。可他从小就被认为“言不出众，貌不惊人”，不是学戏的料。<br /> <br /> Mei Lanfang is a great performing artist of Beijing Opera. As a boy, he was considered to be &quot;mediocre in speech and plain in appearance&quot;, without the making of an actor.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 02:08, 20 November 2020 (UTC)<br /> <br /> 杂技的艺术语言主要是超高技巧肢体动作，包括柔身术、顶碗、滚杯等。<br /> <br /> The artistic language of acrobatics is mainly the body movements of super high skills, including the soft body technique of top bowl rolling cup and so on--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 02:08, 20 November 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> 1. “生旦净末丑、神仙老虎狗”，这句话常被用来形容行当俱全的京剧角色。锣鼓咚锵响起，舞台两侧“出将”、“入相”门帘一挑一合，一个个鲜活的人物走马灯似的登台下场，这时观众们可想不起，后台演员正在如同打仗一样地紧张扮着呢。<br /> <br /> This sentence is often used to describe Peking Opera roles with all kinds of professions, such as &quot;being clean and ugly at the end of life, being immortal, tiger and dog&quot;. The gongs and drums rang loudly, the curtains of &quot;going out&quot; and &quot;entering the phase&quot; on both sides of the stage were picked and closed one by one, and the vivid characters came off the stage like lanterns. At this moment, the audience could not remember that the backstage actors were playing up as nervously as a war.<br /> <br /> 2. 梅兰芳先生是个严谨自律的人。烈酒伤身，尤其伤嗓子，他自然不会多饮。而百年老店精心炮制的药酒，饮用有助于健康。作为演员，难捱的夏日仍要粉墨登场，借助一杯绿茵陈酒解暑解乏，再合适不过。<br /> <br /> Mr. Mei Lanfang is a strict and self-disciplined person. Strong liquor hurts the body, especially his throat. Naturally, he will not drink more. However, drinking the medicated liquor carefully prepared by the century-old shop is helpful to health. As an actor, it is still necessary to take part in the difficult summer days. It is most appropriate to use a cup of green wine to relieve summer heat and fatigue. <br /> <br /> <br /> 3. 杂技，亦作“杂伎”，是柔术、车技、口技、顶碗、走钢丝、变戏法、舞狮子等技艺的泛称。河北吴桥不仅是中国杂技的发祥地，也是世界杂技艺术的重要摇篮。作为一门在贫穷土壤中生长的艺术，吴桥民间杂技生活气息浓厚淳朴。<br /> <br /> Acrobatics, also known as &quot;miscellaneous performers&quot;, is a general term for jujitsu, car skills, ventriloquism, bowl-topping, tightrope walking, magic tricks, lion dance and other skills. Wuqiao in Hebei Province is not only the birthplace of Chinese acrobatics, but also an important cradle of acrobatic arts in the world. As an art growing in poor soil, Wuqiao folk acrobatic life has a strong and simple atmosphere. --[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 06:34, 20 November 2020 (UTC)Zhang Weihong<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 1. 2006年5月，京剧被国务院批准列入第一批国家级非物质文化遗产名录。 2010年，被列入联合国教科文组织非物质文化遗产名录。 <br /> <br /> In May 2006, Peking Opera was approved by the State Council to be included in the first batch of national intangible cultural heritage lists. In 2010, it was included in the UNESCO Intangible Cultural Heritage List.<br /> <br /> 2. 梅兰芳通过不断的努力，终于集京剧旦角艺术之大成，融青衣、花旦、刀马旦行当为一炉，创造出独特的表演形式和唱腔，世称“梅派”，影响很大。<br /> <br /> Through continuous efforts, Mei Lanfang finally collected the great achievements of Peking Opera Danjie art, combined with Qin Yi, Hua Dan, and Dao Ma Dan arts, creating a unique form of performance and singing, known as the &quot;Mei School&quot;, with great influence.<br /> <br /> 3.现代杂技特指演员靠自己身体技巧完成一系列高难动作的表演性节目。“杂技”一词，是1950年中国杂技团成立时，由周恩来总理定名的。<br /> <br /> Modern acrobatics refer specifically to performers who rely on their own physical skills to complete a series of highly difficult performances. The term &quot;acrobatics&quot; was named by Premier Zhou Enlai when the Chinese Acrobatic Troupe was established in 1950.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 07:34, 23 November 2020 (UTC)<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.京剧表演的四种艺术手法:唱、念、做、打，也是京剧表演四项基本功。<br /> <br /> Singing, recitation, acting and acrobatic fighting are the four artistic means and the four basic skills of Beijing Opera.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:48, 20 November 2020 (UTC)<br /> <br /> The four artistic techniques of Peking opera performance are singing, chanting, acting and acrobatic fighting , which are also the four basic skills of Peking opera performance.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:38, 20 November 2020 (UTC)<br /> <br /> The four artistic techniques of Beijing opera performance: singing, chanting, doing, and playing can be also the four basic skills of Beijing opera performance.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:46, 22 November 2020 (UTC)<br /> <br /> 2.梅兰芳所创新的京剧梅派艺术，不仅是中国京剧与整个中国戏曲艺术的高峰，而且还位列世界三大表演体系之一。<br /> <br /> The art of Mei School of Beijing Opera, innovated by Mei Lanfang, not only is the peak of Beijing Opera and Chinese opera art, but also lists on the three major performance systems in the world.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:48, 20 November 2020 (UTC)<br /> <br /> Mei Lanfang's innovative Beijing Opera Mei School art is not only the peak of Chinese Beijing Opera and the entire Chinese opera art, but also one of the three major performance systems in the world.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:46, 22 November 2020 (UTC)<br /> <br /> 3.这些传统杂技节目经过初步整理，在服装道具、音乐伴奏上都作了初步加工，使之面貌一新。<br /> <br /> These traditional acrobatic items have taken on a new look after preliminary processing in costumes and props as well as music and accompany.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:48, 20 November 2020 (UTC)<br /> <br /> These traditional acrobatic performances have taken on a new look after preliminary processing in costumes, props as well as music.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 13:27, 20 November 2020 (UTC)<br /> <br /> These traditional acrobatic programs have been preliminarily sorted out, and the costumes, props, and musical accompaniment have been preliminarily processed to make them look new.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 12:46, 22 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 徽班进京的出发地在扬州，身怀绝技的优伶们，出发前一定要到位于苏唱街的梨园总局碰碰头，商量一下出发日程和演出剧目，并在那里一起摆个身段、甩两下水袖、扬几声珠圆玉润的歌喉。有时干脆排演几出折子戏，或是《游园》，或是《思凡》，声情并茂，婀娜多姿，那时的苏唱街，十分热闹。<br /> <br /> The departure of HuiBan into Beijing was Yangzhou, where talented opera singers would get together in the opera bureau on the bustling Suchang Street to deliberate the time of their departure and the plays for their performances. They would also do some practice and <br /> even emotionally and elegantly rehearse several highlights from operas such as Youyuan and Sifan from time to time. <br /> <br /> 梅兰芳是伟大的京剧表演艺术家，可他小时候却被认为“言不出众，貌不惊人”，不是学戏的料。<br /> <br /> Mei Langfang was a great performing artist of Beijing Opera. But in his childhood, he was judged to be “mediocre in speech and plain in appearance” without the makings of an actor.<br /> <br /> 表演者乘小马从刀丛剑林之间穿驰而过。如果技艺不精，坐骑驾驭不灵，触及刀剑，人马立毙。<br /> <br /> The acrobat should get through the forest of swords quickly with a small running horse. If he was not skilled in driving the horse, he would be killed at once with it.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:41, 21 November 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> 1. 京剧的表演风格是安详的，既不过分高亢激昂，也不刻意一唱三叹，从不强调暴力和血腥。<br /> <br /> 2. 梅兰芳是近代杰出的京昆旦行演员，“四大名旦”之首;同时也是享有国际盛誉的表演艺术大师，其表演被推为“世界三大表演体系”之一。<br /> <br /> 3. 杂技在汉代称为“百戏”，隋唐时叫“散乐”，唐宋以后为了区别于其他歌舞、杂剧，才称为杂技。<br /> <br /> 1. The performance style of Peking Opera is serene, neither too high and passionate, nor deliberately singing and sighing, never emphasizing violence and blood.<br /> <br /> 2. Mei Lanfang is an outstanding Beijing-Kunming actor in modern times and the top figure of the &quot;Four Famous Actors&quot;. At the same time, he is also a master of performing arts with international reputation. His performance has been promoted to one of the &quot;three major performing systems in the world&quot;.<br /> <br /> 3. Acrobatics was called &quot;Baixi&quot; in Han Dynasty and “Sanyue&quot; in Sui and Tang Dynasties. In order to distinguish it from other songs, dances and zaju, is was named acrobatics after Tang and Song Dynasties.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 13:23, 20 November 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> 1.京剧,是中华民族戏剧界长期辛勤劳动与不懈探索的艺术结晶,其历史可以追溯到十八世纪末至十九世纪初清政府统治时期。当时活跃在北京的诸多戏曲种类有昆曲、京腔、秦腔、微调、汉调、梆子等。 <br /> <br /> Beijing Opera is an artistic fruit of long-term industrious work and unremitting explore of Chinese nation’s drama circle. Its history can date back from the end of 19th century to the beginning of 20th century when the Qing Government reigned. At that time, many kinds of traditional opera active in Beijing were Kunqu, Beijing, Shaanxi opera, fine-tuning, Han opera, Bangzi and so on.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:56, 19 November 2020 (UTC)<br /> <br /> 2.在中国戏曲跨文化传播的过程中,梅兰芳先生既是第一位登上世界舞台的京剧艺术家,也是第一位得到国际戏剧界和绝大多数海外观众所肯定的中国戏剧名家。<br /> <br /> During the process of cross-cultural exchanges of Chinese traditional opera, Mr. Mei Lanfang is the first artist of Beijing Opera to step onto the world stage and the first drama master who has been recognized by the international theatrical circle and most overseas audience as well. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:56, 19 November 2020 (UTC)<br /> <br /> 3.临泉是“中国民间文化艺术之乡”“中国杂技之乡”，临泉民间杂技艺术具有鲜明特色，其源于民间、活跃于民间，具有浓厚的生活生产气息，同时又有着中原文化的奔放、厚重、自由、创新，深受广大人民群众喜爱。<br /> <br /> Linquan is home to Chinese folk culture and art and Chinese acrobatics. Folk acrobatic art in Linquan possesses distinguished features which originated from people and flourished among people, heavy living and producing flavor and expressiveness, abundance, freedom, and innovation of Central Plains culture at the same time, which is much loved by masses.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 10:56, 19 November 2020 (UTC)<br /> <br /> Linquan is home to Chinese folk culture and art and Chinese acrobatics. Folk acrobatic art in Linquan bearing distinguished features derived from people and flourished among people, heavy living and producing flavor and expressiveness, abundance, freedom, and innovation of Central Plains culture at the same time, which is much loved by masses.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:21, 19 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 1.京剧在文学、表演、音乐、舞台美术等各个方面都有一套规范化的艺术表现形式。<br /> <br /> Peking opera has a set of standardized artistic expressions in various aspects such as literature, performance, music, and stage art.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:14, 19 November 2020 (UTC)<br /> <br /> 2.梅兰芳在50余年的舞台生活中，发展和提高了京剧旦角的演唱和表演艺术，形成一个具有独特风格的艺术流派，世称“梅派”。<br /> <br /> In more than 50 years of stage life, Mei Lanfang has developed and improved the singing and performing arts of female character in Peking Opera, forming a unique style of art genre, known as &quot;Mei School&quot; in the world.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:14, 19 November 2020 (UTC)<br /> <br /> In more than 50 years of stage life, Mei Lanfang has developed and improved the singing and performing arts of female character in Peking Opera, forming a unique style of art genre, known as &quot;Mei School&quot; .--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:33, 19 November 2020 (UTC)<br /> <br /> 3.杂技艺术在中国已经有2000多年的历史。杂技在汉代称为“百戏”，隋唐时叫“散乐”，唐宋以后为了区别于其他歌舞、杂剧，才称为杂技。<br /> <br /> Acrobatic art has a history of more than 2,000 years in China, which were called &quot;Hundred Operas&quot; in the Han Dynasty and &quot;San Yue&quot; in the Sui and Tang Dynasties. After the Tang and Song Dynasties, they were called acrobatics in order to distinguish them from other songs, dances and performances.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:14, 19 November 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> 1.京剧前身是清初流行于江南地区，以唱吹腔、高拨子、二黄为主的徽班。徽班流动性强，与其他剧种接触频繁，在声腔上互有交流渗透，因此在发展过程中也搬演了不少昆腔戏，还吸收了啰啰腔和其他一些杂曲。<br /> <br /> The predecessor of Bejing Opera was the Anhui Opera combo, which was popular in Jiangnan in the early Qing Dynasty, and mainly featured by music for voices and blowing, the instrument high plectrum, and the erhuang tune. With its high mobility, frequent contact with other operas, and mutual communication and penetration of music for voices, the Anhui Opera also adopted a lot of elements of kunqu opera and absorbed lo lo tunes and other miscellaneous operas in the process of development.<br /> <br /> 2.梅兰芳的一生，体现了不断革新、精益求精的敬业精神，他将诸多艺术领域的创作思想融于了京剧艺术舞台表演之中，使京剧旦行的唱腔、表演艺术臻于完美的境界，成为旦行中影响深远的流派。形成独特的艺术风格。其中最能体现梅派艺术代表剧有《霸王别姬》《贵妃醉酒》《穆桂英挂帅》等。<br /> <br /> Mei Lanfang's life embodied the dedication spirit of continuous innovation and striving for perfection. He integrated the creative ideas of many artistic fields into the stage performance of Beijing Opera, so that the singing and performing arts of Dan in Beijing Opera reached the perfect realm and became a far-reaching school. It has formed a unique artistic style.The most representative repertoires of the Mei School are &quot;Conqueror Xiang Yu Parts with His Concubine&quot;, &quot;The Drunken Beauty&quot;, and &quot;Mu Guiying Takes Command&quot;.<br /> <br /> 3.汉代杂技的卓越成就，首先表现在它的各种节目已成系列，具备了后世杂技体系的主要内容，这在全世界各国的表演艺术中，恐怕是绝无仅有的。<br /> <br /> The outstanding achievement of the Han dynasty acrobatics is first of all reflected in the fact that its various repertoires have become a series, possessing the main elements of the later acrobatic system, which is probably unique among the performing arts of all countries in the world.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:29, 19 November 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> 1、京剧在文学、表演、音乐和舞台美术等各个方面都有一套规范化的艺术表现形式。<br /> <br /> In the aspects of literature, performing, music and fine arts on the stage, Beijing Opera has a set of standardized forms of artistic presentation.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:33, 23 November 2020 (UTC)<br /> <br /> 2、梅兰芳在50余年的舞台生活中，发展和提高了京剧旦角的演唱和表演艺术，形成一个具有独特风格的艺术流派，世称“梅派”。<br /> <br /> In his fifty years of performing life, Mei Lanfang developed and advanced the singing and performing art of the leading female role in Beijing Opera, forming an art school with unique styles called “Mei School”.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:33, 23 November 2020 (UTC)<br /> <br /> 3、现代杂技特指演员靠自己身体技巧完成一系列高难动作的表演性节目。<br /> <br /> Modern acrobatics specifically refers to the performing programs which require the actors to do a set of highly difficult actions using their skills of body movement.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:33, 23 November 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> 京剧的脸谱几乎成了中国文化的一个代表性的符号，一种象征。许多国家举办“中国文化年”，招贴画上往往画着一个大大的京剧脸谱。<br /> <br /> The facial makeup of Peking Opera has almost become a representative mark and symbol of Chinese culture as many countries often have a big one on their posters at activities of the &quot;Year of Chinese Culture&quot; .<br /> <br /> 梅兰芳是旦角演员，和程砚秋、尚小云、荀慧生并称“京剧四大名旦”。<br /> <br /> Mei Lanfang is an actor in the role of Dan, and is also known as one of the &quot;Four Famous Dan in Peking Opera&quot; along with Cheng Yanqiu, Shang Xiaoyun and Xun Huisheng.<br /> <br /> Mei Lanfang is an actor in the role of Dan, and is also known as one of the &quot;Four Famous Dans in Peking Opera&quot; along with Cheng Yanqiu, Shang Xiaoyun and Xun Huisheng.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 02:13, 22 November 2020 (UTC)<br /> <br /> 杂技作为中华传统文化,源远流长,传承两千余年。从先秦的&quot;角抵戏&quot;起源,到汉唐成为融诗、歌、舞于一体的&quot;百戏&quot;,再到元明清之时融入戏曲、歌舞表演而为&quot;杂戏&quot;。<br /> <br /> Acrobatics, as a traditional Chinese culture, has a long history and passed on for more than two thousand years. From the origin of &quot;Jue Di Xi&quot; in the Pre-Qin Dynasty, it became to &quot;baixi&quot; by integrating poetry, song and dance in the Han and Tang Dynasties , and by combining opera, song and dance as &quot;Miscellaneous opera&quot; in the Yuan, Ming and Qing Dynasties.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 07:35, 21 November 2020 (UTC)<br /> <br /> Acrobatics, as a traditional Chinese culture, has a long history and passed on for more than two thousand years. From the origin of &quot;Jue Di Xi&quot; in the Pre-Qin Dynasty, it evolved into &quot;baixi&quot; by integrating poetry, song and dance in the Han and Tang Dynasties and &quot;Miscellaneous opera&quot; by combining opera, song and dance in the Yuan, Ming and Qing Dynasties.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 02:13, 22 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> 1.戏服通常是京剧最有辨识度的特征，其色彩和设计都十分绚丽。它们大多采用手工缝制和刺绣方式制作。戏服采用传统图案所以具有很高的审美价值。<br /> <br /> Often the most recognizable feature of Beijing Opera, the costumes are brilliant in color and design. They are mostly made using hand sewing and embroidery. As the traditional Chinese patterns are adopted, the costumes are of a high aesthetic value.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 10:07, 22 November 2020 (UTC)<br /> <br /> 2.《贵妃醉酒》是梅兰芳的代表作之一。梅兰芳生动地表演出贵妃的失意、醉后的媚态和美貌，使此剧名声大噪。戏中有许多高难度动作，包括只用牙齿咬住杯子喝水，向后弯腰把水杯放在托盘上等。<br /> <br /> The Drunken Concubine is one of the masterpieces by Mei Lan-Fang. Mei had made this play famous by his vivid performance reflecting the concubine's disappointment, her drunken charming, and her beauty. There are many movements difficult to perform, including drinking a cup with the performer's teeth only and placing the cup on the tray by bending over backwards.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 10:07, 22 November 2020 (UTC)<br /> <br /> 3.中国杂技有极大的适应性，表演形式、场所多样化。广场、剧场、街巷、客房，多至百人大荟萃，小至一人的现场即席献艺。正是这种广泛的适应性使其能千古犹存。<br /> <br /> Chinese acrobatics is extremely adaptable, with diverse performance forms and venues. It can be performed in squares, theaters, alleys, and guest rooms, in large gatherings of hundreds of people, or as small as a one-man live performance. It is this wide adaptability that has enabled it to survive for thousands of years.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 10:07, 22 November 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> 1.中国的传统戏曲京剧形成于道光年间，最初是被封建统治者称之为俚俗文化而加以排斥的。随着京剧艺术的日臻完美，以及京剧社会地位的日益提高，清朝统治者对京剧也逐渐发生了兴趣，从而使京剧进入了宫廷。<br /> <br /> Beijing opera, the traditional Chinese opera, was formed during the Daoguang period and was initially rejected by the feudal rulers as slang culture. As the art of Beijing opera became more and more perfect and its social status gradually increased, the rulers of the Qing Dynasty gradually became interested in it, which brought Beijing opera into the court.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 07:50, 20 November 2020 (UTC)Zou Xinyu<br /> <br /> Beijing opera, one of the schools of traditional Chinese opera, took shape during the Daoguang period. Considered as a slang culture, it was repeled by the feudal rulers. As Beijing opera grew more mature and its social status increased, the rulers of the Qing Dynasty gradually became interested in it, thus bringing it into the court.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:59, 22 November 2020 (UTC)<br /> <br /> 2.梅兰芳的一生，体现了不断革新、精益求精的敬业精神，他将诸多艺术领域的创作思想融于了京剧艺术舞台表演之中，使京剧旦行的唱腔、表演艺术臻于完美的境界，成为旦行中影响深远的流派。<br /> <br /> Mei Lanfang’s life embodies the professionalism of continuous innovation and excellence. He has integrated creative ideas in many artistic fields into the stage performances of Beijing Opera, making the singing and performing arts of Beijing Opera a perfect realm, and thus has bacome the most influential genre in the Danish industry.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 07:50, 20 November 2020 (UTC)Zou Xinyu<br /> <br /> During Mei’s whole life, he embodied the dedication spirit of continuously pursuing innovation and excellence. He has integrated creative artistic ideas into the performances of Beijing Opera and perfected its singing and performing arts, making Mei’s school a far-reaching one of Dan.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:59, 22 November 2020 (UTC)<br /> <br /> 3.汉代杂技的卓越成就，首先表现在它的各种节目已成系列，具备了后世杂技体系的主要内容，这在全世界各国的表演艺术中，恐怕是绝无仅有的。<br /> <br /> The outstanding achievements of acrobatics in the Han dynasty are first manifested in the series of its various programs which have the main content of the acrobatics system of later generations. And that is probably unique in the performing arts of various countries in the world.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 07:50, 20 November 2020 (UTC)Zou Xinyu<br /> <br /> The outstanding achievements of acrobatics in the Han dynasty are first manifested in its programs systems which cover the main content of the acrobatics system of later generations. And that is rarely seen in the performing arts of other countries.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:59, 22 November 2020 (UTC)<br /> <br /> ==Zubareva, Ekaterina==<br /> <br /> 1.Beijing Opera is developed from absorbing many other dramatic forms, mostly from the local drama 'Huiban' which was popular in South China during the 18th century. It is a scenic art integrating music, performance, literature, aria, and face-painting.<br /> <br /> 京剧是从吸收许多其他戏剧形式而发展而来的，主要是从18世纪在华南流行的本地话剧《回班》中获得的。 这是一种结合了音乐，表演，文学，咏叹调和面部绘画的风景艺术。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:21, 21 November 2020 (UTC)<br /> <br /> 京剧是在吸收了许多其他戏曲形式的基础上发展起来的，主要是从18世纪流行于中国南方的地方戏曲“徽班”中发展而来。这是集音乐、表演、文学、咏叹调、脸谱于一体的舞台艺术。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:01, 21 November 2020 (UTC)<br /> <br /> 2.He played mostly female roles, becoming especially known for his portrayal of the “Flower-Shattering Diva”; his style of dance won such acclaim over the years that it came to be known as the “Mei Lanfang school.”<br /> <br /> 他主要扮演女性角色，以对“花碎女神”的刻画而闻名。 多年来，他的舞蹈风格广受赞誉，因此被称为“梅兰芳学校”。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:21, 21 November 2020 (UTC)<br /> <br /> 他主要扮演女性角色，并因其在《天女散花》的表演而闻名。多年来，他的舞蹈风格广受赞誉，因此被称为“梅派”。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:01, 21 November 2020 (UTC)<br /> <br /> 3.Chinese acrobats tend to emphasize balance and extreme flexibility more than the troupes do in Russia or the West. This might be due to the influence of martial arts styles that emphasize developing fine flexibility and balance.<br /> <br /> 中国杂技演员比俄罗斯或西方的剧团更强调平衡和极端的灵活性。 这可能是由于武术风格的影响，强调发展出良好的柔韧性和平衡感。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:21, 21 November 2020 (UTC)<br /> <br /> 中国杂技演员比俄罗斯或西方的剧团更强调平衡和极度柔韧性。这可能是受武术的影响，即在武术中强调发展良好的柔韧性和平衡感。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:01, 21 November 2020 (UTC)</div>

Qu Miao https://bou.de/u/index.php?title=20201215_cultexam&diff=104834 2020-11-19T08:35:11Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> <br /> You can use the texts in the coursebook as an example (like Unit 1, Text A). Please write the text and indicate ALL SOURCES with bibliographical references. Please also add a vocabulary list and questions.<br /> <br /> ==Alsied, Saffana==<br /> &quot;Chinese Astrology&quot;--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 17:07, 18 November 2020 (UTC)<br /> <br /> ==Cao Runxin 曹润鑫==<br /> '''Spring Festival Couplets'''<br /> <br /> ==Chen Han 陈涵==<br /> <br /> Chinese traditional musical instrument <br /> <br /> Gu Zheng --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:26, 2 November 2020 (UTC)<br /> <br /> ==Chen Jingjing 陈静静==<br /> ===A. Facial makeup===<br /> <br /> ===B. Terms and Expressions===<br /> ===C. Questions===<br /> <br /> ==Dashkin, Gennadii==<br /> === Four Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy===<br /> <br /> 1.Liu Cixin（刘慈欣）<br /> <br /> 2.Chen Qiufan( 陈楸帆 ）<br /> <br /> 3.Rebecca F.Kuang( 匡蘦秀）<br /> <br /> 4.Li Jun(李俊）or Baoshu(宝树）<br /> <br /> <br /> ===Vocabulary List===<br /> ===Questions===<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> Lion dance<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> ===A. The Eight Tang-Song Prose Masters===<br /> The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. <br /> Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the &quot;Ancient Prose Movement&quot;. Su Shi, Su Xun and Su Zhe are called Three Su. Among them. Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong.<br /> In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.<br /> '''1.Han Yu'''<br /> '''2. Liu Zongyuan'''<br /> '''3. Ouyang Xiu'''<br /> '''4. Su Xun'''<br /> '''5. Su Shi'''<br /> '''6. Su Zhe'''<br /> '''7. Wang Anshi'''<br /> '''8. Zeng Gong'''<br /> <br /> ===B. Terms and Expressions===<br /> The Eight Tang-Song Prose Masters 唐宋八大家 <br /> Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》<br /> Ancient Prose Movement 古文运动<br /> parallel prose 骈文<br /> <br /> ===C. Questions===<br /> <br /> ==Gao Mingzhu 高明珠==<br /> Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==Grosheva, Anna==<br /> === Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === <br /> <br /> 1. Huli-jing (狐狸精) in China<br /> <br /> 2. Kitsune (キツネ) in Japan <br /> <br /> 3. Kumiho (구미호) in Korea<br /> <br /> ===Vocabulary List=== <br /> ===Questions===<br /> <br /> ==Gu Dongfang 顾东方==<br /> Chinese Characters<br /> <br /> ==Guan Qinqing 管钦清==<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> Chinese Mythology <br /> <br /> A. Pan Gu Created the Universe<br /> <br /> B. Nu Wa Created Human Beings<br /> <br /> C. Fushi Taught the People <br /> <br /> D. Yu Rebuilt the Earth<br /> <br /> ==Gui Yizhi 桂一枝==<br /> Chinese gods and immortals--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 16:09, 8 November 2020 (UTC)<br /> <br /> ==Guo Lu 郭露==<br /> <br /> ===Eight Masters in Tang and Song Dynasties===<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> The culture of Red envelope and Lucky money--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 09:02, 2 November 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> the 24 solar terms--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 09:46, 2 November 2020 (UTC)<br /> <br /> ==Hu Baihui 胡百辉==<br /> ===Collection of Yue Fu Poetry《乐府诗集》===<br /> <br /> ==Hu Jin 胡瑾==<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> ==Kang Haoyu 康浩宇==<br /> ===Chinese Red Culture===<br /> Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.<br /> <br /> 1. Development<br /> <br /> 2. Values<br /> <br /> 3. Red Culture in Nanchang<br /> <br /> ===Vocabulary List===<br /> ===Questions===<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> Four satirical novels in ancient China--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 08:22, 9 November 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Lili 李丽丽==<br /> Shadow Puppets(皮影戏)<br /> <br /> ==Li Liqin 李丽琴==<br /> Confucian culture 儒家文化 --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:44, 15 November 2020 (UTC)<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> Qian Zhongshu--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:19, 9 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> 相声 Cross Talk<br /> <br /> ==Liu Yi 刘艺==<br /> Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> The four most handsome men in ancient China<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> The Four Grottoes of China--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:23, 2 November 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> '''Ancient Chinese Education'''<br /> <br /> '''1. The History of Ancient Education'''<br /> <br /> '''2.Classification of Ancient Chinese Education'''<br /> <br /> '''3.Civil Service Examination System'''<br /> <br /> '''4.Ancient China Academies'''<br /> --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 08:27, 2 November 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> '''The Imperial Palace'''--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> '''Chinese Marriage Customs'''--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 08:24, 2 November 2020 (UTC)Mo Ling<br /> <br /> '''A.Procedures'''<br /> <br /> '''B.Development'''<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> '''Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam'''<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> '''Twelve Animals of the Chinese Zodiac''' --Ouyang Ling<br /> <br /> '''A.Origin'''<br /> <br /> '''B.Development'''<br /> <br /> '''C.Influence'''<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> Green Tea--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> [[File:Example.jpg]]==Phyo, Su Kyi==<br /> <br /> Chinese Traditional clothing Phyo Su Kyi talk 5-11-202<br /> <br /> ==Pingki, Tanchangya==<br /> Chinese traditional dance--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 02:46, 12 November 2020 (UTC)<br /> <br /> ==Phyo, Su Kyi==<br /> Chinese Traditional clothing<br /> 1- History<br /> 2- Different types of style <br /> <br /> Vocabulary <br /> Questions<br /> <br /> ==Qu Miao 瞿淼==<br /> Taoism--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:35, 19 November 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ==Seydou, Sagara==<br /> <br /> ==Shi Haiyao 石海瑶==<br /> The Four Talented Women of Ancient China<br /> (中国古代四大才女)<br /> <br /> A.Cai Wenji 蔡文姬<br /> <br /> B.Zhuo Wenjun 卓文君<br /> <br /> C.Li Qingzhao 李清照<br /> <br /> D.Ban Zhao 班昭<br /> <br /> ----<br /> <br /> ==Si Yu 司妤==<br /> <br /> The Four New Great Inventions In Contemporary China--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 08:44, 16 November 2020 (UTC)<br /> <br /> 1.High-Speed Rail<br /> <br /> 2.Online Shopping<br /> <br /> 3.Alipay<br /> <br /> 4. Sharing Bike<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> Five famous mountains.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:00, 9 November 2020 (UTC)<br /> <br /> 1.Mount Song<br /> <br /> 2.Mount Tai <br /> <br /> 3.Mount Hua <br /> <br /> 4.Mount Heng<br /> <br /> 5.Mount Heng<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> Dining Etiquette and Table Manner<br /> <br /> ==Wang Meiling 王美玲==<br /> The three major home applicance companies--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 08:33, 19 November 2020 (UTC)<br /> <br /> 1.Midea<br /> <br /> 2.Gree<br /> <br /> 3.Haier<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> China‘s Four New Inventions--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:24, 3 November 2020 (UTC)<br /> <br /> 1. High-speed rail <br /> <br /> 2. Scanning code payment<br /> <br /> 3. Sharing bikes<br /> <br /> 4. Online shopping<br /> <br /> ==Wu Yilu 吴一露==<br /> Four Domestic Mobile Phones <br /> <br /> 1. Huawei<br /> <br /> 2. Mi<br /> <br /> 3. Vivo<br /> <br /> 4. OPPO<br /> <br /> --[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 15:26, 18 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> Chinese Dialects方言<br /> <br /> 1.Cantonese<br /> <br /> 2.Hunan dialect<br /> --[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 08:23, 9 November 2020 (UTC)Wu Zijia<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> ==Xiao Ting 肖婷==<br /> Su Shi (January 8, 1037 –August 24, 1101), also known as Su Tungpo, was a Chinese writer, poet, painter, calligrapher, pharmacologist, gastronome, and a statesman of the Song dynasty. <br /> A B C D<br /> <br /> ==Xie Fan 解帆==<br /> <br /> ==Xu Jia 徐佳==<br /> Four Folk Stories of China 中国民间四大传说--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 09:03, 8 November 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许静==<br /> '''Four Great Pavilions'''--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 06:21, 9 November 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> Chinese 4 great towers<br /> A. origin<br /> B. development<br /> --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:17, 2 November 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> Nanjing, An Ancient Capital of Six Dynasties--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 08:28, 2 November 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> The Five Constant Virtues<br /> A Benevolence<br /> <br /> B Righteousness<br /> <br /> C Propriety<br /> <br /> D Wisdom<br /> <br /> F Fidelity<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> Cheongsam--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:16, 2 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> Stinky Tofu<br /> <br /> ==Yi Zichu 义子楚==<br /> Panda--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 14:26, 2 November 2020 (UTC)<br /> <br /> ==You Yuting 游雨婷==<br /> '''Legalism'''--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 08:29, 18 November 2020 (UTC)<br /> <br /> '''1.Representative figures'''<br /> <br /> '''2.Values'''<br /> <br /> '''3.Works'''<br /> <br /> '''References'''<br /> <br /> '''Vocabulary List'''<br /> <br /> '''Questions'''<br /> <br /> ==Yu Ni 余妮==<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> Milk Tea--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 14:42, 2 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> Qingming Riverside Landscape Garden<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> Batik<br /> History<br /> <br /> Types<br /> <br /> Technical Process<br /> <br /> Materials <br /> <br /> Patterns<br /> --[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 08:38, 10 November 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> Ancient Chinese weapons中国古代兵器--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:04, 9 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Terra-Cotta Warriors --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 02:32, 3 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> bonsai 盆景<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> Rural Tourism in China --[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 08:22, 2 November 2020 (UTC)Zhang Weihong<br /> &quot;Nong Jia Le&quot;<br /> 1. Introduction <br /> 2. Development <br /> 3. Models <br /> 4. Discussion <br /> 5. Tips for trips<br /> <br /> ==Zhang Yinliu 张银柳==<br /> San Mao -三毛 OR Four Buddhist Shrines - 佛教四大名山<br /> <br /> ==Zhang Yu 张瑜==<br /> '''A.The Four Great Inventions'''<br /> <br /> The Four Great Inventions, as symbols of ancient China's advanced science and technology, are inventions that are celebrated in Chinese culture for their historical significance. They include papermaking, compass, gunpowder and printing.<br /> <br /> '''1. Papermaking'''<br /> <br /> Papermaking has traditionally been traced to China about AD 105, when Cai Lun, an official attached to the Imperial court during the Han Dynasty (202 BC-AD 220), created a sheet of paper using mulberry and other bast fibres along with fishnets, old rags, and hemp waste. However, a recent archaeological discovery has been reported from Gansu of paper with Chinese characters on it dating to 8 BC. <br /> The invention of papermaking technology is one of the most outstanding contributions made by the Chinese people to the world civilization. It is not only a revolution in writing materials, but also a perquisite for the subsequent invention of typography. (Fan 2015, 161)<br /> <br /> '''2. Compass'''<br /> <br /> A lodestone compass was used in China during the Han Dynasty between the 2nd century BCE and 1st century CE, where it was called the &quot;south-governor&quot;(Si Nan).<br /> [[File:Ming_Compass.jpg|250px|thumb|left|Diagram of a Ming dynasty mariner's compass, Public Domain license by Wikimedia. Click [https://en.wikipedia.org/wiki/Four_Great_Inventions#/media/File:Ming-marine-compass.jpg] for original source.]]<br /> <br /> '''3. Gunpowder'''<br /> <br /> Gunpowder was invented in the 9th century by Chinese alchemists searching for an elixir of immortality. By the time the Song Dynasty treatise, Wujing Zongyao, was written by Zeng Gongliang and Yang Weide in 1044, the various Chinese formulas for gunpowder held levels of nitrate in the range of 27% to 50%.<br /> <br /> '''4. Printing'''<br /> <br /> Printing in Northern China was further advanced by the 11th century, as it was written by the Song Dynasty scientist and statesman Shen Kuo (1031–1095) that the common artisan Bi Sheng (990-1051) invented ceramic movable type printing.<br /> <br /> '''References'''<br /> *Fan, Jialu, Han, Qi, Wang, Zhaochun, Dai, Nianzu. &quot;The four great inventions.&quot; A History of Chinese Science and Technology. Springer, Berlin, Heidelberg, 2015. 161-299<br /> *Andrade, Tonio, ed. (2016). The Gunpowder Age: China, Military Innovation, and the Rise of the West in World History. Princeton: Princeton University Press.<br /> *Boruchoff, David A. (2012), &quot;The Three Greatest Inventions of Modern Times: An Idea and Its Public&quot;, in Hock, Klaus, Gesa; Mackenthun (eds.), Entangled Knowledge: Scientific Discourses and Cultural Difference, Münster: Waxmann, pp. 133–163, ISBN 978-3-8309-2729-7<br /> *Buchanan, Brenda J., ed. (2006). Gunpowder, Explosives and the State: A Technological History. Aldershot: Ashgate. ISBN 0-7546-5259-9.<br /> *Deng Yinke (2005). Ancient Chinese Inventions. Translated by Wang Pingxing. Beijing: China Intercontinental Press. ISBN 7-5085-0837-8.<br /> *Li Shu-hua (1954). &quot;Origine de la Boussole 11. Aimant et Boussole&quot;. Isis. Vol. 45 no. 2: July. Oxford. pp. 175–196.<br /> *Needham, Joseph (1962). Physics and Physical Technology, Part 1, Physics. Science and Civilisation in China. Volume 4. Cambridge, England: Cambridge University Press.<br /> *Needham, Joseph, ed. (1985). Chemistry and Chemical Technology, Part 1, Tsien Hsuen-Hsuin, Paper and Printing. Science and Civilisation in China. Volume 5. Cambridge: Cambridge University Press.<br /> *Needham, Joseph, ed. (1994). Chemistry and Chemical Technology, Part 7, Robin D.S. Yates, Krzysztof Gawlikowski, Edward McEwen, Wang Ling (collaborators) Military Technology; the Gunpowder Epic. Science and Civilisation in China. Volume 5. Cambridge: Cambridge University Press.<br /> * &quot;World Archaeological Congress eNewsletter 11 August 2006&quot; (PDF). [http://worldarch.org/wp-content/uploads/2009/05/enews_11.pdf]<br /> <br /> '''Vocabulary List'''<br /> *The Four Great Inventions 四大发明<br /> <br /> '''Questions'''<br /> *When was paper invented? (8 BCE)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> ==Zhao Xi 赵茜==<br /> Four Treasures of the Study 文房四宝<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> Chinese Fairy Tales<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> ===Kunqu Opera===<br /> <br /> <br /> <br /> ===Vovabulary list===<br /> <br /> ===Questions===<br /> --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:42, 9 November 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> Chinese screen（中式屏风）<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> Classical Chinese Doors &amp; Windows --[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 09:27, 7 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> Yuelu Academy--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 02:29, 5 November 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> '''Chinese Paper Currency'''--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 07:51, 11 November 2020 (UTC)Zou Xinyu<br /> <br /> '''1.Jiaozi(A Paper Currency in Northern Song Dynasty)'''<br /> <br /> '''2.Huizi(A Paper Currency in Southern Song Dynasty）'''<br /> <br /> '''3.The Paper Currency in Qing Dynasty'''<br /> <br /> '''4.The Paper Currency in the Chinese Soviet Area Period'''<br /> <br /> '''5.Renminbi'''<br /> <br /> '''References'''<br /> <br /> '''Vocabulary List'''<br /> <br /> '''Questions'''<br /> <br /> ==Zubareva, Ekaterina==<br /> '''Chinese traditional make up--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 15:02, 14 November 2020 (UTC)<br /> '''<br /> <br /> '''I.Base make up'''<br /> <br /> '''II.Color make up'''<br /> <br /> '''III.Tang dynasty make up'''<br /> <br /> '''References'''<br /> <br /> '''Vocabulary List'''<br /> <br /> '''Questions'''</div>

Qu Miao https://bou.de/u/index.php?title=20201116_trans&diff=104544 2020-11-15T15:45:06Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> '''WOESLER, Martin'''<br /> <br /> '''Prof. Dr. Martin Woesler (University Rome III/Witten University)'''<br /> <br /> '''The Waves of the Stone –''' <br /> <br /> '''Early Reception Between Instrumentalization and Exoticization'''<br /> <br /> '''Abstract'''<br /> <br /> The fame of the ''Dream of the Red Chamber'' spread quickly not across Asia, but also to Europe and the USA. This paper introduces the roles and motifs of different actors in the early distribution, like merchants, Western embassies, Chinese teachers of Western missionaries, missionaries themselves, translators, early Sinologists as well as literary critics. I introduce judgements on the novel before it was available in translation.<br /> <br /> 马丁·沃斯勒<br /> <br /> '''教授 Martin Woesler博士（罗马第三大学/维滕大学）'''<br /> <br /> 摘要<br /> <br /> 一“石”激起千层浪—西方早期以工具化和边缘化为核心的中国文学接受<br /> <br /> “红楼梦”不仅风靡亚洲，而且还名扬欧美。 本文介绍了早期版本中不同人物的角色和主题，例如商人，西方使馆，西方传教士的中文老师，传教士本身，译者，早期汉学家和文学评论家。 在介绍这本小说的翻译版本之前，我先介绍一下它的判断。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:05, 15 November 2020 (UTC)<br /> <br /> ==Chang Huiyue 常慧月==<br /> <br /> As motifs I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc. I show a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society. Of special interest are misunderstandings (Gützlaff) and deviations from the original (Kuhn, Minford).<br /> <br /> 对于主题，我确定了异国情调（时尚和穿着习惯别样风情的乐趣）、普遍化（世界文学）、小说的工具化（作为文学假设的证据）（戴维斯的诗歌）、语言学习的工具化等。我呈现了主题随时间而产生的变化，从使用异国情调和工具化证明了西方小说的劣势，到接纳小说为世界文学和中国文化的杰作，对记录中国社会具有特殊价值。特别令人感兴趣的是误解（古茨拉夫）和与原著的偏离（库恩，明福德）。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 10:12, 15 November 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> <br /> '''Key words'''<br /> <br /> Dream of the Red Chamber, Western translation, Western dissemination, Western reception, instrumentalization, exotization, deviation<br /> <br /> '''First (unproven) experiences of young Cao Xueqin with foreign literature'''<br /> <br /> In 1947 the graduate student Huang Long from then Jinling University quoted the following passage from the book Dragon's Imperial Kingdom, which he claimed to have borrowed from the Central Library (today’s Nanking Library), in which William Winston ‘remembers’ an encounter of his grandfather Philip Winston with Cao Xueqin:<br /> <br /> '''关键词'''<br /> <br /> 《红楼梦》；西方翻译；西方传播；西方接受；工具化；异国化；偏差<br /> <br /> '''青年曹雪芹外国文学初探（未证实）'''<br /> <br /> 1947年，金陵大学的研究生黄龙在国立中央图书馆（今南京图书馆）借阅了《龙之帝国》一书，并引用了该书中的一段资料，此书写道威廉·温斯顿“记得”祖父菲利普·温斯顿曾与曹雪芹会面：--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:22, 15 November 2020 (UTC)<br /> <br /> ==Chen Hui 陈惠==<br /> <br /> &quot;The imperial kingdom was symbolized by a five-clawed golden dragon, a legendary reptile nonexistent since Creation. Of her indigenous produces shantung commanded the broadest popularity. This rendered her to merit the credit ‚Land of Silk’ in the Orient. There has been cherished as our precious heirloom a piece of home-spun fabric with an ornamental pattern of &quot;dragon and phoenix&quot; manufactured at Kiangning Textile Mill. It survived fires and swords. During my grandfather Philip's sojourn in China for trade in textiles, he contracted an acquaintance with Mr. Tsao Fu, the then Superintendent of Kiangning Textile Mill, and at the latter's request served as an initiator of textile technology.<br /> <br /> ==Chen Jiangning 陈江宁==<br /> <br /> The host was hospitality incarnate and oftentimes indited extempore verses in token of rapport. As a reply, my grandfather delivered Biblical sermons and gave a graphic narration of Shakespeare's dramas. For audience he had merely those other than the juvenile and feminine. On the score of eavesdropping, Tsao’s pampered son suffered a lashing and castigation&quot;.[ Philip Winston: Dragon's Imperial Kingdom, Douglas 1874, p. 53. Quoted from: 吴新雷, 黄进德《曹雪芹江南家世考》，福建人民出版社, 1983, 304 pp., here pp. 103-104. See also:馬幼垣（Yau-Woon Ma）《實事與構想: 中國小說史論釋》，聯經出版事業股份有限公司, 2007年，384页。See also: 周汝昌《曹雪芹新传》外文出版社(1992)²1997, 353pp., here p. 101.]<br /> 主人是热情好客的化身，并且经常当场创作诗歌以示融洽。作为回应，我的祖父也会分享圣经讲道，并对莎士比亚戏剧作了图形叙述。他的观众往往只有青少年和女性。曹雪芹那骄纵的儿子由于偷听，遭到了曹先生的鞭打和斥责。[菲利普·温斯顿：《龙的帝国》，道格拉斯 1874,53页。引自Wu Xinlei, HuangJinde &quot;Cao Xueqin Jiangnan Family History&quot;, Fujian People's publishing House,1983,304页,103-104页。 还引自：Yau-Woon Ma &quot;&quot;Facts and Ideas: Historical Commentary on Chinese Fiction&quot;, Lianjing Publishing Co.,LTD,2007, P384. 还引自：Zhou Ruchang &quot;A New Biography of Cao Xueqin&quot; Foreign language Press(1992)²1997, 353页。101页。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:02, 14 November 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> <br /> If this encounter has been made up, it shows how much effort Redology invested to come to new findings, if not, it may explain some of the special characteristics of the novel never seen in Chinese literature before.<br /> <br /> '''Status of the book before its publication'''<br /> <br /> Between 1754 and 1771 we have one new manuscript version per year in average and almost each manuscript carries new comments mostly from 脂砚斋 or from 畸笏叟. The author died on Feb 1, 1764, which did not end the commenting on the manuscripts.<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> <br /> <br /> The book was not officially published, but that did not prevented it from dissemination, as manuscript fragments were handed around since the 1750s and the novel was known to many scholars before its publication in 1791.<br /> <br /> The preface to the 2nd edition in 1792 also points to the fact, that there had been a “long” tradition of scholarly research of the book and comments. These comments had not been taken over for the 1st and 2nd edition.<br /> <br /> 这本书并没有正式出版，但这却并未影响其传播，因为自18世纪50年代以来部分手稿已经流传开来，且这本小说在1791年出版前就已经为许多学者所熟知。<br /> 1792年第二版的序言中也指出，该书和评论的学术研究历史悠久。这些评论还未被第一版和第二版所采用。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 06:34, 15 November 2020 (UTC)Chen Jingjing<br /> <br /> 该书没有被正式出版，但这并不影响它广泛流传开来，因为自1750年起该书的部分手稿就已经为人们津津乐道，并且小说在1791年出版之前就已经为众多学者熟知。<br /> 1792年第二版的前言部分也指出了这一事实，学者对于该书的研究和评价早已经历了很长一段时间。这些评价还未被第一版以及第二版所采用。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 07:22, 15 November 2020 (UTC)<br /> <br /> 这本书没有正式出版，但这并不影响其传播，因为部分手稿自18世纪50年代就已经流传开来，并且这部小说早在1791年出版之前就已经为许多学者所熟知。<br /> 1792年第二版的序也指出，对该书及其评论的学术研究有着悠久的传统。这些评论在第一版和第二版中还未被采纳。--[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 10:13, 15 November 2020 (UTC)<br /> <br /> ==Chen Sha 陈莎==<br /> '''From inofficial manuscript versions to the printed book'''<br /> <br /> One of the reasons why the book was not printed was that it was (wrongly) considered either sexually explicite literature (淫书) or against Confucianism, which could only passed on in manuscript versions. <br /> <br /> Gao E claims in his preface of 1791, that he had heared before 1771 from this novel and that he checked whether it was against Confucianism, but could not find anything like this in it, so that it could be published.<br /> <br /> <br /> “从非官方手抄本到印刷版”<br /> 这本书未被印刷出版，原因之一是人们要么误认为它是淫书要么误认为它反对儒家思想,所以它只能以手抄本的形式通行。<br /> 高鹗在其1791年所做的序中说，他在1771年之前就已经听说过这部小说了，并且对这部小说是否反对儒家思想进行了审查，但没有发现诸如此类的东西，所以《红楼梦》就出版了。--[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 10:16, 15 November 2020 (UTC)<br /> <br /> 从非官方手抄本到印刷版<br /> <br /> 本书未能出版的原因之一是当时的人将其误认为是淫书或反孔书籍，因此只能以手抄本的形式流传。高鹗1791年在书的序言部分写道自己1771年前就对这部小说略有耳闻，还检查了书中是否有反孔言论，结果却没发现此类言论。因此，本书得以出版。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 10:51, 15 November 2020 (UTC)<br /> <br /> ==Chen Sunfu 谌孙福==<br /> <br /> “One of the best works of fiction in Chinese literature was supposed to have been written by a member of this sect, and was suppressed by the Emperor because of offensive references to the reigning family contained in it. It was called the ‘Hung Lou Meng,’ or ‘Dream of the Red Chamber,’ and it resembles a large number of fairy tales threaded together rather than a modern novel. By an ingenious substitution of false characters, words, occasionally throughout certain portions of the work—something like incorrect spelling —the imperial interdict was evaded, and it has continued in print and popularity down to the present day. Foreign students of Chinese commonly read a portion of it, the smooth and excellent style making it an invaluable text-book.”[ See: He Tianyue 何天爵: ''The real Chinese question'' (真正的中国问题), New York: Dodd，Mead &amp; Co. 1900, 386 pp., here p. 109.]<br /> <br /> “中国文学界有这样一部优秀小说，这部小说应出自此派作家之手，却因书中一些针对统治者的冒犯言辞遭到了皇帝的反对和打压。这部书就是《红楼梦》（Hung Lou Meng/Dream of the Red Chamber)此书更像是由大量神话故事拼凑而成，而非一部现代小说。通过巧妙替换书中的虚拟人物、错别字以及有时通篇出现的拼写错误，此书躲过了皇家控诉，得以继续出版，其知名度绵延至今。学习汉语的外国学生常阅读书中的一小段，其流畅的行文和绝佳的风格使其成为了一部颇具价值的教科书。”[见：何天爵：真正的中国问题,纽约:Dodd,Mead &amp; Co.1900, 386pp.,here p. 109]--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 09:35, 15 November 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> '''Preparations of the 1st book edition'''<br /> <br /> Gao E worked with Cheng Weiyuan, who ran the publishing house Suzhou Cuiwen Press (苏州萃文书屋). <br /> <br /> According to the preface to the 1791 edition by Cheng Weiyuan, different 80 chapter manuscript versions were already circulating, some were sold for a high price at the Temple Market, others were copied by readers. Since the 80 chapter manuscript versions already contained content lists with 120 chapter headlines, he searched for and found (as he pretended) the 120 chapters.<br /> <br /> 程甲本的准备工作<br /> <br /> 高鹗与苏州萃文书屋的程伟元合作<br /> <br /> 根据程伟元1791年版的序言所知，早有80多种不同版本的手稿流传在世，有些在庙会高价出售，有些则被读者抄袭相传。 由于80章回手稿版本包含有120章回标题的内容，因此他搜寻到了（假称）120个章回的版本。<br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:30, 15 November 2020 (UTC)<br /> <br /> ==Cheng Yusi 成于思==<br /> <br /> In the preface to the first printed edition he already refers to an existing number of readers, who share the love of the book with him. Also his description that some readers took over the effort to copy the book by handwriting shows that an early fan culture existed even before the printed version appeared.<br /> <br /> Also, Cheng Weiyuan keeps the question of the authorship open, but points directly to Cao Xueqin, who claimed to have worked 10 years on the novel and rewritten it five times. The rewriting may refer to the production of new manuscript versions reflecting the ideas of the commentators.<br /> <br /> <br /> 在首印本的序言中，程伟元已经提到了现存的读者群，他们与之分享了对此书的喜爱之情。 此外，程伟元还描述到读者竭尽所能手抄《红楼梦》的现象，这表明在印刷本发行之前就有了粉丝文化的存在。<br /> <br /> 另外，程伟元公开表明了对此书作者身份的质疑，不过，他也直接指明了曹雪芹，其称在这本小说上耗费十载光阴，反复写作五次。复写本可能指的是新版手抄本的发行，书中反映了评论者的观点。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 15:57, 14 November 2020 (UTC)<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> <br /> '''1st Book edition 1791:''' 程甲本 Cheng A edition<br /> <br /> According to the preface to the 2nd edition 1792, these early fans were called collectors and the 1st edition was produced with movable characters, which was faster than the woodblock print. The book contained 99 illustrations and more than 100 copies were printed. The first edition might have been printed in Peking at the end of 1791, the 2nd in early 1792 in Suzhou, leaving 72 days between the two editions, which may show that the Peking edition was sold out immediately. The 1791 edition was also soon translated into Mongolian: 蒙古王府本 Menggu ben.<br /> <br /> '''1791年第一版:''' 程甲本 <br /> <br /> 根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用可移动的字符制作，这比木刻版画要快。 该书包含99幅插图，被印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京印刷版立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:18, 13 November 2020 (UTC)<br /> <br /> '''1791年第一版:''' 程甲本 <br /> <br /> 根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用活字印刷制作，这比木刻印刷要快。 该书包含99幅插图，印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京的这一版一经印刷立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:32, 13 November 2020 (UTC)Xu Pengfei<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> '''2nd Book edition in 1792:''' 程乙本 Cheng B edition<br /> <br /> A second edition, with ‘corrections’ some consider mistakes today, was published in 1792 in Suzhou and sold well too. The 2nd edition claims to have removed many mistakes of the 1st edition.[ For an overview of the comparison of the two editions please refer to: 《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.] One of the differences is that the 程乙本 Cheng B edition changed expressions in ancient wenyan to more contemporary ones, like “索” was turned into “要”, “趁” into “赶”, “题” into “写”, “端” into “头”, “闻得” into “听见”, “记挂” into “惦记”, “殊不知” into “那里知道” etc., but not in every case. Altogether they changed roughly 20,000 characters.<br /> <br /> 1792年第二版：程乙本<br /> <br /> 第二版于1792年在苏州出版，也取得了很好的销量。在第二版当中，做出了一些修正，尽管这些修正在如今被认为是错误的。第二版声称修正了第一版中的诸多错误。[关于两个版本比较的概述，请参阅：《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.]不同点之一是程乙本将一些古文言文表达转化为了更为现代的表达，比如将“索”改成了“要”，“趁”改成了“赶”，“题”改成了“写”，“端”改成了“头”，“闻得”改成了“听见”，“记挂”改成了“惦记”，“殊不知”改成了“那里知道”等,但它并没有对所有的表达进行修改。修改字数总计约达20000。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:40, 13 November 2020 (UTC)<br /> <br /> 1792年第二版：程乙本<br /> <br /> 第二版于1792年在苏州出版，也取得了很好的销量。在第二版中，做了一些修正，尽管这些修正在今天看来有些错误。第二版修正了第一版中的诸多错误。[关于两个版本比较的概述，请参阅：《《红楼梦》程乙版研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33].其中一点不同是程乙本将一些文言文表达转换成了更加现代的形式，如将“索”改成了“要”，“趁”改成了“赶”，“题”改成了“写”，“端”改成了“头”，“闻得”改成了“听见”，“记挂”改成了“惦记”，“殊不知”改成了“那里知道”等。但并不是所有的文言文均被修改，修改字数共计20000字左右。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 15:19, 15 November 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> <br /> There is also a change of the list of confiscated goods. What might have been the reason in this particular case to change the list of confiscated goods for the Cheng B edition? The list in the Jiaben is a documentation of richness and therefore lets the confiscation seem to be justified because of unjustified enrichment. In the Yiben, the list starts with mostly religious items like, Buddha statues, this lets the confiscation appear unjustified and shifts the sympathies of the reader towards the family. In the late 18th century, there was a turn towards Buddhism.<br /> <br /> 没收货物的清单也有所变化。 在这种特殊情况下，在程乙本版本中改变没收货物清单的原因可能是什么呢？ 甲本中的清单是丰富性的文件，因此让没收由于不合理的丰富性看起来是合理的。 在乙本中，清单的开头主要是像佛像这样的宗教物品，这使没收显得不合理，并使读者的同情心转向了家庭。 在18世纪末，人们转向了佛教。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 14:30, 15 November 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> <br /> Many umlegitimized copies appeared. The book was delivered to Korea and shipped to Japan, where it was read in its original language.<br /> <br /> The novel created a wave of interest in China comparable to the one of ''The Sorrows of the Young Werther'' in Europe since 1774. The first edition, printed in 1791 in Peking in a small number of copies (estimates range between 4 and 400) was soon sold out.<br /> <br /> 很多非法盗版书出现，盗版书籍运到韩国后，又转海运到日本，在那里，人们阅读的却又是原文。<br /> 小说在中国引起了一波兴趣浪潮，堪比欧洲1774年以来的《少年维特的烦恼》浪潮。1791年，北京 印刷了第一版，数量很少（大约4-400本），很快就一售而空。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:25, 14 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> <br /> Some scholars assume a suicide wave among readers who identified with Lin Daiyu. Many readers discussed whether they identified more with Lin Daiyu or with Xue Baochai, a discussion that lasts until today.<br /> <br /> 一些学者认为，在那些认同林黛玉的读者中可能会引发自杀风波。很多读者都在更加认同林黛玉还是薛宝钗这一问题上进行过讨论，且这个讨论一直持续到了今天。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:52, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 一些学者则认为，这可能会在那些认同林黛玉的读者中引发一场自杀浪潮。许多读者曾探讨过“更认同林黛玉还是薛宝钗的身份”这一问题，直至今天关于这个问题的讨论仍未停止。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:02, 14 November 2020 (UTC)<br /> <br /> 一些学者猜想，与林黛玉有感同身受的读者中可能会有自杀风波。也有许多学者会讨论此种现象是存在于林黛云更多还是薛宝钗更多，且该讨论一直持续到了现在。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 10:14, 15 November 2020 (UTC)<br /> <br /> ==Gong Yumian 龚钰冕==<br /> <br /> '''Spreading to Japan and Korea'''<br /> <br /> Captain王开泰 Wang Kaitai delivered 18 copies of a 9-volume edition of the Dream on December 9, 1793 to Japan, as we can prove in a store list of a Nanking ship arriving in长崎港Nagasaki (which started on November 3 in 乍浦 Zhapu): „红楼梦 九部十八套“.[ From 发货账本, quoted from: 《红楼梦 》在日本.] We know of an early mentioning of the Dream by the Korean author ''Lee'', ''Kyu-Kyung''李圭景 ( 1788- ? 李圭景(이규경)) in the 1830s.[ From 《五洲衍文长笺散稿》卷七《小说 辩证说》, quoted from: 《红楼梦》在韩国的流传和翻译.]<br /> <br /> There were early (partial) translations of the novel into Manchurian.<br /> <br /> 传播到日本和韩国<br /> 1793年12月9日，王开泰船长向日本交付了18册9卷本的《红楼梦》，我们可以在一艘抵达长崎港（11月3日从乍浦出发）的南京船只上的一份发行账本中证明这一点：“红楼梦九部十八套”。[摘自发行账本，引自《红楼梦》在日本。] 我们了解到，19世纪30年代，韩国作家李圭景（Lee Kyu-Kyung，1788-？）最早提起过《红楼梦》。 [摘自《五洲衍文长笺散稿》卷七《小说辩证说》，引自：《红楼梦》在韩国的流传和翻译。] 这本书有部分翻译成了满语。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 15:03, 15 November 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> '''Early Western notions of the book'''<br /> <br /> The novel also caught the attention of Europeans living in China, like the missionaries, who started to translate parts of it into Western languages, as well as the British embassies to China, who collected also Chinese literature, brought it back to Europe or engaged in translation or dissemination.<br /> <br /> 这部小说也引起了生活在中国的欧洲人的注意，比如传教士，他们开始将小说的部分内容翻译成西文，还有英国驻华使馆，他们也收集了中国的文学作品，带回欧洲或从事翻译、传播。<br /> <br /> 西方早期对这本书的看法:<br /> 这部小说也引起了生活在中国的欧洲人的注意，比如传教士开始把它的一部分翻译成西方语言，还有英国驻华大使馆，他们也收集中国文学，把它带回欧洲或从事翻译或传播。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 04:31, 15 November 2020 (UTC)<br /> <br /> ==Guan Qinqing 管钦清==<br /> <br /> The book seems to have run out of stock often and needed to be purchased from other cities, whereever it was available, like in about 1812 in Canton: Robert Morrison, a missionary who worked in Macao, may have been pointed by his Chinese tutor to the novel. In 1816 he published a dialogue between a student (maybe himself) and his Chinese tutor pointing to the time before December 1812, when he translated parts of the novel and therefore had a copy:<br /> <br /> 这本书似乎经常缺货，需要从其他城市购买。一旦什么地方有货，比如在1812年左右的广州，在澳门工作的传教士罗伯特·莫里森（Robert Morrison）就受他导师指示去购买这本小说。1816年，他公布了一位学生（也许就是他本人）与中国家庭教师之间的对话，指出他在1812年之前对该小说部分情节进行了翻译，因此有了以下内容：--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:56, 15 November 2020 (UTC)<br /> <br /> 这本书似乎经常缺货，需要从其他有货的城市购买。比如在1812年左右的广州，在澳门工作的传教士罗伯特·莫里森（Robert Morrison）受他的中国导师指示，购买了这本小说。1816年，罗伯特公布了一位学生（也许就是他本人）与其中国导师之间的对话，对话发生在1812年12月之前，当时他正翻译这本小说的部分内容，因此有小说副本：--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 14:31, 15 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> Student: “What is the best book for students to read?” – [...suggestion of ''Daxue''.] Tutor: [...] to read the Hung-low-mung will do very well. – Student: I have not seen the Hung-low-mung, have you seen it? – Tutor: I have not brought it with me, but if you wish to see it, I will write to Canton, and present it to you. Student: “Very good. I will trouble you to write for it.” – Tutor: “I will do so.” – Student: “How many volumes are there in the Hung-low-mung?” – Tutor: “Twenty volumes in all. In this book, the phraseology is entirely that of Peking.”[ From: “Dialogue V”, in: 《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816. [Chinese parts left out in this quotation.]] <br /> <br /> ==Guo Lu 郭露==<br /> <br /> Between December 1812 and February 1813, Robert Morrison translated parts of chapter 4 and send it to Great Britain. He published entries about the Dream in his dictionary, of which the first volume appeared in 1815[ 《华英字典》''A Dictionary of the Chinese language in three parts'', Macao: East India Company Press 1815, vol. I 930 pp., the novel title is mentioned in volume I:614.] and more translation excerpts, e.g. from chapters 4 and 39, in his 1816 textbook edition.[ 《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816, e.g. pp. 194-200.]<br /> <br /> 1812年12月至1813年2月期间，罗伯特·莫里森翻译了部分书中第四章的内容，并将其寄往英国。他将这《梦想》这篇小说编进了字典当中，其中第一卷出现在1815年(《华英字典》，第三版汉语字典,澳门：东印度公司，1815年版，第一卷，930页。这篇小说出现在第一卷614页）同时，1816年的版本当中的第4章和39章还对后续的翻译进行了记录。（《中文对话与单句》，实现对汉语中的对话及独立句子的英文口头翻译，从各处收集而来。澳门：东印度公司，1816年版，194 - 200页。)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:02, 15 November 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> <br /> Only 23 years of its publication, the novel already was part of the canonized Chinese literature of fiction and Robert Morrison used excerpts of it for his text books to teach Westerners Chinese, as well as expressions from it for his dictionary and sent letters with excerpt translations to Europe, for an intended 2nd vol. of his ''Horæ Sinicæ'' which never was realized.<br /> <br /> The first British Embassies to China (among them especially Charles Bowra, John Francis Davies) also collected literature and among it the ''Dream of the Red Chamber''.<br /> <br /> 就在它出版的23年之后，这部小说就被列为中国文学小说行列之中。罗伯特·马礼逊用了其中一些摘选作为教材去教西方人中文；一些表达应用在他的字典里。他把一些摘要翻译版本以信的形式寄去欧洲，打算将其作为第二版本。但他的《中国时光》出版之梦却永远没有实现。<br /> <br /> 首次英国到中国的使节（其中有包腊，约翰·弗朗西斯·戴维斯）也收集了文学材料，其中包括有《红楼梦》。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 10:07, 15 November 2020 (UTC)<br /> <br /> 仅在它出版23年后，这部小说就被归为中国文学小说之列。罗伯特·马礼逊摘选了其中部分内容用作教授西方人中文的教材；他还摘选了一些表达应用在他的字典里。他把一些摘要的翻译版本以信的形式寄去欧洲，打算将其作为他的《中国时光》的第二卷，但并没有实现。<br /> <br /> 首批英国到中国的使节（其中有包腊，约翰·弗朗西斯·戴维斯）也收集了文学材料，其中包括有《红楼梦》。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:10, 15 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==Han Wanzhen 韩宛真==<br /> <br /> '''Early translation history in the West'''<br /> <br /> In 1819, the first excerpt translations were published in Europe, in English (by John Francis Davis) and in French (by Davis, further translated by Bruguière). Significantly, they were published hidden in other larger works, in the English case, it was a Travel Report by Clarke Abel,[ 约翰．巴罗（John Barrow）：“Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Peking, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”，见：William Gifford（主编）, Quarterly Review 21:41 (1819年1月) 见第67-91页，特见第79-80页。这份期刊于1819年6月4号发行，总发行量13000份。笔者在这里参照了以下的索引并最终确定作者: „Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his QR articles, it was Barrow's signature practice to refer to his own works.“, 参考„Quarterly Review Archive“ http://www.rc.umd.edu/reference/qr/index/41.html。] and in the French case, it was a Chinese drama, La-song-euil.[ “Rêves de la Chambre rouge”, 见：»Avant-propos du traducteur francais«, 见: 安托萬．安德烈．包儒略(Antoine-André Bruguière), ''Lao-seng-eul'' [老生兒], ''Comédie Chinoise, suivie de San-iu-leou, ou Les trois étages consacrés, conte moral ; Traduits du chinois en anglais, par J. F. Davis de la factorerie de Canlon ; et de l'anglais en français, par A. Bruguière de Sorsum; avec additions du traducteur'', 巴黎: Rey et Gravier / 伦敦 A. B. Dulau &amp; Co. 1819 年, 227 页, 第141-164页, 见第150-151页。]<br /> 西方早期的翻译史<br /> 在1819年，欧洲发布了第一个摘要翻译版本，该版本被约翰 弗兰斯 大卫斯翻译为英语版本，后来又被布吉拉进一步翻译为法语。重要的是，它们被隐藏在其他较大的作品中出版，在英语案例中，这是克拉克·亚伯（John Clarke Abel）的《旅行报告》。1816年和1817年的中国内陆之旅和往返该国的旅程的叙述；内容包括对阿默斯特勋爵大使馆向北京法院进行的最有趣的交易以及对所访问国家的观察。克拉克·阿贝尔F.L.S.伦敦1818”，见：威廉·吉​​福德（主编），季评21:41（1819年1月）见第67-91页，特见第79-80页。这份期刊于1819年6月4号发行，总发行量13000份。笔者在这里参照了以下的索引并最终确定作者：“绅士杂志”（1844年3月），第246-47页。本文的作者引用了＃415和＃438（包括一个特定的参考文献），这两个主题都在同一主题上，由Barrow撰写。 cf.还有关于杀婴的讨论（第76页）和巴罗在＃422中对莱佛士关于Java的描述。在他的QR文章中，引用他自己的作品是Barrow的签名做法。”，请参阅“ Quarterly Review Archive”（季度审查档案）http://www.rc.umd.edu/reference/qr/index/41.html。在法国案中，这是一部中国戏曲，即La-song-euil。[“Rêvesde la Chambre rouge”，见：»Avant-propos du traducteur francais«，见：安托万。安德烈。包儒略（安托万·安德烈·布鲁吉埃（Antoine-AndréBruguière），“老生儿”（Lao-seng-eul），《喜剧》（ComédieChinoise），圣尤尼·路易（suivie de San-iu-leou）或《反叛的道德》； Traduits du chinois en englais，par J. F. Davis de la factorerie de Canlon； et de l'anglais enfrançais，par A.Bruguièrede Sorsum； ”，巴黎：Rey et Gravier /伦敦A. B. Dulau＆Co. 1819年，227页，第141-164页，见第150-151页。]--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 14:44, 15 November 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> <br /> These excerpt translations were done by John Francis Davis, he translated excerpts from chapter 3 and they were published by John Barrow in Great Britain and by Bruguière in France, both in 1819. Further translations were in 1846 by Robert Thom, excerpts of chapter 6, in 1868-69 Edward Charles Bowra chapters 1-8, in 1892-93 Henry Bencraft Joly chapters 1-56, in 1927 Liang-Chih Wang chapters 1-95, in 1929/1958 Wang Chi-chen an abridged full version, in 1958 Florence McHugh &amp; Isabel McHugh a further translation from the abridged German version of 1938 by Franz Kuhn. <br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> Regarding these translations, both the translation quality as well as the quality of the English used did not reach the status of world literature. Regarding full translations, we have in the 1960s Bramwell Seaton Bonsall, in 1973-1986 Hawkes/Minford and in 1978-1980 Yang/Yang. Among all the translators who embarked on this endeavour, only Hawkes (1923-2009) and Minford (1946-) achieved the goal to produce a translation which clearly falls into the categorization of world literature, the others, as Gladys Yang stated, “were a poor shadow of the original”.[ Yang 1980 3:621-622.]<br /> <br /> 就这些翻译而言，无论是翻译质量还是所用英语的质量都没有达到世界文学的水平。关于全译本，20世纪60年代涌现了一些翻译家，比如布拉姆威尔·西顿·邦索尔、1973-1986年霍克斯/明福德和1978-1980年杨。在所有从事这项工作的翻译家中，只有霍克斯（1923-2009）和明福德（1946-）达到了翻译的目的，而这两个译本显然属于世界文学的范畴，而其他的译者，正如格拉迪斯·杨所说，“他们只是原作的一个影子”。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 04:26, 15 November 2020 (UTC)<br /> <br /> 就这些翻译而言，无论是翻译质量还是所用英语的质量都没有达到世界文学的水平。至于全译本，20世纪60年代涌现了一批翻译家，比如布拉姆威尔·西顿·邦索尔、1973-1986年霍克斯/明福德和1978-1980年杨宪益及其夫人。在所有从事这项工作的翻译家中，只有霍克斯（1923-2009）和明福德（1946-）达到了翻译的目的，而这两个译本显然属于世界文学的范畴，而其他的译者，正如格拉迪斯·杨所说，“他们只是原作的一个影子”。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:41, 15 November 2020 (UTC)<br /> <br /> 关于这些翻译，翻译质量以及所用英语的质量都没有达到世界文学的水平。 关于完整翻译，我们在1960年代的Bramwell Seaton Bonsall，1973-1986 Hawkes / Minford和1978-1980 Yang / Yang中都有。 在所有从事这一工作的翻译人员中，只有霍克斯（1923-2009）和明福德（1946-）达到了产生翻译的目标，该翻译显然属于世界文学的范畴，而其他人，如Gladys Yang所说，“ 原始的阴影。” [杨1980：3：621-622。]--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 14:46, 15 November 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> <br /> '''Early Misunderstandings'''<br /> <br /> Before the novel was available in translation, we find a lot of misunderstandings and negative judgements on the novel: Morrison considered the novel to have been written in “Peking Dialect”, this mistake developed its own tradition.[ Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.] In 1842 Gützlaff[ “''Dreams in the Red Chamber''”, Friedrich August Gützlaff (1803-1851), “《紅樓夢》Hung Lau Mung, or Dreams in the Red Chamber; a novel. 20 vols. Noticed by a Correspondent”, in: ''Chinese Repository'', issue 11 (1842) 266-273.] introduced the protagonist as „the lady Páuyu“ (p. 268), even “a very petulant woman” (p. 270) and “busy lady” (p. 272), and took Jia Yucun贾雨村 (instead of Jia Zheng 贾政) as Baoyu’s father.<br /> <br /> 在小说被翻译出版之前，我们发现了很多关于小说的误解和负面判断。莫里森认为小说是用“北京话”写的，这个错误发展了它自己的传统。[即使在1995年，您也可以阅读 梦是用北京话写的，参见 舒常山，《死神的托马斯·曼斯》，中国，1995年，法兰克福：郎，326页。至少通瑶（《文学之路》，2006年）同时提到了北京方言和南京话。 弗里德里希·奥古斯特·古兹拉夫（Friedrich AugustGützlaff，1803-1851年），《《红楼梦》》 一本小说。 20卷 通讯员注意到”，在：中国资料库，第11版（1842）266-273。]中将主角介绍为“夫人帕尤”（第268页），甚至是“一个非常挑剔的女人”（第270页），以及“ （第272页），并以贾雨村贾雨村（而不是贾政贾政）为宝玉的父亲。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 02:19, 14 November 2020 (UTC)<br /> <br /> 早期出现的误解<br /> <br /> 在小说翻译出版之前，出现了很多关于小说的误解和负面判断：莫里森认为小说是用“北京话”写的，这种误解延续了很久。[即使在1995年，你也会看到《红楼梦》是用北京话写的这种说法，参见 舒常山，《死神的托马斯·曼斯》，中国，1995年，法兰克福：郎，326页。至少通瑶（《文学之路》，2006年）同时提到了北京方言和南京话。 弗里德里希·奥古斯特·古兹拉夫（Friedrich AugustGützlaff，1803-1851年），《《红楼梦》》 一本小说。 20卷 通讯员注意到”，在：中国资料库，第11版（1842）266-273。]中将主角介绍为“宝玉夫人”（第268页），甚至是称他是“一个非常挑剔的女人”（第270页），以及“ （第272页），并把贾雨村（而不是贾政）当成宝玉的父亲。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:04, 15 November 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> <br /> Also his overall judgement is “in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces.” and he recommends it for language learning (p. 273). Even in 1900, Herbert Allen Giles introduced the novel as have been written in “Peking dialect” and attributed to Cao Xueqin “of the 17th cent.”[ “HUNG-LOU-MENG: 紅樓夢 A famous Chinese novel in the Peking dialect, popularly known as the Dream of the Red Chamber, dealing chiefly with events of domestic life which are very graphically described, and attributed to Ts'ao Hsiieh-ch'in of the 17th cent.” See: Herbert Allen Giles, ''A glossary of reference on subjects connected with the Far East'', 1900, pp. 127-128]<br /> <br /> 此外，他的总体判断是“在表达我们对文学价值的意见时，我们可以说，这种风格没有任何艺术，实际上是北方各省较高阶层的口语。”他建议将它用于语言学习(第273页)。甚至在1900年，翟理斯介绍说这部小说是用“北京话”写成的，被认为是17世纪曹雪芹的代表作.【紅樓夢：一部以北京话写成的中国著名小说，俗称《红楼梦》，主要描写家庭生活中的琐事，描写生动形象，被认为是十七世纪曹雪芹的主要作品。参考:赫伯特·艾伦·翟里斯，《远东相关主题参考词汇》，1900年，第127-128页]】--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:08, 14 November 2020 (UTC)<br /> <br /> 此外，他认为，在表达我们对文学价值的意见时，我们可以说，这种风格不带有任何艺术成分，是北方各省较高阶层的口语用词。他建议将它用于语言学习当中(第273页)。在1900年，翟理斯表示，这部小说是用“北京话”写成，是17世纪曹雪芹的代表作.【《红楼梦》：一部以北京话写成的中国著名小说，俗称《红楼梦》，主要描写家庭生活中的琐事，其描写生动形象，被认为是十七世纪曹雪芹的代表作。参考：赫伯特·艾伦·翟里斯，《远东相关主题参考词汇》，1900年，第127-128页]】<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> <br /> Also he claimed that the title “红楼梦” would be “a term which is not found anywhere in the text”,[ Giles 1885.] therefore was figurative and should be translated as “A Vision of Wealth and Power”. Actually the expression is found several times in the text, even in the title of chapter 25 and Baoyu actually very often falls asleep and dreams in the red bed-chambers of his female relatives and friends.<br /> <br /> 同时，他指出，“红楼梦”这一题目是“一个在文本中完全没有出现的术语”，[翟理斯 1885.]因此，它富含比喻意，应该将之译为“对财富和权力的憧憬”。实际上，“红楼梦”这一表述在文中出现了好几次，甚至出现在25章的标题中，除此之外，宝玉经常在睡梦中梦见他的女性亲友的红色寝室。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:34, 15 November 2020 (UTC)<br /> 此外，他还声称 &quot;红楼梦 &quot;是 &quot;一个在文本中任何地方都找不到的术语&quot;，[ 翟理斯1885.]因此是形象化的，应译为 &quot;财富和权力的愿景&quot;。其实这句话在正文中，甚至在第二十五回的标题中，都多次出现过，而且宝玉也确实经常在他的女性亲友的红色卧房中入睡和入梦。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 09:58, 15 November 2020 (UTC)<br /> <br /> 而且，他认为“红楼梦”这个名字“在整个作品中无迹可寻”（翟理斯）因此它的选用是修辞手法的表达，并且应该译为“财富与权力之现象”。事实上，“红楼梦”的表达在文章中出现过好几次，甚至出现在第25章的标题里，宝玉经常在女性亲朋好友的红色厢房里睡觉和做梦。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:10, 15 November 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> '''Early Reception of the novel in the West'''<br /> <br /> We first must credit pioneers like J. Davis, who not only tried to systematize Chinese poetry with examples from the ''Red Chamber Dreams'', but also sent the first translations of the novel out in the world and made it known in America and Europe just a decade after it has been published in China. Some sinologists used the story simply as a good example for learning Chinese (Morrison, Thom).<br /> <br /> “中国小说传到西方早期”<br /> <br /> 我们必须赞赏像约翰·戴维斯这样的先驱，他从《红楼梦》中收集诗句，不仅将中国诗词系统化，同时也将《红楼梦》的第一份译文传向世界，使其在中国出版仅10年后，便在美国和欧洲为人所知。一些汉学家将《红楼梦》作为开始学习中文的素材。（汤姆·莫里森）--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:53, 15 November 2020 (UTC)<br /> <br /> <br /> 首先，我们必须称赞像约翰·戴维斯这样的先驱，他引用《红楼梦》中的诗句，努力将中国诗词系统化，同时还将《红楼梦》的第一版译文传向世界，使其在中国出版仅10年后，便在美国和欧洲广为人知。一些汉学家将《红楼梦》作为开始学习中文的素材。（汤姆·莫里森）--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:22, 15 November 2020 (UTC)Xu Jia<br /> <br /> ==Jiang Hao 姜好==<br /> <br /> One can conclude that the ''Red Chamber Dreams'' transported a differentiated image of China, of fashion, of hair and clothes (Barrow, Bruguière, Goldsmith), of human relations (Goldsmith), and of a highly developed language. In this language, some poetical expressions were only understandable to those who had a broad knowledge of Chinese culture. The finesse of the differentiated use of the dialects according to the respective characters in the novel was simply overlooked (Morrison, Gützlaff, Thom) and only discovered much later.<br /> 我们可以得出这样的结论：《红楼梦》传达了一种关于中国，关于时尚，关于发型和衣服（巴罗、布吕吉埃、戈德史密斯），关于人际关系（戈德史密斯），以及关于高度发达的语言的不同形象。在这种语言中，一些诗意的表达方式只有对中国文化有广泛了解的人才能理解。小说中根据各自的人物区分使用方言的精妙之处，根本被忽略了（莫里森、居茨拉夫、托姆），直到后来才发现。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 09:54, 15 November 2020 (UTC)<br /> <br /> 我们可以得出这样的结论：《红楼梦》传达出一种与众不同的中国形象，包括时尚、发型和服饰（巴罗，布鲁吉尔，戈德史密斯）、人际关系（戈德史密斯）和高度发达的语言。在这种语言中，一些诗歌表达只有对中国文化有广泛了解的人才能理解。根据小说中人物的不同而区别使用方言的技巧被忽略了（莫里森、古茨拉夫、汤姆），直到后来才被发现。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 15:21, 15 November 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> The first phase of the Western reception was ethnocentric, partially due to the China-bashing of philosophers like Montesquieu, Herder, Hegel and to the imperialist spirit of contemporary Europe. The judgments on the novel are mostly driven by argumentation strategies; that is, the novel is used as a tool to prove one’s own existing attitudes. The novel is exploited to argue for:<br /> <br /> 民族中心主义时期是接受西方的第一个时期，这部分源于中国对于孟德斯鸠、赫尔德、黑格尔等哲学家的猛烈抨击，以及当代欧洲的帝国主义精神。这本小说中的观点大多是由论证策略驱动的，也就是说，这本小说实际上是用以论证某人已有观点的工具。它论证的有：--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 14:04, 15 November 2020 (UTC)<br /> <br /> 民族中心主义时期是接受西方的第一个时期。这个时期的产生与中国对于孟德斯鸠、赫尔德、黑格尔等哲学家的猛烈抨击有关，同时也离不开当代欧洲的帝国主义精神。这本小说中的观点大多是由论证策略驱动的，也就是说，这本小说实际上是用以论证某人已有观点的工具。它论证的有：--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:21, 15 November 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> - exoticism (J. Davis, Barrow, Bruguière)<br /> <br /> - the inferiority of Chinese literature (Gützlaff, Langdon Davies, Harte, Giles, Headland)<br /> <br /> - polarization by confronting opposite conceptions like ideal of beauty etc. (Goldsmith)<br /> <br /> - to proof own hypotheses, like a self-made categorization of Chinese poetry (J. Davis)<br /> <br /> <br /> In this beginning phase, most comparisons were done within Chinese literature (Gützlaff: best of Chinese literature but inferior to Western literature, later: best of Chinese literature).<br /> <br /> - 异国情调（J.戴维斯，巴罗，布鲁基耶）<br /> <br /> - 中国文学的劣势（古兹拉夫，兰登戴维斯，哈特，贾尔斯，海德兰）<br /> <br /> - 通过对立的概念实现两极分化，如理想之美。（戈尔登史密斯）<br /> <br /> - 证明自己的假设，就像中国诗歌的自我分类（J.戴维斯）<br /> <br /> 在最开始的阶段，大多数的比较都是关于中国文学的。（古兹拉夫：最好的中国文学，但不及西方文学，后来:最好的中国文学）--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:01, 13 November 2020 (UTC)<br /> <br /> <br /> -异国情调（J.戴维斯，巴罗，布鲁基耶）<br /> <br /> -中国文学的劣势（古茨拉夫，兰登·戴维斯，哈特，吉尔斯，海德兰）<br /> <br /> -通过概念的对立来实现两极分化，如理想之美等。（戈德史密斯）<br /> <br /> -证明自己的假设，例如对中国诗歌的自我归类（J.戴维斯）<br /> <br /> <br /> 在这个开始阶段，大多数比较都是在中国文学中进行的（古茨拉夫：中国文学最好，但次于西方文学，后来：中国文学最好）。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:15, 14 November 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> <br /> However, when Herder revised his China perception, and when the still inadequate perception of China called for a more differentiated image, the first translated extracts of this rich novel of manners helped to change the perception of China.<br /> <br /> Finally ''Dream'' was compared to Western literature (Erkes, Wilhelm), was enshrined in the temple of world literature and was assigned attributes that added value to the Western reading experience (Clemons: “slowing down”).<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> <br /> '''Motifs for judgements'''<br /> <br /> As motifs for the early judgements mentioned above, I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc.<br /> <br /> There is a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society.<br /> 判断的主题<br /> 作为上述提及的早期判断的主题，我确定了小说的异国化（时尚和穿着的别样喜乐，习俗），普遍化（世界文学），小说的工具化作为文学假设的证据（如戴维斯的诗歌），以及小说的工具化用于语言学习等。<br /> 随着时间的推移，小说主题也发生了变化，从异国化和工具化证明西方小说的劣势，到接受小说作为世界文学的一部分以及可以记录中国社会的具有独特价值的中国文化杰作。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:06, 13 November 2020 (UTC)<br /> <br /> 判断主题<br /> 上述提到的早起判断主题，我认为小说的异国化（别样的时尚穿着，习俗带来的乐趣），普遍化（世界文学），工具化，证实了我们对文学（戴维斯诗歌）的假设，也证实了语言学习工具化。<br /> 随着时间的推移，小说主题从异国化变成工具化，证实了本身不如西方小说，接受小说是世界文学的一部分，也接受中国文化杰作在记录中国社会方面有一种独特价值。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:11, 14 November 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> <br /> '''The novel title'''<br /> <br /> The book title changed from the first translations as “Red Chamber Dreams” to singular “Dream” in 1843 by德明 (А. И. Коваńко / A. I. Kovańko)[ „Traumgesicht auf dem rothen Thurm“, see&gt; 德明 А. И. Коваńко (1808-1870, trans.): „''Chun-lou-men'' (‚Traumgesicht auf dem rothen Thurm‘) oder ‚Geschichte des Steins‘（《石头记》）. Tschen-schi-in erfährt im Traume die Wiederbelebung des Steins; Zja-jui-zun verliebt sich in seiner Armuth in eine schöne Magd.“ , in: ''Das Ausland'', Munich 26 (1843) 198-199, 201-203.] and in 1846 by Robert Thom[ Robert Thom 羅伯聃, “Extract from the Hung-low-mung, chapter VI”, in: Robert Thom, 《正音撮要》 The Chinese speaker. Extracts from works written in the Mandarin language, as spoken at Peking. Compiled for the use of students, by Robert Thom, Esq., H. M. Consul at Ningpo. Part I, Ningpo: Presbyterian Mission Press 1846, pp. 62-89].<br /> <br /> <br /> '''小说名'''<br /> <br /> 书名刚开始翻译为“红楼梦”（Red Chamber Dreams），1843年德明将其译成了单数“梦”（Dream）。1846年，羅伯聃也将其译为单数形式。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 11:33, 13 November 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> Many scholars have discussed the question if it was more appropriate to call the novel “Story of the Stone” instead of “Dream of the Red Chamber”. Arguments for the latter are that the first printed edition and most of the printed editions afterwards carried this title, so that it reached its fame and was read under this title until today, there was also at least one 120-chapter manuscript copy, the 《乾隆抄本百二十回紅樓夢》Qianlong 120 chapter manuscript; with this title circulating before. However, e.g. the Hawkes/Minford translation and the German Schwarz/Woesler translation use both titles with “also called” in between.<br /> <br /> 许多学者都讨论过这样一个问题，即这部小说是否应该叫 &quot;石头的故事 &quot;而不是 &quot;红楼梦 &quot;更合适。支持后者的论点是，第一版印刷版和之后的大部分印刷版都使用这个书名，所以它有了自己的名气，直到今天还用这个书名，至少还有一个120章的手抄本，即乾隆抄本百二十回红楼梦；之前流传着这个书名。不过，如霍克斯/明福译本和德国施瓦兹/沃斯勒译本都使用这两个书名，中间有 &quot;也叫&quot;。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 07:02, 13 November 2020 (UTC)<br /> <br /> 许多学者都讨论过一个问题，即把这部小说起名为《石头记》 相比《红楼梦》而言是否更为合适。支持后者的人认为，第一版和之后的大多数印刷版已经有《红楼梦》这个名字了，所以名气传播开来，直至今日人们读到的还是这个书名，至少还有一个一百二十回的手抄稿，即《乾隆抄本百二十回红楼梦》，之前就流传这个书名。不过，在霍克斯/明福译本和德国施瓦茨/沃斯勒译本中，两个书名都用到了，之间含有“亦称”两字。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:16, 13 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> Some scholars argue that the German title ''Traum der Roten Kammer'' was grammatically and logically not correct in German, but you need more than a grammar teacher’s imagination to find the answer why this title prevailed: A book title, especially a poetic one of a work of literature, does not at all have to be grammatically correct or logical, the title is simply assigned with the first translations and translators and then naturally develops in the cultural field over time.<br /> <br /> 一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语中的语法和逻辑不正确,但是要找到这个标题为什么盛行，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品,并不需要一定在语法或逻辑上正确,标题只是简单地由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:50, 13 November 2020 (UTC)Lei Kuangxi<br /> <br /> 一些学者认为，《红楼梦》标题的德版译文Traum der Roten Kammer在德语的语法和逻辑上是不正确的，但想到找到这个标题为什么流行的答案，光拥有跟语法老师一样的想象力是不够的:书名，尤其是文学作品充满诗意的书名，根本不需要语法正确或有逻辑，标题只是简单地由最初的译文和译者定下来，然后自然而然地随着时间的推移在文化领域发展。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:05, 13 November 2020 (UTC)<br /> <br /> 一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语的语法和逻辑方面有误，,但是要找到这个标题为什么盛行的原因，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品的书名,不必在语法或逻辑上正确,因为标题由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:31, 13 November 2020 (UTC)Li Lili<br /> <br /> ==Li Haiquan 李海泉==<br /> <br /> Language development exactly works like this: New, seemingly incorrect forms of expressions come into existence, and become correct and a part of language simply because they are used. All translation decisions need to be balanced: They do not have to adhere only to a word-by-word translation, or to logic or grammar, but to what is a common expression or broadly accepted.<br /> <br /> 语言的发展就是这样的:新的，看似不正确的表达形式出现，变得正确且成为语言的一部分，仅仅因为它们被使用了。所有的翻译方式需要权衡:它们不必只遵循逐字的翻译，或是遵循逻辑或语法翻译，而是遵循一种通用的表达方式或被广泛接受的表达方式。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:07, 15 November 2020 (UTC)<br /> <br /> 语言的发展就是这样的:新的，看似不正确的表达形式开始出现，然后变得正确且成为语言的一部分，仅仅因为人们使用了它们。译者需要权衡所有的翻译方式:他们不必只遵循逐字翻译，或是只根据逻辑或语法规则，而是应该使用一种通用的或被广泛接受的表达方式。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 14:44, 15 November 2020 (UTC)<br /> <br /> 语言就是以这样的方式发展的：新的，看似不正确的表达新式首先出现，然后它们变为正确表达，且成为语言的一部分，这仅仅因为它们被使用了。翻译需要权衡；不必只遵循字对字的翻译或是遵从逻辑或语法，而应该遵照人们广泛接受的表达。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 14:53, 15 November 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> <br /> There are historical settings which influence these historical decisions, like the existence of the English translation title “Dream of the Red Chamber” at that time. Other reasons are that “Traum der” is simply shorter than “Träume im/vom roten Anwesen”, while the reader will still associate the logically correct meaning behind it. The word “Kammer” at the time when the novel was first published in Chinese was linked to luxurious rooms e.g. in castles, so very much appropriate. And the “red” is a leitmotiv.<br /> 有一些历史背景影响着这些历史决定，比如当时英译本《红楼梦》的存在。另一个原因是“Traum der”比“Träume im/vom roten Anwesen”短，而读者会联想到其背后逻辑上正确的含义。当该小说第一次以中文出版时，“坎默”一词指豪华的房间（如城堡），非常恰当。“红色”是主旨。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 13 November 2020 (UTC)Li Lili<br /> <br /> 有一些历史背景会影响这些历史决定，例如当时“红楼梦”标题的英文翻译。另一原因是“ Traum der”短于“Träumeim / vom roten Anwesen”，而读者仍会联想到其背后逻辑上正确的含义。当小说首次以中文出版时，“ Kammer”一词指豪华的房间（如城堡），这是非常恰当的，因为“红色”是主旨。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:17, 13 November 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> <br /> To pay tribute to historical developments of becoming a well-known expression, in the German edition, the mentioning of “rote Kammer” was capitalized into “Rote Kammer” in the new edition, very much alike “Red Chamber” in English at the very beginning of the English translation history.<br /> 为了纪念历史的发展成为一个众所周知的表达，在德语版中，“rote Kammer”在新版中被大写为“Rote Kammer”，非常类似于英语翻译史开始时的英版红楼梦。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:30, 14 November 2020 (UTC)<br /> 。<br /> 向历史发展致敬成为一种众所周知的表达方式,在德语版中，“rote Kammer”在新版中被大写为“Rote Kammer”，非常类似于英语翻译史开始时对红楼梦的译法。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:11, 15 November 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> '''80 or 120 chapters'''<br /> <br /> The First European Conference on the Dream of the Red Chamber in Bonn 1992 agreed that the 120 chapter version was the authoritative one because it was simply the version under which the novel reached its fame and is best known among readers. Publishing houses argue that a fragment is harder to sell. Also, the part of Cao Xueqin in the last 40 chapters is not finally enligthened, and I always recommend to stick to the editors claims until falsification, therefore we should at least assume Cao’s authorship of the last 40 chapter titles and maybe even some parts of the text.<br /> <br /> “80章还是120章”<br /> <br /> 第一届以红楼梦为主题的欧洲会议于1992年在波恩举行，会议上，专家们一致认为120章的版本更具权威性。原因是这个版本在世界上广为流传，在读者中广为人知。出版社认为，单独把书的某几个章节拎出来是很难出售的。此外，曹雪芹撰写的最后40章中部分内容并没有被最终确定下来，因此我始终建议坚持编者的主张，直到被篡改为止。基于此，我们至少应承认曹雪芹拥有最后40章甚至是部分文本的著作权。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 09:37, 13 November 2020 (UTC)<br /> <br /> '''80章还是120章'''<br /> <br /> 第一届以红楼梦为主题的欧洲会坛于1992年在波恩举办。与会者一致认为120章的版本是权威版本，因为这个版本使红楼梦声名远扬、广为人知。出版社认为取其中几章出版成书，销量会更惨淡。曹雪芹撰写的最后40章是否出版最终也没有确定。我会一直坚持编者的观点，直到这本小说被改动后出版。因此，我们至少应该承认曹雪芹对于最后40章甚至是部分文本的著作权。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:09, 13 November 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> <br /> How far other contributors have come close to or deviated from Cao’s original intent for the last 40 chapters may stay object of research. However, they seem to have been successful, because the 120-chapter has prevailed historically, also in its translations, and found the acceptance of the readership.<br /> <br /> '''Deviations from the original'''<br /> <br /> Kuhn, successful and critizised, with his Adapting and Foreignizing, very pleasing but ever-the-same-style translations of so different novels like Shuihuzhuan, Xiyouji and Hongloumeng is history and today one among many translations and more and more readers are able to read the Hongloumeng in other languages like English or even in Chinese.<br /> <br /> 在最后40章中，其他编著者在多大程度上接近或偏离了曹雪芹原本的意图，这仍是一个有待考究的问题。然而，他们似乎取得了成功，因为120章的版本及其译本在历史上一直很流行，并获得了读者的认可。<br /> <br /> '''与原始版本的差异'''<br /> <br /> 翻译家库恩（Kuhn）很成功但也受到了批评，他对许多不同小说的翻译经过改编和异化都非常有趣但风格千篇一律，例如《水浒传》、《西游记》和《红楼梦》之类的小说的译本已成为历史，如今已是众多译本中的一种，越来越多的读者能够阅读其他语言（英语甚至中文）版本的《红楼梦》。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:10, 15 November 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> <br /> Kuhn mentions to have used two specific copies of the original work. There are scholars who doubted that he really used the copies he indicated, because they could not be found. I see no reason to doubt Kuhn’s statement, it is more likely that he used grey editions which are not registered and maybe cannot be found any more.<br /> <br /> '''1st deviation by Minford: The explicit episode about the human-ghostly intercourse, chapter 102'''<br /> <br /> This episode is a black humour one, where Wu Gui’s wife has “a little bit a cold”, takes the wrong medicine and dies.<br /> 库恩提到，他使用了原作的两个特定副本。有学者质疑他是否真的使用了他指出的副本，因为它们没法被找到。我认为没有理由怀疑库恩的说法，更有可能是他使用的灰色版本没有注册，可能已经找不到了。<br /> 闵福德的第一次偏离:关于人鬼交合的突出情节，第102章<br /> 这一集是黑色幽默的一集，讲的是吴贵的妻子“有点感冒”，吃错了药然后死了。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 15:29, 15 November 2020 (UTC)<br /> <br /> ==Li Yongshan 李泳珊==<br /> <br /> At this passage, it looks like we have the opposite case as in the second example: In the Chinese original the whole sentence “enjoyed her at inordinate length” is missing.<br /> <br /> 程甲本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不妥当，便都说妖怪爬过墙吸了精去死的。<br /> <br /> 程乙本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不大妥当，便说妖怪爬过墙来吸了精去死的。<br /> <br /> Minford: Because of her reputation for promiscuity, other members of the household staff concluded that a spirit must have climbed over the Garden wall, enjoyed her at inordinate length, and finally sucked the sap' out of her.<br /> <br /> ==Li Yu 李玉==<br /> <br /> The sentence seems to be made up by John Minford. It is the explicit report of a sexual intercourse between a ghost and a woman, which ended, when the ghost sucked the lifeblood out of her. Minford does not only extend this brief report about the death of a woman by adding a sexual intercourse between a human and a non-human, which is inappropriate or abnormal by itself, but stresses the abnormality even by characterizing this intercourse in more detail, as taking “inordinate” long. <br /> <br /> ==Lin Min 林敏==<br /> <br /> Originally, Cao/Gao had only very briefly reported on Wu Gui’s wife’s death. They mentioned the natural cause of death, that she had taken the wrong medicine. However, since most of the strokes of fate in this novel are explained as to be motivated through moral retaliation, Cao/Gao describe her as “promiscuous”. In the logic of moral retaliation, she earns to die. The ghost then would be the executor. But still he only is described as climbing over the wall and sucking the lifeblood out of her.<br /> <br /> 最初，曹高二人只是非常简短地提到吴贵妻子的去世。 他们提到了死亡的自然原因，她服错了药。 但是，这本小说中大多数人的命运，被解释为是出于道德报复的动机，所以曹高二人将她形容为“滥交”。 按照道德报复的逻辑，她死了， 妖怪成了杀人凶手。 但是，妖怪仍然只是被描述为从墙上爬过，将血从她身上吸了出来。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 12:02, 15 November 2020 (UTC)<br /> <br /> 最初，曹高二人只是非常简短地提到吴贵妻子的死。他们提到了她死亡的自然原因，是她服错了药。但是，由于这本小说中大多数对命运的描写都被解释为是出于道德报复的动机，所以曹高二人将她描写为“滥交的”。按照道德报复的逻辑，她死了，幽灵将成为她死亡的执行者。但是他仍然只是被描述为从墙上爬过，吸干了她的血夺走了她的命。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:32, 15 November 2020 (UTC)<br /> <br /> ==Lin Xin 林鑫==<br /> <br /> Minford adds an action, which leads further than Cao/Gao wrote. This action still is connected to the story, it even drives its authority from Wu Gui’s wife’s promiscuous way of living. The scene might have stimulated the readers’ fantasy, but not necessarily in the direction of Minfords account. Did Minford simply give his fancy full scope? He might also have been encouraged to interpret this scene the way he did because of the parallel scene with the mirror in chapter 12, where Jia Rui also has inordinate often sexual intercourse with the ghost of Xifeng, and gradually loses his lifeblood until he dies on a large patch of semen.<br /> <br /> 闵福德给曹雪芹、高鹗所作的《红楼梦》注入了新的血液。这一举动仍紧贴故事，甚至从吴贵妻子淫乱的生活方式中汲取了权威理由。这个场景可能激发了读者的想象，尽管并不一定是按照闵福德描写的方向。闵福德仅是完整呈现了他幻想的全部吗？他可能也在努力按照第十二章处风月宝鉴镜中的平行场景来解释这个场景，在该场景中，贾瑞经常与西峰的美女幻影云雨欢爱，逐渐失去了生命力，最终死在一滩留有大块精液的床上。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 13:31, 15 November 2020 (UTC)<br /> <br /> 闵福德之举给曹雪芹、高鹗所作的《红楼梦》注入了新的血液。这一举动仍紧贴故事，甚至从吴贵妻子淫乱的生活方式中汲取了合理理由。这个场景可能激发了读者幻想，尽管并不一定是按照闵福德描写的方向。闵福德仅是完整呈现了他幻想的全部吗？他可能已受鼓舞地按照第十二章处风月宝鉴镜中的平行场景来解释这个场景。在该场景中，贾瑞经常与西峰的倩影幽魂共赴云雨，渐渐被吸尽了精气直到咽气，身下一大滩精液。--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 14:58, 15 November 2020 (UTC)<br /> <br /> ==Ling Zijin 凌子瑾==<br /> <br /> After Minford had altered the original, the original ending of that scene did not fit any more: The action of killing her by sucking the lifeblood out of her comes too abrupt. In one subordinate clause they enjoy their sex and even inappropriately long, and in the next he kills her, which is by itself also outrageous. So Minford had to step into the original text sentence and add the adverb “finally” in order to bring it into a chronological and resultative relation.<br /> <br /> ==Liu Bo 刘博==<br /> <br /> Kuhn and Schwartz/Woesler have translated this passage without these additions and did not elaborate possible fantasies.<br /> <br /> The effect of Minfords addition is, that the episode becomes more interesting, scandalous and sexually explicit.<br /> <br /> In order to find out, what made Minford add this information, we should consider not only the original, but also a then existing translation. Minford in his preface thanked Yang Xianyi for his help with his own translation Hawkes/Minford 4:30. When we look at the Yang/Yang translation, we find the adding already there: <br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> <br /> Yang/Yang: Outsiders, knowing her bad reputation, claimed that a monster had climbed over the wall to enjoy her until she died of exhaustion.<br /> <br /> This translation in many respects is not so accurate. The couple Yang/Yang uses more general words, leaving out the causal conjunction “because” [she was known for promiscuity]. For 不[大]妥当 (promiscuity) they even use the more general “bad reputation”, and maybe in order to compensate for the lacking sexual connotation in this, they added “to enjoy her”, which we do not find in the Chinese original text.<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> And they already prepare the way for Minford’s “finally” by adding the “until”. As the whole Yang/Yang translation uses simpler words, 妖怪 is translated as “monster” instead of “ghost”. Since immediately before this episode the garden is described as being the home of ghosts, he latter might have been the better expression. Also the “death of exhaustion” is an interpretation, the Chinese text only reads “sucked the lifeblood out of her”.<br /> <br /> 他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。在上一个片段中，杨戴夫妇将花园描述成幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 09:17, 13 November 2020 (UTC)<br /> <br /> 他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。但就在上一个片段中，花园描述为幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:07, 13 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> So it seems that Minford has decided to keep the deviation of Yang/Yang, which is disloyal to the original and therefore falls under category c. However it may protect the Yang/Yang translation from discovery of its same deviation, since only people fluent in both languages will be able to discover it. Was Minford’s disloyalty to the original and his loyalty to his fellow translators a conspiracy? Or did Minford not directly translate from the Chinese, but simply improve the Yang/Yang translation? Since he uses “spirit” instead of “monster”, he still seems to have been conscious about everything and seems to have consciously decided to keep the Yang/Yang deviation for the mentioned possible reasons.<br /> <br /> 因此，Minford似乎决定保留Yang / Yang的变体，这与原文有所偏差，因此属于c类。 但是，由于只有精通两种语言的人才能发现它，因此它可以保留Yang / Yang这一翻译，而读者不会发现这一变体。 Minford对原著的不忠和对同时期译者的不忠是阴谋吗？ 还是Minford不直接从中文翻译而只是改进了Yang / Yang这一翻译？ 由于他使用“精神”而不是“怪物”，因此他似乎全文有所了解，并且出于上述可能的原因，似乎有意识地决定保持Yang / Yang这一变体。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 11:18, 15 November 2020 (UTC)<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> <br /> '''2nd deviation by Minford: The explicit episode on the first attempt of the rape of the nun Miaoyu, chapter 111'''<br /> <br /> In chapter 111, we find another anecdote, where thieves invade Rongguofu and steal chests of treasures. On their way, they discover the appealing nun Miaoyu and start a first attempt to rape her. The exact passage reads in both editions:<br /> <br /> 程甲本and程乙本: 又欺上屋俱是女人，且又畏惧，正要踹进门去，因听外面有人进来追赶，所以贼众上房。<br /> <br /> ==Liu Yi 刘艺==<br /> <br /> Yang/Yang: The thieves had known that there were no men in the house. While in Hsi-Chun’s courtyard they had peeped through the window and been inflamed by the sight of a ravishing nun. As there were only terrified women inside, they were about to kick down the door when they heard the night-watch rushing in after them and promptly climbed up the roof.<br /> <br /> Minford: After the main part of their mission was accomplished, the thieves, knowing how unprotected the Jia mansion was, had been casually snooping around in Xi-chun's courtyard, and had caught a glimpse there of a very attractive young nun, which had put all sorts of mischievous ideas into their heads.<br /> <br /> 杨/阳:贼人早知屋内没有男人。在熙春的院子里时，他们曾从窗外偷看，看到一个淫荡的尼姑，就被激怒了。由于里面只有被吓坏的女人，他们正要踹门，却听到守夜人跟着冲进来，于是立即爬上屋顶。<br /> <br /> 明福:在完成了主要部分的任务后，盗贼们知道贾府是多么的没有防范，就在熙春的院子里随意地窥探，在那里瞥见了一个很有魅力的年轻尼姑，这让他们产生了各种恶作剧的想法。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:02, 13 November 2020 (UTC)<br /> <br /> 杨/阳:贼人早知屋内没有男人。在熙春院子里时，贼人们从窗外偷看过，在看到是一个淫荡的尼姑后怒火中烧。房里面只有被吓坏的女人，他们正要踹门，却听到守夜人跟着冲进来，就立即爬上了屋顶。<br /> <br /> 明福:在完成了主要任务后，盗贼们知道了贾府的防范是多么松懈，就在熙春的院子里随意地窥探。后在那里瞥见了一个风情万种的年轻尼姑，这让他们产生了各种恶作剧的想法。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 01:57, 15 November 2020 (UTC)Liu Yiyu<br /> <br /> <br /> 杨/阳:贼人早知屋内没有男人。在熙春的院子里时，他们曾从窗外偷看到一个淫荡的尼姑，并为之激怒。房间只有被吓坏的女人，他们正要踹门，却听到守夜人跟着冲进来，于是立即爬上屋顶。<br /> 闵福德:在完成了主要任务后，盗贼们知道贾府没有多少防范，就在熙春的院子里随意地窥探，他们在那里瞥见了一个很有魅力的年轻尼姑，由此产生了各种恶作剧的想法。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 02:43, 15 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> They knew that the apartment was unguarded save by a handful of scared old women, and were about to kick the door in and put an abrupt end to Adamantina's meditations when they heard the sound of footsteps corning from outside and escaped onto the roof-top.<br /> <br /> Minford has added a sentence here. We see that the original did not contain this sexually explicit clause, therefore the deviation does not fall under category a. We can also exclude the possibility that Minford used an earlier edition which might have been censored in the more prudish socialist era, since we have the original Cheng-Gao edition from 1791/1792.<br /> <br /> 他们知道那院子无人看守，只有寥寥几个年纪大的姑子在。他们正要踢开门，打断法师的冥想，却听到门外传来了脚步声，接着就逃上了屋顶。<br /> 明福在这里加了一个句子。我们可以看到原版是没有这种直接带性意味的从句的，因此这种偏差没有受到分类的影响。我们可以排除这种可能性，那就是明福用的是早先的版本，这种版本可能是在更为保守的社会主义时代通过了审查的，因为我们有1791/1792年的程高原版作对照。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 01:51, 15 November 2020 (UTC)Liu Yiyu<br /> <br /> <br /> 他们知道公寓无人看守，里面只有几个胆小的老妇人在。他们正准备踢门进屋，打断阿曼丹蒂娜的沉思，却听到了门外传来的脚步声，于是就逃到了屋顶上。<br /> <br /> Minford在这里添加了一个句子。 我们看到原始文件不包含此色情内容从句，因此该偏差不属于类别a。 我们还可以排除Minford使用较早版本的可能性，该版本可能在更为审慎的社会主义时代受到审查，因为我们拥有的最早的高教版本是1791/1792。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 07:47, 15 November 2020 (UTC)Ou Rong<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> <br /> Minford’s extra sentence also does not exist in the translations Yang/Yang, Kuhn, nor in the later Schwartz/Woesler.<br /> <br /> In the Chinese original, the emerging sexual tension, stimulating the readers fantasy of a rape, is stopped immediately, when the kicking in of the door already at the beginning of this sentence is relieved by the wording “正要” were just about to… <br /> <br /> We can also exclude the category b. here, because it is not possible to read one subordinate clause more into the original.<br /> <br /> <br /> 闵福德的附加句也不存在于杨/阳、库恩以及后来的施瓦茨/沃斯勒的译本中。<br /> 在中文原著中出现的性张力，因刺激了读者对强奸的幻想，立即被制止了，在句子开头敲门动作开始的时候，通过“正要（were just about to）&quot;一词所代替。<br /> 在这里，我们也可以排除b类，因为不可能在原文中多一个从句。<br /> --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 02:36, 15 November 2020 (UTC)<br /> <br /> 闵福德的附加句也不存在于杨/阳、库恩以及后来的施瓦茨/沃斯勒的译本中。<br /> 在中文原著中出现的性张力，因刺激了读者对强奸犯的幻想，立即被制止了，在句子开头敲门动作开始的时候，通过“正要（were just about to）&quot;一词代替。<br /> 在这里，我们也可以排除b类，因为不可能在原文中多一个从句。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:09, 15 November 2020 (UTC)<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> Might it have been a necessary explanation, which Minford did not want to explain in an annotation and therefore had to integrate into the text? This, we can also exclude, since from the context it is explicitly clear why they wanted to kick in the door. <br /> <br /> In order to understand Minford’s intention, we should ask what effect this wilful addition of this sentence has on the reader? First, this sexually arousing scene becomes longer. This gives the reader more time to develop fantasies, what might happen. Minford adds a sentence which expresses exactly these fantasies: When the men enter the room, Miaoyu will stop her meditation.<br /> <br /> 这可能是一个必要的解释，闵福德不想在注释中解释，因此必须融入文本?这一点，我们也可以排除，因为从上下文可以清楚地看出他们为什么要踢门。<br /> <br /> 为了理解闵福德的意图，我们应该问一下这个故意添加的句子对读者产生了什么影响?首先，这个性刺激的场景变得更长。这给读者更多的时间去想象会发生什么。闵福德加了一句话，就准确地表达了这些幻想:当男人进入房间时，妙玉就会停止冥想。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:15, 15 November 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> The shifting of the perspective to the woman adds to the sexual tension. Both, the active men and the so far passive woman are now mentioned and can act in the fantasies of the reader. Even the end of passivity of the woman is associated, when Minford explicitly states that the meditation will end. And he stresses again the brutal aspect of this scene, using the word “abrupt”.<br /> <br /> The novel is mostly very implicit and connotative, it uses metaphors like “wind and rain game” for describing sexual intercourse. Having explored the effects, Minford achieved with his deviation, one might guess, that the intention was to make this episode more explicit, to sexually arouse the readers.<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> This can be seen as disloyal to the original and its author, and it maybe seen as loyal to the profit of the press and the royalties.<br /> <br /> <br /> '''Sequels'''<br /> <br /> Many other authors also were inspired by the author and wrote a sequel to the novel. Soon, the novel was broadly accepted as another novel of the format of “四大奇书 Si da qi shu” and, since times became more strict regarding pornographic literature, replaced the ''Jin Ping Mei''. Already three years after the appearance, the Suoyin-School was founded and speculations began about the author and if the story had a real background. Please refer to the table of sequels in the attachment.<br /> <br /> ==Ma Juan 马娟==<br /> <br /> '''Spreading of the novel to Russia'''<br /> <br /> In 1832, a member of the Russian Orthodox Mission in China (俄国驻北京宗教使团学员) brought a manuscript copy of the Story of the Stone back to Russia. It had 35 vols. (currently in the St. Petersburg branch of the Russian Scientific Oriental Institute). Another member of the Mission, А. И. Коваńко, used the pen name 德明 to introduce part of the first chapter to the West. <br /> <br /> '''Reevaluation in Late Qing and status in the Cultural Revolution'''<br /> <br /> ==Ma Shuya 马淑雅==<br /> <br /> Wang Guowei improved the status of the novel since 1885, he saw it as one of the most important pieces of Chinese literature, and the discussions of Hu Shi and Yu Pingbo. <br /> <br /> During the Cultural Revolution, the Dream of the Red Chamber was forbidden again.<br /> <br /> '''Spreading in Germany'''<br /> <br /> The total number of copies published between 1932 and 1977 is 89335 volumes, the ''Jin Ping Mei'' 《金瓶梅》 reached between 1930 and 1977 175000 vols. Der Traum der Roten Kammer rangiert auf Platz 4 der Welt-Bestsellerliste. <br /> <br /> '''References'''<br /> <br /> [Please refer to the full bibliographic references in the footnotes for now.]<br /> <br /> ==Ma Zhixing 马智星==<br /> <br /> '''Report'''<br /> <br /> '''3rd International Dream of the Red Chamber Conference in Europe'''<br /> <br /> ''Martin Woesler''<br /> <br /> On November 7-8, 2015, the in¬ter¬national conference “Celebrating Cao Xue¬qin’s 300th anniversary - 3rd International ''Dream of the Red Chamber'' Conference Europe” was hosted at Folkwang University of Arts, Essen/Germany and organized by Martin Woesler. The Cao Xueqin Society (Peking) and the European Dream of the Red Chamber Society (Bochum) invited 30 speakers from the USA, Australia, Asia (Hong Kong, Taiwan, Korea), Europe (Germany, Hungary, Norway, Slovakia, Switzerland) and China (from the cities of Peking, Shanghai, Chengdu). Sponsor was the Beijing Cao Xueqin Culture Development Foundation. <br /> <br /> ==Meng Ying 孟莹==<br /> <br /> In the greetings, Cultural Attaché Chinese Embassy Berlin Chen Ping, Essen Folkwang University of Arts’ chancellor Michael Fricke and Essen mayor Thomas Kufen expressed their gratitude and their feelings of great honor to host this 3rd international conference in Europe on Cao and his novel after the first two conferences in Bonn/Germany 1992 and Olomouc/Czech Republic 2014. Vice Minister Hu Deping, president of the Peking Cao Xueqin Society, said this conference offered the rare opportunity of sharing findings among experts from China and experts from the rest of the world, opening opportunities for further cooperation.<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> Martin Woesler welcomed the participants in his function as president of the European Dream of the Red Chamber Society. He expressed his satisfaction with the high quality of the contributions submitted from all over the world, including 10 written contributions, a selection of which would be published in the ''European Journal of Sinology''. Duan Jiangli announced that a selection of the Chinese papers will be published in the ''Cao Xueqin Research''.<br /> <br /> 作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。他非常满意对来自世界各地的10篇高质量的书面稿件，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，中国论文选集将在《曹雪芹研究》上发表。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:26, 13 November 2020 (UTC)Mo Ling<br /> <br /> 作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。对于来自世界各地的10篇高质量的书面稿件，他表示十分满意，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，精选的中国论文将会在《曹雪芹研究》上发表。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:20, 13 November 2020 (UTC)<br /> <br /> 作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。他对来自世界各地的10篇高质量书面稿件表示十分满意，其中一部分选集将发表在《欧洲汉学杂志》上。段江力宣布，中国论文选集将会发表在《曹雪芹研究》上。--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 14:43, 15 November 2020 (UTC)Nie Xiaolou<br /> <br /> ==Mo Nan 莫南==<br /> <br /> Hu Deping opened the first panel on studies on the author (Caoxue) with a discussion of the banner identity of Cao Xueqin, he stressed the imperial proximity of his even plain white banner and his high social status. Hu sees descriptions of Cao asking to put drinks on his tab as a proof of his trustworthiness due to his steady imperial stipend. Fan Zhibin in his contribution interpreted Cao’s status lower. Hu Deping expressed his skepticism towards the authenticity of any findings of cultural relicts after the 1970s attributed to Cao. But he pointed at the fact, that two places in the Old Summer Palace are called like the Daguan yuan itself (‘Daguan’) or like a place in it.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> <br /> Ellen B. Widmer (Wellesley College) analyzed the characterization of Cao as a dramatic character in the sequel ''Hou Honglou meng''. Zhang Shucai (Peking) explained further the findings on social status of aristocratic families and banner people close to the imperial court, with an analysis of the Han and Manchu heritages. Zhan Song (Peking) also reflected on the ethnic identity, when he introduced ''Honglou meng''-critics among Qing Eight Banner people. Duan Qiming (Peking) approached the family history from Cao Yin’s “''Beihong fuji''”, showing connections to author and novel.<br /> <br /> Ellen B. Widmer（威尔斯利学院）在续写《后红楼梦》中将曹雪芹描写为一个戏剧性的人物。张书才（北京）通过分析汉族和满族的文化遗产，进一步阐释了关于处于世族社会地位以及接近王室的旗人研究。Zhan Song（北京）在介绍红楼梦时同样反映了民族认同这种现象。张书才和Zhan Song均为清八旗人的批评家。段启明（北京）从曹寅的《北红拂记》中研究了曹雪芹的家族历史，体现了作者与小说之间的联系。--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 14:30, 15 November 2020 (UTC)Nie Xiaolou<br /> <br /> ==Ou Rong 欧蓉==<br /> <br /> Ling Hon Lam (Berkeley) opened the 2nd panel “Studies on the novel” with an analysis of the difference of the reading culture in the novel and its sequels. Since the habit of ‘reading silently’ changed at the beginning of Qing to ‘reading aloud’, the silent reading is prominent in the novel and the out loud reading is prominent in the sequels as well as in the last 40 chapters. Duan Jiangli (Peking) introduced the different handwritten comments in the manuscript versions and stressed the importance of the early Zhi Yanzhai commentary. Zhou Wenye (Peking) presented a tool to compare and analyze the different manuscript versions including comments and the different print versions of the novel.<br /> <br /> 林汉麟（伯克利）通过分析小说及其续集中的阅读文化差异，开设了第二个小组“小说研究”。由于自清初开始，“默读”的习惯就变成了“大声朗读”，因此，小说中突出了无声阅读，而续集和最后40章中突出了大声朗读。段江丽（北京）在稿件版本中介绍了不同的手写评论，并强调了早期的阎彦斋评论的重要性。周文业（北京）介绍了一种工具，用于比较和分析不同的手稿版本，包括评论和小说的不同印刷版本。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 07:24, 15 November 2020 (UTC)Ou Rong<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> <br /> Up to three versions can be displayed simultaneously with the differences highlighted. He demonstrated how to prove which kind of relation certain versions had and what suggested that, in certain cases, there must still exist a missing edition. He favored the Cheng B edition over the Cheng A edition, since the corrections were mostly improvements. He also argued that there were many intermediate editions, even between Cheng A and B, since all surplus printed pages were used for later editions. Zhang Hui (Hong Kong) introduced the novel in a different media form, the drama, focusing on one example of a drama adaption.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> Marina Čarnogurská (Slovakia), translator of the Slovakian full translation, argued that the last 40 chapters were authored not by Gao E, but maybe even by Cao Xueqin. General consent among the participants was that Gao might have had a more editorial function and some parts of the last 40 chapters might have been written by Cao.<br /> <br /> In the 3rd panel “Interdisciplinary/Intertextual Approaches”, Shang Wei (Columbia University/USA) presented insights into visual culture in Qing dynasty and argued that there was a strong European influence in the Manchu court, which is traceable in the novel and influenced Cao Xueqin.<br /> <br /> 玛丽娜·乔阿诺古尔斯卡（斯洛伐克）是斯洛伐克语译本的译者，她认为书的后四十章的作者不是高鹗，而是曹雪芹。参会人员也一致同意，高鹗更多的只是负责编写，后四十章的创作实际是曹雪芹完成的。<br /> <br /> 在第三场主题为“跨学科/跨文本方法”的座谈会上，尚伟（美国哥伦比亚大学）提出了关于清朝时期视觉文化的一些观点，他认为满洲朝廷受欧洲文化影响颇深，这种影响在曹雪芹的小说中也有迹可循。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 06:27, 13 November 2020 (UTC)Ouyang Ling<br /> <br /> 玛丽娜·乔阿诺古尔斯卡Marina Čarnogurská(斯洛伐克)认为，最后40章的作者不是高鄂，甚至可能是曹雪芹。与会代表普遍认为，高娥可能有更多的编辑功能，最后40章的部分内容可能是曹雪芹写的。<br /> <br /> 在第三板块 &quot;跨学科/跨文本方法 &quot;中，尚伟（美国哥伦比亚大学）提出了对清代视觉文化的见解，认为满族宫廷中存在着强烈的欧洲影响，这在小说中是有迹可循的，并影响了曹雪芹。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 13 November 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> <br /> Kam Louie (Hong Kong) compared the novel with Three Kingdoms in regard to masculinity, homo-sociality and class, arguing how Jia Baoyu’s homo-erotic friendships were perceived differently depending on times and lenses. Louise P. Edwards (Australia) explored an aestheticized masculinity in clothing, dress and decoration as described in the novel. Karl-Heinz Pohl (Trier/Ger¬many) analyzed Buddhist thoughts in the novel with the example of several wisdoms from the “Heart Sutra”, he showed pro¬xi¬mi¬ty between Buddhist and Daoist thoughts. Harro von Senger (Frei¬burg/ Ger¬¬many) compared supraplanning (in China traditionally ‘''moulüe''’) in the novel and the German family tragedy ‘Nibelun¬gen¬lied’.<br /> <br /> ==Peng Juan 彭娟==<br /> <br /> Zhu Ping (Peking) introduced the historical background of drama culture at the time of Kangxi, Yongzheng (the time the novel was written), and Qianlong. Kristina Schröder (Zurich/Switzerland) ex¬plained references of early illustrations of the novel with the ‘Romance of the West Chamber’ with the example of Wang Xilian ordering flowers to blossom. Stefan Mess¬mann (Budapest/Hungary) asked from the legal perspective, if the Marxist dream of equality had been achieved. Laura Bing Han (Trier) compared the novel and the ‘Buddenbrooks’ regarding philosophical dua¬lism.<br /> 朱平(北京)介绍了康熙、雍正、乾隆时期戏剧文化的历史背景。克里斯蒂娜·施洛德(苏黎世/瑞士)以王喜莲命令花朵开放为例，简单地引用了《西厢记》的早期插图。斯特芬·密瑟安(布达佩斯/匈牙利)从法律的角度提问，马克思主义的平等梦想是否已经实现。劳拉冰寒(特里尔)比较了小说和“布登布鲁克斯”关于哲学对立主义的问题。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:24, 15 November 2020 (UTC)pengjuan<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> Panel 4 introduced the novel’s in¬ter¬national dissemination, and here Martin Woesler (Witten/Germany, Rome/Italy) ana¬lyzed the changing reception of the novel by early Western translators and recipients. The novel was instrumentalized (e.g. for language learning) and exoticized. Wu Wei (Oslo/Norway, Heidelberg/Ger¬many) explored the color symbolism of ‘redness’ in novel. <br /> <br /> 第4小组介绍了小说的国际传播，马丁·怀斯勒（Martin Woesler）（威滕/德国，罗马/意大利）分析了早期西方译者和接受者对小说的接受态度。 这本小说被工具化（例如用于语言学习）并被异化。 Wu Wei（奥斯陆/挪威，海德堡/德国）探索小说中“红色”的色彩象征。<br /> <br /> The translations were dealt with in panel 5, Daniela Zhang Cziráková (Slovakia) in-tro¬duced the Czech and Slovak translations of the novel. He Jun (Chengdu) introduced German excerpt translations before Franz Kuhn and Khoo An Ny (Fudan Shanghai) the state of translations in Malaysia.<br /> <br /> 在第5小组中讨论了译文，其中Daniela ZhangCziráková（斯洛伐克）介绍了该小说的捷克语和斯洛伐克语翻译。 何俊（成都）在弗朗兹·库恩（Franz Kuhn）和邱安妮（Kou An Ny）（复旦上海）介绍马来西亚的翻译状况之前，先介绍了德国的摘录翻译。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> <br /> General consent of the participants was that the 120 chapter version was the most authoritative one and that the title ''Dream of the Red Chamber'' was more common than its alternative title ''Story of the Stone''.<br /> <br /> Wei Lingzhi (Peking) introduced results of a 2015 representative survey among Chinese readers about the novel and the author proving its unbroken popularity and high esteem. Regarding translations, the Hawkes/Minford translation was preferred over Yang/Yang.<br /> <br /> 与会者普遍同意120章回版本是最具权威的版本，而且《红楼梦》这一书名比《石头记》更为常见。<br /> <br /> 魏凌志（北京）介绍了2015年中国读者对这部小说及作者的代表性调查结果，证明了这部小说一直以来所受到的广泛欢迎和高度尊重。至于翻译版本，霍克斯、闵福德的比杨阳更受喜爱。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:45, 14 November 2020 (UTC)<br /> <br /> 与会者普遍同意120章回版本是最具权威的版本，而且《红楼梦》比另一个书名《石头记》更为常见。<br /> <br /> 魏凌志（北京）介绍了2015年中国读者对这部小说及作者的代表性调查结果，证明了这部小说一直以来所受到的广泛欢迎和高度尊重。至于翻译版本，霍克斯/闵福德的比杨阳的翻译版本更受喜爱。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:24, 15 November 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> <br /> All participants praised the importance of the recently published full translations in German and other languages and welcomed the opportunity to share their findings especially between Chinese and non-Chinese scholars. The choreographer Shen Fang-yu and the dramaturg Martin Woesler also presented a taping of the Folkwang Dance Studio Performance “REDCHAMBERDREAM”. <br /> <br /> For further information please refer to the conference website http://china-studies. com.<br /> <br /> 所有与会者都赞扬了最近出版的德语和其他语言的完整译本的重要性，并由衷希望有机会在中国学者和非中国学者之间分享他们的发现。舞蹈编导沉芳玉和戏剧编剧马丁·伍斯勒（Martin Woesler）也为富克旺根舞蹈工作室表演的“红楼梦”进行了录制。<br /> 有关更多信息，请访问会议网站http://china-studies.com。--[[User:Peng Yongliang|Peng Yongliang]] ([[User talk:Peng Yongliang|talk]]) 14:03, 15 November 2020 (UTC)<br /> <br /> <br /> '''World Citizen Lu Xun:''' <br /> <br /> '''Critical reception of European Culture by Lu Xun with the examples of Nazi cultural politics and of the Nobel Prize'''<br /> <br /> '''世界公民魯迅：魯迅批判性地接受歐洲文化——以納粹文化政治與諾貝爾獎為例'''<br /> <br /> '''''Martin Woesler 吳漠汀'''''<br /> <br /> Witten/Herdecke University 北京師範大學<br /> <br /> ==Peng Yuzhi 彭育志==<br /> <br /> Abstract<br /> <br /> Lu Xun was well aware of global politics in culture, as proven by documents discovered a few years ago. Three days after the book burning in Berlin on May 10, 1933, Lu Xun, as a Member of the Executive Board of the “China League for Civil Rights,” protested the “brutal terror and reaction” of Nazi Germany. Lu Xun took action and submitted an official protest to the German Consulate in Shanghai, which was taken seriously by the Nazi diplomats. He protested the racist suppression of Jewish authors while his own piece of world literature, “A Madman’s Diary” (1918), would have been considered “degenerate art” if published in Germany. In June 1933, he proved his in-depth understanding of Nazi crimes, especially the book-burning, humiliation and deportation of writers, in two essays.<br /> <br /> 摘要<br /> <br /> 近年发现的档案证明，鲁迅在文化事件中有很强的政治意识。在1933年5月10日柏林焚书事件发生后三日，鲁迅作为中国民权保障同盟执行委员会的一员对纳粹德国的“恐怖行径和残忍回应”表示抗议。鲁迅采取行动并向德国驻上海使馆提交了一份官方抗议书，对此，纳粹外交官的态度十分慎重。鲁迅抗议对犹太作家的种族压迫，而他自己的一篇世界文学，“狂人日记”（1918），若在德国出版，也会被视作“堕落艺术”。1933年6月，在两篇文章中，他证明自己对纳粹的罪行，尤其是焚书以及对侮辱和驱逐作家有了深入的理解。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 09:19, 14 November 2020 (UTC)<br /> <br /> 近年发现的档案证明，鲁迅在文化事件中有很强的政治意识。在1933年5月10日柏林焚书事件发生后三日，鲁迅作为中国民权保障同盟执行委员会的一员对纳粹德国的“恐怖行径和残忍回应”表示抗议。鲁迅采取行动并向德国驻上海使馆提交了一份官方抗议书，对此，纳粹外交官的态度十分慎重。鲁迅抗议对犹太作家的种族压迫，而他自己的一篇世界文学，“狂人日记”（1918），若在德国出版，也会被视作“堕落艺术”。1933年6月，在两篇文章中，他深刻论证了德国纳粹的罪行，尤其是体现其对焚书以及对侮辱和驱逐作家有了深入的理解。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 12:03, 14 November 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> <br /> 因近年来所新发现的文物资料，鲁迅很深刻的意識到和瞭解了全球文化政治。柏林焚书案（1933年5月10日）发生的第三天，鲁迅做为“中国民权保障同盟”委员会成员，抗议德国纳粹“残忍的恐怖行径”。鲁迅立刻展开行动，向德国驻上海使领馆提出抗议（当时该处已经由德国纳粹接管）。他抗议纳粹对犹太作家的压制，当时他自己的世界文学作品“狂人日记”在德国也被看作是“变态艺术”。1933年6月，他通过2篇杂文，深刻论证了德国纳粹的罪行，特别是焚烧书籍、羞辱和驱逐作家等。<br /> <br /> In an earlier incident, when he was asked to accept a nomination for the Nobel Prize of Literature in 1927, he refused, not only out of personal modesty, but also because of global political considerations. <br /> <br /> 他曾于1927年被提名为诺贝尔文学奖的候选人，但是他拒绝了，不仅是个人的谦逊，也是考量到当时的全球政治环境。<br /> <br /> ==Qu Miao 瞿淼==<br /> <br /> Both cases show a different side of Lu Xun’s Reception of European Culture: He was not just an admiring, importing, translator of European culture who was influenced by it (as seen in his own life and work). Instead, his reception was more complex and critical; he applied universal moral standards, as defined by civil and human rights, which he referred to.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:45, 15 November 2020 (UTC)<br /> <br /> 两个例子展现了鲁迅对于欧洲文化接受的不同面：他不仅是一位令人尊敬、举足轻重、受欧洲文化影响的翻译者（参见他的生平和作品）。另一方面，他对西方文化的接受也是复杂而具有批判性的；他遵循普世价值观，是他所说的公民权和人权所定义的价值观。<br /> <br /> This makes Lu Xun a world citizen, one who cannot simply be claimed by certain parties or nations.<br /> <br /> 综上所述，鲁迅是一位世界公民，不属于任何政党或民族。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:45, 15 November 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> <br /> '''Introduction''''''简介'''<br /> <br /> Beginning with his earliest student years in 1902-1903, Lu Xun became an important translator of foreign literature (Jules Verne: ''Journey to the Moon, Twenty Thousand Leagues under the Sea''). In March 1906, he decided to give up the study of Western medicine in order to become a writer; to cure the Chinese people’s minds instead of their physical illnesses. During his lifetime, Lu Xun was torn between his hope that he could turn Chinese people’s lives to the better and his disappointment that a writer’s works alone were not powerful enough to actually change things or to instigate people to change them.<br /> <br /> 介绍<br /> <br /> 在鲁迅学生年代早期（1902-1903），他就是翻译国外文学的一名重要译员。（儒勒·凡尔纳：“月球之旅，海底两万里”）1906年3月，他决定放弃西医学习，成为一名作家，决定治愈中国人的思想而不是身体疾病。不过在他的一生中，希望和失望交织，他希望能带领中国人过上好日子；不过单凭他的作品，无力真正改变一件事物，也不能煽动人们去改变这些事，对此他感到很失望。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 11:38, 14 November 2020 (UTC)<br /> <br /> 简介<br /> 从1902-1903年早期学生生涯开始，鲁迅就成为了外国文学的重要译者（儒勒·凡尔纳：《月球之旅，海底两万里》）。 1906年3月，他决定放弃西医研究，成为一名作家。 治愈中国人的精神疾病而不是身体疾病 鲁迅一生中希望和失望交织，他希望能带领中国人过上好日子；不过单凭他的作品，无力真正改变一件事物，也不能引导人们去改变这些事，因而他对此感到很失望。--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 03:43, 15 November 2020 (UTC)Weiyafei<br /> <br /> ==Sagara Seydou ==<br /> <br /> In 1917, when his friend Qian Xuantong asked him to contribute to the new radical magazine ''New Youth'' (founded by Chen Duxiu), Lu Xun responded: &quot;Imagine an iron house: without windows or doors, utterly indestructible, and full of sound sleepers – all about to suffocate to death. Let them die in their sleep, and they will feel nothing. Is it right to cry out, to rouse the light sleepers among them, causing them inconsolable agony before they die?&quot; In spite of this opinion, in 1918 he still wrote his first story published under his name; “A Madman’s Diary.<br /> ”1917年，当他的朋友钱选同邀请他为新的激进杂志“新青年”（由陈独秀创立）做出贡献时，鲁迅回答说：“想像一个铁房子：没有门或窗，坚不可摧，而且设施齐全 睡眠的人–快要窒息而死.让他们在睡眠中死亡，他们将不会有任何感觉。哭出来，唤醒其中的轻便睡床，在他们死前造成痛苦的痛苦是正确的吗？” 尽管有这种观点，他在1918年仍然写了他的第一个故事，以他的名字出版. “狂人日记.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:40, 15 November 2020 (UTC)<br /> <br /> ==Shi Diwen 石迪文==<br /> <br /> It was a social-critical short story which reached world literature level, with one fictional element placed in a realistic setting (influenced by Gogol and parallel to Kafka’s stories using a similar technique). He placed his hopes on the next generation, as we know from the last lines “A Madman’s Diary:” “Save the children....” We also know that Lu Xun engaged in political activities, starting, perhaps, with his support of the Tongmenghui in Japan and by developing plans to educate politically active students etc.<br /> <br /> <br /> 这是一个达到了世界文学水平的短篇小说，将一个虚构元素放置在现实的背景下(受到果戈理的影响，和使用类似技巧的卡夫卡小说是同类型的)，对社会进行批判。他寄希望于下一代，我们可以从《狂人日记》的最后几行得知:“拯救孩子....。” 我们也知道，鲁迅从事政治活动，可能是从他支持日本同盟会开始的，也可能是从他计划去培养政治上活跃的学生开始的。--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 14:47, 15 November 2020 (UTC)<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> So while Lu Xun was at first concerned with China, he understood the signs of the times and was anxious to get additional education in Western sciences. He absorbed Western knowledge, learned several European languages and was an important translator of Western literature, e.g. in 1909 he published a book with translated Eastern European stories in Japan. While Lu Xun’s target was the Chinese people, he was very well aware that backwardness in China could only be overcome by learning from the West, especially from Europe.<br /> <br /> 因此，虽然鲁迅最初关心的是中国，但他明白这个时代的迹象，并急于接受西方科学方面的进修深造。他研究了西方知识，学习了几门欧洲语言，还成为了西方文学的著名翻译家。例如，1909年，他在日本出版了一本东欧故事的译著。虽然鲁迅的目标读者是中国人民，但他深知，中国的落后只能通过向西方学习，特别是向欧洲学习来克服。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 06:18, 14 November 2020 (UTC)<br /> <br /> 因此，尽管最初鲁迅担忧中国命运，但他清楚地认识到时代的迹象，并急于出国深造，学习西方科学知识。他从西方知识汲取养分，学习了几门欧洲语言，还成为了一位著名的西方文学翻译家。比如，1909年，他在日本出版了他翻译的东欧故事集。虽然鲁迅的目标读者是中国人民，但他深知，中国只有向西方学习，尤其是向欧洲学习，才能摆脱落后的局面。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:37, 14 November 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> <br /> Because of Lu Xun’s extremely critical attitude and his concern for China, the Communist Party and patriots in China claimed to have him in their “pocket.” However, although Lu Xun’s target was China, his measurement scale and means were international universal principles and he was too fierce a protester to be in anyone’s “pocket.” He was active in different political initiatives – such as the China League for Civil Rights (中國民權保障同盟) and the later Leagues of Left-Wing Writers (although some members accused him of being a Right-Wing writer). <br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> He did not become a member of the Chinese Communist Party, but instead quarreled with Communists ideologists. In 1935, he declined to write a pro-Communist novel. Shortly before his death, he wrote: “Forget about me, and care about your own life – you're a fool if you don't.” In spite of this, the Party posthumously made him a Communist Party Member and Mao Zedong wrote the calligraphy above his tomb.<br /> <br /> Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.<br /> <br /> 他没有加入中国共产党，反而拒绝接受共产党的意识形态。1935年，他婉言谢绝写一部支持共产党的小说。他去世前不久写道：“忘掉我，管自己的生活---倘不，那就真是糊涂虫。”尽管这样，共产党在鲁迅死后仍将其算作中共党员，毛泽东为其亲笔题写墓碑。<br /> <br /> Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:06, 14 November 2020 (UTC)<br /> <br /> 他没有加入中国共产党，并且还跟共产党的思想家争论。1935年，他拒绝写一部支持共产党的小说。他去世不久前写道：“忘了我，关心你们自己的生活吧。如果不这样做，你们可真的太傻了。”尽管如此，在他去世后，共产党仍然接收他为中共党员，毛泽东还亲自提笔为他写墓碑。<br /> <br /> 丹顿·柯克（2002),鲁迅传记，MCLC资源中心。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 11:17, 14 November 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> '''Westernization?'''<br /> <br /> Did Lu Xun trough his Western education and translations of Western literature simply fully supported a ‘Westernization’ of China (全盤西化)? This can be disproven with the following examples: his criticism of Nazi crimes and his decline of the Nobel Prize. His critical mind and intellectual capacities did not allow him simple answers to complex questions.<br /> <br /> Only three days after the book burning in Berlin (May 10, 1933), Lu Xun protested at the Shanghai Consulate against Nazi Germany. This shows his extreme awareness of international politics and the nature of societies.<br /> 鲁迅是否通过他的西方教育和西方文学翻译来完全支持中国的“全盘西化”？ 以下例子可以证明这一点：他对纳粹罪行的批评和对诺贝尔奖的拒绝。 他的批判性思维和智力能力使他无法简单地回答复杂的问题。在柏林焚书事件发生的三天后（1933年5月10日），鲁迅在上海领事馆抗议德国纳粹，这表明他对国际政治和社会性质的极致认识。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 02:01, 14 November 2020 (UTC)<br /> <br /> '''西化？'''<br /> <br /> 鲁迅仅仅是通过接受西方教育和翻译西方文学来支持中国“全盘西化”吗？以下例子可证明这一点：他批判纳粹罪行且拒绝接受诺贝尔奖。他不能凭借其批判思维和聪明才智简单回应这类复杂问题。<br /> <br /> 柏林焚书事件（1933年5月10日）刚刚过去三天，鲁迅就在上海领事馆抗议德国纳粹，这表明他对国际政治和社会性质的极致认识。 --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:14, 14 November 2020 (UTC)<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> The reaction of the Vice General Consul in his report to the German Embassy in Peking shows that the German Consulate engaged in counter propaganda and denied the allegations, referring even to their support of the Jewish community in Shanghai. While the world was still asleep, Lu Xun already understood and criticized Nazi anti-writer politics in Germany. It took the rest of the world almost a decade more to “wake up.” Even Nazi Germany’s invasion of Poland in 1939 did not “wake up” other countries, enabling Nazi Germany to conduct further surprise attacks (blitzkrieg) in Western Europe (Netherlands, Belgium, France etc.).<br /> <br /> 在给德国驻北京大使馆的报告中，副总领事的反应表明，德国领事馆反对这些宣传，并否认有关指控，甚至拒绝承认他们支持上海的犹太社区。当世界还在沉睡的时候，鲁迅已经理解并批判德国的纳粹反作家政治。而世界上其他的国家花了将近10年的时间才“醒悟”，甚至1939年纳粹德国入侵波兰的事件也没能“唤醒”其他国家，这使得纳粹德国能够在西欧（荷兰、比利时、法国等）发动进一步的突然袭击（闪电战）。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:08, 13 November 2020 (UTC)<br /> <br /> <br /> 在副总领事给德国驻北京大使馆的报告中的反应表明，德国领事馆反对这些宣传，并否认有关指控，还提到他们支持上海的犹太人聚居区。当世界还在沉睡的时候，鲁迅已经理解并批判德国的纳粹反作家政治。而世界上其他的国家花了将近10年的时间才“醒悟”，甚至1939年纳粹德国入侵波兰的事件也没能“唤醒”其他国家，这使得纳粹德国能够在西欧（荷兰、比利时、法国等）发动进一步的突然袭击（闪电战）。--[[User:Peng Yongliang|Peng Yongliang]] ([[User talk:Peng Yongliang|talk]]) 14:09, 15 November 2020 (UTC)<br /> <br /> 副总领事在给德国驻北京大使馆的报告中所作的反应表明，德国领事反对这些宣传，并否认有关指控，甚至提到了他们对上海犹太社区的支持。当世界还在沉睡之时，鲁迅已经理解并批判纳粹德国的反作家政治。而世界上的其他国家用了将近10年的时间才“觉醒”。即使纳粹德国于1939年入侵波兰，也没能“唤醒”其他国家，使纳粹德国能够在西欧（荷兰、比利时、法国等）发动进一步的突袭（闪电战）。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 14:21, 15 November 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> Lu Xun was well able to distinguish between positive and negative parts of European culture, which leads to the question: which moral standards did he actually live up to? The thesis of this paper is that he oriented himself to abstract universal human values and morals. As proof, the following details of Lu Xun’s protests are examined.<br /> <br /> 鲁迅能够很好地区分欧洲文化的正面和负面，这就引出了一个问题:他到底遵循什么样的道德标准?这篇论文是以鲁迅的抽象普世人类价值和道德为主题。为了证明这一点，我们考查了鲁迅抗议宣言的一些细节。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 11:08, 15 November 2020 (UTC)<br /> <br /> 鲁迅对于欧洲文化的态度究竟是积极还是消极的呢？这也引出另一个问题：他到底遵循哪一种道德价值观？本文将论证，鲁迅遵循的是普世价值观。<br /> <br /> 鲁迅能够很好地区分欧洲文化中积极和消极的部分，这就引出了一个问题：他究竟遵循的是哪些道德标准？本文将论证：鲁迅遵循的是抽象的人类普世价值和道德。本文将从鲁迅的抗议宣言中分析论证。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:09, 13 November 2020 (UTC)Xiao Ting<br /> <br /> 鲁迅能够很好地区分欧洲文化的正面和负面的部分，从而也引出了问题：他到底遵循的是什么样的道德标准？本文的理论是以鲁迅对人类的普世价值和道德理念为主。鲁迅的声明中列出的细节都真实可考。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:40, 13 November 2020 (UTC)<br /> <br /> 鲁迅善于分辨欧洲文化的积极和消极部分，这也引出了一个问题：他实际上遵循了什么道德标准？本文的论点是他遵循抽象普世的人类价值观和道德观。为了证明，以下是可考的鲁迅抗议的细节。<br /> --[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:30, 15 November 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> '''Lu Xun’s in-depth and early understanding of Nazi crimes'''<br /> <br /> On July 11 and 16, 1933, Lu Xun (using his pseudonyms) published two essays against Nazi crimes – about the book burning in China and Germany. As shown by this immediate response, Lu Xun was quick to retrieve information and form a judgment – independent of regionalism and dependent only upon universal moral values.<br /> <br /> Lovell, Julia. &quot;Introduction&quot;. In ''Lu Xun: The Real story of Ah-Q and Other Tales of China, The Complete Fiction of Lu Xun''. England: Penguin Classics. 2009. ISBN 978-0-140-45548-9, here pp. xxx.<br /> <br /> Silvia Kettelhut: G''eschäfte übernommen: Deutsches Konsulat, Shanghai, Impressionen aus 150 Jahren,'' Shanghai 2006.<br /> <br /> “鲁迅早期对纳粹罪行的深入了解”<br /> <br /> 1933年7月11日至16日，鲁迅（使用化名）发表了两篇反对纳粹罪行的文章，该书在中德两国畅销。正如这一即时反应所表明的那样，鲁迅迅速地获取信息并作出判断——独立于区域主义，仅依赖于普遍的道德价值观。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:36, 13 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> In his essay “The Book burning in China and Germany” (dated June 28 and published July 11, 1933), Lu Xun, under the penname Ru Niu, compares Qin Shihuangdi’s book burning with the one by Hitler. He points out that the emperor did not burn books on agriculture and medicine and instead still accepted pluralism. Polemically he criticizes his Chinese colleagues for not understanding that the threat by Hitler is a threat to freedom in general. Lu Xun directly addresses the German dictator Hitler as “Mr. Hitler.”<br /> <br /> <br /> ==Tang Ming 唐铭==<br /> <br /> In the second essay, “Surplus of Knowledge” (dated July 12 and published July 16, 1933) he compares a recent agricultural crisis in China following a “harvest surplus” and the demand to abandon the learning of theories in favor of learning practical things with the demand in Nazi Germany to abandon liberal and pluralistic education. Polemically he calls the German imprisonment of students in labor camps a “solution to the unemployment problem.” He demands that China get rid of knowledge, insisting that people should become fatalist and opportunist.<br /> <br /> 在第二篇文章“过剩的知识”中，他比较了最近中国在“丰收盈余”之后的农业危机，放弃理论学习以学习实际事物的要求，以及纳粹德国要求放弃自由和多元化教育的要求。颇具争议性的是，他称德国将学生关押在劳改营是“解决失业问题的办法”。他要求中国摆脱知识，坚持认为人们应该成为宿命主义者和机会主义者。<br /> <br /> --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:35, 15 November 2020 (UTC)Tang Ming<br /> <br /> 在第二篇文章“过剩的知识”中，他比较了最近中国在“丰收盈余”之后的农业危机，放弃理论学习以学习实际事物的要求，以及纳粹德国要求放弃自由和多元化教育的要求。颇具争议性的是，他声称德国将学生关押在劳改营这种行为是“解决失业问题的办法”。此外，他还要求中国摆脱知识，坚持认为人们应该成为宿命主义者和机会主义者。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 09:36, 15 November 2020 (UTC)Wang Xuan<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> Lu Xun early had studied the German philosopher Nietzsche, who was also pocketed by the Nazis, and wanted to study abroad in Germany. His critical reflection of Nazi German situation shows that he could also be extremely critical against Germany and was able to judge it according to universal values.<br /> <br /> 鲁迅早年研究过德国哲学家尼采，后者为纳粹收入囊中并且想去德国留学。鲁迅对纳粹德国现状的批判说明，他有能力根据普世价值来评判纳粹德国。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:33, 15 November 2020 (UTC)<br /> 鲁迅很早就研究过德国哲学家尼采，而尼采也曾被纳粹骗过，并曾想去德国留学。他对纳粹德国处境的批判反思表明，他也可以对德国极端批判，并能够以普世价值来判断德国。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:49, 15 November 2020 (UTC)<br /> <br /> ==Tao Ye 陶冶==<br /> <br /> '''The China League for Civil Rights'''<br /> <br /> The China League for Civil Rights was established with the outspoken goal to free prisoners from Guomindang (GMD) imprisonment. Prominent among members of the League was Song Qingling (left-wing GMD), the widow of Sun Yat-sen, who broke with Qiang Kai-shek in 1927 – when the GMD turned more and more repressive. The Communists also had massive losses after 1927 and went underground. Lu Xun was the most prolific member of the League.<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> In 1931, Song Qingling returned to Shanghai from Europe and headed a campaign to rescue a foreign couple detained without trial by the GMD. I did not find evidence that she knew that the couple were Comintern agents; the campaign did not address their identity. It concentrated on the legal aspects of the detainment.<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> An early stage of this part of the study including the translation of the two essays into German has been published as “Der Protest des chinesischen Intellektuellen Lu Xun gegen Nazi-Verbrechen”, in: ''Bulletin of the German China Association'' 54 (2010) 119 pp., pp. 53-58, ISSN 1436-8048. This first essay was published as Ru Niu 孺牛 [Lu Xun]: 华德焚书异同论 (Discussion of Parellels and Differences of the Book Burning in China and Germany), July 11, 1933, 申报 Shen Bao, 自由谈 (Free Talks), German translation by Martin Woesler as “ Die Bücherverbrennungen in China und Deutschland Diskussion der Gemeinsamkeiten und Unterschiede ” in: ''Bulletin of the German China Association'' 54 (2010) 53-55.<br /> <br /> 这部分研究的早期阶段，包括将两篇论文翻译成德语，已发表在《德中协会公报》54（2010）119页，第53-58页，ISSN 1436-8048，发表于《中国抗议》第54（2010）119页，第53-58页，ISSN 1436-8048。本文第一篇论文发表于1933年7月11日，英文名为《中国与德国焚书的平行线与差异》，马丁·沃斯勒译为《中国与德国图书焚烧的平行线与差异》Unterschiede in:“中德协会公报”54（2010）53-55。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 09:28, 15 November 2020 (UTC)Wang Xuan<br /> <br /> ==Wang Yu 王煜==<br /> <br /> This second essay was published as Yu Ming 虞明 [Lu Xun]: “智识过剩 (Surplus of Knowledge)“, dated July 12, 1933, ''Shen Bao'' am 16.7.1933, English translation in: ''Lu Xun, Selected Works'', Übers. Yang Xianyi, Gladys Yang, Bd. 3, S. 324f., 1st ed 1959/1960, 2nd ed. 1964 p. 289-290, 3rd ed. 1980 p. 324 f., 4th ed. 2003 (Peking: Foreign Languages Press), German translation by Martin Woesler as “Wissensüberschuss” in: ''Bulletin of the German China Association 54'' (2010) 56-58.<br /> <br /> 第二篇论文在1933年7月12日以虞明（鲁迅）为笔名出版：“智识过剩”，“申报”1933年7月16日上午，英文名为：“鲁迅选集”，杨宪益，戴乃迭，Bd. 3, S. 324f.,第一版1959/1960,第二版1964 p. 289-290, 第三版 1980 p. 324 f., 第四版. 2003 （北京：外文出版社），德语版本由 Martin Woesler as “Wissensüberschuss”翻译为《德中协会公报》(2010) 56-58.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 12:10, 15 November 2020 (UTC)<br /> <br /> ==Wang Yuan 王源==<br /> <br /> The couple Paul and Gertrud Ruegg is also known as Mr. and Mrs. Hilaire Noulens. Ruegg's public role was secretary-general of the Pan-Pacific Trade Union, an international agent for organizing the Chinese labour movement. His secret role was secretary of the Comintern's Far Eastern Bureau in Shanghai. In June 1930, the couple was first arrested by the police in the International Settlement, and then turned over to GMD authorities. See: Jinxing Chen: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.<br /> <br /> Bruun, Ole, and Michael Jacobsen. ''Human rights and Asian values: Contesting national identities and cultural representations in Asia''. Vol. 6. Psychology Press, 2000.<br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> In the League’s press conference in Shanghai, on 30 December 1932, Cai Yuanpei referred to J. J. Rousseau and said that the League would not be placed in the pocket of any political party. The League was very active in publishing statements, sending telegrams to foreign governments in about half a dozen cases and seeing government officials on behalf of the imprisonment of intellectuals out of political reasons.<br /> <br /> 1932年12月30日在上海召开的中国民权保障同盟发布会上，蔡元培提到卢梭并称该同盟不会被任何政党所控。该组织表现活跃，积极发表声明，发电报给外国政府（几乎有一半的电报出自该同盟会之手），此外还代表政治罪犯跟政府进行会谈。<br /> <br /> On May 13, 1933, Ms. Song Qingling announced her visit to the German Vice General Consul, Richard Behrend, in Shanghai, and representatives of the League – including its president Song Qingling, Cai Yuanpei, Lu Xun, Yang Xing¬fo (Yang Quan) – submitted the following protest note.<br /> <br /> 1933年5月13日，宋庆龄女士宣布她将拜访德国驻上海副总领事理查德.贝伦德，并由该同盟会的代表--包括主席宋庆龄，蔡元培，鲁迅和杨杏佛递交以下抗议书。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 14:04, 15 November 2020 (UTC)<br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> Transcription, from Kettelhut 2006 pp. 155-158. Source: PA AA (Political Archive of the Foreign Office / Politisches Archiv des Auswärtigen Amtes) R 98440.<br /> <br /> Submission of the protest note to Vice General Consulate Behrend by the Board of the China League of Civil Rights, including the widow of Sun Yat-sen, Song Qingling, the president of Academia Si¬ni¬ca, Cai Yuanpei, Lu Xun and the Vice President of Academia Sinica, Yang Xing¬fo (Yang Quan). Wood block print by Zhao Yannian 趙延年 (born 1924) 1956. Not displayed in the wood block print are the writers Lin Yutang, Agnes Smedley und Harold Isaacs, which, according to the report of the Consulate, were also present. Lin Yutang was also not mentioned by the Chinese press.<br /> <br /> 转录，摘自Kettelhut 2006，第155-158页。 资料来源：PA AA（外交部政治档案馆/AuswärtigenAmtes档案馆）R 98440。<br /> <br /> 中国民权联盟理事会向贝伦副总领事馆递交了抗议说明，其中包括孙中山遗孀宋庆龄，学术界的领袖西尼卡，蔡元培，鲁迅和中央研究院副院长杨兴佛（阳泉）。 赵延年（生于1924年）在1956年制作了这些木刻版画。根据领事馆的报告，作家林语堂、艾格尼丝·史沫特莱和哈罗德——以撒并未陈列其中。 中国媒体也并未提及林语堂。<br /> --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 03:12, 15 November 2020 (UTC)Weiyafei<br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> The vice consul took the protest seriously and submitted the letter to Peking, accompanied with a report in which he described Ms Song Qingling as the head of the League and listed Lu Xun as “the famous writer” and leading fighter for the “New Chinese Language Movement.” <br /> <br /> Song Qingling, about a month after the visit at the Consulate, on June 17, 1933 sent a telegram to “Chancellor Hitler” demanding the immediate release of political prisoners.<br /> <br /> For the involvement of foreigners in the League see Chen Jinxing 2006 and others.<br /> <br /> Report by Behrendt for the German Embassy Peking dated May 15, 1933, see Kettelhut 2006.<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> The reaction from Berlin was that they should try to influence Song Qingling. The reply from the German diplomats in China was that it had been tried earlier and another attempt would probably be counter-productive since Ms. Song was close to the Communists.<br /> <br /> The League did not survive long. Hu Shi won the leadership of the Peking arm of the League. His critical review of a prison report led to some tensions within the League, leading to the dissolvement of the Peking arm. In the end, Yang Quan, the Secretary General, was assassinated by GMD, while Song Qingling received a letter with a bullet in it – forcing her to hide. All of this combined into a fatal blow to the League. Chen Jinxing (2006), however, suspects that tensions within the League (e.g. with Hu Shi) helped its dissolution. <br /> <br /> ==Wu Kai 吴恺==<br /> <br /> As the most prolific member of the league, Lu Xun’s active, and prominent, participation in the League’s protests shows his devotion to the principles of universal human rights – reaching beyond concern only for his countrymen.鲁迅的抗议显示了他普世人权的原则。<br /> <br /> Price, Ruth. ''The Lives of Agnes Smedley''. OUP USA, 2005.<br /> <br /> Chen, Jinxing: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.<br /> <br /> 作为联盟中最多产的成员，鲁迅积极而杰出地参与联盟抗议活动，显示出他对普遍人权原则的热爱——仅仅出于他对同胞的关注。<br /> <br /> 普莱斯•露丝。艾格妮丝•史沫特莱的生平。牛津大学出版社，美国，2005年。<br /> <br /> 陈金星：“中国民权同盟的兴衰”，载于《中国评论》第一卷。 第六卷，第二期，关于：WTO与中国金融发展的专刊(Fall 2006), pp. 121-147.--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 11:56, 14 November 2020 (UTC)<br /> <br /> 作为联盟中最多产的成员，鲁迅积极参与联盟抗议活动，显示出他对普世人权原则的热爱——仅仅出于他对同胞的关注。<br /> <br /> 普莱斯•露丝。艾格妮丝•史沫特莱的生平。牛津大学出版社，美国，2005年。<br /> <br /> 陈金星：“中国民权同盟的兴衰”，载于《中国评论》第一卷。 第六卷，第二期，关于：WTO与中国金融发展的专刊(Fall 2006), pp. 121-147.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 08:03, 15 November 2020 (UTC)Chen Jingjing<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> '''The Nobel Prize of Literature'''<br /> <br /> In 1926, “The True Story of Ah Q” was translated by Jing Yinyu into French. In September 1927, Peking University Professor Liu Bannong suggested to Sven Hedish (member of the Swedish Academy) that Lu Xun be considered for laureateship. Nobel Prize Laureate Kenzaburō Ōe called Lu Xun &quot;The greatest writer Asia produced in the twentieth century.&quot; In the 1920s, 1915 Nobel Laureate Romain Rolland introduced Chinese literature to the world. In 1927, he especially recommended Lu Xun and his story “Ah Q.”<br /> <br /> '''诺贝尔文学奖'''<br /> 1926年，敬隐渔将《阿Q正传》译为法文。1927年9月，北京大学教授刘半农向斯文·赫迪什（瑞士文学院院士）建议考虑授予鲁迅桂冠诗人的称号。诺贝尔文学奖获得者肯扎布尔称鲁迅是“二十世纪亚洲最伟大的作家。”在1920年代，1915年诺贝尔文学奖获得者罗曼罗兰向世界介绍了中国文学。1927年时，他特别推荐了鲁迅和他的故事“阿Q”。<br /> --[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:20, 15 November 2020 (UTC)<br /> <br /> '''诺贝尔文学奖'''<br /> 1926年，敬隐渔将《阿Q正传》译为法文。1927年9月，北京大学教授刘半农向斯文·赫迪什（瑞士文学院院士）建议考虑授予鲁迅桂冠诗人的称号。诺贝尔文学奖的桂冠诗人肯扎布尔称鲁迅是“二十世纪亚洲最伟大的作家。”在20世纪20年代，1915年诺贝尔文学奖桂冠诗人罗曼罗兰向世界介绍了中国文学。1927年时，他特别推荐了鲁迅和他的故事“阿Q”。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 15:40, 15 November 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> Lu Xun rejected the nomination in a letter to his former student and confidante, Tai Jingnong, with the following reasoning: “There are a lot of better writers than me in the world and they can’t get it.” He further said “I think there is nobody truly deserving the Nobel Prize in China. It would be better for Sweden to ignore us. It would only encourage Chinese egotism, causing them to believe they could really parallel those great foreign writers if yellow-skinned people were given preferential consideration. The result would not be good at all.” (Eventually, the prize was awarded to Sinclair Lewis.)<br /> <br /> 鲁迅在给之前的学生兼知己台静农的回信中拒绝了提名，理由是：“世界上有太多比我更优秀的作家，他们都不能获此殊荣，”他接着说道“我认为中国还没人能获诺贝尔奖，瑞典方最好是忽略掉我们。如果给黄种人优待，这只会让中国人盈盈自满，认为自己可以与外国优秀作家相提并论。结果并不如是。“（最终，奖项颁给了辛克莱·刘易斯）。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:21, 13 November 2020 (UTC)<br /> <br /> 鲁迅在给他旧时的学生兼知己，台静农的一封回信中拒绝了提名，理由如下：“世界上比我好的作家有很多，他们尚没有获此殊荣。”他又说：“我觉得在中国没有人真配得上诺贝尔奖。瑞典要是不把我们考虑在内那是最好。如果黄种人享有优待的话，只会徒增中国人的自大，让他们觉得自己真的能比肩那些伟大的外国作家。这可不是什么好事。”（最后，获奖者为辛克莱·刘易斯）。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:05, 13 November 2020 (UTC)Xu Mengdie<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> Lu Xun was well acquainted with many famous foreign writers. During these days, he personally met several, such as Agnes Smedley, Harold Isaacs, and Bernhard Shaw. Therefore, Lu Xun had an understanding of the domestic political implications of the Nobel Prize; of awarding such a prize to a national literature which was still under development and had not yet reached a satisfying level. He understood that the effect of such an award would be to increase Chinese egotism. So he sacrificed his own honor in order not to send the wrong signal; in order to not discourage Chinese literature by receiving mercy from the international community, but instead to encourage its further development so that it might eventually reach the level of the “great foreign writers.”<br /> <br /> 鲁迅与许多著名的外国作家很熟。在这些日子里，他亲自见了几个人，如艾格尼丝·史沫特莱、哈罗德·艾萨克斯和伯恩哈德·肖。因此，鲁迅对诺贝尔文学奖的国内政治含义有了一个认识，即把诺贝尔奖颁给一个尚处于发展阶段、尚未达到令人满意水平的民族文学。他明白这样一个奖项的效果会增加中国人的自负。因此，为了不发出错误的信号他牺牲了自己的荣誉，；为了不让中国文学受到国际社会的怜悯而气馁，而是鼓励中国文学进一步发展，使之最终达到“伟大的外国作家”的水平。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:10, 13 November 2020 (UTC)<br /> <br /> 鲁迅与许多外国著名作家相识。在这些日子里，他亲自见到了几位，如艾格尼丝—史沫特莱、哈罗德-艾萨克斯、萧伯纳等。因此，鲁迅明白诺贝尔奖在国内的政治影响，以及把这样一个奖颁给尚在发展中的、尚未达到令人满意水平的民族文学的影响。他明白，这样的奖项导致中国人自负心增强。因此，为了不向国人发出错误的信号，他牺牲了自己的荣誉；他不愿中国文学因接受国际社会的怜悯而积极性受挫，而是鼓励中国文学进一步发展，最终达到 “外国大作家 ”的水平。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 12:00, 15 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> Biography of Sven Hedin (1865-1952), see George Kish, ''To the Heart of Asia: The Life of Sven Hedin'' (Ann Arbor: University of Michigan Press, 1984). Hedin was in Beijing in late 1926 and early 1927 seeking government permission for an exploration to Mongolia (''ibid.'', p. 114). Quoted after: Wang, B. [汪宝荣]. (2011). Lu Xun's fiction in English translation: the early years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Retrieved from http://dx.doi.org/10.5353/th_b4696908 (in the following: Wang 2011).<br /> <br /> 斯文·赫丁传见诸于乔治·基什撰写的《亚洲的心脏：斯文·赫丁的一生》（阿安伯：密歇根大学出版社，1984）。1926年年末以及1927年年初，赫丁在北京为得到可以让他蒙古进行勘探的政治许可（同上，第114页）。引用：Wang，B.[王宝荣].（2011）。鲁迅小说英文版：早年。（论文）香港特别行政区波克富兰大学。引用于 http://dx.doi.org/10.5353/th_b4696908 （如下：王，2011）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:42, 13 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Lu Xun 鲁迅, “Zhi Tai Jingnong” 致台静农, 25 Sept. 1927, rpt. in ''LXQJ'' 12: 73-74. See a penetrating discussion of Lu Xun’s international stature and Nobel candidacy in Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 140-168. Interestingly, Foster suggests that Lu Xun may have contributed to the publicity which eventually led to the suggestion that he be nominated for a Nobel Prize. Quoted after: Wang 2011.<br /> <br /> Lu Xun 鲁迅, 《致台静农》, 1927.0925 ，《鲁迅全集》：73-74. 确定了鲁迅在国际文学界的地位，鲁迅因此被福斯特提名诺贝尔文学奖，罗曼罗兰评价其作品《阿q正传》充满着讽刺意味，《中国现代文学与文化》，13.1（2001年春）：140-168。王2011：有趣的是，福斯特认为，鲁迅文学对公众产生了深远影响，这可能也是他被提名诺贝尔奖的原因。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 04:37, 15 November 2020 (UTC)Wu Zijia<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.这些显示鲁迅很谦逊，其在中国文学的得到世界的认可，同时，他的视野也促进了中国文学的发展。 Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. 鲁迅相信普世价值观，为此甚至可以拒绝诺贝尔奖。These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”<br /> <br /> <br /> This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.<br /> <br /> 这表明鲁迅很谦逊，对中国文学的国际地位有着清醒的认识，对中国文学的发展有着远见卓识。<br /> <br /> Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. <br /> <br /> 谁会拒绝诺贝尔奖？除非他的原则比诺贝尔奖更为重要。鲁迅坚信普世价值，即使诺贝尔奖也不得不在这一价值面前退让。<br /> <br /> These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”<br /> <br /> 这些原则是普世价值，旨在把中国文学作为一个整体，带到世界水平，而不是挑出一个人，然后让其他人继续“睡在铁屋子里”。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:40, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> Several researchers have also interpreted the incident. Foster (2001) pointed to Romain Rolland’s role. Wang (2011) blames the bad quality of the French translation of “Ah Q” by Jing Yinyu as contributing to the fact that Lu Xun was not awarded the Nobel Prize. However, Romain Rolland, 1915 Nobel Prize Laureate, praised this French translation and also supported a Nobel Prize for Lu Xun. Gloria Davies recounts further incidents around this matter.<br /> <br /> 一些研究人员也对该事件进行了解释。福斯特（2001）指出罗曼-罗兰德的作用。王晓东（2011）称景印宇的《阿Q正传》法译本质量不过关，是导致鲁迅没有获得诺贝尔奖的原因。然而，1915年诺贝尔奖获得者罗曼-罗兰德对这一法译本大加赞赏，也支持为鲁迅设立诺贝尔奖。格洛丽亚-戴维斯还讲述了与此事相关的其他事件。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:01, 13 November 2020 (UTC)Xiao Ting<br /> <br /> <br /> 一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）认为景印宇的《阿Q正传》法译本质量不过关，导致鲁迅未获得诺贝尔奖。 然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:41, 13 November 2020 (UTC)<br /> <br /> 一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）将鲁迅未获得诺贝尔奖的原因归咎于景印宇的《阿Q正传》法译本质量不过关。然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:54, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> '''Conclusion: Universalism'''<br /> <br /> Lu Xun was very much involved in daily politics in China and fought several fights with other intellectuals and even the Communist Party publically by the means of ''zawen'' (critical essays). For us today, these fights about small and sometimes strange issues seem to characterize its actors as caught in provinciality. However, he was universal – both in his political understanding (recognizing German domestic suppression much earlier than many others and suspecting that even the Nobel Prize could be understood as a tool of mercy towards the underdeveloped nation of China) as well as in his literature. While he wrote literary pieces of the same level as Franz Kafka, he was producing world literature in a climate which was – despite all daily chaos – freer than the one in Germany.<br /> 结论:普遍性<br /> 鲁迅经常参与中国的日常政治活动，并通过《杂文》公开地与其他知识分子甚至共产党争论过。对今天的我们来说，这些因小而有时奇怪的问题而引发的争论，似乎表明人陷入了狭隘的窠臼。然而，他具有普遍性——无论是在他的政治理解(比许多人更早认识到德国对国内的镇压，甚至怀疑诺贝尔奖可以被理解为对欠发达国家中国的怜悯工具)，在他的文学作品中一样。尽管他的文学作品与弗朗茨·卡夫卡不相上下，但他创作世界文学的环境却比德国更为自由——尽管这里每天都是一片混乱。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 11:01, 15 November 2020 (UTC)Xiao Xi<br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> Criticism of suspected political motifs behind a Noble Prize for him and of the human rights violations in Germany show that Lu Xun was neither an advocate of total westernization nor that he oriented himself towards the West as a contrast foil for China. He placed nothing less than universal values as the contrast foil to China. True, also the League of Left-wing Writers was a short-lived daily-policy tool within China (Lu Xun himself said, it “may not last long”), but it represented universal values. He also referred to the children. This was another way of distancing himself from daily politics as he pointed to existential and universal ideals like future, hope, another chance and new people who are innocent; not pre-educated and burdened with the past.<br /> <br /> 对鲁迅的诺贝尔奖背后的可疑政治主题和德国侵犯人权的批评表明，鲁迅既不是全盘西化的倡导者，也不是把自己定位于西方，作为中国的对照。他把普世价值作为与中国的对比。诚然，左翼作家联盟在中国是一个短暂的日常政策工具（鲁迅本人说过，它“可能不会长久”），但它代表了普世价值。他还提到了孩子们。这是他与日常政治保持距离的另一种方式，因为他指的是存在主义和普遍的理想，如未来、希望、另一个机会和无辜的新人；不是受过教育的人，也不是背负着过去的重担的人。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 06:37, 15 November 2020 (UTC)Xiao Yining<br /> <br /> ==Xie Fan 解帆==<br /> <br /> Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 141.<br /> <br /> 保罗·B·福斯特:中国民族个性的膨胀讽刺地表现为鲁迅享有国际声誉，罗曼·罗兰批判《阿Q正传》获诺贝尔奖，以及《现代中国文学与文化》，13.1（春，2001）：141。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)<br /> <br /> Jeffrey Wasserstrom: “All I see Around Me is the Same Old Darkness: Gloria Davies on Lu Xun”, Nov 4, 2013, https://goo.gl/HgqmCe. See also Gloria Davies, ''Lu Xun’s Revolution'', Harvard University Press:2012.<br /> <br /> 杰夫瑞.瓦瑟施特伦：“我看到周围都是像鲁迅笔下的格洛丽亚·戴维斯一样古老的黑暗”，2013年11月4日，https://goo.gl/HgqmCe。参见《鲁迅的革命》中的格洛丽亚·戴维斯，哈佛大学出版社2012年版。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> Lu Xun’s reception of Western culture was not uncritical; he was shaped by both his heritage education and his Western education, applying universal standards to the Chinese development - a Chinese man with universal values – a true citizen of the world.鲁迅并非“全盘西化”，他的价值观受到传统教育和西方教育的影响，用普世价值来判斷中国发展——一个具有普世价值的中国人——一个真正的世界公民。<br /> <br /> 鲁迅对西方文化的接受并不是没有批判的;他受到了传统教育和西方教育的双重影响，把普世价值观应用到中国的发展中——一个具有普世价值观的中国人——一个真正的世界公民。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 11:03, 15 November 2020 (UTC)Xiao Xi<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> '''Appendix: Lu Xun’s two essays in Chinese<br /> <br /> 智识过剩'''<br /> 虞明<br /> <br /> 世界因为生产过剩，所以闹经济恐慌。虽然同时有三千万以上的工人挨饿，但 是粮食过剩仍旧是“客观现实”，否则美国不会赊借麦粉给我们，我们也不会 “丰收成灾”。<br /> 然而智识也会过剩的，智识过剩，恐慌就更大了。据说中国现行教育在乡间提 倡愈甚，则农村之破产愈速。这大概是智识的丰收成灾了。美国因为棉花 贱，所以在铲棉田了。中国却应当铲智识。这是西洋传来的妙法。<br /> 西洋人是能干的。五六年前，德国就嚷着大学生太多了，一些政治家和教育 家，大声疾呼的劝告青年不要进大学。现在德国是不但劝告，而且实行铲除智识 了：例如放火烧毁一些书籍，叫作家把自己的文稿吞进肚子去，还有，就是把一群 群的大学生关在营房里做苦工，这叫做“解决失业问题”。<br /> 中国不是也嚷着文法科的大学生过剩吗？其实何止文法科。<br /> 就是中学生也太多了。要用“严厉的”会考制度，像铁扫帚似的——刷， 刷，刷，把大多数的智识青年刷回“民间”去。<br /> 智识过剩何以会闹恐慌？中国不是百分之八九十的人还不识字吗？然而智识过 剩始终是“客观现实”，而由此而来的恐慌，也是“客观现实”。智识太多了，不是心 活，就是心软。<br /> 心活就会胡思乱想，心软就不肯下辣手。结果，不是自己不镇静，就是妨害别 人的镇静。于是灾祸就来了。所以智识非铲除不可。<br /> 然而单是铲除还是不够的。必须予以适合实用之教育，第一，是命理学——要乐 天知命，命虽然苦，但还是应当乐。第二，是识相学——要“识相点”，知道点近代武 器的利害。至少，这两种适合实用的学问是要赶快提倡的。<br /> 提倡的方法很简单：—— 古代一个哲学家反驳唯心论，他说，你要是怀疑这碗麦饭的物质是否存在，那最好 请你吃下去，看饱不饱。现在譬如说罢，要叫人懂得电学，最好是使他触电，看痛 不痛；要叫人知道飞机等类的效用，最好是在他头上驾起飞机，掷下炸弹，看死不死 ……<br /> <br /> 有了这样的实用教育，智识就不过剩了。亚门！<br /> <br /> 七月十二日。<br /> <br /> The world is in economic panic because of overproduction. More than 30 million workers are starving, but the surplus is still a reality, or the United States would not have lent us wheat flour on credit, and we would not have had a &quot;bumper harvest&quot;.<br /> <br /> But there will be an excess of intellectuals, too, and the panic will be even greater. It is said that the more China's current education is promoted in the countryside, the faster the countryside will come down, which is probably due to the bumper harvest of wisdom. The United States is shoveling cotton because it's cheap. As for China, following the example of the west, intellectuals should be shoveled. Westerners are capable. Five or six years ago, Germany shouted that there were too many college students, and some politicians and educators urged the young not to go to university. Apart from that, the Germans is now eliminating intellectuals. For example, burning some books, telling writers to swallow their manuscripts, and locking groups of college students in barracks to do hard work, which is called &quot;solving the problem of unemployment.&quot; <br /> <br /> China also complains about the surplus of students majoring in art and law. Actually it's more than art and law. Even the number of middle school students is overwhelming. The &quot;severe&quot; examination system should be used like an iron broom -- brush most of the intellectual youth back to the ground.<br /> <br /> Why does excess intellectuals cause panic? Isn't there 80 or 90 percent of Chinese people still illiterate? But excess intellectuals is always an objective fact, and so is the resulting panic. Too much wisdom causes either wandering minds or soft hearts. The former will lead to entangled thoughts and the latter to vacillation, the result of which is bother himself or disturb others. Then came the disaster. Wisdom must be eradicated. <br /> <br /> But eradication alone is not enough. An education suitable for practical use must be given. The first is numerology -- to be happy to know one's destiny, and to be happy even though one's life is tough. Second, it is the learning of getting points -- we should try our best to know the advantages and disadvantages of modern weapons. At least, these two kinds of practical knowledge should be advocated as soon as possible.<br /> <br /> The method is very simple. An ancient philosopher refuted idealism. He said, if you doubt the material existence of the bowl of rice, you'd better eat it, see if you are stuffed. Now, for example, if you want to teach a man electricity, you'd better give him an electric shock and see if it hurts. To teach a person the utility of planes, you'd better fly an airplane on his head, throw a bomb, see if he die or not...<br /> <br /> With such a practical education, there will be no excess of wisdom. Amen! --[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 03:15, 15 November 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许晶==<br /> <br /> Lu Xun to Tai Jingnong, 12 February 1933, Lu Xun shuxinji (Collected Correspondence of Lu Xun) (Beijing: Renmin wenxue chubanshe, 1976), Vol. 1, p. 354; Zou Taofen, Taofen wenji (Collected Works of Taofen) (Hong Kong: Joint Publishing Co. Ltd., 1957), Vol. 1, p. 73.<br /> <br /> 《鲁迅致台静农》，1933年2月12日，鲁迅书信集（鲁迅合集）（北京：人民文学出版社，1976），第1卷，第354页；邹韬奋文集（韬奋合集）（香港：联合出版社集团，1957），第1卷，第73页。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 08:51, 13 November 2020 (UTC)<br /> <br /> 《鲁迅致台静农》，1933年2月12日，徐迅书信集（鲁迅合集）（北京：人民文学出版社，1976），第一卷，第354页；邹韬奋，韬奋文集（韬奋合集）（香港：联合出版有限公司，1957），第一卷。第73页。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:26, 15 November 2020 (UTC)Yang Chenting<br /> <br /> ==Xu Jing 许静==<br /> '''华德焚书异同论''' <br /> <br /> 孺牛<br /> <br /> 德国的希特拉先生们一烧书，中国和日本的论者们都比之于秦始皇。然而秦始皇实在冤枉得很，他的吃亏是在二世而亡，一班帮闲们都替新主子去讲他的坏话了。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> 不错，秦始皇烧过书，烧书是为了统一思想。但他没有烧掉农书和医书；他收罗许多别国的“客卿”，并不专重“秦的思想”，倒是博采各种的思想的。<br /> Exactly, First Emperor of Qin had burned books to unify thoughts. Yet, books for agriculture and medicine were saved; he had embraced many guest officials from other states and was open to all kinds of ideas without only holding &quot;thought's in Qin State&quot; as highly esteemed.--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:51, 13 November 2020 (UTC) Xu Mengdie<br /> <br /> It is true that Qin Shihuang burned books to unify his thoughts. But he did not burn down agricultural and medical books; he collected many &quot;alienministers&quot; from other countries, and did not focus exclusively on &quot;Qin's thoughts&quot;, but collected various ideas.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:40, 13 November 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> 秦人重小儿；始皇之母，赵女也，赵重妇人，所以我们从“剧秦”的遗文中，也看不见轻贱女人的痕迹。<br /> <br /> People in the state of Qin attached great importance to children, while the state of Zhao emphasized women. And the mother of First Emperor of Qin is a woman from country Zhao. Therefore, we see no trace of contempt for women even in literature which depreciated Qin.--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:22, 13 November 2020 (UTC)Xu Pengfei<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 希特拉先生们却不同了，他所烧的首先是“非德国思想”的书，没有容纳客卿的魄力；其次是关于性的书，这就是毁灭以科学来研究性道德的解放，结果必将使妇 人和小儿沉沦在往古的地位，见不到光明。而可比于秦始皇的车同轨，书同文……之类的大事业，他们一点也做不到。<br /> <br /> Hitler, however, was different. The books he chose to burn first were “non-German thought”; next were the books about sex, which destroyed the research of sex in a scientific way, leading to a lower status of women and children. Compare to Qin Shi Huang, he was not enough. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:21, 15 November 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> 阿剌伯人攻陷亚历山德府的时候，就烧掉了那里的图书馆，那理论是：如果那些书籍所讲的道理，和《可兰经》相同，则已有《可兰经》，无须留了；倘使不同，则是异端，不该留了。这才是希特拉先生们的嫡派祖师——虽然阿剌伯人也是“非德国的”——和秦的烧书，是不能比较的。<br /> <br /> When the Arabo people captured Alexandria House, they burned down the library there. The theory is: if the truths of those books are the same as the Koran, then there is already the Koran, and there is no need to keep those books. ; If it is different, it is a heresy and should not stay. This is the direct ancestor of the Hitlers-although the Arabo people are also &quot;non-German&quot;-and burning of books in Qin Dynasty is incomparable.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 12:10, 15 November 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> 但是结果往往和英雄们的豫算不同。始皇想皇帝传至万世，而偏偏二世而亡，赦免了农书和医书，而秦以前的这一类书，现在却偏偏一部也不剩。<br /> <br /> But the results are often different from those of the heroes.The first emperor wanted the emperor to pass on to the world, but the second died, pardoning the books of agriculture and medicine, and the former books of the Qin Dynasty had no one left--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 05:53, 15 November 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> 希特拉先生一上台，烧书，打犹太人，不可一世，连这里的黄脸干儿们，也听得兴高彩烈，向被压迫者大加嘲笑，对讽刺文字放出讽刺的冷箭来——到 底还明白的冷冷的讯问道：你们究竟要自由不要？不自由，无宁死。现在你们为什么不去拚死呢？<br /> <br /> ==Yang Yue 杨悦==<br /> 这回是不必二世，只有半年，希特拉先生的门徒 们在奥国一被禁止，连党徽也改成三色玫瑰了。最有趣的是因为不准叫口号，大家就以手遮嘴，用了“掩口式”。<br /> <br /> <br /> This time there is no need for the second king, is only half a year. Mr. Hitler’s disciples were banned in Austria, and even the party emblem was changed to a three-color rose. The most interesting thing is that because slogans are not allowed to be called, everyone covers their mouths with their hands and uses the &quot;mouth cover&quot;.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 09:16, 14 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> 这真是一个大讽刺。刺的是谁，不问也 罢，但可见讽刺也还不是“梦呓”，质之黄脸干儿们，不知以为何如？六月二十八日。<br /> <br /> ==Yao Cheng 姚诚==<br /> When we define an academic category like &quot;Chinese studies&quot;, we pay respect to the fact that the world historically has developed differently in different regions. Of course the world was far less connected than today, with slow carriers like horses and ships and often bad or risky infrastructure like roads.<br /> <br /> 在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远比现在低。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:54, 13 November 2020 (UTC)<br /> <br /> <br /> 在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远没有现在紧密。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:20, 13 November 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> Therefore it appears on first sight that these regions have developed their culture, their civilization and even first written languages on their own, independently. The oldest evidence of written civilizations, dating back around 3500 years BC, we find in the fertile crescent Mesopotamia with the clay tablets of the Sumerer. A little bit later there is evidence in Ancient Egypt, then in Proto-India and finally also in China.<br /> <br /> ==Yi Huan 易欢==<br /> But the more we explore history, the more fascinating evidence comes to light that these seemingly independently developing regions have had more trade relations and exchange of ideas than seems likely bearing in mind mobility: The Silk Road is not only rediscovered and reevaluated historically, but also rebuilt as a political agenda today.<br /> 但是，我们探究历史探究得越多，就会有显露更多振奋人心的证据，证明这些看似独立发展的区域，其实早有过贸易交往与思想交流，而且比我们以为的流动性大得多：从历史的角度来看，今天不仅是重新发现与重估了丝绸之路，并且将其重建为政治议程。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 07:04, 15 November 2020 (UTC)<br /> <br /> 但随着对历史探究的深入，有更多振奋人心的证据表明，这些看似独立发展的地区拥有的贸易关系和思想交流远比我们以为的流动性大得多。丝绸之路不仅是在历史上被重新发现和重新定位，而且如今已作为政治议程进行了重建。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 13:14, 15 November 2020 (UTC)<br /> <br /> ==Yi Zichu 义子楚==<br /> We today find early evidence of European civilizations in America and Asia as well as the Chinese civilization also in America and Europe.<br /> <br /> Cultural Science is more influenced by its subject than other sciences, since we are part of it and cannot leave it to examine it. The history of cultural science has developed from the first times of intercultural encounters to today’s life, in which cultures are mixed and people understand each other as being part of different cultures simultaneously.<br /> <br /> 今天，我们发现了美洲和亚洲欧洲文明以及美洲和欧洲中华文明的早期证据。<br /> 与其他科学相比，文化科学受其学科影响更大，因为我们是文化科学的一部分，便不能利用它去研究其本身。文化科学的历史已经从第一次跨文化的相遇发展到今天的生活，在这种文化中，文化是混杂的，彼此理解的人们同时又是不同文化的一部分。--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:22, 14 November 2020 (UTC)<br /> <br /> 今天，我们发现了美洲和亚洲欧洲文明以及美洲和欧洲中华文明存在的早期证据。<br /> 与其他科学相比，文化科学受其学科影响更大。作为文化科学的一部分，我们不能利用它去研究其本身。文化科学的历史已经从第一次跨文化的相遇发展到今天的生活，在这种文化中，文化是混杂的，彼此理解的人们同时又是不同文化的一部分。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 13:27, 15 November 2020 (UTC)<br /> <br /> ==You Yuting 游雨婷==<br /> However, there will always be differentiation between cultures, simply because the trends of integration and separation occur at the same time.<br /> <br /> When there is different cultures, there is an interest in comparing these. This medal has two sides. As soon as you start to compare, you may value. Cultural encounters happened before there were experts or a whole discipline.<br /> <br /> 然而文化之间总是会有差异的，因为融合和分离的趋势是同时发生的。<br /> 当存在不同的文化时，比较这些文化是有意义的。这个奖牌有两面。一旦你开始比较，你可能会珍惜。文化交流发生在专家或整个学科出现之前。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:41, 13 November 2020 (UTC)<br /> <br /> 然而，文化之间总是存在差异，只是因为融合和分离的趋势同时出现。<br /> 当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:20, 13 November 2020 (UTC)<br /> <br /> 然而，文化之间总是存在差异，仅仅是因为融合和分离的趋势同时出现。<br /> 当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:34, 14 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> So the first comparisons between cultures were ethnocentric: You compared whatever you encountered as “other”, “foreign” or “alien”, to your own culture. This was often accompanied with feelings. There was both, the feeling of fear of the unknown and curiosness in the exotic.<br /> <br /> 因此，第一次文化间的比较是种族中心主义的：你把你遇到的“其他的”、“外国的”或“异族的”文化与你自己的文化进行比较。这常常伴随着感情。既有对未知事物的恐惧感，又有异国风情中的好奇。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 13:16, 15 November 2020 (UTC)<br /> <br /> 因此，第一次文化比较是一种民族中心主义的体现：人们把所有认为是“其他的”、“外来的”或者“异域的”与本民族文化作比较。这种行为通常着伴随着两种感情，对未知的恐惧和对异族的好奇。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 14:20, 15 November 2020 (UTC)<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> You may categorize civilizations into so-called “high civilizations” and “low civilizations”, into “developed” and “underdeveloped” cultures. This was an ethnocentric approach in the age of cultural relativism. Today in the age of post-growth economy and after tragic experiences of colonialization and missionization, we know that each culture is equal and cannot be ranked to be higher or lower, of more or less value than the other.<br /> <br /> 你可以把各种文明分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代的一种民族中心主义方法。在经济后增长的今天，在经历了殖民和传教的悲惨经历之后，我们知道，每一种文化都是平等的，不能比较，没有一种文化文化比另一种文化更高级或更低级、更具价值或更少价值。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:00, 13 November 2020 (UTC)<br /> <br /> 你可以将文明划分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代民族中心主义的分法。人类在经历了殖民和传教的悲惨经历之后，在经济后增长的今天，我们知道，每一种文化都是平等的，没有高低贵贱之分。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:42, 13 November 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> While very early there were historians collecting knowledge from travel reports or official delegations visiting foreign cultures, in the middle ages handbooks collected the knowledge to describe different cultures. Even the Romans had words for the Chinese (Seres in the North and Sinae in the South) and attributed to Asian-looking people certain characteristics of behaviour, attitudes, value systems, beliefs, morals and character.<br /> <br /> 虽然很早以前，有历史学家从旅行报告中或者从政府代表团造访异域文化时候汲取知识，但是中世纪的时候指南书籍都是到处搜集知识来描述不同文化的。哪怕是罗马人也有描述中国人的词语（罗马北方称为Sere，南方称为Sinae），他们还把行为、态度、价值体系、信仰、道德和性格这些特定特征与长有亚洲外貌的人联系在一起。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:08, 13 November 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> The first in-depth analysis of the Chinese culture through Western people came not with the merchants, but with the Jesuits. How few was known about China can be seen from the fact, that only the Jesuits managed to clarify, that the myth of the two empires, Tartary and Kitai/Cathay, in fact both were the same (China).<br /> <br /> 首次通过西方人来深入分析中国文化，不是由商人发起的，而是耶稣会。过去鲜少有人真正了解中国，只有耶稣会设法澄清关于两个帝国的神话，实际上，鞑靼和契丹所指一样，都是指的中国。<br /> --[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:02, 13 November 2020 (UTC)<br /> <br /> 首次深入分析中国文化的西方人不是商人，而是耶稣信徒。了解中国的人有多么少，我们可以从这个事实中看出来：只有耶稣信徒能够分清鞑靼和契丹这两大帝国的神话。实际上这两者都是指中国。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:43, 13 November 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> However, the Jesuit’s approach was still ethnocentric and cultural relativist, because by portraying (like Du Halde) China as a seemingly ideal state suitable for mission work, they contributed to subjective views on China.<br /> <br /> 然而，耶稣会的分析方法仍然带有种族中心主义和文化相对论的思想。因为通过将中国描绘成一个看起来像是适合进行宣教工作的理想国家（比如杜赫德神父的作品），他们对中国的观点带有主观色彩。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 10:43, 13 November 2020 (UTC)<br /> <br /> 然而，耶稣会士的分析方法仍然带有种族中心主义和文化相对主义的思想。因为他们带着主观色彩看待中国，所以将中国描绘成一个看似适合进行宣教的理想国度（比如杜赫德神父的作品）。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:18, 13 November 2020 (UTC)<br /> 然而，耶稣会的分析方法仍然带有种族中心主义和文化相对论的思想。这是因为他们通过将中国描绘成一个看似适合进行传教工作的理想国度（如杜赫德神父），以至于对中国的观点往往带有主观的色彩。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:13, 14 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> Around 1720 presumably the French Jesuit Jean-François Noëlas even translated the Dao de jing into Latin.[ Collani, Claudia von, Harald Holz, Konrad Wegmann eds. Uroffenbarung und Daoismus: jesuitische Missionshermeneutik des Daoismus. Europ. University Press, 2008. [Partial retranslation Chinese-Latin-German.]] The translation turns out to deviate from the original in the way that we suddenly find the Christian trinity god in it.<br /> <br /> 大约在1720年法国人让·弗朗索瓦·诺埃拉斯甚至将《道德经》翻译为拉丁语。结果证明，译文背离了原文，我们突然在其中发现基督教三位一体的上帝。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:14, 14 November 2020 (UTC)<br /> <br /> 1720年左右，一位名叫让·弗朗索瓦·诺埃拉斯的法国人甚至将《道德经》翻译成了拉丁文。但他的翻译背离了原文，因为我们突然发现译文中出现了基督教三位一体的上帝。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:03, 15 November 2020 (UTC)Ouyang Ling<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> This is the starting point of an ethnocentric tradition to read the self and the own into the other and the alien, instead of respecting the other as a value by itself and allowing it to even challenge the own beliefs. Even the German Christian missionary and sinologist Richard Wilhelm used a Christian language (belief, heavens’ doors, life after death etc.) in his influential 1919 Taoteking translation and in 1925 he translated “god” into the Analects of Confucius.<br /> <br /> 这就是种族中心主义的起点，即把自身文化强加于其他文化及外国文化，而非尊重其他文化自身价值，甚至允许其他文化挑战自身信仰。甚至于德国基督教传教士及汉学家理查德•威廉，在其1919年具有影响力的《道德经》译本中使用了基督教语言（信仰、天堂之门、永生等），在1925年在翻译《论语》时加入“上帝”一词。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:07, 15 November 2020 (UTC)<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> The missionaries baptized the seemingly “backward” aborigines in several continents, sometimes supported by the sword. A lot of cultures, considered less “developed”, were heavily influenced or even destroyed and extinguished. Earlier, the “Warriors of the Cross” even fought wars and devastated complete regions.<br /> <br /> 传教士在一些大洲为看似“落后”的原住民洗礼，有时是因为武力的加持。 许多被认为不那么“发达”的文化受到了严重的影响，甚至被摧毁和灭绝。早些时候，“穿越勇士们”甚至进行了战争，摧毁了整个地区。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 08:43, 14 November 2020 (UTC)<br /> <br /> 传教士在一些大洲为看似“落后”的原住民洗礼，有时还得到武力支持。 许多被认为不那么“发达”的文化受到了严重影响，甚至被摧毁和灭绝。 早些时候，“十字架上的战士”甚至进行了战争，摧毁了整个地区。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 09:23, 14 November 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> The other aspect, the exotization of the other was expressed by the way the first Chinese people who came to Europe were received: They were passed on at tea meetings and gazed at like animals. Soon Chinese goods became the symbol of the exotic. Chinese porcellain and nick-nacks, even Chinese-style buildings were recreated in Europe. <br /> ==Zhang Hui 张慧==<br /> The fever-like admiration of a China image, which certainly was not the true China, is called Chinoiserie. The Chinoiserie even involved European philosophers like Voltaire and Leibniz, who compared China to an ideal country without religion and still moral values, represented by a wise emperor.<br /> <br /> 对中国形象的狂热崇拜，当然不是真正的中国，被称为中国风。 中国艺术甚至与伏尔泰和莱布尼兹（Leibniz）之类的欧洲哲学家相提并论，他们将中国比作一个没有宗教信仰和道德价值观的理想国家，以一个明智的皇帝为代表。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:46, 13 November 2020 (UTC)<br /> <br /> 对中国形象的狂热崇拜被称为“中国风”,这当然不是真正的中国。甚至连伏尔泰和莱布尼茨这样的欧洲哲学家也认同这种中国风这种观念，他们把中国比作一个没有宗教和道德价值观的理想国家，由一个明智的皇帝代表。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:44, 13 November 2020 (UTC)<br /> <br /> 对中国形象的狂热崇拜被称为“中国风”,当然这并不是真正的中国。甚至连伏尔泰和莱布尼茨这样的欧洲哲学家也追逐中国风，他们把中国比作一个没有宗教信仰和道德价值，只以开明君主为代表的理想国度。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:27, 14 November 2020 (UTC)<br /> <br /> 对中国形象的狂热崇拜，当然不是真正的中国，被称为中国风。像伏尔泰和莱布尼茨这样的欧洲哲学家也认同这种中国风这种观念，他们把中国比作一个没有宗教和道德价值观的理想国家，由一个明智的皇帝代表。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 12:29, 15 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> In Europe, the first experts on Chinese culture were entrusted with the task to explain the Chinese culture no longer from the ethnocentric viewpoint, but from a scientific one: Professorships at universities were established. Their early translations show traces of admiration of the exotic. Chinoiserie was also countered by Européerie in China. However, this phase did only last as long as it fit to European politics.<br /> <br /> 在欧洲，第一批研究中国文化的专家被委以重任，不再从民族中心主义的观点来解释中国文化，而是从科学的角度来解释: 大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:12, 13 November 2020 (UTC)<br /> <br /> 在欧洲，第一批研究中国文化的专家被委以重任，她们开始不再从民族中心主义的观点，而是从科学的角度来解释中国文化：在大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:58, 13 November 2020 (UTC)<br /> <br /> 在欧洲，第一批研究中国文化的专家被委以重任，不再从民族中心的角度解释中国文化，而是从科学的角度解释中国文化：大学教授职位的设立。他们早期的翻译表现出对异国风情的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在它适合欧洲政治时持续。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 12:15, 15 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> As soon as the import of colonial goods (and resources) became an economic factor, the (wrong) image of the ideal China changed into a negative one (similarly wrong). Not only mission and belief were motifs to look down on the Chinese culture, but also the comparison of economic development and living standards.<br /> 把进口殖民商品作为经济来源会有损中国的积极形象使命和信仰会蔑视中国文化，也是比较经济发展和生活水平的动机。人们不仅会看不起中国文化所弘扬的理念和信仰，也会嘲笑中国人生活水平跟不上经济发展。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 12:25, 15 November 2020 (UTC)<br /> <br /> ==Zhang Qi 张琪==<br /> Hegel continued the ethnocentric view on China with his ranking of cultures. Although Confucius already had developed a “Golden Rule” principle comparable to Kant’s “Categorical Imperative”, Hegel declared Chinese philosophy as inferior to European philosophy, and even saw a geographical step by step development from Confucius over Buddha, Zarathustra, the ancient Greek and the Roman philosophy, leading to the European philosophy.<br /> <br /> 黑格尔通过其文化排名继续保持对中国的民族主义观点。尽管孔子已经制定了可与康德的“绝对命令”相媲美的“黄金法则”原则，但黑格尔却宣称中国哲学不如欧洲哲学，即使看到孔子和佛陀，扎拉特胡斯特拉，古希腊和古罗马哲学这些促进欧洲哲学发展的逐步发展。--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 15:31, 15 November 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> A ladder only second by the Arab philosophy. At the turn from the 19th to the 20th century, China was suddenly considered as static, as “the sick man of Asia”. Actually semi-colonialism in China helped to hinder development there.<br /> <br /> 这一阶梯仅次于阿拉伯哲学。19世纪到20世纪之交，人们认为中国一时停滞了，是 &quot;东亚病夫&quot;。但其实中国的半殖民主义进一步阻碍了其发展。<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Rereading the reviews of Chinese literature in contemporary Western journals, it is astonishing, how disrespectful even men of letters treated Chinese literature, even during a time, when it was not yet available in translation, so that it is save to say that ethnocentric attitude prevailed over knowledge.<br /> <br /> 重读当代西方期刊上关于中国文学的评论，令人吃惊的是，即使是在还没有译文的时期，就连文学家都对中国文学充满了不尊重，可以说民族优越感压倒了知识。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 13:32, 15 November 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> This can be proven by the many mistakes you can find in the reviews (Morrison: the book was of low literary quality, but written in Peking dialect and therefore useful as language learning material; Gützlaff: the protagonist Baoyu is a petulant woman; Giles: the words “Red Chamber Dreams do not appear in the book” etc.). Also, the tradition of the title translation as “Dream of the Red Chamber” can be traced back to the origins of the better translation as “Red Chamber Dreams”, sacrificed by Francis Davis finally in favor of the powerful tool of Morrison’s dictionary calling it “Dream of the Red Chamber”.<br /> ==Zhang Yu 张瑜==<br /> Here, the exotic was used to make fun of China. Barrow introduces an excerpt, describing the outward appearance of Baoyu and Xifeng, translated by Francis Davis into English, explicitely for the reason to “amuse the beaux and belles”. Francis Davis himself picks two poems from the novel for translation, but not for its own sake, but to use them as a proof for his own (minority) opinion that the Chinese poetry knew a certain, “descriptive” function of poems in novels.<br /> <br /> 在这里，这种异域文化常用来取笑中国。巴罗引用了一段描述宝玉和熙凤外貌的文本，弗朗西斯·戴维斯将其翻译成英文版本，很明显其意图是取笑书中的“美人”。弗朗西斯·戴维斯从小说中选了两首诗进行翻译，但他不仅仅是为了这两首诗，而是为了用这两首诗证明自己（少数人）的观点，他认为我们对中国诗有一定了解之后，我们就自然会了解诗歌在小说中的描述性作用。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 13 November 2020 (UTC)<br /> <br /> 在这里，异国情调被用来取笑中国。巴罗引用了一段描述宝玉和熙凤外表的片段，由弗朗西斯·戴维斯翻译成英文，显然是为了取笑“书中的美人”。弗朗西斯·戴维斯本人从小说中挑选了两首诗进行翻译，但不是为了诗本身，而是为了证明他自己(少数人)的观点，即他认为我们对中国诗深入了解之后，我们一定会发现中国诗歌在小说中的某种“描写”功能。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 06:54, 15 November 2020 (UTC)Xiao Yining<br /> <br /> ==Zhang Yujie 张毓婕==<br /> In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[ He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.]<br /> <br /> 1815年，澳门神父罗伯特·莫里森（Robert Morrison，1782-1834年）在《中国词典》中将《红楼梦》的标题译为“dreams of the red chamber”，这是《红楼梦》小说标题的第一个英译版本。他解释了“妙”字，认为小说中人物“妙玉Meaouyǔh[Miao Yu]意为“令人敬佩的宝石，这是《红楼梦》小说中的一个女性人物的名字”。罗伯特·莫里森的词典分三个部分介绍了中国语言，澳门：东印度公司出版社1815年，第一卷。 I.，930 pp。，此处p。 614，左栏。 印刷版出版24年后，出现了迄今已知的最早的对红楼梦标题的西译版本。 如果未发现更早的记录，则意味着莫里森创造了一直持续到今天几乎不变的对《红楼梦》标题的英译方法。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:13, 14 November 2020 (UTC)<br /> <br /> 1815年，澳门神父罗伯特·莫里森（Robert Morrison，1782-1834年）在《中国词典》中将《红楼梦》的标题译为“dreams of the red chamber”，这是《红楼梦》小说标题的第一个英译版本。他解释了“妙”字，认为小说中人物“妙玉Meaouyǔh[Miao Yu]意为“令人敬佩的宝石，这是小说《紅樓夢》中一个女性人物的名字”。罗伯特·莫里森的词典分三个部分介绍了中国语言，澳门：东印度公司出版社1815年，第一卷。 I.，930页，此处614页，左栏。 印刷版出版24年后，出现了迄今已知的最早的对红楼梦标题的西译版本。 如果未发现更早的记录，则意味着莫里森创造性地翻译了《红楼梦》标题，且直到今天也几乎未变。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 02:53, 15 November 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[ He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.<br /> <br /> 1815年，澳门神父罗伯特·莫里森（Robert Morrison，1782-1834年）在《中国词典》中将《红楼梦》的标题译为“dreams of the red chamber”，这是《红楼梦》小说标题的第一个英译版本。他解释了“妙”字，认为小说中人物“妙玉Meaouyǔh[Miao Yu]意为“令人敬佩的宝石，这是小说《紅樓夢》小说中一个女性人物的名字”。罗伯特·莫里森的词典分三个部分介绍了中国语言，澳门：东印度公司出版社1815年，第一卷。 I.，930页，此处614页，左栏。 印刷版出版24年后，出现了迄今已知的最早的对红楼梦标题的西译版本。 如果未发现更早的记录，则意味着莫里森创造性地翻译了《红楼梦》标题，且直到今天也几乎未变。他选择比较合理的复数形式，因为小说中有很多梦。 27年后，复数形式“dreams”变成了单数形式“dream”，比较笼统，故也是合理的。''Red Chamber Dreams''是迄今为止最常见的英文译本，其变体，即''Red Chamber Dream''，也是西方语言中最常见的译本。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 02:52, 15 November 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.<br /> <br /> 他选择了复数，这是非常合情合理的，因为在小说中有很多的梦想。似乎27年后，复数的“梦想(dreams)”变成了单数的“梦想(dream)”，这听起来更加笼统，因此也是个合理的翻译。在英文中，在所有的变体中，在所有的西方语言中，“Red Chamber Dreams（《红楼梦》）”是迄今为止最常见译本。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 01:27, 15 November 2020 (UTC)<br /> <br /> 他选择了复数，因为在小说中有很多梦境，这是很合理的。似乎在27年后，复数“dreams”变成了单数“dream”，这听起来更笼统一些，因此也是一个合理的翻译。“Red Chamber Dreams” 是迄今为止在所有西方语言中，在所有的译本中，最常见的英文译本。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 02:29, 15 November 2020 (UTC)<br /> <br /> 他选择了复数形式是很合理的，因为小说中有很多的梦。似乎在27年后，复数的“梦”变成了单数的“梦”，听起来更笼统，因此也是一种合理的翻译。“Red Chamber Dreams”（《红楼梦》）是迄今为止英语中最常见的翻译版本，是所有西方语言的变体形式。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 02:37, 15 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> In 1817 Rev. Robert Morrison published a book for studying Chinese,[ Robert Morrison, A view of China for philological purposes: containing a sketch of Chinese Chronology, Geography, Government, Religion &amp; Customs, designed for the use of persons who study the Chinese language, Macao: East Asia Company Press, 1817, 141 S., hier S. 120-121.] in which he recommended “Dreams of the Red Chamber” as beginner readings, together with the novel Hao qiu zhuan, which was available mostly in English and partly in Portuguese by 1719, and fully in English by 1761. Both were written in colloquial style.<br /> <br /> 1817年，罗伯特·莫里森牧师出版了一本研究汉语的书，[罗伯特·莫里森，从语言学的角度看中国：包含中国年表，地理，政府，宗教和习俗的梗概，旨在供学习汉语的人使用。 澳门：东亚公司出版社，1817年，141 S.，hier S. 120-121。]，其中他推荐《红楼梦》作为初学者阅读，包括小说《好逑传》，这本小说到1719年大部分都是用英语撰写，部分用葡萄牙语撰写，到1761年全部变成了英文版。两种语言都是口语化的。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:33, 13 November 2020 (UTC)<br /> <br /> 1817年，启罗伯特·莫里森牧师出版了一本学习中文的书,[罗伯特·莫里森,从语言学的角度看中国:包含中国年表、地理、政府、宗教和习俗,旨在供学习汉语的人使用,澳门:东亚公司出版社,1817年,141 S., hier S. 120-121.] 在这本书中，他推荐《红楼梦》和小说《好逑传》作为初学者读物。到1719年，《好逑传》主要以英文出版，部分以葡萄牙文出版，到1761年完全以英文出版。两者都是用口语化的。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:53, 13 November 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> Morrison claims that Dream was written in Peking dialect. This does not hold true, since the author’s family Cao came from the South and many people in the novel have Nanking dialect sprinkles. In fact, the highly artful and intentional switch of dialects and sociolects contributed to the later fame of the novel. Morrison’s mistake developed its own tradition.[ Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.]<br /> <br /> 莫里森声称《梦》是用北京方言写成的。但事实并非如此，因为作者曹家来自南方，小说中的许多人物都有南京方言的点缀。事实上，方言和社会语的高度巧妙和有意的转换为这部小说后来的名声做出了贡献。莫里森的错误发展了自己的传统。[即使在1995年，大家也可以读到“《梦》是用北京方言写的”，参见舒长山、托马斯·曼斯的《中国的梦》（1995），法兰克福:朗，326页。至少佟耀《文学之声》（2006）同时提到了北京方言和南京方言。]--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:23, 13 November 2020 (UTC)<br /> <br /> 莫里森声称《红楼梦》是用北京方言写的，但事实并非如此。因为作者所在的曹氏家族来自南方，而小说中许多人物也都夹杂了一些零碎的南京方言。事实上，后来这部小说名声大噪，也都离不开小说中方言与社会语言之间及其巧妙而又有意为之的语言转换。而莫里森的错误也延续下来形成传统了。[甚至在1995年，我们仍会读到说《红楼梦》是用北京方言写的。参见舒长山、托马斯•曼斯的《中国的梦》（1995），法兰克福：朗，326页。至少佟耀《文学之声》(2006)则同时提及了北京方言和南京方言。]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 07:54, 15 November 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> Barrow mentioned the title “[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams” on June 4, 1819, in the Quarterly Review. He inserted this reference into a review[ My own findings, so far not discussed in 20th century hongxue, and published first in October 2010. John Barrow, “Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. This edition appeared (only by) June 4, 1819 with 13,000 copies. The author follows here the argumentation of the assignment to the author Barrow due to the following indications: “Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his Q[uarterly] R[eview] articles, it was Barrow's signature practice to refer to his own works, see “Quarterly Review Archive” http://www.rc.umd.edu/ reference/qr/index/41.html, last visited March 10, 2018.] of Clarke Abel’s report of a journey through China.[ Clarke Abel, Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited, F.L.S. London 1818.]<br /> <br /> 巴罗提到书名“[……《红楼梦》，1819年6月4日在《季刊》上发表的。他在一篇评论中引用了这篇文章 [ 我自己的发现，到目前为止还没有在20世纪的红学中讨论过，并于2010年10月首次发表。约翰·巴罗《艺术》四系列中关于一八一六年和一八一七年在中国内地的旅行和往返中国的航行的叙述;其中记载了阿默斯特勋爵派往北京朝廷的最有趣的事务，以及他访问过的国家的观察。By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. 这个版本出版(到1819年6月4日)有13000册。以下是作者对指派给作者巴罗的任务的论证，理由如下:“绅士杂志(1844年3月)，246-47。本文作者引用了#415和#438(包括一个特定的引用)，它们都是关于同一个主题，都是巴罗写的。另外巴罗在第422页评论了关于杀婴的讨论和莱佛士对爪哇的描述。在他的文章中，巴罗的标志性做法是提及自己的作品，参见“季度评论档案”http://www.rc.umd.edu/ reference/qr/index/41。html，上次访问于2018年3月10日中克拉克·阿贝尔关于中国之旅的报道。[克拉克·阿贝尔，《1816年和1817年在中国内地的一次旅行和一次往返中国的航行》;书中记述了阿默斯特勋爵派往北京朝廷的一些最有趣的事务，以及访问过的一些国家的见闻，载于1818年伦敦《F.L.S.》。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 02:11, 15 November 2020 (UTC)<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> He interrupted his review with an excursus on the uniform appearance and static nature of the Chinese, in line with the contemporary China-bashing of Herder and Hegel. For contemporary Europeans, the Chinese appeared abnormally uniform and simple in their clothes and appearance. <br /> ==Zhou Shuyao 周书尧==<br /> They would not be subordinated to the tyranny of fashion; their culture was static. In order to entertain the “belles and beaux of Great Britain,” Barrow provides a foil to this general impression by quoting the descriptions of the garments and anatomy of two characters, Wang Xifeng and Jia Baoyu, from chapter 3 of J. Davis’ translation of Dream.<br /> <br /> 他们不会服从时尚专制，他们的文化是静态的。 为了娱乐“不列颠的淑女和绅士”，巴罗通过引用戴维斯的《梦》译本第3章中对两个角色王熙凤和贾宝玉的服装与解剖学的描述，为这种总体印象锦上添花。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 02:27, 15 November 2020 (UTC)<br /> 他们不会屈从于时尚专制，他们的文化是静止的。为了满足“英国淑女和绅士”，约翰•巴罗引用了约翰•弗朗西斯•戴维斯《红楼梦》翻译的第三回里面小说人物王熙凤和贾宝玉的着装和相貌描写,为衬托这种一般印象。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 11:55, 15 November 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> In fact the graphic comparisons given in these descriptions were simply strange to Europeans of that time, since they apparently did not correspond to the European’s own ideal of beauty.<br /> Even in 1842 Gützlaff criticized: “the author [makes] many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] the style is without any art […] whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage”[ “Amongst the novels of the Chinese, this work holds a decidedly high rank. The author, after making many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] Having brought this tedious story to a conclusion, in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces. Some words that are used in a sense different from that in ordinary writings, and others are formed for the occasion, to express provincial sounds. But after reading one volume the sense is easily understood, and whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage.” ibid., p. 273.]<br /> 事实上，这些描述中的形象对比对当时的欧洲人来说很奇怪，因为它们显然不符合欧洲人自己对美的理想。<br /> 甚至1842年吉士笠批评道:“作者(使)许多人抗议说他不能做正义的主题,这是在书中唯一的真理[…]这风格没有任何艺术[…]凡希望熟悉法院北部方言说话口气的人,可以详细考察这个有优势的作品”(“在中国的小说,这作品绝对排名靠前。作者在许多人抗议说他不能公平对待之后,这确实是在书中唯一的真理[…]总结一下这个乏味的故事，关于文学价值表现表达我们的意见,我们可以说风格即没有任何艺术,是北部省份字面上更高的口语层次。有些词在某种意义上不同于普通文字，有些词则是为了表达地方的声音而专门造出来的。但是，读完一卷之后，这种意义就很容易理解了，任何想熟悉北方宫廷方言的人，都可以读一下这本书，从中获益。&quot;同上，第273页。]--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:34, 15 November 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> In 1867, 78 years after the first Chinese printed edition, we find a first real in-depth review of two pages by William Frederick Mayers:[ William Frederick Mayers, in: Notes and Queries (Dec 31, 1867) pp. 167-168, here p. 167. Mayers was Chinese secretary of the British Legation at Peking. He gives also short extracts in translation: <br /> “Vast as is Heaven above or Earth below –<br /> Sighs may such limits fill for passion vainly past <br /> Grieve for the senseless youth, the hapless maiden’s woe ! <br /> Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […] <br /> Vain to be soft in temper, mild in ways, <br /> Fair as the fairest … (p. 168) <br /> […] <br /> Not often shines <br /> thy longings too are vain ! ” (p. 168)].]<br /> <br /> 在1867年，也就是第一本中文版出版78年后，我们发现了威廉·弗雷德里克·迈尔斯第一次真正深入的评论，有两页纸那么长。（《备忘和查询》（1867，12月31）中记载，迈尔斯是英国驻北京公使馆的中国秘书。他还摘录了一些简短的译文:<br /> “苍苍穹苍，茫茫大地——<br /> 但愿这无限的叹息填满激情的往昔，<br /> 为无谓的青春悲叹，为不幸少女悲哀!”<br /> 爱情的轻誓终不能兑现!“(167页)[……]<br /> 性情温和，行为温顺，美如天至，都是枉然……(168页)<br /> [……]<br /> 你的渴望并非时常闪耀，也枉然!”(168页)]。)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:00, 14 November 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> “If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed. What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors.<br /> <br /> 如果能够依法公开宣布我们对于任何一部中国作品近乎狂热的喜爱，红楼梦将无可挑剔地成为一部最值得对其倾诉真挚仰慕之情的作品。英国文学中，萨克雷和布尔沃的之前的作品与萨克雷和沃尔本人的作品相比显得乏味而笨拙，中国其他作家的作品和《红楼梦》相比也是如此。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:29, 13 November 2020 (UTC)<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> manated from other Chinese authors. Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance; whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end. If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]”<br /> Reading through almost 80 years of reviews, during which more and more chapters of the novel became available, the ethnocentric attitude gradually changes to the scientific one and finally, with Mayr’s review of 1867 to a dialectic one, not only admitting that the Chinese novel was a piece of world literature, but even leaving open the possibility that it surpassed literary achievements of the own culture. This process certainly has been brought to a good end with the establishment of further diversified Chinese Studies in Europe and the USA, with the role of overseas Chinese at American universities, with further translations especially through Franz Kuhn in the 1930s and with the establishment of the German China Association in the 1950s.<br /> 由其他中国作家授权。人性具有多种多样的色调，复杂的家庭关系，激情的力量以及对恋爱后的失望和所受的折磨，都带有一定程度的技能和知识，诸如英国浪漫史，实际上暗示着这两种伟大的大师精神的相似之处 ；同时，就像自然界存在自身的戏剧一样，暴风雨和阳光的反映紧密交织在一起，喜剧的轻松线索与故事的黑暗主线并肩而行，故事以悲伤的征兆开始，并以泪收场。如果同时允许在故事的概念中表现出淡淡的（极其淡的）超自然色彩，这不仅完全符合这本书所面向的读者的喜好，而且也远没有我们自己的一部最著名的小说中普遍存在的类似元素那么引人注目。<br /> […]””<br /> 阅读80年的大多数评论,在此期间,越来越多的小说章节可供借鉴,民族中心主义的态度最终逐渐改变为科学,梅尔（Mayr）对1867年的评论是一种辩证法，它不仅承认中国小说是世界文学作品中的一部分，而且甚至没有公开其超越自身文化的文学成就的可能性。随着在欧洲和美国建立更多多元化的中文研究，在美国大学中扮演海外华人的角色，特别是在1930年代通过Franz Kuhn进行的进一步翻译以及 1950年代的中德协会的建立。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 12:27, 15 November 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> During its 60 years of history, the German China Association (next to the developing chairs of Chinese Studies at universities and next to other organizations dealing with China like friendship associations and Confucius Institutes) has helped to overcome prejudices, cultural relativism with diversity and tolerance. This is especially challenging, because the cultures and languages are quite distant and German media and internet community tends to bash China.<br /> ==Zhu Suyao 朱素瑶==<br /> During the last 20 years, the German China Association was shaped through its prolific president, Gregor Paul, who has shaped the prestige of the Association with his sharp and precise analysis of a common logic in China and the West as well as universal values, including human rights, worth to strive for both in the West and in China. His entertaining and informative lectures used a rhethoric often referring to persuasive conventional wisdom, e.g. that differences often come from different opinions instead of a difference of the nature of the things, as can be seen from a quarrel with his wife about what both remembered had happened the day before.<br /> <br /> 在过去20年间，德中协会是由其多产的主席格雷戈·保罗所塑造，他通过尖锐又精准地分析中西方的共同逻辑，以及分析包括中西方都值得为之奋斗的人权在内的普世价值，从而树立了协会的威望。他运用修辞手法进行寓教于乐的演讲，往往是关于一些具有说服力的传统大智慧。比如，分歧往往源于观点的不同而非事物性质的不同，这点从保罗和其妻子关于昨天发生之事的争论中可看出。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 12:37, 13 November 2020 (UTC)<br /> <br /> 在过去的20年里，德中协会是由其多产的主席格雷戈·保罗所塑造，他通过尖锐又精准地分析中西方的共同逻辑，以及分析包括中西方都值得为之奋斗的包括人权在内的普世价值，从而树立了协会的威望。他运用修辞手法进行寓教于乐的演讲，往往是关于一些具有说服力的传统大智慧。比如，分歧往往源于观点的不同而非事物性质的不同，我们可以从保罗和他妻子关于昨天发生之事的对话中可看出。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 12:30, 15 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> Paul is a consequent logician and a real universalist and he has added to Germany’s international reputation as “the land of poets and thinkers”.<br /> The process of doing more justice to China today culminates in the cooperation between Chinese and Western scholars at international conferences, in research projects or international book projects like A New Literary History of Modern China, Harvard University Press 2017.<br /> <br /> 保尔是一位相应的逻辑学家，也是一位真正的普世主义者，他为德国 &quot;诗人和思想家的国度 &quot;的国际声誉添砖加瓦。这个过程中，对待当代中国也变得更加公正了，这激励着中西方的学者在国际会议中合作，在研究项目或国际图书项目中的合作，如2017年哈佛大学出版的《新编中国现代文学史》。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 14:45, 15 November 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> Europeans (and later US-Americans) have made a contribution to Chinese Studies in general. They were influenced heavily by the idealizers (Jesuits, European philosophers of the enlightenment) and by China-bashers (Hegel, the German emperor...). It took 100 years for a Chinese piece of world literature to be recognized as such in Europe. But today, Chinese literature and culture is recognized with the Nobel Prize and Confucius Institutes do successful work in the whole work promoting and exporting Chinese culture abroad.<br /> <br /> 总体而言，欧洲人（以及后来的美国人）为“中国学”做出了贡献。 “中国学”曾受到理想主义者（耶稣会士，欧洲启蒙哲学家）和批判中国以赢取政治筹码者（黑格尔，德国皇帝……）的严重影响，中国的一部世界文学历时百年才被欧洲认可。但是今天，中国文学和文化获得了诺贝尔奖，孔子学院在促进向外传播中国文化的工作中取得了成功。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:37, 13 November 2020 (UTC)Zou Xinyu<br /> <br /> 总体而言，欧洲人（以及后来的美国人）为“汉学”做出了贡献。 “汉学”曾受到理想主义者（如耶稣会成员，欧洲启蒙哲学家）和中国抨击者（如黑格尔，德国皇帝……）的严重<br /> 影响，一部世界文学中的中国作品需要历时百年才被欧洲认可。但是今天，中国文学和文化获得了诺贝尔奖的认可，孔子学院在促进向外传播中国文化的工作中也取得了成功。<br /> --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:14, 14 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> However, we should not overestimate the European contribution. There are still examples of ethnocentrism, even of religiously motivated reading of things into Chinese literature. One of these examples is the 10 volume History of Chinese Literature published in Bonn. In two volumes, the one about the origins of Chinese literature and the one on Chinese poetry, a German sinologist, who formerly was a priest, defines, that the origin of Chinese literature lies in the dialogue of the author with god.<br /> <br /> 然而，我们不应高估欧洲的贡献。现在仍然有民族中心主义的例子，甚至是出于宗教动机对中国文学作品的解读。在波恩出版的10卷《中国文学史》就是其中之一。德国汉学家在《中国文学起源论》和《中国诗歌论》两卷中，曾任神父的汉学家对中国文学的起源进行了界定:中国文学的起源在于作者与上帝的对话。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:27, 13 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> This reminds us again of the Jesuit reading of things into Chinese texts, it reminds us of the attempts, to impose your own culture on other seemingly backward cultures, in this case even the try to impose the Western god on the Chinese culture of a time, when China had a totally different understanding of the world and of heaven than that of a Christian god. The emergence of Chinese literature comes from songs, speeches and paintings, from the wish to document events, family etc., but not from an encounter with god.<br /> <br /> 这再次让我们想起耶稣会会士对于中国经文的解读；想起我们试图强加自身的文化于其他看似落后的文化上，当时中国对世界和天堂的理解完全不同于基督教的上帝，在这种情况下我们甚至试图把西方的上帝强加于一个时代的中国文化上。中国文学起源于歌曲，演说和画作；源于期望记录事件，家庭等，而非起源于与上帝的邂逅。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:33, 13 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> The same German sinologist retranslated the Analects, attributed to Confucius, and translated some of the more than 50 occurrences of “heaven” or “demon/ghost” with the term “god”.[ Here Wolfgang Kubin stands in the tradition of Jean-François Noëlas 1720 and Richard Wilhelm 1925, see: Konfuzius: Gespräche. Transl. Richard Wilhelm. In Kubin’s commentary in the beginning of his identically titled book (Konfuzius: Gespräche Diederichs 2011), he justifies his reading of god into the Analects (p. 10). He translates “shen” as “gods” (p. 215) and claims, Confucius was sacrificing to the gods (p. 30), he understands „guishen“ as „demon and god“ or „spirit and god“ and “tian” as “god of heaven”, “supreme god”, (p. 213).] <br /> <br /> ==Volunteer==<br /> Experts on Confucius also quote the few passages, where Confucius addresses the question of the supranatural like ghosts etc. and analyze that Confucius may have been at best not interested or even negative about the belief in ghosts, while he was positive about the social stability and peace rituals brought for the people.<br /> <br /> This reminds us of the fact, that it is to us to make sure that ethnocentrism is still existing today and that science is a field that needs to be aware of and cautious about it. And it needs courage to speak out against it.<br /> <br /> 孔子专家也引用了一些段落,在这些段落中孔子探讨了像是鬼魂之类的超自然的问题。专家们分析认为孔子充其量可能是不感兴趣,甚至对鬼魂的存在持否定态度，尽管他对仪式给人们带来的社会稳定和和平持积极态度。<br /> <br /> 这提醒我们一个事实：我们十分确信种族中心主义在今天仍然存在并且科学是需要注意和谨慎的领域，而公开反对它需要勇气。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:12, 13 November 2020 (UTC)<br /> <br /> 孔子专家也引用了几段话，其中孔子谈到了像鬼这样的超自然问题。并分析说，孔子对鬼神信仰顶多是不感兴趣，甚至是消极的，尽管他对社会稳定和为人民带来的和平仪式是积极的。<br /> 这提醒了我们一个事实，那就是，我们要确保种族中心主义在今天仍然存在，科学是一个需要意识到并谨慎对待的领域。公开反对它需要勇气。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:15, 14 November 2020 (UTC)</div>

Qu Miao https://bou.de/u/index.php?title=20201116_trans&diff=104543 2020-11-15T15:41:39Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> '''WOESLER, Martin'''<br /> <br /> '''Prof. Dr. Martin Woesler (University Rome III/Witten University)'''<br /> <br /> '''The Waves of the Stone –''' <br /> <br /> '''Early Reception Between Instrumentalization and Exoticization'''<br /> <br /> '''Abstract'''<br /> <br /> The fame of the ''Dream of the Red Chamber'' spread quickly not across Asia, but also to Europe and the USA. This paper introduces the roles and motifs of different actors in the early distribution, like merchants, Western embassies, Chinese teachers of Western missionaries, missionaries themselves, translators, early Sinologists as well as literary critics. I introduce judgements on the novel before it was available in translation.<br /> <br /> 马丁·沃斯勒<br /> <br /> '''教授 Martin Woesler博士（罗马第三大学/维滕大学）'''<br /> <br /> 摘要<br /> <br /> 一“石”激起千层浪—西方早期以工具化和边缘化为核心的中国文学接受<br /> <br /> “红楼梦”不仅风靡亚洲，而且还名扬欧美。 本文介绍了早期版本中不同人物的角色和主题，例如商人，西方使馆，西方传教士的中文老师，传教士本身，译者，早期汉学家和文学评论家。 在介绍这本小说的翻译版本之前，我先介绍一下它的判断。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:05, 15 November 2020 (UTC)<br /> <br /> ==Chang Huiyue 常慧月==<br /> <br /> As motifs I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc. I show a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society. Of special interest are misunderstandings (Gützlaff) and deviations from the original (Kuhn, Minford).<br /> <br /> 对于主题，我确定了异国情调（时尚和穿着习惯别样风情的乐趣）、普遍化（世界文学）、小说的工具化（作为文学假设的证据）（戴维斯的诗歌）、语言学习的工具化等。我呈现了主题随时间而产生的变化，从使用异国情调和工具化证明了西方小说的劣势，到接纳小说为世界文学和中国文化的杰作，对记录中国社会具有特殊价值。特别令人感兴趣的是误解（古茨拉夫）和与原著的偏离（库恩，明福德）。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 10:12, 15 November 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> <br /> '''Key words'''<br /> <br /> Dream of the Red Chamber, Western translation, Western dissemination, Western reception, instrumentalization, exotization, deviation<br /> <br /> '''First (unproven) experiences of young Cao Xueqin with foreign literature'''<br /> <br /> In 1947 the graduate student Huang Long from then Jinling University quoted the following passage from the book Dragon's Imperial Kingdom, which he claimed to have borrowed from the Central Library (today’s Nanking Library), in which William Winston ‘remembers’ an encounter of his grandfather Philip Winston with Cao Xueqin:<br /> <br /> '''关键词'''<br /> <br /> 《红楼梦》；西方翻译；西方传播；西方接受；工具化；异国化；偏差<br /> <br /> '''青年曹雪芹外国文学初探（未证实）'''<br /> <br /> 1947年，金陵大学的研究生黄龙在国立中央图书馆（今南京图书馆）借阅了《龙之帝国》一书，并引用了该书中的一段资料，此书写道威廉·温斯顿“记得”祖父菲利普·温斯顿曾与曹雪芹会面：--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:22, 15 November 2020 (UTC)<br /> <br /> ==Chen Hui 陈惠==<br /> <br /> &quot;The imperial kingdom was symbolized by a five-clawed golden dragon, a legendary reptile nonexistent since Creation. Of her indigenous produces shantung commanded the broadest popularity. This rendered her to merit the credit ‚Land of Silk’ in the Orient. There has been cherished as our precious heirloom a piece of home-spun fabric with an ornamental pattern of &quot;dragon and phoenix&quot; manufactured at Kiangning Textile Mill. It survived fires and swords. During my grandfather Philip's sojourn in China for trade in textiles, he contracted an acquaintance with Mr. Tsao Fu, the then Superintendent of Kiangning Textile Mill, and at the latter's request served as an initiator of textile technology.<br /> <br /> ==Chen Jiangning 陈江宁==<br /> <br /> The host was hospitality incarnate and oftentimes indited extempore verses in token of rapport. As a reply, my grandfather delivered Biblical sermons and gave a graphic narration of Shakespeare's dramas. For audience he had merely those other than the juvenile and feminine. On the score of eavesdropping, Tsao’s pampered son suffered a lashing and castigation&quot;.[ Philip Winston: Dragon's Imperial Kingdom, Douglas 1874, p. 53. Quoted from: 吴新雷, 黄进德《曹雪芹江南家世考》，福建人民出版社, 1983, 304 pp., here pp. 103-104. See also:馬幼垣（Yau-Woon Ma）《實事與構想: 中國小說史論釋》，聯經出版事業股份有限公司, 2007年，384页。See also: 周汝昌《曹雪芹新传》外文出版社(1992)²1997, 353pp., here p. 101.]<br /> 主人是热情好客的化身，并且经常当场创作诗歌以示融洽。作为回应，我的祖父也会分享圣经讲道，并对莎士比亚戏剧作了图形叙述。他的观众往往只有青少年和女性。曹雪芹那骄纵的儿子由于偷听，遭到了曹先生的鞭打和斥责。[菲利普·温斯顿：《龙的帝国》，道格拉斯 1874,53页。引自Wu Xinlei, HuangJinde &quot;Cao Xueqin Jiangnan Family History&quot;, Fujian People's publishing House,1983,304页,103-104页。 还引自：Yau-Woon Ma &quot;&quot;Facts and Ideas: Historical Commentary on Chinese Fiction&quot;, Lianjing Publishing Co.,LTD,2007, P384. 还引自：Zhou Ruchang &quot;A New Biography of Cao Xueqin&quot; Foreign language Press(1992)²1997, 353页。101页。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:02, 14 November 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> <br /> If this encounter has been made up, it shows how much effort Redology invested to come to new findings, if not, it may explain some of the special characteristics of the novel never seen in Chinese literature before.<br /> <br /> '''Status of the book before its publication'''<br /> <br /> Between 1754 and 1771 we have one new manuscript version per year in average and almost each manuscript carries new comments mostly from 脂砚斋 or from 畸笏叟. The author died on Feb 1, 1764, which did not end the commenting on the manuscripts.<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> <br /> <br /> The book was not officially published, but that did not prevented it from dissemination, as manuscript fragments were handed around since the 1750s and the novel was known to many scholars before its publication in 1791.<br /> <br /> The preface to the 2nd edition in 1792 also points to the fact, that there had been a “long” tradition of scholarly research of the book and comments. These comments had not been taken over for the 1st and 2nd edition.<br /> <br /> 这本书并没有正式出版，但这却并未影响其传播，因为自18世纪50年代以来部分手稿已经流传开来，且这本小说在1791年出版前就已经为许多学者所熟知。<br /> 1792年第二版的序言中也指出，该书和评论的学术研究历史悠久。这些评论还未被第一版和第二版所采用。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 06:34, 15 November 2020 (UTC)Chen Jingjing<br /> <br /> 该书没有被正式出版，但这并不影响它广泛流传开来，因为自1750年起该书的部分手稿就已经为人们津津乐道，并且小说在1791年出版之前就已经为众多学者熟知。<br /> 1792年第二版的前言部分也指出了这一事实，学者对于该书的研究和评价早已经历了很长一段时间。这些评价还未被第一版以及第二版所采用。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 07:22, 15 November 2020 (UTC)<br /> <br /> 这本书没有正式出版，但这并不影响其传播，因为部分手稿自18世纪50年代就已经流传开来，并且这部小说早在1791年出版之前就已经为许多学者所熟知。<br /> 1792年第二版的序也指出，对该书及其评论的学术研究有着悠久的传统。这些评论在第一版和第二版中还未被采纳。--[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 10:13, 15 November 2020 (UTC)<br /> <br /> ==Chen Sha 陈莎==<br /> '''From inofficial manuscript versions to the printed book'''<br /> <br /> One of the reasons why the book was not printed was that it was (wrongly) considered either sexually explicite literature (淫书) or against Confucianism, which could only passed on in manuscript versions. <br /> <br /> Gao E claims in his preface of 1791, that he had heared before 1771 from this novel and that he checked whether it was against Confucianism, but could not find anything like this in it, so that it could be published.<br /> <br /> <br /> “从非官方手抄本到印刷版”<br /> 这本书未被印刷出版，原因之一是人们要么误认为它是淫书要么误认为它反对儒家思想,所以它只能以手抄本的形式通行。<br /> 高鹗在其1791年所做的序中说，他在1771年之前就已经听说过这部小说了，并且对这部小说是否反对儒家思想进行了审查，但没有发现诸如此类的东西，所以《红楼梦》就出版了。--[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 10:16, 15 November 2020 (UTC)<br /> <br /> 从非官方手抄本到印刷版<br /> <br /> 本书未能出版的原因之一是当时的人将其误认为是淫书或反孔书籍，因此只能以手抄本的形式流传。高鹗1791年在书的序言部分写道自己1771年前就对这部小说略有耳闻，还检查了书中是否有反孔言论，结果却没发现此类言论。因此，本书得以出版。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 10:51, 15 November 2020 (UTC)<br /> <br /> ==Chen Sunfu 谌孙福==<br /> <br /> “One of the best works of fiction in Chinese literature was supposed to have been written by a member of this sect, and was suppressed by the Emperor because of offensive references to the reigning family contained in it. It was called the ‘Hung Lou Meng,’ or ‘Dream of the Red Chamber,’ and it resembles a large number of fairy tales threaded together rather than a modern novel. By an ingenious substitution of false characters, words, occasionally throughout certain portions of the work—something like incorrect spelling —the imperial interdict was evaded, and it has continued in print and popularity down to the present day. Foreign students of Chinese commonly read a portion of it, the smooth and excellent style making it an invaluable text-book.”[ See: He Tianyue 何天爵: ''The real Chinese question'' (真正的中国问题), New York: Dodd，Mead &amp; Co. 1900, 386 pp., here p. 109.]<br /> <br /> “中国文学界有这样一部优秀小说，这部小说应出自此派作家之手，却因书中一些针对统治者的冒犯言辞遭到了皇帝的反对和打压。这部书就是《红楼梦》（Hung Lou Meng/Dream of the Red Chamber)此书更像是由大量神话故事拼凑而成，而非一部现代小说。通过巧妙替换书中的虚拟人物、错别字以及有时通篇出现的拼写错误，此书躲过了皇家控诉，得以继续出版，其知名度绵延至今。学习汉语的外国学生常阅读书中的一小段，其流畅的行文和绝佳的风格使其成为了一部颇具价值的教科书。”[见：何天爵：真正的中国问题,纽约:Dodd,Mead &amp; Co.1900, 386pp.,here p. 109]--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 09:35, 15 November 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> '''Preparations of the 1st book edition'''<br /> <br /> Gao E worked with Cheng Weiyuan, who ran the publishing house Suzhou Cuiwen Press (苏州萃文书屋). <br /> <br /> According to the preface to the 1791 edition by Cheng Weiyuan, different 80 chapter manuscript versions were already circulating, some were sold for a high price at the Temple Market, others were copied by readers. Since the 80 chapter manuscript versions already contained content lists with 120 chapter headlines, he searched for and found (as he pretended) the 120 chapters.<br /> <br /> 程甲本的准备工作<br /> <br /> 高鹗与苏州萃文书屋的程伟元合作<br /> <br /> 根据程伟元1791年版的序言所知，早有80多种不同版本的手稿流传在世，有些在庙会高价出售，有些则被读者抄袭相传。 由于80章回手稿版本包含有120章回标题的内容，因此他搜寻到了（假称）120个章回的版本。<br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 13:30, 15 November 2020 (UTC)<br /> <br /> ==Cheng Yusi 成于思==<br /> <br /> In the preface to the first printed edition he already refers to an existing number of readers, who share the love of the book with him. Also his description that some readers took over the effort to copy the book by handwriting shows that an early fan culture existed even before the printed version appeared.<br /> <br /> Also, Cheng Weiyuan keeps the question of the authorship open, but points directly to Cao Xueqin, who claimed to have worked 10 years on the novel and rewritten it five times. The rewriting may refer to the production of new manuscript versions reflecting the ideas of the commentators.<br /> <br /> <br /> 在首印本的序言中，程伟元已经提到了现存的读者群，他们与之分享了对此书的喜爱之情。 此外，程伟元还描述到读者竭尽所能手抄《红楼梦》的现象，这表明在印刷本发行之前就有了粉丝文化的存在。<br /> <br /> 另外，程伟元公开表明了对此书作者身份的质疑，不过，他也直接指明了曹雪芹，其称在这本小说上耗费十载光阴，反复写作五次。复写本可能指的是新版手抄本的发行，书中反映了评论者的观点。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 15:57, 14 November 2020 (UTC)<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> <br /> '''1st Book edition 1791:''' 程甲本 Cheng A edition<br /> <br /> According to the preface to the 2nd edition 1792, these early fans were called collectors and the 1st edition was produced with movable characters, which was faster than the woodblock print. The book contained 99 illustrations and more than 100 copies were printed. The first edition might have been printed in Peking at the end of 1791, the 2nd in early 1792 in Suzhou, leaving 72 days between the two editions, which may show that the Peking edition was sold out immediately. The 1791 edition was also soon translated into Mongolian: 蒙古王府本 Menggu ben.<br /> <br /> '''1791年第一版:''' 程甲本 <br /> <br /> 根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用可移动的字符制作，这比木刻版画要快。 该书包含99幅插图，被印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京印刷版立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:18, 13 November 2020 (UTC)<br /> <br /> '''1791年第一版:''' 程甲本 <br /> <br /> 根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用活字印刷制作，这比木刻印刷要快。 该书包含99幅插图，印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京的这一版一经印刷立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:32, 13 November 2020 (UTC)Xu Pengfei<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> '''2nd Book edition in 1792:''' 程乙本 Cheng B edition<br /> <br /> A second edition, with ‘corrections’ some consider mistakes today, was published in 1792 in Suzhou and sold well too. The 2nd edition claims to have removed many mistakes of the 1st edition.[ For an overview of the comparison of the two editions please refer to: 《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.] One of the differences is that the 程乙本 Cheng B edition changed expressions in ancient wenyan to more contemporary ones, like “索” was turned into “要”, “趁” into “赶”, “题” into “写”, “端” into “头”, “闻得” into “听见”, “记挂” into “惦记”, “殊不知” into “那里知道” etc., but not in every case. Altogether they changed roughly 20,000 characters.<br /> <br /> 1792年第二版：程乙本<br /> <br /> 第二版于1792年在苏州出版，也取得了很好的销量。在第二版当中，做出了一些修正，尽管这些修正在如今被认为是错误的。第二版声称修正了第一版中的诸多错误。[关于两个版本比较的概述，请参阅：《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.]不同点之一是程乙本将一些古文言文表达转化为了更为现代的表达，比如将“索”改成了“要”，“趁”改成了“赶”，“题”改成了“写”，“端”改成了“头”，“闻得”改成了“听见”，“记挂”改成了“惦记”，“殊不知”改成了“那里知道”等,但它并没有对所有的表达进行修改。修改字数总计约达20000。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:40, 13 November 2020 (UTC)<br /> <br /> 1792年第二版：程乙本<br /> <br /> 第二版于1792年在苏州出版，也取得了很好的销量。在第二版中，做了一些修正，尽管这些修正在今天看来有些错误。第二版修正了第一版中的诸多错误。[关于两个版本比较的概述，请参阅：《《红楼梦》程乙版研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33].其中一点不同是程乙本将一些文言文表达转换成了更加现代的形式，如将“索”改成了“要”，“趁”改成了“赶”，“题”改成了“写”，“端”改成了“头”，“闻得”改成了“听见”，“记挂”改成了“惦记”，“殊不知”改成了“那里知道”等。但并不是所有的文言文均被修改，修改字数共计20000字左右。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 15:19, 15 November 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> <br /> There is also a change of the list of confiscated goods. What might have been the reason in this particular case to change the list of confiscated goods for the Cheng B edition? The list in the Jiaben is a documentation of richness and therefore lets the confiscation seem to be justified because of unjustified enrichment. In the Yiben, the list starts with mostly religious items like, Buddha statues, this lets the confiscation appear unjustified and shifts the sympathies of the reader towards the family. In the late 18th century, there was a turn towards Buddhism.<br /> <br /> 没收货物的清单也有所变化。 在这种特殊情况下，在程乙本版本中改变没收货物清单的原因可能是什么呢？ 甲本中的清单是丰富性的文件，因此让没收由于不合理的丰富性看起来是合理的。 在乙本中，清单的开头主要是像佛像这样的宗教物品，这使没收显得不合理，并使读者的同情心转向了家庭。 在18世纪末，人们转向了佛教。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 14:30, 15 November 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> <br /> Many umlegitimized copies appeared. The book was delivered to Korea and shipped to Japan, where it was read in its original language.<br /> <br /> The novel created a wave of interest in China comparable to the one of ''The Sorrows of the Young Werther'' in Europe since 1774. The first edition, printed in 1791 in Peking in a small number of copies (estimates range between 4 and 400) was soon sold out.<br /> <br /> 很多非法盗版书出现，盗版书籍运到韩国后，又转海运到日本，在那里，人们阅读的却又是原文。<br /> 小说在中国引起了一波兴趣浪潮，堪比欧洲1774年以来的《少年维特的烦恼》浪潮。1791年，北京 印刷了第一版，数量很少（大约4-400本），很快就一售而空。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:25, 14 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> <br /> Some scholars assume a suicide wave among readers who identified with Lin Daiyu. Many readers discussed whether they identified more with Lin Daiyu or with Xue Baochai, a discussion that lasts until today.<br /> <br /> 一些学者认为，在那些认同林黛玉的读者中可能会引发自杀风波。很多读者都在更加认同林黛玉还是薛宝钗这一问题上进行过讨论，且这个讨论一直持续到了今天。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:52, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 一些学者则认为，这可能会在那些认同林黛玉的读者中引发一场自杀浪潮。许多读者曾探讨过“更认同林黛玉还是薛宝钗的身份”这一问题，直至今天关于这个问题的讨论仍未停止。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:02, 14 November 2020 (UTC)<br /> <br /> 一些学者猜想，与林黛玉有感同身受的读者中可能会有自杀风波。也有许多学者会讨论此种现象是存在于林黛云更多还是薛宝钗更多，且该讨论一直持续到了现在。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 10:14, 15 November 2020 (UTC)<br /> <br /> ==Gong Yumian 龚钰冕==<br /> <br /> '''Spreading to Japan and Korea'''<br /> <br /> Captain王开泰 Wang Kaitai delivered 18 copies of a 9-volume edition of the Dream on December 9, 1793 to Japan, as we can prove in a store list of a Nanking ship arriving in长崎港Nagasaki (which started on November 3 in 乍浦 Zhapu): „红楼梦 九部十八套“.[ From 发货账本, quoted from: 《红楼梦 》在日本.] We know of an early mentioning of the Dream by the Korean author ''Lee'', ''Kyu-Kyung''李圭景 ( 1788- ? 李圭景(이규경)) in the 1830s.[ From 《五洲衍文长笺散稿》卷七《小说 辩证说》, quoted from: 《红楼梦》在韩国的流传和翻译.]<br /> <br /> There were early (partial) translations of the novel into Manchurian.<br /> <br /> 传播到日本和韩国<br /> 1793年12月9日，王开泰船长向日本交付了18册9卷本的《红楼梦》，我们可以在一艘抵达长崎港（11月3日从乍浦出发）的南京船只上的一份发行账本中证明这一点：“红楼梦九部十八套”。[摘自发行账本，引自《红楼梦》在日本。] 我们了解到，19世纪30年代，韩国作家李圭景（Lee Kyu-Kyung，1788-？）最早提起过《红楼梦》。 [摘自《五洲衍文长笺散稿》卷七《小说辩证说》，引自：《红楼梦》在韩国的流传和翻译。] 这本书有部分翻译成了满语。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 15:03, 15 November 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> '''Early Western notions of the book'''<br /> <br /> The novel also caught the attention of Europeans living in China, like the missionaries, who started to translate parts of it into Western languages, as well as the British embassies to China, who collected also Chinese literature, brought it back to Europe or engaged in translation or dissemination.<br /> <br /> 这部小说也引起了生活在中国的欧洲人的注意，比如传教士，他们开始将小说的部分内容翻译成西文，还有英国驻华使馆，他们也收集了中国的文学作品，带回欧洲或从事翻译、传播。<br /> <br /> 西方早期对这本书的看法:<br /> 这部小说也引起了生活在中国的欧洲人的注意，比如传教士开始把它的一部分翻译成西方语言，还有英国驻华大使馆，他们也收集中国文学，把它带回欧洲或从事翻译或传播。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 04:31, 15 November 2020 (UTC)<br /> <br /> ==Guan Qinqing 管钦清==<br /> <br /> The book seems to have run out of stock often and needed to be purchased from other cities, whereever it was available, like in about 1812 in Canton: Robert Morrison, a missionary who worked in Macao, may have been pointed by his Chinese tutor to the novel. In 1816 he published a dialogue between a student (maybe himself) and his Chinese tutor pointing to the time before December 1812, when he translated parts of the novel and therefore had a copy:<br /> <br /> 这本书似乎经常缺货，需要从其他城市购买。一旦什么地方有货，比如在1812年左右的广州，在澳门工作的传教士罗伯特·莫里森（Robert Morrison）就受他导师指示去购买这本小说。1816年，他公布了一位学生（也许就是他本人）与中国家庭教师之间的对话，指出他在1812年之前对该小说部分情节进行了翻译，因此有了以下内容：--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 13:56, 15 November 2020 (UTC)<br /> <br /> 这本书似乎经常缺货，需要从其他有货的城市购买。比如在1812年左右的广州，在澳门工作的传教士罗伯特·莫里森（Robert Morrison）受他的中国导师指示，购买了这本小说。1816年，罗伯特公布了一位学生（也许就是他本人）与其中国导师之间的对话，对话发生在1812年12月之前，当时他正翻译这本小说的部分内容，因此有小说副本：--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 14:31, 15 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> Student: “What is the best book for students to read?” – [...suggestion of ''Daxue''.] Tutor: [...] to read the Hung-low-mung will do very well. – Student: I have not seen the Hung-low-mung, have you seen it? – Tutor: I have not brought it with me, but if you wish to see it, I will write to Canton, and present it to you. Student: “Very good. I will trouble you to write for it.” – Tutor: “I will do so.” – Student: “How many volumes are there in the Hung-low-mung?” – Tutor: “Twenty volumes in all. In this book, the phraseology is entirely that of Peking.”[ From: “Dialogue V”, in: 《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816. [Chinese parts left out in this quotation.]] <br /> <br /> ==Guo Lu 郭露==<br /> <br /> Between December 1812 and February 1813, Robert Morrison translated parts of chapter 4 and send it to Great Britain. He published entries about the Dream in his dictionary, of which the first volume appeared in 1815[ 《华英字典》''A Dictionary of the Chinese language in three parts'', Macao: East India Company Press 1815, vol. I 930 pp., the novel title is mentioned in volume I:614.] and more translation excerpts, e.g. from chapters 4 and 39, in his 1816 textbook edition.[ 《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816, e.g. pp. 194-200.]<br /> <br /> 1812年12月至1813年2月期间，罗伯特·莫里森翻译了部分书中第四章的内容，并将其寄往英国。他将这《梦想》这篇小说编进了字典当中，其中第一卷出现在1815年(《华英字典》，第三版汉语字典,澳门：东印度公司，1815年版，第一卷，930页。这篇小说出现在第一卷614页）同时，1816年的版本当中的第4章和39章还对后续的翻译进行了记录。（《中文对话与单句》，实现对汉语中的对话及独立句子的英文口头翻译，从各处收集而来。澳门：东印度公司，1816年版，194 - 200页。)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 14:02, 15 November 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> <br /> Only 23 years of its publication, the novel already was part of the canonized Chinese literature of fiction and Robert Morrison used excerpts of it for his text books to teach Westerners Chinese, as well as expressions from it for his dictionary and sent letters with excerpt translations to Europe, for an intended 2nd vol. of his ''Horæ Sinicæ'' which never was realized.<br /> <br /> The first British Embassies to China (among them especially Charles Bowra, John Francis Davies) also collected literature and among it the ''Dream of the Red Chamber''.<br /> <br /> 就在它出版的23年之后，这部小说就被列为中国文学小说行列之中。罗伯特·马礼逊用了其中一些摘选作为教材去教西方人中文；一些表达应用在他的字典里。他把一些摘要翻译版本以信的形式寄去欧洲，打算将其作为第二版本。但他的《中国时光》出版之梦却永远没有实现。<br /> <br /> 首次英国到中国的使节（其中有包腊，约翰·弗朗西斯·戴维斯）也收集了文学材料，其中包括有《红楼梦》。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 10:07, 15 November 2020 (UTC)<br /> <br /> 仅在它出版23年后，这部小说就被归为中国文学小说之列。罗伯特·马礼逊摘选了其中部分内容用作教授西方人中文的教材；他还摘选了一些表达应用在他的字典里。他把一些摘要的翻译版本以信的形式寄去欧洲，打算将其作为他的《中国时光》的第二卷，但并没有实现。<br /> <br /> 首批英国到中国的使节（其中有包腊，约翰·弗朗西斯·戴维斯）也收集了文学材料，其中包括有《红楼梦》。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:10, 15 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==Han Wanzhen 韩宛真==<br /> <br /> '''Early translation history in the West'''<br /> <br /> In 1819, the first excerpt translations were published in Europe, in English (by John Francis Davis) and in French (by Davis, further translated by Bruguière). Significantly, they were published hidden in other larger works, in the English case, it was a Travel Report by Clarke Abel,[ 约翰．巴罗（John Barrow）：“Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Peking, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”，见：William Gifford（主编）, Quarterly Review 21:41 (1819年1月) 见第67-91页，特见第79-80页。这份期刊于1819年6月4号发行，总发行量13000份。笔者在这里参照了以下的索引并最终确定作者: „Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his QR articles, it was Barrow's signature practice to refer to his own works.“, 参考„Quarterly Review Archive“ http://www.rc.umd.edu/reference/qr/index/41.html。] and in the French case, it was a Chinese drama, La-song-euil.[ “Rêves de la Chambre rouge”, 见：»Avant-propos du traducteur francais«, 见: 安托萬．安德烈．包儒略(Antoine-André Bruguière), ''Lao-seng-eul'' [老生兒], ''Comédie Chinoise, suivie de San-iu-leou, ou Les trois étages consacrés, conte moral ; Traduits du chinois en anglais, par J. F. Davis de la factorerie de Canlon ; et de l'anglais en français, par A. Bruguière de Sorsum; avec additions du traducteur'', 巴黎: Rey et Gravier / 伦敦 A. B. Dulau &amp; Co. 1819 年, 227 页, 第141-164页, 见第150-151页。]<br /> 西方早期的翻译史<br /> 在1819年，欧洲发布了第一个摘要翻译版本，该版本被约翰 弗兰斯 大卫斯翻译为英语版本，后来又被布吉拉进一步翻译为法语。重要的是，它们被隐藏在其他较大的作品中出版，在英语案例中，这是克拉克·亚伯（John Clarke Abel）的《旅行报告》。1816年和1817年的中国内陆之旅和往返该国的旅程的叙述；内容包括对阿默斯特勋爵大使馆向北京法院进行的最有趣的交易以及对所访问国家的观察。克拉克·阿贝尔F.L.S.伦敦1818”，见：威廉·吉​​福德（主编），季评21:41（1819年1月）见第67-91页，特见第79-80页。这份期刊于1819年6月4号发行，总发行量13000份。笔者在这里参照了以下的索引并最终确定作者：“绅士杂志”（1844年3月），第246-47页。本文的作者引用了＃415和＃438（包括一个特定的参考文献），这两个主题都在同一主题上，由Barrow撰写。 cf.还有关于杀婴的讨论（第76页）和巴罗在＃422中对莱佛士关于Java的描述。在他的QR文章中，引用他自己的作品是Barrow的签名做法。”，请参阅“ Quarterly Review Archive”（季度审查档案）http://www.rc.umd.edu/reference/qr/index/41.html。在法国案中，这是一部中国戏曲，即La-song-euil。[“Rêvesde la Chambre rouge”，见：»Avant-propos du traducteur francais«，见：安托万。安德烈。包儒略（安托万·安德烈·布鲁吉埃（Antoine-AndréBruguière），“老生儿”（Lao-seng-eul），《喜剧》（ComédieChinoise），圣尤尼·路易（suivie de San-iu-leou）或《反叛的道德》； Traduits du chinois en englais，par J. F. Davis de la factorerie de Canlon； et de l'anglais enfrançais，par A.Bruguièrede Sorsum； ”，巴黎：Rey et Gravier /伦敦A. B. Dulau＆Co. 1819年，227页，第141-164页，见第150-151页。]--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 14:44, 15 November 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> <br /> These excerpt translations were done by John Francis Davis, he translated excerpts from chapter 3 and they were published by John Barrow in Great Britain and by Bruguière in France, both in 1819. Further translations were in 1846 by Robert Thom, excerpts of chapter 6, in 1868-69 Edward Charles Bowra chapters 1-8, in 1892-93 Henry Bencraft Joly chapters 1-56, in 1927 Liang-Chih Wang chapters 1-95, in 1929/1958 Wang Chi-chen an abridged full version, in 1958 Florence McHugh &amp; Isabel McHugh a further translation from the abridged German version of 1938 by Franz Kuhn. <br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> Regarding these translations, both the translation quality as well as the quality of the English used did not reach the status of world literature. Regarding full translations, we have in the 1960s Bramwell Seaton Bonsall, in 1973-1986 Hawkes/Minford and in 1978-1980 Yang/Yang. Among all the translators who embarked on this endeavour, only Hawkes (1923-2009) and Minford (1946-) achieved the goal to produce a translation which clearly falls into the categorization of world literature, the others, as Gladys Yang stated, “were a poor shadow of the original”.[ Yang 1980 3:621-622.]<br /> <br /> 就这些翻译而言，无论是翻译质量还是所用英语的质量都没有达到世界文学的水平。关于全译本，20世纪60年代涌现了一些翻译家，比如布拉姆威尔·西顿·邦索尔、1973-1986年霍克斯/明福德和1978-1980年杨。在所有从事这项工作的翻译家中，只有霍克斯（1923-2009）和明福德（1946-）达到了翻译的目的，而这两个译本显然属于世界文学的范畴，而其他的译者，正如格拉迪斯·杨所说，“他们只是原作的一个影子”。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 04:26, 15 November 2020 (UTC)<br /> <br /> 就这些翻译而言，无论是翻译质量还是所用英语的质量都没有达到世界文学的水平。至于全译本，20世纪60年代涌现了一批翻译家，比如布拉姆威尔·西顿·邦索尔、1973-1986年霍克斯/明福德和1978-1980年杨宪益及其夫人。在所有从事这项工作的翻译家中，只有霍克斯（1923-2009）和明福德（1946-）达到了翻译的目的，而这两个译本显然属于世界文学的范畴，而其他的译者，正如格拉迪斯·杨所说，“他们只是原作的一个影子”。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:41, 15 November 2020 (UTC)<br /> <br /> 关于这些翻译，翻译质量以及所用英语的质量都没有达到世界文学的水平。 关于完整翻译，我们在1960年代的Bramwell Seaton Bonsall，1973-1986 Hawkes / Minford和1978-1980 Yang / Yang中都有。 在所有从事这一工作的翻译人员中，只有霍克斯（1923-2009）和明福德（1946-）达到了产生翻译的目标，该翻译显然属于世界文学的范畴，而其他人，如Gladys Yang所说，“ 原始的阴影。” [杨1980：3：621-622。]--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 14:46, 15 November 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> <br /> '''Early Misunderstandings'''<br /> <br /> Before the novel was available in translation, we find a lot of misunderstandings and negative judgements on the novel: Morrison considered the novel to have been written in “Peking Dialect”, this mistake developed its own tradition.[ Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.] In 1842 Gützlaff[ “''Dreams in the Red Chamber''”, Friedrich August Gützlaff (1803-1851), “《紅樓夢》Hung Lau Mung, or Dreams in the Red Chamber; a novel. 20 vols. Noticed by a Correspondent”, in: ''Chinese Repository'', issue 11 (1842) 266-273.] introduced the protagonist as „the lady Páuyu“ (p. 268), even “a very petulant woman” (p. 270) and “busy lady” (p. 272), and took Jia Yucun贾雨村 (instead of Jia Zheng 贾政) as Baoyu’s father.<br /> <br /> 在小说被翻译出版之前，我们发现了很多关于小说的误解和负面判断。莫里森认为小说是用“北京话”写的，这个错误发展了它自己的传统。[即使在1995年，您也可以阅读 梦是用北京话写的，参见 舒常山，《死神的托马斯·曼斯》，中国，1995年，法兰克福：郎，326页。至少通瑶（《文学之路》，2006年）同时提到了北京方言和南京话。 弗里德里希·奥古斯特·古兹拉夫（Friedrich AugustGützlaff，1803-1851年），《《红楼梦》》 一本小说。 20卷 通讯员注意到”，在：中国资料库，第11版（1842）266-273。]中将主角介绍为“夫人帕尤”（第268页），甚至是“一个非常挑剔的女人”（第270页），以及“ （第272页），并以贾雨村贾雨村（而不是贾政贾政）为宝玉的父亲。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 02:19, 14 November 2020 (UTC)<br /> <br /> 早期出现的误解<br /> <br /> 在小说翻译出版之前，出现了很多关于小说的误解和负面判断：莫里森认为小说是用“北京话”写的，这种误解延续了很久。[即使在1995年，你也会看到《红楼梦》是用北京话写的这种说法，参见 舒常山，《死神的托马斯·曼斯》，中国，1995年，法兰克福：郎，326页。至少通瑶（《文学之路》，2006年）同时提到了北京方言和南京话。 弗里德里希·奥古斯特·古兹拉夫（Friedrich AugustGützlaff，1803-1851年），《《红楼梦》》 一本小说。 20卷 通讯员注意到”，在：中国资料库，第11版（1842）266-273。]中将主角介绍为“宝玉夫人”（第268页），甚至是称他是“一个非常挑剔的女人”（第270页），以及“ （第272页），并把贾雨村（而不是贾政）当成宝玉的父亲。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:04, 15 November 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> <br /> Also his overall judgement is “in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces.” and he recommends it for language learning (p. 273). Even in 1900, Herbert Allen Giles introduced the novel as have been written in “Peking dialect” and attributed to Cao Xueqin “of the 17th cent.”[ “HUNG-LOU-MENG: 紅樓夢 A famous Chinese novel in the Peking dialect, popularly known as the Dream of the Red Chamber, dealing chiefly with events of domestic life which are very graphically described, and attributed to Ts'ao Hsiieh-ch'in of the 17th cent.” See: Herbert Allen Giles, ''A glossary of reference on subjects connected with the Far East'', 1900, pp. 127-128]<br /> <br /> 此外，他的总体判断是“在表达我们对文学价值的意见时，我们可以说，这种风格没有任何艺术，实际上是北方各省较高阶层的口语。”他建议将它用于语言学习(第273页)。甚至在1900年，翟理斯介绍说这部小说是用“北京话”写成的，被认为是17世纪曹雪芹的代表作.【紅樓夢：一部以北京话写成的中国著名小说，俗称《红楼梦》，主要描写家庭生活中的琐事，描写生动形象，被认为是十七世纪曹雪芹的主要作品。参考:赫伯特·艾伦·翟里斯，《远东相关主题参考词汇》，1900年，第127-128页]】--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:08, 14 November 2020 (UTC)<br /> <br /> 此外，他认为，在表达我们对文学价值的意见时，我们可以说，这种风格不带有任何艺术成分，是北方各省较高阶层的口语用词。他建议将它用于语言学习当中(第273页)。在1900年，翟理斯表示，这部小说是用“北京话”写成，是17世纪曹雪芹的代表作.【《红楼梦》：一部以北京话写成的中国著名小说，俗称《红楼梦》，主要描写家庭生活中的琐事，其描写生动形象，被认为是十七世纪曹雪芹的代表作。参考：赫伯特·艾伦·翟里斯，《远东相关主题参考词汇》，1900年，第127-128页]】<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> <br /> Also he claimed that the title “红楼梦” would be “a term which is not found anywhere in the text”,[ Giles 1885.] therefore was figurative and should be translated as “A Vision of Wealth and Power”. Actually the expression is found several times in the text, even in the title of chapter 25 and Baoyu actually very often falls asleep and dreams in the red bed-chambers of his female relatives and friends.<br /> <br /> 同时，他指出，“红楼梦”这一题目是“一个在文本中完全没有出现的术语”，[翟理斯 1885.]因此，它富含比喻意，应该将之译为“对财富和权力的憧憬”。实际上，“红楼梦”这一表述在文中出现了好几次，甚至出现在25章的标题中，除此之外，宝玉经常在睡梦中梦见他的女性亲友的红色寝室。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:34, 15 November 2020 (UTC)<br /> 此外，他还声称 &quot;红楼梦 &quot;是 &quot;一个在文本中任何地方都找不到的术语&quot;，[ 翟理斯1885.]因此是形象化的，应译为 &quot;财富和权力的愿景&quot;。其实这句话在正文中，甚至在第二十五回的标题中，都多次出现过，而且宝玉也确实经常在他的女性亲友的红色卧房中入睡和入梦。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 09:58, 15 November 2020 (UTC)<br /> <br /> 而且，他认为“红楼梦”这个名字“在整个作品中无迹可寻”（翟理斯）因此它的选用是修辞手法的表达，并且应该译为“财富与权力之现象”。事实上，“红楼梦”的表达在文章中出现过好几次，甚至出现在第25章的标题里，宝玉经常在女性亲朋好友的红色厢房里睡觉和做梦。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:10, 15 November 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> '''Early Reception of the novel in the West'''<br /> <br /> We first must credit pioneers like J. Davis, who not only tried to systematize Chinese poetry with examples from the ''Red Chamber Dreams'', but also sent the first translations of the novel out in the world and made it known in America and Europe just a decade after it has been published in China. Some sinologists used the story simply as a good example for learning Chinese (Morrison, Thom).<br /> <br /> “中国小说传到西方早期”<br /> <br /> 我们必须赞赏像约翰·戴维斯这样的先驱，他从《红楼梦》中收集诗句，不仅将中国诗词系统化，同时也将《红楼梦》的第一份译文传向世界，使其在中国出版仅10年后，便在美国和欧洲为人所知。一些汉学家将《红楼梦》作为开始学习中文的素材。（汤姆·莫里森）--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:53, 15 November 2020 (UTC)<br /> <br /> <br /> 首先，我们必须称赞像约翰·戴维斯这样的先驱，他引用《红楼梦》中的诗句，努力将中国诗词系统化，同时还将《红楼梦》的第一版译文传向世界，使其在中国出版仅10年后，便在美国和欧洲广为人知。一些汉学家将《红楼梦》作为开始学习中文的素材。（汤姆·莫里森）--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:22, 15 November 2020 (UTC)Xu Jia<br /> <br /> ==Jiang Hao 姜好==<br /> <br /> One can conclude that the ''Red Chamber Dreams'' transported a differentiated image of China, of fashion, of hair and clothes (Barrow, Bruguière, Goldsmith), of human relations (Goldsmith), and of a highly developed language. In this language, some poetical expressions were only understandable to those who had a broad knowledge of Chinese culture. The finesse of the differentiated use of the dialects according to the respective characters in the novel was simply overlooked (Morrison, Gützlaff, Thom) and only discovered much later.<br /> 我们可以得出这样的结论：《红楼梦》传达了一种关于中国，关于时尚，关于发型和衣服（巴罗、布吕吉埃、戈德史密斯），关于人际关系（戈德史密斯），以及关于高度发达的语言的不同形象。在这种语言中，一些诗意的表达方式只有对中国文化有广泛了解的人才能理解。小说中根据各自的人物区分使用方言的精妙之处，根本被忽略了（莫里森、居茨拉夫、托姆），直到后来才发现。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 09:54, 15 November 2020 (UTC)<br /> <br /> 我们可以得出这样的结论：《红楼梦》传达出一种与众不同的中国形象，包括时尚、发型和服饰（巴罗，布鲁吉尔，戈德史密斯）、人际关系（戈德史密斯）和高度发达的语言。在这种语言中，一些诗歌表达只有对中国文化有广泛了解的人才能理解。根据小说中人物的不同而区别使用方言的技巧被忽略了（莫里森、古茨拉夫、汤姆），直到后来才被发现。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 15:21, 15 November 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> The first phase of the Western reception was ethnocentric, partially due to the China-bashing of philosophers like Montesquieu, Herder, Hegel and to the imperialist spirit of contemporary Europe. The judgments on the novel are mostly driven by argumentation strategies; that is, the novel is used as a tool to prove one’s own existing attitudes. The novel is exploited to argue for:<br /> <br /> 民族中心主义时期是接受西方的第一个时期，这部分源于中国对于孟德斯鸠、赫尔德、黑格尔等哲学家的猛烈抨击，以及当代欧洲的帝国主义精神。这本小说中的观点大多是由论证策略驱动的，也就是说，这本小说实际上是用以论证某人已有观点的工具。它论证的有：--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 14:04, 15 November 2020 (UTC)<br /> <br /> 民族中心主义时期是接受西方的第一个时期。这个时期的产生与中国对于孟德斯鸠、赫尔德、黑格尔等哲学家的猛烈抨击有关，同时也离不开当代欧洲的帝国主义精神。这本小说中的观点大多是由论证策略驱动的，也就是说，这本小说实际上是用以论证某人已有观点的工具。它论证的有：--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:21, 15 November 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> - exoticism (J. Davis, Barrow, Bruguière)<br /> <br /> - the inferiority of Chinese literature (Gützlaff, Langdon Davies, Harte, Giles, Headland)<br /> <br /> - polarization by confronting opposite conceptions like ideal of beauty etc. (Goldsmith)<br /> <br /> - to proof own hypotheses, like a self-made categorization of Chinese poetry (J. Davis)<br /> <br /> <br /> In this beginning phase, most comparisons were done within Chinese literature (Gützlaff: best of Chinese literature but inferior to Western literature, later: best of Chinese literature).<br /> <br /> - 异国情调（J.戴维斯，巴罗，布鲁基耶）<br /> <br /> - 中国文学的劣势（古兹拉夫，兰登戴维斯，哈特，贾尔斯，海德兰）<br /> <br /> - 通过对立的概念实现两极分化，如理想之美。（戈尔登史密斯）<br /> <br /> - 证明自己的假设，就像中国诗歌的自我分类（J.戴维斯）<br /> <br /> 在最开始的阶段，大多数的比较都是关于中国文学的。（古兹拉夫：最好的中国文学，但不及西方文学，后来:最好的中国文学）--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:01, 13 November 2020 (UTC)<br /> <br /> <br /> -异国情调（J.戴维斯，巴罗，布鲁基耶）<br /> <br /> -中国文学的劣势（古茨拉夫，兰登·戴维斯，哈特，吉尔斯，海德兰）<br /> <br /> -通过概念的对立来实现两极分化，如理想之美等。（戈德史密斯）<br /> <br /> -证明自己的假设，例如对中国诗歌的自我归类（J.戴维斯）<br /> <br /> <br /> 在这个开始阶段，大多数比较都是在中国文学中进行的（古茨拉夫：中国文学最好，但次于西方文学，后来：中国文学最好）。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:15, 14 November 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> <br /> However, when Herder revised his China perception, and when the still inadequate perception of China called for a more differentiated image, the first translated extracts of this rich novel of manners helped to change the perception of China.<br /> <br /> Finally ''Dream'' was compared to Western literature (Erkes, Wilhelm), was enshrined in the temple of world literature and was assigned attributes that added value to the Western reading experience (Clemons: “slowing down”).<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> <br /> '''Motifs for judgements'''<br /> <br /> As motifs for the early judgements mentioned above, I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc.<br /> <br /> There is a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society.<br /> 判断的主题<br /> 作为上述提及的早期判断的主题，我确定了小说的异国化（时尚和穿着的别样喜乐，习俗），普遍化（世界文学），小说的工具化作为文学假设的证据（如戴维斯的诗歌），以及小说的工具化用于语言学习等。<br /> 随着时间的推移，小说主题也发生了变化，从异国化和工具化证明西方小说的劣势，到接受小说作为世界文学的一部分以及可以记录中国社会的具有独特价值的中国文化杰作。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:06, 13 November 2020 (UTC)<br /> <br /> 判断主题<br /> 上述提到的早起判断主题，我认为小说的异国化（别样的时尚穿着，习俗带来的乐趣），普遍化（世界文学），工具化，证实了我们对文学（戴维斯诗歌）的假设，也证实了语言学习工具化。<br /> 随着时间的推移，小说主题从异国化变成工具化，证实了本身不如西方小说，接受小说是世界文学的一部分，也接受中国文化杰作在记录中国社会方面有一种独特价值。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:11, 14 November 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> <br /> '''The novel title'''<br /> <br /> The book title changed from the first translations as “Red Chamber Dreams” to singular “Dream” in 1843 by德明 (А. И. Коваńко / A. I. Kovańko)[ „Traumgesicht auf dem rothen Thurm“, see&gt; 德明 А. И. Коваńко (1808-1870, trans.): „''Chun-lou-men'' (‚Traumgesicht auf dem rothen Thurm‘) oder ‚Geschichte des Steins‘（《石头记》）. Tschen-schi-in erfährt im Traume die Wiederbelebung des Steins; Zja-jui-zun verliebt sich in seiner Armuth in eine schöne Magd.“ , in: ''Das Ausland'', Munich 26 (1843) 198-199, 201-203.] and in 1846 by Robert Thom[ Robert Thom 羅伯聃, “Extract from the Hung-low-mung, chapter VI”, in: Robert Thom, 《正音撮要》 The Chinese speaker. Extracts from works written in the Mandarin language, as spoken at Peking. Compiled for the use of students, by Robert Thom, Esq., H. M. Consul at Ningpo. Part I, Ningpo: Presbyterian Mission Press 1846, pp. 62-89].<br /> <br /> <br /> '''小说名'''<br /> <br /> 书名刚开始翻译为“红楼梦”（Red Chamber Dreams），1843年德明将其译成了单数“梦”（Dream）。1846年，羅伯聃也将其译为单数形式。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 11:33, 13 November 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> Many scholars have discussed the question if it was more appropriate to call the novel “Story of the Stone” instead of “Dream of the Red Chamber”. Arguments for the latter are that the first printed edition and most of the printed editions afterwards carried this title, so that it reached its fame and was read under this title until today, there was also at least one 120-chapter manuscript copy, the 《乾隆抄本百二十回紅樓夢》Qianlong 120 chapter manuscript; with this title circulating before. However, e.g. the Hawkes/Minford translation and the German Schwarz/Woesler translation use both titles with “also called” in between.<br /> <br /> 许多学者都讨论过这样一个问题，即这部小说是否应该叫 &quot;石头的故事 &quot;而不是 &quot;红楼梦 &quot;更合适。支持后者的论点是，第一版印刷版和之后的大部分印刷版都使用这个书名，所以它有了自己的名气，直到今天还用这个书名，至少还有一个120章的手抄本，即乾隆抄本百二十回红楼梦；之前流传着这个书名。不过，如霍克斯/明福译本和德国施瓦兹/沃斯勒译本都使用这两个书名，中间有 &quot;也叫&quot;。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 07:02, 13 November 2020 (UTC)<br /> <br /> 许多学者都讨论过一个问题，即把这部小说起名为《石头记》 相比《红楼梦》而言是否更为合适。支持后者的人认为，第一版和之后的大多数印刷版已经有《红楼梦》这个名字了，所以名气传播开来，直至今日人们读到的还是这个书名，至少还有一个一百二十回的手抄稿，即《乾隆抄本百二十回红楼梦》，之前就流传这个书名。不过，在霍克斯/明福译本和德国施瓦茨/沃斯勒译本中，两个书名都用到了，之间含有“亦称”两字。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:16, 13 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> Some scholars argue that the German title ''Traum der Roten Kammer'' was grammatically and logically not correct in German, but you need more than a grammar teacher’s imagination to find the answer why this title prevailed: A book title, especially a poetic one of a work of literature, does not at all have to be grammatically correct or logical, the title is simply assigned with the first translations and translators and then naturally develops in the cultural field over time.<br /> <br /> 一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语中的语法和逻辑不正确,但是要找到这个标题为什么盛行，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品,并不需要一定在语法或逻辑上正确,标题只是简单地由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:50, 13 November 2020 (UTC)Lei Kuangxi<br /> <br /> 一些学者认为，《红楼梦》标题的德版译文Traum der Roten Kammer在德语的语法和逻辑上是不正确的，但想到找到这个标题为什么流行的答案，光拥有跟语法老师一样的想象力是不够的:书名，尤其是文学作品充满诗意的书名，根本不需要语法正确或有逻辑，标题只是简单地由最初的译文和译者定下来，然后自然而然地随着时间的推移在文化领域发展。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:05, 13 November 2020 (UTC)<br /> <br /> 一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语的语法和逻辑方面有误，,但是要找到这个标题为什么盛行的原因，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品的书名,不必在语法或逻辑上正确,因为标题由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:31, 13 November 2020 (UTC)Li Lili<br /> <br /> ==Li Haiquan 李海泉==<br /> <br /> Language development exactly works like this: New, seemingly incorrect forms of expressions come into existence, and become correct and a part of language simply because they are used. All translation decisions need to be balanced: They do not have to adhere only to a word-by-word translation, or to logic or grammar, but to what is a common expression or broadly accepted.<br /> <br /> 语言的发展就是这样的:新的，看似不正确的表达形式出现，变得正确且成为语言的一部分，仅仅因为它们被使用了。所有的翻译方式需要权衡:它们不必只遵循逐字的翻译，或是遵循逻辑或语法翻译，而是遵循一种通用的表达方式或被广泛接受的表达方式。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:07, 15 November 2020 (UTC)<br /> <br /> 语言的发展就是这样的:新的，看似不正确的表达形式开始出现，然后变得正确且成为语言的一部分，仅仅因为人们使用了它们。译者需要权衡所有的翻译方式:他们不必只遵循逐字翻译，或是只根据逻辑或语法规则，而是应该使用一种通用的或被广泛接受的表达方式。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 14:44, 15 November 2020 (UTC)<br /> <br /> 语言就是以这样的方式发展的：新的，看似不正确的表达新式首先出现，然后它们变为正确表达，且成为语言的一部分，这仅仅因为它们被使用了。翻译需要权衡；不必只遵循字对字的翻译或是遵从逻辑或语法，而应该遵照人们广泛接受的表达。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 14:53, 15 November 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> <br /> There are historical settings which influence these historical decisions, like the existence of the English translation title “Dream of the Red Chamber” at that time. Other reasons are that “Traum der” is simply shorter than “Träume im/vom roten Anwesen”, while the reader will still associate the logically correct meaning behind it. The word “Kammer” at the time when the novel was first published in Chinese was linked to luxurious rooms e.g. in castles, so very much appropriate. And the “red” is a leitmotiv.<br /> 有一些历史背景影响着这些历史决定，比如当时英译本《红楼梦》的存在。另一个原因是“Traum der”比“Träume im/vom roten Anwesen”短，而读者会联想到其背后逻辑上正确的含义。当该小说第一次以中文出版时，“坎默”一词指豪华的房间（如城堡），非常恰当。“红色”是主旨。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 13 November 2020 (UTC)Li Lili<br /> <br /> 有一些历史背景会影响这些历史决定，例如当时“红楼梦”标题的英文翻译。另一原因是“ Traum der”短于“Träumeim / vom roten Anwesen”，而读者仍会联想到其背后逻辑上正确的含义。当小说首次以中文出版时，“ Kammer”一词指豪华的房间（如城堡），这是非常恰当的，因为“红色”是主旨。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:17, 13 November 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> <br /> To pay tribute to historical developments of becoming a well-known expression, in the German edition, the mentioning of “rote Kammer” was capitalized into “Rote Kammer” in the new edition, very much alike “Red Chamber” in English at the very beginning of the English translation history.<br /> 为了纪念历史的发展成为一个众所周知的表达，在德语版中，“rote Kammer”在新版中被大写为“Rote Kammer”，非常类似于英语翻译史开始时的英版红楼梦。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:30, 14 November 2020 (UTC)<br /> 。<br /> 向历史发展致敬成为一种众所周知的表达方式,在德语版中，“rote Kammer”在新版中被大写为“Rote Kammer”，非常类似于英语翻译史开始时对红楼梦的译法。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:11, 15 November 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> '''80 or 120 chapters'''<br /> <br /> The First European Conference on the Dream of the Red Chamber in Bonn 1992 agreed that the 120 chapter version was the authoritative one because it was simply the version under which the novel reached its fame and is best known among readers. Publishing houses argue that a fragment is harder to sell. Also, the part of Cao Xueqin in the last 40 chapters is not finally enligthened, and I always recommend to stick to the editors claims until falsification, therefore we should at least assume Cao’s authorship of the last 40 chapter titles and maybe even some parts of the text.<br /> <br /> “80章还是120章”<br /> <br /> 第一届以红楼梦为主题的欧洲会议于1992年在波恩举行，会议上，专家们一致认为120章的版本更具权威性。原因是这个版本在世界上广为流传，在读者中广为人知。出版社认为，单独把书的某几个章节拎出来是很难出售的。此外，曹雪芹撰写的最后40章中部分内容并没有被最终确定下来，因此我始终建议坚持编者的主张，直到被篡改为止。基于此，我们至少应承认曹雪芹拥有最后40章甚至是部分文本的著作权。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 09:37, 13 November 2020 (UTC)<br /> <br /> '''80章还是120章'''<br /> <br /> 第一届以红楼梦为主题的欧洲会坛于1992年在波恩举办。与会者一致认为120章的版本是权威版本，因为这个版本使红楼梦声名远扬、广为人知。出版社认为取其中几章出版成书，销量会更惨淡。曹雪芹撰写的最后40章是否出版最终也没有确定。我会一直坚持编者的观点，直到这本小说被改动后出版。因此，我们至少应该承认曹雪芹对于最后40章甚至是部分文本的著作权。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:09, 13 November 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> <br /> How far other contributors have come close to or deviated from Cao’s original intent for the last 40 chapters may stay object of research. However, they seem to have been successful, because the 120-chapter has prevailed historically, also in its translations, and found the acceptance of the readership.<br /> <br /> '''Deviations from the original'''<br /> <br /> Kuhn, successful and critizised, with his Adapting and Foreignizing, very pleasing but ever-the-same-style translations of so different novels like Shuihuzhuan, Xiyouji and Hongloumeng is history and today one among many translations and more and more readers are able to read the Hongloumeng in other languages like English or even in Chinese.<br /> <br /> 在最后40章中，其他编著者在多大程度上接近或偏离了曹雪芹原本的意图，这仍是一个有待考究的问题。然而，他们似乎取得了成功，因为120章的版本及其译本在历史上一直很流行，并获得了读者的认可。<br /> <br /> '''与原始版本的差异'''<br /> <br /> 翻译家库恩（Kuhn）很成功但也受到了批评，他对许多不同小说的翻译经过改编和异化都非常有趣但风格千篇一律，例如《水浒传》、《西游记》和《红楼梦》之类的小说的译本已成为历史，如今已是众多译本中的一种，越来越多的读者能够阅读其他语言（英语甚至中文）版本的《红楼梦》。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:10, 15 November 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> <br /> Kuhn mentions to have used two specific copies of the original work. There are scholars who doubted that he really used the copies he indicated, because they could not be found. I see no reason to doubt Kuhn’s statement, it is more likely that he used grey editions which are not registered and maybe cannot be found any more.<br /> <br /> '''1st deviation by Minford: The explicit episode about the human-ghostly intercourse, chapter 102'''<br /> <br /> This episode is a black humour one, where Wu Gui’s wife has “a little bit a cold”, takes the wrong medicine and dies.<br /> 库恩提到，他使用了原作的两个特定副本。有学者质疑他是否真的使用了他指出的副本，因为它们没法被找到。我认为没有理由怀疑库恩的说法，更有可能是他使用的灰色版本没有注册，可能已经找不到了。<br /> 闵福德的第一次偏离:关于人鬼交合的突出情节，第102章<br /> 这一集是黑色幽默的一集，讲的是吴贵的妻子“有点感冒”，吃错了药然后死了。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 15:29, 15 November 2020 (UTC)<br /> <br /> ==Li Yongshan 李泳珊==<br /> <br /> At this passage, it looks like we have the opposite case as in the second example: In the Chinese original the whole sentence “enjoyed her at inordinate length” is missing.<br /> <br /> 程甲本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不妥当，便都说妖怪爬过墙吸了精去死的。<br /> <br /> 程乙本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不大妥当，便说妖怪爬过墙来吸了精去死的。<br /> <br /> Minford: Because of her reputation for promiscuity, other members of the household staff concluded that a spirit must have climbed over the Garden wall, enjoyed her at inordinate length, and finally sucked the sap' out of her.<br /> <br /> ==Li Yu 李玉==<br /> <br /> The sentence seems to be made up by John Minford. It is the explicit report of a sexual intercourse between a ghost and a woman, which ended, when the ghost sucked the lifeblood out of her. Minford does not only extend this brief report about the death of a woman by adding a sexual intercourse between a human and a non-human, which is inappropriate or abnormal by itself, but stresses the abnormality even by characterizing this intercourse in more detail, as taking “inordinate” long. <br /> <br /> ==Lin Min 林敏==<br /> <br /> Originally, Cao/Gao had only very briefly reported on Wu Gui’s wife’s death. They mentioned the natural cause of death, that she had taken the wrong medicine. However, since most of the strokes of fate in this novel are explained as to be motivated through moral retaliation, Cao/Gao describe her as “promiscuous”. In the logic of moral retaliation, she earns to die. The ghost then would be the executor. But still he only is described as climbing over the wall and sucking the lifeblood out of her.<br /> <br /> 最初，曹高二人只是非常简短地提到吴贵妻子的去世。 他们提到了死亡的自然原因，她服错了药。 但是，这本小说中大多数人的命运，被解释为是出于道德报复的动机，所以曹高二人将她形容为“滥交”。 按照道德报复的逻辑，她死了， 妖怪成了杀人凶手。 但是，妖怪仍然只是被描述为从墙上爬过，将血从她身上吸了出来。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 12:02, 15 November 2020 (UTC)<br /> <br /> 最初，曹高二人只是非常简短地提到吴贵妻子的死。他们提到了她死亡的自然原因，是她服错了药。但是，由于这本小说中大多数对命运的描写都被解释为是出于道德报复的动机，所以曹高二人将她描写为“滥交的”。按照道德报复的逻辑，她死了，幽灵将成为她死亡的执行者。但是他仍然只是被描述为从墙上爬过，吸干了她的血夺走了她的命。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:32, 15 November 2020 (UTC)<br /> <br /> ==Lin Xin 林鑫==<br /> <br /> Minford adds an action, which leads further than Cao/Gao wrote. This action still is connected to the story, it even drives its authority from Wu Gui’s wife’s promiscuous way of living. The scene might have stimulated the readers’ fantasy, but not necessarily in the direction of Minfords account. Did Minford simply give his fancy full scope? He might also have been encouraged to interpret this scene the way he did because of the parallel scene with the mirror in chapter 12, where Jia Rui also has inordinate often sexual intercourse with the ghost of Xifeng, and gradually loses his lifeblood until he dies on a large patch of semen.<br /> <br /> 闵福德给曹雪芹、高鹗所作的《红楼梦》注入了新的血液。这一举动仍紧贴故事，甚至从吴贵妻子淫乱的生活方式中汲取了权威理由。这个场景可能激发了读者的想象，尽管并不一定是按照闵福德描写的方向。闵福德仅是完整呈现了他幻想的全部吗？他可能也在努力按照第十二章处风月宝鉴镜中的平行场景来解释这个场景，在该场景中，贾瑞经常与西峰的美女幻影云雨欢爱，逐渐失去了生命力，最终死在一滩留有大块精液的床上。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 13:31, 15 November 2020 (UTC)<br /> <br /> 闵福德之举给曹雪芹、高鹗所作的《红楼梦》注入了新的血液。这一举动仍紧贴故事，甚至从吴贵妻子淫乱的生活方式中汲取了合理理由。这个场景可能激发了读者幻想，尽管并不一定是按照闵福德描写的方向。闵福德仅是完整呈现了他幻想的全部吗？他可能已受鼓舞地按照第十二章处风月宝鉴镜中的平行场景来解释这个场景。在该场景中，贾瑞经常与西峰的倩影幽魂共赴云雨，渐渐被吸尽了精气直到咽气，身下一大滩精液。--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 14:58, 15 November 2020 (UTC)<br /> <br /> ==Ling Zijin 凌子瑾==<br /> <br /> After Minford had altered the original, the original ending of that scene did not fit any more: The action of killing her by sucking the lifeblood out of her comes too abrupt. In one subordinate clause they enjoy their sex and even inappropriately long, and in the next he kills her, which is by itself also outrageous. So Minford had to step into the original text sentence and add the adverb “finally” in order to bring it into a chronological and resultative relation.<br /> <br /> ==Liu Bo 刘博==<br /> <br /> Kuhn and Schwartz/Woesler have translated this passage without these additions and did not elaborate possible fantasies.<br /> <br /> The effect of Minfords addition is, that the episode becomes more interesting, scandalous and sexually explicit.<br /> <br /> In order to find out, what made Minford add this information, we should consider not only the original, but also a then existing translation. Minford in his preface thanked Yang Xianyi for his help with his own translation Hawkes/Minford 4:30. When we look at the Yang/Yang translation, we find the adding already there: <br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> <br /> Yang/Yang: Outsiders, knowing her bad reputation, claimed that a monster had climbed over the wall to enjoy her until she died of exhaustion.<br /> <br /> This translation in many respects is not so accurate. The couple Yang/Yang uses more general words, leaving out the causal conjunction “because” [she was known for promiscuity]. For 不[大]妥当 (promiscuity) they even use the more general “bad reputation”, and maybe in order to compensate for the lacking sexual connotation in this, they added “to enjoy her”, which we do not find in the Chinese original text.<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> And they already prepare the way for Minford’s “finally” by adding the “until”. As the whole Yang/Yang translation uses simpler words, 妖怪 is translated as “monster” instead of “ghost”. Since immediately before this episode the garden is described as being the home of ghosts, he latter might have been the better expression. Also the “death of exhaustion” is an interpretation, the Chinese text only reads “sucked the lifeblood out of her”.<br /> <br /> 他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。在上一个片段中，杨戴夫妇将花园描述成幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 09:17, 13 November 2020 (UTC)<br /> <br /> 他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。但就在上一个片段中，花园描述为幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:07, 13 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> So it seems that Minford has decided to keep the deviation of Yang/Yang, which is disloyal to the original and therefore falls under category c. However it may protect the Yang/Yang translation from discovery of its same deviation, since only people fluent in both languages will be able to discover it. Was Minford’s disloyalty to the original and his loyalty to his fellow translators a conspiracy? Or did Minford not directly translate from the Chinese, but simply improve the Yang/Yang translation? Since he uses “spirit” instead of “monster”, he still seems to have been conscious about everything and seems to have consciously decided to keep the Yang/Yang deviation for the mentioned possible reasons.<br /> <br /> 因此，Minford似乎决定保留Yang / Yang的变体，这与原文有所偏差，因此属于c类。 但是，由于只有精通两种语言的人才能发现它，因此它可以保留Yang / Yang这一翻译，而读者不会发现这一变体。 Minford对原著的不忠和对同时期译者的不忠是阴谋吗？ 还是Minford不直接从中文翻译而只是改进了Yang / Yang这一翻译？ 由于他使用“精神”而不是“怪物”，因此他似乎全文有所了解，并且出于上述可能的原因，似乎有意识地决定保持Yang / Yang这一变体。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 11:18, 15 November 2020 (UTC)<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> <br /> '''2nd deviation by Minford: The explicit episode on the first attempt of the rape of the nun Miaoyu, chapter 111'''<br /> <br /> In chapter 111, we find another anecdote, where thieves invade Rongguofu and steal chests of treasures. On their way, they discover the appealing nun Miaoyu and start a first attempt to rape her. The exact passage reads in both editions:<br /> <br /> 程甲本and程乙本: 又欺上屋俱是女人，且又畏惧，正要踹进门去，因听外面有人进来追赶，所以贼众上房。<br /> <br /> ==Liu Yi 刘艺==<br /> <br /> Yang/Yang: The thieves had known that there were no men in the house. While in Hsi-Chun’s courtyard they had peeped through the window and been inflamed by the sight of a ravishing nun. As there were only terrified women inside, they were about to kick down the door when they heard the night-watch rushing in after them and promptly climbed up the roof.<br /> <br /> Minford: After the main part of their mission was accomplished, the thieves, knowing how unprotected the Jia mansion was, had been casually snooping around in Xi-chun's courtyard, and had caught a glimpse there of a very attractive young nun, which had put all sorts of mischievous ideas into their heads.<br /> <br /> 杨/阳:贼人早知屋内没有男人。在熙春的院子里时，他们曾从窗外偷看，看到一个淫荡的尼姑，就被激怒了。由于里面只有被吓坏的女人，他们正要踹门，却听到守夜人跟着冲进来，于是立即爬上屋顶。<br /> <br /> 明福:在完成了主要部分的任务后，盗贼们知道贾府是多么的没有防范，就在熙春的院子里随意地窥探，在那里瞥见了一个很有魅力的年轻尼姑，这让他们产生了各种恶作剧的想法。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:02, 13 November 2020 (UTC)<br /> <br /> 杨/阳:贼人早知屋内没有男人。在熙春院子里时，贼人们从窗外偷看过，在看到是一个淫荡的尼姑后怒火中烧。房里面只有被吓坏的女人，他们正要踹门，却听到守夜人跟着冲进来，就立即爬上了屋顶。<br /> <br /> 明福:在完成了主要任务后，盗贼们知道了贾府的防范是多么松懈，就在熙春的院子里随意地窥探。后在那里瞥见了一个风情万种的年轻尼姑，这让他们产生了各种恶作剧的想法。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 01:57, 15 November 2020 (UTC)Liu Yiyu<br /> <br /> <br /> 杨/阳:贼人早知屋内没有男人。在熙春的院子里时，他们曾从窗外偷看到一个淫荡的尼姑，并为之激怒。房间只有被吓坏的女人，他们正要踹门，却听到守夜人跟着冲进来，于是立即爬上屋顶。<br /> 闵福德:在完成了主要任务后，盗贼们知道贾府没有多少防范，就在熙春的院子里随意地窥探，他们在那里瞥见了一个很有魅力的年轻尼姑，由此产生了各种恶作剧的想法。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 02:43, 15 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> They knew that the apartment was unguarded save by a handful of scared old women, and were about to kick the door in and put an abrupt end to Adamantina's meditations when they heard the sound of footsteps corning from outside and escaped onto the roof-top.<br /> <br /> Minford has added a sentence here. We see that the original did not contain this sexually explicit clause, therefore the deviation does not fall under category a. We can also exclude the possibility that Minford used an earlier edition which might have been censored in the more prudish socialist era, since we have the original Cheng-Gao edition from 1791/1792.<br /> <br /> 他们知道那院子无人看守，只有寥寥几个年纪大的姑子在。他们正要踢开门，打断法师的冥想，却听到门外传来了脚步声，接着就逃上了屋顶。<br /> 明福在这里加了一个句子。我们可以看到原版是没有这种直接带性意味的从句的，因此这种偏差没有受到分类的影响。我们可以排除这种可能性，那就是明福用的是早先的版本，这种版本可能是在更为保守的社会主义时代通过了审查的，因为我们有1791/1792年的程高原版作对照。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 01:51, 15 November 2020 (UTC)Liu Yiyu<br /> <br /> <br /> 他们知道公寓无人看守，里面只有几个胆小的老妇人在。他们正准备踢门进屋，打断阿曼丹蒂娜的沉思，却听到了门外传来的脚步声，于是就逃到了屋顶上。<br /> <br /> Minford在这里添加了一个句子。 我们看到原始文件不包含此色情内容从句，因此该偏差不属于类别a。 我们还可以排除Minford使用较早版本的可能性，该版本可能在更为审慎的社会主义时代受到审查，因为我们拥有的最早的高教版本是1791/1792。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 07:47, 15 November 2020 (UTC)Ou Rong<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> <br /> Minford’s extra sentence also does not exist in the translations Yang/Yang, Kuhn, nor in the later Schwartz/Woesler.<br /> <br /> In the Chinese original, the emerging sexual tension, stimulating the readers fantasy of a rape, is stopped immediately, when the kicking in of the door already at the beginning of this sentence is relieved by the wording “正要” were just about to… <br /> <br /> We can also exclude the category b. here, because it is not possible to read one subordinate clause more into the original.<br /> <br /> <br /> 闵福德的附加句也不存在于杨/阳、库恩以及后来的施瓦茨/沃斯勒的译本中。<br /> 在中文原著中出现的性张力，因刺激了读者对强奸的幻想，立即被制止了，在句子开头敲门动作开始的时候，通过“正要（were just about to）&quot;一词所代替。<br /> 在这里，我们也可以排除b类，因为不可能在原文中多一个从句。<br /> --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 02:36, 15 November 2020 (UTC)<br /> <br /> 闵福德的附加句也不存在于杨/阳、库恩以及后来的施瓦茨/沃斯勒的译本中。<br /> 在中文原著中出现的性张力，因刺激了读者对强奸犯的幻想，立即被制止了，在句子开头敲门动作开始的时候，通过“正要（were just about to）&quot;一词代替。<br /> 在这里，我们也可以排除b类，因为不可能在原文中多一个从句。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:09, 15 November 2020 (UTC)<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> Might it have been a necessary explanation, which Minford did not want to explain in an annotation and therefore had to integrate into the text? This, we can also exclude, since from the context it is explicitly clear why they wanted to kick in the door. <br /> <br /> In order to understand Minford’s intention, we should ask what effect this wilful addition of this sentence has on the reader? First, this sexually arousing scene becomes longer. This gives the reader more time to develop fantasies, what might happen. Minford adds a sentence which expresses exactly these fantasies: When the men enter the room, Miaoyu will stop her meditation.<br /> <br /> 这可能是一个必要的解释，闵福德不想在注释中解释，因此必须融入文本?这一点，我们也可以排除，因为从上下文可以清楚地看出他们为什么要踢门。<br /> <br /> 为了理解闵福德的意图，我们应该问一下这个故意添加的句子对读者产生了什么影响?首先，这个性刺激的场景变得更长。这给读者更多的时间去想象会发生什么。闵福德加了一句话，就准确地表达了这些幻想:当男人进入房间时，妙玉就会停止冥想。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:15, 15 November 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> The shifting of the perspective to the woman adds to the sexual tension. Both, the active men and the so far passive woman are now mentioned and can act in the fantasies of the reader. Even the end of passivity of the woman is associated, when Minford explicitly states that the meditation will end. And he stresses again the brutal aspect of this scene, using the word “abrupt”.<br /> <br /> The novel is mostly very implicit and connotative, it uses metaphors like “wind and rain game” for describing sexual intercourse. Having explored the effects, Minford achieved with his deviation, one might guess, that the intention was to make this episode more explicit, to sexually arouse the readers.<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> This can be seen as disloyal to the original and its author, and it maybe seen as loyal to the profit of the press and the royalties.<br /> <br /> <br /> '''Sequels'''<br /> <br /> Many other authors also were inspired by the author and wrote a sequel to the novel. Soon, the novel was broadly accepted as another novel of the format of “四大奇书 Si da qi shu” and, since times became more strict regarding pornographic literature, replaced the ''Jin Ping Mei''. Already three years after the appearance, the Suoyin-School was founded and speculations began about the author and if the story had a real background. Please refer to the table of sequels in the attachment.<br /> <br /> ==Ma Juan 马娟==<br /> <br /> '''Spreading of the novel to Russia'''<br /> <br /> In 1832, a member of the Russian Orthodox Mission in China (俄国驻北京宗教使团学员) brought a manuscript copy of the Story of the Stone back to Russia. It had 35 vols. (currently in the St. Petersburg branch of the Russian Scientific Oriental Institute). Another member of the Mission, А. И. Коваńко, used the pen name 德明 to introduce part of the first chapter to the West. <br /> <br /> '''Reevaluation in Late Qing and status in the Cultural Revolution'''<br /> <br /> ==Ma Shuya 马淑雅==<br /> <br /> Wang Guowei improved the status of the novel since 1885, he saw it as one of the most important pieces of Chinese literature, and the discussions of Hu Shi and Yu Pingbo. <br /> <br /> During the Cultural Revolution, the Dream of the Red Chamber was forbidden again.<br /> <br /> '''Spreading in Germany'''<br /> <br /> The total number of copies published between 1932 and 1977 is 89335 volumes, the ''Jin Ping Mei'' 《金瓶梅》 reached between 1930 and 1977 175000 vols. Der Traum der Roten Kammer rangiert auf Platz 4 der Welt-Bestsellerliste. <br /> <br /> '''References'''<br /> <br /> [Please refer to the full bibliographic references in the footnotes for now.]<br /> <br /> ==Ma Zhixing 马智星==<br /> <br /> '''Report'''<br /> <br /> '''3rd International Dream of the Red Chamber Conference in Europe'''<br /> <br /> ''Martin Woesler''<br /> <br /> On November 7-8, 2015, the in¬ter¬national conference “Celebrating Cao Xue¬qin’s 300th anniversary - 3rd International ''Dream of the Red Chamber'' Conference Europe” was hosted at Folkwang University of Arts, Essen/Germany and organized by Martin Woesler. The Cao Xueqin Society (Peking) and the European Dream of the Red Chamber Society (Bochum) invited 30 speakers from the USA, Australia, Asia (Hong Kong, Taiwan, Korea), Europe (Germany, Hungary, Norway, Slovakia, Switzerland) and China (from the cities of Peking, Shanghai, Chengdu). Sponsor was the Beijing Cao Xueqin Culture Development Foundation. <br /> <br /> ==Meng Ying 孟莹==<br /> <br /> In the greetings, Cultural Attaché Chinese Embassy Berlin Chen Ping, Essen Folkwang University of Arts’ chancellor Michael Fricke and Essen mayor Thomas Kufen expressed their gratitude and their feelings of great honor to host this 3rd international conference in Europe on Cao and his novel after the first two conferences in Bonn/Germany 1992 and Olomouc/Czech Republic 2014. Vice Minister Hu Deping, president of the Peking Cao Xueqin Society, said this conference offered the rare opportunity of sharing findings among experts from China and experts from the rest of the world, opening opportunities for further cooperation.<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> Martin Woesler welcomed the participants in his function as president of the European Dream of the Red Chamber Society. He expressed his satisfaction with the high quality of the contributions submitted from all over the world, including 10 written contributions, a selection of which would be published in the ''European Journal of Sinology''. Duan Jiangli announced that a selection of the Chinese papers will be published in the ''Cao Xueqin Research''.<br /> <br /> 作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。他非常满意对来自世界各地的10篇高质量的书面稿件，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，中国论文选集将在《曹雪芹研究》上发表。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:26, 13 November 2020 (UTC)Mo Ling<br /> <br /> 作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。对于来自世界各地的10篇高质量的书面稿件，他表示十分满意，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，精选的中国论文将会在《曹雪芹研究》上发表。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:20, 13 November 2020 (UTC)<br /> <br /> 作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。他对来自世界各地的10篇高质量书面稿件表示十分满意，其中一部分选集将发表在《欧洲汉学杂志》上。段江力宣布，中国论文选集将会发表在《曹雪芹研究》上。--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 14:43, 15 November 2020 (UTC)Nie Xiaolou<br /> <br /> ==Mo Nan 莫南==<br /> <br /> Hu Deping opened the first panel on studies on the author (Caoxue) with a discussion of the banner identity of Cao Xueqin, he stressed the imperial proximity of his even plain white banner and his high social status. Hu sees descriptions of Cao asking to put drinks on his tab as a proof of his trustworthiness due to his steady imperial stipend. Fan Zhibin in his contribution interpreted Cao’s status lower. Hu Deping expressed his skepticism towards the authenticity of any findings of cultural relicts after the 1970s attributed to Cao. But he pointed at the fact, that two places in the Old Summer Palace are called like the Daguan yuan itself (‘Daguan’) or like a place in it.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> <br /> Ellen B. Widmer (Wellesley College) analyzed the characterization of Cao as a dramatic character in the sequel ''Hou Honglou meng''. Zhang Shucai (Peking) explained further the findings on social status of aristocratic families and banner people close to the imperial court, with an analysis of the Han and Manchu heritages. Zhan Song (Peking) also reflected on the ethnic identity, when he introduced ''Honglou meng''-critics among Qing Eight Banner people. Duan Qiming (Peking) approached the family history from Cao Yin’s “''Beihong fuji''”, showing connections to author and novel.<br /> <br /> Ellen B. Widmer（威尔斯利学院）在续写《后红楼梦》中将曹雪芹描写为一个戏剧性的人物。张书才（北京）通过分析汉族和满族的文化遗产，进一步阐释了关于处于世族社会地位以及接近王室的旗人研究。Zhan Song（北京）在介绍红楼梦时同样反映了民族认同这种现象。张书才和Zhan Song均为清八旗人的批评家。段启明（北京）从曹寅的《北红拂记》中研究了曹雪芹的家族历史，体现了作者与小说之间的联系。--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 14:30, 15 November 2020 (UTC)Nie Xiaolou<br /> <br /> ==Ou Rong 欧蓉==<br /> <br /> Ling Hon Lam (Berkeley) opened the 2nd panel “Studies on the novel” with an analysis of the difference of the reading culture in the novel and its sequels. Since the habit of ‘reading silently’ changed at the beginning of Qing to ‘reading aloud’, the silent reading is prominent in the novel and the out loud reading is prominent in the sequels as well as in the last 40 chapters. Duan Jiangli (Peking) introduced the different handwritten comments in the manuscript versions and stressed the importance of the early Zhi Yanzhai commentary. Zhou Wenye (Peking) presented a tool to compare and analyze the different manuscript versions including comments and the different print versions of the novel.<br /> <br /> 林汉麟（伯克利）通过分析小说及其续集中的阅读文化差异，开设了第二个小组“小说研究”。由于自清初开始，“默读”的习惯就变成了“大声朗读”，因此，小说中突出了无声阅读，而续集和最后40章中突出了大声朗读。段江丽（北京）在稿件版本中介绍了不同的手写评论，并强调了早期的阎彦斋评论的重要性。周文业（北京）介绍了一种工具，用于比较和分析不同的手稿版本，包括评论和小说的不同印刷版本。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 07:24, 15 November 2020 (UTC)Ou Rong<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> <br /> Up to three versions can be displayed simultaneously with the differences highlighted. He demonstrated how to prove which kind of relation certain versions had and what suggested that, in certain cases, there must still exist a missing edition. He favored the Cheng B edition over the Cheng A edition, since the corrections were mostly improvements. He also argued that there were many intermediate editions, even between Cheng A and B, since all surplus printed pages were used for later editions. Zhang Hui (Hong Kong) introduced the novel in a different media form, the drama, focusing on one example of a drama adaption.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> Marina Čarnogurská (Slovakia), translator of the Slovakian full translation, argued that the last 40 chapters were authored not by Gao E, but maybe even by Cao Xueqin. General consent among the participants was that Gao might have had a more editorial function and some parts of the last 40 chapters might have been written by Cao.<br /> <br /> In the 3rd panel “Interdisciplinary/Intertextual Approaches”, Shang Wei (Columbia University/USA) presented insights into visual culture in Qing dynasty and argued that there was a strong European influence in the Manchu court, which is traceable in the novel and influenced Cao Xueqin.<br /> <br /> 玛丽娜·乔阿诺古尔斯卡（斯洛伐克）是斯洛伐克语译本的译者，她认为书的后四十章的作者不是高鹗，而是曹雪芹。参会人员也一致同意，高鹗更多的只是负责编写，后四十章的创作实际是曹雪芹完成的。<br /> <br /> 在第三场主题为“跨学科/跨文本方法”的座谈会上，尚伟（美国哥伦比亚大学）提出了关于清朝时期视觉文化的一些观点，他认为满洲朝廷受欧洲文化影响颇深，这种影响在曹雪芹的小说中也有迹可循。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 06:27, 13 November 2020 (UTC)Ouyang Ling<br /> <br /> 玛丽娜·乔阿诺古尔斯卡Marina Čarnogurská(斯洛伐克)认为，最后40章的作者不是高鄂，甚至可能是曹雪芹。与会代表普遍认为，高娥可能有更多的编辑功能，最后40章的部分内容可能是曹雪芹写的。<br /> <br /> 在第三板块 &quot;跨学科/跨文本方法 &quot;中，尚伟（美国哥伦比亚大学）提出了对清代视觉文化的见解，认为满族宫廷中存在着强烈的欧洲影响，这在小说中是有迹可循的，并影响了曹雪芹。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 13 November 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> <br /> Kam Louie (Hong Kong) compared the novel with Three Kingdoms in regard to masculinity, homo-sociality and class, arguing how Jia Baoyu’s homo-erotic friendships were perceived differently depending on times and lenses. Louise P. Edwards (Australia) explored an aestheticized masculinity in clothing, dress and decoration as described in the novel. Karl-Heinz Pohl (Trier/Ger¬many) analyzed Buddhist thoughts in the novel with the example of several wisdoms from the “Heart Sutra”, he showed pro¬xi¬mi¬ty between Buddhist and Daoist thoughts. Harro von Senger (Frei¬burg/ Ger¬¬many) compared supraplanning (in China traditionally ‘''moulüe''’) in the novel and the German family tragedy ‘Nibelun¬gen¬lied’.<br /> <br /> ==Peng Juan 彭娟==<br /> <br /> Zhu Ping (Peking) introduced the historical background of drama culture at the time of Kangxi, Yongzheng (the time the novel was written), and Qianlong. Kristina Schröder (Zurich/Switzerland) ex¬plained references of early illustrations of the novel with the ‘Romance of the West Chamber’ with the example of Wang Xilian ordering flowers to blossom. Stefan Mess¬mann (Budapest/Hungary) asked from the legal perspective, if the Marxist dream of equality had been achieved. Laura Bing Han (Trier) compared the novel and the ‘Buddenbrooks’ regarding philosophical dua¬lism.<br /> 朱平(北京)介绍了康熙、雍正、乾隆时期戏剧文化的历史背景。克里斯蒂娜·施洛德(苏黎世/瑞士)以王喜莲命令花朵开放为例，简单地引用了《西厢记》的早期插图。斯特芬·密瑟安(布达佩斯/匈牙利)从法律的角度提问，马克思主义的平等梦想是否已经实现。劳拉冰寒(特里尔)比较了小说和“布登布鲁克斯”关于哲学对立主义的问题。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:24, 15 November 2020 (UTC)pengjuan<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> Panel 4 introduced the novel’s in¬ter¬national dissemination, and here Martin Woesler (Witten/Germany, Rome/Italy) ana¬lyzed the changing reception of the novel by early Western translators and recipients. The novel was instrumentalized (e.g. for language learning) and exoticized. Wu Wei (Oslo/Norway, Heidelberg/Ger¬many) explored the color symbolism of ‘redness’ in novel. <br /> <br /> 第4小组介绍了小说的国际传播，马丁·怀斯勒（Martin Woesler）（威滕/德国，罗马/意大利）分析了早期西方译者和接受者对小说的接受态度。 这本小说被工具化（例如用于语言学习）并被异化。 Wu Wei（奥斯陆/挪威，海德堡/德国）探索小说中“红色”的色彩象征。<br /> <br /> The translations were dealt with in panel 5, Daniela Zhang Cziráková (Slovakia) in-tro¬duced the Czech and Slovak translations of the novel. He Jun (Chengdu) introduced German excerpt translations before Franz Kuhn and Khoo An Ny (Fudan Shanghai) the state of translations in Malaysia.<br /> <br /> 在第5小组中讨论了译文，其中Daniela ZhangCziráková（斯洛伐克）介绍了该小说的捷克语和斯洛伐克语翻译。 何俊（成都）在弗朗兹·库恩（Franz Kuhn）和邱安妮（Kou An Ny）（复旦上海）介绍马来西亚的翻译状况之前，先介绍了德国的摘录翻译。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> <br /> General consent of the participants was that the 120 chapter version was the most authoritative one and that the title ''Dream of the Red Chamber'' was more common than its alternative title ''Story of the Stone''.<br /> <br /> Wei Lingzhi (Peking) introduced results of a 2015 representative survey among Chinese readers about the novel and the author proving its unbroken popularity and high esteem. Regarding translations, the Hawkes/Minford translation was preferred over Yang/Yang.<br /> <br /> 与会者普遍同意120章回版本是最具权威的版本，而且《红楼梦》这一书名比《石头记》更为常见。<br /> <br /> 魏凌志（北京）介绍了2015年中国读者对这部小说及作者的代表性调查结果，证明了这部小说一直以来所受到的广泛欢迎和高度尊重。至于翻译版本，霍克斯、闵福德的比杨阳更受喜爱。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:45, 14 November 2020 (UTC)<br /> <br /> 与会者普遍同意120章回版本是最具权威的版本，而且《红楼梦》比另一个书名《石头记》更为常见。<br /> <br /> 魏凌志（北京）介绍了2015年中国读者对这部小说及作者的代表性调查结果，证明了这部小说一直以来所受到的广泛欢迎和高度尊重。至于翻译版本，霍克斯/闵福德的比杨阳的翻译版本更受喜爱。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:24, 15 November 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> <br /> All participants praised the importance of the recently published full translations in German and other languages and welcomed the opportunity to share their findings especially between Chinese and non-Chinese scholars. The choreographer Shen Fang-yu and the dramaturg Martin Woesler also presented a taping of the Folkwang Dance Studio Performance “REDCHAMBERDREAM”. <br /> <br /> For further information please refer to the conference website http://china-studies. com.<br /> <br /> 所有与会者都赞扬了最近出版的德语和其他语言的完整译本的重要性，并由衷希望有机会在中国学者和非中国学者之间分享他们的发现。舞蹈编导沉芳玉和戏剧编剧马丁·伍斯勒（Martin Woesler）也为富克旺根舞蹈工作室表演的“红楼梦”进行了录制。<br /> 有关更多信息，请访问会议网站http://china-studies.com。--[[User:Peng Yongliang|Peng Yongliang]] ([[User talk:Peng Yongliang|talk]]) 14:03, 15 November 2020 (UTC)<br /> <br /> <br /> '''World Citizen Lu Xun:''' <br /> <br /> '''Critical reception of European Culture by Lu Xun with the examples of Nazi cultural politics and of the Nobel Prize'''<br /> <br /> '''世界公民魯迅：魯迅批判性地接受歐洲文化——以納粹文化政治與諾貝爾獎為例'''<br /> <br /> '''''Martin Woesler 吳漠汀'''''<br /> <br /> Witten/Herdecke University 北京師範大學<br /> <br /> ==Peng Yuzhi 彭育志==<br /> <br /> Abstract<br /> <br /> Lu Xun was well aware of global politics in culture, as proven by documents discovered a few years ago. Three days after the book burning in Berlin on May 10, 1933, Lu Xun, as a Member of the Executive Board of the “China League for Civil Rights,” protested the “brutal terror and reaction” of Nazi Germany. Lu Xun took action and submitted an official protest to the German Consulate in Shanghai, which was taken seriously by the Nazi diplomats. He protested the racist suppression of Jewish authors while his own piece of world literature, “A Madman’s Diary” (1918), would have been considered “degenerate art” if published in Germany. In June 1933, he proved his in-depth understanding of Nazi crimes, especially the book-burning, humiliation and deportation of writers, in two essays.<br /> <br /> 摘要<br /> <br /> 近年发现的档案证明，鲁迅在文化事件中有很强的政治意识。在1933年5月10日柏林焚书事件发生后三日，鲁迅作为中国民权保障同盟执行委员会的一员对纳粹德国的“恐怖行径和残忍回应”表示抗议。鲁迅采取行动并向德国驻上海使馆提交了一份官方抗议书，对此，纳粹外交官的态度十分慎重。鲁迅抗议对犹太作家的种族压迫，而他自己的一篇世界文学，“狂人日记”（1918），若在德国出版，也会被视作“堕落艺术”。1933年6月，在两篇文章中，他证明自己对纳粹的罪行，尤其是焚书以及对侮辱和驱逐作家有了深入的理解。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 09:19, 14 November 2020 (UTC)<br /> <br /> 近年发现的档案证明，鲁迅在文化事件中有很强的政治意识。在1933年5月10日柏林焚书事件发生后三日，鲁迅作为中国民权保障同盟执行委员会的一员对纳粹德国的“恐怖行径和残忍回应”表示抗议。鲁迅采取行动并向德国驻上海使馆提交了一份官方抗议书，对此，纳粹外交官的态度十分慎重。鲁迅抗议对犹太作家的种族压迫，而他自己的一篇世界文学，“狂人日记”（1918），若在德国出版，也会被视作“堕落艺术”。1933年6月，在两篇文章中，他深刻论证了德国纳粹的罪行，尤其是体现其对焚书以及对侮辱和驱逐作家有了深入的理解。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 12:03, 14 November 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> <br /> 因近年来所新发现的文物资料，鲁迅很深刻的意識到和瞭解了全球文化政治。柏林焚书案（1933年5月10日）发生的第三天，鲁迅做为“中国民权保障同盟”委员会成员，抗议德国纳粹“残忍的恐怖行径”。鲁迅立刻展开行动，向德国驻上海使领馆提出抗议（当时该处已经由德国纳粹接管）。他抗议纳粹对犹太作家的压制，当时他自己的世界文学作品“狂人日记”在德国也被看作是“变态艺术”。1933年6月，他通过2篇杂文，深刻论证了德国纳粹的罪行，特别是焚烧书籍、羞辱和驱逐作家等。<br /> <br /> In an earlier incident, when he was asked to accept a nomination for the Nobel Prize of Literature in 1927, he refused, not only out of personal modesty, but also because of global political considerations. <br /> <br /> 他曾于1927年被提名为诺贝尔文学奖的候选人，但是他拒绝了，不仅是个人的谦逊，也是考量到当时的全球政治环境。<br /> <br /> ==Qu Miao 瞿淼==<br /> <br /> Both cases show a different side of Lu Xun’s Reception of European Culture: He was not just an admiring, importing, translator of European culture who was influenced by it (as seen in his own life and work). Instead, his reception was more complex and critical; he applied universal moral standards, as defined by civil and human rights, which he referred to.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:41, 15 November 2020 (UTC)<br /> <br /> 两个例子展现了鲁迅对于欧洲文化接受的不同面：他不仅是一位令人尊敬、举足轻重、受欧洲文化影响的翻译者（参见他的生平和作品）。另一方面，他对西方文化的接受也是复杂而具有批判性的；他遵循普世价值观，是他所说的公民权和人权所定义的价值观。<br /> <br /> This makes Lu Xun a world citizen, one who cannot simply be claimed by certain parties or nations.<br /> <br /> 综上所述，鲁迅是一位世界公民，不属于任何政党或民族。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:41, 15 November 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> <br /> '''Introduction''''''简介'''<br /> <br /> Beginning with his earliest student years in 1902-1903, Lu Xun became an important translator of foreign literature (Jules Verne: ''Journey to the Moon, Twenty Thousand Leagues under the Sea''). In March 1906, he decided to give up the study of Western medicine in order to become a writer; to cure the Chinese people’s minds instead of their physical illnesses. During his lifetime, Lu Xun was torn between his hope that he could turn Chinese people’s lives to the better and his disappointment that a writer’s works alone were not powerful enough to actually change things or to instigate people to change them.<br /> <br /> 介绍<br /> <br /> 在鲁迅学生年代早期（1902-1903），他就是翻译国外文学的一名重要译员。（儒勒·凡尔纳：“月球之旅，海底两万里”）1906年3月，他决定放弃西医学习，成为一名作家，决定治愈中国人的思想而不是身体疾病。不过在他的一生中，希望和失望交织，他希望能带领中国人过上好日子；不过单凭他的作品，无力真正改变一件事物，也不能煽动人们去改变这些事，对此他感到很失望。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 11:38, 14 November 2020 (UTC)<br /> <br /> 简介<br /> 从1902-1903年早期学生生涯开始，鲁迅就成为了外国文学的重要译者（儒勒·凡尔纳：《月球之旅，海底两万里》）。 1906年3月，他决定放弃西医研究，成为一名作家。 治愈中国人的精神疾病而不是身体疾病 鲁迅一生中希望和失望交织，他希望能带领中国人过上好日子；不过单凭他的作品，无力真正改变一件事物，也不能引导人们去改变这些事，因而他对此感到很失望。--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 03:43, 15 November 2020 (UTC)Weiyafei<br /> <br /> ==Sagara Seydou ==<br /> <br /> In 1917, when his friend Qian Xuantong asked him to contribute to the new radical magazine ''New Youth'' (founded by Chen Duxiu), Lu Xun responded: &quot;Imagine an iron house: without windows or doors, utterly indestructible, and full of sound sleepers – all about to suffocate to death. Let them die in their sleep, and they will feel nothing. Is it right to cry out, to rouse the light sleepers among them, causing them inconsolable agony before they die?&quot; In spite of this opinion, in 1918 he still wrote his first story published under his name; “A Madman’s Diary.<br /> ”1917年，当他的朋友钱选同邀请他为新的激进杂志“新青年”（由陈独秀创立）做出贡献时，鲁迅回答说：“想像一个铁房子：没有门或窗，坚不可摧，而且设施齐全 睡眠的人–快要窒息而死.让他们在睡眠中死亡，他们将不会有任何感觉。哭出来，唤醒其中的轻便睡床，在他们死前造成痛苦的痛苦是正确的吗？” 尽管有这种观点，他在1918年仍然写了他的第一个故事，以他的名字出版. “狂人日记.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 13:40, 15 November 2020 (UTC)<br /> <br /> ==Shi Diwen 石迪文==<br /> <br /> It was a social-critical short story which reached world literature level, with one fictional element placed in a realistic setting (influenced by Gogol and parallel to Kafka’s stories using a similar technique). He placed his hopes on the next generation, as we know from the last lines “A Madman’s Diary:” “Save the children....” We also know that Lu Xun engaged in political activities, starting, perhaps, with his support of the Tongmenghui in Japan and by developing plans to educate politically active students etc.<br /> <br /> <br /> 这是一个达到了世界文学水平的短篇小说，将一个虚构元素放置在现实的背景下(受到果戈理的影响，和使用类似技巧的卡夫卡小说是同类型的)，对社会进行批判。他寄希望于下一代，我们可以从《狂人日记》的最后几行得知:“拯救孩子....。” 我们也知道，鲁迅从事政治活动，可能是从他支持日本同盟会开始的，也可能是从他计划去培养政治上活跃的学生开始的。--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 14:47, 15 November 2020 (UTC)<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> So while Lu Xun was at first concerned with China, he understood the signs of the times and was anxious to get additional education in Western sciences. He absorbed Western knowledge, learned several European languages and was an important translator of Western literature, e.g. in 1909 he published a book with translated Eastern European stories in Japan. While Lu Xun’s target was the Chinese people, he was very well aware that backwardness in China could only be overcome by learning from the West, especially from Europe.<br /> <br /> 因此，虽然鲁迅最初关心的是中国，但他明白这个时代的迹象，并急于接受西方科学方面的进修深造。他研究了西方知识，学习了几门欧洲语言，还成为了西方文学的著名翻译家。例如，1909年，他在日本出版了一本东欧故事的译著。虽然鲁迅的目标读者是中国人民，但他深知，中国的落后只能通过向西方学习，特别是向欧洲学习来克服。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 06:18, 14 November 2020 (UTC)<br /> <br /> 因此，尽管最初鲁迅担忧中国命运，但他清楚地认识到时代的迹象，并急于出国深造，学习西方科学知识。他从西方知识汲取养分，学习了几门欧洲语言，还成为了一位著名的西方文学翻译家。比如，1909年，他在日本出版了他翻译的东欧故事集。虽然鲁迅的目标读者是中国人民，但他深知，中国只有向西方学习，尤其是向欧洲学习，才能摆脱落后的局面。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:37, 14 November 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> <br /> Because of Lu Xun’s extremely critical attitude and his concern for China, the Communist Party and patriots in China claimed to have him in their “pocket.” However, although Lu Xun’s target was China, his measurement scale and means were international universal principles and he was too fierce a protester to be in anyone’s “pocket.” He was active in different political initiatives – such as the China League for Civil Rights (中國民權保障同盟) and the later Leagues of Left-Wing Writers (although some members accused him of being a Right-Wing writer). <br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> He did not become a member of the Chinese Communist Party, but instead quarreled with Communists ideologists. In 1935, he declined to write a pro-Communist novel. Shortly before his death, he wrote: “Forget about me, and care about your own life – you're a fool if you don't.” In spite of this, the Party posthumously made him a Communist Party Member and Mao Zedong wrote the calligraphy above his tomb.<br /> <br /> Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.<br /> <br /> 他没有加入中国共产党，反而拒绝接受共产党的意识形态。1935年，他婉言谢绝写一部支持共产党的小说。他去世前不久写道：“忘掉我，管自己的生活---倘不，那就真是糊涂虫。”尽管这样，共产党在鲁迅死后仍将其算作中共党员，毛泽东为其亲笔题写墓碑。<br /> <br /> Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:06, 14 November 2020 (UTC)<br /> <br /> 他没有加入中国共产党，并且还跟共产党的思想家争论。1935年，他拒绝写一部支持共产党的小说。他去世不久前写道：“忘了我，关心你们自己的生活吧。如果不这样做，你们可真的太傻了。”尽管如此，在他去世后，共产党仍然接收他为中共党员，毛泽东还亲自提笔为他写墓碑。<br /> <br /> 丹顿·柯克（2002),鲁迅传记，MCLC资源中心。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 11:17, 14 November 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> '''Westernization?'''<br /> <br /> Did Lu Xun trough his Western education and translations of Western literature simply fully supported a ‘Westernization’ of China (全盤西化)? This can be disproven with the following examples: his criticism of Nazi crimes and his decline of the Nobel Prize. His critical mind and intellectual capacities did not allow him simple answers to complex questions.<br /> <br /> Only three days after the book burning in Berlin (May 10, 1933), Lu Xun protested at the Shanghai Consulate against Nazi Germany. This shows his extreme awareness of international politics and the nature of societies.<br /> 鲁迅是否通过他的西方教育和西方文学翻译来完全支持中国的“全盘西化”？ 以下例子可以证明这一点：他对纳粹罪行的批评和对诺贝尔奖的拒绝。 他的批判性思维和智力能力使他无法简单地回答复杂的问题。在柏林焚书事件发生的三天后（1933年5月10日），鲁迅在上海领事馆抗议德国纳粹，这表明他对国际政治和社会性质的极致认识。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 02:01, 14 November 2020 (UTC)<br /> <br /> '''西化？'''<br /> <br /> 鲁迅仅仅是通过接受西方教育和翻译西方文学来支持中国“全盘西化”吗？以下例子可证明这一点：他批判纳粹罪行且拒绝接受诺贝尔奖。他不能凭借其批判思维和聪明才智简单回应这类复杂问题。<br /> <br /> 柏林焚书事件（1933年5月10日）刚刚过去三天，鲁迅就在上海领事馆抗议德国纳粹，这表明他对国际政治和社会性质的极致认识。 --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:14, 14 November 2020 (UTC)<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> The reaction of the Vice General Consul in his report to the German Embassy in Peking shows that the German Consulate engaged in counter propaganda and denied the allegations, referring even to their support of the Jewish community in Shanghai. While the world was still asleep, Lu Xun already understood and criticized Nazi anti-writer politics in Germany. It took the rest of the world almost a decade more to “wake up.” Even Nazi Germany’s invasion of Poland in 1939 did not “wake up” other countries, enabling Nazi Germany to conduct further surprise attacks (blitzkrieg) in Western Europe (Netherlands, Belgium, France etc.).<br /> <br /> 在给德国驻北京大使馆的报告中，副总领事的反应表明，德国领事馆反对这些宣传，并否认有关指控，甚至拒绝承认他们支持上海的犹太社区。当世界还在沉睡的时候，鲁迅已经理解并批判德国的纳粹反作家政治。而世界上其他的国家花了将近10年的时间才“醒悟”，甚至1939年纳粹德国入侵波兰的事件也没能“唤醒”其他国家，这使得纳粹德国能够在西欧（荷兰、比利时、法国等）发动进一步的突然袭击（闪电战）。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:08, 13 November 2020 (UTC)<br /> <br /> <br /> 在副总领事给德国驻北京大使馆的报告中的反应表明，德国领事馆反对这些宣传，并否认有关指控，还提到他们支持上海的犹太人聚居区。当世界还在沉睡的时候，鲁迅已经理解并批判德国的纳粹反作家政治。而世界上其他的国家花了将近10年的时间才“醒悟”，甚至1939年纳粹德国入侵波兰的事件也没能“唤醒”其他国家，这使得纳粹德国能够在西欧（荷兰、比利时、法国等）发动进一步的突然袭击（闪电战）。--[[User:Peng Yongliang|Peng Yongliang]] ([[User talk:Peng Yongliang|talk]]) 14:09, 15 November 2020 (UTC)<br /> <br /> 副总领事在给德国驻北京大使馆的报告中所作的反应表明，德国领事反对这些宣传，并否认有关指控，甚至提到了他们对上海犹太社区的支持。当世界还在沉睡之时，鲁迅已经理解并批判纳粹德国的反作家政治。而世界上的其他国家用了将近10年的时间才“觉醒”。即使纳粹德国于1939年入侵波兰，也没能“唤醒”其他国家，使纳粹德国能够在西欧（荷兰、比利时、法国等）发动进一步的突袭（闪电战）。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 14:21, 15 November 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> Lu Xun was well able to distinguish between positive and negative parts of European culture, which leads to the question: which moral standards did he actually live up to? The thesis of this paper is that he oriented himself to abstract universal human values and morals. As proof, the following details of Lu Xun’s protests are examined.<br /> <br /> 鲁迅能够很好地区分欧洲文化的正面和负面，这就引出了一个问题:他到底遵循什么样的道德标准?这篇论文是以鲁迅的抽象普世人类价值和道德为主题。为了证明这一点，我们考查了鲁迅抗议宣言的一些细节。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 11:08, 15 November 2020 (UTC)<br /> <br /> 鲁迅对于欧洲文化的态度究竟是积极还是消极的呢？这也引出另一个问题：他到底遵循哪一种道德价值观？本文将论证，鲁迅遵循的是普世价值观。<br /> <br /> 鲁迅能够很好地区分欧洲文化中积极和消极的部分，这就引出了一个问题：他究竟遵循的是哪些道德标准？本文将论证：鲁迅遵循的是抽象的人类普世价值和道德。本文将从鲁迅的抗议宣言中分析论证。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:09, 13 November 2020 (UTC)Xiao Ting<br /> <br /> 鲁迅能够很好地区分欧洲文化的正面和负面的部分，从而也引出了问题：他到底遵循的是什么样的道德标准？本文的理论是以鲁迅对人类的普世价值和道德理念为主。鲁迅的声明中列出的细节都真实可考。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:40, 13 November 2020 (UTC)<br /> <br /> 鲁迅善于分辨欧洲文化的积极和消极部分，这也引出了一个问题：他实际上遵循了什么道德标准？本文的论点是他遵循抽象普世的人类价值观和道德观。为了证明，以下是可考的鲁迅抗议的细节。<br /> --[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:30, 15 November 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> '''Lu Xun’s in-depth and early understanding of Nazi crimes'''<br /> <br /> On July 11 and 16, 1933, Lu Xun (using his pseudonyms) published two essays against Nazi crimes – about the book burning in China and Germany. As shown by this immediate response, Lu Xun was quick to retrieve information and form a judgment – independent of regionalism and dependent only upon universal moral values.<br /> <br /> Lovell, Julia. &quot;Introduction&quot;. In ''Lu Xun: The Real story of Ah-Q and Other Tales of China, The Complete Fiction of Lu Xun''. England: Penguin Classics. 2009. ISBN 978-0-140-45548-9, here pp. xxx.<br /> <br /> Silvia Kettelhut: G''eschäfte übernommen: Deutsches Konsulat, Shanghai, Impressionen aus 150 Jahren,'' Shanghai 2006.<br /> <br /> “鲁迅早期对纳粹罪行的深入了解”<br /> <br /> 1933年7月11日至16日，鲁迅（使用化名）发表了两篇反对纳粹罪行的文章，该书在中德两国畅销。正如这一即时反应所表明的那样，鲁迅迅速地获取信息并作出判断——独立于区域主义，仅依赖于普遍的道德价值观。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:36, 13 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> In his essay “The Book burning in China and Germany” (dated June 28 and published July 11, 1933), Lu Xun, under the penname Ru Niu, compares Qin Shihuangdi’s book burning with the one by Hitler. He points out that the emperor did not burn books on agriculture and medicine and instead still accepted pluralism. Polemically he criticizes his Chinese colleagues for not understanding that the threat by Hitler is a threat to freedom in general. Lu Xun directly addresses the German dictator Hitler as “Mr. Hitler.”<br /> <br /> <br /> ==Tang Ming 唐铭==<br /> <br /> In the second essay, “Surplus of Knowledge” (dated July 12 and published July 16, 1933) he compares a recent agricultural crisis in China following a “harvest surplus” and the demand to abandon the learning of theories in favor of learning practical things with the demand in Nazi Germany to abandon liberal and pluralistic education. Polemically he calls the German imprisonment of students in labor camps a “solution to the unemployment problem.” He demands that China get rid of knowledge, insisting that people should become fatalist and opportunist.<br /> <br /> 在第二篇文章“过剩的知识”中，他比较了最近中国在“丰收盈余”之后的农业危机，放弃理论学习以学习实际事物的要求，以及纳粹德国要求放弃自由和多元化教育的要求。颇具争议性的是，他称德国将学生关押在劳改营是“解决失业问题的办法”。他要求中国摆脱知识，坚持认为人们应该成为宿命主义者和机会主义者。<br /> <br /> --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:35, 15 November 2020 (UTC)Tang Ming<br /> <br /> 在第二篇文章“过剩的知识”中，他比较了最近中国在“丰收盈余”之后的农业危机，放弃理论学习以学习实际事物的要求，以及纳粹德国要求放弃自由和多元化教育的要求。颇具争议性的是，他声称德国将学生关押在劳改营这种行为是“解决失业问题的办法”。此外，他还要求中国摆脱知识，坚持认为人们应该成为宿命主义者和机会主义者。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 09:36, 15 November 2020 (UTC)Wang Xuan<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> Lu Xun early had studied the German philosopher Nietzsche, who was also pocketed by the Nazis, and wanted to study abroad in Germany. His critical reflection of Nazi German situation shows that he could also be extremely critical against Germany and was able to judge it according to universal values.<br /> <br /> 鲁迅早年研究过德国哲学家尼采，后者为纳粹收入囊中并且想去德国留学。鲁迅对纳粹德国现状的批判说明，他有能力根据普世价值来评判纳粹德国。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 11:33, 15 November 2020 (UTC)<br /> 鲁迅很早就研究过德国哲学家尼采，而尼采也曾被纳粹骗过，并曾想去德国留学。他对纳粹德国处境的批判反思表明，他也可以对德国极端批判，并能够以普世价值来判断德国。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:49, 15 November 2020 (UTC)<br /> <br /> ==Tao Ye 陶冶==<br /> <br /> '''The China League for Civil Rights'''<br /> <br /> The China League for Civil Rights was established with the outspoken goal to free prisoners from Guomindang (GMD) imprisonment. Prominent among members of the League was Song Qingling (left-wing GMD), the widow of Sun Yat-sen, who broke with Qiang Kai-shek in 1927 – when the GMD turned more and more repressive. The Communists also had massive losses after 1927 and went underground. Lu Xun was the most prolific member of the League.<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> In 1931, Song Qingling returned to Shanghai from Europe and headed a campaign to rescue a foreign couple detained without trial by the GMD. I did not find evidence that she knew that the couple were Comintern agents; the campaign did not address their identity. It concentrated on the legal aspects of the detainment.<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> An early stage of this part of the study including the translation of the two essays into German has been published as “Der Protest des chinesischen Intellektuellen Lu Xun gegen Nazi-Verbrechen”, in: ''Bulletin of the German China Association'' 54 (2010) 119 pp., pp. 53-58, ISSN 1436-8048. This first essay was published as Ru Niu 孺牛 [Lu Xun]: 华德焚书异同论 (Discussion of Parellels and Differences of the Book Burning in China and Germany), July 11, 1933, 申报 Shen Bao, 自由谈 (Free Talks), German translation by Martin Woesler as “ Die Bücherverbrennungen in China und Deutschland Diskussion der Gemeinsamkeiten und Unterschiede ” in: ''Bulletin of the German China Association'' 54 (2010) 53-55.<br /> <br /> 这部分研究的早期阶段，包括将两篇论文翻译成德语，已发表在《德中协会公报》54（2010）119页，第53-58页，ISSN 1436-8048，发表于《中国抗议》第54（2010）119页，第53-58页，ISSN 1436-8048。本文第一篇论文发表于1933年7月11日，英文名为《中国与德国焚书的平行线与差异》，马丁·沃斯勒译为《中国与德国图书焚烧的平行线与差异》Unterschiede in:“中德协会公报”54（2010）53-55。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 09:28, 15 November 2020 (UTC)Wang Xuan<br /> <br /> ==Wang Yu 王煜==<br /> <br /> This second essay was published as Yu Ming 虞明 [Lu Xun]: “智识过剩 (Surplus of Knowledge)“, dated July 12, 1933, ''Shen Bao'' am 16.7.1933, English translation in: ''Lu Xun, Selected Works'', Übers. Yang Xianyi, Gladys Yang, Bd. 3, S. 324f., 1st ed 1959/1960, 2nd ed. 1964 p. 289-290, 3rd ed. 1980 p. 324 f., 4th ed. 2003 (Peking: Foreign Languages Press), German translation by Martin Woesler as “Wissensüberschuss” in: ''Bulletin of the German China Association 54'' (2010) 56-58.<br /> <br /> 第二篇论文在1933年7月12日以虞明（鲁迅）为笔名出版：“智识过剩”，“申报”1933年7月16日上午，英文名为：“鲁迅选集”，杨宪益，戴乃迭，Bd. 3, S. 324f.,第一版1959/1960,第二版1964 p. 289-290, 第三版 1980 p. 324 f., 第四版. 2003 （北京：外文出版社），德语版本由 Martin Woesler as “Wissensüberschuss”翻译为《德中协会公报》(2010) 56-58.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 12:10, 15 November 2020 (UTC)<br /> <br /> ==Wang Yuan 王源==<br /> <br /> The couple Paul and Gertrud Ruegg is also known as Mr. and Mrs. Hilaire Noulens. Ruegg's public role was secretary-general of the Pan-Pacific Trade Union, an international agent for organizing the Chinese labour movement. His secret role was secretary of the Comintern's Far Eastern Bureau in Shanghai. In June 1930, the couple was first arrested by the police in the International Settlement, and then turned over to GMD authorities. See: Jinxing Chen: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.<br /> <br /> Bruun, Ole, and Michael Jacobsen. ''Human rights and Asian values: Contesting national identities and cultural representations in Asia''. Vol. 6. Psychology Press, 2000.<br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> In the League’s press conference in Shanghai, on 30 December 1932, Cai Yuanpei referred to J. J. Rousseau and said that the League would not be placed in the pocket of any political party. The League was very active in publishing statements, sending telegrams to foreign governments in about half a dozen cases and seeing government officials on behalf of the imprisonment of intellectuals out of political reasons.<br /> <br /> 1932年12月30日在上海召开的中国民权保障同盟发布会上，蔡元培提到卢梭并称该同盟不会被任何政党所控。该组织表现活跃，积极发表声明，发电报给外国政府（几乎有一半的电报出自该同盟会之手），此外还代表政治罪犯跟政府进行会谈。<br /> <br /> On May 13, 1933, Ms. Song Qingling announced her visit to the German Vice General Consul, Richard Behrend, in Shanghai, and representatives of the League – including its president Song Qingling, Cai Yuanpei, Lu Xun, Yang Xing¬fo (Yang Quan) – submitted the following protest note.<br /> <br /> 1933年5月13日，宋庆龄女士宣布她将拜访德国驻上海副总领事理查德.贝伦德，并由该同盟会的代表--包括主席宋庆龄，蔡元培，鲁迅和杨杏佛递交以下抗议书。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 14:04, 15 November 2020 (UTC)<br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> Transcription, from Kettelhut 2006 pp. 155-158. Source: PA AA (Political Archive of the Foreign Office / Politisches Archiv des Auswärtigen Amtes) R 98440.<br /> <br /> Submission of the protest note to Vice General Consulate Behrend by the Board of the China League of Civil Rights, including the widow of Sun Yat-sen, Song Qingling, the president of Academia Si¬ni¬ca, Cai Yuanpei, Lu Xun and the Vice President of Academia Sinica, Yang Xing¬fo (Yang Quan). Wood block print by Zhao Yannian 趙延年 (born 1924) 1956. Not displayed in the wood block print are the writers Lin Yutang, Agnes Smedley und Harold Isaacs, which, according to the report of the Consulate, were also present. Lin Yutang was also not mentioned by the Chinese press.<br /> <br /> 转录，摘自Kettelhut 2006，第155-158页。 资料来源：PA AA（外交部政治档案馆/AuswärtigenAmtes档案馆）R 98440。<br /> <br /> 中国民权联盟理事会向贝伦副总领事馆递交了抗议说明，其中包括孙中山遗孀宋庆龄，学术界的领袖西尼卡，蔡元培，鲁迅和中央研究院副院长杨兴佛（阳泉）。 赵延年（生于1924年）在1956年制作了这些木刻版画。根据领事馆的报告，作家林语堂、艾格尼丝·史沫特莱和哈罗德——以撒并未陈列其中。 中国媒体也并未提及林语堂。<br /> --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 03:12, 15 November 2020 (UTC)Weiyafei<br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> The vice consul took the protest seriously and submitted the letter to Peking, accompanied with a report in which he described Ms Song Qingling as the head of the League and listed Lu Xun as “the famous writer” and leading fighter for the “New Chinese Language Movement.” <br /> <br /> Song Qingling, about a month after the visit at the Consulate, on June 17, 1933 sent a telegram to “Chancellor Hitler” demanding the immediate release of political prisoners.<br /> <br /> For the involvement of foreigners in the League see Chen Jinxing 2006 and others.<br /> <br /> Report by Behrendt for the German Embassy Peking dated May 15, 1933, see Kettelhut 2006.<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> The reaction from Berlin was that they should try to influence Song Qingling. The reply from the German diplomats in China was that it had been tried earlier and another attempt would probably be counter-productive since Ms. Song was close to the Communists.<br /> <br /> The League did not survive long. Hu Shi won the leadership of the Peking arm of the League. His critical review of a prison report led to some tensions within the League, leading to the dissolvement of the Peking arm. In the end, Yang Quan, the Secretary General, was assassinated by GMD, while Song Qingling received a letter with a bullet in it – forcing her to hide. All of this combined into a fatal blow to the League. Chen Jinxing (2006), however, suspects that tensions within the League (e.g. with Hu Shi) helped its dissolution. <br /> <br /> ==Wu Kai 吴恺==<br /> <br /> As the most prolific member of the league, Lu Xun’s active, and prominent, participation in the League’s protests shows his devotion to the principles of universal human rights – reaching beyond concern only for his countrymen.鲁迅的抗议显示了他普世人权的原则。<br /> <br /> Price, Ruth. ''The Lives of Agnes Smedley''. OUP USA, 2005.<br /> <br /> Chen, Jinxing: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.<br /> <br /> 作为联盟中最多产的成员，鲁迅积极而杰出地参与联盟抗议活动，显示出他对普遍人权原则的热爱——仅仅出于他对同胞的关注。<br /> <br /> 普莱斯•露丝。艾格妮丝•史沫特莱的生平。牛津大学出版社，美国，2005年。<br /> <br /> 陈金星：“中国民权同盟的兴衰”，载于《中国评论》第一卷。 第六卷，第二期，关于：WTO与中国金融发展的专刊(Fall 2006), pp. 121-147.--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 11:56, 14 November 2020 (UTC)<br /> <br /> 作为联盟中最多产的成员，鲁迅积极参与联盟抗议活动，显示出他对普世人权原则的热爱——仅仅出于他对同胞的关注。<br /> <br /> 普莱斯•露丝。艾格妮丝•史沫特莱的生平。牛津大学出版社，美国，2005年。<br /> <br /> 陈金星：“中国民权同盟的兴衰”，载于《中国评论》第一卷。 第六卷，第二期，关于：WTO与中国金融发展的专刊(Fall 2006), pp. 121-147.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 08:03, 15 November 2020 (UTC)Chen Jingjing<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> '''The Nobel Prize of Literature'''<br /> <br /> In 1926, “The True Story of Ah Q” was translated by Jing Yinyu into French. In September 1927, Peking University Professor Liu Bannong suggested to Sven Hedish (member of the Swedish Academy) that Lu Xun be considered for laureateship. Nobel Prize Laureate Kenzaburō Ōe called Lu Xun &quot;The greatest writer Asia produced in the twentieth century.&quot; In the 1920s, 1915 Nobel Laureate Romain Rolland introduced Chinese literature to the world. In 1927, he especially recommended Lu Xun and his story “Ah Q.”<br /> <br /> '''诺贝尔文学奖'''<br /> 1926年，敬隐渔将《阿Q正传》译为法文。1927年9月，北京大学教授刘半农向斯文·赫迪什（瑞士文学院院士）建议考虑授予鲁迅桂冠诗人的称号。诺贝尔文学奖获得者肯扎布尔称鲁迅是“二十世纪亚洲最伟大的作家。”在1920年代，1915年诺贝尔文学奖获得者罗曼罗兰向世界介绍了中国文学。1927年时，他特别推荐了鲁迅和他的故事“阿Q”。<br /> --[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:20, 15 November 2020 (UTC)<br /> <br /> '''诺贝尔文学奖'''<br /> 1926年，敬隐渔将《阿Q正传》译为法文。1927年9月，北京大学教授刘半农向斯文·赫迪什（瑞士文学院院士）建议考虑授予鲁迅桂冠诗人的称号。诺贝尔文学奖的桂冠诗人肯扎布尔称鲁迅是“二十世纪亚洲最伟大的作家。”在20世纪20年代，1915年诺贝尔文学奖桂冠诗人罗曼罗兰向世界介绍了中国文学。1927年时，他特别推荐了鲁迅和他的故事“阿Q”。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 15:40, 15 November 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> Lu Xun rejected the nomination in a letter to his former student and confidante, Tai Jingnong, with the following reasoning: “There are a lot of better writers than me in the world and they can’t get it.” He further said “I think there is nobody truly deserving the Nobel Prize in China. It would be better for Sweden to ignore us. It would only encourage Chinese egotism, causing them to believe they could really parallel those great foreign writers if yellow-skinned people were given preferential consideration. The result would not be good at all.” (Eventually, the prize was awarded to Sinclair Lewis.)<br /> <br /> 鲁迅在给之前的学生兼知己台静农的回信中拒绝了提名，理由是：“世界上有太多比我更优秀的作家，他们都不能获此殊荣，”他接着说道“我认为中国还没人能获诺贝尔奖，瑞典方最好是忽略掉我们。如果给黄种人优待，这只会让中国人盈盈自满，认为自己可以与外国优秀作家相提并论。结果并不如是。“（最终，奖项颁给了辛克莱·刘易斯）。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:21, 13 November 2020 (UTC)<br /> <br /> 鲁迅在给他旧时的学生兼知己，台静农的一封回信中拒绝了提名，理由如下：“世界上比我好的作家有很多，他们尚没有获此殊荣。”他又说：“我觉得在中国没有人真配得上诺贝尔奖。瑞典要是不把我们考虑在内那是最好。如果黄种人享有优待的话，只会徒增中国人的自大，让他们觉得自己真的能比肩那些伟大的外国作家。这可不是什么好事。”（最后，获奖者为辛克莱·刘易斯）。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:05, 13 November 2020 (UTC)Xu Mengdie<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> Lu Xun was well acquainted with many famous foreign writers. During these days, he personally met several, such as Agnes Smedley, Harold Isaacs, and Bernhard Shaw. Therefore, Lu Xun had an understanding of the domestic political implications of the Nobel Prize; of awarding such a prize to a national literature which was still under development and had not yet reached a satisfying level. He understood that the effect of such an award would be to increase Chinese egotism. So he sacrificed his own honor in order not to send the wrong signal; in order to not discourage Chinese literature by receiving mercy from the international community, but instead to encourage its further development so that it might eventually reach the level of the “great foreign writers.”<br /> <br /> 鲁迅与许多著名的外国作家很熟。在这些日子里，他亲自见了几个人，如艾格尼丝·史沫特莱、哈罗德·艾萨克斯和伯恩哈德·肖。因此，鲁迅对诺贝尔文学奖的国内政治含义有了一个认识，即把诺贝尔奖颁给一个尚处于发展阶段、尚未达到令人满意水平的民族文学。他明白这样一个奖项的效果会增加中国人的自负。因此，为了不发出错误的信号他牺牲了自己的荣誉，；为了不让中国文学受到国际社会的怜悯而气馁，而是鼓励中国文学进一步发展，使之最终达到“伟大的外国作家”的水平。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:10, 13 November 2020 (UTC)<br /> <br /> 鲁迅与许多外国著名作家相识。在这些日子里，他亲自见到了几位，如艾格尼丝—史沫特莱、哈罗德-艾萨克斯、萧伯纳等。因此，鲁迅明白诺贝尔奖在国内的政治影响，以及把这样一个奖颁给尚在发展中的、尚未达到令人满意水平的民族文学的影响。他明白，这样的奖项导致中国人自负心增强。因此，为了不向国人发出错误的信号，他牺牲了自己的荣誉；他不愿中国文学因接受国际社会的怜悯而积极性受挫，而是鼓励中国文学进一步发展，最终达到 “外国大作家 ”的水平。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 12:00, 15 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> Biography of Sven Hedin (1865-1952), see George Kish, ''To the Heart of Asia: The Life of Sven Hedin'' (Ann Arbor: University of Michigan Press, 1984). Hedin was in Beijing in late 1926 and early 1927 seeking government permission for an exploration to Mongolia (''ibid.'', p. 114). Quoted after: Wang, B. [汪宝荣]. (2011). Lu Xun's fiction in English translation: the early years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Retrieved from http://dx.doi.org/10.5353/th_b4696908 (in the following: Wang 2011).<br /> <br /> 斯文·赫丁传见诸于乔治·基什撰写的《亚洲的心脏：斯文·赫丁的一生》（阿安伯：密歇根大学出版社，1984）。1926年年末以及1927年年初，赫丁在北京为得到可以让他蒙古进行勘探的政治许可（同上，第114页）。引用：Wang，B.[王宝荣].（2011）。鲁迅小说英文版：早年。（论文）香港特别行政区波克富兰大学。引用于 http://dx.doi.org/10.5353/th_b4696908 （如下：王，2011）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:42, 13 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Lu Xun 鲁迅, “Zhi Tai Jingnong” 致台静农, 25 Sept. 1927, rpt. in ''LXQJ'' 12: 73-74. See a penetrating discussion of Lu Xun’s international stature and Nobel candidacy in Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 140-168. Interestingly, Foster suggests that Lu Xun may have contributed to the publicity which eventually led to the suggestion that he be nominated for a Nobel Prize. Quoted after: Wang 2011.<br /> <br /> Lu Xun 鲁迅, 《致台静农》, 1927.0925 ，《鲁迅全集》：73-74. 确定了鲁迅在国际文学界的地位，鲁迅因此被福斯特提名诺贝尔文学奖，罗曼罗兰评价其作品《阿q正传》充满着讽刺意味，《中国现代文学与文化》，13.1（2001年春）：140-168。王2011：有趣的是，福斯特认为，鲁迅文学对公众产生了深远影响，这可能也是他被提名诺贝尔奖的原因。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 04:37, 15 November 2020 (UTC)Wu Zijia<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.这些显示鲁迅很谦逊，其在中国文学的得到世界的认可，同时，他的视野也促进了中国文学的发展。 Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. 鲁迅相信普世价值观，为此甚至可以拒绝诺贝尔奖。These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”<br /> <br /> <br /> This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.<br /> <br /> 这表明鲁迅很谦逊，对中国文学的国际地位有着清醒的认识，对中国文学的发展有着远见卓识。<br /> <br /> Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. <br /> <br /> 谁会拒绝诺贝尔奖？除非他的原则比诺贝尔奖更为重要。鲁迅坚信普世价值，即使诺贝尔奖也不得不在这一价值面前退让。<br /> <br /> These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”<br /> <br /> 这些原则是普世价值，旨在把中国文学作为一个整体，带到世界水平，而不是挑出一个人，然后让其他人继续“睡在铁屋子里”。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:40, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> Several researchers have also interpreted the incident. Foster (2001) pointed to Romain Rolland’s role. Wang (2011) blames the bad quality of the French translation of “Ah Q” by Jing Yinyu as contributing to the fact that Lu Xun was not awarded the Nobel Prize. However, Romain Rolland, 1915 Nobel Prize Laureate, praised this French translation and also supported a Nobel Prize for Lu Xun. Gloria Davies recounts further incidents around this matter.<br /> <br /> 一些研究人员也对该事件进行了解释。福斯特（2001）指出罗曼-罗兰德的作用。王晓东（2011）称景印宇的《阿Q正传》法译本质量不过关，是导致鲁迅没有获得诺贝尔奖的原因。然而，1915年诺贝尔奖获得者罗曼-罗兰德对这一法译本大加赞赏，也支持为鲁迅设立诺贝尔奖。格洛丽亚-戴维斯还讲述了与此事相关的其他事件。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:01, 13 November 2020 (UTC)Xiao Ting<br /> <br /> <br /> 一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）认为景印宇的《阿Q正传》法译本质量不过关，导致鲁迅未获得诺贝尔奖。 然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:41, 13 November 2020 (UTC)<br /> <br /> 一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）将鲁迅未获得诺贝尔奖的原因归咎于景印宇的《阿Q正传》法译本质量不过关。然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:54, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> '''Conclusion: Universalism'''<br /> <br /> Lu Xun was very much involved in daily politics in China and fought several fights with other intellectuals and even the Communist Party publically by the means of ''zawen'' (critical essays). For us today, these fights about small and sometimes strange issues seem to characterize its actors as caught in provinciality. However, he was universal – both in his political understanding (recognizing German domestic suppression much earlier than many others and suspecting that even the Nobel Prize could be understood as a tool of mercy towards the underdeveloped nation of China) as well as in his literature. While he wrote literary pieces of the same level as Franz Kafka, he was producing world literature in a climate which was – despite all daily chaos – freer than the one in Germany.<br /> 结论:普遍性<br /> 鲁迅经常参与中国的日常政治活动，并通过《杂文》公开地与其他知识分子甚至共产党争论过。对今天的我们来说，这些因小而有时奇怪的问题而引发的争论，似乎表明人陷入了狭隘的窠臼。然而，他具有普遍性——无论是在他的政治理解(比许多人更早认识到德国对国内的镇压，甚至怀疑诺贝尔奖可以被理解为对欠发达国家中国的怜悯工具)，在他的文学作品中一样。尽管他的文学作品与弗朗茨·卡夫卡不相上下，但他创作世界文学的环境却比德国更为自由——尽管这里每天都是一片混乱。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 11:01, 15 November 2020 (UTC)Xiao Xi<br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> Criticism of suspected political motifs behind a Noble Prize for him and of the human rights violations in Germany show that Lu Xun was neither an advocate of total westernization nor that he oriented himself towards the West as a contrast foil for China. He placed nothing less than universal values as the contrast foil to China. True, also the League of Left-wing Writers was a short-lived daily-policy tool within China (Lu Xun himself said, it “may not last long”), but it represented universal values. He also referred to the children. This was another way of distancing himself from daily politics as he pointed to existential and universal ideals like future, hope, another chance and new people who are innocent; not pre-educated and burdened with the past.<br /> <br /> 对鲁迅的诺贝尔奖背后的可疑政治主题和德国侵犯人权的批评表明，鲁迅既不是全盘西化的倡导者，也不是把自己定位于西方，作为中国的对照。他把普世价值作为与中国的对比。诚然，左翼作家联盟在中国是一个短暂的日常政策工具（鲁迅本人说过，它“可能不会长久”），但它代表了普世价值。他还提到了孩子们。这是他与日常政治保持距离的另一种方式，因为他指的是存在主义和普遍的理想，如未来、希望、另一个机会和无辜的新人；不是受过教育的人，也不是背负着过去的重担的人。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 06:37, 15 November 2020 (UTC)Xiao Yining<br /> <br /> ==Xie Fan 解帆==<br /> <br /> Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 141.<br /> <br /> 保罗·B·福斯特:中国民族个性的膨胀讽刺地表现为鲁迅享有国际声誉，罗曼·罗兰批判《阿Q正传》获诺贝尔奖，以及《现代中国文学与文化》，13.1（春，2001）：141。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)<br /> <br /> Jeffrey Wasserstrom: “All I see Around Me is the Same Old Darkness: Gloria Davies on Lu Xun”, Nov 4, 2013, https://goo.gl/HgqmCe. See also Gloria Davies, ''Lu Xun’s Revolution'', Harvard University Press:2012.<br /> <br /> 杰夫瑞.瓦瑟施特伦：“我看到周围都是像鲁迅笔下的格洛丽亚·戴维斯一样古老的黑暗”，2013年11月4日，https://goo.gl/HgqmCe。参见《鲁迅的革命》中的格洛丽亚·戴维斯，哈佛大学出版社2012年版。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> Lu Xun’s reception of Western culture was not uncritical; he was shaped by both his heritage education and his Western education, applying universal standards to the Chinese development - a Chinese man with universal values – a true citizen of the world.鲁迅并非“全盘西化”，他的价值观受到传统教育和西方教育的影响，用普世价值来判斷中国发展——一个具有普世价值的中国人——一个真正的世界公民。<br /> <br /> 鲁迅对西方文化的接受并不是没有批判的;他受到了传统教育和西方教育的双重影响，把普世价值观应用到中国的发展中——一个具有普世价值观的中国人——一个真正的世界公民。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 11:03, 15 November 2020 (UTC)Xiao Xi<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> '''Appendix: Lu Xun’s two essays in Chinese<br /> <br /> 智识过剩'''<br /> 虞明<br /> <br /> 世界因为生产过剩，所以闹经济恐慌。虽然同时有三千万以上的工人挨饿，但 是粮食过剩仍旧是“客观现实”，否则美国不会赊借麦粉给我们，我们也不会 “丰收成灾”。<br /> 然而智识也会过剩的，智识过剩，恐慌就更大了。据说中国现行教育在乡间提 倡愈甚，则农村之破产愈速。这大概是智识的丰收成灾了。美国因为棉花 贱，所以在铲棉田了。中国却应当铲智识。这是西洋传来的妙法。<br /> 西洋人是能干的。五六年前，德国就嚷着大学生太多了，一些政治家和教育 家，大声疾呼的劝告青年不要进大学。现在德国是不但劝告，而且实行铲除智识 了：例如放火烧毁一些书籍，叫作家把自己的文稿吞进肚子去，还有，就是把一群 群的大学生关在营房里做苦工，这叫做“解决失业问题”。<br /> 中国不是也嚷着文法科的大学生过剩吗？其实何止文法科。<br /> 就是中学生也太多了。要用“严厉的”会考制度，像铁扫帚似的——刷， 刷，刷，把大多数的智识青年刷回“民间”去。<br /> 智识过剩何以会闹恐慌？中国不是百分之八九十的人还不识字吗？然而智识过 剩始终是“客观现实”，而由此而来的恐慌，也是“客观现实”。智识太多了，不是心 活，就是心软。<br /> 心活就会胡思乱想，心软就不肯下辣手。结果，不是自己不镇静，就是妨害别 人的镇静。于是灾祸就来了。所以智识非铲除不可。<br /> 然而单是铲除还是不够的。必须予以适合实用之教育，第一，是命理学——要乐 天知命，命虽然苦，但还是应当乐。第二，是识相学——要“识相点”，知道点近代武 器的利害。至少，这两种适合实用的学问是要赶快提倡的。<br /> 提倡的方法很简单：—— 古代一个哲学家反驳唯心论，他说，你要是怀疑这碗麦饭的物质是否存在，那最好 请你吃下去，看饱不饱。现在譬如说罢，要叫人懂得电学，最好是使他触电，看痛 不痛；要叫人知道飞机等类的效用，最好是在他头上驾起飞机，掷下炸弹，看死不死 ……<br /> <br /> 有了这样的实用教育，智识就不过剩了。亚门！<br /> <br /> 七月十二日。<br /> <br /> The world is in economic panic because of overproduction. More than 30 million workers are starving, but the surplus is still a reality, or the United States would not have lent us wheat flour on credit, and we would not have had a &quot;bumper harvest&quot;.<br /> <br /> But there will be an excess of intellectuals, too, and the panic will be even greater. It is said that the more China's current education is promoted in the countryside, the faster the countryside will come down, which is probably due to the bumper harvest of wisdom. The United States is shoveling cotton because it's cheap. As for China, following the example of the west, intellectuals should be shoveled. Westerners are capable. Five or six years ago, Germany shouted that there were too many college students, and some politicians and educators urged the young not to go to university. Apart from that, the Germans is now eliminating intellectuals. For example, burning some books, telling writers to swallow their manuscripts, and locking groups of college students in barracks to do hard work, which is called &quot;solving the problem of unemployment.&quot; <br /> <br /> China also complains about the surplus of students majoring in art and law. Actually it's more than art and law. Even the number of middle school students is overwhelming. The &quot;severe&quot; examination system should be used like an iron broom -- brush most of the intellectual youth back to the ground.<br /> <br /> Why does excess intellectuals cause panic? Isn't there 80 or 90 percent of Chinese people still illiterate? But excess intellectuals is always an objective fact, and so is the resulting panic. Too much wisdom causes either wandering minds or soft hearts. The former will lead to entangled thoughts and the latter to vacillation, the result of which is bother himself or disturb others. Then came the disaster. Wisdom must be eradicated. <br /> <br /> But eradication alone is not enough. An education suitable for practical use must be given. The first is numerology -- to be happy to know one's destiny, and to be happy even though one's life is tough. Second, it is the learning of getting points -- we should try our best to know the advantages and disadvantages of modern weapons. At least, these two kinds of practical knowledge should be advocated as soon as possible.<br /> <br /> The method is very simple. An ancient philosopher refuted idealism. He said, if you doubt the material existence of the bowl of rice, you'd better eat it, see if you are stuffed. Now, for example, if you want to teach a man electricity, you'd better give him an electric shock and see if it hurts. To teach a person the utility of planes, you'd better fly an airplane on his head, throw a bomb, see if he die or not...<br /> <br /> With such a practical education, there will be no excess of wisdom. Amen! --[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 03:15, 15 November 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许晶==<br /> <br /> Lu Xun to Tai Jingnong, 12 February 1933, Lu Xun shuxinji (Collected Correspondence of Lu Xun) (Beijing: Renmin wenxue chubanshe, 1976), Vol. 1, p. 354; Zou Taofen, Taofen wenji (Collected Works of Taofen) (Hong Kong: Joint Publishing Co. Ltd., 1957), Vol. 1, p. 73.<br /> <br /> 《鲁迅致台静农》，1933年2月12日，鲁迅书信集（鲁迅合集）（北京：人民文学出版社，1976），第1卷，第354页；邹韬奋文集（韬奋合集）（香港：联合出版社集团，1957），第1卷，第73页。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 08:51, 13 November 2020 (UTC)<br /> <br /> 《鲁迅致台静农》，1933年2月12日，徐迅书信集（鲁迅合集）（北京：人民文学出版社，1976），第一卷，第354页；邹韬奋，韬奋文集（韬奋合集）（香港：联合出版有限公司，1957），第一卷。第73页。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:26, 15 November 2020 (UTC)Yang Chenting<br /> <br /> ==Xu Jing 许静==<br /> '''华德焚书异同论''' <br /> <br /> 孺牛<br /> <br /> 德国的希特拉先生们一烧书，中国和日本的论者们都比之于秦始皇。然而秦始皇实在冤枉得很，他的吃亏是在二世而亡，一班帮闲们都替新主子去讲他的坏话了。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> 不错，秦始皇烧过书，烧书是为了统一思想。但他没有烧掉农书和医书；他收罗许多别国的“客卿”，并不专重“秦的思想”，倒是博采各种的思想的。<br /> Exactly, First Emperor of Qin had burned books to unify thoughts. Yet, books for agriculture and medicine were saved; he had embraced many guest officials from other states and was open to all kinds of ideas without only holding &quot;thought's in Qin State&quot; as highly esteemed.--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:51, 13 November 2020 (UTC) Xu Mengdie<br /> <br /> It is true that Qin Shihuang burned books to unify his thoughts. But he did not burn down agricultural and medical books; he collected many &quot;alienministers&quot; from other countries, and did not focus exclusively on &quot;Qin's thoughts&quot;, but collected various ideas.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:40, 13 November 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> 秦人重小儿；始皇之母，赵女也，赵重妇人，所以我们从“剧秦”的遗文中，也看不见轻贱女人的痕迹。<br /> <br /> People in the state of Qin attached great importance to children, while the state of Zhao emphasized women. And the mother of First Emperor of Qin is a woman from country Zhao. Therefore, we see no trace of contempt for women even in literature which depreciated Qin.--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:22, 13 November 2020 (UTC)Xu Pengfei<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 希特拉先生们却不同了，他所烧的首先是“非德国思想”的书，没有容纳客卿的魄力；其次是关于性的书，这就是毁灭以科学来研究性道德的解放，结果必将使妇 人和小儿沉沦在往古的地位，见不到光明。而可比于秦始皇的车同轨，书同文……之类的大事业，他们一点也做不到。<br /> <br /> Hitler, however, was different. The books he chose to burn first were “non-German thought”; next were the books about sex, which destroyed the research of sex in a scientific way, leading to a lower status of women and children. Compare to Qin Shi Huang, he was not enough. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:21, 15 November 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> 阿剌伯人攻陷亚历山德府的时候，就烧掉了那里的图书馆，那理论是：如果那些书籍所讲的道理，和《可兰经》相同，则已有《可兰经》，无须留了；倘使不同，则是异端，不该留了。这才是希特拉先生们的嫡派祖师——虽然阿剌伯人也是“非德国的”——和秦的烧书，是不能比较的。<br /> <br /> When the Arabo people captured Alexandria House, they burned down the library there. The theory is: if the truths of those books are the same as the Koran, then there is already the Koran, and there is no need to keep those books. ; If it is different, it is a heresy and should not stay. This is the direct ancestor of the Hitlers-although the Arabo people are also &quot;non-German&quot;-and burning of books in Qin Dynasty is incomparable.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 12:10, 15 November 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> 但是结果往往和英雄们的豫算不同。始皇想皇帝传至万世，而偏偏二世而亡，赦免了农书和医书，而秦以前的这一类书，现在却偏偏一部也不剩。<br /> <br /> But the results are often different from those of the heroes.The first emperor wanted the emperor to pass on to the world, but the second died, pardoning the books of agriculture and medicine, and the former books of the Qin Dynasty had no one left--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 05:53, 15 November 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> 希特拉先生一上台，烧书，打犹太人，不可一世，连这里的黄脸干儿们，也听得兴高彩烈，向被压迫者大加嘲笑，对讽刺文字放出讽刺的冷箭来——到 底还明白的冷冷的讯问道：你们究竟要自由不要？不自由，无宁死。现在你们为什么不去拚死呢？<br /> <br /> ==Yang Yue 杨悦==<br /> 这回是不必二世，只有半年，希特拉先生的门徒 们在奥国一被禁止，连党徽也改成三色玫瑰了。最有趣的是因为不准叫口号，大家就以手遮嘴，用了“掩口式”。<br /> <br /> <br /> This time there is no need for the second king, is only half a year. Mr. Hitler’s disciples were banned in Austria, and even the party emblem was changed to a three-color rose. The most interesting thing is that because slogans are not allowed to be called, everyone covers their mouths with their hands and uses the &quot;mouth cover&quot;.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 09:16, 14 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> 这真是一个大讽刺。刺的是谁，不问也 罢，但可见讽刺也还不是“梦呓”，质之黄脸干儿们，不知以为何如？六月二十八日。<br /> <br /> ==Yao Cheng 姚诚==<br /> When we define an academic category like &quot;Chinese studies&quot;, we pay respect to the fact that the world historically has developed differently in different regions. Of course the world was far less connected than today, with slow carriers like horses and ships and often bad or risky infrastructure like roads.<br /> <br /> 在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远比现在低。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:54, 13 November 2020 (UTC)<br /> <br /> <br /> 在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远没有现在紧密。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:20, 13 November 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> Therefore it appears on first sight that these regions have developed their culture, their civilization and even first written languages on their own, independently. The oldest evidence of written civilizations, dating back around 3500 years BC, we find in the fertile crescent Mesopotamia with the clay tablets of the Sumerer. A little bit later there is evidence in Ancient Egypt, then in Proto-India and finally also in China.<br /> <br /> ==Yi Huan 易欢==<br /> But the more we explore history, the more fascinating evidence comes to light that these seemingly independently developing regions have had more trade relations and exchange of ideas than seems likely bearing in mind mobility: The Silk Road is not only rediscovered and reevaluated historically, but also rebuilt as a political agenda today.<br /> 但是，我们探究历史探究得越多，就会有显露更多振奋人心的证据，证明这些看似独立发展的区域，其实早有过贸易交往与思想交流，而且比我们以为的流动性大得多：从历史的角度来看，今天不仅是重新发现与重估了丝绸之路，并且将其重建为政治议程。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 07:04, 15 November 2020 (UTC)<br /> <br /> 但随着对历史探究的深入，有更多振奋人心的证据表明，这些看似独立发展的地区拥有的贸易关系和思想交流远比我们以为的流动性大得多。丝绸之路不仅是在历史上被重新发现和重新定位，而且如今已作为政治议程进行了重建。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 13:14, 15 November 2020 (UTC)<br /> <br /> ==Yi Zichu 义子楚==<br /> We today find early evidence of European civilizations in America and Asia as well as the Chinese civilization also in America and Europe.<br /> <br /> Cultural Science is more influenced by its subject than other sciences, since we are part of it and cannot leave it to examine it. The history of cultural science has developed from the first times of intercultural encounters to today’s life, in which cultures are mixed and people understand each other as being part of different cultures simultaneously.<br /> <br /> 今天，我们发现了美洲和亚洲欧洲文明以及美洲和欧洲中华文明的早期证据。<br /> 与其他科学相比，文化科学受其学科影响更大，因为我们是文化科学的一部分，便不能利用它去研究其本身。文化科学的历史已经从第一次跨文化的相遇发展到今天的生活，在这种文化中，文化是混杂的，彼此理解的人们同时又是不同文化的一部分。--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:22, 14 November 2020 (UTC)<br /> <br /> 今天，我们发现了美洲和亚洲欧洲文明以及美洲和欧洲中华文明存在的早期证据。<br /> 与其他科学相比，文化科学受其学科影响更大。作为文化科学的一部分，我们不能利用它去研究其本身。文化科学的历史已经从第一次跨文化的相遇发展到今天的生活，在这种文化中，文化是混杂的，彼此理解的人们同时又是不同文化的一部分。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 13:27, 15 November 2020 (UTC)<br /> <br /> ==You Yuting 游雨婷==<br /> However, there will always be differentiation between cultures, simply because the trends of integration and separation occur at the same time.<br /> <br /> When there is different cultures, there is an interest in comparing these. This medal has two sides. As soon as you start to compare, you may value. Cultural encounters happened before there were experts or a whole discipline.<br /> <br /> 然而文化之间总是会有差异的，因为融合和分离的趋势是同时发生的。<br /> 当存在不同的文化时，比较这些文化是有意义的。这个奖牌有两面。一旦你开始比较，你可能会珍惜。文化交流发生在专家或整个学科出现之前。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:41, 13 November 2020 (UTC)<br /> <br /> 然而，文化之间总是存在差异，只是因为融合和分离的趋势同时出现。<br /> 当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:20, 13 November 2020 (UTC)<br /> <br /> 然而，文化之间总是存在差异，仅仅是因为融合和分离的趋势同时出现。<br /> 当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:34, 14 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> So the first comparisons between cultures were ethnocentric: You compared whatever you encountered as “other”, “foreign” or “alien”, to your own culture. This was often accompanied with feelings. There was both, the feeling of fear of the unknown and curiosness in the exotic.<br /> <br /> 因此，第一次文化间的比较是种族中心主义的：你把你遇到的“其他的”、“外国的”或“异族的”文化与你自己的文化进行比较。这常常伴随着感情。既有对未知事物的恐惧感，又有异国风情中的好奇。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 13:16, 15 November 2020 (UTC)<br /> <br /> 因此，第一次文化比较是一种民族中心主义的体现：人们把所有认为是“其他的”、“外来的”或者“异域的”与本民族文化作比较。这种行为通常着伴随着两种感情，对未知的恐惧和对异族的好奇。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 14:20, 15 November 2020 (UTC)<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> You may categorize civilizations into so-called “high civilizations” and “low civilizations”, into “developed” and “underdeveloped” cultures. This was an ethnocentric approach in the age of cultural relativism. Today in the age of post-growth economy and after tragic experiences of colonialization and missionization, we know that each culture is equal and cannot be ranked to be higher or lower, of more or less value than the other.<br /> <br /> 你可以把各种文明分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代的一种民族中心主义方法。在经济后增长的今天，在经历了殖民和传教的悲惨经历之后，我们知道，每一种文化都是平等的，不能比较，没有一种文化文化比另一种文化更高级或更低级、更具价值或更少价值。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:00, 13 November 2020 (UTC)<br /> <br /> 你可以将文明划分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代民族中心主义的分法。人类在经历了殖民和传教的悲惨经历之后，在经济后增长的今天，我们知道，每一种文化都是平等的，没有高低贵贱之分。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:42, 13 November 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> While very early there were historians collecting knowledge from travel reports or official delegations visiting foreign cultures, in the middle ages handbooks collected the knowledge to describe different cultures. Even the Romans had words for the Chinese (Seres in the North and Sinae in the South) and attributed to Asian-looking people certain characteristics of behaviour, attitudes, value systems, beliefs, morals and character.<br /> <br /> 虽然很早以前，有历史学家从旅行报告中或者从政府代表团造访异域文化时候汲取知识，但是中世纪的时候指南书籍都是到处搜集知识来描述不同文化的。哪怕是罗马人也有描述中国人的词语（罗马北方称为Sere，南方称为Sinae），他们还把行为、态度、价值体系、信仰、道德和性格这些特定特征与长有亚洲外貌的人联系在一起。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:08, 13 November 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> The first in-depth analysis of the Chinese culture through Western people came not with the merchants, but with the Jesuits. How few was known about China can be seen from the fact, that only the Jesuits managed to clarify, that the myth of the two empires, Tartary and Kitai/Cathay, in fact both were the same (China).<br /> <br /> 首次通过西方人来深入分析中国文化，不是由商人发起的，而是耶稣会。过去鲜少有人真正了解中国，只有耶稣会设法澄清关于两个帝国的神话，实际上，鞑靼和契丹所指一样，都是指的中国。<br /> --[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:02, 13 November 2020 (UTC)<br /> <br /> 首次深入分析中国文化的西方人不是商人，而是耶稣信徒。了解中国的人有多么少，我们可以从这个事实中看出来：只有耶稣信徒能够分清鞑靼和契丹这两大帝国的神话。实际上这两者都是指中国。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:43, 13 November 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> However, the Jesuit’s approach was still ethnocentric and cultural relativist, because by portraying (like Du Halde) China as a seemingly ideal state suitable for mission work, they contributed to subjective views on China.<br /> <br /> 然而，耶稣会的分析方法仍然带有种族中心主义和文化相对论的思想。因为通过将中国描绘成一个看起来像是适合进行宣教工作的理想国家（比如杜赫德神父的作品），他们对中国的观点带有主观色彩。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 10:43, 13 November 2020 (UTC)<br /> <br /> 然而，耶稣会士的分析方法仍然带有种族中心主义和文化相对主义的思想。因为他们带着主观色彩看待中国，所以将中国描绘成一个看似适合进行宣教的理想国度（比如杜赫德神父的作品）。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:18, 13 November 2020 (UTC)<br /> 然而，耶稣会的分析方法仍然带有种族中心主义和文化相对论的思想。这是因为他们通过将中国描绘成一个看似适合进行传教工作的理想国度（如杜赫德神父），以至于对中国的观点往往带有主观的色彩。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:13, 14 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> Around 1720 presumably the French Jesuit Jean-François Noëlas even translated the Dao de jing into Latin.[ Collani, Claudia von, Harald Holz, Konrad Wegmann eds. Uroffenbarung und Daoismus: jesuitische Missionshermeneutik des Daoismus. Europ. University Press, 2008. [Partial retranslation Chinese-Latin-German.]] The translation turns out to deviate from the original in the way that we suddenly find the Christian trinity god in it.<br /> <br /> 大约在1720年法国人让·弗朗索瓦·诺埃拉斯甚至将《道德经》翻译为拉丁语。结果证明，译文背离了原文，我们突然在其中发现基督教三位一体的上帝。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:14, 14 November 2020 (UTC)<br /> <br /> 1720年左右，一位名叫让·弗朗索瓦·诺埃拉斯的法国人甚至将《道德经》翻译成了拉丁文。但他的翻译背离了原文，因为我们突然发现译文中出现了基督教三位一体的上帝。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:03, 15 November 2020 (UTC)Ouyang Ling<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> This is the starting point of an ethnocentric tradition to read the self and the own into the other and the alien, instead of respecting the other as a value by itself and allowing it to even challenge the own beliefs. Even the German Christian missionary and sinologist Richard Wilhelm used a Christian language (belief, heavens’ doors, life after death etc.) in his influential 1919 Taoteking translation and in 1925 he translated “god” into the Analects of Confucius.<br /> <br /> 这就是种族中心主义的起点，即把自身文化强加于其他文化及外国文化，而非尊重其他文化自身价值，甚至允许其他文化挑战自身信仰。甚至于德国基督教传教士及汉学家理查德•威廉，在其1919年具有影响力的《道德经》译本中使用了基督教语言（信仰、天堂之门、永生等），在1925年在翻译《论语》时加入“上帝”一词。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 09:07, 15 November 2020 (UTC)<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> The missionaries baptized the seemingly “backward” aborigines in several continents, sometimes supported by the sword. A lot of cultures, considered less “developed”, were heavily influenced or even destroyed and extinguished. Earlier, the “Warriors of the Cross” even fought wars and devastated complete regions.<br /> <br /> 传教士在一些大洲为看似“落后”的原住民洗礼，有时是因为武力的加持。 许多被认为不那么“发达”的文化受到了严重的影响，甚至被摧毁和灭绝。早些时候，“穿越勇士们”甚至进行了战争，摧毁了整个地区。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 08:43, 14 November 2020 (UTC)<br /> <br /> 传教士在一些大洲为看似“落后”的原住民洗礼，有时还得到武力支持。 许多被认为不那么“发达”的文化受到了严重影响，甚至被摧毁和灭绝。 早些时候，“十字架上的战士”甚至进行了战争，摧毁了整个地区。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 09:23, 14 November 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> The other aspect, the exotization of the other was expressed by the way the first Chinese people who came to Europe were received: They were passed on at tea meetings and gazed at like animals. Soon Chinese goods became the symbol of the exotic. Chinese porcellain and nick-nacks, even Chinese-style buildings were recreated in Europe. <br /> ==Zhang Hui 张慧==<br /> The fever-like admiration of a China image, which certainly was not the true China, is called Chinoiserie. The Chinoiserie even involved European philosophers like Voltaire and Leibniz, who compared China to an ideal country without religion and still moral values, represented by a wise emperor.<br /> <br /> 对中国形象的狂热崇拜，当然不是真正的中国，被称为中国风。 中国艺术甚至与伏尔泰和莱布尼兹（Leibniz）之类的欧洲哲学家相提并论，他们将中国比作一个没有宗教信仰和道德价值观的理想国家，以一个明智的皇帝为代表。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:46, 13 November 2020 (UTC)<br /> <br /> 对中国形象的狂热崇拜被称为“中国风”,这当然不是真正的中国。甚至连伏尔泰和莱布尼茨这样的欧洲哲学家也认同这种中国风这种观念，他们把中国比作一个没有宗教和道德价值观的理想国家，由一个明智的皇帝代表。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:44, 13 November 2020 (UTC)<br /> <br /> 对中国形象的狂热崇拜被称为“中国风”,当然这并不是真正的中国。甚至连伏尔泰和莱布尼茨这样的欧洲哲学家也追逐中国风，他们把中国比作一个没有宗教信仰和道德价值，只以开明君主为代表的理想国度。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:27, 14 November 2020 (UTC)<br /> <br /> 对中国形象的狂热崇拜，当然不是真正的中国，被称为中国风。像伏尔泰和莱布尼茨这样的欧洲哲学家也认同这种中国风这种观念，他们把中国比作一个没有宗教和道德价值观的理想国家，由一个明智的皇帝代表。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 12:29, 15 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> In Europe, the first experts on Chinese culture were entrusted with the task to explain the Chinese culture no longer from the ethnocentric viewpoint, but from a scientific one: Professorships at universities were established. Their early translations show traces of admiration of the exotic. Chinoiserie was also countered by Européerie in China. However, this phase did only last as long as it fit to European politics.<br /> <br /> 在欧洲，第一批研究中国文化的专家被委以重任，不再从民族中心主义的观点来解释中国文化，而是从科学的角度来解释: 大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:12, 13 November 2020 (UTC)<br /> <br /> 在欧洲，第一批研究中国文化的专家被委以重任，她们开始不再从民族中心主义的观点，而是从科学的角度来解释中国文化：在大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:58, 13 November 2020 (UTC)<br /> <br /> 在欧洲，第一批研究中国文化的专家被委以重任，不再从民族中心的角度解释中国文化，而是从科学的角度解释中国文化：大学教授职位的设立。他们早期的翻译表现出对异国风情的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在它适合欧洲政治时持续。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 12:15, 15 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> As soon as the import of colonial goods (and resources) became an economic factor, the (wrong) image of the ideal China changed into a negative one (similarly wrong). Not only mission and belief were motifs to look down on the Chinese culture, but also the comparison of economic development and living standards.<br /> 把进口殖民商品作为经济来源会有损中国的积极形象使命和信仰会蔑视中国文化，也是比较经济发展和生活水平的动机。人们不仅会看不起中国文化所弘扬的理念和信仰，也会嘲笑中国人生活水平跟不上经济发展。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 12:25, 15 November 2020 (UTC)<br /> <br /> ==Zhang Qi 张琪==<br /> Hegel continued the ethnocentric view on China with his ranking of cultures. Although Confucius already had developed a “Golden Rule” principle comparable to Kant’s “Categorical Imperative”, Hegel declared Chinese philosophy as inferior to European philosophy, and even saw a geographical step by step development from Confucius over Buddha, Zarathustra, the ancient Greek and the Roman philosophy, leading to the European philosophy.<br /> <br /> 黑格尔通过其文化排名继续保持对中国的民族主义观点。尽管孔子已经制定了可与康德的“绝对命令”相媲美的“黄金法则”原则，但黑格尔却宣称中国哲学不如欧洲哲学，即使看到孔子和佛陀，扎拉特胡斯特拉，古希腊和古罗马哲学这些促进欧洲哲学发展的逐步发展。--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 15:31, 15 November 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> A ladder only second by the Arab philosophy. At the turn from the 19th to the 20th century, China was suddenly considered as static, as “the sick man of Asia”. Actually semi-colonialism in China helped to hinder development there.<br /> <br /> 这一阶梯仅次于阿拉伯哲学。19世纪到20世纪之交，人们认为中国一时停滞了，是 &quot;东亚病夫&quot;。但其实中国的半殖民主义进一步阻碍了其发展。<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Rereading the reviews of Chinese literature in contemporary Western journals, it is astonishing, how disrespectful even men of letters treated Chinese literature, even during a time, when it was not yet available in translation, so that it is save to say that ethnocentric attitude prevailed over knowledge.<br /> <br /> 重读当代西方期刊上关于中国文学的评论，令人吃惊的是，即使是在还没有译文的时期，就连文学家都对中国文学充满了不尊重，可以说民族优越感压倒了知识。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 13:32, 15 November 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> This can be proven by the many mistakes you can find in the reviews (Morrison: the book was of low literary quality, but written in Peking dialect and therefore useful as language learning material; Gützlaff: the protagonist Baoyu is a petulant woman; Giles: the words “Red Chamber Dreams do not appear in the book” etc.). Also, the tradition of the title translation as “Dream of the Red Chamber” can be traced back to the origins of the better translation as “Red Chamber Dreams”, sacrificed by Francis Davis finally in favor of the powerful tool of Morrison’s dictionary calling it “Dream of the Red Chamber”.<br /> ==Zhang Yu 张瑜==<br /> Here, the exotic was used to make fun of China. Barrow introduces an excerpt, describing the outward appearance of Baoyu and Xifeng, translated by Francis Davis into English, explicitely for the reason to “amuse the beaux and belles”. Francis Davis himself picks two poems from the novel for translation, but not for its own sake, but to use them as a proof for his own (minority) opinion that the Chinese poetry knew a certain, “descriptive” function of poems in novels.<br /> <br /> 在这里，这种异域文化常用来取笑中国。巴罗引用了一段描述宝玉和熙凤外貌的文本，弗朗西斯·戴维斯将其翻译成英文版本，很明显其意图是取笑书中的“美人”。弗朗西斯·戴维斯从小说中选了两首诗进行翻译，但他不仅仅是为了这两首诗，而是为了用这两首诗证明自己（少数人）的观点，他认为我们对中国诗有一定了解之后，我们就自然会了解诗歌在小说中的描述性作用。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 13 November 2020 (UTC)<br /> <br /> 在这里，异国情调被用来取笑中国。巴罗引用了一段描述宝玉和熙凤外表的片段，由弗朗西斯·戴维斯翻译成英文，显然是为了取笑“书中的美人”。弗朗西斯·戴维斯本人从小说中挑选了两首诗进行翻译，但不是为了诗本身，而是为了证明他自己(少数人)的观点，即他认为我们对中国诗深入了解之后，我们一定会发现中国诗歌在小说中的某种“描写”功能。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 06:54, 15 November 2020 (UTC)Xiao Yining<br /> <br /> ==Zhang Yujie 张毓婕==<br /> In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[ He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.]<br /> <br /> 1815年，澳门神父罗伯特·莫里森（Robert Morrison，1782-1834年）在《中国词典》中将《红楼梦》的标题译为“dreams of the red chamber”，这是《红楼梦》小说标题的第一个英译版本。他解释了“妙”字，认为小说中人物“妙玉Meaouyǔh[Miao Yu]意为“令人敬佩的宝石，这是《红楼梦》小说中的一个女性人物的名字”。罗伯特·莫里森的词典分三个部分介绍了中国语言，澳门：东印度公司出版社1815年，第一卷。 I.，930 pp。，此处p。 614，左栏。 印刷版出版24年后，出现了迄今已知的最早的对红楼梦标题的西译版本。 如果未发现更早的记录，则意味着莫里森创造了一直持续到今天几乎不变的对《红楼梦》标题的英译方法。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:13, 14 November 2020 (UTC)<br /> <br /> 1815年，澳门神父罗伯特·莫里森（Robert Morrison，1782-1834年）在《中国词典》中将《红楼梦》的标题译为“dreams of the red chamber”，这是《红楼梦》小说标题的第一个英译版本。他解释了“妙”字，认为小说中人物“妙玉Meaouyǔh[Miao Yu]意为“令人敬佩的宝石，这是小说《紅樓夢》中一个女性人物的名字”。罗伯特·莫里森的词典分三个部分介绍了中国语言，澳门：东印度公司出版社1815年，第一卷。 I.，930页，此处614页，左栏。 印刷版出版24年后，出现了迄今已知的最早的对红楼梦标题的西译版本。 如果未发现更早的记录，则意味着莫里森创造性地翻译了《红楼梦》标题，且直到今天也几乎未变。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 02:53, 15 November 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[ He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.<br /> <br /> 1815年，澳门神父罗伯特·莫里森（Robert Morrison，1782-1834年）在《中国词典》中将《红楼梦》的标题译为“dreams of the red chamber”，这是《红楼梦》小说标题的第一个英译版本。他解释了“妙”字，认为小说中人物“妙玉Meaouyǔh[Miao Yu]意为“令人敬佩的宝石，这是小说《紅樓夢》小说中一个女性人物的名字”。罗伯特·莫里森的词典分三个部分介绍了中国语言，澳门：东印度公司出版社1815年，第一卷。 I.，930页，此处614页，左栏。 印刷版出版24年后，出现了迄今已知的最早的对红楼梦标题的西译版本。 如果未发现更早的记录，则意味着莫里森创造性地翻译了《红楼梦》标题，且直到今天也几乎未变。他选择比较合理的复数形式，因为小说中有很多梦。 27年后，复数形式“dreams”变成了单数形式“dream”，比较笼统，故也是合理的。''Red Chamber Dreams''是迄今为止最常见的英文译本，其变体，即''Red Chamber Dream''，也是西方语言中最常见的译本。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 02:52, 15 November 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.<br /> <br /> 他选择了复数，这是非常合情合理的，因为在小说中有很多的梦想。似乎27年后，复数的“梦想(dreams)”变成了单数的“梦想(dream)”，这听起来更加笼统，因此也是个合理的翻译。在英文中，在所有的变体中，在所有的西方语言中，“Red Chamber Dreams（《红楼梦》）”是迄今为止最常见译本。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 01:27, 15 November 2020 (UTC)<br /> <br /> 他选择了复数，因为在小说中有很多梦境，这是很合理的。似乎在27年后，复数“dreams”变成了单数“dream”，这听起来更笼统一些，因此也是一个合理的翻译。“Red Chamber Dreams” 是迄今为止在所有西方语言中，在所有的译本中，最常见的英文译本。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 02:29, 15 November 2020 (UTC)<br /> <br /> 他选择了复数形式是很合理的，因为小说中有很多的梦。似乎在27年后，复数的“梦”变成了单数的“梦”，听起来更笼统，因此也是一种合理的翻译。“Red Chamber Dreams”（《红楼梦》）是迄今为止英语中最常见的翻译版本，是所有西方语言的变体形式。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 02:37, 15 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> In 1817 Rev. Robert Morrison published a book for studying Chinese,[ Robert Morrison, A view of China for philological purposes: containing a sketch of Chinese Chronology, Geography, Government, Religion &amp; Customs, designed for the use of persons who study the Chinese language, Macao: East Asia Company Press, 1817, 141 S., hier S. 120-121.] in which he recommended “Dreams of the Red Chamber” as beginner readings, together with the novel Hao qiu zhuan, which was available mostly in English and partly in Portuguese by 1719, and fully in English by 1761. Both were written in colloquial style.<br /> <br /> 1817年，罗伯特·莫里森牧师出版了一本研究汉语的书，[罗伯特·莫里森，从语言学的角度看中国：包含中国年表，地理，政府，宗教和习俗的梗概，旨在供学习汉语的人使用。 澳门：东亚公司出版社，1817年，141 S.，hier S. 120-121。]，其中他推荐《红楼梦》作为初学者阅读，包括小说《好逑传》，这本小说到1719年大部分都是用英语撰写，部分用葡萄牙语撰写，到1761年全部变成了英文版。两种语言都是口语化的。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:33, 13 November 2020 (UTC)<br /> <br /> 1817年，启罗伯特·莫里森牧师出版了一本学习中文的书,[罗伯特·莫里森,从语言学的角度看中国:包含中国年表、地理、政府、宗教和习俗,旨在供学习汉语的人使用,澳门:东亚公司出版社,1817年,141 S., hier S. 120-121.] 在这本书中，他推荐《红楼梦》和小说《好逑传》作为初学者读物。到1719年，《好逑传》主要以英文出版，部分以葡萄牙文出版，到1761年完全以英文出版。两者都是用口语化的。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:53, 13 November 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> Morrison claims that Dream was written in Peking dialect. This does not hold true, since the author’s family Cao came from the South and many people in the novel have Nanking dialect sprinkles. In fact, the highly artful and intentional switch of dialects and sociolects contributed to the later fame of the novel. Morrison’s mistake developed its own tradition.[ Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.]<br /> <br /> 莫里森声称《梦》是用北京方言写成的。但事实并非如此，因为作者曹家来自南方，小说中的许多人物都有南京方言的点缀。事实上，方言和社会语的高度巧妙和有意的转换为这部小说后来的名声做出了贡献。莫里森的错误发展了自己的传统。[即使在1995年，大家也可以读到“《梦》是用北京方言写的”，参见舒长山、托马斯·曼斯的《中国的梦》（1995），法兰克福:朗，326页。至少佟耀《文学之声》（2006）同时提到了北京方言和南京方言。]--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:23, 13 November 2020 (UTC)<br /> <br /> 莫里森声称《红楼梦》是用北京方言写的，但事实并非如此。因为作者所在的曹氏家族来自南方，而小说中许多人物也都夹杂了一些零碎的南京方言。事实上，后来这部小说名声大噪，也都离不开小说中方言与社会语言之间及其巧妙而又有意为之的语言转换。而莫里森的错误也延续下来形成传统了。[甚至在1995年，我们仍会读到说《红楼梦》是用北京方言写的。参见舒长山、托马斯•曼斯的《中国的梦》（1995），法兰克福：朗，326页。至少佟耀《文学之声》(2006)则同时提及了北京方言和南京方言。]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 07:54, 15 November 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> Barrow mentioned the title “[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams” on June 4, 1819, in the Quarterly Review. He inserted this reference into a review[ My own findings, so far not discussed in 20th century hongxue, and published first in October 2010. John Barrow, “Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. This edition appeared (only by) June 4, 1819 with 13,000 copies. The author follows here the argumentation of the assignment to the author Barrow due to the following indications: “Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his Q[uarterly] R[eview] articles, it was Barrow's signature practice to refer to his own works, see “Quarterly Review Archive” http://www.rc.umd.edu/ reference/qr/index/41.html, last visited March 10, 2018.] of Clarke Abel’s report of a journey through China.[ Clarke Abel, Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited, F.L.S. London 1818.]<br /> <br /> 巴罗提到书名“[……《红楼梦》，1819年6月4日在《季刊》上发表的。他在一篇评论中引用了这篇文章 [ 我自己的发现，到目前为止还没有在20世纪的红学中讨论过，并于2010年10月首次发表。约翰·巴罗《艺术》四系列中关于一八一六年和一八一七年在中国内地的旅行和往返中国的航行的叙述;其中记载了阿默斯特勋爵派往北京朝廷的最有趣的事务，以及他访问过的国家的观察。By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. 这个版本出版(到1819年6月4日)有13000册。以下是作者对指派给作者巴罗的任务的论证，理由如下:“绅士杂志(1844年3月)，246-47。本文作者引用了#415和#438(包括一个特定的引用)，它们都是关于同一个主题，都是巴罗写的。另外巴罗在第422页评论了关于杀婴的讨论和莱佛士对爪哇的描述。在他的文章中，巴罗的标志性做法是提及自己的作品，参见“季度评论档案”http://www.rc.umd.edu/ reference/qr/index/41。html，上次访问于2018年3月10日中克拉克·阿贝尔关于中国之旅的报道。[克拉克·阿贝尔，《1816年和1817年在中国内地的一次旅行和一次往返中国的航行》;书中记述了阿默斯特勋爵派往北京朝廷的一些最有趣的事务，以及访问过的一些国家的见闻，载于1818年伦敦《F.L.S.》。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 02:11, 15 November 2020 (UTC)<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> He interrupted his review with an excursus on the uniform appearance and static nature of the Chinese, in line with the contemporary China-bashing of Herder and Hegel. For contemporary Europeans, the Chinese appeared abnormally uniform and simple in their clothes and appearance. <br /> ==Zhou Shuyao 周书尧==<br /> They would not be subordinated to the tyranny of fashion; their culture was static. In order to entertain the “belles and beaux of Great Britain,” Barrow provides a foil to this general impression by quoting the descriptions of the garments and anatomy of two characters, Wang Xifeng and Jia Baoyu, from chapter 3 of J. Davis’ translation of Dream.<br /> <br /> 他们不会服从时尚专制，他们的文化是静态的。 为了娱乐“不列颠的淑女和绅士”，巴罗通过引用戴维斯的《梦》译本第3章中对两个角色王熙凤和贾宝玉的服装与解剖学的描述，为这种总体印象锦上添花。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 02:27, 15 November 2020 (UTC)<br /> 他们不会屈从于时尚专制，他们的文化是静止的。为了满足“英国淑女和绅士”，约翰•巴罗引用了约翰•弗朗西斯•戴维斯《红楼梦》翻译的第三回里面小说人物王熙凤和贾宝玉的着装和相貌描写,为衬托这种一般印象。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 11:55, 15 November 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> In fact the graphic comparisons given in these descriptions were simply strange to Europeans of that time, since they apparently did not correspond to the European’s own ideal of beauty.<br /> Even in 1842 Gützlaff criticized: “the author [makes] many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] the style is without any art […] whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage”[ “Amongst the novels of the Chinese, this work holds a decidedly high rank. The author, after making many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] Having brought this tedious story to a conclusion, in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces. Some words that are used in a sense different from that in ordinary writings, and others are formed for the occasion, to express provincial sounds. But after reading one volume the sense is easily understood, and whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage.” ibid., p. 273.]<br /> 事实上，这些描述中的形象对比对当时的欧洲人来说很奇怪，因为它们显然不符合欧洲人自己对美的理想。<br /> 甚至1842年吉士笠批评道:“作者(使)许多人抗议说他不能做正义的主题,这是在书中唯一的真理[…]这风格没有任何艺术[…]凡希望熟悉法院北部方言说话口气的人,可以详细考察这个有优势的作品”(“在中国的小说,这作品绝对排名靠前。作者在许多人抗议说他不能公平对待之后,这确实是在书中唯一的真理[…]总结一下这个乏味的故事，关于文学价值表现表达我们的意见,我们可以说风格即没有任何艺术,是北部省份字面上更高的口语层次。有些词在某种意义上不同于普通文字，有些词则是为了表达地方的声音而专门造出来的。但是，读完一卷之后，这种意义就很容易理解了，任何想熟悉北方宫廷方言的人，都可以读一下这本书，从中获益。&quot;同上，第273页。]--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:34, 15 November 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> In 1867, 78 years after the first Chinese printed edition, we find a first real in-depth review of two pages by William Frederick Mayers:[ William Frederick Mayers, in: Notes and Queries (Dec 31, 1867) pp. 167-168, here p. 167. Mayers was Chinese secretary of the British Legation at Peking. He gives also short extracts in translation: <br /> “Vast as is Heaven above or Earth below –<br /> Sighs may such limits fill for passion vainly past <br /> Grieve for the senseless youth, the hapless maiden’s woe ! <br /> Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […] <br /> Vain to be soft in temper, mild in ways, <br /> Fair as the fairest … (p. 168) <br /> […] <br /> Not often shines <br /> thy longings too are vain ! ” (p. 168)].]<br /> <br /> 在1867年，也就是第一本中文版出版78年后，我们发现了威廉·弗雷德里克·迈尔斯第一次真正深入的评论，有两页纸那么长。（《备忘和查询》（1867，12月31）中记载，迈尔斯是英国驻北京公使馆的中国秘书。他还摘录了一些简短的译文:<br /> “苍苍穹苍，茫茫大地——<br /> 但愿这无限的叹息填满激情的往昔，<br /> 为无谓的青春悲叹，为不幸少女悲哀!”<br /> 爱情的轻誓终不能兑现!“(167页)[……]<br /> 性情温和，行为温顺，美如天至，都是枉然……(168页)<br /> [……]<br /> 你的渴望并非时常闪耀，也枉然!”(168页)]。)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:00, 14 November 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> “If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed. What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors.<br /> <br /> 如果能够依法公开宣布我们对于任何一部中国作品近乎狂热的喜爱，红楼梦将无可挑剔地成为一部最值得对其倾诉真挚仰慕之情的作品。英国文学中，萨克雷和布尔沃的之前的作品与萨克雷和沃尔本人的作品相比显得乏味而笨拙，中国其他作家的作品和《红楼梦》相比也是如此。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:29, 13 November 2020 (UTC)<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> manated from other Chinese authors. Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance; whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end. If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]”<br /> Reading through almost 80 years of reviews, during which more and more chapters of the novel became available, the ethnocentric attitude gradually changes to the scientific one and finally, with Mayr’s review of 1867 to a dialectic one, not only admitting that the Chinese novel was a piece of world literature, but even leaving open the possibility that it surpassed literary achievements of the own culture. This process certainly has been brought to a good end with the establishment of further diversified Chinese Studies in Europe and the USA, with the role of overseas Chinese at American universities, with further translations especially through Franz Kuhn in the 1930s and with the establishment of the German China Association in the 1950s.<br /> 由其他中国作家授权。人性具有多种多样的色调，复杂的家庭关系，激情的力量以及对恋爱后的失望和所受的折磨，都带有一定程度的技能和知识，诸如英国浪漫史，实际上暗示着这两种伟大的大师精神的相似之处 ；同时，就像自然界存在自身的戏剧一样，暴风雨和阳光的反映紧密交织在一起，喜剧的轻松线索与故事的黑暗主线并肩而行，故事以悲伤的征兆开始，并以泪收场。如果同时允许在故事的概念中表现出淡淡的（极其淡的）超自然色彩，这不仅完全符合这本书所面向的读者的喜好，而且也远没有我们自己的一部最著名的小说中普遍存在的类似元素那么引人注目。<br /> […]””<br /> 阅读80年的大多数评论,在此期间,越来越多的小说章节可供借鉴,民族中心主义的态度最终逐渐改变为科学,梅尔（Mayr）对1867年的评论是一种辩证法，它不仅承认中国小说是世界文学作品中的一部分，而且甚至没有公开其超越自身文化的文学成就的可能性。随着在欧洲和美国建立更多多元化的中文研究，在美国大学中扮演海外华人的角色，特别是在1930年代通过Franz Kuhn进行的进一步翻译以及 1950年代的中德协会的建立。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 12:27, 15 November 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> During its 60 years of history, the German China Association (next to the developing chairs of Chinese Studies at universities and next to other organizations dealing with China like friendship associations and Confucius Institutes) has helped to overcome prejudices, cultural relativism with diversity and tolerance. This is especially challenging, because the cultures and languages are quite distant and German media and internet community tends to bash China.<br /> ==Zhu Suyao 朱素瑶==<br /> During the last 20 years, the German China Association was shaped through its prolific president, Gregor Paul, who has shaped the prestige of the Association with his sharp and precise analysis of a common logic in China and the West as well as universal values, including human rights, worth to strive for both in the West and in China. His entertaining and informative lectures used a rhethoric often referring to persuasive conventional wisdom, e.g. that differences often come from different opinions instead of a difference of the nature of the things, as can be seen from a quarrel with his wife about what both remembered had happened the day before.<br /> <br /> 在过去20年间，德中协会是由其多产的主席格雷戈·保罗所塑造，他通过尖锐又精准地分析中西方的共同逻辑，以及分析包括中西方都值得为之奋斗的人权在内的普世价值，从而树立了协会的威望。他运用修辞手法进行寓教于乐的演讲，往往是关于一些具有说服力的传统大智慧。比如，分歧往往源于观点的不同而非事物性质的不同，这点从保罗和其妻子关于昨天发生之事的争论中可看出。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 12:37, 13 November 2020 (UTC)<br /> <br /> 在过去的20年里，德中协会是由其多产的主席格雷戈·保罗所塑造，他通过尖锐又精准地分析中西方的共同逻辑，以及分析包括中西方都值得为之奋斗的包括人权在内的普世价值，从而树立了协会的威望。他运用修辞手法进行寓教于乐的演讲，往往是关于一些具有说服力的传统大智慧。比如，分歧往往源于观点的不同而非事物性质的不同，我们可以从保罗和他妻子关于昨天发生之事的对话中可看出。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 12:30, 15 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> Paul is a consequent logician and a real universalist and he has added to Germany’s international reputation as “the land of poets and thinkers”.<br /> The process of doing more justice to China today culminates in the cooperation between Chinese and Western scholars at international conferences, in research projects or international book projects like A New Literary History of Modern China, Harvard University Press 2017.<br /> <br /> 保尔是一位相应的逻辑学家，也是一位真正的普世主义者，他为德国 &quot;诗人和思想家的国度 &quot;的国际声誉添砖加瓦。这个过程中，对待当代中国也变得更加公正了，这激励着中西方的学者在国际会议中合作，在研究项目或国际图书项目中的合作，如2017年哈佛大学出版的《新编中国现代文学史》。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 14:45, 15 November 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> Europeans (and later US-Americans) have made a contribution to Chinese Studies in general. They were influenced heavily by the idealizers (Jesuits, European philosophers of the enlightenment) and by China-bashers (Hegel, the German emperor...). It took 100 years for a Chinese piece of world literature to be recognized as such in Europe. But today, Chinese literature and culture is recognized with the Nobel Prize and Confucius Institutes do successful work in the whole work promoting and exporting Chinese culture abroad.<br /> <br /> 总体而言，欧洲人（以及后来的美国人）为“中国学”做出了贡献。 “中国学”曾受到理想主义者（耶稣会士，欧洲启蒙哲学家）和批判中国以赢取政治筹码者（黑格尔，德国皇帝……）的严重影响，中国的一部世界文学历时百年才被欧洲认可。但是今天，中国文学和文化获得了诺贝尔奖，孔子学院在促进向外传播中国文化的工作中取得了成功。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:37, 13 November 2020 (UTC)Zou Xinyu<br /> <br /> 总体而言，欧洲人（以及后来的美国人）为“汉学”做出了贡献。 “汉学”曾受到理想主义者（如耶稣会成员，欧洲启蒙哲学家）和中国抨击者（如黑格尔，德国皇帝……）的严重<br /> 影响，一部世界文学中的中国作品需要历时百年才被欧洲认可。但是今天，中国文学和文化获得了诺贝尔奖的认可，孔子学院在促进向外传播中国文化的工作中也取得了成功。<br /> --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:14, 14 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> However, we should not overestimate the European contribution. There are still examples of ethnocentrism, even of religiously motivated reading of things into Chinese literature. One of these examples is the 10 volume History of Chinese Literature published in Bonn. In two volumes, the one about the origins of Chinese literature and the one on Chinese poetry, a German sinologist, who formerly was a priest, defines, that the origin of Chinese literature lies in the dialogue of the author with god.<br /> <br /> 然而，我们不应高估欧洲的贡献。现在仍然有民族中心主义的例子，甚至是出于宗教动机对中国文学作品的解读。在波恩出版的10卷《中国文学史》就是其中之一。德国汉学家在《中国文学起源论》和《中国诗歌论》两卷中，曾任神父的汉学家对中国文学的起源进行了界定:中国文学的起源在于作者与上帝的对话。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:27, 13 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> This reminds us again of the Jesuit reading of things into Chinese texts, it reminds us of the attempts, to impose your own culture on other seemingly backward cultures, in this case even the try to impose the Western god on the Chinese culture of a time, when China had a totally different understanding of the world and of heaven than that of a Christian god. The emergence of Chinese literature comes from songs, speeches and paintings, from the wish to document events, family etc., but not from an encounter with god.<br /> <br /> 这再次让我们想起耶稣会会士对于中国经文的解读；想起我们试图强加自身的文化于其他看似落后的文化上，当时中国对世界和天堂的理解完全不同于基督教的上帝，在这种情况下我们甚至试图把西方的上帝强加于一个时代的中国文化上。中国文学起源于歌曲，演说和画作；源于期望记录事件，家庭等，而非起源于与上帝的邂逅。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:33, 13 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> The same German sinologist retranslated the Analects, attributed to Confucius, and translated some of the more than 50 occurrences of “heaven” or “demon/ghost” with the term “god”.[ Here Wolfgang Kubin stands in the tradition of Jean-François Noëlas 1720 and Richard Wilhelm 1925, see: Konfuzius: Gespräche. Transl. Richard Wilhelm. In Kubin’s commentary in the beginning of his identically titled book (Konfuzius: Gespräche Diederichs 2011), he justifies his reading of god into the Analects (p. 10). He translates “shen” as “gods” (p. 215) and claims, Confucius was sacrificing to the gods (p. 30), he understands „guishen“ as „demon and god“ or „spirit and god“ and “tian” as “god of heaven”, “supreme god”, (p. 213).] <br /> <br /> ==Volunteer==<br /> Experts on Confucius also quote the few passages, where Confucius addresses the question of the supranatural like ghosts etc. and analyze that Confucius may have been at best not interested or even negative about the belief in ghosts, while he was positive about the social stability and peace rituals brought for the people.<br /> <br /> This reminds us of the fact, that it is to us to make sure that ethnocentrism is still existing today and that science is a field that needs to be aware of and cautious about it. And it needs courage to speak out against it.<br /> <br /> 孔子专家也引用了一些段落,在这些段落中孔子探讨了像是鬼魂之类的超自然的问题。专家们分析认为孔子充其量可能是不感兴趣,甚至对鬼魂的存在持否定态度，尽管他对仪式给人们带来的社会稳定和和平持积极态度。<br /> <br /> 这提醒我们一个事实：我们十分确信种族中心主义在今天仍然存在并且科学是需要注意和谨慎的领域，而公开反对它需要勇气。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:12, 13 November 2020 (UTC)<br /> <br /> 孔子专家也引用了几段话，其中孔子谈到了像鬼这样的超自然问题。并分析说，孔子对鬼神信仰顶多是不感兴趣，甚至是消极的，尽管他对社会稳定和为人民带来的和平仪式是积极的。<br /> 这提醒了我们一个事实，那就是，我们要确保种族中心主义在今天仍然存在，科学是一个需要意识到并谨慎对待的领域。公开反对它需要勇气。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:15, 14 November 2020 (UTC)</div>

Qu Miao https://bou.de/u/index.php?title=20201109_cult&diff=104537 2020-11-15T15:31:41Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Alsied, Saffana==--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 18:45, 14 November 2020 (UTC)<br /> 1.The book provides precious biographical records of various kinds of people who lived during the 3,000 years from the legendary Yellow Emperor to Emperor Wudi of the Han Dynasty. It is also valued as a literary work and has a great influence on the literary development of subsequent prose, fiction and drama.<br /> <br /> 这本书提供了从传说中的黄帝到汉武帝三千年间各种生活的各种珍贵的传记记录。 它也被认为是文学作品，并且对随后的散文，小说和戏剧的文学发展产生重大影响。<br /> <br /> 2.Chinese literature from the Opium War of 1840 to the founding of the People’s Republic of China in 1949 is known as modern Chinese literature.<br /> <br /> 从1840年鸦片战争到1949年中华人民共和国成立的中国文学被称为现代中国文学。<br /> <br /> 3.During the 10-years Great Cultural Revolution, literature withered. But the great victory in smashing the Gang of Four in 1976 ushered in a new period.<br /> <br /> <br /> 在文化大革命的十年中，文学萎缩了。 但是，1976年粉碎四人帮的巨大胜利迎来了一个新时期。<br /> <br /> 4.My forehead covered by my hair cut straight, <br /> I played with flowers pluck’d before the gate.<br /> On a hobby-horse you came on the scene, <br /> Around the well we played with plums still green.<br /> <br /> 我的额头被头发遮住了<br /> 我玩着在大门前摘的花。<br /> 在一辆业余马中，您来到了现场，<br /> 在井周围，我们打着仍然绿色的李子。<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> 1. 《诗经》在艺术创作上很有特色。首先，《诗经》里的作品多方面描写了现实生活，表现了不同阶层人民在现实生活中的各种感受，真实地反映了现实生活，这是它的一大特色。<br /> <br /> &quot;The Book of Songs&quot; is very distinctive in artistic creation. First of all, the works in &quot;The Book of Songs&quot; describe real life in many ways, showing the various feelings of people of different classes in real life, which is a major characteristic of it.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 07:33, 13 November 2020 (UTC)<br /> <br /> ''The Book of Songs'' is very distinctive in artistic creation. First of all, the works in ''The Book of Songs'' describe real life in many ways, show the feelings of people of different classes in real life, and truly reflect real life, which is one of its major characteristics.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 01:47, 14 November 2020 (UTC)<br /> <br /> 2. 中国现代文学的发展，是吸收外来文学营养使之民族化，继承民族传统使之现代化的过程。<br /> <br /> The development of Chinese modern literature is a process in which we nationalize foreign culture by absorbing its nutrition, and modernize national tradition by inheriting it.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 07:33, 13 November 2020 (UTC)<br /> <br /> The development of modern Chinese literature is a process of absorbing the nutrition of foreign literature to make it nationalized and inheriting the national tradition to make it modernized.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 01:47, 14 November 2020 (UTC)<br /> <br /> The development of Chinese modern literature is a process in which we nationalize foreign literatures by absorbing their essence, and at the same time inherit and modernize the national tradition.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:32, 15 November 2020 (UTC)Xu Jia<br /> <br /> 3. 当代文学是指1949年新中国成立以后的文学，其中出现了许多文学流派。大致可以划分为四个阶段：新时期文学、80年代文学、90年代文学、新世纪文学。<br /> <br /> Contemporary literature refers to the literature after the founding of New China in 1949, in which many literary schools have appeared. It can be roughly divided into four stages:new era literature,80s literature,90s literature and new century literature.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 07:33, 13 November 2020 (UTC)<br /> <br /> Contemporary literature refers to the literature after the founding of People’s Republic of China in 1949, in which many literary schools appeared. It can be roughly divided into four stages: literature in the new period, literature in the 1980s, literature in the 1990s and literature in the new century.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 01:47, 14 November 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> <br /> 1. 《诗经》内容丰富，反映了劳动与爱情、战争与徭役、压迫与反抗、风俗与婚姻、祭祖与宴会，甚至天象、地貌、动物、植物等方方面面，是周代社会生活的一面镜子。<br /> <br /> ''The Book of Songs'' is a mirror reflecting the social life of the Zhou Dynasty. It is rich in content, including labor and love, wars and corvee, oppression and resistance, customs and marriage, ancestor worship and feast, as well as astronomical phenomena, landforms, animals, plants, etc. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 13 November 2020 (UTC)<br /> <br /> 2. 《呐喊》深刻反映了19世纪末到20世纪20年代间中国社会生活的现状，有力揭露和鞭挞了封建旧恶势力，表达了作者渴望变革，为时代呐喊，希望唤醒国民的思想。<br /> <br /> ''Call to Arms'' deeply reflects the status quo of Chinese social life and profoundly exposes and castigates vicious old feudalism, expressing the author‘ s aspiration for the transformation of the times and his desire to arouse the citizens. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 13 November 2020 (UTC)<br /> <br /> ''Call to Arms'' deeply reflects the status of Chinese social life from the late 19th century to 1920s and profoundly exposes and castigates vicious old feudalism, expressing the author‘ s aspiration for the transformation of the times and his desire to arouse the citizens.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:41, 15 November 2020 (UTC)<br /> <br /> 3. “伤痕文学”大都是以真实、质朴甚至粗糙的形式，无所顾忌地揭开文革给人们造成的伤疤，从而宣泄1966-1976年以来积郁心头的大痛大恨，这恰恰契合了文学最原始的功能：“宣泄”。<br /> <br /> Scar Literature boldly uncovered the people’s wounds caused by the Cultural Revolution mostly in a real, plain and even rough form，thus releasing their pain and hatred from 1966 to 1976 hidden deep in their hearts, which fitted properly the primary function of literature——catharsis. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 13 November 2020 (UTC)<br /> <br /> 1. The content of the Book of Songs is abundant, reflecting labor and love, war and corvee, suppression and resistance, custom and marriage, and ancestor worship and banquet, even astronomical phenomenon, landscape, animals, plants and so on. It’s a mirror of the social life of Zhou Period. <br /> <br /> 2. The Scream profoundly reflects Chinese social life from late 19th century to 1920s, which exposes and criticizes the feudal old force and expressed the author’s desire to reform. He screamed for the time, hoping to wake up people. <br /> <br /> 3. “Scare literature”, mainly simple, true and even rough, exposed the scars that the Cultural Revolution has brought to people with no fear, thus reliving the hatred from 1966 to 1976. This exactly matched the original function of literature—catharsis. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:08, 15 November 2020 (UTC)Yang Chenting<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> 1.建安时期，是我国文学史上一个“俊才云蒸”的时代，大量作家和作品涌现出来，使各种文体都得到了发展，尤其是诗歌方面打破了汉代四百年沉寂的局面.<br /> <br /> During the Jian'an period, a great deal of men of letters and their works sprung up, promoting the development of various literary forms and poetry began to show vitality after years of decline.<br /> <br /> 2.黄遵宪认为&quot;诗无古今&quot;,而不必模仿古人，只要能将&quot;身之所遇，目之所见，耳之所闻&quot;,&quot;笔之于诗&quot;,我诗自有存在的价值。<br /> <br /> Huang Zunxian is convinced that there is no such ancient poetry or modern poetry so we don't have to imitate the ancient people. The poetry is of great value so long as we write down what we encounter, see and hear.<br /> <br /> 3.因此中国现当代文学不但深刻包容了中华民族由古典向现代化转型过程中的真切的心理折射，而且也体现出现代中国人所能达到的审美能力和情操。<br /> <br /> Therefore, modern and contemporary Chinese literature not only reflects the mentality of Chinese nation during the process transforming from classicalism to modernization, but embodies the aesthetic ablility and sentiment level that Chinese can reach.<br /> <br /> 4.李白的诗雄奇飘逸，艺术成就极高。他讴歌祖国山河与美丽的自然风光，风格雄奇奔放，俊逸清新，富有浪漫主义精神，达到了内容与艺术的统一。<br /> <br /> Li Bai have written down a great number of poetry of grand and magnificent style and enjoys great artistic achievements. He eulogizes the mountains and rivers of motherland and the beautiful natural scenery by his poetry, which is majestic, unrestrained and full of romance, achieving the unity of content and art.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 06:58, 15 November 2020 (UTC)Chen Jingjing<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> <br /> 1. Travel literature in which authors wrote about their trips and about various destinations became popular perhaps because the texts could be cheaply bought. 旅行文学中作家撰写有关旅行和不同目的地的文章广受欢迎，也许是因为可以廉价地购买这些文本。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 09:32, 15 November 2020 (UTC)<br /> <br /> 2. After the Communist victory, only literature approved by the government was allowed. 共产党胜利后，只允许政府批准的文献。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 09:32, 15 November 2020 (UTC)<br /> <br /> 3. The period of contemporary literature was distinctive as it brought into being a new and revised literary language, form, content and skills allowing it to evolve into an independent and open art available to the whole of society. 当代文学的时代是独特的，因为它成为一种新的和经过修订的文学语言，形式，内容和技巧，使其发展成为可供全社会使用的独立和开放的艺术。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 09:32, 15 November 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> 1.纳兰性德·《少年游》<br /> <br /> 算来好景只如斯，<br /> 惟许有情知。<br /> 寻常风月，<br /> 等闲谈笑，<br /> 称意即相宜。<br /> 十年青鸟音尘断，<br /> 往事不胜思。<br /> 一钩残照，<br /> 半帘飞絮，<br /> 总是恼人时。<br /> <br /> Excursion of Teenagers<br /> Nalan Xingde<br /> It seems a fine prospect similarly follows natural tendencies,<br /> Whose way could only be learned by soul mates.<br /> Romantic sights moderate,<br /> Merry-making mood in a less graced state,<br /> And to be gratified means a well-proportioned rate.<br /> Nothing further is heard after parting for ten years,<br /> The association of the past can't bear to think of<br /> A crescent moon with its streaks,<br /> And willow catkins on the screen in fluffy streaks,<br /> Which is nothing but curious freaks.<br /> <br /> 2.莫言，因其作品“将魔幻现实主义与民间故事、历史与当代社会融合在一起”而获得诺贝尔文学奖，是首位获此殊荣的中国籍作家。<br /> <br /> Mo Yan is the first Chinese writer who received the honor of winning the Nobel Prize in Literature as his works “merges folk tales, history and the contemporary society with hallucinatory realism”.<br /> <br /> 3.巴金 《梦》<br /> <br /> 据说“至人无梦”。幸而我只是一个平庸的人。我有我的梦中世界，在那里我常常见到你。昨夜又见到你那慈祥的笑容了。还是在我们那个老家，在你的房间里，在我的房间里，你亲切地对我讲话。你笑，我也笑。<br /> <br /> Dream（Ba Jin）<br /> It is said that &quot;a virtuous man seldom dream&quot;.Fortunately, I am but an ordinary man.I dream my own dream, in which I often meet you.Last night I again saw your kindly smiling face.It was the same old home of ours. You talked to me cordially now inyour room, now in my room. You smiled and I also smiled.<br /> <br /> 4. 《赠汪伦》（李白）<br /> 李白乘舟将欲行，忽闻岸上踏歌声。<br /> 桃花潭水深千尺，不及汪伦送我行。<br /> Presented to Wang Lun（Li Bai）<br /> Li Bai on board, ready to push off,<br /> suddenly heard the tramping and singing on the bank.<br /> Peach Flower Pool a thousand feet deep<br /> is shallower than the love of Wang Lun who sees me off.<br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:33, 15 November 2020 (UTC)<br /> <br /> Presented to Wang Lun（Li Bai） <br /> Li Bai on board, ready to push off, <br /> suddenly heard the tramping and singing on the bank. <br /> Peach Flower Pool, though a thousand feet deep, <br /> is shallower than the love of Wang Lun who sees me off.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 14:50, 15 November 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> 1. 李白想象力丰富，一生创作了大量的诗歌，其诗歌对以后的历代诗人产生了重要影响，即使到现在中国人还非常喜欢他的诗。<br /> <br /> Rich in imagination, Li Bai created a large number of poems throughout his life, which have great influence on the poets after him. Even now, his poems are still popular with many Chinese people.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 01:34, 14 November 2020 (UTC)<br /> <br /> Rich in imagination, Li Bai created a large number of poems throughout his life, which has great influence on the poets after him. Even now, his poems are still popular with many Chinese people.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 02:47, 14 November 2020 (UTC)<br /> <br /> 2.中国现代文学集中地表现为大大加强了文学与人民群众的结合﹐文学与进步的社会思潮及民族解放﹑人民革命运动的自觉联系。<br /> <br /> Modern Chinese literature is concentrated on strengthening the combination of literature and people, the social ideological trend of literature and progress, and the conscious connection between national liberation and people's revolutionary movement.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 01:34, 14 November 2020 (UTC)<br /> <br /> Modern Chinese literature is concentrated on greatly strengthening the combination of literature and people, the social ideological trend of literature and progress, and the conscious connection between national liberation and people's revolutionary movement.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 02:47, 14 November 2020 (UTC)<br /> <br /> 3.新中国成立带来的巨大历史变革﹐为社会主义文学的发展提供了坚实的生活基础。新中国的作家坚持真实地﹑历史地﹑在现实的变革和发展中反映生活﹐自觉地把社会主义现实主义作为最根本的创作原则与方法。<br /> <br /> The great historical changes brought about by the founding of People’s Republic of China have provided a solid foundation for the development of socialist literature. Writers in New China insist on reflecting life truly, historically and in the change and development of reality, and consciously regard socialist realism as the most fundamental creative principle and method.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 01:34, 14 November 2020 (UTC)<br /> <br /> The foundation People's Republic of China in 1949 has brought great historical changesand provided a solid foundation for the development of socialist literature.The Writers in New China insist on reflecting life under the change and development of reality in a true and historical way, and they also take socialist realism as the most fundamental creative principle and method.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 02:47, 14 November 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 1. 古代文学一般包括欧洲古代文学和中国古代文学。欧洲古代文学又包括古希腊文学和罗马文学，中国古代文学按时间分类，包括先秦两汉文学，魏晋南北朝文学，唐宋文学，元明清文学。<br /> The classical literature generally includes European classical literature and Chinese classical literature. The former consists of Ancient Greek and Rome literature, while the latter can be classified as four literatures according to different time. They are literature of Pre-Qin and Han Dynasty, Wei Jin South and North Dyansty, Tang and Song Dynasty, Yuan, Ming and Qing Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:38, 10 November 2020 (UTC)<br /> <br /> The classical literature generally includes European classical literature and Chinese classical literature. The former consists of Ancient Greek and Roman literature, while the latter can be classified chronologically as four kinds. They are literature of Pre-Qin and Han Dynasties, Wei Jin South and North Dyansties, Tang and Song Dynasties, Yuan, Ming and Qing Dynasties.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 08:32, 14 November 2020 (UTC)<br /> 2. 近代文学的成就在于它的反帝反封建的进步主流，它的反映现实和追求理想的精神和方法，它的语文合一、走向通俗化的探索和努力，为“五四”时代新文学运动准备了一定的历史条件。<br /> <br /> The modern literature achieved progress in the mainstream of anti-imperialism and anti-feudalism. It reflected reality and the pursuit of ideals through explorations ands efforts for language unity toward the popular. All these prepare certain historical conditions for the new literature movement in the May 4th Era.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:38, 10 November 2020 (UTC)<br /> <br /> The modern literature achieved progress in its mainstream of anti-imperialism and anti-feudalism.Its spirit and methods of reflecting reality and pursuing ideals, along with its exploration and efforts in unifying and popularizing language and words, had made some historical prepare for the new literature movement in the May 4th Era.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:45, 13 November 2020 (UTC)<br /> <br /> The modern literature achieved progress in its mainstream of anti-imperialism and anti-feudalism.Its spirit and methods of reflecting reality and pursuing ideals, along with its exploration and efforts in unifying and popularizing language and words, had made some historical preparations for the new literature movement in the May 4th Era.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 08:32, 14 November 2020 (UTC)<br /> <br /> 3. 中国当代文学，首先指的是1949年以来的中国文学；其次指的是发生在特定的社会主义历史语境中的文学.<br /> The Chinese contemporary literature, first of all, refers to Chinese literature since 1949. Secondly, it means the literature that takes place in the context of specific socialist history. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:38, 10 November 2020 (UTC)<br /> <br /> Chinese contemporary literature firstly refers to Chinese literature since 1949; secondly, it refers to literature that occurred in a specific historical context of socialism.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 12:26, 10 November 2020 (UTC)<br /> <br /> Chinese contemporary literature firstly refers to Chinese literature since 1949; secondly, it refers to literature that occurs in a specific historical context of socialism.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 08:32, 14 November 2020 (UTC)<br /> <br /> 4. 李白既有清高傲岸的一面，又有世俗的一面，他的理想和自由，只能到山林、仙境、醉乡中去寻求。<br /> <br /> Li Bai is not only lofty and proud, but also seculoar. To seek his ideals and ferredom, he can only search in the mountain forest, fairland and drunken state.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 02:20, 14 November 2020 (UTC)<br /> <br /> Li Bai is not only lofty and proud, but also secular. To seek his ideals and freedom, he can only seek in mountain forest, fairland and dazed state.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 08:32, 14 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> 1、《楚辞》是西汉刘向把屈原的作品及宋玉等人“承袭屈赋”的作品编辑而成的一部诗歌总集，它作为我国积极浪漫主义诗歌创作的源头，对后世文学影响深远。<br /> <br /> The Songs of Chu is a collection of ancient Chinese poems which was authored by Liuxiang in western Han dynasty who piled Quyuan’s poems as well as those following Qu’s style written by Songyu and other poets into it.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:36, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 2、郭沫若的代表作《女神》是中国现代新诗的奠基之作，在艺术上取得了新诗最辉煌的成就，是“五四”时期浪漫主义的瑰丽奇峰，其形式自由多变，依感情的变化自然地形成“情绪的节奏”。<br /> <br /> The master work “Goddess” of Guo Moruo was the cornerstone in Chinese modern new-style poetry(free verse written in the vernacular). It obtained the most brilliant achievement in the art of the new-style poetry and was the magnificent peak of the romanticism during May Fourth period with its free and varied form, naturally producing emotional rhythm according to the changes of sentiments.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:36, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 3、伤痕文学带有强烈的感情色彩，但由于主客观方面的原因，作品还缺乏深度，作家“先天不足，后天失调”，知识结构不健全。<br /> <br /> Trauma literature had intense emotions, but lacked depth due to subjective and objective reasons. The writers of trauma literature had inherent weaknesses and lacked instruction which resulted in the unsound structure of knowledge in their writings.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:36, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 4、这首诗按照故事情节可简单分为上下两端，上段写美好，下段写悲伤，几乎完整地写出了一对恋人的前世今生，使读者能够完全代入，深深钻进这个凄美的故事里。<br /> <br /> The poem(The River-Merchant’s Wife: A Letter) can be divided into two parts according to its plot. The former part describes happiness while the latter one describes sadness. The poem tells us almost a complete love story between one couple which makes the readers totally place themselves into the beautiful but painful story deeply. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:36, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==Grosheva, Anna==<br /> <br /> 1. During the Eastern Han Dynasty towards the end of the Han era, the influence of the philosophy of the Confucian Classics that hindered scientific progress was waning. <br /> 在汉朝末期的东汉时期，儒家经典哲学的影响力逐渐减弱。<br /> <br /> 2. Of course, the big change in Chinese society that happened with the change of government led to a change in literature. <br /> 当然，随着政府的变化，中国社会发生了巨大的变化，导致了文学的变化。<br /> <br /> 3. Contemporary literature took on a new vigor, despite the fact that the Chinese were in the throws of checkered and complicated times.<br /> 尽管中国处于一个复杂而复杂的时代，但当代文学却焕发出新的活力。<br /> <br /> 尽管当代中国局势复杂，当代文学却焕发出新的活力。--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 13:23, 15 November 2020 (UTC)Zhang Weihong<br /> <br /> ==Gu Dongfang 顾东方==<br /> 1.《水浒传》是中国四大名著之一，是一部以北宋末年宋江起义为主要故事背景、类型上属于英雄传奇的章回体小说。<br /> <br /> The Water Margin is one of the four great Chinese novels, it is a chapter novel with Song Jiang's uprising in the last year of the Northern Song Dynasty as the main background and the type of heroic saga.<br /> <br /> The Water Margin is one of the four great Chinese novels, which is a chapter novel based on the Song Jiang Uprising in the last year of the Northern Song Dynasty and belongs to the genre of heroic saga.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:56, 15 November 2020 (UTC)Xiao Ting<br /> <br /> As one of the four greatest Chinese novel, the Water Margin is a chapter novel with Song Jiang's uprising in the last year of the Northern Song Dynasty as the main background, belonging to the type of heroic saga.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 12:10, 15 November 2020 (UTC)<br /> <br /> <br /> 2.新中国的作家坚持真实地、历史地、在现实的变革和发展中反映生活,自觉地把革命现实主义即社会主义现实主义作为最根本的创作原则与方法。<br /> <br /> Writers in the new China insist on reflecting life truthfully, historically in the midst of realistic changes and development, and consciously take revolutionary realism, that is, socialist realism, as the most fundamental creative principle and method.<br /> <br /> Writers of the People's Repulic of China insist on reflecting life truthfully, historically in the midst of realistic changes and development, and consciously take revolutionary realism, that is, socialist realism, as the most fundamental creative principle and method.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:56, 15 November 2020 (UTC)Xiao Ting<br /> <br /> 3.抗日民族解放战争与解放战争进一步加强了作家与现实生活的联系﹐出现了各种流派﹑创作方法的作家向革命现实主义归依的趋向﹐这反过来又促进了革命现实主义向反映现实的深度﹑广度与多样化方向的发展。<br /> <br /> The Anti-Japanese War of National Liberation and the War of Liberation further strengthened the connection between writers and real life, and there was a tendency for writers of various schools and creative methods to turn to revolutionary realism, which in turn promoted the development of revolutionary realism in the direction of reflecting reality in depth, breadth and diversity.<br /> <br /> ==Guan Qinqing 管钦清==<br /> 1.中国的四大名著指创作于明清时期的四部最伟大、最有影响力的小说。阅读四大名著，可以了解中国传统的社会、历史、地理、民俗和处世哲学。<br /> <br /> The Four Great Classical Novels of Chinarefer to the four greatest and most influential novels written in the Ming and Qing Dynasties. Reading them can acquaint people with traditional Chinese society, history, geography, folk customs and philosophy of life. <br /> <br /> 2.大多数的中国人对这四部小说中的人物、情节和场景都很熟悉。它们已经深深地影响了中国人的思想、观念和价值观。现在，四部小说都已被改编成电影或电视剧，受到很多观众的喜爱。四大名著都具有很高的艺术水平，是中华民族的宝贵遗产，在中国文学史上也是一大创举。<br /> <br /> Most Chinese are pretty familiar with the figures, plots and scenes in the four novels. They have profoundly influenced the mentality, ideas and values of Chinese people.Nowadays, the four novels have already been adapted into movies or TV series,favored by lots of audiences. Being high in artistic standard, the Four Great Classical Novels are precious heritages of Chinese nation and pioneering works in the history of Chinese literature.<br /> <br /> 3.与舞蹈和音乐相伴的歌谣跟口头流传的神话，远在文字出现之前就已大量产生。中国的文学正是发端于此。不过歌谣本是人们在生活中随兴而发的东西，上古时代也没有保存和记载它们的手段，因之也就很快湮灭，不留痕迹。我们只能从一些古籍书中推断它们的存在。古书中记载了一些据称年代非常久远的歌谣，但是大多出于后人的伪托，能够断定朝代的歌谣要到《诗经》里才能看见。从这点来看，古代神话对中国文学的影响更为显着。<br /> <br /> Long before the emergence of the written word, ballads, accompanied by music and dance,and myths, passed around by word of mouth, were widely popular. Chinese literature finds its origins in these traditions. However, ballads were what people improvised out of daily life, and due to lack of means to record and preserve them in ancient times, they quickly disappeared without leaving much of a trace. Today, we can only deduce their existence from ancient books, which recorded some time-honored ballads, though most of these are belived to be derivatives of later generations. Ballads in the book of songs are the earliest writings that can be dated. From this point of view, ancient mythology obviously has had a great influence on chinese literature.<br /> <br /> 4.唐诗泛指创作于唐代(618年-907年)的诗。唐诗是汉族最珍贵的文化遗产之一，同时也对周边民族和国家的文化发展产生了很大影响。唐诗中流传最 广的当属收录在《唐诗三百首》中的诗歌，里面收录的许多诗篇都为后人所熟知。唐代的诗人特别多，其中李白、杜甫等都是世界闻名的伟大诗人，他们的作品有很多都是脍炙人口的诗篇。<br /> <br /> Tang poetry generally refers to poems written during the Tang Dynasty (618 A.D.-907A.D.). Tang poetry is one of the most valuable cultural heritages of the Han Chinese. Meanwhile, it also has a great influence on the cultural development of neighboring ethnic groups and nations. The most widely spread among Tang poems are definitely the poems that are included in the “Three Hundred Poems ofthe Tang Dynasty”，many of which are quite popular with people of later generations. There are lots of poets in Tang Dynasty, among whom Li Bai and Du Fu are world-famous. Many of thetwo great poets’works are household poems.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:38, 15 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> 1.中国文学的历史已有数千年的历史，从最早的朝代宫廷档案到明代兴起的成熟的乡土小说，都应运而生。<br /> <br /> The history of Chinese literature extends thousands of years, from the earliest recorded dynastic court archives to the mature vernacular fiction novels that arose during the Ming dynasty to entertain the masses of literate Chinese.<br /> <br /> The history of Chinese literature extends thousands of years, and different types of literature emerged from the earliest court records of dynasties to the mature local novels arising in the Ming Dynasty.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:35, 13 November 2020 (UTC)<br /> <br /> 2.中国现代文学史记载了至少3000年前的不间断历史，其历史至少可以追溯到公元前14世纪。 中国现代文学以丰富的文化为基础，蓬勃发展。<br /> <br /> Chinese Modern Literature is a record of an uninterrupted history of more than 3,000 years, dating back at least to the 14th century BC. Based on luxuriant culture, Chinese Modern literature developed flourishingly.<br /> <br /> 3.中国当代文学可以定义为古典文学向现代的过渡。<br /> <br /> Chinese contemporary literature can be defined as a transition of classical literature to the present-age.--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 12:09, 13 November 2020 (UTC)<br /> <br /> Chinese contemporary literature can be defined as the transition from classical literature to the modern literature.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:35, 13 November 2020 (UTC)<br /> <br /> ==Guo Lu 郭露==<br /> <br /> 1. 小说中曹雪芹没有直接描写皇室的生活，而是通过刘一贾、史、王、薛四大家族的描写，其中又集中到贾府的兴衰。<br /> <br /> In Cao Xueqin's display，his angle shifted from kinsmen of the emperor to focusing on Jia，Shi，Wang,and Xue Families，and then shifted from these four families to Jia Fami1y.<br /> <br /> Without a direct display of the life of royal family, Can Xueqin depicted the Jia, Shi, Wang, and Xue families, among which the rise and fall of the Jia families was his focus.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 12:18, 15 November 2020 (UTC)<br /> <br /> 2.于千万人之中遇见你所遇见的人，于千万年之中，时间的无涯的荒野里，没有早一步，也没有晚一步，刚巧赶上了，那也没有别的话可说，惟有轻轻的问一声：“哦，你也在这里吗？”<br /> <br /> When you meet the one among the millions, or in many years, across the borderless wastes of time, you happen to catch him or her, neither a step too early nor a step too late, what else is there to do except to ask softly: &quot;So you're here, too?&quot;<br /> <br /> 3. 他出身贫寒家庭，20岁参军的同时开始写小说。他的第一部小说《太阳下山》（The Sun Goes Down）是一本非官方英文译本，讲述的是两位军人英雄，他们因一名年轻的陆军厨师自杀而互相指责，从而毁了他们的声誉和友谊。<br /> <br /> Born into a poor family, he began writing fiction at the same time as he joined the Chinese army at the age of 20. His first novel, called The Sun Goes Down in an unofficial English translation, was about two soldier-heroes who destroy their reputations and the friendship between them when they blame each other for the suicide of a young army cook.<br /> <br /> 4. 这首诗对商妇的各个生活阶段，通过生动具体的生活侧面的描绘，在读者面前展开了一幅幅鲜明生动的画面。<br /> <br /> This poem unfolds a vivid picture for the readers through a concrete description of the various life of the Shang women.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 16:28, 14 November 2020 (UTC)<br /> <br /> This poem has depicted a vivid picture to the readers through vivid and concrete description of the life stages of the Shang women.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 05:32, 15 November 2020 (UTC)<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> ==He Changqi 何长琦==<br /> <br /> ==Hu Baihui 胡百辉==<br /> 1. 中国古典文学名著有诗歌、散文、小说、戏剧以及民间神话传说故事等多种表现形式，在各种文体中，又有多种多样的艺术表现手法，从而使中国古典文学呈现出多姿多彩、壮丽辉煌的图景。<br /> <br /> There are many kinds of style in Chinese classical literature, such as poetry, prose, novel, drama and folklore. In various styles, there are also a variety of artistic expression techniques, which makes Chinese classical literature present a colorful and magnificent prospect.<br /> <br /> 2. 中国现代文学是在中国社会内部发生历史性变化的条件下﹐广泛接受外国文学影响而形成的新的文学。它不仅用现代语言表现现代科学民主思想﹐而且在艺术形式与表现手法上都对传统文学进行了革新﹐建立了话剧﹑新诗﹑现代小说﹑杂文﹑散文诗﹑报告文学等新的文学体裁﹐在叙述角度﹑抒情方式﹑描写手段及结构组成上﹐都有新的创造﹐具有现代化的特点﹐从而与世界文学潮流相一致﹐成为真正现代意义上的文学。<br /> <br /> Modern Chinese literature is a new literature formed under the condition of historical changes in Chinese society, which is widely influenced by foreign literature. It not only uses modern language to express modern scientific and democratic thoughts, but also innovates traditional literature in artistic forms and expression techniques. It establishes new literary genres such as drama, new poetry, modern novel, essay, prose poem, reportage, etc. it has new creation in narrative angle, lyric way, description means and structural composition, and has modern characteristics In line with the trend of world literature, it has become a real modern literature.<br /> <br /> 3.中国当代dao文学是中制国历史发生天翻地覆变革的时期，是中国文学由古典走向现代的时期。洞悉这一时期文学思潮变动的惊涛骇浪，也就可以读懂中国文学由古典形态向现代形态转换的历史必然性以及促成这一文学转折的多重因素。<br /> <br /> Chinese contemporary D literature is a period of great changes in the history of China's system of state, and it is a period of time when Chinese literature changes from classical to modern. If we have a thorough understanding of the turbulent changes of literary thoughts in this period, we can understand the historical inevitability of the transformation of Chinese literature from classical form to modern form and the multiple factors that contributed to this literary transition.<br /> <br /> 4.诗人李白写过很多反映妇女生活的作品，《长干行》就是其中杰出的诗篇。<br /> <br /> Li Bai, a poet, has written many works reflecting women's life, among which the long march is an outstanding one.<br /> <br /> ==Hu Jin 胡瑾==<br /> 1. 中国古典文学广义的指自先秦至清代末年的中国文学，包括作家、作品、文学事件，文体起源与发展历程，文学运动、流派，文学理论，作家作品的考据、研究等等。<br /> <br /> 1. Chinese classical literature broadly refers to Chinese literature from pre-Qin to the end of Qing Dynasty, including writers, works, literary events, stylistic origin and development, literary movements, schools, literary theories, textual research and research of writers' works, and so on.<br /> <br /> 2. 中国现代文学是在中国社会内部发生历史性变化的条件下﹐广泛接受外国文学影响而形成的新的文学。它不仅用现代语言表现现代科学民主思想﹐而且在艺术形式与表现手法上都对传统文学进行了革新﹐建立了话剧﹑新诗﹑现代小说﹑杂文﹑散文诗﹑报告文学等新的文学体裁.<br /> <br /> 2. Chinese modern literature is a new literature which is widely influenced by foreign literature under the condition of historic changes in Chinese society. It not only expresses modern scientific and democratic thoughts in modern language, but also innovates traditional literature in both artistic forms and expression techniques, and establishes new literary genres such as drama, new poetry, modern novels, essays, prose poems and reportage.<br /> <br /> 3. 在当代文学面向世界的新的历史条件下，有选择地吸收外来文化中一切好的内容和形式，溶化到本民族文艺的血液之中,以丰富和提高本民族的文艺,成为新时期作家艺术探索的重要课题。<br /> <br /> 3. Under the new historical conditions of contemporary literature facing the world, it has become an important topic for writers to explore art in the new period by selectively absorbing all the good contents and forms from foreign cultures and melting them into the blood of their own literature and art.<br /> <br /> <br /> 4. 唐诗是我国诗歌发展的最高成就。它继承了魏晋以来的诗歌精华，而且由于唐代开放的风气，清明的政治，以及统治者的推崇，使唐代诗歌有了长足的发展，如唐代科举制就要专门的考诗歌。<br /> <br /> 4. Tang poetry is the highest achievement in the development of Chinese poetry. It inherited the essence of poetry since Wei and Jin Dynasties, and due to the open atmosphere, clear politics and the esteem of rulers in Tang Dynasty, the poetry in Tang Dynasty has made great progress. For example, the imperial examination system in Tang Dynasty required special examination of poetry.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 03:18, 14 November 2020 (UTC)<br /> <br /> The poetry in Tang Dynasty boasted the highest achievement of the Chinese poetry, which inherited the essence of poetry since Wei and Jin Dynasties, and due to the open atmosphere, clear politics and the esteem of rulers in Tang Dynasty, the poetry in Tang Dynasty has made great progress. For example, the imperial examination system in Tang Dynasty required special examination of poetry.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 12:33, 15 November 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> 东汉末年，社会动荡不安。曹操挟持汉献帝，统一北方，社会有了比较安定的环境。曹操父子皆有高度的文学修养，由于他们的提倡，一度衰微的文学有了新的生机。<br /> <br /> At the end of the Eastern Han Dynasty, the society was in turbulence, as Cao Cao hijacked Emperor HanXiandi and unified the north, and society gained a relatively stable environment. Both Cao Cao and his son have a high level of literary accomplishment. Thanks to their advocacy, the once declining literature has grown new vitality.<br /> <br /> 《骆驼祥子》是人民艺术家——老舍（舒庆春，1899-1966）所著的长篇小说，描述了20世纪20年代军阀混战时期人力车夫的悲惨命运。祥子是旧社会劳苦大众的代表人物。<br /> <br /> &quot;Camel Xiangzi&quot; is a novel written by Lao She (Shu Qingchun, 1899-1966), known by the people's artist, which describes the tragic fate of a rickshaw driver during the warlord melee in the 1920s, who is a representative of the toiling masses in the old society.<br /> <br /> 贾平凹的小说在思想内容上大多都是描写现实的，如《浮躁》以农村青年金狗与小水之间的感情经历为主线，描写了改革开放初始阶段暴露出来的问题。<br /> <br /> Most of Jia Pingwa's novels describe reality in terms of ideological content. For example, Turbulabce takes the love line between a rural young couple named JIngou and Xiaoshui to describes the exposed problems in the initial stage of reform and opening up.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 11:56, 15 November 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> 1.“古典”在拉丁文中是“第一流的、典范的”意思。欧洲文艺复兴时期，文艺理论家以古希腊、罗马的优秀作品为典范，称为古典文学。在中国，把从远古流传下来的原始歌谣和神话传说，直到五四以前大量的有一定价值的文学作品，叫古典文学。<br /> <br /> &quot;Classical&quot; means &quot;first-rate and exemplary&quot; in Latin. During the Renaissance in Europe, the theorists took those excellent works of ancient Greece and Rome as models and called them classical literature. While in China, the classical literature refers to the primitive ballads and myths handed down from time immemorial and the valuable literary works born before the May 4th Movement.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:57, 15 November 2020 (UTC)<br /> <br /> 2.这是完美的道格拉斯·亚当斯式的幽默，根植于语言、角色以及对语调和速度的完美控制，正是这些使得《银河系漫游指南》成为现代文学真正的经典。<br /> <br /> This is Douglas Adams' humour, rooted in language, characters and the sheer control of tone and pacing, which makes The Hitchhiker's Guide to the Galaxy a genuine classic of modern literature.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:57, 15 November 2020 (UTC)<br /> <br /> 3.随之涌现了一大批当代文学作品，但其中大部分都很平庸。<br /> <br /> This was accompanied by a flood of contemporary literature, most of it mediocre.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:57, 15 November 2020 (UTC)<br /> <br /> Followed by it was a flood of contemporary literature,most of which,however,were medicore.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:42, 15 November 2020 (UTC)<br /> <br /> 4.《清明》<br /> 杜牧（唐代）<br /> 清明时节雨纷纷，路上行人欲断魂。借问酒家何处有，牧童遥指杏花村。<br /> <br /> Tomb-sweeping Day<br /> Du Mu（Tang Dynasty）<br /> It's rainy in this tomb-sweeping day,<br /> and passersby were battered out of their senses.<br /> I asked a local where I can purchase some wine,<br /> then the cowboy said nothing but pointed at the distant village which is nestling amidst apricot blossoms.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:57, 15 November 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> 1. 《孔雀东南飞》主要讲述了焦仲卿、刘兰芝夫妇被迫分离并双双自杀的故事，控诉了封建礼教的残酷无情，歌颂了焦刘夫妇的真挚感情和反抗精神。<br /> <br /> Peacock Flies Southeast mainly tells the story of Jiao Zhongqing and Liu Lanzhi who were forced to separate and committed suicide, accuses the ruthlessness of feudal ethics and extols the sincere love and rebellious spirit of Jiao and Liu.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:37, 13 November 2020 (UTC)<br /> <br /> 2. 《雷雨》以1925年前后的中国社会为背景，描写了一个带有浓厚封建色彩的资产阶级家庭的悲剧。该剧情节扣人心弦、语言精炼含蓄，人物各具特色，是“中国话剧现实主义的基石”，中国现代话剧成熟的里程碑。<br /> <br /> Thunderstorm, with Chinese society around 1925 as the background, describes the tragedy of a bourgeois family with a strong feudal color. The drama is exciting in story, concise and subtle in language, and the characters have their own features. It is &quot;the cornerstone of Chinese drama realism&quot; and a milestone of the maturity of Chinese modern drama.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:37, 13 November 2020 (UTC)<br /> <br /> 3.《平凡的世界》以中国70年代中期到80年代中期十年间为背景，以孙少安和孙少平两兄弟为中心，刻画了当时社会各阶层众多普通人的形象,深刻地展示了普通人在大时代历史进程中所走过的艰难曲折的道路。<br /> <br /> &quot;Ordinary World&quot; is set in China from the mid-1970s to the mid-1980s and centered on two brothers, Sun Shaoan and Sun Shaoping. It depicts the images of many ordinary people from all classes at that time, and profoundly shows the difficult and tortuous road that ordinary people have gone through in the historical process of the great times.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:37, 13 November 2020 (UTC)<br /> <br /> 4.《长干行》描绘了商妇各个生活阶段的各个生活侧面，展现了一幅幅鲜明生动的画面，塑造出了一个对理想生活执着追求和热切向往的商贾思妇的艺术形象.<br /> <br /> &quot;The River-Merchant's Wife: A Letter&quot; depicts every aspect of the life of a businesswoman at every stage of her life, showing vivid pictures, and shaping an artistic image of a businesswoman who pursues and longs for her ideal life.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:37, 13 November 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> 1、改革开放 40 年来，中国古典文学研究事业在经典中寻找方向，在传统中汲取力量，在创新中 积累经验，在回归中实现超越。 <br /> <br /> Over the past 40 years since the reform and opening up, the research on Chinese classical literature has been looking for direction in classics, gaining strength from tradition, accumulating experience in innovation and<br /> surpassing predecessors when going back to the tradition.<br /> <br /> 2、鲁迅先生为现代文学第一人，小说代表作《呐喊》、《彷徨》和《故事新编》，鲁迅先生未创作创篇小说，以上所述都为中短篇小说集。<br /> <br /> Mr. Lu Xun is the first person in modern literature, and his representative novels are The Scream, Wandering and New Stories.Mr. Lu Xun has not written any creative novels, and all of the above are collections of short stories.<br /> <br /> <br /> 2. Lu Xun is the leading person in modern literature, and his representative novels are The Scream, Wandering and New Stories.Mr. Lu Xun has not written any creative novels, and all of the above are collections of short stories.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 12:00, 15 November 2020 (UTC)<br /> <br /> 3、《边城》寄托着沈从文“美”与“爱”的美学理想，是他的作品中最能表现人性美的一部。<br /> <br /> Frontier City embodies Shen Congwen's aesthetic ideals of &quot;beauty&quot; and &quot;love,&quot; and is the one of his works that best expresses the beauty of human nature.<br /> <br /> 4、《江雪》是唐朝诗人柳宗元经典的诗作。在中国，这首诗被选入国内小学课本和许多对外汉语教材之中，是脍炙人口的名篇。<br /> Fishing in Snow is a classical poem by Liu Zongyuan, a poet of the Tang Dynasty. In China, this poem was selected into elementary school textbook and many Foreign-Chinese textbooks，and it is a well-known poem.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:37, 13 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> 1、《山海经》是中国一部记述古代志怪的古籍，大体是战国中后期到汉代初中期的楚国或巴蜀人所作。它是一部荒诞不经的奇书。<br /> <br /> The Classic of Mountains and Seas is an ancient Chinese book describing ancient supernatural beings. It was written by people of Chu or Bashu from the middle and late Warring States period to the early and middle Han Dynasty. It is a fantastic and absurd book.<br /> <br /> 2、唐代建国初的诗歌仍沿着南朝诗歌的惯性发展，柔靡纤弱，毫无生气。“初唐四杰”的出现开始转变了这种风气。他们才气横溢，不满现状，通过自己的诗作抒发愤激不平之情和壮烈的怀抱，拓宽了诗歌题材。<br /> <br /> The poetry of the early Tang Dynasty still developed along the inertia of the poetry of the South Dynasty, which was soft, delicate and lifeless. The appearance of the &quot;Four Great Poets &quot; in the early Tang Dynasty began to change this trend. They are brilliant, dissatisfied with the status quo.they broaden the theme of poetry through their own poems to express the feelings of injustice and heroic embrace.<br /> <br /> 3、贾平凹作为陕西文坛的优秀代表，成为享誉海内外的文学大师，数十年如一日，笔耕不辍，以一个作家无比悲悯的情怀，深邃而富有远见的思想讴歌着时代，赞美着人性，用他的作品感动着亿万中国人的心。<br /> <br /> Jia Pingwa, as an outstanding representative of shaanxi literature, has become a famous literary master at home and abroad. For decades, he has been working tirelessly, eulogizing the Times and human nature with his profound and far-sighted thoughts, and touching the hearts of millions of Chinese people with his works.<br /> <br /> 4、中国现代文学是在中国社会内部发生历史性变化的条件下，广泛接受外国文学影响而形成的新的文学。它不仅用现代语言表现了现代科学民主思想，而且在艺术形式与表现手法上都对传统文学进行了革新。<br /> <br /> Chinese modern literature is a new literature formed under the condition of historical changes in Chinese society and widely accepted the influence of foreign literature. It not only expresses the thought of science and democracy with modern language, but also innovates the traditional literature in art form and expression technique.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 15 November 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Lili 李丽丽==<br /> 1.中国古代文学是中华文明的重要组成部分，它的历史悠久，其起源，约略同中华文明的起源同步。<br /> Ancient Chinese literature is an important part of Chinese civilization. With a long history, it came into being as early as Chinese civilization.<br /> <br /> 2.近代文学的成就在于它的反帝反封建的进步主流，它的反映现实和追求理想的精神和方法，它的语文合一、走向通俗化的探索和努力，为“五四”时代新文学运动准备了一定的历史条件。<br /> The achievements of modern literature lie in its progressive mainstream of anti- imperialism and anti-feudalism, its spirit and method of reflecting reality and pursuing ideal, and its exploration and efforts towards language integration and popularization, which provided certain historical conditions for the New Literature Movement in the May 4th movement.<br /> <br /> 3.现代文学不仅用现代语言表现现代科学民主思想﹐而且在艺术形式与表现手法上都对传统文学进行了革新﹐建立了话剧﹑新诗﹑现代小说﹑杂文﹑散文诗﹑报告文学等新的文学体裁﹐<br /> Contemporary culture not only expresses modern scientific and democratic thoughts in modern language, but also innovates traditional literature in artistic forms and expression techniques, which establishes new literary genres such as drama, new poetry, modern novel, essay, prose poem, reportage, etc.<br /> <br /> 4.唐诗是中华民族珍贵的文化遗产之一，是中华文化宝库中的一颗明珠，同时也对世界上许多国家的文化发展产生了很大影响，对于后人研究唐代的政治、民情、风俗、文化等都有重要的参考意义。<br /> Tang poetry is one of the precious cultural heritages of the Chinese nation and a pearl in the treasure house of Chinese culture. At the same time, it has a great influence on the cultural development of many countries in the world. It also has important reference significance for the later generations to study the politics, folk lifestyles, customs and culture of the Tang Dynasty.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:54, 13 November 2020 (UTC)Li Lili<br /> <br /> Tang poetry is one of the precious cultural heritages of the Chinese nation and a pearl in the treasure house of Chinese culture. At the same time, it has a great influence on the cultural development of many countries in the world. It is of great significance for mentoring the later generations to study the politics, folk lifestyles, customs and culture of the Tang Dynasty.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 07:24, 15 November 2020 (UTC)Chen Jingjing<br /> <br /> ==Li Liqin 李丽琴==<br /> 1. 中国古典文学名著有诗歌、散文、小说、戏剧、词、赋等多种表现形式，从而使中国古典文学呈现多姿多彩、壮丽辉煌的图景。《诗经》是我国第一部诗歌总集，收入自西周初年至春秋中叶五百多年的诗歌311篇，又称《诗三百》。《诗经》共有风、雅、颂三个部分，对中国的文学史、政治、语言、甚至思想上都有着非常深远的影响。<br /> <br /> 2. 中国现代文学不仅用现代语言表现现代科学民主思想，而且在艺术形式与表现手法上都对传统文学进行了革新。鲁迅是新文化运动的重要参与者，也是中国现代文学的奠基人之一。<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1. 中国古典文学是中国文学史上闪烁着灿烂光辉的优秀作品，它是世界文学宝库中令人瞩目的瑰宝。几千年来，中国传统文化养育了中国古典文学，中国古典文学又大大丰富了中国传统文化，使传统文化更具有深刻的影响力。<br /> <br /> Chinese classical literature is an excellent work with brilliant brilliance in the history of Chinese literature. It is a remarkable treasure in the world literature.For thousands of years, Chinese traditional culture has nurtured Chinese classical literature, which in turn has greatly enriched Chinese traditional culture and made it more profoundly influential.<br /> <br /> Chinese classical literature is an excellent work shining brilliant glory in the history of Chinese literature. It is a remarkable treasure in the world literature.For thousands of years, Chinese traditional culture has nurtured Chinese classical literature, which in turn has greatly enriched Chinese traditional culture and made it more profoundly influential.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:58, 13 November 2020 (UTC)<br /> <br /> 2. 中国现代文学是在中国社会内部发生历史性变化的条件下，广泛接受外国文学影响而形成的新的文学。<br /> <br /> Chinese modern literature is a new literature formed under the condition of historical changes in Chinese society,which is greatly influenced by foreign literature.<br /> <br /> Chinese modern literature is a new literature formed by greatly aborsobing foreign literature under the condition of historical changes in Chinese society.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:58, 13 November 2020 (UTC)<br /> <br /> 3. 中国自由文学在民间又称贫民窟文学，其概念出现于上世纪九十年代，以中国自由作家为代表，数十年扎根中国社会底层及贫民窟，极大的同情与关注社会底层贫民的生存状态，所创作的小说均表现中国社会边缘知识分子与社会底层贫民以及下层妓女的悲怆爱情故事，为新时期中国当代文学的代表作。<br /> <br /> Chinese free literature is also known as slum literature among the people,which appeared in the 1990s.It’s represented by Chinese free writers who have been rooted in the bottom of Chinese society and slums for decades,showing great empathy and concern for the living conditions of the poor at the bottom of Chinese society.Their novels depicted the pathetic love stories between the marginal intellectuals of Chinese society and the poor at the bottom of society as well as the prostitutes of the lower class,which are the representative works of Chinese contemporary literature in the new era.<br /> <br /> 4. 诗人李白写过许多反映妇女生活的作品，《长干行》就是其中杰出的诗篇。它以一位居住在长干里的商妇自述的口气，叙述了她的爱情生活，倾吐了对于远方丈夫的殷切思念。它塑造了一个具有丰富深挚的情感的少妇形象，具有动人的艺术力量。<br /> <br /> The poet Li Bai has written many works reflecting women’s life,among which Ballad of a Merchant’s Wife is an outstanding one.It narrated the love life of a merchant’s wife living in Chokan in her own words and expressed her ardent yearning for his husband far away.It portrayed an image of a young woman with rich and deep emotions,which had touching artistic power.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 09:18, 12 November 2020 (UTC)<br /> <br /> The poet Li Bai has written many works reflecting women’s lives, among which ''Changgan Song'' is an outstanding one. It narrated the love life of a merchant’s wife living in Changganli (in Nanjing) in her own words and expressed her ardent yearning for his husband far away. It presented a moving power of art by creating an image of a young woman with rich and deep emotions. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:24, 13 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> 1. 文学的起源是诗歌，亦即韵文先于散文，西方亦然。<br /> <br /> The origin of literature is poem, and verse precedes prose, it is the same in the West.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 02:42, 15 November 2020 (UTC)<br /> <br /> 2.凡每一个时代，其同时代最伟大的人，必有齐名者，如诗人称“李杜”，文称“韩柳”，画家则称“吴李”。<br /> <br /> In every age, the most renowned person will have his counterpart, for example, the famous poets &quot;Li Du&quot;(Li Bai and Du Fu),writers &quot;Han Liu&quot;(Han Yu and Liu Zongyuan),painters &quot;Wu Li&quot;(Wu Daozi and Li Longmian).--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 02:42, 15 November 2020 (UTC)<br /> <br /> 3.在老一辈学术名家中，钱穆先生以其学问淹博、著述宏富著称。<br /> <br /> --[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 12:05, 15 November 2020 (UTC)Among the old generations of reputed scholars，Mr. Qian Mu is outstanding for his erudition and amount of work.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 02:42, 15 November 2020 (UTC) <br /> <br /> 3. Among the old generations of reputed scholars，Qian Mu is outstanding for his erudition and amount of work.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 12:05, 15 November 2020 (UTC)<br /> <br /> 4.真实的文学来自广大群众，须采自当时某一地域的民间。<br /> <br /> The authentic literature comes from the masses and must be collected from the folks in a certain area at that time.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 02:42, 15 November 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> 1、中国古典文学是中国文学史上闪烁着灿烂光辉的经典性作品或优秀作品，它是世界文学宝库中令人瞩目的瑰宝。中国古典文学有诗歌、散文、小说以及词、赋、曲等多种表现形式，在各种文体中，又有多种多样的艺术表现手法，从而使中国古典文学呈现出多姿多彩、壮丽辉煌的图景。<br /> <br /> Classical Chinese literature is a classical work or excellent work in the history of Chinese literature that shines with brilliant light, and it is a remarkable treasure among the treasures of world literature. Classical Chinese literature has a variety of expressions such as poetry, prose, novel, and lyrics, fu, and song, and a variety of artistic expressions in a variety of styles, thus making classical Chinese literature present a colorful, magnificent and glorious picture.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:13, 11 November 2020 (UTC)<br /> <br /> 2、现代文学在“五四”文学革命以后的60多年发展过程中﹐随著中国革命与社会性质的演变﹐以1949年10月中华人民共和国成立为转折﹐经历了新民主主义革命时期与社会主义时期两个历史阶段。两个阶段的文学既有各自的历史面貌﹐显示出不同阶段的差异性﹔<br /> <br /> In the more than 60 years since the May Fourth Literary Revolution, modern literature has gone through two historical stages: the period of the New Democratic Revolution and the period of socialism, following the Chinese Revolution and the evolution of the nature of society, with the founding of the People's Republic of China in October 1949 as a turning point. The literature of the two stages has its own historical outlook and shows the differences between the different stages.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:13, 11 November 2020 (UTC)<br /> <br /> Following the Chinese Revolution and the evolution of the nature of society in more than 60 years since the May Fourth Literary Revolution, modern literature has gone through two historical stages: the period of the New Democratic Revolution and the period of socialism,with the founding of the People's Republic of China in October 1949 as a turning point. The literature of the two stages has its own historical outlook and shows the differences at the different stages.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 09:08, 12 November 2020 (UTC)<br /> <br /> <br /> 3、中国平民作家特别是自由作家所具有的独立思想，通常在作品中以令人恐怖的真实表现出思想的光芒。在批判现实主义基础上开创了一整套独立特行的现代美学与完整的思想价值体系，为中国当代坚持探究思想之源的文学巨匠的群体，同时也是具有非凡忍耐力和巨大牺牲精神的真正的作家群体。<br /> <br /> The independent thoughts of Chinese commoner writers, especially freelance writers, usually shine through with terrifying truth. On the basis of critical realism, they have created a set of independent and unique modern aesthetics and a complete system of ideological values, and are contemporary Chinese literary giants who insist on exploring the source of ideas, as well as genuine writers with extraordinary endurance and great sacrifice.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:13, 11 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> 1.在中国的诗歌史上，唐诗、宋诗（词）作为两个难以逾越的高峰，灿烂着中国的文化领域，同时，又备受文人们的争议，从诗歌的写作背景，到诗歌的谋篇结构、锤词炼句、修辞用典，都是人们热爱和攻击的目标。<br /> In the history of Chinese poetry, Tang poems and Song poems (ci), as two insurmountable peaks, glow in China’s culture. In the meanwhile, literati have held their own opinions about them. The background, the structure of poetry, sentences polishing, and rhetorical allusions are favorable for both supporters and haters<br /> <br /> 正是以胡适这些“沟通新旧两个艺术时代桥梁”的前“五四”白话诗为标志，中国诗歌结束了其几千年来在古典形态里的发展变化，初步确立了中国诗歌新的艺术形态，转换了中国诗歌古典与现代的题型，开始了一个伟大的“新诗纪元”。<br /> Thanks to Hu Shi's symbolic pre May 4th vernacular poems, which connect the old and the new art eras, Chinese poetry has ended its thousands of years of development and changes in the classical form and established a new artistic form of Chinese poetry, changing the types of Chinese classic and modern poetry. Therefore, It started a great &quot;new poetry era&quot;.<br /> <br /> Thanks to Hu Shi's symbolic pre May 4th vernacular poems, which connect the old and the new art eras, Chinese poetry has ended its thousands of years of development and changes in the classical form and established a new artistic form of Chinese poetry, changing the types of Chinese classic and modern poetry. Therefore, a great &quot;new poetry era&quot; started.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 07:30, 15 November 2020 (UTC)Chen Jingjing<br /> <br /> 余华曾坦言： “我觉得我所有的创作，都是在努力更加接近真实。我的这个真实，不是生活里的那种真实。我觉得生活实际上是不真实的，生活是一种真假参半、鱼目混珠的事物。”<br /> Yu Hua once said with honesty: &quot;I feel that I'm struggling to bring my writings to be closer to reality. My definition of reality is not the reality in life. I think life is far from real. Life is a mixture of truth and falsehood.&quot;--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 02:41, 15 November 2020 (UTC)Liu Yiyu<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 1 这部小说也称《石头记》，作者是清代（公元1644年—公元1911年）大作家曹雪芹（约公元1715年—公元1764年）。小说最早以手抄本形式出版于18世纪中期，且原著仅有前80回留存于世。<br /> <br /> Also known as &quot;The Story of the Stone,&quot; the novel was written by Cao Xueqin (circa 1715-1764), a great writer of the Qing Dynasty (1644-1911). The book was first published in the middle of 18th century in the form of hand-written copies and only the first 80 chapters of the original novel have survived.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:31, 15 November 2020 (UTC)<br /> <br /> 2 在中国动画史上，有一部注定青史留名的影片，那就是上海美术电影制片厂的《大闹天宫》。美猴王的故事本就家喻户晓，加上京剧元素和中国民间艺术托底，让这部影片的艺术性到了当时难以企及的高度。<br /> <br /> In the history of Chinese animation, if there's one movie that's destined to become immortal, it is the Shanghai Animation Film Studio's Havoc in Heaven. Its protagonist, the Monkey King, is a household name rooted in Chinese mythology and literature. Complete with fine art inspired by Peking opera and Chinese folk art, the movie scaled heights that no others could at the time.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:31, 15 November 2020 (UTC)<br /> <br /> 3 电影《江姐》改编自1961年的著名小说《红岩》，讲述了共产主义革命烈士江姐(1920-1949)的波澜壮阔的一生，江竹筠被广泛认为是中国最著名的女英雄之一。<br /> <br /> Based on the renowned 1961 novel &quot;Red Crag,&quot; the film &quot;Sister Jiang&quot; follows the ups and downs of the Communist revolutionary martyr Jiang Zhuyun (1920–1949), widely regarded as one of most celebrated Chinese heroines. --[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:31, 15 November 2020 (UTC)<br /> <br /> 4 李白有诗云，“相知在急难，独好亦何益”。<br /> <br /> China’s great poet Li Bai of the Tang Dynasty (7th-10th century) once wrote of friendship that “true friendship is revealed through adversity, and success becomes nothing when it is not shared”.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:31, 15 November 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.只缘感君一回顾，使我思君暮与朝。——《古相思曲》<br /> <br /> A single glimpse of you haunts me day and night.---''Ancient Lovesick Songs''<br /> <br /> 2.四奶奶站在三爷背后，笑了一声道：“自己骨肉，照说不该提钱的话。提起钱来，这话可就长了！”——张爱玲《倾城之恋》<br /> <br /> The fourth concubine,standing behind the third master,chuckled and said :&quot;Normally,it is undue to mention money between parents and kids,If bothered,there will be countless expenditures！&quot; ---Zhang Ailing ''Love in a Fallen City''<br /> <br /> 3.县城真热闹：官盐店，税务局，肉铺里挂着成边的猪，一个驴子在磨芝麻，满街都是小磨香油的香味，布店，卖茉莉粉、梳头油的什么斋，卖绒花的，卖丝线的，打把式卖膏药的，吹糖人的，耍蛇的，……他什么都想看看。——贾平凹《受戒》<br /> <br /> The county seat is so bustling that there stand various of buildings,such as official-operating salt shop,tax bureau and the butchers' with half piece of pork.A donkey is grinding sesame,the fragrance of the oil suffuing the whole street.He wants to wander over all the attractions:cloth shops,thr unknown shop selling jasmine powder and comb oil,shop selling velvet flowers and threads as well as some acrobatic shows for advertising,sugar figure making as well as snake charmers' performance.---Jia Pingao ''Ordained''--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:09, 12 November 2020 (UTC)Mo Ling<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> 1.明清是中国小说史上的繁荣时期。这个时代的小说从思想内涵和题材表现上来说，最大限度地包容了传统文化的精华，而且经过世俗化的图解后，传统文化竟以可感的形象和动人的故事而走进了千家万户。<br /> <br /> Chinese novel had its heyday during the Ming and Qing dynasties when the thoughts and themes of novels tended to embody the essence of traditional culture. After popularized, Chinese traditional culture was disseminated through the vivid characters and moving stories in the novels.<br /> <br /> 2.鸦片战争过后所带来的的民族危机极大地震动了当时的思想界，人们纷纷寻求救国真理。中国近代文学题材的扩大，新人物、新意境、新思想、新名词的出现，新的艺术手法的吸取，都无不与西方文化的撞击有关。<br /> <br /> The Opium War and the consequent national crisis posed a great shock in the intellectual field, and Chinese people sought for the truth of how to save the country from foreign invaders. In Chinese modern literature, the expansion of themes, arising of new characters, new artistic conception, new ideas and new terms, and absorption of new artistic technique are associated with the impact of western culture.<br /> <br /> 3.中国当代文学是“为人民服务， 为社会主义服务”的文学，70多年来，在社会主义革命和建设的各个历史时期，中国当代文学致力于反映人民群众从事社会主义革命和建设的历史活动，歌颂他们以主人翁精神为社会主义事业所作出的创造性的劳动。<br /> <br /> Chinese contemporary literature was aimed at ”serving the Chinese people as well as the socialism ”. For more than 70 years, in every period of socialist reform and construction Chinese contemporary literature has been committed to reflecting the historical activities of the masses and singing the praises of their creative labour and spirit of ownership in the cause of socialism.<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> 1.《水浒传》通过描写梁山好汉反抗欺压、水泊梁山壮大和受宋朝招安，以及受招安后为宋朝征战，最终消亡的宏大故事，艺术地反映了中国历史上宋江起义从发生、发展直至失败的全过程，深刻揭示了起义的社会根源，满腔热情地歌颂了起义英雄的反抗斗争和他们的社会理想，也具体揭示了起义失败的内在历史原因。<br /> <br /> &quot;Water Margin&quot; articulates the grand story of Liangshan heroes resisting oppression, waterbo Liangshan growing and being recruited by the Song Dynasty, as well as fighting for the Song Dynasty after being recruited, and finally dying out. It artistically reflects the Songjiang Uprising in Chinese history from its occurrence, development to failure. The whole process deeply revealed the social roots of the uprising, enthusiastically praised the resistance struggle of the uprising heroes and their social ideals, and also specifically revealed the inherent historical reasons for the failure of the uprising.<br /> <br /> 2.《平凡的世界》是中国作家路遥创作的一部全景式地表现中国当代城乡社会生活的百万字长篇小说。全书共三部。1986年12月首次出版。该书以中国70年代中期到80年代中期十年间为背景，通过复杂的矛盾纠葛，以孙少安和孙少平两兄弟为中心，刻画了当时社会各阶层众多普通人的形象。<br /> <br /> &quot;The Ordinary World&quot; is a million-character novel created by Chinese writer Lu Yao, which is a panoramic view of contemporary urban and rural social life in China. There are three parts in the book. First published in December 1986.<br /> The book takes China’s mid-70s to mid-1980s as a background, through complex contradictions and entanglements, centering on the two brothers Sun Shaoan and Sun Shaoping, it portrays the images of many ordinary people from all walks of life at that time.<br /> <br /> 3.《三体》是刘慈欣创作的系列长篇科幻小说，由《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》组成，第一部于2006年5月起在《科幻世界》杂志上连载，第二部于2008年5月首次出版，第三部则于2010年11月出版。<br /> <br /> &quot;Three-Body&quot; is a series of long science fiction novels created by Liu Cixin, composed of &quot;Three-Body&quot;, &quot;Three-Body Ⅱ·Dark Forest&quot;, &quot;Three-Body Ⅲ·Eternal Life of Death&quot;. It was serialized in World magazine, the second part was first published in May 2008, and the third part was published in November 2010.<br /> <br /> 4.李白（701年－762年） ，字太白，号青莲居士，又号“谪仙人”，唐代伟大的浪漫主义诗人，被后人誉为“诗仙”，与杜甫并称为“李杜”，为了与另两位诗人李商隐与杜牧即“小李杜”区别，杜甫与李白又合称“大李杜”。<br /> <br /> Li Bai (701-762), whose name was Taibai, was named Qinglianjushi, also known as &quot;the banished immortal&quot;. A great romantic poet in the Tang Dynasty, he was called &quot;the fairy of poetry&quot; by later generations and was called &quot;Li Du&quot; together with Du Fu. In order to distinguish them from the other two poets, Li Shangyin and Du Mu, namely &quot;little Li and Du&quot;, Du Fu and Li Bai are collectively called &quot;big Li and Du&quot;.--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 06:12, 14 November 2020 (UTC)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 06:12, 14 November 2020 (UTC)<br /> <br /> ==Phyo, Su Kyi==<br /> 1-水Mar传，西游记，三国浪漫史和红楼梦；这四本小说构成了中国古典文学的核心，并仍在传播着现代文化。<br /> <br /> Water Margin, Journey to the West, Romance of the Three Kingdoms and Dream of the Red Chamber; these four novels form the core of Chinese classical literature and still inform modern culture.<br /> <br /> 2-《中国现代文学》记录了至少3000年前的不间断历史，其历史至少可以追溯到公元前14世纪。中国现代文学以丰富的文化为基础，蓬勃发展。<br /> <br /> Chinese Modern Literature is a record of an uninterrupted history of more than 3,000 years, dating back at least to the 14th century BC. Based on luxuriant culture, Chinese Modern literature developed flourishingly.<br /> <br /> 3-现代文学与当代文学之间的主要区别在于时代。现代文学指的是十九世纪末至十六世纪六十年代的文学，而当代文学指的是第二次世界大战至今的文学。<br /> <br /> <br /> The key difference between modern and contemporary literature is their time period. Modern literature refers to the literature dating from late nineteenth century to nineteen sixties while the contemporary literature refers to the literature dating from the Second World War to the present.<br /> <br /> ==Pingki, Tanchangya==<br /> 1.司马迁是汉代（206BC-220AD）的一位著名作家和历史学家。他撰写了一部出色的历史著作《历史学家的记录》，描绘了皇帝，国王，将军，国务卿和农民的著作。<br /> <br /> Sima Qian is a well known writer and historian in the Han dynasty (206BC- 220AD).He wrote an outstanding historical work &quot;Records of the historian&quot; with depictions of emperor's, kings, generals, ministers of states and peasant work.<br /> <br /> 2.龚自珍，黄遵宪和刘亚子是现代先进诗歌的三位代表作。<br /> <br /> Three representative writers of modern progressive poetry are Gong Zizhen, Huang Zunxian and liu Yazi.<br /> <br /> 3.新时期的文学作品反映了变化中的社会生活的各个方面。 以鲁新华为代表的“伤口”揭露了暴政下人们的迫害。<br /> <br /> literature of the new period reflects various aspects of life of the changing society. &quot;The wound&quot; by lu xinhua as its representative exposes the persecution of people under the tyranny.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 12:06, 15 November 2020 (UTC)<br /> <br /> ==Qu Miao 瞿淼==<br /> 1. 中国古典文学名著有诗歌、散文、小说、戏剧以及词、赋、曲、民间神话传说故事等多种表现形式，在各种文体中，又有多种多样的艺术表现手法，从而使中国古典文学呈现出多姿多彩、壮丽辉煌的图景。<br /> <br /> The literary forms of Chinese classical literature contains poetry, prose, novel, play, Ci(a kind of literature form that is actually lyrics to music), ode, song, folk myth and legend, each of which is expressed in various artistic methods, contributing to the colorful and magnificent view of Chinese classical literature.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:29, 15 November 2020 (UTC)<br /> <br /> 2.《二十年目睹之怪现状》以主人公“九死一生”的经历为干线，从他奔父丧开始，至其经商失败终止，通过这个人物20年间的遭遇和见闻，广泛地揭露了从光绪十年（1884）中法战争前后至光绪三十一年（1905）左右的清末社会的黑暗现实。<br /> <br /> The novel, Bizarre Happenings Eyewitnessed Over Two Decades, takes the protagonist’s near-death experience as main line, which starts from his father’s death and ends up with his failure in business. Through what he had seen, heard and suffered in twenty years, this book uncovers the dark reality of The Qing dynasty in the period from about the tenth to the thirty-first year of Guangxu’s Reign(1884-1905).--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:29, 15 November 2020 (UTC)<br /> <br /> 3. 伤痕文学是20世纪70年代末到80年代初在中国大陆文坛占据主导地位的一种文学现象。它得名于卢新华以“文革”中知青生活为题材的短篇小说《伤痕》。<br /> <br /> As a literary form dominate in the late 1970s to early 1980s in China, Scar literature is named after Lu Xinhua’s short novel Scar, which portraits the life of intellectual youth during the Cultural Revolution.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:29, 15 November 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> 1. Classical literature began during the transitional period of Chinese history from slavery society to feudal society. <br /> <br /> 古典文学始于中国历史从奴隶制社会到封建社会的过渡时期。<br /> <br /> 2. Many writers, especially older writers, still cling to realism.<br /> <br /> 许多作家，尤其是年长的作家，仍然坚持现实主义。<br /> <br /> 3. China was gradually changed into a semi-feudal, semi-colonial society, and Chinese people rose heroically against foreign aggressions.<br /> <br /> 中国逐渐转变为半封建半殖民地社会，中国人民英勇起来反对外国侵略。--[[User:RAJABOV ANUSHERVON 10|RAJABOV ANUSHERVON 10]] ([[User talk:RAJABOV ANUSHERVON 10|talk]]) 07:41, 15 November 2020 (UTC)<br /> <br /> ==Seydou, Sagara==<br /> 1 The pastoral discourse was enriched with country fishing folklore, songs and poems, recipes and anecdotes, moral meditations, and quotes from classic literature.<br /> 2 Citation in contemporary literature undoubtedly reinforced and disseminated theories of film and its characteristics<br /> 3 Modern literature is very famous and many people are interested in this field in China.<br /> 1田园话语丰富了乡村捕鱼的民间传说，歌曲和诗歌，食谱和轶事，道德冥想以及古典文学的名言。<br /> 2当代文学中的引证无疑是对电影理论及其特征的强化和传播<br /> 3现代文学非常有名，中国有很多人对此领域感兴趣。--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 14:26, 15 November 2020 (UTC)<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> ==Si Yu 司妤==<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> 1.春秋战国时期，是一个社会发生急剧变化的时代，此一时期，在中国文学史上占有重要一席之地的即是先秦散文。百花齐放、百家争鸣的文化氛围促进了文学的繁荣，也迎来了文化光辉灿烂的时代，尤其是儒、墨、道、法几家学说，奠定了中国传统文化的基础。<br /> <br /> The Spring and Autumn Period and the Warring States Period was an era of rapid social changes. During this period, pre-Qin prose occupies an important place in the history of Chinese literature. The cultural atmosphere of &quot;a hundred flowers blossoming and a hundred schools of thought&quot; has promoted the prosperity of literature and ushered in an era of splendid culture, especially the doctrines of Confucianism, Mohism, Taoism, and Law, which laid the foundation of Chinese traditional culture.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 09:01, 12 November 2020 (UTC)<br /> <br /> 2.中国现代文学发端于五四运动时期，但以鸦片战争后的近代文学为其先导。现代文学是新民主主义革命时期现实土壤上的新的产物，同时又是旧民主主义革命时期文学的一个发展。广义上的中国现代文学史是指1917年到1997年。<br /> <br /> Modern Chinese literature originated during the May Fourth Movement, but was guided by modern literature after the Opium War. Modern literature is a new product on the soil of the new democratic revolution, and at the same time a development of literature in the old democratic revolution. The history of modern Chinese literature in a broad sense refers to the period from 1917 to 1997.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 09:01, 12 November 2020 (UTC)<br /> <br /> 3.如果我们把百余年来中国文学的演进历程视为一个不断走向开放的矛盾、艰难、曲折，坎坷的现代化进程的话，那么，毫无疑问，这一进程发轫于近代。<br /> <br /> If we regard the evolution of Chinese literature over the past 100 years as a contradictory, difficult, tortuous, and bumpy modernization process that continues to open, then there is no doubt that this process began in modern times.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 09:01, 12 November 2020 (UTC)<br /> <br /> If we regard the evolution of Chinese literature in the past hundred years as a contradictory, difficult, tortuous and bumpy modernization process, then there is no doubt that this process originated in modern times.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 03:22, 14 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> 1.桃之夭夭，灼灼其华。之子于归，宜其室家。<br /> <br /> Oh, bright-red blossoms are piled on green and luxuriant peach trees. The lady, when married, will bring harmony and happiness to her family.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 12:31, 15 November 2020 (UTC) <br /> <br /> 2.深蓝的天空中挂着一轮金黄的圆月，下面是海边的沙地，都种着一望无际的碧绿的西瓜。其间有一个十一二岁的少年，项带银圈，手捏一柄钢叉，向一匹猹尽力地刺去。那猹却将身一扭，反从他的胯下逃走了。<br /> <br /> The deep blue sky hung a round golden moon, and below was the sand by the sea, all planted with a vast area of turquoise watermelons. A boy of eleven or twelve, with a silver collar and a steel fork in his hand, stabbed at a badger-like wild animal as hard as he could. But the creature and fled from his crotch with a wriggle.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 12:31, 15 November 2020 (UTC)<br /> <br /> 3.爱情应该真正建立在现实生活坚实的基础上，否则，它就是在活生生的生活之树上盛开的一朵不结果实的花<br /> <br /> Love should really be built on real life, otherwise it is just an unfruitful flower blooming on the tree of life.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 12:31, 15 November 2020 (UTC)<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> ==Wang Xuan 王轩==<br /> 1. 中国古典文学广义的指自先秦至清代末年的中国文学，包括作家、作品、文学事件，文体起源与发展历程，文学运动、流派，文学理论，作家作品的考据、研究等等。<br /> Chinese classical literature refers to Chinese literature from the pre Qin Dynasty to the end of Qing Dynasty, including writers, works, literary events, the origin and development of literary styles, literary movements, schools, literary theories, textual research of writers and works, etc. --[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:26, 15 November 2020 (UTC)Wang Xuan<br /> <br /> 2. 中国现代文学是中国文学自身发展演变的结果。古典文学已近尾声。历史进入二十世纪以来，人们的生活发生了很大变化，人们的思维方式，思想情感，心理结构也发生了很大变化，中国固有的古典文学模式已再也不能满足人们思想情感表达的需要。<br /> Modern Chinese literature is the child of the development and evolution of Chinese literature itself, and classical literature has come to an end. Since the 20th century, great changes have taken place in people's life. Besides, people's way of thinking, thoughts and feelings, and psychological structure have also changed a lot. The traditional Chinese classical literature can no longer meet the needs of people's ideological and emotional expression.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:26, 15 November 2020 (UTC)Wang Xuan<br /> <br /> 3. 中国当代文学，首先指的是1949年以来的中国文学；其次指的是发生在特定的社会主义历史语境中的文学，它限定在“中国大陆”这一范围之中。<br /> Chinese Contemporary literature is China's literature since 1949, and secondly, it refers to the literature that occurs in a specific historical context of socialism, which is limited to the &quot;mainland China&quot;.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:26, 15 November 2020 (UTC)Wang Xuan<br /> <br /> 4. 诗人李白写过许多反映妇女生活的作品，《长干行二首》就是其中杰出的诗篇。它以一位居住在长干里的商妇自述的口气，叙述了她的爱情生活，倾吐了对于远方丈夫的殷切思念。它塑造了一个具有丰富深挚的情感的少妇形象，具有动人的艺术力量。<br /> Li Bai, a poet, has written many works reflecting women's life, among which &quot;the two poems on a long journey&quot; are outstanding. It narrates her love life with the self-reported tone of a merchant woman living in Changgan, and expresses her ardent yearning for her husband from afar. It creates an image of a young woman with rich and deep feelings and has a moving artistic force.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:26, 15 November 2020 (UTC)Wang Xuan<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> 1.《离骚》艺术上有着极高成就。首先，整部作品都具有强烈的浪漫主义色彩，在后半部分，这种色彩更为浓烈。<br /> &quot;Li Sao&quot; has extremely high artistic achievements. First, the whole work has a strong romantic color, and in the second half, it becomes more intense.<br /> &quot;Li Sao&quot; enjoys extremely high artistic achievements. First, it has a strong sense of romantic color, which becomes more intense in the second half part of the work.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:00, 13 November 2020 (UTC)Li Lili<br /> <br /> <br /> 2.《茶馆》人物众多但性格鲜明，能够“闻其声知其人”，“三言两语就勾出一个人物形象的轮廓来”。<br /> There are too many characters with distinct personalities in &quot;Tea House&quot;, and people can distinguish everyone only by hearing their voices, and the outline of a character can be drawn in a few words.<br /> <br /> 3.《平凡的世界》是用温暖的现实主义的方式来讴歌普通劳动者的文学作品。<br /> &quot;The Ordinary World&quot; is a literary work that eulogizes ordinary laborers in a warm and realistic way.<br /> <br /> 4.唐诗把我国古曲诗歌的音节和谐、文字精炼的艺术特色，推到前所未有的高度，为古代抒情诗找到一个最典型的形式，至今还特别为人民所喜闻乐见。<br /> Tang poetry pushed the syllable harmony and refined artistic characteristics of Chinese ancient poetry to unprecedented heights, and helped find the most typical form of ancient lyric poetry, which is still popular among the people.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 10:04, 13 November 2020 (UTC)<br /> <br /> Tang poetry set a highest standard for the artistic features of harmonious syllables and refined words in ancient Chinese poetry, and helped find the most typical form of ancient lyric poetry, which is still popular among the people. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 12:52, 15 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> 1.四大古典名著是中国文学史中的经典作品，是世界宝贵的文化遗产。此四部巨著在中国文学史上的地位是难分高低的，极高的文学水平和艺术成就，细致的刻画和所蕴含的深刻思想都为历代读者所称道，其中的故事、场景、人物已经深深地影响了中国人的思想观念、价值取向。<br /> <br /> Four Great Classical Novels are classics in the history of China’s literature，as well as a precious cultural heritage of the world. It is difficult to distinguish which one is better, as they all enjoy high-level of literature and artistic achievement. Delicate description and profound thoughts contained in these four books are praised by readers through the ages. Their stories, scene and characters deeply influence Chinese people’s ideology and value orientations.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:02, 14 November 2020 (UTC)<br /> <br /> 2.中国现代文学是在积极的思想斗争中向前发展的, 现代中国面临一个动荡的大变革的时代﹐处于这样历史时代的中国现代文学﹐呈现出不同阶级﹑不同趋向的文学作品和文学思潮纷然杂陈﹐彼此冲突而又互相影响与吸收的复杂面貌。<br /> <br /> China’s modern literature is developing among positive ideological struggle. As modern China confronts a turbulent age of great reform, China’s modern literature of this times presents various literature works and literature trends of different classes with different tendency. They conflict with each other while influencing and absorbing each other.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:02, 14 November 2020 (UTC)<br /> <br /> 3.90年代的文学具有的&quot;无名&quot;特征：出现了无主潮，无定向，无共名的现象，几种文学走向同时并存，表达出多元的价值取向.其次是作家的叙事立场发生了变化，从共同社会理想转向个人叙事立场.<br /> <br /> Literature of 1990s is of indefinable, without main trend, orientation and unified theme. In this period, some different kinds of literature existed together, which showed diverse values orientations. Besides, writers’ narrative position shift from the common social ideal to the personal narrative position.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:02, 14 November 2020 (UTC)<br /> <br /> 4.李白的诗歌不仅具有典型的浪漫主义精神，而且从形象塑造、素材摄取、到体裁选择和各种艺术手法的运用，无不具有典型的浪漫主义艺术特征。<br /> <br /> Li Bai's (701－762) poems not only have typical romantic spirit, but also have typical characteristics of romanticism from those images and materials in his poems to genre selection and various artistic techniques.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:02, 14 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> 1.四大名著是公认的中国文学中最好的小说。这四者都有一个共同点，它们是用白话文写的，不像大多数古代文学，后者一般用古文写。<br /> <br /> 1.Four long fictional novels are usually thought to be the best novels in Chinese literature. What all four have in common is that they were written in a spoken language of their times unlike most ancient literature that was written in the literary Classical Language. <br /> <br /> Four long fictional novels are commonly thought to be the best novels in Chinese literature. What all four have in common is that they were written in a spoken language of their times unlike most ancient literature that was written in the literary Classical Language.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 07:41, 15 November 2020 (UTC)Chen Jingjing <br /> <br /> 2.1911年清朝被推翻，共和国成立后，许多青年知识分子将注意力转向文学传统的彻底改革，而改革便是从语言本身开始。<br /> <br /> 2.Following the overthrow of the Qing dynasty and the establishment of the Republic in 1911, many young intellectuals turned their attention to the overhauling of literary traditions, beginning with the language itself. <br /> <br /> 3.老舍善用北京方言，代表作有《骆驼祥子》、《茶馆》，它们反映了旧社会中国底层人们的绝望。<br /> <br /> 3.Lao She was skillful in utilizing the Peking dialect and Camel Xiangzi and the drama Tea House are his masterpieces which reflect the helplessness of the lower classes in the old China.<br /> <br /> 4.李白喜欢把自己当作王氏一族，但他们家族只是与王室同姓，并无瓜葛。<br /> <br /> 4.Li Bai liked to regard himself as belonging to the imperial family, but he actually belonged to a less exalted family of the same surname. --[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 04:12, 15 November 2020 (UTC)Wu Zijia<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> 1.《诗经 》是我国第一部诗歌总集。编成于春秋时期，大抵是西周初年至春秋中叶500年间的作品，共305篇，代表了2500多年以前诗歌创作的最高成就。<br /> <br /> The Book of Songs is the first collection of poems in China. Compiled during the Spring and Autumn Period, it is approximately a 500-year-old work from the beginning of the Western Zhou Dynasty to the middle of the Spring and Autumn Period. There are 305 poems in total, representing the highest achievement of poetry creation more than 2,500 years ago.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:35, 12 November 2020 (UTC)Xiao Shuangling<br /> <br /> The Book of Songs is the first collection of poems in China. Compiled during the Spring and Autumn Period, it approximately costs 500 years from the beginning of the Western Zhou Dynasty to the middle of the Spring and Autumn Period. There are 305 poems in total, representing the highest achievement of poetry creation more than 2,500 years ago.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:20, 14 November 2020 (UTC)<br /> <br /> 2.评价一个相当长时段的文学现象，决不可以使用&quot;一言以蔽之&quot;的断语来论定，比如&quot;最好时期&quot;、&quot;达到前所未有的高度&quot;或&quot;跌入低谷&quot;等等。<br /> <br /> To evaluate a literary phenomenon over a long period of time, one should never use &quot;a single word&quot; assertion, such as &quot;best time&quot;, &quot;reaching an unprecedented height&quot; or &quot;falling into a trough&quot;.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:35, 12 November 2020 (UTC)Xiao Shuangling<br /> <br /> 3.20世纪70年代中后期，在摆脱了思想与文化的10年禁锢之后,文学的现代化与民族化进入了一个新的阶段。<br /> <br /> In the middle and late 1970s, the modernization and nationalization of literature entered a new stage after getting rid of the ten-year imprisonment of ideology and culture.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:35, 12 November 2020 (UTC)Xiao Shuangling<br /> <br /> In the middle and late 1970s, after getting rid of the 10-year confinement of thought and culture, the modernization and nationalization of literature entered a new stage.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 10:07, 13 November 2020 (UTC)<br /> <br /> 4.李白生活在盛唐时期，他性格豪迈，热爱祖国山河，游踪遍及南北各地，写出大量赞美名山大川的壮丽诗篇。<br /> <br /> Li Bai lived in the heyday of the Tang Dynasty. He has a heroic personality and loves the mountains and rivers of the motherland. He traveled all over the north and south, and wrote a large number of magnificent poems praising famous mountains and rivers.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:35, 12 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> 1.春秋战国时期，是一个社会发生急剧变化的时期，此一时期，在中国文学史上占有重要一席之地的即先秦散文。百花齐放、百家争鸣的文化氛围促进了文学的繁荣，也迎来了文化光辉灿烂的时代，尤其是儒、墨、道、法几家学说，奠定了中国传统文化的基础。<br /> <br /> During the Spring and Autumn periods and Warring States periods, a period of rapid social change, the pre-Qin prose occupied an important place in the history of Chinese literature. The cultural atmosphere of a hundred flowers blossoming and a hundred schools of thought contending with each other promoted the prosperity of literature and ushered in an era of glorious culture. Among them , the doctrines of Confucianism, Mohism, Taoism, Legalism and so on laid the foundation of traditional Chinese culture.<br /> <br /> During Spring and Autumn and Warring States, a period of rapid social change, the pre-Qin prose occupied an important place in the history of Chinese literature. The cultural atmosphere of a hundred flowers blossoming and a hundred schools of thought contending with each other promoted the prosperity of literature and ushered in an era of glorious culture. Among them , the doctrines of Confucianism, Mohism, Taoism, Legalism and so on laid the foundation of traditional Chinese culture.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:37, 15 November 2020 (UTC)Wang Xuan<br /> <br /> <br /> 2.文学的政治性、战斗性，随着近代社会的发展，愈来愈加强和显著了。进步作家和作品，继承了中国文学的优良传统，为反对帝国主义和封建专制主义的内外压迫，争取民族独立和自由平等而斗争。爱国主义和民族主义是这个时期文学突出的思想内容。<br /> <br /> With the development of modern society，the literature of this period was getting more and more political. Progressive writers and works, inheriting the fine traditions of Chinese literature, struggled against the external oppression of imperialism and internal feudal despotism and fought for national independence and freedom and equality. Patriotism and nationalism were prominent ideological elements in the literature of this period.<br /> <br /> With the development of modern society，the literature of this period was getting more and more political and aggressive. Progressive writers and works, inheriting the fine traditions of Chinese literature, struggled against the external oppression of imperialism and internal feudal despotism and fought for national independence and freedom and equality. Patriotism and nationalism were prominent ideological elements in the literature of this period.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:37, 15 November 2020 (UTC)Wang Xuan<br /> <br /> 3.特别值得关注的是，从本世纪初开始，又出现了中国自由作家，中国自由文学等概念，将中国当代文学提升到一个新的，史无前例的高度。<br /> <br /> Particularly noteworthy is the fact that from the beginning of this century, concepts such as Chinese free writers and Chinese free literature have emerged again, elevating contemporary Chinese literature to a new, unprecedented level.<br /> <br /> Particularly noteworthy is the fact that from the beginning of this century, concepts such as Chinese free writers and Chinese free literature have emerged again, elevating contemporary Chinese literature to a newly unprecedented level.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:37, 15 November 2020 (UTC)Wang Xuan<br /> <br /> 4.李白生活在盛唐时期，他性格豪迈，热爱祖国山河，游踪遍及南北各地，写出大量赞美名山大川的壮丽诗篇。<br /> <br /> Li Bai, who lived in the prime of the Tang Dynasty, was bold and generous and loved for the mountains and rivers of his homeland. He traveled extensively and wrote a large number of magnificent poems in praise of famous mountains and great rivers.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:18, 15 November 2020 (UTC)Xiao Ting<br /> <br /> Li Bai, who lived in the prime of the Tang Dynasty, was bold and generous and loved the mountains and rivers of his homeland. He traveled extensively and wrote a large number of magnificent poems in praise of famous mountains and great rivers.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:37, 15 November 2020 (UTC)Wang Xuan<br /> <br /> ==Xie Fan 解帆==<br /> 1.《红楼梦》展现了真正的人性美和悲剧美，是一部从各个角度展现女性美以及中国古代社会世态百相的史诗性著作。<br /> <br /> ''A Dream of Red Mansions'' shows the real beauty of human nature and tragedy. It is a historical and poetic work that shows the beauty of women and the state of the ancient Chinese society from every aspect.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 10:23, 13 November 2020 (UTC)<br /> <br /> ''A Dream of Red Mansions'' shows the real beauty of human nature and tragedy. It is an epic work showing the beauty of women and the social landscape in ancient China from various perspectives.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:27, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 2.中国现代文学不仅用现代语言表现现代科学民主思想﹐而且在艺术形式与表现手法上都对传统文学进行了革新。<br /> <br /> Modern Chinese literature not only expresses modern scientific and democratic thoughts with modern language, but also refeshes traditional literature in both art form and expression techniques.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 10:23, 13 November 2020 (UTC)<br /> <br /> 3.以莫言的作品为代表，字里行间充满着怀乡与怨乡复杂情感，被归类为“寻根文学”。<br /> <br /> Represented by Mo Yan's works, which are full of complex feelings combined with nostalgia and resentment, they are classified as &quot;Root-seeking Literature&quot;.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 10:23, 13 November 2020 (UTC)<br /> <br /> Represented by Mo Yan's works, which are characterized by the feelings like nostalgia and resentment, these books are deemed as &quot;Root-seeking Literature&quot;.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 16:32, 14 November 2020 (UTC)<br /> <br /> 4.《长歌行》表达了作者期望尽早建功立业、功垂千古、名留史册的强烈用世之心。<br /> <br /> &quot;Changgexing&quot; expresses the author's strong desire to make achievements as soon as possible, to be immortal, and to leave his mark on history.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 10:23, 13 November 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> 1.《水浒传》主要描写的是北宋末年，以宋江为首的一百零八条好汉在梁山聚义、受宋朝招安、以及受招安后为宋朝征战，最终消亡的宏大故事。<br /> <br /> The story of Water Margin, set in the late Song dynasty, tells of how a group of 108 outlaws led by Song Jiang gathers at Mount Liang to form a sizable army before they are eventually granted amnesty by the government and sent on campaigns to resist foreign invaders and suppress rebel forces, and disbanded in the end. --[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 07:07, 13 November 2020 (UTC)Xu Jia<br /> <br /> <br /> 2. 现代文学在“五四”文学革命以后的60多年发展过程中﹐随著中国革命与社会性质的演变﹐以1949年10月中华人民共和国成立为转折﹐经历了新民主主义革命时期与社会主义时期两个历史阶段。<br /> <br /> During the 60 years after the May 4th literature revolution, modern literature, in step with the development of Chinese revolution and social nature, went through two historical stages which take the founding of the People's Republic of China in October,1949 as the turning point, including the new democratic revolution period and the socialist period.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 07:07, 13 November 2020 (UTC)Xu Jia<br /> <br /> <br /> 3. 20世纪70年代中后期，在摆脱了思想与文化的10年禁锢之后,文学的现代化与民族化进入了一个新的阶段。<br /> <br /> Since the late 1970s, Chinese literature has entered a new stage in modernization and nationalization after getting rid of the ten-year confines in ideology and culture.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 07:07, 13 November 2020 (UTC)Xu Jia<br /> <br /> In the middle and late 1970s,, the modernization and nationalization of literature entered a new stage after getting rid of the ten-year confinement of thought and culture.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 07:42, 13 November 2020 (UTC)<br /> <br /> <br /> 4. 李白（701年－762年），字太白，号青莲居士，是唐代伟大的浪漫主义诗人，被后人誉为“诗仙”。据《新唐书》记载，李白为兴圣皇帝（凉武昭王李暠）九世孙，与李唐诸王同宗。其人爽朗大方，爱饮酒作诗，喜交友。<br /> <br /> LI Bai (701-762), Venus by courtesy name and Green Lotus Householder by literary name, an excellent romantic poet in the Tang dynasty, has been praised as God of Poetry. According to ''New Book of Tang'', Li descended from Emperor Xingsheng and had the same ancestry with the royal family in the Tang dynasty. He was hearty, generous, and keen on drinking, composing poems and making friends. --[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 07:07, 13 November 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许静==<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> 1. 春秋战国时期，是一个社会发生急剧变化的时代，此一时期，在中国文学史上占有重要一席之地的即是先秦散文。百花齐放、百家争鸣的文化氛围促进了文学的繁荣，也迎来了文化光辉灿烂的时代，尤其是儒、墨、道、法几家学说，奠定了中国传统文化的基础。<br /> <br /> During Spring and Autumn Warring States period, great changes had taken place in its society. At this time, pre-Qin prose held its place in Chinese classic literature. The literature atmosphere of “a hundred flowers blossom and a hundred schools of thoughts contend” promoted its prosperity, thus entering a splendid time. Thanks to Confucianism, Mohism, Taoism and Legalism, the foundation of Chinese traditional literature then was made. <br /> <br /> 2. 现代文学在“五四”文学革命以后的60多年发展过程中﹐随著中国革命与社会性质的演变﹐以1949年10月中华人民共和国成立为转折﹐经历了新民主主义革命时期与社会主义时期两个历史阶段。<br /> <br /> After May Fourth Movement, modern literature, along the changing pace of Chinese revolution and society, has experienced New Democratic Revolution Period and Socialist Period, with the establishment of PRC in October, 1949 as a turn. <br /> <br /> 3. 自二十世纪末期开始，具有独立思想的中国自由文学的出现，使得中国当代文学大踏步进入世界先进文化行列，成为引领世界文学的先锋，并使中国当代文学达到历史的顶峰。<br /> <br /> Since late 20th century, Chinese free literature, with independent thought came into being, making Chinese contemporary literature become one of the world advanced literature. <br /> <br /> 4. 它以一位居住在长干里的商妇自述的口气，叙述了她的爱情生活，倾吐了对于远方丈夫的殷切思念。它塑造了一个具有丰富深挚的情感的少妇形象，具有动人的艺术力量。<br /> <br /> The poet stood at the point of a businessman’ s wife told her love story, expressing her miss to her husband far away. He shaped a young married woman with abundant emotions, which enables the poem to be artistic. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 02:54, 15 November 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> 1.特别是建安文学，文风清峻，慷慨悲凉，深沉强劲，气盛词丰，是反映社会现实并抒写人生感慨的灿烂历史篇章。<br /> Especially Jian'an literature, its style is sober, generous and sad, deep and strong, and full of vigor, it is a brilliant historical chapter that reflects social reality and expresses the emotions of life.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:52, 15 November 2020 (UTC)<br /> <br /> <br /> 2.新月派是现代新诗史上一个重要的诗歌流派，受泰戈尔《新月集》影响.该诗派大体上以1927年为界分为前后两个时期。<br /> The Crescent School is an important poetry genre in the history of modern new poetry, influenced by Tagore's &quot;The Crescent Moon&quot;. The poetry school is roughly divided into two periods based on 1927.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:52, 15 November 2020 (UTC)<br /> <br /> <br /> 3.伤痕文学是新时期出现的第一个全新的文学思潮。社会主义新时期是以彻底否定文化大革命为历史起点的。这种对灵魂的摧残尤其容易造成惨痛的心灵创伤。但这只有在挣脱了精神枷锁、真正思想解放之后，人们才能意识到这“伤痕”有多重、多深。这是伤痕文学喷发的历史根源。<br /> Wound literature is the first new literary trend in the new era. The new socialist period started with the complete denial of the Great Cultural Revolution. This damage to the soul is especially likely to cause painful trauma. But it is only after breaking off the mental shackles and truly emancipating the mind that people can realize how much and how deep this &quot;wound&quot; is. This is the historical root of the eruption of wound literature.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:52, 15 November 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> 1.所谓“比兴”在《诗经》中即指比兴合用和通篇用比，其效果是给读者留下了审美的广阔空间，使人产生丰富的联想，从而使诗歌具有了含蓄凝练的韵味，具备象征的意义。<br /> In The Book of Songs, &quot; Bi Xing &quot; refers to the combination of Bi Xing and the whole article, the effect of which is to leave readers a wide space for aesthetic appreciation, so that people have a rich association, so that poetry has an implicit and concise flavor, with symbolic significance.<br /> <br /> 2.中国现代文学是在五四运动时期新的历史条件下产生的，它体现出全新的现代社会、现代人生的精神风貌和崭新的文学表述方式，体现出现代新文学、新文化与传统旧文学、久文化的根本冲突和根本转折。<br /> Chinese modern literature came into being under the new historical conditions of the May 4th Movement, which embodies the new modern society, the spirit and style of modern life and the new style of literary expression. <br /> <br /> 3.在中国的现代化进程中，政治主题的目标是建构现代民族国家，中国文学因为始终参与着这一过程，而从未离开过政治主题，这使投身其中的知识分子也主动地迎合主流意识形态的要求，主动地为宣传政策服务。<br /> In the course of China's modernization, the goal of political theme is to build a modern nation-state . Chinese literature has always participated in this process and never left the political theme, which makes the intellectuals involved actively meet the demands of the mainstream ideology and actively serve the propaganda policy.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:14, 15 November 2020 (UTC)<br /> <br /> In the course of China's modernization, the political goal is to build a modern nation-state . Chinese literature has always been in this process and never left the political theme, which makes the intellectuals involved actively meet the demands of the mainstream ideology and actively serve the propaganda policy.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 13:06, 15 November 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> 1、中国古典文学的作品形式主要有诗、词、曲、赋、散文、小说等，大量篇章脍炙人口。中国古典文学是中华民族最宝贵的文化遗产之一。<br /> <br /> The works of Chinese classical literature mainly include Poems, Ci, Song, Fu, Prose, Novels etc. and a large number of chapters have won universal praise. Chinese classical literature is one of the most precious cultural heritages of the Chinese nation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:26, 12 November 2020 (UTC)<br /> <br /> Chinese classical literature mainly takes the form of poetry, lyrics, songs, fu, essays, novels and so on, and a large number of chapters are popular. Classical Chinese literature is one of the most valuable cultural heritage of the Chinese nation.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:16, 11 November 2020 (UTC)<br /> <br /> 2、晚清时期是现代文学的起步，知识分子开始寻求解决中国问题的新方法。他们开始翻译西方文学作品以打开视野，融入新的文化思潮。<br /> <br /> The late Qing Dynasty was the beginning of Chinese modern literature, and intellectuals began to seek new solutions to Chinese problems. They began to translate Western literary works to open their horizons and integrate into new cultural trends.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:26, 12 November 2020 (UTC)<br /> <br /> The late Qing dynasty marked the beginning of modern literature, and intellectuals began to seek new solutions for China's problems. They began to translate Western literature in order to open their horizons to new cultural trends.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:16, 11 November 2020 (UTC)<br /> <br /> <br /> 3、中国当代文学，首先指的是1949年以来的中国文学；其次指的是发生在特定的社会主义历史语境中的文学.1947年7月召开的第一次全国文代会标志着中国新文学以此为起点，进入了当代文学的阶段。<br /> <br /> Chinese contemporary literature firstly refers to Chinese literature since 1949; secondly, it refers to literature that occurred in a specific historical context of socialism. The first National Congress of Literature and Art held in July 1949 marked the beginning of Chinese New Literature and entered the stage of contemporary literature.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:26, 12 November 2020 (UTC)<br /> <br /> Contemporary Chinese literature refers, firstly, to Chinese literature since 1949; and secondly, to literature that takes place in a specific socialist historical context. The First National Literary Congress held in July 1947 marked the starting point from which China's new literature entered the stage of contemporary literature.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:16, 11 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> ==Yi Zichu 义子楚==<br /> 1，李白的诗充满了个人色彩，无拘无束，自由豪放，天马行空，但是，语言却平白朴素<br /> <br /> His poems are characterized by subjectivity,freedom, liberty, imagination combined with simple language.<br /> <br /> Libai's poems are characterized by his personal consciousness of being free, bold and unconstrained, imaginative while using simple and plain words.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:44, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 2, 《三国演义》是中国古代长篇章回体小说的开山之作，描写的是从东汉末年到西晋初年之间一百多年的历史风云<br /> <br /> ''The Romance of the Three Kingdoms'' is the first chapter novel in ancient China. It describes the historical events of over 100years from the end of the East Han Dynasty to the beginning of the West Jin Dynasty.<br /> <br /> ''The Romance of the Three Kingdoms'' is the first long chapter novel in ancient China. It describes the historical events of over 100 years from the end of the East Han Dynasty to the beginning of the West Jin Dynasty.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:44, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 3，孙悟空的形象最为鲜明突出，他勇敢机智之余，又喜欢与师弟斗气，充满人性<br /> <br /> There is the vivid image of Monkey King, fearless and intelligent, but human enough to keep wrangling with his junior fellow disciples.<br /> --[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:33, 14 November 2020 (UTC)<br /> <br /> Monkey King has the most vivid and prominent image who is fearless and intelligent and likes to keep wrangling with his junior fellow disciples, being full of humanity.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:44, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==You Yuting 游雨婷==<br /> 1.古典文学泛指各民族的古代文学作品，是文学的一部分，是现代文学的发展基础，它是承上启下的，是文学发展史上不可缺少的部分。它是中国文学最根本的东西。<br /> <br /> In general, classical literature refers to the ancient literary works of various nationalities. It is a part of literature, and the foundation of modern literature development; It is a link connecting the preceding with the following and an indispensable part of the history of literary development; It is the most fundamental thing in Chinese literature.<br /> <br /> Generally, classical literature refers to the ancient literary works of various nationalities, which is a part of literature, and the foundation of modern literature development. It is a link connecting the preceding with the following as well as an indispensable part of the history of literary development. More, it is the most fundamental issues in Chinese literature.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:14, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> 2.中国现代文学的发展﹐是吸收外来文学营养使之民族化﹑继承民族传统使之现代化的过程。中国是一个有著悠久的文化传统的文明古国。<br /> <br /> The progress of Chinese modern literature is the process of absorbing outstanding foreign literature to make it nationalized and inheriting national tradition to make it modernized. China is an ancient civilization with a long cultural tradition.<br /> <br /> The development of Chinese modern literature is a process of absorbing the nourishment of foreign literature to make it nationalized and inheriting the national tradition to make it modernized. China is an ancient civilization with a long cultural tradition.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:14, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> 3.当代文学是指1949年新中国成立以后的文学，其中出现了许多文学流派。大致可以划分为四个阶段:新时期文学、80年代文学、90年代文学、新世纪文学。<br /> <br /> Contemporary literature refers to the literature after the founding of new China in 1949, among which many literary schools have emerged. It can be roughly divided into four stages: new period literature, literature in 1980s , literature in 1990s and literature of the new century.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:11, 12 November 2020 ()<br /> <br /> Contemporary literature refers to the literature after the founding of New China in 1949, among which many literary schools have emerged. It can be roughly divided into four stages: literature of the new period, literature in 1980s , literature in 1990s and literature of the new century.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:14, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Yu Ni 余妮==<br /> <br /> 1.春秋战国时期，是一个社会发生急剧变化的时代，此一时期，在中国文学史上占有重要一席之地的即是先秦散文。百家争鸣的文化氛围促进了文学的繁荣。<br /> <br /> The Spring and Autumn Period and the Warring States Period is an era of rapid social changes. In this period, pre Qin prose occupies an important place in the history of Chinese literature. The cultural atmosphere of a hundred schools of thought has promoted the prosperity of literature.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 12:56, 15 November 2020 (UTC) <br /> <br /> 2.当代文学的两大传统虽然已分清了主次地位，但两种价值观念、两种美学修养、两种文化实践，仍然存在着尖锐的冲突，并通过政治运动的形式一再表现出来。<br /> <br /> Although the two major traditions of contemporary literature have been distinguished as primary and secondary, there are still sharp conflicts between the two values, two aesthetic cultivation and two cultural practices, which have been repeatedly manifested in the form of political movements.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 12:56, 15 November 2020 (UTC)<br /> <br /> 3.中国小说源远流长，明清以来更是出现了众多白话小说，然后以五四新文学为起点，中国现代小说以全新的思想内涵和前所未有的表现形式，掀开了中国小说发展史上崭新的一页，展现了现代的行为方式和思维方式。<br /> <br /> Chinese novels have a long history. Since Ming and Qing Dynasties, many vernacular novels have appeared. Starting from the May 4th Movement, Chinese modern novels opened a new page in the development of Chinese novel with brand-new ideological connotation and unprecedented forms of expression, showing modern behavior and thinking mode.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 12:56, 15 November 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> 中国是诗歌的国度。尤其到了唐代，中国古典诗歌进入全盛时期。唐代近三百年间涌现出了大批优秀诗人和杰出的诗歌作品。唐代诗歌数量极大，题材广泛，意象和风格多样化，出现了大量思想性和艺术性完美结合的作品。<br /> <br /> China is a country of poetry, and especially in the Tang Dynasty, classic Chinese poetry reached its heyday. Over the nearly 300 years of the Tang Dynasty, myriads of excellent poets and outstanding works mushroomed. The Tang Dynasty boasts a great number and extensive themes of poetry with varied images and styles, as well as numerous works combining great thoughts and artistry.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:11, 12 November 2020 (UTC)<br /> <br /> 《西游记》是根据民间流产的有关唐代高僧玄奘前往天竺取经的轶事创作而成。小说故事情节曲折生动，奇幻精彩，充满了浓厚的艺术魅力。小说充满了浪漫主义精神，作者想象力丰富，人物构思奇特，化人与妖为一体。<br /> <br /> ''Journey to the West'' is based on the popular folk legends about the journey of Xuanzang to India for the purpose of introducing Buddhist sutras into China. The infinite charm of the novel comes from its delightful twists and turns in its unique and fantastic setting. The novel adds much imagination and a touch of romanticism into the historical event, and even creates many truly fantastic, half-human and half-monster characters.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:11, 12 November 2020 (UTC)<br /> <br /> 近代文学，指1840年鸦片战争至1919年五四运动前夕的文学，即中国现代化孕育期的文学，反映了中国文学挥别传统、重塑现代的特殊精神追求。<br /> <br /> Chinese modern literature refers to the one reflecting the origin of Chinese modernization drive from the First Opium War in 1840 to the May 4th Movement in 1919, expressing the special spiritual pursuit of Chinese literature reshaping the modern era while discarding traditions.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:11, 12 November 2020 (UTC)<br /> <br /> 中国当代文学，首先指的是1949年以来的中国文学；其次指的是发生在特定的社会主义历史语境中的文学，它限定在“中国大陆”这一范围之中。<br /> <br /> Chinese contemporary literature, firstly refers to the one since 1949, secondly to the one about specific historical language context of socialism limited in “Mainland China”.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:11, 12 November 2020 (UTC)<br /> <br /> 中国古典文学有诗歌、散文、小说以及词、赋、曲等多种表现形式，在各种文体中，又有多种多样的艺术表现手法，从而使中国古典文学呈现出多姿多彩、壮丽辉煌的图景。几千年来，中国传统文化养育了中国古典文学，中国古典文学又大大丰富了中国传统文化，使传统文化更具有深刻的影响力。<br /> <br /> Chinese classical literature boasts poetry, prose, novels, Ci, Fu, Qu and other forms of expression， among which are miscellaneous artistic expression methods, endowing Chinese classical literature with a colorful and glorious landscape. Over thousands of years, traditional Chinese culture has bred Chinese classical literature, while Chinese classical literature, in turn, has greatly enriched traditional Chinese culture thus endowing it with deeper influential power.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:11, 12 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> 1.古典文学泛指各民族的古代文学作品，是文学的一部分，是现代文学的发展基础。<br /> <br /> Classical literature generally refers to ancient literary works of various nationalities. It is a part of literature and the developmental foundation of modern literature.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:45, 14 November 2020 (UTC)<br /> <br /> Classical literature generally refers to ancient literary works of various nationalities. It is a part of literature and the basis on which the modern literature develops.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 13:49, 15 November 2020 (UTC)Ouyang Ling <br /> <br /> 2.现代文学是中国社会内部发生历史性变化的条件下，广泛接受外国文学影响而形成的新的文学。<br /> <br /> Modern literature is, under the conditions of historical changes in Chinese history, a new literature formed by the wide acceptance of foreign literature.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:45, 14 November 2020 (UTC)<br /> <br /> Modern literature is, under the historical changes in the Chinese society, a new literature formed by the extensive influence of foreign literature.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 13:49, 15 November 2020 (UTC)Ouyang Ling<br /> <br /> 3.在评价“中国当代文学”的时候，我们一方面要克服沾沾自喜的自诩和自大，另一方面，要具有放眼世界、虚心向善的态度。<br /> <br /> When evaluating “contemporary Chinese literature”, we must overcome self-satisfaction and arrogance on the one hand, and on the other hand, we must have an attitude of modesty and openning our eyes to the whole world.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:45, 14 November 2020 (UTC)<br /> <br /> When evaluating “contemporary Chinese literature”, we must overcome self-satisfaction and arrogance on the one hand, and on the other hand, we must have an open mind to the whole world and the attitude of modesty.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 13:49, 15 November 2020 (UTC)Ouyang Ling<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> 春秋战国时期，是一个社会发生急剧变化的时代，此一时期，在中国文学史上占有重要一席之地的即是先秦散文。<br /> The Spring and Autumn Period underwent drastic social changes, during which the Pre-Qin proses had an important place in Chinese literature history.<br /> <br /> 中国平民文学直面现实，深层揭示社会矛盾，以文学的方式推动社会的发展与进步，所起的作用是“体制内”官方作家无法做到的。<br /> Chinese civilian literature directly faces the reality, and unveils deep social tensions, promoting social development and progress by using literature, the role of which can’t be achieved by official writers who are in the “system”.<br /> <br /> “五四”以后﹐无产阶级作为独立的力量登上政治舞台﹐并在社会生活中日益显示出自己的力量﹔与历史的这一发展相适应﹐20年代中后期起在文学上提出了以“农工大众”为主要服务对象与表现对象的要求。<br /> After the May 4th Movement, proletariate ascended political arena as an independent force, and gradually manifested its power in social life; in accordance with the development of history, the proletariate proposed the requirement that farmers, workers and the public should be the main service and performance object in literature in the mid and late 20s.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 08:07, 15 November 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> 1.春秋战国时期，是一个社会发生急剧变化的时代，此一时期，在中国文学史上占有重要一席之地的即是先秦散文。<br /> <br /> The Spring and Autumn Period and the Warring States Period was an era of rapid social changes. During this period, pre-Qin prose occupies an important place in the history of Chinese literature.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:20, 11 November 2020 (UTC)<br /> <br /> The Spring and Autumn Period and the Warring States Period was an era with dramatic social changes. During this period, pre-Qin prose occupies an important place in the history of Chinese literature.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:26, 11 November 2020 (UTC)<br /> <br /> <br /> 2.现代文学是在中国社会内部发生历史性变化的条件下﹐广泛接受外国文学影响而形成的新的文学。<br /> <br /> Modern literature is a new literature that has been widely accepted by foreign literature under the conditions of historical changes in Chinese society.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:20, 11 November 2020 (UTC)<br /> Modern literature is a new literature that has been formed with wide influence of the foreign literature under the conditions of historical changes in Chinese society.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:26, 11 November 2020 (UTC)<br /> <br /> 3.中国当代文学，首先指的是1949年以来的中国文学;其次指的是发生在特定的社会主义历史语境中的文学.<br /> <br /> Contemporary Chinese literature firstly refers to Chinese literature since 1949; secondly, it refers to literature that occurred in a specific historical context of socialism.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:20, 11 November 2020 (UTC)<br /> <br /> Chinese contemporary literature, firstly refers to the one since 1949, secondly to the one about specific historical language context of socialism limited in “Mainland China.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:12, 12 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> 1. 春秋战国时期，是一个社会发生急剧变化的时代，此一时期，在中国文学史上占有重要一席之地的即是先秦散文。<br /> <br /> The Spring and Autumn Period and the Warring States Period was an era of drastic social changes. During this period, the prose of Pre-Qin Time occupies an important place in the history of Chinese literature. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 09:06, 11 November 2020 (UTC)<br /> The Spring and Autumn Period and the Warring States Period was an era with drastic social changes, during which, the prose of Pre-Qin Time occupies an important place in the history of Chinese literature.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:08, 13 November 2020 (UTC)Li Lili<br /> <br /> 2. “五四”以后，无产阶级作为独立的力量登上政治舞台，并在社会生活中日益显示出自己的力量；与历史的这一发展相适应，20年代中后期起在文学上提出了以“农工大众”为主要服务对象与表现对象的要求。<br /> <br /> After the May 4th movement, the proletariat, as an independent force, stepped on the political stage and increasingly showed its strength in social life. In line with this development of history, since the middle and late 1920s, it has been proposed in literature that &quot;the masses of farmers and workers&quot; should be the main object of service and performance. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 09:06, 11 November 2020 (UTC)<br /> <br /> 3. 20世纪70年代中后期，在摆脱了思想与文化的10年禁锢之后, 文学的现代化与民族化进入了一个新的阶段。<br /> <br /> In the middle and late 1970s, the modernization and nationalization of literature entered a new stage after getting rid of the ten-year imprisonment of thought and culture. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 09:06, 11 November 2020 (UTC)<br /> <br /> In the middle and late 1970s, the modernization and nationalization of literature entered a new stage after breaking the shackle of thought and culture for ten years.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:14, 12 November 2020 (UTC)<br /> In the middle and late 1970s, the literature entered a new stage in terms of its modernization and nationalization after getting out of the shackle of thought and culture for ten years.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:08, 13 November 2020 (UTC)Li Lili<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> 诗歌发展历程中的先驱之作便是以诗经和楚辞为代表的。诗歌从始至终都离不开情感的作用，诗情是强烈的，真诚的。<br /> The Book of Songs and The Songs of Chu is the representative works in the development of poetry, and the intense and sincere emotion is the key factor.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:05, 13 November 2020 (UTC)<br /> <br /> <br /> 现代文学属于二十世纪资本主义文化的一部分。<br /> Modern literature is the product of the 21st century capitalist society.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:05, 13 November 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> 1. 元诗的历史既是中国古典诗歌的传承，也是创新，这是因为诗人和文化背景的变化。宋朝建立于960年，统一了从中原北部到长江地区的传统中国心脏地带。<br /> <br /> The history of Yuan poetry involves both the received legacy of Classical Chinese poetry together with innovations, in part related to linguist and other changes in regard to aspects of the cultural background.Founded in 960, the Song dynasty reunified most of the traditional Chinese heartland from the North Central Plain to the area of the Yangzi River.<br /> <br /> 2. 回到现当代文学，要说标准丧失也不尽然，所谓“汉学化”就未尝不被当成一个“标准”。若问现当代文学研究在向哪里看齐？哪些研究主导着现当代文学的“话语生产”？在一些学者那里，恐怕就是海外汉学。这不是很正常的。<br /> <br /> Returning to modern and contemporary literature, it is not entirely true to say that standards have been lost, but the so-called &quot;Sinologization&quot; has been taken as a &quot;standard. If we ask where is modern and contemporary literary research aligning itself? What studies dominate the &quot;production of discourse&quot; in modern and contemporary literature? In some scholars' eyes, I'm afraid it's overseas Sinology. It's abnormal.<br /> <br /> 3. 网络通俗小说则是衣食父母至上，就是写爽文，变着花样取悦读者，开模，复制，这种文化产业流水线的作品，文学性趋近于无。各平台的自媒体输出，更是和文学无关了，它的本质是营销，用户想听什么就说什么，不能量产、快速变现的文字都是难以生存的。<br /> <br /> The network popular fiction is the supremacy of parents, that is, to write cool text, changing patterns to please the reader, open mode, copy, this cultural industry assembly line works, literary sex tends to nothing. The media output of each platform has nothing to do with literature, its essence is marketing, and users can say whatever they want to hear.<br /> <br /> 4. 到公元8世纪初，唐王朝出现了所说的“开元盛世”，经济、文化发展到鼎盛。诗歌创作领域也出现大批优秀诗人，写下内容异常丰富的诗歌。其中田园山水诗和描写边塞战争的诗占相当比重，李白、杜甫也出现在这时。<br /> <br /> By the beginning of the 8 century AD, the Tang dynasty was at the height of its economic and cultural development in what is known as the &quot;Age of Enlightenment&quot;. A large number of outstanding poets emerged in the field of poetry creation, writing unusually rich poems. Among them, poems of idyllic landscapes and poems describing wars in the frontier areas accounted for a considerable proportion, and Li Bai and Du Fu also appeared at this time.<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.几千年来，中国传统文化养育了中国古典文学，中国古典文学又大大丰富了中国传统文化，使传统文化更具有深刻的影响力。<br /> <br /> For thousands of years, traditional Chinese culture cultivated the classical Chinese literature. At the same time the classical Chinese literature also greatly enriched the traditional Chinese culture and made it have more profound influence.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:27, 12 November 2020 (UTC)<br /> <br /> For thousands of years, traditional Chinese culture cultivated the classical Chinese literature, which in turn greatly enriched the traditional Chinese culture and made it have more profound influence.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 08:47, 14 November 2020 (UTC)<br /> 2.现代文学不仅用现代语言表现现代科学民主思想﹐而且在艺术形式与表现手法上都对传统文学进行了革新﹐建立了话剧﹑新诗﹑现代小说﹑杂文﹑散文诗﹑报告文学等新的文学体裁。<br /> <br /> Modern literature not only manifested the modern theories of science and democracy with modern language, but also renovated the traditional literature in art form and methods of performance, building some new literary genres including drama, modern Chinese poetry, modern novels, essays, prose poems and reportage.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:27, 12 November 2020 (UTC)<br /> <br /> Modern literature not only expressed modern scientific and democratic ideas with modern language, but also innovated traditional literature in art forms and expressive methods, introducing some new literary genres including drama, modern Chinese poetry, essays, prose poems and reportage. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:03, 13 November 2020 (UTC)<br /> <br /> 3.当代文学是指1949年新中国成立以后的文学，其中出现了许多文学流派。大致可以划分为四个阶段:新时期文学、80年代文学、90年代文学、新世纪文学。<br /> <br /> Contemporary literature refers to the literature since the People's Republic of China was founded in 1949, among which it appeared a lot of literary schools. It can be divided into four stages, that is, new-era literature, 80s literature, 90s literature and new-century literature.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:27, 12 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 中国古典文学名著是中国文学史上闪烁着灿烂光辉的经典性作品或优秀作品。<br /> <br /> The masterpieces of Chinese classical literature are classics or outstanding works shining brilliantly in the history of Chinese literature. <br /> <br /> The masterpieces of Chinese classical literature are shining examples in the history of Chinese literature. --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 03:25, 15 November 2020 (UTC)<br /> <br /> 中国现代文学是在中国社会内部发生历史性变化的条件下﹐广泛接受外国文学影响而形成的新的文学。<br /> <br /> Modern Chinese literature is a new literature formed under the condition of historical changes in Chinese society and the influence of foreign literature.<br /> <br /> 中国的当代文学，不同于以反帝反封建为主的现代文学，其发展是在社会主义领导下进行的，并与国家政治息息相关.<br /> <br /> Contemporary Chinese literature is different from modern literature, which is mainly anti-imperialist and anti-feudal. It develops under the leadership of socialism and is closely related to national politics.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 08:39, 14 November 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> 1.中国古典文学有诗歌、散文、小说以及词、赋、曲等多种表现形式，在各种文体中，又有多种多样的艺术表现手法，从而使中国古典文学呈现出多姿多彩、壮丽辉煌的图景。<br /> <br /> Chinese classical literature has a variety of forms of expression such as poetry, prose, novels, words, fu, songs, etc. In different styles, there are also a variety of artistic expressions, thus making Chinese classical literature present a colorful, magnificent and brilliant picture.<br /> <br /> 2.发轫于1917年文学革命的中国现当代文学，虽然至今不足百年，但却开辟了中国文学史上翻天覆地的新时代，是文学上“从来没有经历过的最伟大、进步的变革，是一个需要巨人而且产生了巨人——在思维能力、热情和性格方面，在多才多艺和学识渊博方面的巨人的时代”。<br /> <br /> The modern and contemporary Chinese literature, originated from the literary revolution in 1917, has opened up an earth-shaking new era in the history of Chinese literature with the last less than a hundred years. It is &quot;the greatest and progressive change that has never happened before in literature. It is an era that requires and produces giants-giants capable of thinking ability, enthusiasm and character, versatility and profound knowledge&quot;.<br /> <br /> 3.中国当代文学体制沿袭1949年以后的官方文学体制，培养出大量庸俗腐朽，阿谀逢迎体制内作家，旷日持久地制造出人类文明时代以来巨量的文学垃圾，而少数具有精神自省的自由中国作家所创作的有着较高思想价值和艺术价值的文学精品难以面世，导致中国当代不仅文学界，而是全社会腐朽庸俗之风日盛，精神与思想面临全面崩溃的局面。<br /> <br /> The Chinese contemporary literature system, following the official literature system after 1949, cultivate a lot of vulgar decay who flatter writer in the system, and has created a huge amount of literary rubbish in the era of human civilization for a long time. However, it is difficult to publish literary masterpieces with high ideological and artistic values performed by a few free Chinese writers with spiritual introspection, which leads to the growing trend of decadent vulgarity, not only in the literary world but also in the whole society in contemporary China, and the overall collapse of spirit and thought.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 03:23, 15 November 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> 1.中国古典文学有诗歌、散文、小说以及词、赋、曲等多种表现形式，在各种文体中，又有多种多样的艺术表现手法，从而使中国古典文学呈现出多姿多彩、壮丽辉煌的图景。<br /> <br /> Chinese classical literature has poetry, prose, novels and words, assignments, songs and other forms of expression. In a variety of styles, there are all kinds of artistic expressions, so that Chinese classical literature presents a colorful and magnificent picture.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:24, 12 November 2020 (UTC)<br /> --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:24, 12 November 2020 (UTC)<br /> <br /> 2.无论是从思想上还是从艺术上看，五四新文学是一种与传统文学迥异的现代文学，是中国文学史上名副其实的革命。<br /> <br /> Whether ideologically or artistically, May 4th New Literature is a kind of modern literature which is very different from traditional literature and is a veritable revolution in the history of Chinese literature.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:24, 12 November 2020 (UTC)<br /> <br /> 3.中国现当代文学的源头是五四文学。五四文学是中国文学发展史上一次前所未有的本质性变异，它划定了从传统文学到现代文学的不同历史时代。<br /> <br /> The source of contemporary Chinese literature is May 4th literature. May 4th literature is an unprecedented essential variation in the history of Chinese literature, which delimits different historical times from traditional literature to modern literature.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:24, 12 November 2020 (UTC)<br /> <br /> The source of modern and contemporary Chinese literature is May 4th literature. May 4th literature is an unprecedented essential variation in the history of Chinese literature, which delimits different historical times from traditional literature to modern literature. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:48, 13 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 1.中国古典文学是中国文学史上闪烁着灿烂光辉的经典性作品或优秀作品，它是世界文学宝库中令人瞩目的瑰宝。<br /> <br /> Classical Chinese literature is the classic or excellent work shining brilliantly in the history of Chinese literature， which is a remarkable treasure in the treasure house of the world literature.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:19, 11 November 2020 (UTC)<br /> <br /> Chinese classical literature is a classic or excellent work with brilliant brilliance in the history of Chinese literature. It is a remarkable treasure in the world literature treasure house.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:28, 11 November 2020 (UTC)<br /> <br /> 2.现代文学在“五四”文学革命以后的60多年发展过程中﹐随著中国革命与社会性质的演变﹐以1949年10月中华人民共和国成立为转折﹐经历了新民主主义革命时期与社会主义时期两个历史阶段。<br /> <br /> In the more than 60 years of development after the &quot;May 4th&quot; literary revolution, modern literature, marked by the founding of the People's Republic of China in October 1949, has undergone the period of the new democratic revolution and the period of socialism with the evolution of the Chinese revolution and the nature of society.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:19, 11 November 2020 (UTC)<br /> <br /> In the more than 60 years after the &quot;May 4th&quot; literary revolution, modern literature, with the evolution of Chinese revolution and social nature, went through two historical stages: the new democratic revolution period and the socialist period with the founding of the People's Republic of China in October 1949 as the turning point.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:28, 11 November 2020 (UTC)<br /> <br /> In the course of more than 60 years of development after the May 4th literary revolution, modern literature has experienced two historical stages, the period of the New Democratic Revolution and the period of socialism, with the evolution of the Chinese revolution and social nature, taking the founding of the People's Republic of China as a turning point in October 1949.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:30, 12 November 2020 (UTC)<br /> <br /> <br /> 3.中国平民作家特别是自由作家所具有的独立思想，通常在作品中以令人恐怖的真实表现出思想的光芒。<br /> <br /> The independent ideas of Chinese civilian writers, especially freelance writers, usually show the light of ideas in their works with terrifying truth.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:19, 11 November 2020 (UTC)<br /> <br /> The independent thoughts of Chinese civilian writers, especially the free writers, usually show the light of their thoughts in their works with horrible truth.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:28, 11 November 2020 (UTC)<br /> <br /> The independent thought of Chinese civilian writers, especially free writers, usually shows the light of thought with terrible truth in their works.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:30, 12 November 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> 1.文学发展到西晋开始了明显的转变。西晋的士族制度加深了阶级鸿沟，士族文人远离社会和人民，他们的创作缺乏现实内容，就只能追求形式的华美，逐渐走上形式主义的道路。<br /> <br /> The development of literature to the Western Jin Dynasty began an obvious change. The scholastic system in the Western Jin Dynasty deepened the class gap, and the literati were far away from the society and the people. Their creations lacked realistic content, so they could only pursue the beauty of form and gradually embarked on the road of formalism.<br /> <br /> The development of literature into the Western Jin Dynasty began a marked transformation.The taxi system in the Western Jin Dynasty has deepened the class gap, and the literati are far from the society and the people.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:17, 15 November 2020 (UTC)<br /> <br /> 2.“五四”文学革命在中国文学史上引起的历史性变革﹐集中地表现为大大加强了文学与人民群众的结合﹐文学与进步的社会思潮及民族解放﹑人民革命运动的自觉联系。<br /> <br /> The historical changes caused by the &quot;May 4th&quot; literary revolution in the history of Chinese literature are concentrated in the combination of literature and the masses, the conscious connection between literature and progressive social trends of thought, national liberation and the people's revolutionary movement.<br /> <br /> 3.中国当代文学发展到今天主要分为“社会主义初期文学”、改革开放后的“新时期文学”、“中国先锋文学”、“中国自由文学”、以及“通俗流行文学”等五大类。<br /> <br /> Today, Chinese contemporary literature is mainly divided into five categories, namely, &quot;literature of the early socialism&quot;, &quot;literature of the New Era&quot; after the reform and opening up, &quot;Chinese avant-garde literature&quot;, &quot;Chinese liberal literature&quot; and &quot;popular literature&quot;.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 10:28, 14 November 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> 1、先秦散文主要可分为历史散文和诸子散文。就大体情况而言，历史散文主要是叙事的，诸子散文主要是说理的。<br /> <br /> 2.、严复、林纾是这个时期著名的翻译家，他们分别以各自熟练的古文翻译西方社会科学和文学作品，对传播新思想、新文化，起了积极的作用和广泛的影响。<br /> <br /> 3、在抗日战争时期，民族危难使作家和人民有了共同命运，推动着许多曾经有过脱离人民的倾向，“为艺术而艺术”的作家走出个人小天地。<br /> <br /> 4、诗人李白写过许多反映妇女生活的作品，《长干行二首》就是其中杰出的诗篇。它以一位居住在长干里的商妇自述的口气，叙述了她的爱情生活，倾吐了对于远方丈夫的殷切思念。<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> 1.《离骚》是我国诗歌史上现存第一篇宏伟壮丽的抒情长诗，也是一篇浪漫主义杰作。<br /> <br /> ''Li Sao'' is the first exsiting long lyric poem in the history of Chinese literature and a masterpiece of Romanticism.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 15:13, 15 November 2020 (UTC)<br /> <br /> 2.鲁迅笔耕一生，留下了大量著述。白话短篇小说《狂人日记》是中国现代文学史上第一篇用现代体式创作的小说，标志着中国现代小说的伟大开端。<br /> <br /> Lu Xun was engaged in writing all through his lifetime, leaving behind an immense number of books. ''Diary of a Madman'' was the first novel written in the modern form in Chinese literature, symbolizing the great outset of modern Chinese fiction.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 15:13, 15 November 2020 (UTC)<br /> <br /> 3.矛盾始终坚持革命现实主义的文艺应与中国的革命统一步调，反对公式化，概念化的倾向，注重艺术形式与技巧的探索。他还是中国现代文学批评的开创者之一。<br /> <br /> Mao Dun adhered all the time to the stand that revolutionary realism should be in step with Chinese revolution and opposed the trend of formalism and conceptualization. He laid stress on the probe into artistic form and technique. He was also one of the pioneers of modern literary criticism in China.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 15:13, 15 November 2020 (UTC)<br /> <br /> 4.总之，强烈要求摆脱羁绊，追求个性解放和精神自由，风格飘逸豪放，是李白诗歌的最大特色。<br /> <br /> In general, Li Bai's poetry is characterized by its unconventional spirit and highly personalized imagery.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 15:13, 15 November 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> 1.中国古典文学包括诗歌、小说、戏曲、散文，是中国传统文化的重要组成部分，是中国文化与中国精神的体现，是当代青年学习与认识我国传统文化的重要手段。<br /> <br /> Chinese classical literature, which concludes poetry, novels, operas, and prose, is an important composition of Chinese traditional culture, the embodiment of Chinese culture and Chinese spirit, and an important means for contemporary youth to learn and understand Chinese traditional culture.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:08, 13 November 2020 (UTC)Zou Xinyu<br /> <br /> 2.近代文学的成就在于它的反帝反封建的进步主流，它的反映现实和追求理想的精神和方法，它的语文合一、走向通俗化的探索和努力，为“五四”时代新文学运动准备了一定的历史条件。<br /> <br /> The achievement of modern literature lies in its anti-imperialist and anti-feudal progressive mainstream, its spirit and method of reflecting reality and pursuing ideals, its integration of language and literature, and its exploration and efforts towards popularization have prepared certain historical conditions for the New Literature Movement of the &quot;May Fourth&quot; era.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:08, 13 November 2020 (UTC)Zou Xinyu<br /> <br /> 3.中国现代文学既是作家作品的历史，也是文学和文化思想的历史，也是中国社会接受和运用现代文学的历史。<br /> <br /> Modern Chinese literature is not only the history of writers' works, but the history of literature and cultural thoughts, as well as the history of Chinese society's acceptance and use of modern literature.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:08, 13 November 2020 (UTC)Zou Xinyu<br /> <br /> 4.诗仙李白的《长干行》有多种英译本，其中美国诗人庞德译为The River-Merchant's Wife: A letter，中国著名翻译家许渊冲教授翻译为Ballad of A Trader's Wife，王玉书先生则译为A Merchant's Wife Complaint，这三个英译本分别用韵味深长的遣词和造句，传神地塑造了异彩纷呈的女主人公形象。<br /> <br /> There are many English translations of ''Chang Gan Xing'' by the poet Li Bai. Among them, the American poet Pound translated it as ''The River-Merchant's Wife: A letter'', the famous Chinese translator Xu Yuanchong translated it as ''Ballad of A Trader's Wife'', and Wang Yushu translated it as ''A Merchant's Wife Complaint''. These three English translations use provocative words and sentences to vividly portray the colorful heroine image.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:08, 13 November 2020 (UTC)Zou Xinyu<br /> <br /> ==Zubareva, Ekaterina==<br /> <br /> 1.The term &quot;classic novels&quot;, writes Andrew H. Plaks, is a &quot;neologism of twentieth-century scholarship&quot; which seems to have come into common use under the influence of C. T. Hsia's Classic Chinese Novel.--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 安德鲁·H·普拉克斯（Andrew H. Plaks）写道，“经典小说”一词是“二十世纪学术的新神学”，似乎在夏·夏亚的中国经典小说的影响下得到了普遍使用。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 安德鲁·H·普拉克斯（Andrew H. Plaks）写道，“经典小说”一词是“二十世纪学术的新词”，似乎在夏志清中国经典小说的影响下开始普遍使用。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 08:19, 15 November 2020 (UTC)<br /> <br /> 2.The literary reform movement that began with these and other “calls to arms” was an important part of the larger New Culture Movement for cultural and sociopolitical reform, which was greatly strengthened by a student protest on May 4, 1919, against the intellectual performance of the Chinese delegates to the Paris Peace Conference formally terminating World War I. --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 从这些和其他“呼吁武器”开始的文学改革运动是规模更大的文化和社会政治改革新文化运动的重要组成部分，该运动在1919年5月4日针对学生的智力表现提出的学生抗议活动得到了极大的加强。 参加巴黎和平会议的中国代表正式结束了第一次世界大战。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 文学改革运动是从这些及其他“号召”运动开始的，是规模更大的文化及社会政治改革—新文化运动的重要组成部分，该改革由一名学生于1919年5月4日抗议得到极大推动，该学生抗议中国代表团精英分子在表明第一次世界大战正式结束的巴黎和会上的表现。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 08:37, 15 November 2020 (UTC)<br /> <br /> 3.The contemporary period refers to the glorious thirty years from the May Fourth Movement in 1919 until the foundation of the Peoples' Republic of China in 1949.--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 当代时期指的是从1919年“五四”运动到1949年中华人民共和国成立的三十年。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 当代是指从1919年“五四”运动到1949年中华人民共和国成立的辉煌三十年。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 08:21, 15 November 2020 (UTC)<br /> <br /> 4.The most popular Tang Poems collection might be the so-called 300 Tang Poems compiled by Qing dynasty scholar Sun Zhu. It is so popular that many poems in it have been adopted by Chinese language text books of China's primary schools and secondary schools. Some of the poems in it are normally regarded as must-recite ones.--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 最受欢迎的唐诗集可能是清代孙子编纂的所谓《唐诗三百首》。 它是如此流行，以至于其中许多诗歌被中国中小学的汉语课本所采用。 其中的一些诗歌通常被认为是必须朗诵的诗歌。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 最受欢迎的唐诗集可能是清代孙洙编纂的《唐诗三百首》。 它是如此流行，以至于其中许多诗歌被中国中小学的汉语课本所采用。 其中的一些诗歌通常被认为是必须背诵的。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:57, 15 November 2020 (UTC)</div>

Qu Miao https://bou.de/u/index.php?title=20201109_cult&diff=104535 2020-11-15T15:29:29Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Alsied, Saffana==--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 18:45, 14 November 2020 (UTC)<br /> 1.The book provides precious biographical records of various kinds of people who lived during the 3,000 years from the legendary Yellow Emperor to Emperor Wudi of the Han Dynasty. It is also valued as a literary work and has a great influence on the literary development of subsequent prose, fiction and drama.<br /> <br /> 这本书提供了从传说中的黄帝到汉武帝三千年间各种生活的各种珍贵的传记记录。 它也被认为是文学作品，并且对随后的散文，小说和戏剧的文学发展产生重大影响。<br /> <br /> 2.Chinese literature from the Opium War of 1840 to the founding of the People’s Republic of China in 1949 is known as modern Chinese literature.<br /> <br /> 从1840年鸦片战争到1949年中华人民共和国成立的中国文学被称为现代中国文学。<br /> <br /> 3.During the 10-years Great Cultural Revolution, literature withered. But the great victory in smashing the Gang of Four in 1976 ushered in a new period.<br /> <br /> <br /> 在文化大革命的十年中，文学萎缩了。 但是，1976年粉碎四人帮的巨大胜利迎来了一个新时期。<br /> <br /> 4.My forehead covered by my hair cut straight, <br /> I played with flowers pluck’d before the gate.<br /> On a hobby-horse you came on the scene, <br /> Around the well we played with plums still green.<br /> <br /> 我的额头被头发遮住了<br /> 我玩着在大门前摘的花。<br /> 在一辆业余马中，您来到了现场，<br /> 在井周围，我们打着仍然绿色的李子。<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> 1. 《诗经》在艺术创作上很有特色。首先，《诗经》里的作品多方面描写了现实生活，表现了不同阶层人民在现实生活中的各种感受，真实地反映了现实生活，这是它的一大特色。<br /> <br /> &quot;The Book of Songs&quot; is very distinctive in artistic creation. First of all, the works in &quot;The Book of Songs&quot; describe real life in many ways, showing the various feelings of people of different classes in real life, which is a major characteristic of it.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 07:33, 13 November 2020 (UTC)<br /> <br /> ''The Book of Songs'' is very distinctive in artistic creation. First of all, the works in ''The Book of Songs'' describe real life in many ways, show the feelings of people of different classes in real life, and truly reflect real life, which is one of its major characteristics.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 01:47, 14 November 2020 (UTC)<br /> <br /> 2. 中国现代文学的发展，是吸收外来文学营养使之民族化，继承民族传统使之现代化的过程。<br /> <br /> The development of Chinese modern literature is a process in which we nationalize foreign culture by absorbing its nutrition, and modernize national tradition by inheriting it.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 07:33, 13 November 2020 (UTC)<br /> <br /> The development of modern Chinese literature is a process of absorbing the nutrition of foreign literature to make it nationalized and inheriting the national tradition to make it modernized.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 01:47, 14 November 2020 (UTC)<br /> <br /> The development of Chinese modern literature is a process in which we nationalize foreign literatures by absorbing their essence, and at the same time inherit and modernize the national tradition.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:32, 15 November 2020 (UTC)Xu Jia<br /> <br /> 3. 当代文学是指1949年新中国成立以后的文学，其中出现了许多文学流派。大致可以划分为四个阶段：新时期文学、80年代文学、90年代文学、新世纪文学。<br /> <br /> Contemporary literature refers to the literature after the founding of New China in 1949, in which many literary schools have appeared. It can be roughly divided into four stages:new era literature,80s literature,90s literature and new century literature.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 07:33, 13 November 2020 (UTC)<br /> <br /> Contemporary literature refers to the literature after the founding of People’s Republic of China in 1949, in which many literary schools appeared. It can be roughly divided into four stages: literature in the new period, literature in the 1980s, literature in the 1990s and literature in the new century.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 01:47, 14 November 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> <br /> 1. 《诗经》内容丰富，反映了劳动与爱情、战争与徭役、压迫与反抗、风俗与婚姻、祭祖与宴会，甚至天象、地貌、动物、植物等方方面面，是周代社会生活的一面镜子。<br /> <br /> ''The Book of Songs'' is a mirror reflecting the social life of the Zhou Dynasty. It is rich in content, including labor and love, wars and corvee, oppression and resistance, customs and marriage, ancestor worship and feast, as well as astronomical phenomena, landforms, animals, plants, etc. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 13 November 2020 (UTC)<br /> <br /> 2. 《呐喊》深刻反映了19世纪末到20世纪20年代间中国社会生活的现状，有力揭露和鞭挞了封建旧恶势力，表达了作者渴望变革，为时代呐喊，希望唤醒国民的思想。<br /> <br /> ''Call to Arms'' deeply reflects the status quo of Chinese social life and profoundly exposes and castigates vicious old feudalism, expressing the author‘ s aspiration for the transformation of the times and his desire to arouse the citizens. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 13 November 2020 (UTC)<br /> <br /> ''Call to Arms'' deeply reflects the status of Chinese social life from the late 19th century to 1920s and profoundly exposes and castigates vicious old feudalism, expressing the author‘ s aspiration for the transformation of the times and his desire to arouse the citizens.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:41, 15 November 2020 (UTC)<br /> <br /> 3. “伤痕文学”大都是以真实、质朴甚至粗糙的形式，无所顾忌地揭开文革给人们造成的伤疤，从而宣泄1966-1976年以来积郁心头的大痛大恨，这恰恰契合了文学最原始的功能：“宣泄”。<br /> <br /> Scar Literature boldly uncovered the people’s wounds caused by the Cultural Revolution mostly in a real, plain and even rough form，thus releasing their pain and hatred from 1966 to 1976 hidden deep in their hearts, which fitted properly the primary function of literature——catharsis. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:32, 13 November 2020 (UTC)<br /> <br /> 1. The content of the Book of Songs is abundant, reflecting labor and love, war and corvee, suppression and resistance, custom and marriage, and ancestor worship and banquet, even astronomical phenomenon, landscape, animals, plants and so on. It’s a mirror of the social life of Zhou Period. <br /> <br /> 2. The Scream profoundly reflects Chinese social life from late 19th century to 1920s, which exposes and criticizes the feudal old force and expressed the author’s desire to reform. He screamed for the time, hoping to wake up people. <br /> <br /> 3. “Scare literature”, mainly simple, true and even rough, exposed the scars that the Cultural Revolution has brought to people with no fear, thus reliving the hatred from 1966 to 1976. This exactly matched the original function of literature—catharsis. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:08, 15 November 2020 (UTC)Yang Chenting<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> 1.建安时期，是我国文学史上一个“俊才云蒸”的时代，大量作家和作品涌现出来，使各种文体都得到了发展，尤其是诗歌方面打破了汉代四百年沉寂的局面.<br /> <br /> During the Jian'an period, a great deal of men of letters and their works sprung up, promoting the development of various literary forms and poetry began to show vitality after years of decline.<br /> <br /> 2.黄遵宪认为&quot;诗无古今&quot;,而不必模仿古人，只要能将&quot;身之所遇，目之所见，耳之所闻&quot;,&quot;笔之于诗&quot;,我诗自有存在的价值。<br /> <br /> Huang Zunxian is convinced that there is no such ancient poetry or modern poetry so we don't have to imitate the ancient people. The poetry is of great value so long as we write down what we encounter, see and hear.<br /> <br /> 3.因此中国现当代文学不但深刻包容了中华民族由古典向现代化转型过程中的真切的心理折射，而且也体现出现代中国人所能达到的审美能力和情操。<br /> <br /> Therefore, modern and contemporary Chinese literature not only reflects the mentality of Chinese nation during the process transforming from classicalism to modernization, but embodies the aesthetic ablility and sentiment level that Chinese can reach.<br /> <br /> 4.李白的诗雄奇飘逸，艺术成就极高。他讴歌祖国山河与美丽的自然风光，风格雄奇奔放，俊逸清新，富有浪漫主义精神，达到了内容与艺术的统一。<br /> <br /> Li Bai have written down a great number of poetry of grand and magnificent style and enjoys great artistic achievements. He eulogizes the mountains and rivers of motherland and the beautiful natural scenery by his poetry, which is majestic, unrestrained and full of romance, achieving the unity of content and art.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 06:58, 15 November 2020 (UTC)Chen Jingjing<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> <br /> 1. Travel literature in which authors wrote about their trips and about various destinations became popular perhaps because the texts could be cheaply bought. 旅行文学中作家撰写有关旅行和不同目的地的文章广受欢迎，也许是因为可以廉价地购买这些文本。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 09:32, 15 November 2020 (UTC)<br /> <br /> 2. After the Communist victory, only literature approved by the government was allowed. 共产党胜利后，只允许政府批准的文献。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 09:32, 15 November 2020 (UTC)<br /> <br /> 3. The period of contemporary literature was distinctive as it brought into being a new and revised literary language, form, content and skills allowing it to evolve into an independent and open art available to the whole of society. 当代文学的时代是独特的，因为它成为一种新的和经过修订的文学语言，形式，内容和技巧，使其发展成为可供全社会使用的独立和开放的艺术。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 09:32, 15 November 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> 1.纳兰性德·《少年游》<br /> <br /> 算来好景只如斯，<br /> 惟许有情知。<br /> 寻常风月，<br /> 等闲谈笑，<br /> 称意即相宜。<br /> 十年青鸟音尘断，<br /> 往事不胜思。<br /> 一钩残照，<br /> 半帘飞絮，<br /> 总是恼人时。<br /> <br /> Excursion of Teenagers<br /> Nalan Xingde<br /> It seems a fine prospect similarly follows natural tendencies,<br /> Whose way could only be learned by soul mates.<br /> Romantic sights moderate,<br /> Merry-making mood in a less graced state,<br /> And to be gratified means a well-proportioned rate.<br /> Nothing further is heard after parting for ten years,<br /> The association of the past can't bear to think of<br /> A crescent moon with its streaks,<br /> And willow catkins on the screen in fluffy streaks,<br /> Which is nothing but curious freaks.<br /> <br /> 2.莫言，因其作品“将魔幻现实主义与民间故事、历史与当代社会融合在一起”而获得诺贝尔文学奖，是首位获此殊荣的中国籍作家。<br /> <br /> Mo Yan is the first Chinese writer who received the honor of winning the Nobel Prize in Literature as his works “merges folk tales, history and the contemporary society with hallucinatory realism”.<br /> <br /> 3.巴金 《梦》<br /> <br /> 据说“至人无梦”。幸而我只是一个平庸的人。我有我的梦中世界，在那里我常常见到你。昨夜又见到你那慈祥的笑容了。还是在我们那个老家，在你的房间里，在我的房间里，你亲切地对我讲话。你笑，我也笑。<br /> <br /> Dream（Ba Jin）<br /> It is said that &quot;a virtuous man seldom dream&quot;.Fortunately, I am but an ordinary man.I dream my own dream, in which I often meet you.Last night I again saw your kindly smiling face.It was the same old home of ours. You talked to me cordially now inyour room, now in my room. You smiled and I also smiled.<br /> <br /> 4. 《赠汪伦》（李白）<br /> 李白乘舟将欲行，忽闻岸上踏歌声。<br /> 桃花潭水深千尺，不及汪伦送我行。<br /> Presented to Wang Lun（Li Bai）<br /> Li Bai on board, ready to push off,<br /> suddenly heard the tramping and singing on the bank.<br /> Peach Flower Pool a thousand feet deep<br /> is shallower than the love of Wang Lun who sees me off.<br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:33, 15 November 2020 (UTC)<br /> <br /> Presented to Wang Lun（Li Bai） <br /> Li Bai on board, ready to push off, <br /> suddenly heard the tramping and singing on the bank. <br /> Peach Flower Pool, though a thousand feet deep, <br /> is shallower than the love of Wang Lun who sees me off.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 14:50, 15 November 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> 1. 李白想象力丰富，一生创作了大量的诗歌，其诗歌对以后的历代诗人产生了重要影响，即使到现在中国人还非常喜欢他的诗。<br /> <br /> Rich in imagination, Li Bai created a large number of poems throughout his life, which have great influence on the poets after him. Even now, his poems are still popular with many Chinese people.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 01:34, 14 November 2020 (UTC)<br /> <br /> Rich in imagination, Li Bai created a large number of poems throughout his life, which has great influence on the poets after him. Even now, his poems are still popular with many Chinese people.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 02:47, 14 November 2020 (UTC)<br /> <br /> 2.中国现代文学集中地表现为大大加强了文学与人民群众的结合﹐文学与进步的社会思潮及民族解放﹑人民革命运动的自觉联系。<br /> <br /> Modern Chinese literature is concentrated on strengthening the combination of literature and people, the social ideological trend of literature and progress, and the conscious connection between national liberation and people's revolutionary movement.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 01:34, 14 November 2020 (UTC)<br /> <br /> Modern Chinese literature is concentrated on greatly strengthening the combination of literature and people, the social ideological trend of literature and progress, and the conscious connection between national liberation and people's revolutionary movement.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 02:47, 14 November 2020 (UTC)<br /> <br /> 3.新中国成立带来的巨大历史变革﹐为社会主义文学的发展提供了坚实的生活基础。新中国的作家坚持真实地﹑历史地﹑在现实的变革和发展中反映生活﹐自觉地把社会主义现实主义作为最根本的创作原则与方法。<br /> <br /> The great historical changes brought about by the founding of People’s Republic of China have provided a solid foundation for the development of socialist literature. Writers in New China insist on reflecting life truly, historically and in the change and development of reality, and consciously regard socialist realism as the most fundamental creative principle and method.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 01:34, 14 November 2020 (UTC)<br /> <br /> The foundation People's Republic of China in 1949 has brought great historical changesand provided a solid foundation for the development of socialist literature.The Writers in New China insist on reflecting life under the change and development of reality in a true and historical way, and they also take socialist realism as the most fundamental creative principle and method.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 02:47, 14 November 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 1. 古代文学一般包括欧洲古代文学和中国古代文学。欧洲古代文学又包括古希腊文学和罗马文学，中国古代文学按时间分类，包括先秦两汉文学，魏晋南北朝文学，唐宋文学，元明清文学。<br /> The classical literature generally includes European classical literature and Chinese classical literature. The former consists of Ancient Greek and Rome literature, while the latter can be classified as four literatures according to different time. They are literature of Pre-Qin and Han Dynasty, Wei Jin South and North Dyansty, Tang and Song Dynasty, Yuan, Ming and Qing Dynasty.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:38, 10 November 2020 (UTC)<br /> <br /> The classical literature generally includes European classical literature and Chinese classical literature. The former consists of Ancient Greek and Roman literature, while the latter can be classified chronologically as four kinds. They are literature of Pre-Qin and Han Dynasties, Wei Jin South and North Dyansties, Tang and Song Dynasties, Yuan, Ming and Qing Dynasties.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 08:32, 14 November 2020 (UTC)<br /> 2. 近代文学的成就在于它的反帝反封建的进步主流，它的反映现实和追求理想的精神和方法，它的语文合一、走向通俗化的探索和努力，为“五四”时代新文学运动准备了一定的历史条件。<br /> <br /> The modern literature achieved progress in the mainstream of anti-imperialism and anti-feudalism. It reflected reality and the pursuit of ideals through explorations ands efforts for language unity toward the popular. All these prepare certain historical conditions for the new literature movement in the May 4th Era.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:38, 10 November 2020 (UTC)<br /> <br /> The modern literature achieved progress in its mainstream of anti-imperialism and anti-feudalism.Its spirit and methods of reflecting reality and pursuing ideals, along with its exploration and efforts in unifying and popularizing language and words, had made some historical prepare for the new literature movement in the May 4th Era.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:45, 13 November 2020 (UTC)<br /> <br /> The modern literature achieved progress in its mainstream of anti-imperialism and anti-feudalism.Its spirit and methods of reflecting reality and pursuing ideals, along with its exploration and efforts in unifying and popularizing language and words, had made some historical preparations for the new literature movement in the May 4th Era.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 08:32, 14 November 2020 (UTC)<br /> <br /> 3. 中国当代文学，首先指的是1949年以来的中国文学；其次指的是发生在特定的社会主义历史语境中的文学.<br /> The Chinese contemporary literature, first of all, refers to Chinese literature since 1949. Secondly, it means the literature that takes place in the context of specific socialist history. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:38, 10 November 2020 (UTC)<br /> <br /> Chinese contemporary literature firstly refers to Chinese literature since 1949; secondly, it refers to literature that occurred in a specific historical context of socialism.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 12:26, 10 November 2020 (UTC)<br /> <br /> Chinese contemporary literature firstly refers to Chinese literature since 1949; secondly, it refers to literature that occurs in a specific historical context of socialism.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 08:32, 14 November 2020 (UTC)<br /> <br /> 4. 李白既有清高傲岸的一面，又有世俗的一面，他的理想和自由，只能到山林、仙境、醉乡中去寻求。<br /> <br /> Li Bai is not only lofty and proud, but also seculoar. To seek his ideals and ferredom, he can only search in the mountain forest, fairland and drunken state.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 02:20, 14 November 2020 (UTC)<br /> <br /> Li Bai is not only lofty and proud, but also secular. To seek his ideals and freedom, he can only seek in mountain forest, fairland and dazed state.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 08:32, 14 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> 1、《楚辞》是西汉刘向把屈原的作品及宋玉等人“承袭屈赋”的作品编辑而成的一部诗歌总集，它作为我国积极浪漫主义诗歌创作的源头，对后世文学影响深远。<br /> <br /> The Songs of Chu is a collection of ancient Chinese poems which was authored by Liuxiang in western Han dynasty who piled Quyuan’s poems as well as those following Qu’s style written by Songyu and other poets into it.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:36, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 2、郭沫若的代表作《女神》是中国现代新诗的奠基之作，在艺术上取得了新诗最辉煌的成就，是“五四”时期浪漫主义的瑰丽奇峰，其形式自由多变，依感情的变化自然地形成“情绪的节奏”。<br /> <br /> The master work “Goddess” of Guo Moruo was the cornerstone in Chinese modern new-style poetry(free verse written in the vernacular). It obtained the most brilliant achievement in the art of the new-style poetry and was the magnificent peak of the romanticism during May Fourth period with its free and varied form, naturally producing emotional rhythm according to the changes of sentiments.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:36, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 3、伤痕文学带有强烈的感情色彩，但由于主客观方面的原因，作品还缺乏深度，作家“先天不足，后天失调”，知识结构不健全。<br /> <br /> Trauma literature had intense emotions, but lacked depth due to subjective and objective reasons. The writers of trauma literature had inherent weaknesses and lacked instruction which resulted in the unsound structure of knowledge in their writings.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:36, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 4、这首诗按照故事情节可简单分为上下两端，上段写美好，下段写悲伤，几乎完整地写出了一对恋人的前世今生，使读者能够完全代入，深深钻进这个凄美的故事里。<br /> <br /> The poem(The River-Merchant’s Wife: A Letter) can be divided into two parts according to its plot. The former part describes happiness while the latter one describes sadness. The poem tells us almost a complete love story between one couple which makes the readers totally place themselves into the beautiful but painful story deeply. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:36, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==Grosheva, Anna==<br /> <br /> 1. During the Eastern Han Dynasty towards the end of the Han era, the influence of the philosophy of the Confucian Classics that hindered scientific progress was waning. <br /> 在汉朝末期的东汉时期，儒家经典哲学的影响力逐渐减弱。<br /> <br /> 2. Of course, the big change in Chinese society that happened with the change of government led to a change in literature. <br /> 当然，随着政府的变化，中国社会发生了巨大的变化，导致了文学的变化。<br /> <br /> 3. Contemporary literature took on a new vigor, despite the fact that the Chinese were in the throws of checkered and complicated times.<br /> 尽管中国处于一个复杂而复杂的时代，但当代文学却焕发出新的活力。<br /> <br /> 尽管当代中国局势复杂，当代文学却焕发出新的活力。--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 13:23, 15 November 2020 (UTC)Zhang Weihong<br /> <br /> ==Gu Dongfang 顾东方==<br /> 1.《水浒传》是中国四大名著之一，是一部以北宋末年宋江起义为主要故事背景、类型上属于英雄传奇的章回体小说。<br /> <br /> The Water Margin is one of the four great Chinese novels, it is a chapter novel with Song Jiang's uprising in the last year of the Northern Song Dynasty as the main background and the type of heroic saga.<br /> <br /> The Water Margin is one of the four great Chinese novels, which is a chapter novel based on the Song Jiang Uprising in the last year of the Northern Song Dynasty and belongs to the genre of heroic saga.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:56, 15 November 2020 (UTC)Xiao Ting<br /> <br /> As one of the four greatest Chinese novel, the Water Margin is a chapter novel with Song Jiang's uprising in the last year of the Northern Song Dynasty as the main background, belonging to the type of heroic saga.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 12:10, 15 November 2020 (UTC)<br /> <br /> <br /> 2.新中国的作家坚持真实地、历史地、在现实的变革和发展中反映生活,自觉地把革命现实主义即社会主义现实主义作为最根本的创作原则与方法。<br /> <br /> Writers in the new China insist on reflecting life truthfully, historically in the midst of realistic changes and development, and consciously take revolutionary realism, that is, socialist realism, as the most fundamental creative principle and method.<br /> <br /> Writers of the People's Repulic of China insist on reflecting life truthfully, historically in the midst of realistic changes and development, and consciously take revolutionary realism, that is, socialist realism, as the most fundamental creative principle and method.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:56, 15 November 2020 (UTC)Xiao Ting<br /> <br /> 3.抗日民族解放战争与解放战争进一步加强了作家与现实生活的联系﹐出现了各种流派﹑创作方法的作家向革命现实主义归依的趋向﹐这反过来又促进了革命现实主义向反映现实的深度﹑广度与多样化方向的发展。<br /> <br /> The Anti-Japanese War of National Liberation and the War of Liberation further strengthened the connection between writers and real life, and there was a tendency for writers of various schools and creative methods to turn to revolutionary realism, which in turn promoted the development of revolutionary realism in the direction of reflecting reality in depth, breadth and diversity.<br /> <br /> ==Guan Qinqing 管钦清==<br /> 1.中国的四大名著指创作于明清时期的四部最伟大、最有影响力的小说。阅读四大名著，可以了解中国传统的社会、历史、地理、民俗和处世哲学。<br /> <br /> The Four Great Classical Novels of Chinarefer to the four greatest and most influential novels written in the Ming and Qing Dynasties. Reading them can acquaint people with traditional Chinese society, history, geography, folk customs and philosophy of life. <br /> <br /> 2.大多数的中国人对这四部小说中的人物、情节和场景都很熟悉。它们已经深深地影响了中国人的思想、观念和价值观。现在，四部小说都已被改编成电影或电视剧，受到很多观众的喜爱。四大名著都具有很高的艺术水平，是中华民族的宝贵遗产，在中国文学史上也是一大创举。<br /> <br /> Most Chinese are pretty familiar with the figures, plots and scenes in the four novels. They have profoundly influenced the mentality, ideas and values of Chinese people.Nowadays, the four novels have already been adapted into movies or TV series,favored by lots of audiences. Being high in artistic standard, the Four Great Classical Novels are precious heritages of Chinese nation and pioneering works in the history of Chinese literature.<br /> <br /> 3.与舞蹈和音乐相伴的歌谣跟口头流传的神话，远在文字出现之前就已大量产生。中国的文学正是发端于此。不过歌谣本是人们在生活中随兴而发的东西，上古时代也没有保存和记载它们的手段，因之也就很快湮灭，不留痕迹。我们只能从一些古籍书中推断它们的存在。古书中记载了一些据称年代非常久远的歌谣，但是大多出于后人的伪托，能够断定朝代的歌谣要到《诗经》里才能看见。从这点来看，古代神话对中国文学的影响更为显着。<br /> <br /> Long before the emergence of the written word, ballads, accompanied by music and dance,and myths, passed around by word of mouth, were widely popular. Chinese literature finds its origins in these traditions. However, ballads were what people improvised out of daily life, and due to lack of means to record and preserve them in ancient times, they quickly disappeared without leaving much of a trace. Today, we can only deduce their existence from ancient books, which recorded some time-honored ballads, though most of these are belived to be derivatives of later generations. Ballads in the book of songs are the earliest writings that can be dated. From this point of view, ancient mythology obviously has had a great influence on chinese literature.<br /> <br /> 4.唐诗泛指创作于唐代(618年-907年)的诗。唐诗是汉族最珍贵的文化遗产之一，同时也对周边民族和国家的文化发展产生了很大影响。唐诗中流传最 广的当属收录在《唐诗三百首》中的诗歌，里面收录的许多诗篇都为后人所熟知。唐代的诗人特别多，其中李白、杜甫等都是世界闻名的伟大诗人，他们的作品有很多都是脍炙人口的诗篇。<br /> <br /> Tang poetry generally refers to poems written during the Tang Dynasty (618 A.D.-907A.D.). Tang poetry is one of the most valuable cultural heritages of the Han Chinese. Meanwhile, it also has a great influence on the cultural development of neighboring ethnic groups and nations. The most widely spread among Tang poems are definitely the poems that are included in the “Three Hundred Poems ofthe Tang Dynasty”，many of which are quite popular with people of later generations. There are lots of poets in Tang Dynasty, among whom Li Bai and Du Fu are world-famous. Many of thetwo great poets’works are household poems.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:38, 15 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> 1.中国文学的历史已有数千年的历史，从最早的朝代宫廷档案到明代兴起的成熟的乡土小说，都应运而生。<br /> <br /> The history of Chinese literature extends thousands of years, from the earliest recorded dynastic court archives to the mature vernacular fiction novels that arose during the Ming dynasty to entertain the masses of literate Chinese.<br /> <br /> The history of Chinese literature extends thousands of years, and different types of literature emerged from the earliest court records of dynasties to the mature local novels arising in the Ming Dynasty.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:35, 13 November 2020 (UTC)<br /> <br /> 2.中国现代文学史记载了至少3000年前的不间断历史，其历史至少可以追溯到公元前14世纪。 中国现代文学以丰富的文化为基础，蓬勃发展。<br /> <br /> Chinese Modern Literature is a record of an uninterrupted history of more than 3,000 years, dating back at least to the 14th century BC. Based on luxuriant culture, Chinese Modern literature developed flourishingly.<br /> <br /> 3.中国当代文学可以定义为古典文学向现代的过渡。<br /> <br /> Chinese contemporary literature can be defined as a transition of classical literature to the present-age.--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 12:09, 13 November 2020 (UTC)<br /> <br /> Chinese contemporary literature can be defined as the transition from classical literature to the modern literature.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:35, 13 November 2020 (UTC)<br /> <br /> ==Guo Lu 郭露==<br /> <br /> 1. 小说中曹雪芹没有直接描写皇室的生活，而是通过刘一贾、史、王、薛四大家族的描写，其中又集中到贾府的兴衰。<br /> <br /> In Cao Xueqin's display，his angle shifted from kinsmen of the emperor to focusing on Jia，Shi，Wang,and Xue Families，and then shifted from these four families to Jia Fami1y.<br /> <br /> Without a direct display of the life of royal family, Can Xueqin depicted the Jia, Shi, Wang, and Xue families, among which the rise and fall of the Jia families was his focus.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 12:18, 15 November 2020 (UTC)<br /> <br /> 2.于千万人之中遇见你所遇见的人，于千万年之中，时间的无涯的荒野里，没有早一步，也没有晚一步，刚巧赶上了，那也没有别的话可说，惟有轻轻的问一声：“哦，你也在这里吗？”<br /> <br /> When you meet the one among the millions, or in many years, across the borderless wastes of time, you happen to catch him or her, neither a step too early nor a step too late, what else is there to do except to ask softly: &quot;So you're here, too?&quot;<br /> <br /> 3. 他出身贫寒家庭，20岁参军的同时开始写小说。他的第一部小说《太阳下山》（The Sun Goes Down）是一本非官方英文译本，讲述的是两位军人英雄，他们因一名年轻的陆军厨师自杀而互相指责，从而毁了他们的声誉和友谊。<br /> <br /> Born into a poor family, he began writing fiction at the same time as he joined the Chinese army at the age of 20. His first novel, called The Sun Goes Down in an unofficial English translation, was about two soldier-heroes who destroy their reputations and the friendship between them when they blame each other for the suicide of a young army cook.<br /> <br /> 4. 这首诗对商妇的各个生活阶段，通过生动具体的生活侧面的描绘，在读者面前展开了一幅幅鲜明生动的画面。<br /> <br /> This poem unfolds a vivid picture for the readers through a concrete description of the various life of the Shang women.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 16:28, 14 November 2020 (UTC)<br /> <br /> This poem has depicted a vivid picture to the readers through vivid and concrete description of the life stages of the Shang women.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 05:32, 15 November 2020 (UTC)<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> ==He Changqi 何长琦==<br /> <br /> ==Hu Baihui 胡百辉==<br /> 1. 中国古典文学名著有诗歌、散文、小说、戏剧以及民间神话传说故事等多种表现形式，在各种文体中，又有多种多样的艺术表现手法，从而使中国古典文学呈现出多姿多彩、壮丽辉煌的图景。<br /> <br /> There are many kinds of style in Chinese classical literature, such as poetry, prose, novel, drama and folklore. In various styles, there are also a variety of artistic expression techniques, which makes Chinese classical literature present a colorful and magnificent prospect.<br /> <br /> 2. 中国现代文学是在中国社会内部发生历史性变化的条件下﹐广泛接受外国文学影响而形成的新的文学。它不仅用现代语言表现现代科学民主思想﹐而且在艺术形式与表现手法上都对传统文学进行了革新﹐建立了话剧﹑新诗﹑现代小说﹑杂文﹑散文诗﹑报告文学等新的文学体裁﹐在叙述角度﹑抒情方式﹑描写手段及结构组成上﹐都有新的创造﹐具有现代化的特点﹐从而与世界文学潮流相一致﹐成为真正现代意义上的文学。<br /> <br /> Modern Chinese literature is a new literature formed under the condition of historical changes in Chinese society, which is widely influenced by foreign literature. It not only uses modern language to express modern scientific and democratic thoughts, but also innovates traditional literature in artistic forms and expression techniques. It establishes new literary genres such as drama, new poetry, modern novel, essay, prose poem, reportage, etc. it has new creation in narrative angle, lyric way, description means and structural composition, and has modern characteristics In line with the trend of world literature, it has become a real modern literature.<br /> <br /> 3.中国当代dao文学是中制国历史发生天翻地覆变革的时期，是中国文学由古典走向现代的时期。洞悉这一时期文学思潮变动的惊涛骇浪，也就可以读懂中国文学由古典形态向现代形态转换的历史必然性以及促成这一文学转折的多重因素。<br /> <br /> Chinese contemporary D literature is a period of great changes in the history of China's system of state, and it is a period of time when Chinese literature changes from classical to modern. If we have a thorough understanding of the turbulent changes of literary thoughts in this period, we can understand the historical inevitability of the transformation of Chinese literature from classical form to modern form and the multiple factors that contributed to this literary transition.<br /> <br /> 4.诗人李白写过很多反映妇女生活的作品，《长干行》就是其中杰出的诗篇。<br /> <br /> Li Bai, a poet, has written many works reflecting women's life, among which the long march is an outstanding one.<br /> <br /> ==Hu Jin 胡瑾==<br /> 1. 中国古典文学广义的指自先秦至清代末年的中国文学，包括作家、作品、文学事件，文体起源与发展历程，文学运动、流派，文学理论，作家作品的考据、研究等等。<br /> <br /> 1. Chinese classical literature broadly refers to Chinese literature from pre-Qin to the end of Qing Dynasty, including writers, works, literary events, stylistic origin and development, literary movements, schools, literary theories, textual research and research of writers' works, and so on.<br /> <br /> 2. 中国现代文学是在中国社会内部发生历史性变化的条件下﹐广泛接受外国文学影响而形成的新的文学。它不仅用现代语言表现现代科学民主思想﹐而且在艺术形式与表现手法上都对传统文学进行了革新﹐建立了话剧﹑新诗﹑现代小说﹑杂文﹑散文诗﹑报告文学等新的文学体裁.<br /> <br /> 2. Chinese modern literature is a new literature which is widely influenced by foreign literature under the condition of historic changes in Chinese society. It not only expresses modern scientific and democratic thoughts in modern language, but also innovates traditional literature in both artistic forms and expression techniques, and establishes new literary genres such as drama, new poetry, modern novels, essays, prose poems and reportage.<br /> <br /> 3. 在当代文学面向世界的新的历史条件下，有选择地吸收外来文化中一切好的内容和形式，溶化到本民族文艺的血液之中,以丰富和提高本民族的文艺,成为新时期作家艺术探索的重要课题。<br /> <br /> 3. Under the new historical conditions of contemporary literature facing the world, it has become an important topic for writers to explore art in the new period by selectively absorbing all the good contents and forms from foreign cultures and melting them into the blood of their own literature and art.<br /> <br /> <br /> 4. 唐诗是我国诗歌发展的最高成就。它继承了魏晋以来的诗歌精华，而且由于唐代开放的风气，清明的政治，以及统治者的推崇，使唐代诗歌有了长足的发展，如唐代科举制就要专门的考诗歌。<br /> <br /> 4. Tang poetry is the highest achievement in the development of Chinese poetry. It inherited the essence of poetry since Wei and Jin Dynasties, and due to the open atmosphere, clear politics and the esteem of rulers in Tang Dynasty, the poetry in Tang Dynasty has made great progress. For example, the imperial examination system in Tang Dynasty required special examination of poetry.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 03:18, 14 November 2020 (UTC)<br /> <br /> The poetry in Tang Dynasty boasted the highest achievement of the Chinese poetry, which inherited the essence of poetry since Wei and Jin Dynasties, and due to the open atmosphere, clear politics and the esteem of rulers in Tang Dynasty, the poetry in Tang Dynasty has made great progress. For example, the imperial examination system in Tang Dynasty required special examination of poetry.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 12:33, 15 November 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> 东汉末年，社会动荡不安。曹操挟持汉献帝，统一北方，社会有了比较安定的环境。曹操父子皆有高度的文学修养，由于他们的提倡，一度衰微的文学有了新的生机。<br /> <br /> At the end of the Eastern Han Dynasty, the society was in turbulence, as Cao Cao hijacked Emperor HanXiandi and unified the north, and society gained a relatively stable environment. Both Cao Cao and his son have a high level of literary accomplishment. Thanks to their advocacy, the once declining literature has grown new vitality.<br /> <br /> 《骆驼祥子》是人民艺术家——老舍（舒庆春，1899-1966）所著的长篇小说，描述了20世纪20年代军阀混战时期人力车夫的悲惨命运。祥子是旧社会劳苦大众的代表人物。<br /> <br /> &quot;Camel Xiangzi&quot; is a novel written by Lao She (Shu Qingchun, 1899-1966), known by the people's artist, which describes the tragic fate of a rickshaw driver during the warlord melee in the 1920s, who is a representative of the toiling masses in the old society.<br /> <br /> 贾平凹的小说在思想内容上大多都是描写现实的，如《浮躁》以农村青年金狗与小水之间的感情经历为主线，描写了改革开放初始阶段暴露出来的问题。<br /> <br /> Most of Jia Pingwa's novels describe reality in terms of ideological content. For example, Turbulabce takes the love line between a rural young couple named JIngou and Xiaoshui to describes the exposed problems in the initial stage of reform and opening up.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 11:56, 15 November 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> 1.“古典”在拉丁文中是“第一流的、典范的”意思。欧洲文艺复兴时期，文艺理论家以古希腊、罗马的优秀作品为典范，称为古典文学。在中国，把从远古流传下来的原始歌谣和神话传说，直到五四以前大量的有一定价值的文学作品，叫古典文学。<br /> <br /> &quot;Classical&quot; means &quot;first-rate and exemplary&quot; in Latin. During the Renaissance in Europe, the theorists took those excellent works of ancient Greece and Rome as models and called them classical literature. While in China, the classical literature refers to the primitive ballads and myths handed down from time immemorial and the valuable literary works born before the May 4th Movement.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:57, 15 November 2020 (UTC)<br /> <br /> 2.这是完美的道格拉斯·亚当斯式的幽默，根植于语言、角色以及对语调和速度的完美控制，正是这些使得《银河系漫游指南》成为现代文学真正的经典。<br /> <br /> This is Douglas Adams' humour, rooted in language, characters and the sheer control of tone and pacing, which makes The Hitchhiker's Guide to the Galaxy a genuine classic of modern literature.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:57, 15 November 2020 (UTC)<br /> <br /> 3.随之涌现了一大批当代文学作品，但其中大部分都很平庸。<br /> <br /> This was accompanied by a flood of contemporary literature, most of it mediocre.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:57, 15 November 2020 (UTC)<br /> <br /> Followed by it was a flood of contemporary literature,most of which,however,were medicore.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:42, 15 November 2020 (UTC)<br /> <br /> 4.《清明》<br /> 杜牧（唐代）<br /> 清明时节雨纷纷，路上行人欲断魂。借问酒家何处有，牧童遥指杏花村。<br /> <br /> Tomb-sweeping Day<br /> Du Mu（Tang Dynasty）<br /> It's rainy in this tomb-sweeping day,<br /> and passersby were battered out of their senses.<br /> I asked a local where I can purchase some wine,<br /> then the cowboy said nothing but pointed at the distant village which is nestling amidst apricot blossoms.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:57, 15 November 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> 1. 《孔雀东南飞》主要讲述了焦仲卿、刘兰芝夫妇被迫分离并双双自杀的故事，控诉了封建礼教的残酷无情，歌颂了焦刘夫妇的真挚感情和反抗精神。<br /> <br /> Peacock Flies Southeast mainly tells the story of Jiao Zhongqing and Liu Lanzhi who were forced to separate and committed suicide, accuses the ruthlessness of feudal ethics and extols the sincere love and rebellious spirit of Jiao and Liu.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:37, 13 November 2020 (UTC)<br /> <br /> 2. 《雷雨》以1925年前后的中国社会为背景，描写了一个带有浓厚封建色彩的资产阶级家庭的悲剧。该剧情节扣人心弦、语言精炼含蓄，人物各具特色，是“中国话剧现实主义的基石”，中国现代话剧成熟的里程碑。<br /> <br /> Thunderstorm, with Chinese society around 1925 as the background, describes the tragedy of a bourgeois family with a strong feudal color. The drama is exciting in story, concise and subtle in language, and the characters have their own features. It is &quot;the cornerstone of Chinese drama realism&quot; and a milestone of the maturity of Chinese modern drama.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:37, 13 November 2020 (UTC)<br /> <br /> 3.《平凡的世界》以中国70年代中期到80年代中期十年间为背景，以孙少安和孙少平两兄弟为中心，刻画了当时社会各阶层众多普通人的形象,深刻地展示了普通人在大时代历史进程中所走过的艰难曲折的道路。<br /> <br /> &quot;Ordinary World&quot; is set in China from the mid-1970s to the mid-1980s and centered on two brothers, Sun Shaoan and Sun Shaoping. It depicts the images of many ordinary people from all classes at that time, and profoundly shows the difficult and tortuous road that ordinary people have gone through in the historical process of the great times.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:37, 13 November 2020 (UTC)<br /> <br /> 4.《长干行》描绘了商妇各个生活阶段的各个生活侧面，展现了一幅幅鲜明生动的画面，塑造出了一个对理想生活执着追求和热切向往的商贾思妇的艺术形象.<br /> <br /> &quot;The River-Merchant's Wife: A Letter&quot; depicts every aspect of the life of a businesswoman at every stage of her life, showing vivid pictures, and shaping an artistic image of a businesswoman who pursues and longs for her ideal life.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:37, 13 November 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> 1、改革开放 40 年来，中国古典文学研究事业在经典中寻找方向，在传统中汲取力量，在创新中 积累经验，在回归中实现超越。 <br /> <br /> Over the past 40 years since the reform and opening up, the research on Chinese classical literature has been looking for direction in classics, gaining strength from tradition, accumulating experience in innovation and<br /> surpassing predecessors when going back to the tradition.<br /> <br /> 2、鲁迅先生为现代文学第一人，小说代表作《呐喊》、《彷徨》和《故事新编》，鲁迅先生未创作创篇小说，以上所述都为中短篇小说集。<br /> <br /> Mr. Lu Xun is the first person in modern literature, and his representative novels are The Scream, Wandering and New Stories.Mr. Lu Xun has not written any creative novels, and all of the above are collections of short stories.<br /> <br /> <br /> 2. Lu Xun is the leading person in modern literature, and his representative novels are The Scream, Wandering and New Stories.Mr. Lu Xun has not written any creative novels, and all of the above are collections of short stories.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 12:00, 15 November 2020 (UTC)<br /> <br /> 3、《边城》寄托着沈从文“美”与“爱”的美学理想，是他的作品中最能表现人性美的一部。<br /> <br /> Frontier City embodies Shen Congwen's aesthetic ideals of &quot;beauty&quot; and &quot;love,&quot; and is the one of his works that best expresses the beauty of human nature.<br /> <br /> 4、《江雪》是唐朝诗人柳宗元经典的诗作。在中国，这首诗被选入国内小学课本和许多对外汉语教材之中，是脍炙人口的名篇。<br /> Fishing in Snow is a classical poem by Liu Zongyuan, a poet of the Tang Dynasty. In China, this poem was selected into elementary school textbook and many Foreign-Chinese textbooks，and it is a well-known poem.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:37, 13 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> 1、《山海经》是中国一部记述古代志怪的古籍，大体是战国中后期到汉代初中期的楚国或巴蜀人所作。它是一部荒诞不经的奇书。<br /> <br /> The Classic of Mountains and Seas is an ancient Chinese book describing ancient supernatural beings. It was written by people of Chu or Bashu from the middle and late Warring States period to the early and middle Han Dynasty. It is a fantastic and absurd book.<br /> <br /> 2、唐代建国初的诗歌仍沿着南朝诗歌的惯性发展，柔靡纤弱，毫无生气。“初唐四杰”的出现开始转变了这种风气。他们才气横溢，不满现状，通过自己的诗作抒发愤激不平之情和壮烈的怀抱，拓宽了诗歌题材。<br /> <br /> The poetry of the early Tang Dynasty still developed along the inertia of the poetry of the South Dynasty, which was soft, delicate and lifeless. The appearance of the &quot;Four Great Poets &quot; in the early Tang Dynasty began to change this trend. They are brilliant, dissatisfied with the status quo.they broaden the theme of poetry through their own poems to express the feelings of injustice and heroic embrace.<br /> <br /> 3、贾平凹作为陕西文坛的优秀代表，成为享誉海内外的文学大师，数十年如一日，笔耕不辍，以一个作家无比悲悯的情怀，深邃而富有远见的思想讴歌着时代，赞美着人性，用他的作品感动着亿万中国人的心。<br /> <br /> Jia Pingwa, as an outstanding representative of shaanxi literature, has become a famous literary master at home and abroad. For decades, he has been working tirelessly, eulogizing the Times and human nature with his profound and far-sighted thoughts, and touching the hearts of millions of Chinese people with his works.<br /> <br /> 4、中国现代文学是在中国社会内部发生历史性变化的条件下，广泛接受外国文学影响而形成的新的文学。它不仅用现代语言表现了现代科学民主思想，而且在艺术形式与表现手法上都对传统文学进行了革新。<br /> <br /> Chinese modern literature is a new literature formed under the condition of historical changes in Chinese society and widely accepted the influence of foreign literature. It not only expresses the thought of science and democracy with modern language, but also innovates the traditional literature in art form and expression technique.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 15 November 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Lili 李丽丽==<br /> 1.中国古代文学是中华文明的重要组成部分，它的历史悠久，其起源，约略同中华文明的起源同步。<br /> Ancient Chinese literature is an important part of Chinese civilization. With a long history, it came into being as early as Chinese civilization.<br /> <br /> 2.近代文学的成就在于它的反帝反封建的进步主流，它的反映现实和追求理想的精神和方法，它的语文合一、走向通俗化的探索和努力，为“五四”时代新文学运动准备了一定的历史条件。<br /> The achievements of modern literature lie in its progressive mainstream of anti- imperialism and anti-feudalism, its spirit and method of reflecting reality and pursuing ideal, and its exploration and efforts towards language integration and popularization, which provided certain historical conditions for the New Literature Movement in the May 4th movement.<br /> <br /> 3.现代文学不仅用现代语言表现现代科学民主思想﹐而且在艺术形式与表现手法上都对传统文学进行了革新﹐建立了话剧﹑新诗﹑现代小说﹑杂文﹑散文诗﹑报告文学等新的文学体裁﹐<br /> Contemporary culture not only expresses modern scientific and democratic thoughts in modern language, but also innovates traditional literature in artistic forms and expression techniques, which establishes new literary genres such as drama, new poetry, modern novel, essay, prose poem, reportage, etc.<br /> <br /> 4.唐诗是中华民族珍贵的文化遗产之一，是中华文化宝库中的一颗明珠，同时也对世界上许多国家的文化发展产生了很大影响，对于后人研究唐代的政治、民情、风俗、文化等都有重要的参考意义。<br /> Tang poetry is one of the precious cultural heritages of the Chinese nation and a pearl in the treasure house of Chinese culture. At the same time, it has a great influence on the cultural development of many countries in the world. It also has important reference significance for the later generations to study the politics, folk lifestyles, customs and culture of the Tang Dynasty.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:54, 13 November 2020 (UTC)Li Lili<br /> <br /> Tang poetry is one of the precious cultural heritages of the Chinese nation and a pearl in the treasure house of Chinese culture. At the same time, it has a great influence on the cultural development of many countries in the world. It is of great significance for mentoring the later generations to study the politics, folk lifestyles, customs and culture of the Tang Dynasty.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 07:24, 15 November 2020 (UTC)Chen Jingjing<br /> <br /> ==Li Liqin 李丽琴==<br /> 1. 中国古典文学名著有诗歌、散文、小说、戏剧、词、赋等多种表现形式，从而使中国古典文学呈现多姿多彩、壮丽辉煌的图景。《诗经》是我国第一部诗歌总集，收入自西周初年至春秋中叶五百多年的诗歌311篇，又称《诗三百》。《诗经》共有风、雅、颂三个部分，对中国的文学史、政治、语言、甚至思想上都有着非常深远的影响。<br /> <br /> 2. 中国现代文学不仅用现代语言表现现代科学民主思想，而且在艺术形式与表现手法上都对传统文学进行了革新。鲁迅是新文化运动的重要参与者，也是中国现代文学的奠基人之一。<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1. 中国古典文学是中国文学史上闪烁着灿烂光辉的优秀作品，它是世界文学宝库中令人瞩目的瑰宝。几千年来，中国传统文化养育了中国古典文学，中国古典文学又大大丰富了中国传统文化，使传统文化更具有深刻的影响力。<br /> <br /> Chinese classical literature is an excellent work with brilliant brilliance in the history of Chinese literature. It is a remarkable treasure in the world literature.For thousands of years, Chinese traditional culture has nurtured Chinese classical literature, which in turn has greatly enriched Chinese traditional culture and made it more profoundly influential.<br /> <br /> Chinese classical literature is an excellent work shining brilliant glory in the history of Chinese literature. It is a remarkable treasure in the world literature.For thousands of years, Chinese traditional culture has nurtured Chinese classical literature, which in turn has greatly enriched Chinese traditional culture and made it more profoundly influential.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:58, 13 November 2020 (UTC)<br /> <br /> 2. 中国现代文学是在中国社会内部发生历史性变化的条件下，广泛接受外国文学影响而形成的新的文学。<br /> <br /> Chinese modern literature is a new literature formed under the condition of historical changes in Chinese society,which is greatly influenced by foreign literature.<br /> <br /> Chinese modern literature is a new literature formed by greatly aborsobing foreign literature under the condition of historical changes in Chinese society.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:58, 13 November 2020 (UTC)<br /> <br /> 3. 中国自由文学在民间又称贫民窟文学，其概念出现于上世纪九十年代，以中国自由作家为代表，数十年扎根中国社会底层及贫民窟，极大的同情与关注社会底层贫民的生存状态，所创作的小说均表现中国社会边缘知识分子与社会底层贫民以及下层妓女的悲怆爱情故事，为新时期中国当代文学的代表作。<br /> <br /> Chinese free literature is also known as slum literature among the people,which appeared in the 1990s.It’s represented by Chinese free writers who have been rooted in the bottom of Chinese society and slums for decades,showing great empathy and concern for the living conditions of the poor at the bottom of Chinese society.Their novels depicted the pathetic love stories between the marginal intellectuals of Chinese society and the poor at the bottom of society as well as the prostitutes of the lower class,which are the representative works of Chinese contemporary literature in the new era.<br /> <br /> 4. 诗人李白写过许多反映妇女生活的作品，《长干行》就是其中杰出的诗篇。它以一位居住在长干里的商妇自述的口气，叙述了她的爱情生活，倾吐了对于远方丈夫的殷切思念。它塑造了一个具有丰富深挚的情感的少妇形象，具有动人的艺术力量。<br /> <br /> The poet Li Bai has written many works reflecting women’s life,among which Ballad of a Merchant’s Wife is an outstanding one.It narrated the love life of a merchant’s wife living in Chokan in her own words and expressed her ardent yearning for his husband far away.It portrayed an image of a young woman with rich and deep emotions,which had touching artistic power.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 09:18, 12 November 2020 (UTC)<br /> <br /> The poet Li Bai has written many works reflecting women’s lives, among which ''Changgan Song'' is an outstanding one. It narrated the love life of a merchant’s wife living in Changganli (in Nanjing) in her own words and expressed her ardent yearning for his husband far away. It presented a moving power of art by creating an image of a young woman with rich and deep emotions. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:24, 13 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> 1. 文学的起源是诗歌，亦即韵文先于散文，西方亦然。<br /> <br /> The origin of literature is poem, and verse precedes prose, it is the same in the West.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 02:42, 15 November 2020 (UTC)<br /> <br /> 2.凡每一个时代，其同时代最伟大的人，必有齐名者，如诗人称“李杜”，文称“韩柳”，画家则称“吴李”。<br /> <br /> In every age, the most renowned person will have his counterpart, for example, the famous poets &quot;Li Du&quot;(Li Bai and Du Fu),writers &quot;Han Liu&quot;(Han Yu and Liu Zongyuan),painters &quot;Wu Li&quot;(Wu Daozi and Li Longmian).--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 02:42, 15 November 2020 (UTC)<br /> <br /> 3.在老一辈学术名家中，钱穆先生以其学问淹博、著述宏富著称。<br /> <br /> --[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 12:05, 15 November 2020 (UTC)Among the old generations of reputed scholars，Mr. Qian Mu is outstanding for his erudition and amount of work.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 02:42, 15 November 2020 (UTC) <br /> <br /> 3. Among the old generations of reputed scholars，Qian Mu is outstanding for his erudition and amount of work.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 12:05, 15 November 2020 (UTC)<br /> <br /> 4.真实的文学来自广大群众，须采自当时某一地域的民间。<br /> <br /> The authentic literature comes from the masses and must be collected from the folks in a certain area at that time.--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 02:42, 15 November 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> 1、中国古典文学是中国文学史上闪烁着灿烂光辉的经典性作品或优秀作品，它是世界文学宝库中令人瞩目的瑰宝。中国古典文学有诗歌、散文、小说以及词、赋、曲等多种表现形式，在各种文体中，又有多种多样的艺术表现手法，从而使中国古典文学呈现出多姿多彩、壮丽辉煌的图景。<br /> <br /> Classical Chinese literature is a classical work or excellent work in the history of Chinese literature that shines with brilliant light, and it is a remarkable treasure among the treasures of world literature. Classical Chinese literature has a variety of expressions such as poetry, prose, novel, and lyrics, fu, and song, and a variety of artistic expressions in a variety of styles, thus making classical Chinese literature present a colorful, magnificent and glorious picture.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:13, 11 November 2020 (UTC)<br /> <br /> 2、现代文学在“五四”文学革命以后的60多年发展过程中﹐随著中国革命与社会性质的演变﹐以1949年10月中华人民共和国成立为转折﹐经历了新民主主义革命时期与社会主义时期两个历史阶段。两个阶段的文学既有各自的历史面貌﹐显示出不同阶段的差异性﹔<br /> <br /> In the more than 60 years since the May Fourth Literary Revolution, modern literature has gone through two historical stages: the period of the New Democratic Revolution and the period of socialism, following the Chinese Revolution and the evolution of the nature of society, with the founding of the People's Republic of China in October 1949 as a turning point. The literature of the two stages has its own historical outlook and shows the differences between the different stages.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:13, 11 November 2020 (UTC)<br /> <br /> Following the Chinese Revolution and the evolution of the nature of society in more than 60 years since the May Fourth Literary Revolution, modern literature has gone through two historical stages: the period of the New Democratic Revolution and the period of socialism,with the founding of the People's Republic of China in October 1949 as a turning point. The literature of the two stages has its own historical outlook and shows the differences at the different stages.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 09:08, 12 November 2020 (UTC)<br /> <br /> <br /> 3、中国平民作家特别是自由作家所具有的独立思想，通常在作品中以令人恐怖的真实表现出思想的光芒。在批判现实主义基础上开创了一整套独立特行的现代美学与完整的思想价值体系，为中国当代坚持探究思想之源的文学巨匠的群体，同时也是具有非凡忍耐力和巨大牺牲精神的真正的作家群体。<br /> <br /> The independent thoughts of Chinese commoner writers, especially freelance writers, usually shine through with terrifying truth. On the basis of critical realism, they have created a set of independent and unique modern aesthetics and a complete system of ideological values, and are contemporary Chinese literary giants who insist on exploring the source of ideas, as well as genuine writers with extraordinary endurance and great sacrifice.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:13, 11 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> 1.在中国的诗歌史上，唐诗、宋诗（词）作为两个难以逾越的高峰，灿烂着中国的文化领域，同时，又备受文人们的争议，从诗歌的写作背景，到诗歌的谋篇结构、锤词炼句、修辞用典，都是人们热爱和攻击的目标。<br /> In the history of Chinese poetry, Tang poems and Song poems (ci), as two insurmountable peaks, glow in China’s culture. In the meanwhile, literati have held their own opinions about them. The background, the structure of poetry, sentences polishing, and rhetorical allusions are favorable for both supporters and haters<br /> <br /> 正是以胡适这些“沟通新旧两个艺术时代桥梁”的前“五四”白话诗为标志，中国诗歌结束了其几千年来在古典形态里的发展变化，初步确立了中国诗歌新的艺术形态，转换了中国诗歌古典与现代的题型，开始了一个伟大的“新诗纪元”。<br /> Thanks to Hu Shi's symbolic pre May 4th vernacular poems, which connect the old and the new art eras, Chinese poetry has ended its thousands of years of development and changes in the classical form and established a new artistic form of Chinese poetry, changing the types of Chinese classic and modern poetry. Therefore, It started a great &quot;new poetry era&quot;.<br /> <br /> Thanks to Hu Shi's symbolic pre May 4th vernacular poems, which connect the old and the new art eras, Chinese poetry has ended its thousands of years of development and changes in the classical form and established a new artistic form of Chinese poetry, changing the types of Chinese classic and modern poetry. Therefore, a great &quot;new poetry era&quot; started.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 07:30, 15 November 2020 (UTC)Chen Jingjing<br /> <br /> 余华曾坦言： “我觉得我所有的创作，都是在努力更加接近真实。我的这个真实，不是生活里的那种真实。我觉得生活实际上是不真实的，生活是一种真假参半、鱼目混珠的事物。”<br /> Yu Hua once said with honesty: &quot;I feel that I'm struggling to bring my writings to be closer to reality. My definition of reality is not the reality in life. I think life is far from real. Life is a mixture of truth and falsehood.&quot;--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 02:41, 15 November 2020 (UTC)Liu Yiyu<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 1 这部小说也称《石头记》，作者是清代（公元1644年—公元1911年）大作家曹雪芹（约公元1715年—公元1764年）。小说最早以手抄本形式出版于18世纪中期，且原著仅有前80回留存于世。<br /> <br /> Also known as &quot;The Story of the Stone,&quot; the novel was written by Cao Xueqin (circa 1715-1764), a great writer of the Qing Dynasty (1644-1911). The book was first published in the middle of 18th century in the form of hand-written copies and only the first 80 chapters of the original novel have survived.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:31, 15 November 2020 (UTC)<br /> <br /> 2 在中国动画史上，有一部注定青史留名的影片，那就是上海美术电影制片厂的《大闹天宫》。美猴王的故事本就家喻户晓，加上京剧元素和中国民间艺术托底，让这部影片的艺术性到了当时难以企及的高度。<br /> <br /> In the history of Chinese animation, if there's one movie that's destined to become immortal, it is the Shanghai Animation Film Studio's Havoc in Heaven. Its protagonist, the Monkey King, is a household name rooted in Chinese mythology and literature. Complete with fine art inspired by Peking opera and Chinese folk art, the movie scaled heights that no others could at the time.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:31, 15 November 2020 (UTC)<br /> <br /> 3 电影《江姐》改编自1961年的著名小说《红岩》，讲述了共产主义革命烈士江姐(1920-1949)的波澜壮阔的一生，江竹筠被广泛认为是中国最著名的女英雄之一。<br /> <br /> Based on the renowned 1961 novel &quot;Red Crag,&quot; the film &quot;Sister Jiang&quot; follows the ups and downs of the Communist revolutionary martyr Jiang Zhuyun (1920–1949), widely regarded as one of most celebrated Chinese heroines. --[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:31, 15 November 2020 (UTC)<br /> <br /> 4 李白有诗云，“相知在急难，独好亦何益”。<br /> <br /> China’s great poet Li Bai of the Tang Dynasty (7th-10th century) once wrote of friendship that “true friendship is revealed through adversity, and success becomes nothing when it is not shared”.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:31, 15 November 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.只缘感君一回顾，使我思君暮与朝。——《古相思曲》<br /> <br /> A single glimpse of you haunts me day and night.---''Ancient Lovesick Songs''<br /> <br /> 2.四奶奶站在三爷背后，笑了一声道：“自己骨肉，照说不该提钱的话。提起钱来，这话可就长了！”——张爱玲《倾城之恋》<br /> <br /> The fourth concubine,standing behind the third master,chuckled and said :&quot;Normally,it is undue to mention money between parents and kids,If bothered,there will be countless expenditures！&quot; ---Zhang Ailing ''Love in a Fallen City''<br /> <br /> 3.县城真热闹：官盐店，税务局，肉铺里挂着成边的猪，一个驴子在磨芝麻，满街都是小磨香油的香味，布店，卖茉莉粉、梳头油的什么斋，卖绒花的，卖丝线的，打把式卖膏药的，吹糖人的，耍蛇的，……他什么都想看看。——贾平凹《受戒》<br /> <br /> The county seat is so bustling that there stand various of buildings,such as official-operating salt shop,tax bureau and the butchers' with half piece of pork.A donkey is grinding sesame,the fragrance of the oil suffuing the whole street.He wants to wander over all the attractions:cloth shops,thr unknown shop selling jasmine powder and comb oil,shop selling velvet flowers and threads as well as some acrobatic shows for advertising,sugar figure making as well as snake charmers' performance.---Jia Pingao ''Ordained''--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:09, 12 November 2020 (UTC)Mo Ling<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> 1.明清是中国小说史上的繁荣时期。这个时代的小说从思想内涵和题材表现上来说，最大限度地包容了传统文化的精华，而且经过世俗化的图解后，传统文化竟以可感的形象和动人的故事而走进了千家万户。<br /> <br /> Chinese novel had its heyday during the Ming and Qing dynasties when the thoughts and themes of novels tended to embody the essence of traditional culture. After popularized, Chinese traditional culture was disseminated through the vivid characters and moving stories in the novels.<br /> <br /> 2.鸦片战争过后所带来的的民族危机极大地震动了当时的思想界，人们纷纷寻求救国真理。中国近代文学题材的扩大，新人物、新意境、新思想、新名词的出现，新的艺术手法的吸取，都无不与西方文化的撞击有关。<br /> <br /> The Opium War and the consequent national crisis posed a great shock in the intellectual field, and Chinese people sought for the truth of how to save the country from foreign invaders. In Chinese modern literature, the expansion of themes, arising of new characters, new artistic conception, new ideas and new terms, and absorption of new artistic technique are associated with the impact of western culture.<br /> <br /> 3.中国当代文学是“为人民服务， 为社会主义服务”的文学，70多年来，在社会主义革命和建设的各个历史时期，中国当代文学致力于反映人民群众从事社会主义革命和建设的历史活动，歌颂他们以主人翁精神为社会主义事业所作出的创造性的劳动。<br /> <br /> Chinese contemporary literature was aimed at ”serving the Chinese people as well as the socialism ”. For more than 70 years, in every period of socialist reform and construction Chinese contemporary literature has been committed to reflecting the historical activities of the masses and singing the praises of their creative labour and spirit of ownership in the cause of socialism.<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> 1.《水浒传》通过描写梁山好汉反抗欺压、水泊梁山壮大和受宋朝招安，以及受招安后为宋朝征战，最终消亡的宏大故事，艺术地反映了中国历史上宋江起义从发生、发展直至失败的全过程，深刻揭示了起义的社会根源，满腔热情地歌颂了起义英雄的反抗斗争和他们的社会理想，也具体揭示了起义失败的内在历史原因。<br /> <br /> &quot;Water Margin&quot; articulates the grand story of Liangshan heroes resisting oppression, waterbo Liangshan growing and being recruited by the Song Dynasty, as well as fighting for the Song Dynasty after being recruited, and finally dying out. It artistically reflects the Songjiang Uprising in Chinese history from its occurrence, development to failure. The whole process deeply revealed the social roots of the uprising, enthusiastically praised the resistance struggle of the uprising heroes and their social ideals, and also specifically revealed the inherent historical reasons for the failure of the uprising.<br /> <br /> 2.《平凡的世界》是中国作家路遥创作的一部全景式地表现中国当代城乡社会生活的百万字长篇小说。全书共三部。1986年12月首次出版。该书以中国70年代中期到80年代中期十年间为背景，通过复杂的矛盾纠葛，以孙少安和孙少平两兄弟为中心，刻画了当时社会各阶层众多普通人的形象。<br /> <br /> &quot;The Ordinary World&quot; is a million-character novel created by Chinese writer Lu Yao, which is a panoramic view of contemporary urban and rural social life in China. There are three parts in the book. First published in December 1986.<br /> The book takes China’s mid-70s to mid-1980s as a background, through complex contradictions and entanglements, centering on the two brothers Sun Shaoan and Sun Shaoping, it portrays the images of many ordinary people from all walks of life at that time.<br /> <br /> 3.《三体》是刘慈欣创作的系列长篇科幻小说，由《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》组成，第一部于2006年5月起在《科幻世界》杂志上连载，第二部于2008年5月首次出版，第三部则于2010年11月出版。<br /> <br /> &quot;Three-Body&quot; is a series of long science fiction novels created by Liu Cixin, composed of &quot;Three-Body&quot;, &quot;Three-Body Ⅱ·Dark Forest&quot;, &quot;Three-Body Ⅲ·Eternal Life of Death&quot;. It was serialized in World magazine, the second part was first published in May 2008, and the third part was published in November 2010.<br /> <br /> 4.李白（701年－762年） ，字太白，号青莲居士，又号“谪仙人”，唐代伟大的浪漫主义诗人，被后人誉为“诗仙”，与杜甫并称为“李杜”，为了与另两位诗人李商隐与杜牧即“小李杜”区别，杜甫与李白又合称“大李杜”。<br /> <br /> Li Bai (701-762), whose name was Taibai, was named Qinglianjushi, also known as &quot;the banished immortal&quot;. A great romantic poet in the Tang Dynasty, he was called &quot;the fairy of poetry&quot; by later generations and was called &quot;Li Du&quot; together with Du Fu. In order to distinguish them from the other two poets, Li Shangyin and Du Mu, namely &quot;little Li and Du&quot;, Du Fu and Li Bai are collectively called &quot;big Li and Du&quot;.--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 06:12, 14 November 2020 (UTC)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 06:12, 14 November 2020 (UTC)<br /> <br /> ==Phyo, Su Kyi==<br /> 1-水Mar传，西游记，三国浪漫史和红楼梦；这四本小说构成了中国古典文学的核心，并仍在传播着现代文化。<br /> <br /> Water Margin, Journey to the West, Romance of the Three Kingdoms and Dream of the Red Chamber; these four novels form the core of Chinese classical literature and still inform modern culture.<br /> <br /> 2-《中国现代文学》记录了至少3000年前的不间断历史，其历史至少可以追溯到公元前14世纪。中国现代文学以丰富的文化为基础，蓬勃发展。<br /> <br /> Chinese Modern Literature is a record of an uninterrupted history of more than 3,000 years, dating back at least to the 14th century BC. Based on luxuriant culture, Chinese Modern literature developed flourishingly.<br /> <br /> 3-现代文学与当代文学之间的主要区别在于时代。现代文学指的是十九世纪末至十六世纪六十年代的文学，而当代文学指的是第二次世界大战至今的文学。<br /> <br /> <br /> The key difference between modern and contemporary literature is their time period. Modern literature refers to the literature dating from late nineteenth century to nineteen sixties while the contemporary literature refers to the literature dating from the Second World War to the present.<br /> <br /> ==Pingki, Tanchangya==<br /> 1.司马迁是汉代（206BC-220AD）的一位著名作家和历史学家。他撰写了一部出色的历史著作《历史学家的记录》，描绘了皇帝，国王，将军，国务卿和农民的著作。<br /> <br /> Sima Qian is a well known writer and historian in the Han dynasty (206BC- 220AD).He wrote an outstanding historical work &quot;Records of the historian&quot; with depictions of emperor's, kings, generals, ministers of states and peasant work.<br /> <br /> 2.龚自珍，黄遵宪和刘亚子是现代先进诗歌的三位代表作。<br /> <br /> Three representative writers of modern progressive poetry are Gong Zizhen, Huang Zunxian and liu Yazi.<br /> <br /> 3.新时期的文学作品反映了变化中的社会生活的各个方面。 以鲁新华为代表的“伤口”揭露了暴政下人们的迫害。<br /> <br /> literature of the new period reflects various aspects of life of the changing society. &quot;The wound&quot; by lu xinhua as its representative exposes the persecution of people under the tyranny.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 12:06, 15 November 2020 (UTC)<br /> <br /> ==Qu Miao 瞿淼==<br /> 1. classical literature<br /> 中国古典文学名著有诗歌、散文、小说、戏剧以及词、赋、曲、民间神话传说故事等多种表现形式，在各种文体中，又有多种多样的艺术表现手法，从而使中国古典文学呈现出多姿多彩、壮丽辉煌的图景。<br /> The literary forms of Chinese classical literature contains poetry, prose, novel, play, Ci(a kind of literature form that is actually lyrics to music), ode, song, folk myth and legend, each of which is expressed in various artistic methods, contributing to the colorful and magnificent view of Chinese classical literature.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:29, 15 November 2020 (UTC)<br /> 2. Modern literature<br /> 《二十年目睹之怪现状》以主人公“九死一生”的经历为干线，从他奔父丧开始，至其经商失败终止，通过这个人物20年间的遭遇和见闻，广泛地揭露了从光绪十年（1884）中法战争前后至光绪三十一年（1905）左右的清末社会的黑暗现实。<br /> The novel, Bizarre Happenings Eyewitnessed Over Two Decades, takes the protagonist’s near-death experience as main line, which starts from his father’s death and ends up with his failure in business. Through what he had seen, heard and suffered in twenty years, this book uncovers the dark reality of The Qing dynasty in the period from about the tenth to the thirty-first year of Guangxu’s Reign(1884-1905).--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:29, 15 November 2020 (UTC)<br /> 3. Contemporary literature<br /> 伤痕文学是20世纪70年代末到80年代初在中国大陆文坛占据主导地位的一种文学现象。它得名于卢新华以“文革”中知青生活为题材的短篇小说《伤痕》。<br /> As a literary form dominate in the late 1970s to early 1980s in China, Scar literature is named after Lu Xinhua’s short novel Scar, which portraits the life of intellectual youth during the Cultural Revolution.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:29, 15 November 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> 1. Classical literature began during the transitional period of Chinese history from slavery society to feudal society. <br /> <br /> 古典文学始于中国历史从奴隶制社会到封建社会的过渡时期。<br /> <br /> 2. Many writers, especially older writers, still cling to realism.<br /> <br /> 许多作家，尤其是年长的作家，仍然坚持现实主义。<br /> <br /> 3. China was gradually changed into a semi-feudal, semi-colonial society, and Chinese people rose heroically against foreign aggressions.<br /> <br /> 中国逐渐转变为半封建半殖民地社会，中国人民英勇起来反对外国侵略。--[[User:RAJABOV ANUSHERVON 10|RAJABOV ANUSHERVON 10]] ([[User talk:RAJABOV ANUSHERVON 10|talk]]) 07:41, 15 November 2020 (UTC)<br /> <br /> ==Seydou, Sagara==<br /> 1 The pastoral discourse was enriched with country fishing folklore, songs and poems, recipes and anecdotes, moral meditations, and quotes from classic literature.<br /> 2 Citation in contemporary literature undoubtedly reinforced and disseminated theories of film and its characteristics<br /> 3 Modern literature is very famous and many people are interested in this field in China.<br /> 1田园话语丰富了乡村捕鱼的民间传说，歌曲和诗歌，食谱和轶事，道德冥想以及古典文学的名言。<br /> 2当代文学中的引证无疑是对电影理论及其特征的强化和传播<br /> 3现代文学非常有名，中国有很多人对此领域感兴趣。--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 14:26, 15 November 2020 (UTC)<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> ==Si Yu 司妤==<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> 1.春秋战国时期，是一个社会发生急剧变化的时代，此一时期，在中国文学史上占有重要一席之地的即是先秦散文。百花齐放、百家争鸣的文化氛围促进了文学的繁荣，也迎来了文化光辉灿烂的时代，尤其是儒、墨、道、法几家学说，奠定了中国传统文化的基础。<br /> <br /> The Spring and Autumn Period and the Warring States Period was an era of rapid social changes. During this period, pre-Qin prose occupies an important place in the history of Chinese literature. The cultural atmosphere of &quot;a hundred flowers blossoming and a hundred schools of thought&quot; has promoted the prosperity of literature and ushered in an era of splendid culture, especially the doctrines of Confucianism, Mohism, Taoism, and Law, which laid the foundation of Chinese traditional culture.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 09:01, 12 November 2020 (UTC)<br /> <br /> 2.中国现代文学发端于五四运动时期，但以鸦片战争后的近代文学为其先导。现代文学是新民主主义革命时期现实土壤上的新的产物，同时又是旧民主主义革命时期文学的一个发展。广义上的中国现代文学史是指1917年到1997年。<br /> <br /> Modern Chinese literature originated during the May Fourth Movement, but was guided by modern literature after the Opium War. Modern literature is a new product on the soil of the new democratic revolution, and at the same time a development of literature in the old democratic revolution. The history of modern Chinese literature in a broad sense refers to the period from 1917 to 1997.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 09:01, 12 November 2020 (UTC)<br /> <br /> 3.如果我们把百余年来中国文学的演进历程视为一个不断走向开放的矛盾、艰难、曲折，坎坷的现代化进程的话，那么，毫无疑问，这一进程发轫于近代。<br /> <br /> If we regard the evolution of Chinese literature over the past 100 years as a contradictory, difficult, tortuous, and bumpy modernization process that continues to open, then there is no doubt that this process began in modern times.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 09:01, 12 November 2020 (UTC)<br /> <br /> If we regard the evolution of Chinese literature in the past hundred years as a contradictory, difficult, tortuous and bumpy modernization process, then there is no doubt that this process originated in modern times.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 03:22, 14 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> 1.桃之夭夭，灼灼其华。之子于归，宜其室家。<br /> <br /> Oh, bright-red blossoms are piled on green and luxuriant peach trees. The lady, when married, will bring harmony and happiness to her family.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 12:31, 15 November 2020 (UTC) <br /> <br /> 2.深蓝的天空中挂着一轮金黄的圆月，下面是海边的沙地，都种着一望无际的碧绿的西瓜。其间有一个十一二岁的少年，项带银圈，手捏一柄钢叉，向一匹猹尽力地刺去。那猹却将身一扭，反从他的胯下逃走了。<br /> <br /> The deep blue sky hung a round golden moon, and below was the sand by the sea, all planted with a vast area of turquoise watermelons. A boy of eleven or twelve, with a silver collar and a steel fork in his hand, stabbed at a badger-like wild animal as hard as he could. But the creature and fled from his crotch with a wriggle.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 12:31, 15 November 2020 (UTC)<br /> <br /> 3.爱情应该真正建立在现实生活坚实的基础上，否则，它就是在活生生的生活之树上盛开的一朵不结果实的花<br /> <br /> Love should really be built on real life, otherwise it is just an unfruitful flower blooming on the tree of life.--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 12:31, 15 November 2020 (UTC)<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> ==Wang Xuan 王轩==<br /> 1. 中国古典文学广义的指自先秦至清代末年的中国文学，包括作家、作品、文学事件，文体起源与发展历程，文学运动、流派，文学理论，作家作品的考据、研究等等。<br /> Chinese classical literature refers to Chinese literature from the pre Qin Dynasty to the end of Qing Dynasty, including writers, works, literary events, the origin and development of literary styles, literary movements, schools, literary theories, textual research of writers and works, etc. --[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:26, 15 November 2020 (UTC)Wang Xuan<br /> <br /> 2. 中国现代文学是中国文学自身发展演变的结果。古典文学已近尾声。历史进入二十世纪以来，人们的生活发生了很大变化，人们的思维方式，思想情感，心理结构也发生了很大变化，中国固有的古典文学模式已再也不能满足人们思想情感表达的需要。<br /> Modern Chinese literature is the child of the development and evolution of Chinese literature itself, and classical literature has come to an end. Since the 20th century, great changes have taken place in people's life. Besides, people's way of thinking, thoughts and feelings, and psychological structure have also changed a lot. The traditional Chinese classical literature can no longer meet the needs of people's ideological and emotional expression.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:26, 15 November 2020 (UTC)Wang Xuan<br /> <br /> 3. 中国当代文学，首先指的是1949年以来的中国文学；其次指的是发生在特定的社会主义历史语境中的文学，它限定在“中国大陆”这一范围之中。<br /> Chinese Contemporary literature is China's literature since 1949, and secondly, it refers to the literature that occurs in a specific historical context of socialism, which is limited to the &quot;mainland China&quot;.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:26, 15 November 2020 (UTC)Wang Xuan<br /> <br /> 4. 诗人李白写过许多反映妇女生活的作品，《长干行二首》就是其中杰出的诗篇。它以一位居住在长干里的商妇自述的口气，叙述了她的爱情生活，倾吐了对于远方丈夫的殷切思念。它塑造了一个具有丰富深挚的情感的少妇形象，具有动人的艺术力量。<br /> Li Bai, a poet, has written many works reflecting women's life, among which &quot;the two poems on a long journey&quot; are outstanding. It narrates her love life with the self-reported tone of a merchant woman living in Changgan, and expresses her ardent yearning for her husband from afar. It creates an image of a young woman with rich and deep feelings and has a moving artistic force.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:26, 15 November 2020 (UTC)Wang Xuan<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> 1.《离骚》艺术上有着极高成就。首先，整部作品都具有强烈的浪漫主义色彩，在后半部分，这种色彩更为浓烈。<br /> &quot;Li Sao&quot; has extremely high artistic achievements. First, the whole work has a strong romantic color, and in the second half, it becomes more intense.<br /> &quot;Li Sao&quot; enjoys extremely high artistic achievements. First, it has a strong sense of romantic color, which becomes more intense in the second half part of the work.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:00, 13 November 2020 (UTC)Li Lili<br /> <br /> <br /> 2.《茶馆》人物众多但性格鲜明，能够“闻其声知其人”，“三言两语就勾出一个人物形象的轮廓来”。<br /> There are too many characters with distinct personalities in &quot;Tea House&quot;, and people can distinguish everyone only by hearing their voices, and the outline of a character can be drawn in a few words.<br /> <br /> 3.《平凡的世界》是用温暖的现实主义的方式来讴歌普通劳动者的文学作品。<br /> &quot;The Ordinary World&quot; is a literary work that eulogizes ordinary laborers in a warm and realistic way.<br /> <br /> 4.唐诗把我国古曲诗歌的音节和谐、文字精炼的艺术特色，推到前所未有的高度，为古代抒情诗找到一个最典型的形式，至今还特别为人民所喜闻乐见。<br /> Tang poetry pushed the syllable harmony and refined artistic characteristics of Chinese ancient poetry to unprecedented heights, and helped find the most typical form of ancient lyric poetry, which is still popular among the people.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 10:04, 13 November 2020 (UTC)<br /> <br /> Tang poetry set a highest standard for the artistic features of harmonious syllables and refined words in ancient Chinese poetry, and helped find the most typical form of ancient lyric poetry, which is still popular among the people. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 12:52, 15 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> 1.四大古典名著是中国文学史中的经典作品，是世界宝贵的文化遗产。此四部巨著在中国文学史上的地位是难分高低的，极高的文学水平和艺术成就，细致的刻画和所蕴含的深刻思想都为历代读者所称道，其中的故事、场景、人物已经深深地影响了中国人的思想观念、价值取向。<br /> <br /> Four Great Classical Novels are classics in the history of China’s literature，as well as a precious cultural heritage of the world. It is difficult to distinguish which one is better, as they all enjoy high-level of literature and artistic achievement. Delicate description and profound thoughts contained in these four books are praised by readers through the ages. Their stories, scene and characters deeply influence Chinese people’s ideology and value orientations.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:02, 14 November 2020 (UTC)<br /> <br /> 2.中国现代文学是在积极的思想斗争中向前发展的, 现代中国面临一个动荡的大变革的时代﹐处于这样历史时代的中国现代文学﹐呈现出不同阶级﹑不同趋向的文学作品和文学思潮纷然杂陈﹐彼此冲突而又互相影响与吸收的复杂面貌。<br /> <br /> China’s modern literature is developing among positive ideological struggle. As modern China confronts a turbulent age of great reform, China’s modern literature of this times presents various literature works and literature trends of different classes with different tendency. They conflict with each other while influencing and absorbing each other.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:02, 14 November 2020 (UTC)<br /> <br /> 3.90年代的文学具有的&quot;无名&quot;特征：出现了无主潮，无定向，无共名的现象，几种文学走向同时并存，表达出多元的价值取向.其次是作家的叙事立场发生了变化，从共同社会理想转向个人叙事立场.<br /> <br /> Literature of 1990s is of indefinable, without main trend, orientation and unified theme. In this period, some different kinds of literature existed together, which showed diverse values orientations. Besides, writers’ narrative position shift from the common social ideal to the personal narrative position.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:02, 14 November 2020 (UTC)<br /> <br /> 4.李白的诗歌不仅具有典型的浪漫主义精神，而且从形象塑造、素材摄取、到体裁选择和各种艺术手法的运用，无不具有典型的浪漫主义艺术特征。<br /> <br /> Li Bai's (701－762) poems not only have typical romantic spirit, but also have typical characteristics of romanticism from those images and materials in his poems to genre selection and various artistic techniques.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:02, 14 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> 1.四大名著是公认的中国文学中最好的小说。这四者都有一个共同点，它们是用白话文写的，不像大多数古代文学，后者一般用古文写。<br /> <br /> 1.Four long fictional novels are usually thought to be the best novels in Chinese literature. What all four have in common is that they were written in a spoken language of their times unlike most ancient literature that was written in the literary Classical Language. <br /> <br /> Four long fictional novels are commonly thought to be the best novels in Chinese literature. What all four have in common is that they were written in a spoken language of their times unlike most ancient literature that was written in the literary Classical Language.--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 07:41, 15 November 2020 (UTC)Chen Jingjing <br /> <br /> 2.1911年清朝被推翻，共和国成立后，许多青年知识分子将注意力转向文学传统的彻底改革，而改革便是从语言本身开始。<br /> <br /> 2.Following the overthrow of the Qing dynasty and the establishment of the Republic in 1911, many young intellectuals turned their attention to the overhauling of literary traditions, beginning with the language itself. <br /> <br /> 3.老舍善用北京方言，代表作有《骆驼祥子》、《茶馆》，它们反映了旧社会中国底层人们的绝望。<br /> <br /> 3.Lao She was skillful in utilizing the Peking dialect and Camel Xiangzi and the drama Tea House are his masterpieces which reflect the helplessness of the lower classes in the old China.<br /> <br /> 4.李白喜欢把自己当作王氏一族，但他们家族只是与王室同姓，并无瓜葛。<br /> <br /> 4.Li Bai liked to regard himself as belonging to the imperial family, but he actually belonged to a less exalted family of the same surname. --[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 04:12, 15 November 2020 (UTC)Wu Zijia<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> 1.《诗经 》是我国第一部诗歌总集。编成于春秋时期，大抵是西周初年至春秋中叶500年间的作品，共305篇，代表了2500多年以前诗歌创作的最高成就。<br /> <br /> The Book of Songs is the first collection of poems in China. Compiled during the Spring and Autumn Period, it is approximately a 500-year-old work from the beginning of the Western Zhou Dynasty to the middle of the Spring and Autumn Period. There are 305 poems in total, representing the highest achievement of poetry creation more than 2,500 years ago.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:35, 12 November 2020 (UTC)Xiao Shuangling<br /> <br /> The Book of Songs is the first collection of poems in China. Compiled during the Spring and Autumn Period, it approximately costs 500 years from the beginning of the Western Zhou Dynasty to the middle of the Spring and Autumn Period. There are 305 poems in total, representing the highest achievement of poetry creation more than 2,500 years ago.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:20, 14 November 2020 (UTC)<br /> <br /> 2.评价一个相当长时段的文学现象，决不可以使用&quot;一言以蔽之&quot;的断语来论定，比如&quot;最好时期&quot;、&quot;达到前所未有的高度&quot;或&quot;跌入低谷&quot;等等。<br /> <br /> To evaluate a literary phenomenon over a long period of time, one should never use &quot;a single word&quot; assertion, such as &quot;best time&quot;, &quot;reaching an unprecedented height&quot; or &quot;falling into a trough&quot;.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:35, 12 November 2020 (UTC)Xiao Shuangling<br /> <br /> 3.20世纪70年代中后期，在摆脱了思想与文化的10年禁锢之后,文学的现代化与民族化进入了一个新的阶段。<br /> <br /> In the middle and late 1970s, the modernization and nationalization of literature entered a new stage after getting rid of the ten-year imprisonment of ideology and culture.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:35, 12 November 2020 (UTC)Xiao Shuangling<br /> <br /> In the middle and late 1970s, after getting rid of the 10-year confinement of thought and culture, the modernization and nationalization of literature entered a new stage.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 10:07, 13 November 2020 (UTC)<br /> <br /> 4.李白生活在盛唐时期，他性格豪迈，热爱祖国山河，游踪遍及南北各地，写出大量赞美名山大川的壮丽诗篇。<br /> <br /> Li Bai lived in the heyday of the Tang Dynasty. He has a heroic personality and loves the mountains and rivers of the motherland. He traveled all over the north and south, and wrote a large number of magnificent poems praising famous mountains and rivers.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:35, 12 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> 1.春秋战国时期，是一个社会发生急剧变化的时期，此一时期，在中国文学史上占有重要一席之地的即先秦散文。百花齐放、百家争鸣的文化氛围促进了文学的繁荣，也迎来了文化光辉灿烂的时代，尤其是儒、墨、道、法几家学说，奠定了中国传统文化的基础。<br /> <br /> During the Spring and Autumn periods and Warring States periods, a period of rapid social change, the pre-Qin prose occupied an important place in the history of Chinese literature. The cultural atmosphere of a hundred flowers blossoming and a hundred schools of thought contending with each other promoted the prosperity of literature and ushered in an era of glorious culture. Among them , the doctrines of Confucianism, Mohism, Taoism, Legalism and so on laid the foundation of traditional Chinese culture.<br /> <br /> During Spring and Autumn and Warring States, a period of rapid social change, the pre-Qin prose occupied an important place in the history of Chinese literature. The cultural atmosphere of a hundred flowers blossoming and a hundred schools of thought contending with each other promoted the prosperity of literature and ushered in an era of glorious culture. Among them , the doctrines of Confucianism, Mohism, Taoism, Legalism and so on laid the foundation of traditional Chinese culture.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:37, 15 November 2020 (UTC)Wang Xuan<br /> <br /> <br /> 2.文学的政治性、战斗性，随着近代社会的发展，愈来愈加强和显著了。进步作家和作品，继承了中国文学的优良传统，为反对帝国主义和封建专制主义的内外压迫，争取民族独立和自由平等而斗争。爱国主义和民族主义是这个时期文学突出的思想内容。<br /> <br /> With the development of modern society，the literature of this period was getting more and more political. Progressive writers and works, inheriting the fine traditions of Chinese literature, struggled against the external oppression of imperialism and internal feudal despotism and fought for national independence and freedom and equality. Patriotism and nationalism were prominent ideological elements in the literature of this period.<br /> <br /> With the development of modern society，the literature of this period was getting more and more political and aggressive. Progressive writers and works, inheriting the fine traditions of Chinese literature, struggled against the external oppression of imperialism and internal feudal despotism and fought for national independence and freedom and equality. Patriotism and nationalism were prominent ideological elements in the literature of this period.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:37, 15 November 2020 (UTC)Wang Xuan<br /> <br /> 3.特别值得关注的是，从本世纪初开始，又出现了中国自由作家，中国自由文学等概念，将中国当代文学提升到一个新的，史无前例的高度。<br /> <br /> Particularly noteworthy is the fact that from the beginning of this century, concepts such as Chinese free writers and Chinese free literature have emerged again, elevating contemporary Chinese literature to a new, unprecedented level.<br /> <br /> Particularly noteworthy is the fact that from the beginning of this century, concepts such as Chinese free writers and Chinese free literature have emerged again, elevating contemporary Chinese literature to a newly unprecedented level.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:37, 15 November 2020 (UTC)Wang Xuan<br /> <br /> 4.李白生活在盛唐时期，他性格豪迈，热爱祖国山河，游踪遍及南北各地，写出大量赞美名山大川的壮丽诗篇。<br /> <br /> Li Bai, who lived in the prime of the Tang Dynasty, was bold and generous and loved for the mountains and rivers of his homeland. He traveled extensively and wrote a large number of magnificent poems in praise of famous mountains and great rivers.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:18, 15 November 2020 (UTC)Xiao Ting<br /> <br /> Li Bai, who lived in the prime of the Tang Dynasty, was bold and generous and loved the mountains and rivers of his homeland. He traveled extensively and wrote a large number of magnificent poems in praise of famous mountains and great rivers.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 11:37, 15 November 2020 (UTC)Wang Xuan<br /> <br /> ==Xie Fan 解帆==<br /> 1.《红楼梦》展现了真正的人性美和悲剧美，是一部从各个角度展现女性美以及中国古代社会世态百相的史诗性著作。<br /> <br /> ''A Dream of Red Mansions'' shows the real beauty of human nature and tragedy. It is a historical and poetic work that shows the beauty of women and the state of the ancient Chinese society from every aspect.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 10:23, 13 November 2020 (UTC)<br /> <br /> ''A Dream of Red Mansions'' shows the real beauty of human nature and tragedy. It is an epic work showing the beauty of women and the social landscape in ancient China from various perspectives.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:27, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 2.中国现代文学不仅用现代语言表现现代科学民主思想﹐而且在艺术形式与表现手法上都对传统文学进行了革新。<br /> <br /> Modern Chinese literature not only expresses modern scientific and democratic thoughts with modern language, but also refeshes traditional literature in both art form and expression techniques.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 10:23, 13 November 2020 (UTC)<br /> <br /> 3.以莫言的作品为代表，字里行间充满着怀乡与怨乡复杂情感，被归类为“寻根文学”。<br /> <br /> Represented by Mo Yan's works, which are full of complex feelings combined with nostalgia and resentment, they are classified as &quot;Root-seeking Literature&quot;.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 10:23, 13 November 2020 (UTC)<br /> <br /> Represented by Mo Yan's works, which are characterized by the feelings like nostalgia and resentment, these books are deemed as &quot;Root-seeking Literature&quot;.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 16:32, 14 November 2020 (UTC)<br /> <br /> 4.《长歌行》表达了作者期望尽早建功立业、功垂千古、名留史册的强烈用世之心。<br /> <br /> &quot;Changgexing&quot; expresses the author's strong desire to make achievements as soon as possible, to be immortal, and to leave his mark on history.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 10:23, 13 November 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> 1.《水浒传》主要描写的是北宋末年，以宋江为首的一百零八条好汉在梁山聚义、受宋朝招安、以及受招安后为宋朝征战，最终消亡的宏大故事。<br /> <br /> The story of Water Margin, set in the late Song dynasty, tells of how a group of 108 outlaws led by Song Jiang gathers at Mount Liang to form a sizable army before they are eventually granted amnesty by the government and sent on campaigns to resist foreign invaders and suppress rebel forces, and disbanded in the end. --[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 07:07, 13 November 2020 (UTC)Xu Jia<br /> <br /> <br /> 2. 现代文学在“五四”文学革命以后的60多年发展过程中﹐随著中国革命与社会性质的演变﹐以1949年10月中华人民共和国成立为转折﹐经历了新民主主义革命时期与社会主义时期两个历史阶段。<br /> <br /> During the 60 years after the May 4th literature revolution, modern literature, in step with the development of Chinese revolution and social nature, went through two historical stages which take the founding of the People's Republic of China in October,1949 as the turning point, including the new democratic revolution period and the socialist period.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 07:07, 13 November 2020 (UTC)Xu Jia<br /> <br /> <br /> 3. 20世纪70年代中后期，在摆脱了思想与文化的10年禁锢之后,文学的现代化与民族化进入了一个新的阶段。<br /> <br /> Since the late 1970s, Chinese literature has entered a new stage in modernization and nationalization after getting rid of the ten-year confines in ideology and culture.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 07:07, 13 November 2020 (UTC)Xu Jia<br /> <br /> In the middle and late 1970s,, the modernization and nationalization of literature entered a new stage after getting rid of the ten-year confinement of thought and culture.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 07:42, 13 November 2020 (UTC)<br /> <br /> <br /> 4. 李白（701年－762年），字太白，号青莲居士，是唐代伟大的浪漫主义诗人，被后人誉为“诗仙”。据《新唐书》记载，李白为兴圣皇帝（凉武昭王李暠）九世孙，与李唐诸王同宗。其人爽朗大方，爱饮酒作诗，喜交友。<br /> <br /> LI Bai (701-762), Venus by courtesy name and Green Lotus Householder by literary name, an excellent romantic poet in the Tang dynasty, has been praised as God of Poetry. According to ''New Book of Tang'', Li descended from Emperor Xingsheng and had the same ancestry with the royal family in the Tang dynasty. He was hearty, generous, and keen on drinking, composing poems and making friends. --[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 07:07, 13 November 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许静==<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> 1. 春秋战国时期，是一个社会发生急剧变化的时代，此一时期，在中国文学史上占有重要一席之地的即是先秦散文。百花齐放、百家争鸣的文化氛围促进了文学的繁荣，也迎来了文化光辉灿烂的时代，尤其是儒、墨、道、法几家学说，奠定了中国传统文化的基础。<br /> <br /> During Spring and Autumn Warring States period, great changes had taken place in its society. At this time, pre-Qin prose held its place in Chinese classic literature. The literature atmosphere of “a hundred flowers blossom and a hundred schools of thoughts contend” promoted its prosperity, thus entering a splendid time. Thanks to Confucianism, Mohism, Taoism and Legalism, the foundation of Chinese traditional literature then was made. <br /> <br /> 2. 现代文学在“五四”文学革命以后的60多年发展过程中﹐随著中国革命与社会性质的演变﹐以1949年10月中华人民共和国成立为转折﹐经历了新民主主义革命时期与社会主义时期两个历史阶段。<br /> <br /> After May Fourth Movement, modern literature, along the changing pace of Chinese revolution and society, has experienced New Democratic Revolution Period and Socialist Period, with the establishment of PRC in October, 1949 as a turn. <br /> <br /> 3. 自二十世纪末期开始，具有独立思想的中国自由文学的出现，使得中国当代文学大踏步进入世界先进文化行列，成为引领世界文学的先锋，并使中国当代文学达到历史的顶峰。<br /> <br /> Since late 20th century, Chinese free literature, with independent thought came into being, making Chinese contemporary literature become one of the world advanced literature. <br /> <br /> 4. 它以一位居住在长干里的商妇自述的口气，叙述了她的爱情生活，倾吐了对于远方丈夫的殷切思念。它塑造了一个具有丰富深挚的情感的少妇形象，具有动人的艺术力量。<br /> <br /> The poet stood at the point of a businessman’ s wife told her love story, expressing her miss to her husband far away. He shaped a young married woman with abundant emotions, which enables the poem to be artistic. --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 02:54, 15 November 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> 1.特别是建安文学，文风清峻，慷慨悲凉，深沉强劲，气盛词丰，是反映社会现实并抒写人生感慨的灿烂历史篇章。<br /> Especially Jian'an literature, its style is sober, generous and sad, deep and strong, and full of vigor, it is a brilliant historical chapter that reflects social reality and expresses the emotions of life.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:52, 15 November 2020 (UTC)<br /> <br /> <br /> 2.新月派是现代新诗史上一个重要的诗歌流派，受泰戈尔《新月集》影响.该诗派大体上以1927年为界分为前后两个时期。<br /> The Crescent School is an important poetry genre in the history of modern new poetry, influenced by Tagore's &quot;The Crescent Moon&quot;. The poetry school is roughly divided into two periods based on 1927.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:52, 15 November 2020 (UTC)<br /> <br /> <br /> 3.伤痕文学是新时期出现的第一个全新的文学思潮。社会主义新时期是以彻底否定文化大革命为历史起点的。这种对灵魂的摧残尤其容易造成惨痛的心灵创伤。但这只有在挣脱了精神枷锁、真正思想解放之后，人们才能意识到这“伤痕”有多重、多深。这是伤痕文学喷发的历史根源。<br /> Wound literature is the first new literary trend in the new era. The new socialist period started with the complete denial of the Great Cultural Revolution. This damage to the soul is especially likely to cause painful trauma. But it is only after breaking off the mental shackles and truly emancipating the mind that people can realize how much and how deep this &quot;wound&quot; is. This is the historical root of the eruption of wound literature.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:52, 15 November 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> 1.所谓“比兴”在《诗经》中即指比兴合用和通篇用比，其效果是给读者留下了审美的广阔空间，使人产生丰富的联想，从而使诗歌具有了含蓄凝练的韵味，具备象征的意义。<br /> In The Book of Songs, &quot; Bi Xing &quot; refers to the combination of Bi Xing and the whole article, the effect of which is to leave readers a wide space for aesthetic appreciation, so that people have a rich association, so that poetry has an implicit and concise flavor, with symbolic significance.<br /> <br /> 2.中国现代文学是在五四运动时期新的历史条件下产生的，它体现出全新的现代社会、现代人生的精神风貌和崭新的文学表述方式，体现出现代新文学、新文化与传统旧文学、久文化的根本冲突和根本转折。<br /> Chinese modern literature came into being under the new historical conditions of the May 4th Movement, which embodies the new modern society, the spirit and style of modern life and the new style of literary expression. <br /> <br /> 3.在中国的现代化进程中，政治主题的目标是建构现代民族国家，中国文学因为始终参与着这一过程，而从未离开过政治主题，这使投身其中的知识分子也主动地迎合主流意识形态的要求，主动地为宣传政策服务。<br /> In the course of China's modernization, the goal of political theme is to build a modern nation-state . Chinese literature has always participated in this process and never left the political theme, which makes the intellectuals involved actively meet the demands of the mainstream ideology and actively serve the propaganda policy.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:14, 15 November 2020 (UTC)<br /> <br /> In the course of China's modernization, the political goal is to build a modern nation-state . Chinese literature has always been in this process and never left the political theme, which makes the intellectuals involved actively meet the demands of the mainstream ideology and actively serve the propaganda policy.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 13:06, 15 November 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> 1、中国古典文学的作品形式主要有诗、词、曲、赋、散文、小说等，大量篇章脍炙人口。中国古典文学是中华民族最宝贵的文化遗产之一。<br /> <br /> The works of Chinese classical literature mainly include Poems, Ci, Song, Fu, Prose, Novels etc. and a large number of chapters have won universal praise. Chinese classical literature is one of the most precious cultural heritages of the Chinese nation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:26, 12 November 2020 (UTC)<br /> <br /> Chinese classical literature mainly takes the form of poetry, lyrics, songs, fu, essays, novels and so on, and a large number of chapters are popular. Classical Chinese literature is one of the most valuable cultural heritage of the Chinese nation.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:16, 11 November 2020 (UTC)<br /> <br /> 2、晚清时期是现代文学的起步，知识分子开始寻求解决中国问题的新方法。他们开始翻译西方文学作品以打开视野，融入新的文化思潮。<br /> <br /> The late Qing Dynasty was the beginning of Chinese modern literature, and intellectuals began to seek new solutions to Chinese problems. They began to translate Western literary works to open their horizons and integrate into new cultural trends.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:26, 12 November 2020 (UTC)<br /> <br /> The late Qing dynasty marked the beginning of modern literature, and intellectuals began to seek new solutions for China's problems. They began to translate Western literature in order to open their horizons to new cultural trends.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:16, 11 November 2020 (UTC)<br /> <br /> <br /> 3、中国当代文学，首先指的是1949年以来的中国文学；其次指的是发生在特定的社会主义历史语境中的文学.1947年7月召开的第一次全国文代会标志着中国新文学以此为起点，进入了当代文学的阶段。<br /> <br /> Chinese contemporary literature firstly refers to Chinese literature since 1949; secondly, it refers to literature that occurred in a specific historical context of socialism. The first National Congress of Literature and Art held in July 1949 marked the beginning of Chinese New Literature and entered the stage of contemporary literature.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:26, 12 November 2020 (UTC)<br /> <br /> Contemporary Chinese literature refers, firstly, to Chinese literature since 1949; and secondly, to literature that takes place in a specific socialist historical context. The First National Literary Congress held in July 1947 marked the starting point from which China's new literature entered the stage of contemporary literature.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:16, 11 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> ==Yi Zichu 义子楚==<br /> 1，李白的诗充满了个人色彩，无拘无束，自由豪放，天马行空，但是，语言却平白朴素<br /> <br /> His poems are characterized by subjectivity,freedom, liberty, imagination combined with simple language.<br /> <br /> Libai's poems are characterized by his personal consciousness of being free, bold and unconstrained, imaginative while using simple and plain words.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:44, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 2, 《三国演义》是中国古代长篇章回体小说的开山之作，描写的是从东汉末年到西晋初年之间一百多年的历史风云<br /> <br /> ''The Romance of the Three Kingdoms'' is the first chapter novel in ancient China. It describes the historical events of over 100years from the end of the East Han Dynasty to the beginning of the West Jin Dynasty.<br /> <br /> ''The Romance of the Three Kingdoms'' is the first long chapter novel in ancient China. It describes the historical events of over 100 years from the end of the East Han Dynasty to the beginning of the West Jin Dynasty.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:44, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> 3，孙悟空的形象最为鲜明突出，他勇敢机智之余，又喜欢与师弟斗气，充满人性<br /> <br /> There is the vivid image of Monkey King, fearless and intelligent, but human enough to keep wrangling with his junior fellow disciples.<br /> --[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:33, 14 November 2020 (UTC)<br /> <br /> Monkey King has the most vivid and prominent image who is fearless and intelligent and likes to keep wrangling with his junior fellow disciples, being full of humanity.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:44, 14 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==You Yuting 游雨婷==<br /> 1.古典文学泛指各民族的古代文学作品，是文学的一部分，是现代文学的发展基础，它是承上启下的，是文学发展史上不可缺少的部分。它是中国文学最根本的东西。<br /> <br /> In general, classical literature refers to the ancient literary works of various nationalities. It is a part of literature, and the foundation of modern literature development; It is a link connecting the preceding with the following and an indispensable part of the history of literary development; It is the most fundamental thing in Chinese literature.<br /> <br /> Generally, classical literature refers to the ancient literary works of various nationalities, which is a part of literature, and the foundation of modern literature development. It is a link connecting the preceding with the following as well as an indispensable part of the history of literary development. More, it is the most fundamental issues in Chinese literature.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:14, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> 2.中国现代文学的发展﹐是吸收外来文学营养使之民族化﹑继承民族传统使之现代化的过程。中国是一个有著悠久的文化传统的文明古国。<br /> <br /> The progress of Chinese modern literature is the process of absorbing outstanding foreign literature to make it nationalized and inheriting national tradition to make it modernized. China is an ancient civilization with a long cultural tradition.<br /> <br /> The development of Chinese modern literature is a process of absorbing the nourishment of foreign literature to make it nationalized and inheriting the national tradition to make it modernized. China is an ancient civilization with a long cultural tradition.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:14, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> 3.当代文学是指1949年新中国成立以后的文学，其中出现了许多文学流派。大致可以划分为四个阶段:新时期文学、80年代文学、90年代文学、新世纪文学。<br /> <br /> Contemporary literature refers to the literature after the founding of new China in 1949, among which many literary schools have emerged. It can be roughly divided into four stages: new period literature, literature in 1980s , literature in 1990s and literature of the new century.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:11, 12 November 2020 ()<br /> <br /> Contemporary literature refers to the literature after the founding of New China in 1949, among which many literary schools have emerged. It can be roughly divided into four stages: literature of the new period, literature in 1980s , literature in 1990s and literature of the new century.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:14, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Yu Ni 余妮==<br /> <br /> 1.春秋战国时期，是一个社会发生急剧变化的时代，此一时期，在中国文学史上占有重要一席之地的即是先秦散文。百家争鸣的文化氛围促进了文学的繁荣。<br /> <br /> The Spring and Autumn Period and the Warring States Period is an era of rapid social changes. In this period, pre Qin prose occupies an important place in the history of Chinese literature. The cultural atmosphere of a hundred schools of thought has promoted the prosperity of literature.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 12:56, 15 November 2020 (UTC) <br /> <br /> 2.当代文学的两大传统虽然已分清了主次地位，但两种价值观念、两种美学修养、两种文化实践，仍然存在着尖锐的冲突，并通过政治运动的形式一再表现出来。<br /> <br /> Although the two major traditions of contemporary literature have been distinguished as primary and secondary, there are still sharp conflicts between the two values, two aesthetic cultivation and two cultural practices, which have been repeatedly manifested in the form of political movements.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 12:56, 15 November 2020 (UTC)<br /> <br /> 3.中国小说源远流长，明清以来更是出现了众多白话小说，然后以五四新文学为起点，中国现代小说以全新的思想内涵和前所未有的表现形式，掀开了中国小说发展史上崭新的一页，展现了现代的行为方式和思维方式。<br /> <br /> Chinese novels have a long history. Since Ming and Qing Dynasties, many vernacular novels have appeared. Starting from the May 4th Movement, Chinese modern novels opened a new page in the development of Chinese novel with brand-new ideological connotation and unprecedented forms of expression, showing modern behavior and thinking mode.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 12:56, 15 November 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> 中国是诗歌的国度。尤其到了唐代，中国古典诗歌进入全盛时期。唐代近三百年间涌现出了大批优秀诗人和杰出的诗歌作品。唐代诗歌数量极大，题材广泛，意象和风格多样化，出现了大量思想性和艺术性完美结合的作品。<br /> <br /> China is a country of poetry, and especially in the Tang Dynasty, classic Chinese poetry reached its heyday. Over the nearly 300 years of the Tang Dynasty, myriads of excellent poets and outstanding works mushroomed. The Tang Dynasty boasts a great number and extensive themes of poetry with varied images and styles, as well as numerous works combining great thoughts and artistry.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:11, 12 November 2020 (UTC)<br /> <br /> 《西游记》是根据民间流产的有关唐代高僧玄奘前往天竺取经的轶事创作而成。小说故事情节曲折生动，奇幻精彩，充满了浓厚的艺术魅力。小说充满了浪漫主义精神，作者想象力丰富，人物构思奇特，化人与妖为一体。<br /> <br /> ''Journey to the West'' is based on the popular folk legends about the journey of Xuanzang to India for the purpose of introducing Buddhist sutras into China. The infinite charm of the novel comes from its delightful twists and turns in its unique and fantastic setting. The novel adds much imagination and a touch of romanticism into the historical event, and even creates many truly fantastic, half-human and half-monster characters.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:11, 12 November 2020 (UTC)<br /> <br /> 近代文学，指1840年鸦片战争至1919年五四运动前夕的文学，即中国现代化孕育期的文学，反映了中国文学挥别传统、重塑现代的特殊精神追求。<br /> <br /> Chinese modern literature refers to the one reflecting the origin of Chinese modernization drive from the First Opium War in 1840 to the May 4th Movement in 1919, expressing the special spiritual pursuit of Chinese literature reshaping the modern era while discarding traditions.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:11, 12 November 2020 (UTC)<br /> <br /> 中国当代文学，首先指的是1949年以来的中国文学；其次指的是发生在特定的社会主义历史语境中的文学，它限定在“中国大陆”这一范围之中。<br /> <br /> Chinese contemporary literature, firstly refers to the one since 1949, secondly to the one about specific historical language context of socialism limited in “Mainland China”.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:11, 12 November 2020 (UTC)<br /> <br /> 中国古典文学有诗歌、散文、小说以及词、赋、曲等多种表现形式，在各种文体中，又有多种多样的艺术表现手法，从而使中国古典文学呈现出多姿多彩、壮丽辉煌的图景。几千年来，中国传统文化养育了中国古典文学，中国古典文学又大大丰富了中国传统文化，使传统文化更具有深刻的影响力。<br /> <br /> Chinese classical literature boasts poetry, prose, novels, Ci, Fu, Qu and other forms of expression， among which are miscellaneous artistic expression methods, endowing Chinese classical literature with a colorful and glorious landscape. Over thousands of years, traditional Chinese culture has bred Chinese classical literature, while Chinese classical literature, in turn, has greatly enriched traditional Chinese culture thus endowing it with deeper influential power.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:11, 12 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> 1.古典文学泛指各民族的古代文学作品，是文学的一部分，是现代文学的发展基础。<br /> <br /> Classical literature generally refers to ancient literary works of various nationalities. It is a part of literature and the developmental foundation of modern literature.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:45, 14 November 2020 (UTC)<br /> <br /> Classical literature generally refers to ancient literary works of various nationalities. It is a part of literature and the basis on which the modern literature develops.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 13:49, 15 November 2020 (UTC)Ouyang Ling <br /> <br /> 2.现代文学是中国社会内部发生历史性变化的条件下，广泛接受外国文学影响而形成的新的文学。<br /> <br /> Modern literature is, under the conditions of historical changes in Chinese history, a new literature formed by the wide acceptance of foreign literature.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:45, 14 November 2020 (UTC)<br /> <br /> Modern literature is, under the historical changes in the Chinese society, a new literature formed by the extensive influence of foreign literature.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 13:49, 15 November 2020 (UTC)Ouyang Ling<br /> <br /> 3.在评价“中国当代文学”的时候，我们一方面要克服沾沾自喜的自诩和自大，另一方面，要具有放眼世界、虚心向善的态度。<br /> <br /> When evaluating “contemporary Chinese literature”, we must overcome self-satisfaction and arrogance on the one hand, and on the other hand, we must have an attitude of modesty and openning our eyes to the whole world.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:45, 14 November 2020 (UTC)<br /> <br /> When evaluating “contemporary Chinese literature”, we must overcome self-satisfaction and arrogance on the one hand, and on the other hand, we must have an open mind to the whole world and the attitude of modesty.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 13:49, 15 November 2020 (UTC)Ouyang Ling<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> 春秋战国时期，是一个社会发生急剧变化的时代，此一时期，在中国文学史上占有重要一席之地的即是先秦散文。<br /> The Spring and Autumn Period underwent drastic social changes, during which the Pre-Qin proses had an important place in Chinese literature history.<br /> <br /> 中国平民文学直面现实，深层揭示社会矛盾，以文学的方式推动社会的发展与进步，所起的作用是“体制内”官方作家无法做到的。<br /> Chinese civilian literature directly faces the reality, and unveils deep social tensions, promoting social development and progress by using literature, the role of which can’t be achieved by official writers who are in the “system”.<br /> <br /> “五四”以后﹐无产阶级作为独立的力量登上政治舞台﹐并在社会生活中日益显示出自己的力量﹔与历史的这一发展相适应﹐20年代中后期起在文学上提出了以“农工大众”为主要服务对象与表现对象的要求。<br /> After the May 4th Movement, proletariate ascended political arena as an independent force, and gradually manifested its power in social life; in accordance with the development of history, the proletariate proposed the requirement that farmers, workers and the public should be the main service and performance object in literature in the mid and late 20s.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 08:07, 15 November 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> 1.春秋战国时期，是一个社会发生急剧变化的时代，此一时期，在中国文学史上占有重要一席之地的即是先秦散文。<br /> <br /> The Spring and Autumn Period and the Warring States Period was an era of rapid social changes. During this period, pre-Qin prose occupies an important place in the history of Chinese literature.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:20, 11 November 2020 (UTC)<br /> <br /> The Spring and Autumn Period and the Warring States Period was an era with dramatic social changes. During this period, pre-Qin prose occupies an important place in the history of Chinese literature.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:26, 11 November 2020 (UTC)<br /> <br /> <br /> 2.现代文学是在中国社会内部发生历史性变化的条件下﹐广泛接受外国文学影响而形成的新的文学。<br /> <br /> Modern literature is a new literature that has been widely accepted by foreign literature under the conditions of historical changes in Chinese society.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:20, 11 November 2020 (UTC)<br /> Modern literature is a new literature that has been formed with wide influence of the foreign literature under the conditions of historical changes in Chinese society.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:26, 11 November 2020 (UTC)<br /> <br /> 3.中国当代文学，首先指的是1949年以来的中国文学;其次指的是发生在特定的社会主义历史语境中的文学.<br /> <br /> Contemporary Chinese literature firstly refers to Chinese literature since 1949; secondly, it refers to literature that occurred in a specific historical context of socialism.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:20, 11 November 2020 (UTC)<br /> <br /> Chinese contemporary literature, firstly refers to the one since 1949, secondly to the one about specific historical language context of socialism limited in “Mainland China.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 08:12, 12 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> 1. 春秋战国时期，是一个社会发生急剧变化的时代，此一时期，在中国文学史上占有重要一席之地的即是先秦散文。<br /> <br /> The Spring and Autumn Period and the Warring States Period was an era of drastic social changes. During this period, the prose of Pre-Qin Time occupies an important place in the history of Chinese literature. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 09:06, 11 November 2020 (UTC)<br /> The Spring and Autumn Period and the Warring States Period was an era with drastic social changes, during which, the prose of Pre-Qin Time occupies an important place in the history of Chinese literature.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:08, 13 November 2020 (UTC)Li Lili<br /> <br /> 2. “五四”以后，无产阶级作为独立的力量登上政治舞台，并在社会生活中日益显示出自己的力量；与历史的这一发展相适应，20年代中后期起在文学上提出了以“农工大众”为主要服务对象与表现对象的要求。<br /> <br /> After the May 4th movement, the proletariat, as an independent force, stepped on the political stage and increasingly showed its strength in social life. In line with this development of history, since the middle and late 1920s, it has been proposed in literature that &quot;the masses of farmers and workers&quot; should be the main object of service and performance. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 09:06, 11 November 2020 (UTC)<br /> <br /> 3. 20世纪70年代中后期，在摆脱了思想与文化的10年禁锢之后, 文学的现代化与民族化进入了一个新的阶段。<br /> <br /> In the middle and late 1970s, the modernization and nationalization of literature entered a new stage after getting rid of the ten-year imprisonment of thought and culture. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 09:06, 11 November 2020 (UTC)<br /> <br /> In the middle and late 1970s, the modernization and nationalization of literature entered a new stage after breaking the shackle of thought and culture for ten years.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:14, 12 November 2020 (UTC)<br /> In the middle and late 1970s, the literature entered a new stage in terms of its modernization and nationalization after getting out of the shackle of thought and culture for ten years.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:08, 13 November 2020 (UTC)Li Lili<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> 诗歌发展历程中的先驱之作便是以诗经和楚辞为代表的。诗歌从始至终都离不开情感的作用，诗情是强烈的，真诚的。<br /> The Book of Songs and The Songs of Chu is the representative works in the development of poetry, and the intense and sincere emotion is the key factor.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:05, 13 November 2020 (UTC)<br /> <br /> <br /> 现代文学属于二十世纪资本主义文化的一部分。<br /> Modern literature is the product of the 21st century capitalist society.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:05, 13 November 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> 1. 元诗的历史既是中国古典诗歌的传承，也是创新，这是因为诗人和文化背景的变化。宋朝建立于960年，统一了从中原北部到长江地区的传统中国心脏地带。<br /> <br /> The history of Yuan poetry involves both the received legacy of Classical Chinese poetry together with innovations, in part related to linguist and other changes in regard to aspects of the cultural background.Founded in 960, the Song dynasty reunified most of the traditional Chinese heartland from the North Central Plain to the area of the Yangzi River.<br /> <br /> 2. 回到现当代文学，要说标准丧失也不尽然，所谓“汉学化”就未尝不被当成一个“标准”。若问现当代文学研究在向哪里看齐？哪些研究主导着现当代文学的“话语生产”？在一些学者那里，恐怕就是海外汉学。这不是很正常的。<br /> <br /> Returning to modern and contemporary literature, it is not entirely true to say that standards have been lost, but the so-called &quot;Sinologization&quot; has been taken as a &quot;standard. If we ask where is modern and contemporary literary research aligning itself? What studies dominate the &quot;production of discourse&quot; in modern and contemporary literature? In some scholars' eyes, I'm afraid it's overseas Sinology. It's abnormal.<br /> <br /> 3. 网络通俗小说则是衣食父母至上，就是写爽文，变着花样取悦读者，开模，复制，这种文化产业流水线的作品，文学性趋近于无。各平台的自媒体输出，更是和文学无关了，它的本质是营销，用户想听什么就说什么，不能量产、快速变现的文字都是难以生存的。<br /> <br /> The network popular fiction is the supremacy of parents, that is, to write cool text, changing patterns to please the reader, open mode, copy, this cultural industry assembly line works, literary sex tends to nothing. The media output of each platform has nothing to do with literature, its essence is marketing, and users can say whatever they want to hear.<br /> <br /> 4. 到公元8世纪初，唐王朝出现了所说的“开元盛世”，经济、文化发展到鼎盛。诗歌创作领域也出现大批优秀诗人，写下内容异常丰富的诗歌。其中田园山水诗和描写边塞战争的诗占相当比重，李白、杜甫也出现在这时。<br /> <br /> By the beginning of the 8 century AD, the Tang dynasty was at the height of its economic and cultural development in what is known as the &quot;Age of Enlightenment&quot;. A large number of outstanding poets emerged in the field of poetry creation, writing unusually rich poems. Among them, poems of idyllic landscapes and poems describing wars in the frontier areas accounted for a considerable proportion, and Li Bai and Du Fu also appeared at this time.<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.几千年来，中国传统文化养育了中国古典文学，中国古典文学又大大丰富了中国传统文化，使传统文化更具有深刻的影响力。<br /> <br /> For thousands of years, traditional Chinese culture cultivated the classical Chinese literature. At the same time the classical Chinese literature also greatly enriched the traditional Chinese culture and made it have more profound influence.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:27, 12 November 2020 (UTC)<br /> <br /> For thousands of years, traditional Chinese culture cultivated the classical Chinese literature, which in turn greatly enriched the traditional Chinese culture and made it have more profound influence.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 08:47, 14 November 2020 (UTC)<br /> 2.现代文学不仅用现代语言表现现代科学民主思想﹐而且在艺术形式与表现手法上都对传统文学进行了革新﹐建立了话剧﹑新诗﹑现代小说﹑杂文﹑散文诗﹑报告文学等新的文学体裁。<br /> <br /> Modern literature not only manifested the modern theories of science and democracy with modern language, but also renovated the traditional literature in art form and methods of performance, building some new literary genres including drama, modern Chinese poetry, modern novels, essays, prose poems and reportage.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:27, 12 November 2020 (UTC)<br /> <br /> Modern literature not only expressed modern scientific and democratic ideas with modern language, but also innovated traditional literature in art forms and expressive methods, introducing some new literary genres including drama, modern Chinese poetry, essays, prose poems and reportage. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:03, 13 November 2020 (UTC)<br /> <br /> 3.当代文学是指1949年新中国成立以后的文学，其中出现了许多文学流派。大致可以划分为四个阶段:新时期文学、80年代文学、90年代文学、新世纪文学。<br /> <br /> Contemporary literature refers to the literature since the People's Republic of China was founded in 1949, among which it appeared a lot of literary schools. It can be divided into four stages, that is, new-era literature, 80s literature, 90s literature and new-century literature.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:27, 12 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 中国古典文学名著是中国文学史上闪烁着灿烂光辉的经典性作品或优秀作品。<br /> <br /> The masterpieces of Chinese classical literature are classics or outstanding works shining brilliantly in the history of Chinese literature. <br /> <br /> The masterpieces of Chinese classical literature are shining examples in the history of Chinese literature. --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 03:25, 15 November 2020 (UTC)<br /> <br /> 中国现代文学是在中国社会内部发生历史性变化的条件下﹐广泛接受外国文学影响而形成的新的文学。<br /> <br /> Modern Chinese literature is a new literature formed under the condition of historical changes in Chinese society and the influence of foreign literature.<br /> <br /> 中国的当代文学，不同于以反帝反封建为主的现代文学，其发展是在社会主义领导下进行的，并与国家政治息息相关.<br /> <br /> Contemporary Chinese literature is different from modern literature, which is mainly anti-imperialist and anti-feudal. It develops under the leadership of socialism and is closely related to national politics.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 08:39, 14 November 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> 1.中国古典文学有诗歌、散文、小说以及词、赋、曲等多种表现形式，在各种文体中，又有多种多样的艺术表现手法，从而使中国古典文学呈现出多姿多彩、壮丽辉煌的图景。<br /> <br /> Chinese classical literature has a variety of forms of expression such as poetry, prose, novels, words, fu, songs, etc. In different styles, there are also a variety of artistic expressions, thus making Chinese classical literature present a colorful, magnificent and brilliant picture.<br /> <br /> 2.发轫于1917年文学革命的中国现当代文学，虽然至今不足百年，但却开辟了中国文学史上翻天覆地的新时代，是文学上“从来没有经历过的最伟大、进步的变革，是一个需要巨人而且产生了巨人——在思维能力、热情和性格方面，在多才多艺和学识渊博方面的巨人的时代”。<br /> <br /> The modern and contemporary Chinese literature, originated from the literary revolution in 1917, has opened up an earth-shaking new era in the history of Chinese literature with the last less than a hundred years. It is &quot;the greatest and progressive change that has never happened before in literature. It is an era that requires and produces giants-giants capable of thinking ability, enthusiasm and character, versatility and profound knowledge&quot;.<br /> <br /> 3.中国当代文学体制沿袭1949年以后的官方文学体制，培养出大量庸俗腐朽，阿谀逢迎体制内作家，旷日持久地制造出人类文明时代以来巨量的文学垃圾，而少数具有精神自省的自由中国作家所创作的有着较高思想价值和艺术价值的文学精品难以面世，导致中国当代不仅文学界，而是全社会腐朽庸俗之风日盛，精神与思想面临全面崩溃的局面。<br /> <br /> The Chinese contemporary literature system, following the official literature system after 1949, cultivate a lot of vulgar decay who flatter writer in the system, and has created a huge amount of literary rubbish in the era of human civilization for a long time. However, it is difficult to publish literary masterpieces with high ideological and artistic values performed by a few free Chinese writers with spiritual introspection, which leads to the growing trend of decadent vulgarity, not only in the literary world but also in the whole society in contemporary China, and the overall collapse of spirit and thought.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 03:23, 15 November 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> 1.中国古典文学有诗歌、散文、小说以及词、赋、曲等多种表现形式，在各种文体中，又有多种多样的艺术表现手法，从而使中国古典文学呈现出多姿多彩、壮丽辉煌的图景。<br /> <br /> Chinese classical literature has poetry, prose, novels and words, assignments, songs and other forms of expression. In a variety of styles, there are all kinds of artistic expressions, so that Chinese classical literature presents a colorful and magnificent picture.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:24, 12 November 2020 (UTC)<br /> --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:24, 12 November 2020 (UTC)<br /> <br /> 2.无论是从思想上还是从艺术上看，五四新文学是一种与传统文学迥异的现代文学，是中国文学史上名副其实的革命。<br /> <br /> Whether ideologically or artistically, May 4th New Literature is a kind of modern literature which is very different from traditional literature and is a veritable revolution in the history of Chinese literature.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:24, 12 November 2020 (UTC)<br /> <br /> 3.中国现当代文学的源头是五四文学。五四文学是中国文学发展史上一次前所未有的本质性变异，它划定了从传统文学到现代文学的不同历史时代。<br /> <br /> The source of contemporary Chinese literature is May 4th literature. May 4th literature is an unprecedented essential variation in the history of Chinese literature, which delimits different historical times from traditional literature to modern literature.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:24, 12 November 2020 (UTC)<br /> <br /> The source of modern and contemporary Chinese literature is May 4th literature. May 4th literature is an unprecedented essential variation in the history of Chinese literature, which delimits different historical times from traditional literature to modern literature. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 07:48, 13 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 1.中国古典文学是中国文学史上闪烁着灿烂光辉的经典性作品或优秀作品，它是世界文学宝库中令人瞩目的瑰宝。<br /> <br /> Classical Chinese literature is the classic or excellent work shining brilliantly in the history of Chinese literature， which is a remarkable treasure in the treasure house of the world literature.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:19, 11 November 2020 (UTC)<br /> <br /> Chinese classical literature is a classic or excellent work with brilliant brilliance in the history of Chinese literature. It is a remarkable treasure in the world literature treasure house.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:28, 11 November 2020 (UTC)<br /> <br /> 2.现代文学在“五四”文学革命以后的60多年发展过程中﹐随著中国革命与社会性质的演变﹐以1949年10月中华人民共和国成立为转折﹐经历了新民主主义革命时期与社会主义时期两个历史阶段。<br /> <br /> In the more than 60 years of development after the &quot;May 4th&quot; literary revolution, modern literature, marked by the founding of the People's Republic of China in October 1949, has undergone the period of the new democratic revolution and the period of socialism with the evolution of the Chinese revolution and the nature of society.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:19, 11 November 2020 (UTC)<br /> <br /> In the more than 60 years after the &quot;May 4th&quot; literary revolution, modern literature, with the evolution of Chinese revolution and social nature, went through two historical stages: the new democratic revolution period and the socialist period with the founding of the People's Republic of China in October 1949 as the turning point.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:28, 11 November 2020 (UTC)<br /> <br /> In the course of more than 60 years of development after the May 4th literary revolution, modern literature has experienced two historical stages, the period of the New Democratic Revolution and the period of socialism, with the evolution of the Chinese revolution and social nature, taking the founding of the People's Republic of China as a turning point in October 1949.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:30, 12 November 2020 (UTC)<br /> <br /> <br /> 3.中国平民作家特别是自由作家所具有的独立思想，通常在作品中以令人恐怖的真实表现出思想的光芒。<br /> <br /> The independent ideas of Chinese civilian writers, especially freelance writers, usually show the light of ideas in their works with terrifying truth.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:19, 11 November 2020 (UTC)<br /> <br /> The independent thoughts of Chinese civilian writers, especially the free writers, usually show the light of their thoughts in their works with horrible truth.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:28, 11 November 2020 (UTC)<br /> <br /> The independent thought of Chinese civilian writers, especially free writers, usually shows the light of thought with terrible truth in their works.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:30, 12 November 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> 1.文学发展到西晋开始了明显的转变。西晋的士族制度加深了阶级鸿沟，士族文人远离社会和人民，他们的创作缺乏现实内容，就只能追求形式的华美，逐渐走上形式主义的道路。<br /> <br /> The development of literature to the Western Jin Dynasty began an obvious change. The scholastic system in the Western Jin Dynasty deepened the class gap, and the literati were far away from the society and the people. Their creations lacked realistic content, so they could only pursue the beauty of form and gradually embarked on the road of formalism.<br /> <br /> The development of literature into the Western Jin Dynasty began a marked transformation.The taxi system in the Western Jin Dynasty has deepened the class gap, and the literati are far from the society and the people.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:17, 15 November 2020 (UTC)<br /> <br /> 2.“五四”文学革命在中国文学史上引起的历史性变革﹐集中地表现为大大加强了文学与人民群众的结合﹐文学与进步的社会思潮及民族解放﹑人民革命运动的自觉联系。<br /> <br /> The historical changes caused by the &quot;May 4th&quot; literary revolution in the history of Chinese literature are concentrated in the combination of literature and the masses, the conscious connection between literature and progressive social trends of thought, national liberation and the people's revolutionary movement.<br /> <br /> 3.中国当代文学发展到今天主要分为“社会主义初期文学”、改革开放后的“新时期文学”、“中国先锋文学”、“中国自由文学”、以及“通俗流行文学”等五大类。<br /> <br /> Today, Chinese contemporary literature is mainly divided into five categories, namely, &quot;literature of the early socialism&quot;, &quot;literature of the New Era&quot; after the reform and opening up, &quot;Chinese avant-garde literature&quot;, &quot;Chinese liberal literature&quot; and &quot;popular literature&quot;.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 10:28, 14 November 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> 1、先秦散文主要可分为历史散文和诸子散文。就大体情况而言，历史散文主要是叙事的，诸子散文主要是说理的。<br /> <br /> 2.、严复、林纾是这个时期著名的翻译家，他们分别以各自熟练的古文翻译西方社会科学和文学作品，对传播新思想、新文化，起了积极的作用和广泛的影响。<br /> <br /> 3、在抗日战争时期，民族危难使作家和人民有了共同命运，推动着许多曾经有过脱离人民的倾向，“为艺术而艺术”的作家走出个人小天地。<br /> <br /> 4、诗人李白写过许多反映妇女生活的作品，《长干行二首》就是其中杰出的诗篇。它以一位居住在长干里的商妇自述的口气，叙述了她的爱情生活，倾吐了对于远方丈夫的殷切思念。<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> 1.《离骚》是我国诗歌史上现存第一篇宏伟壮丽的抒情长诗，也是一篇浪漫主义杰作。<br /> <br /> ''Li Sao'' is the first exsiting long lyric poem in the history of Chinese literature and a masterpiece of Romanticism.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 15:13, 15 November 2020 (UTC)<br /> <br /> 2.鲁迅笔耕一生，留下了大量著述。白话短篇小说《狂人日记》是中国现代文学史上第一篇用现代体式创作的小说，标志着中国现代小说的伟大开端。<br /> <br /> Lu Xun was engaged in writing all through his lifetime, leaving behind an immense number of books. ''Diary of a Madman'' was the first novel written in the modern form in Chinese literature, symbolizing the great outset of modern Chinese fiction.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 15:13, 15 November 2020 (UTC)<br /> <br /> 3.矛盾始终坚持革命现实主义的文艺应与中国的革命统一步调，反对公式化，概念化的倾向，注重艺术形式与技巧的探索。他还是中国现代文学批评的开创者之一。<br /> <br /> Mao Dun adhered all the time to the stand that revolutionary realism should be in step with Chinese revolution and opposed the trend of formalism and conceptualization. He laid stress on the probe into artistic form and technique. He was also one of the pioneers of modern literary criticism in China.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 15:13, 15 November 2020 (UTC)<br /> <br /> 4.总之，强烈要求摆脱羁绊，追求个性解放和精神自由，风格飘逸豪放，是李白诗歌的最大特色。<br /> <br /> In general, Li Bai's poetry is characterized by its unconventional spirit and highly personalized imagery.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 15:13, 15 November 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> 1.中国古典文学包括诗歌、小说、戏曲、散文，是中国传统文化的重要组成部分，是中国文化与中国精神的体现，是当代青年学习与认识我国传统文化的重要手段。<br /> <br /> Chinese classical literature, which concludes poetry, novels, operas, and prose, is an important composition of Chinese traditional culture, the embodiment of Chinese culture and Chinese spirit, and an important means for contemporary youth to learn and understand Chinese traditional culture.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:08, 13 November 2020 (UTC)Zou Xinyu<br /> <br /> 2.近代文学的成就在于它的反帝反封建的进步主流，它的反映现实和追求理想的精神和方法，它的语文合一、走向通俗化的探索和努力，为“五四”时代新文学运动准备了一定的历史条件。<br /> <br /> The achievement of modern literature lies in its anti-imperialist and anti-feudal progressive mainstream, its spirit and method of reflecting reality and pursuing ideals, its integration of language and literature, and its exploration and efforts towards popularization have prepared certain historical conditions for the New Literature Movement of the &quot;May Fourth&quot; era.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:08, 13 November 2020 (UTC)Zou Xinyu<br /> <br /> 3.中国现代文学既是作家作品的历史，也是文学和文化思想的历史，也是中国社会接受和运用现代文学的历史。<br /> <br /> Modern Chinese literature is not only the history of writers' works, but the history of literature and cultural thoughts, as well as the history of Chinese society's acceptance and use of modern literature.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:08, 13 November 2020 (UTC)Zou Xinyu<br /> <br /> 4.诗仙李白的《长干行》有多种英译本，其中美国诗人庞德译为The River-Merchant's Wife: A letter，中国著名翻译家许渊冲教授翻译为Ballad of A Trader's Wife，王玉书先生则译为A Merchant's Wife Complaint，这三个英译本分别用韵味深长的遣词和造句，传神地塑造了异彩纷呈的女主人公形象。<br /> <br /> There are many English translations of ''Chang Gan Xing'' by the poet Li Bai. Among them, the American poet Pound translated it as ''The River-Merchant's Wife: A letter'', the famous Chinese translator Xu Yuanchong translated it as ''Ballad of A Trader's Wife'', and Wang Yushu translated it as ''A Merchant's Wife Complaint''. These three English translations use provocative words and sentences to vividly portray the colorful heroine image.--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:08, 13 November 2020 (UTC)Zou Xinyu<br /> <br /> ==Zubareva, Ekaterina==<br /> <br /> 1.The term &quot;classic novels&quot;, writes Andrew H. Plaks, is a &quot;neologism of twentieth-century scholarship&quot; which seems to have come into common use under the influence of C. T. Hsia's Classic Chinese Novel.--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 安德鲁·H·普拉克斯（Andrew H. Plaks）写道，“经典小说”一词是“二十世纪学术的新神学”，似乎在夏·夏亚的中国经典小说的影响下得到了普遍使用。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 安德鲁·H·普拉克斯（Andrew H. Plaks）写道，“经典小说”一词是“二十世纪学术的新词”，似乎在夏志清中国经典小说的影响下开始普遍使用。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 08:19, 15 November 2020 (UTC)<br /> <br /> 2.The literary reform movement that began with these and other “calls to arms” was an important part of the larger New Culture Movement for cultural and sociopolitical reform, which was greatly strengthened by a student protest on May 4, 1919, against the intellectual performance of the Chinese delegates to the Paris Peace Conference formally terminating World War I. --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 从这些和其他“呼吁武器”开始的文学改革运动是规模更大的文化和社会政治改革新文化运动的重要组成部分，该运动在1919年5月4日针对学生的智力表现提出的学生抗议活动得到了极大的加强。 参加巴黎和平会议的中国代表正式结束了第一次世界大战。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 文学改革运动是从这些及其他“号召”运动开始的，是规模更大的文化及社会政治改革—新文化运动的重要组成部分，该改革由一名学生于1919年5月4日抗议得到极大推动，该学生抗议中国代表团精英分子在表明第一次世界大战正式结束的巴黎和会上的表现。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 08:37, 15 November 2020 (UTC)<br /> <br /> 3.The contemporary period refers to the glorious thirty years from the May Fourth Movement in 1919 until the foundation of the Peoples' Republic of China in 1949.--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 当代时期指的是从1919年“五四”运动到1949年中华人民共和国成立的三十年。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 当代是指从1919年“五四”运动到1949年中华人民共和国成立的辉煌三十年。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 08:21, 15 November 2020 (UTC)<br /> <br /> 4.The most popular Tang Poems collection might be the so-called 300 Tang Poems compiled by Qing dynasty scholar Sun Zhu. It is so popular that many poems in it have been adopted by Chinese language text books of China's primary schools and secondary schools. Some of the poems in it are normally regarded as must-recite ones.--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 最受欢迎的唐诗集可能是清代孙子编纂的所谓《唐诗三百首》。 它是如此流行，以至于其中许多诗歌被中国中小学的汉语课本所采用。 其中的一些诗歌通常被认为是必须朗诵的诗歌。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 13:19, 14 November 2020 (UTC)<br /> <br /> 最受欢迎的唐诗集可能是清代孙洙编纂的《唐诗三百首》。 它是如此流行，以至于其中许多诗歌被中国中小学的汉语课本所采用。 其中的一些诗歌通常被认为是必须背诵的。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:57, 15 November 2020 (UTC)</div>

Qu Miao https://bou.de/u/index.php?title=20201215_cultexam&diff=103960 2020-11-09T07:52:48Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].<br /> <br /> '''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''<br /> <br /> You can use the texts in the coursebook as an example (like Unit 1, Text A). Please write the text and indicate ALL SOURCES with bibliographical references. Please also add a vocabulary list and questions.<br /> <br /> ==Alsied, Saffana==<br /> <br /> ==Cao Runxin 曹润鑫==<br /> '''Spring Festival Couplets'''<br /> <br /> ==Chen Han 陈涵==<br /> <br /> Chinese traditional musical instrument <br /> <br /> Gu Zheng --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:26, 2 November 2020 (UTC)<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> Lion dance<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> The Eight Tang-Song prose Masters<br /> <br /> ==Gao Mingzhu 高明珠==<br /> Pipa--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 08:22, 2 November 2020 (UTC)Gao Mingzhu<br /> <br /> ==Grosheva, Anna==<br /> <br /> ==Gu Dongfang 顾东方==<br /> Chinese Characters<br /> <br /> ==Guan Qinqing 管钦清==<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> Chinese Mythology <br /> <br /> A. Pan Gu Created the Universe<br /> <br /> B. Nu Wa Created Human Beings<br /> <br /> C. Fushi Taught the People <br /> <br /> D. Yu Rebuilt the Earth<br /> <br /> ==Gui Yizhi 桂一枝==<br /> Chinese gods and immortals--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 16:09, 8 November 2020 (UTC)<br /> <br /> ==Guo Lu 郭露==<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> The culture of Red envelope and Lucky money--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 09:02, 2 November 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> the 24 solar terms--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 09:46, 2 November 2020 (UTC)<br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> ==Hu Jin 胡瑾==<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> ==Kang Haoyu 康浩宇==<br /> ===Four Beautiful Women in Ancient China===<br /> <br /> Xi Shi, Wang Zhaojun, Diao Chan and Yang Yuhuan are considered as four beautiful women of ancient China. They are renown of their beauty of &quot;sinking fishes, falling geese, shadowing the moon and blushing the flowers&quot;. They are the symbol of beauty and their legendary stories are still popular and famous today.<br /> <br /> 1. Xi Shi<br /> <br /> 2. Wang Zhaojun<br /> <br /> 3. Diao Chan<br /> <br /> 4. Yang Yuhuan<br /> <br /> ===Vocabulary List===<br /> ===Questions===<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> ==Li Lili 李丽丽==<br /> Shadow Puppets(皮影戏)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> Qian Zhongshu--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:19, 9 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> 相声 Cross Talk<br /> <br /> ==Liu Yi 刘艺==<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> The Four Grottoes of China--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 08:23, 2 November 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> '''Ancient Chinese Education'''<br /> <br /> '''1. The History of Ancient Education'''<br /> <br /> '''2.Classification of Ancient Chinese Education'''<br /> <br /> '''3.Civil Service Examination System'''<br /> <br /> '''4.Ancient China Academies'''<br /> --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 08:27, 2 November 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> '''The Imperial Palace'''--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> '''Chinese Marriage Customs'''--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 08:24, 2 November 2020 (UTC)Mo Ling<br /> <br /> '''A.Procedures'''<br /> <br /> '''B.Development'''<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> '''Twelve Animals of the Chinese Zodiac''' --Ouyang Ling<br /> <br /> '''A.Origin'''<br /> <br /> '''B.Development'''<br /> <br /> '''C.Influence'''<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> Green Tea--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)<br /> <br /> ==Phyo, Su Kyi==<br /> <br /> Chinese clothing talk 5-11-2020<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ==Qu Miao 瞿淼==<br /> the Yuelu Academy--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 07:52, 9 November 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ==Seydou, Sagara==<br /> <br /> ==Shi Haiyao 石海瑶==<br /> ancient Chinese marriage <br /> ----<br /> <br /> ==Si Yu 司妤==<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> China‘s Four New Inventions--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:24, 3 November 2020 (UTC)<br /> <br /> 1. High-speed rail <br /> <br /> 2. Scanning code payment<br /> <br /> 3. Sharing bikes<br /> <br /> 4. Online shopping<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> ==Xiao Ting 肖婷==<br /> Su Shi (January 8, 1037 –August 24, 1101), also known as Su Tungpo, was a Chinese writer, poet, painter, calligrapher, pharmacologist, gastronome, and a statesman of the Song dynasty. <br /> A B C D<br /> <br /> ==Xie Fan 解帆==<br /> <br /> ==Xu Jia 徐佳==<br /> Four Folk Stories of China 中国民间四大传说--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 09:03, 8 November 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许静==<br /> '''Four Great Pavilions'''--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 06:21, 9 November 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> Chinese 4 great towers<br /> A. origin<br /> B. development<br /> --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:17, 2 November 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> Nanjing, An Ancient Capital of Six Dynasties--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 08:28, 2 November 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> The Five Constant Virtues<br /> A Benevolence<br /> <br /> B Righteousness<br /> <br /> C Propriety<br /> <br /> D Wisdom<br /> <br /> F Fidelity<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> Cheongsam--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:16, 2 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> Stinky Tofu<br /> <br /> ==Yi Zichu 义子楚==<br /> Panda--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 14:26, 2 November 2020 (UTC)<br /> <br /> ==You Yuting 游雨婷==<br /> legalism--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:05, 2 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> Milk Tea--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 14:42, 2 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> Qingming Riverside Landscape Garden<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Terra-Cotta Warriors --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 02:32, 3 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> Rural Tourism in China --[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 08:22, 2 November 2020 (UTC)Zhang Weihong<br /> &quot;Nong Jia Le&quot;<br /> 1. Introduction <br /> 2. Development <br /> 3. Models <br /> 4. Discussion <br /> 5. Tips for trips<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> ==Zhang Yu 张瑜==<br /> '''A.The Four Great Inventions'''<br /> <br /> The Four Great Inventions of ancient China include paper, compass, gunpowder and movable type printing system.<br /> <br /> '''1. Paper'''<br /> The invention of papermaking technology is one of the most outstanding contributions made by the Chinese people to the world civilization. It is not only a revolution in writing materials, but also a perquisite for the subsequent invention of typography. (Fan 2015, 161)<br /> <br /> '''2. Compass'''<br /> [[File:Ming_Compass.jpg|250px|thumb|left|Diagram of a Ming dynasty mariner's compass, Public Domain license by Wikimedia. Click [https://en.wikipedia.org/wiki/Four_Great_Inventions#/media/File:Ming-marine-compass.jpg] for original source.]]<br /> <br /> '''3. Gunpowder'''<br /> <br /> '''4. Movable type printing'''<br /> <br /> '''References'''<br /> *Fan, Jialu, Han, Qi, Wang, Zhaochun, Dai, Nianzu. &quot;The four great inventions.&quot; A History of Chinese Science and Technology. Springer, Berlin, Heidelberg, 2015. 161-299<br /> *Andrade, Tonio, ed. (2016). The Gunpowder Age: China, Military Innovation, and the Rise of the West in World History. Princeton: Princeton University Press.<br /> *Boruchoff, David A. (2012), &quot;The Three Greatest Inventions of Modern Times: An Idea and Its Public&quot;, in Hock, Klaus, Gesa; Mackenthun (eds.), Entangled Knowledge: Scientific Discourses and Cultural Difference, Münster: Waxmann, pp. 133–163, ISBN 978-3-8309-2729-7<br /> *Buchanan, Brenda J., ed. (2006). Gunpowder, Explosives and the State: A Technological History. Aldershot: Ashgate. ISBN 0-7546-5259-9.<br /> *Deng Yinke (2005). Ancient Chinese Inventions. Translated by Wang Pingxing. Beijing: China Intercontinental Press. ISBN 7-5085-0837-8.<br /> *Li Shu-hua (1954). &quot;Origine de la Boussole 11. Aimant et Boussole&quot;. Isis. Vol. 45 no. 2: July. Oxford. pp. 175–196.<br /> *Needham, Joseph (1962). Physics and Physical Technology, Part 1, Physics. Science and Civilisation in China. Volume 4. Cambridge, England: Cambridge University Press.<br /> *Needham, Joseph, ed. (1985). Chemistry and Chemical Technology, Part 1, Tsien Hsuen-Hsuin, Paper and Printing. Science and Civilisation in China. Volume 5. Cambridge: Cambridge University Press.<br /> *Needham, Joseph, ed. (1994). Chemistry and Chemical Technology, Part 7, Robin D.S. Yates, Krzysztof Gawlikowski, Edward McEwen, Wang Ling (collaborators) Military Technology; the Gunpowder Epic. Science and Civilisation in China. Volume 5. Cambridge: Cambridge University Press.<br /> * &quot;World Archaeological Congress eNewsletter 11 August 2006&quot; (PDF). [http://worldarch.org/wp-content/uploads/2009/05/enews_11.pdf]<br /> <br /> '''Vocabulary List'''<br /> *The Four Great Inventions 四大发明<br /> <br /> '''Questions'''<br /> *When was paper invented? (8 BCE)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> ==Zhao Xi 赵茜==<br /> Four Treasures of the Study 文房四宝<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> Chinese screen（中式屏风）<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> Classical Chinese Doors &amp; Windows --[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 09:27, 7 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> Yuelu Academy--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 02:29, 5 November 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> '''Cheongsam'''<br /> <br /> ==Zubareva, Ekaterina==<br /> Chinese traditional make up</div>

Qu Miao https://bou.de/u/index.php?title=History_of_Translation_Studies&diff=103499 2020-11-07T09:41:21Z

<p>Qu Miao: /* How to keep &quot;Chineseness &quot; in Idiom Translation from Chinese to English 瞿淼 Qu Miao */</p> <hr /> <div>这里是《翻译学史》的书稿。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> =Acknowledgement=<br /> I am indebted to the more than 300 students of the Master Course &quot;Introduction to Translation Studies&quot; conducted in the two fall terms 2019/2020 and 2020/2021 at Hunan Normal University, Foreign Studies College. They have enriched this monograph with their ideas, their creativity and the top students even have contributed short passages to this book on single aspects. They have also helped to arrange that the monograph could appear in different languages simultaneously.<br /> The Foreign Studies College is one of the top places of Translation and Interpreting Studies in China.<br /> =Foreword=<br /> Interpretation theories and interpretation studies are as old as human languages, since interpretation practise is not just necessary between full fledged languages, but is practised as soon as two different individuals meet, like a grandmother and her grandchild. The first lay interpreters naturally reflected on their interpreting work and this was the start of theories and studies. As soon as written language was invented, critical reflection also started and with it translation theories and translation studies.<br /> <br /> The first thoughts about transponing the meaning of one language into a similar one of another language were prescriptive with precepts and principles, sometimes exaggerated into dogma and people not adhering to them being tortured or murdered.<br /> <br /> In the 1960s, the translation studies started to become aware of itself as an academic discipline.<br /> =Introduction=<br /> <br /> =The Emergence of Translation and Interpretation=<br /> <br /> =Western Translation Theories=<br /> =='''Impacts of Western Translation Theories on The Translator’s Guide to Chinglish'''==<br /> <br /> '''Abstract:''' In the west, studies on translation practices and theories have walked through the recorded history of over two thousand years, during which there exist various characters, theories, schools of translation, exerting great influences on translators an translating activities at present. The book ''The Translator’s Guide to Chinglish'' has discussed the “Chinglish” by English learners and translators in China. The author’s outlooks on translation also have shown the ideologies of western translation theories.<br /> <br /> '''Keywords:''' Western translation theories; Translation history; Translator’s Guide to Chinglish; <br /> <br /> '''摘要：'''据记载，西方翻译理论与实践的历史已达两千余年，这其中不乏各大翻译家、翻译理论和翻译流派等，他们都对如今的翻译工作者和翻译活动产生了深远的影响。《中式英语之鉴》这本书讨论了中国英语学习者和翻译工作者的“中式英语”问题。作者在此书中的观点体现着西方的翻译理论思想。<br /> <br /> '''关键词：'''西方翻译理论；翻译史；《中式英语之鉴》<br /> <br /> '''I. Introduction'''<br /> <br /> Translating sets forth on its journey a long time ago. It has been over 2200 years since Livius Andronicus translated Homer’s Odyssey from Greek into Latin around 250 BC, which is the earliest activity of translating from recorded history. Throughout history, translation is not only involved in politics,culture, religion, language and so forth, but also keeps changing as times and social conditions roll on. On grounds of the changes of targets and contents of translation history, considering the specific periods of people’s apprehension of translation and the roles translation plays in society of different times, researchers divided the history of western translation into 3 parts, translation of religious materials, translation of literary classics and translation of non-literary materials. <br /> <br /> The division of western translation history varies from person to person in circles of translation. Generally speaking, from about 250 BC when people translated ''Septuagint'' into Greek to the 16th century when the translation of the Bible prevailed, it is the historical period of translating religious materials, followed by period of translation of literature mainly from literary classics and great works of social sciences.(Wu &amp; Shu 2011:76) After the Second World War, however, translation of non-literary and practical materials began to exert influence as a major force. <br /> <br /> In the west, studies on translation practices and theories have walked through the recorded history of over two thousand years, which is very close to the one in China. Nevertheless, China had made little progress with translation studies because of closed-door policy. Before years around 1980s, the systematic study on theories of western translation had been left incomplete in China, where few books and papers related were published. And even in the western countries, there existed similar situations. However, studies on theories of western translation has made appreciable development since 1980s, especially the books on history of western translation theory written by Rener, Robinson, etc. These books and materials are indisputably of great value for us to take a closer look at theories of western translation, yet it is very hard for people of Chinese cultures to search, unearth and analyse the history of translation theories in the backgrounds of western cultures. As Tan Zaixi put it in his book ''The Brief History of Western Translation'', “From ancient times, translation in the west has been proceeding for over two thousand years, along with extraordinary translators and divergent theories, which can not be expound within twenty or thirty thousand words.”(Tan 1991:1) And for translation studies as a independent discipline, it is a very meaningful job to study translation and its theories from all over the world, which includes the western translation theories. <br /> <br /> Accordingly, while studying the history of western translation theories, we must understand the necessity of describing the development of western translation theories in a proper way and figure out how they are classified, especially for theories of modern and contemporary times. Based on the fundamental way of studying translation or ideologies of various schools, now people would usually divide translation studies into literary school, linguistic school and cultural school. The literary school includes the traditional philological approach and the hermernutic approach; the linguistic school consists of the equivalence approach, the functional approach and the cognitive approach; the cultural school covers translation studies approach, deconstruction approach, feminism approach, post-colonial approach and the integrated approach, of which translation studies approach can be further divided into polysystem theory, the norm theory and the manipulation theory. By contributing new thoughts to this discussion, the study aims to reach more consensus among translation studies scholars in this aspect.<br /> <br /> '''II. School Classification''' <br /> <br /> Beyond dispute, it’s practicable that people describe the history of western translation theories by dividing them into different schools in light of theories and ideologies of translation studies. With the modernization and integration of economy in western society, western translation theories also begin to get over the hurdles in the way of mutual development and blur the distinction among nationalities, which makes it harder to owe some ideology or theory of translation to a certain country or area. For instance, Gideon Toury was famous in the west but lived in Israel. In contrast, when some ideology or theory is proposed by someone in some place, it can probably be responded to or supported by scholars from all corners of the world. They hold it up totally out of agreement with the points someone makes, not necessarily where the points come from. Another example, Eugene A. Nida, who put forward the idea of “functional equivalence”, is American, but Kade, who is his supporter, comes from German. Therefore, it might be easier to understand the present situation and trends of western translation theories from levels of translation schools and ideologies, especially for theories of contemporary and modern times.<br /> <br /> As one would expect, it is just one of the methods to classify western translation theories on the basis of translation schools or ideologies. From a perspective of historical development, it would be a more traditional way to classify western translation theories by times and nations. This diachronic way of studying it helps to organize the historical materials clearly and make profitable comparisons among traditions and characteristics of translation theories among western countries and regions, which enables people to understand the distribution and trends of western translation theories with an open mind. On the other hand, the diachronic way also describes the divergence and amalgamation of western translation theories. To give an example, the debate between free and literal translation never ends during which the eclecticism occurred and then literal translation was overtaken by free translation; the transfer from regarding the words as translation units to viewing sentences, discourses and even the whole passages as translation units... and so on. Despite that, as for studies on western translation theories, it is not the best way to do it only by a certain means. If we completely choose the way of describing the history of western translation theories by dividing them into different schools in light of theories and ideologies of translation studies, the relation between translation theories and specific cultural environment of society may be ambiguous and so is the relation between diachronic and synchronic development of translation. If we only decide on a more traditional way to classify western translation theories by times and nations, our research and description will inevitably be in need of subjects of translation theories. To avoid such deficiencies, we must adopt a way combining both means mentioned above to study western translation theories. In other words, we must take into consideration not only the historical connection between theories and ideas of translation but also the relation of translation theories with the specific social and cultural environment. Only by doing so, our research would be able to describe the whole process of western translation theories from an objective perspective. <br /> <br /> From what we have mentioned above, we view western translation theories from two sides. First, we view it from the respect of historical development steadily. Cicero, was the first translation theorist in the west during times of Roman empire. As a rhetorician and orator, he categorized translation into ones by “ut interpres” and “ut orator” for the first time. Translation by “ut interpres” means translation of no creativity but translation by “ut orator” means translation of creativity which may even rival the original. As a matter of fact, Cicero put forward two fundamental ways of translating and pioneered the study of theories and methods of translation. Since Cicero’s studies on translation, western translation theories have been dealing with arguments between free translation and literal translation, word-for-word translation and excessively free translation, faithfulness and unfaithfulness and so forth. <br /> <br /> Besides Cicero, there are an abundance of excellent translation theorists in western translation history, who have proposed assorted theories and ideas from different angles in different times. In ancient times, aside from Cicero’s categorization of “literal translation” and “free translation”, Marcus Fabius Quintlianus thought that the target ought to compete with the original; St. Jerome believed that people were supposed to follow the rules of literal translation when translating ''the Bible'' and use free translation when it came to literary classics; St. Augustine held the view that translation was inspired by God. In the Middle Ages, Manlius Boethius promoted the literal translation that would rather keep “faithful” than “elegant”; Dante was of the opinion that “works of literature are untranslatable”. During the Renaissance, Desiderius Erasmus believed that translation was not a subjection to authority of religious beliefs and translation of ''the Bible'' depended on the language of a translator; Martin Luther held the view of humanism that texts must be rendered in the people’s language; Etienne Dolet reckoned that people translated on “five principles” of understanding the content of the original, being proficient in the original language and the target language, avoiding word-for-word translation, expounding in simple languages and focusing on the style of the target text. From the 17th to 19th century, Charles Batteux was of the opinion that author was the master and translator was the servant, whose work were not allowed to be amplified, to omit and change the wording of the original; John Dryden categorized translating into metaphrase, paraphrase and imitation and he thought translation was some kind of art; Tytler put forward three principles that the target reflected the ideas exactly the original conveyed, the style and skills the target used should be of the same characteristics of the original and the target should be as expressive as the original; Friedrich Schleiermacher made a distinction between translation and interpretation, literal translation and mechanical translation; Humboldt believed his theories that language decided the translatability and untranslatability of the world; Matthew Arnold thought whether a translation was good or not depended on the experts; Francis W. Newman had the idea that it were common readers, not the experts,who determined the criteria of translation. In the 20th century, we have Fedolov’s theories that people should study translation theories from linguistics first and translation theories is categorized into history, introduction and arguments of translation; we have Roman Jakobson’s three classification of interlingual translation, intralingual translation and intersemiotic translation; we have Levy’s thoughts that “translating should make reader have an illusion of the original”, “translating is a deciding process”; we have Gachechiladze’s theories on literary translation that “translation is always a artistic and realistic reflection of the original” and “ translation of literature and art is a artistic work”; we have Carford’s theories of linguistics that translation should reach an equivalence of context; Nida thought “translating is a science”, “translating is communicating” and there exists equivalence between the readers of the original and the target; Mounin’s view of modern linguistics on translation theories; Paul Valery emphasized that the target needed to break the limits of the original. All the thoughts and ideas mentioned above have constituted the most essential parts of western translation theories.<br /> <br /> Furthermore, we could look at the whole system of western translation theories from the other side, which is the schools of ideology. There are two branches of it: translation theories of literature and art and linguistics theories of translation. The school of translation of literature and art stems from the early drama by Terentius in Ancient Rome, ucceeded by Levy and Gachechiladze in modern times, and continues to thrive in the 21st century. People of this branch perceive translation as a kind of literary art, which draws attention to recreation of literature. Theorists have been discussing the defects and merits between faithfulness and unfaithfulness, word-for-word translation and excessively free translation, literal translation and free translation and so on. Besides, they also foreground the purposes and effects of translation. They stress both the original and the literary attributes of the language of it., as well as the idiomatic expression and tradition of literature of the original that people must respect whiling translating. They not only zero in on the style and literariness of the text very much but the talent of literature a translator or interpreter should possess. The school of linguistic theories of translation is from Augustine and people of traditional linguistics or philology in Ancient Rome to various schools of modern linguistics in the 20th and 21st century. For this situation, the core lies in language. People of this school, who think that the goal of translating is to reach the equivalence between the original and the target, combine translation theories with analysis of semantic and syntactic functions and talk on issues of translation from the characteristics of structure and sentence-making skills of a language so as to show how the equivalent texts are made from words, grammars and other features of a language. <br /> <br /> From either branches we can see that they have their own advantages and disadvantages. Translation theories of literature and art give an emphasis to the purposes and results of translating and the artistic effects from a macroscopic view, but neither pay much heed to practical process of translating and skills of using a language nor care about whether the target and the original reach the equivalence of structures. Linguistics theories of translation is also not spotless because some theories don’t stress the aesthetic functions and ignore the recurrences of works of literature and art. They mostly focus on the structure of a language to and theoretically are limited to word, sentence or syntax only, which disregards the main structure of a text and the structure of discourse and the cultural features to a larger extent.<br /> <br /> However, no matter it is the branch of translation theories of literature and art or linguistics theories of translation, they are not completely isolated but complement each other. Although either of two branches has its own shortcomings, there is no translation theorist of literature and art who could talk about the artistic value of literary works divorced from linguistic issues; there is no theorist of linguistics who could be immersed in linguistic structures of a text without issues of aesthetics.<br /> <br /> '''III. About ''The Translator’s Guide to Chinglish'''''<br /> <br /> Joan Pinkham, a professional translator from the U.S., published the book ''The Translator’s Guide to Chinglish'' in 2000. She worked for the Foreign Languages Press and Central Compilation and Translation Bureau in China for 8 years from 1980s to 1990s. It is one of the few books by westerners that systematically discuss the “Chinglish” issues in China. In the years working for the Foreign Languages Press and Central Compilation and Translation Bureau, her job was to revise and polish the drafts from Chinese translators, which was inevitably affected by Chinese and mindset of Chinese people. For that reason, Pinkham got to know many English translations with “Chinese characteristics” and wrote this book. ''The Translator’s Guide to Chinglish'' consists of three parts, Unnecessary Words, Sentence Structure and Supplementary Examples, which reveal lots of mistakes Chinese translators tend to make. <br /> <br /> First of all let’s take a look at examples given in the fist chapter:<br /> <br /> promoting the cause of peaceful reunification;<br /> <br /> reforms in the sphere of economy;<br /> <br /> to ensure a relationship of close cooperation between.<br /> <br /> Phrases like these can often be seen in some English papers or periodicals and they seem to make sense to English learners or translators in China. But the author regards them as negative examples in the first chapter of the first part, Unnecessary Nouns. The author mentioned that “Many of these nouns are easy to recognize. They are plainly redundant because their sense is already included or implied in some other element of sentence.”(Liu 2002:34) in the book. Here the author perceives nouns like “cause”, “sphere” and “relationship” as “category nouns”, which are the general nouns that sever only to introduce a specific noun to follow. Let’s take the first phrase as an example. In such constructions, the first noun announces the category of the second; in this case, it tells the readers that “promoting” falls into the category of “cause.” That is something they already know. Accordingly, the first noun should be deleted: “ promoting peaceful reunification.”(Pinkham 2000:16) It is the same for other two examples. What’s more, the first chapter also involves “Unnecessary Verbs.” Examples are as follows:<br /> <br /> to bring about a change in this state of affairs;<br /> <br /> until China realizes its modernization;<br /> <br /> trying to entice the Korean army to launch an attack against them.<br /> <br /> “Like unnecessary nouns, most unnecessary verbs in Chinglish occur in phrases. Usually they are combined with nouns (plus the inevitable articles and prepositions that nouns bring with them).”(Pinkham 2000:34) The commonest type is phrases like these. As for “to bring about a change in this state of affairs”, here the verb (“bring about”) is a weak, colorless, all purpose word having no very specific meaning of its own, while the real action is expressed in the noun(“change”). Since the verb is not contributing anything to the sense, it can be edited out: “change this state of affairs.” <br /> <br /> In the second chapter, the author talks about Unnecessary Modifiers, which is not a problem easy to cope with for Chinese translators because it covers the issue of whether they should be used and using the modifiers properly. Five types of unnecessary modifiers are listed, redundant modifiers, self-evident modifiers, intensifiers, qualifiers and cliches. But the author especially points out that it is not appropriate to revise some accepted phrases, which are related to some national policies, even if they have unnecessary modifiers in the sentences, because this may cover political affairs. <br /> <br /> In the third and forth chapter the author talks on Redundant Twins and Saying the Same Thing Twice. For instance, views and opinions, help and assistance, stir up and incite, sentiments and feelings, prudent and cautious. The author classifies the redundant words into three groups according to the relation between synonyms and clauses and offers corresponding reversion. And she adds that examples of redundant synonyms are too many to list even for native English speakers; for example, rules and regulations, bits and pieces, by leaps and bounds, betwixt and between, by hook or by crook, huffing and puffing. After centuries of development, these phrases are now accepted by native English speakers or learners probably because of their jaunty alliteration or rhythm. But the author believes that these phrases unavoidably “exert an influence not only on native speakers of English (including foreign polishers) but on Chinese translators as well, reinforcing the habits of their own language. No doubt this influence contributes to the abundance of twins in Chinglish.”<br /> <br /> The first chapter of the second part is mainly about The Noun Plague. Here the author shows a draft: “The prolongation of the existence of this temple is due to the solidity of its construction.” She also gives a revision: “The temple has endured because it was solidly built.” The first version contains four abstract nouns, while the second has none. Not only do the nouns make the statement nearly twice as long, but they also make it pretentious, wooden and hard to understand.(Pinkham 2000:56) Yet, the author doesn’t think that “noun plague” only occurs in Chinglish but in English by native speakers, especially in theses and government documents where abstract nouns can often be seen, because they want their theses or documents to seem more “authoritative” or “scientific.” The author thinks this is a dangerous trend which we should all fight against. And she advocates to use more verbs, gerunds or adverbs instead of abstract nouns. From the eighth to the twelfth chapter, the author gives some instruction to tell English learners and translators in China how to get rid of the mindset of Chinglish by putting pronouns and antecedents first, then the adjuncts and its purposes, in a logical way. The eighth chapter discussed the improper collocation of pronouns and antecedents. In this condition, personal pronouns, relative pronouns or demonstrative pronouns show up without antecedents or are too far away from antecedents. This is exactly what the uncertainty and lack of rigor of Chinese has brought about. The ninth chapter mainly talks about where we should set phrases or clause in an English sentence. The author is of the opinion that translators should pay attention to where the phrases or clauses are in a sentence so that the logic is clear and key points are highlighted. She also thinks that the phrases or clauses ought to modify what is close to them, otherwise in the sentence may occur the illogical parts. In addition, to stress the key points, the most important information should be imparted at the end of a sentence. <br /> <br /> '''IV. Discussion'''<br /> <br /> From Introduction and School Classification, we have leaned that in western translation history, there are traditionally two branches: translation theories of literature and art and linguistics theories of translation. In 1959, the book, ''On Linguistic Aspects of Translation'' by Roman Jakobson, analyzed comprehensively the relation bewteen language and translation, the importance of translation and some existing problems of translating from an angle of linguistics, which had made groundbreaking contribution to linguistics theories of translation. Eugene A. Nida put forward a concept of “Translating is science” and he also applied Theory of Communication into translation on the basis of linguistics, believing that translating is communicating. He proposed the principle of “Dynamic Equivalence” and further submitted “Functional Equivalence” from the perspective of social linguistics and communicative function of language, which was instrumental in modern history of translation theories in the west as well. Nonetheless, Nida’s theories paid too much heed to content rather than form. To make up the deficiency, Peter Newmark put forward “Communicative Translation” and “Semantic Translation.” The former aimed at restructuring the language of the target in order to make it expressive and underline the effects of information; the latter emphasized the formal resemblance between the original and the target. From theories and ideas above, the core issue they care about is how the source language is transferred into the target language and “equivalence” is what they have in common. Katharina Reiss, Hans Vermeer, Justa Holz-Manttari and Christiane Nord from Germany started to use communicative theories, theories of communication, discourse linguistics and ideology of aesthetics to switch the focus of their studies from source texts to target texts, which made it an influential school in international translation circles. In 1971 in the book ''Translation and Limitations in Translation Criticism'', Reiss’s functional theories of translation was in embryonic state, where she believed that translation should reach equivalence in respects of conceptual content, forms of language and communication and name it “integral communicative performance.” In practice, however, she realized that the equivalence was not what people expected so relation between function of the original and the target was the priority. Hans Vermeer proposed skopos theory for that matter, which looked on translating as a process with purposes and results of the original. The skopos theory has three rules: skopos rule, coherence rule and fidelity rule. Skopos rule is considered as the primary one. It means that in the context and culture of target language, translation ought to work in a way exactly the recipient of target language expects and the purpose of translation actions determines the whole process of translating, that is, “the end justifies the means.” Coherence rule is that translation must accord with the standard of intratextual coherence, which means that translation has readability and acceptability to the recipient and makes sense in communicative context and culture of the target language. The fidelity rule means that there exists intertextual coherence between the original and the target. This is actually what other theories have talked about faithfulness in translation but the faithfulness depends on the purpose of the target and how translator understand the original. <br /> <br /> Here we also have talked about the book The Translator’s Guide to Chinglish. This book has discussed some problems English learners and translators in China have in grammar and vocabulary. For discourse and semantics, there also exits some issues. And the author is American who has the typical mindset of the west and is able to find out some problems of translation by Chinese translators. And the author tends to revise those translations in an aspect of linguistics theories of translation. For example:<br /> <br /> the editorial calls on the Chinese people to fully implement the CPC’s basic line, deepen reform and further opening to the outside, so as to further push forward the political, economic and social development of the country in a steady way;<br /> <br /> The author revises it into:<br /> <br /> the editorial calls on the Chinese people to implement the CPC’s basic line, deepen the reform, and promote the opening to the outside, so as to steadily push forward the political, economic and social development of the country.<br /> <br /> In this sentence, “fully” is deleted because the author thinks it is unnecessary for its sense can be taken for granted: policies should always be fully carried out. If the word conveys something more specific in Chinese, that must be spelled out for the reader of English. We must say, for example, “to implement CPC’s basic line in all its aspects,” or “in every respect.” As for “further”, it is obvious that at this point in history any push given to development will be a “further” push. The repetition of “further” in the draft is particularly undesirable because the word is used in two different senses. It appears first as a verb (“to further opening”), then immediately after as an adverb (“to further push ahead”), so that the reader is obliged to go back and read the sentence again in order to make sense of it.(Pinkham 2000:74)<br /> <br /> Even though the author doesn’t talk on any translation theories directly in her book, her discussion on Chinglish and the revision she offers do involve some translation criteria, for example, domestication and foreignization. Translating is the transfer process from one language to another, during which it carries wide backgrounds of culture. To be specific, it is also the process of transferring cultures among each one. In general, there are two ways when it comes to this process: domestication and foreignization. Domestication is that features of the original are abandoned, that is to say, characteristics of translation follow ones of the target, which would, to some degree, make it easier to understand for recipients of the target language and contributory to culture exchanges. Foreignization is that translator translates in a way the original does, translation remaining characteristics of the original language. <br /> <br /> <br /> The author defines “Chinglish” as “Chinglish, of course, is that misshapen, hybrid language that is neither English nor Chinese but that might be described as ‘English with Chinese characteristics’”in the book. And she also points out that “this book is intended to help them turn their work into real English such as might have been written by an educated native English speaker of the language.” It means that the author is in favor of domestication during the process of translating. Here’s an another example: <br /> <br /> we should draw up correct development and construction plans for all these zones;<br /> <br /> The author revises it into:<br /> <br /> we should draw up correct plans for the development of all these zones.<br /> <br /> The author thinks that two large abstractions plainly used here mean the same thing. And to avoid using the noun “development” as an adjective, we should say: “ for the development of all these zones.” That would be the simplest, most natural word order in English.(Pinkham 2000:87)<br /> <br /> '''V. Conclusion'''<br /> <br /> In summary, ''A Brief History of Western Translation Theories'' by Tan Zaixi recounts the history of western translation theories from ancient times by introducing main characters, translation works, translation schools and other events in the west in historical stages. The book also takes preliminary analysis and discussion into development between theories and practices of translation. There are two different directions in terms of translation theories in the west: translation theories of literature and art and linguistics theories of translation. The former one extends from the ancient dramas to modern translations. In this regard, translation is considered as literary art, which focuses on recreation of the original. Theorist mostly emphasize culture, style and literariness of the target and the literary talent of the translator. The latter direction is linguistics theories of translation, which combine theories with semantics and syntax, and believe that translating should reach semantic equivalence between the original and the target through vocabulary, grammar and skills of using a language. In the long term, linguistics theories of translation has had predominance of studies of modern translation theories. Theorists hold the view that translation studies ranges from applied linguistics and contrastive linguistics and is closely related to semantics, along with literature and art studies, sociology, anthropology, psychology, theories of communication and so forth. <br /> <br /> ''The Translator’s Guide to Chinglish'' by Joan Pinkham summarizes the evidence of the common issues in English translation, which are ones translators in China are usually neglectful of. As Jacques Barzun, Dean of the Graduate Faculties of Columbia University, put it, “The clarity of her explanation is equaled only by the deftness with which she states the point of the English usages and the simplicity of the revisions made in faulty sentences. I know of no books as well adapted as hers to the needs of clumsy writers.” Even though the author doesn’t talk on any translation theories directly in her book, her discussion on Chinglish and the revision she offers do involve some translation criteria and the author tends to uphold domestication in this book. And we can’t deny that as a professional translator from America, with the typical western mindset, the author is inevitably influenced in the spectacular background of western translation history. More importantly, the two books this article refers to have demonstrated that theories must be applied into practice, guide practice and reveal the objective patters inside translating, otherwise theories would lose its vitality.<br /> <br /> '''References:'''<br /> <br /> [1]巫阿苗,束学军.西方翻译理论流派划分探索.[J].合肥工业大学学报.2011.12.25<br /> <br /> [2]谭载喜.西方翻译简史.[M].北京.商务印书馆.1991.05<br /> <br /> [3]刘银燕.中式英语, 你在使用吗?——《中式英语之鉴》评介.[J].外语教学.2002.09.30<br /> <br /> [4]-[8] Joan Pinkham.The Translator’s Guide to Chinglish. [M].北京。外语教学与研究出版社.2000.05<br /> <br /> 主要参考书目:《西方翻译简史》、《中式英语之鉴》<br /> <br /> =Derrida and Benjamin=<br /> =='''Comparison of Derrida’s and Benjamin’s Translation View'''==<br /> <br /> '''Abstract：'''In western traditional translation view, conveying the meaning is the first aim. However, in Benjamin’s eye, this is an agreement of language non-identity, which does no good to the development of linguistic development. Benjamin has used the non-identity of language to overturn the ideas that view language as a tool. In this way, he has been regarded by many scholars as the forerunner who rebelled against the western logocentrism. He also did quite a lot contribution to the development of translation and his idea of pure language can be called the most well-known feature of him. While another dominate figure of deconstructivism is Derrida who has put logocentrism under great challenge. He’s no doubt one of the representatives of deconstructivism and he has created many concepts like différance, dissemination, trance etc., which serves not only in linguistics, philosophy but also in translation.<br /> In the history of western translation, Benjamin has always been classified as a member of deconstructivism. However, compared with another leading figure of deconstructivism, he has totally different understanding on translation. This essay is trying to undergo the comparison study between the two predominant figure’s comprehension on translation mainly through the aspects of pure language and difference, metaphrase and relevant translation, later life and rebirth of original texts. In the conclusion, we have concluded the comparison between the two figures’ attitudes towards five dimensions, respectively, original work, author, translator, translation work and translation criterion. At last we can find that in fact, Benjamin does not belong to deconstructivism.<br /> <br /> '''Key words:''' Benjamin, Derrida, deconstructivism<br /> <br /> '''摘要：'''在西方传统翻译观中，传递意义是首要目的。但是，在本雅明的眼中，这是对语言不一致性的认同。因此，这种传统的翻译观对于语言的发展并无益处。本雅明运用了语言的不一致性，并以此一举推翻了传统的观念，人们认为语言知识一种工具。通过这种方式，本雅明被视为众多学者中反抗西方逻各斯主义的先驱。他对翻译的发展做出了卓越的贡献，并且他纯语言的概念深入人心，成为他身上最闪亮的思想之一，也是他被众人所知的特点之一。然而另一位解构主义的大人物，德里达亦是以一己之力推翻西方的逻各斯中心主义。毫无疑问，他是解构主义的代表人物之一并且他也创造了“延异”，“播撒”，“痕迹”等概念。这些概念不仅仅推动了语言学、哲学的发展，也推动了翻译学的发展。<br /> 在西方翻译历史中，本雅明总是被划为解构主义者。但其实与另一位解构主义的大人物相比，他对于翻译有着自己完全不同的理解。 本文打算进行这两位巨人的翻译理论对比，主要通过以下方面：纯语言与差异性，直译与“relevant”翻译，后世生命与重生。在最后的总结部分，笔者从五个角度总结了两位巨人的不同态度，对于原作的态度，对于作者的态度，对于译作的态度，对于译者的态度和对于翻译标准的态度。最终，我们能够发现严格意义上来说，本雅明完全不属于解构主义学派。<br /> <br /> '''关键字：'''德里达，本雅明，解构主义<br /> <br /> '''1.Pure Language and Difference'''<br /> <br /> In its essence, translation is a kind of linguistic activity. Therefore, all translation theories involve linguistic issues. Benjamin has presumed a perfect original language as the origin of subsistent languages in real world after summarizing the deflects of subsistent languages. This original language is from God, and has full creativity and cognition, in which, language and spirit, meaning and form, signifier and signified have been united to show the truth through self-manifestation. Benjamin has pointed out that with the corruption of human, the language has no longer been one but multiple. Naming language has corrupted into the abstract conceptual language. '''(Cao Danhong 6)''' In this way, it descended to instrumental signs. It refers to things in various manual systems but it can never covey the universality through self-manifestation, so the relationship between the human and world has changed from the intersubjectivity into subject-object dichotomy where human dominates.'''(Wei Jiangang &amp; Sun Yingchun 75)''' In another word, due to language descended from the original “being” into lower “having”. Therefore, it has become the synonyms of “abstract”, “judgement” and “meaning”. Language has never been a medium but a kind of means used in communication of “subjects” '''(Wohlfarth 27)'''. As a result, meaning has been the external reference out of sign itself, instead of spirits of self-manifestation of pure language. And the relationship between signified and signifier is actually external instead of being original, direct and internal. Paul De Man has said that we think we use our language freely. We feel comfortable and familiar with the dwelling place within our language, in which we thought we weren’t alienated, but we don’t notice that this kind of alienation has been shown strongly in our relationship with our original language. It has been disintegrated already, which bring a special alienation, a peculiar pain. '''(Paul De Man, 99)'''<br /> <br /> Benjamin has set the transcendental existence of pure language in order to make the path of salvation to human clear, that’s to say to find the lost pure language is to unite the world together. Benjamin thinks that, all practical languages have a common origin and among themselves a kind of affinity that goes beyond the history. As, Benjamin once said, “The reference of pure language just like each language that exists as an entirety, is identical. However, this reference cannot be achieved through one single language, but through the complement of various languages” '''(Benjamin 61)''' That’s to say, if we want to reconstruct pure language, we have to eliminated the external relationship of linguistic reference and restore the identical relationship between spirit and language, which means to promote the linguistic reference of all languages to form an integral complementary, which call duty on translation. Only through translation can the mode of reference of source language enter into the target language. Therefore, to Benjamin, the significance of translation is not to covey the basic meaning and content of source language but the changes to both languages after translation, thereby translation can make us to know more about the differences and complementation of each language.<br /> <br /> What is different between Benjamin and Derrida is that Derrida has invented the concept of “la differánce&quot;, which uses infinitely flowing stream of meaning to overthrow the western logocentrism. Thereout, it has assured the translation view that advocates difference and opposes the identity. Derrida has pointed out that la differánce is the precondition of possibility of multiple meanings so that meaning is the result of its moving. While meaning cannot precedes la differánce, there would be no existence of pure and completely identical origin of meaning, just like what the Babel story reminds us. '''(Davis 10)''' In another word, as meaning is in la differánce so that there cannot be any conceptual or theoretic systems no matter it is in one language or in several languages. Meaning always presents its fluidity, uncertainty and diversity. We cannot make meaning independent of language nor can we make language independent of meaning. On the contrary, meaning is already in language so meaning is the linguistic meaning. Due to the language is so complicated, fickle, ambiguous and different with itself, thus, meaning is also unclear ambiguous and even mysterious. '''(Cai Xinle 200)''' What we can discuss is only the relationship of difference instead of the transcendental identity. In Derrida’s view, word is in a dynamic state, we can only understand it, describe it or listen to its voice in such a dynamic condition. If there is a starting point, the meaning will flow no more as it can be fixed in the very beginning. If we must establish an origin, the difference will be it. Derrida has regarded the difference as the origin, aiming to explain that in the very beginning where meaning formed, that’s to say the source has already had initial difference among meanings. The so-called purity has been contaminated and the source is rather complicated. '''(Zhu Gang 20)'''<br /> <br /> Derrida and Benjamin all oppose to structural linguistic view. What is different is that Benjamin opposed the human control and domination of language by emphasizing the identity of language and spirit. We’d rather to say that it’s opposed to structuralism but to the opposite relation between the subject and object. In essence, Benjamin is not against the concepts like structure, order, and center etc. He just opposes the structure, order and center etc. that are based on the interference to language done by the subject-object relationship, emphasizing that language will not be constrained by the fetter of any subject-object relationship. If we consider more carefully, he doesn’t disapprove the logocentrism completely as he just emphasizes that logocentrism cannot be constructed and learned by the subject and object relation. It must be built and realized by the way of unintentionality or the “presence” of logos will be delusive. On the contrary, Derrida is refusing any metaphysics during the process of his deconstruction of any conceptual system. In his opinion, Benjamin has not cast off the set pattern of logocentrism because Benjamin’s “Pure language” is still a construction of a concept, no matter how transcendental and absolute identity it is. Videlicet, if God were the person who deconstructs, we would see that rationality dominates everything and logos will be the deconstruction in the speaker’s status. It would not be the deconstruction of deconstruction. Once there is an unshakable center, logos will take the domination and everything will obey the authority in the center. Therefore, in order to avoid constructing any central system or structure, Derrida take the difference as the origin of everything. There will be no identity and everything is constantly reproducing and differentiating, so it presents nothing but difference. At any moment, it’s different from others as well as itself. In this way, the identity doesn’t exist. All we can observe is the dynamic stuff, which constantly changes.<br /> <br /> '''2. Metaphrase and Relevant Translation<br /> '''<br /> <br /> As Benjamin and Derrida has different linguistic view, their comprehension about the translation criterion are also different from each other’s. Benjamin thinks that in various languages, the ultimate essence, pure language, is only relevant to the linguistic factors and its changes. In linguistic works, it bears heavy alien meaning. Translation’s unique function is to make the pure language get rid of this heavy burden, to turn the symbolic action into symbolic objects itself, to make the pure language reoccur during the linguistic transition. '''(Benjamin, 67)''' In other words, real languages, without exception, refer to things externally. To recover the identity of language and spirit, we must let the language to break the shackle of meaning while the effects of translation are to make the two languages free of the heavy burden by making the modes of reference of the two languages complementary of each other. To judge whether translation of a work is successful is to observe the combination of signifier and signified of language. Benjamin thinks Hölderlin’s translation work is the perfect sample of for instance, his works are almost perfect transition of texts because they are absolutely literal translation and metaphrase but also not readable. It dismembered the sentences, leading to the consequence that meaning is missing. '''(Paul De Man 104)''' To Benjamin, the translation that gets the language out of the shackle of meaning, and makes the language manifest itself to covey the spirits is the best translation. Anyway, translation has to turn back to language itself, to the reference of language, to reach pure language commonly shared by the two languages by complementing the modes of reference of source language and target language. Benjamin declares that the interlinear version of Babel is the prototype of all translation due to the reason that Babel is the words of God, which are so true that language identifies with spirit. <br /> <br /> Derrida is totally different from Benjamin’s proposition that he proposes the relevant translation. In general, “relevant” is the best translation in Derrida’s view, which is also the sort of translation expected by people. It’s a kind of translation that fulfills its duty and finishes its mission. It’s that kind of translation that finds the most comparatively accurate words for the expressions in the source text, that language used is the most correct, appropriate, relevant, direct and apropos… Obviously, Derrida is trying to use a series of words to set standard for the best translation or the ideal translation. What’ a pity is that many scholars believe the literal meaning that such is what set by Derrida, ignoring the implication. '''(Wang Yingchong 15)''' However, if we reflect on the “relevant”, we can hardly make what it means clear, and Derrida himself has made no ostension on “relevant”, thus, this is actually the word game of Derrida that meaning being not assured makes translation impossible. With the trick of the untranslatability of the word “relevant”, Derrida implies the deconstruction of his standard of translation. What Derrida really wants to express is that if there was a standard of translation, and the standard would work as the same, then would the standard still support itself? The untranslatability of “relevant” has already told us the untranslatability, not mentioning the translation standard. In Derrida’s point of view, meaning is already the delayed presence, leading to the result that translation is a debt that translator can never pay off, a mission that translator can never finish. Therefore, can text really not be translated?<br /> <br /> Derrida says that we have to know what relevant translation is, what relevant translation means and what the essence of translation is, its mission, ultimate purpose and final mission. On one hand, relevant translation, no matter wrong or right, is generally better than irrelevant translation, and is likely to be viewed as the best translation. The definition of translation skopostheorie and the definition of the essence of realization in translation are contained in the definition of relevant translation. Therefore, the question that what relevant translation is goes back to what translation is or what should the translation be. While what the translation should be seems to be equal to what the possible best translation would be. '''(Derrida 429)'''<br /> <br /> Therefore, Derrida’s discussion about the standard of translation goes back to the translatability and untranslatability. Actually, what Derrida wants to prove is that translation itself is a paradox, that is, just in the untranslatability can translation exist and go on. The original text always owes to translation, and constantly summons translation, and in a larger sense, anything meaningful calls for interpretation. '''(Wang Yingchong 17).''' Whereas, the good translation or the translation standard can only be discussed in absolute translatability; pursuit of translation in absolute untranslatability will be nonsense, and it can only be infinitely approached but never reached as once it become absolute translatability, which means translation presents the meaning in limitless differánce in presence, the identity occurs, then the translation will be unnecessary. <br /> <br /> In short, Derrida and Benjamin have different view on translation. Benjamin worships metaphrase through which two languages can supplement each other’s referential pattern to manifest the pure language, whose spirits are the best translation. While Derrida plays a small fraud that he sets relevant translation as translation criterion but he doesn’t make it clear, in which way he indicates his ideas of untranslatability and that pursuit of translation in absolute untranslatability will be nonsense, and it can only be infinitely approached but never reached.<br /> <br /> '''3. Afterlife and Rebirth<br /> '''<br /> <br /> Benjamin also differs most from Derrida in the insight of the relationship between the original work and translation work. In Benjamin’s perspective, the purpose of translation is to promote the complementation of referential modes of different languages so as to restore the identity. Therefore, translation work is never the copy or reappearance of the original work, but the supplement and succession of the original work and in turn, original work can only rely on its translation work to refresh its vitality and go on its subsistence. The relationship of the two can only be understood in the whole purpose of realizing pure language. What Benjamin expects is through constant translation, we can make the referential modes of original work and translation work interflow until we exhaust all the referential modes to realize the final identity of language and spirit in entity. To the relationship of original work and translation work, Benjamin interprets from the perspective of organism and survival. Various forms of life closely correlate with biological phenomena though it has no great significance to biological phenomena. Translation work grows out of original work or we’d rather say it originates from the afterlife. Due to the fact that original work precedes the translation work, and in the range of world literature, no great works meets a perfect translator when its author is still alive, so translation work only marks the continuity of the original work. '''(Benjamin 76)<br /> '''<br /> Benjamin has regarded the original work as vigorous organism so that translation is views as the continuity of original work, which is also the afterlife of original work. Benjamin stresses that life is a historical concept instead of the existential concept. Life doesn’t limit within biological body. Only when we view life as a historical process of organism survival, can the concept of life be understood correctly. With this sense, translation work being the continuity of original work can be comprehended. Those that was flashy will corrupt and those that was fashionable will become old. So does the linguistic form. The linguistic form of the original work will die out with time passing by, but the life of original work will not die with the existential form of original work. With the help of translation work, the life of original work will be continued, updated and expanded, thus being constantly succeeded in its life history. Hence, translation was like the source of rejuvenation. '''(Kramer 24)''' However, in Benjamin’s points, translation work is the afterlife of original work doesn’t mean it’s the end of original work’s life nor that translation work replaces the original one to be an independent organism. Benjamin stresses that continuity of life doesn’t pay much attention to the survival of organism, which means that translation is a medium that pushes the original’s life process, a medium that provides a chance for the continuity of original’s life instead of substitution. The mission of translation is to promote the original work’s linguistic life growing until it ripens and fruit the pure language. <br /> <br /> The final purpose of language is to meet our needs to show that the relation among languages is quite close. Translation cannot reveal or build such hidden relation, but translation can reoccur it by intensification and embryotic appearance. Right through the expression of embryotic form, it makes relation among languages reoccur. '''(Benjamin,60)'''<br /> Accordingly, translation is not the birth of original work nor the death of original work but the living on of the original. It’s the birth after death and death after birth. In this way, Benjamin has assured the position of the original work which is higher than the translation work, on which the original work depends to continue its life. Translation can never be equal to the original work because only the original language has the vigor to embody the fruit of pure language.<br /> <br /> Compared to that, Derrida thinks that translation work is the rebirth of the original work and notes that there are two implications in “rebirth”, which are given by “Fortleben and Uberleben” in Benjamin’s The Task of Translator, indicating that life will continue, consistent and survival continues, but it also indicates resurrection after death. Derrida emphasizes that original work has equal and independent position with translation work, which are complementary for each other. If the original text calls for supplement, that’s because it’s not flawless, complete, entire and self-identified. The original texts to be translated fell into exile from the very beginning. '''(Derrida 2003)''' Starting from such complementary relationship, Derrida abolished the original position of the original work as original work has no difference from translation work in that original work is the translation work of former texts, and translation work can be translated as original work for later texts. La differánce of meaning is infinite that all the texts are the limited comprehension of semantic differánce, which supplement and substitute each other, constructing a constantly flowing semantic chain. A text that depends on other texts but differs from other texts at the same time constantly waits for supplement and substitution in the semantic net. Text is a claiming process that goes beyond meaning in itself; it’s the trace of a sequence of movements. The ultimate text that can cover the infinite semantic differánce doesn’t exist and the ultimate meaning is intangible as meaning is mobile and infinite.<br /> <br /> All in all, Derrida and Benjamin have shown their distinctive comprehension about the original work and translation work. Benjamin has claimed that translation work is the afterlife of original work and original work also depends on translation to continue its life. Due to the fact that only the original work can deliver birth to pure language, although the very relations among languages can be reoccurred in translation work, original work ranks first. Derrida holds another opinion that the two, original work and translation work are equal and complementary. There is a doubt that why Benjamin insists that the fruit of pure language is on the original work’s side, as we mentioned in the beginning that Benjamin want to realize the identity of language and spirit through exhausting all the referential modes of all languages, and making them melt with each other. Though translation is the living-on of original work which just like the baby from a mother, affiliated to the original. Why the final result will be on the original side still needs our attention. During the differánce of texts, original text can become the translation of former text while the translation can be the original text of later text, thus the chain of textual differánce are built.<br /> <br /> '''4.Conclusion<br /> '''<br /> <br /> In a word, through the comparative study of Benjamin’s translation view and Derrida’s translation view, we can find something in common but the two still distinct with each other and own their unique perspective and ideas.<br /> <br /> Firstly, on the aspect of original work, translation theories of deconstructivism emphasizing infinite differánce of meaning and relativity and fluidity of text deny the originality of original works with intertextuality. Lots of texts appear, one differing from the former a little bit; all of them are the translation of translation. Each text has its unique features, and at the same time, it’s the translation of another text, thus, no text is the absolute original work plus language itself is a kind of translation. In the first place, it’s the translation of non-linguistic world and in the second place, every sign and phrase are the translation of another sign and phrase. '''(Bssnett 112)''' Nonetheless, Benjamin insists on the originality of original work, emphasizing that linguistic core is contained only in the original work and the function of translation is to liberate the relationship between the signifier and signified. Hence, if Benjamin denies the originality of original work will make the ground of his translation view lost.<br /> <br /> Secondly, on the aspect of the author, deconstructivism emphasizes the intertextuality instead of the author, declaring that God was already dead and trying to overthrow the concept that author is the source of meaning from the ground level, so translation views of deconstructivism denies the originality of the author and even the copyright of the author'''(Jiang Xiaohua &amp; Zhang Jinghua 42)'''. However, Benjamin advocates the originality of the author. Though he has not mentioned the issues about author’s copyright, we can infer from the emphasis of originality of original work and creativity of the author that he should admit the copyright of the author.<br /> <br /> Thirdly, on the aspect of translator, translation view of deconstructivism places the translator in the equal position of author, but at the meantime, it denies the creativity and copyright of translator. What Derrida does is to completely ignore the subjectivity of translator but focus on text. On the contrary, Benjamin does not only emphasize the position of translator and consider that translator contributes creativity as well as author, which just differs in the way of wok and he also points it out that the success of translation depends on the ability of translator.<br /> <br /> Fourthly, on the aspect of translation work, translation view of deconstructivism has eliminated the difference between the original work and translation work, believing that original work and translation work supplements each other and coexists with each other; the original work lives on with the help of translation work while the translation work becomes independent text because it succeeds the semantic differánce of the original work. Whereas, Benjamin stresses that translation is the continuity and supplement of original life but at the same time, he disapproves the independence of translation work as the effect of translation work is only to promote the growth of “pure language” existing in original work and translation itself contains no organism of pure language so translation work has not been equipped with translatability.<br /> <br /> Fifthly, on the aspect of translation criterion, translation view of deconstructivism has deconstructed the traditional translation view that seeks loyalty and equivalence and it has deconstructed the comprehension, extraction and transmission proposed by itself. '''(Wang Yingchong 18)''' As a result, it has treated the translatability and untranslatability in an equal way, indicating that any text can be translatable and untranslatable. Accordingly, the criterion of translation has been dissolved. Compared to Derrida, Benjamin prefers literal translation, advocating that we should promote the supplement of the referential modes of original work and translation work in the general purpose of realizing pure language. The most obvious distinction between the two is that the former has no intention to provide a solution or a conclusion after dissolving the criterion of translation, which is a little bit puzzling while the latter has set the transcendental body of pure language to declare the existence of absolute translatability, with intensified mode to present what is not in presence and to bring things far away nearer to us as distant things. '''(Derrida 79)<br /> '''<br /> <br /> To sum up, Benjamin cannot be classified as a member of translation school of deconstructivism no matter from the perspective of ideas and the structure of his theories. Although Benjamin has many points of view that are similar with ideas of deconstructivism, but his theory system completely different.<br /> <br /> '''Bibliography'''<br /> <br /> [1]Basnett, Susan &amp; Lefevere, Andre (eds.). Translation, History and Culture. London and New York: Pinter Publishers, 1990.<br /> <br /> [2]Benjamin, Walter. The Task of the Translator: An Introduction to the Translation of Baudelaire's Tableaux Parisiens. Harry Zohn (trans.). Lawrence, Venuti (ed.). The Translation Studies Reader (Second Edition). New York: Routledge, 2004: 75-85.<br /> <br /> [3]Davis, Kathleen, Deconstruction and Translation. Shanghai: Shanghai Foreign Language Education Press,2004.<br /> <br /> [4]Derrida, J. What is A “Relevant” Translation? Lawrence, Venuti (trans. &amp; ed.). The Translation Studies Reader (Second Edition). New York: Routledge,2004:423- 446.<br /> <br /> [5]本雅明. 写作与救赎:本雅明文选.李茂增、苏仲乐译.上海:东方出版社, 2009: 61<br /> <br /> [6]蔡新乐. 相关的相关——德里达“相关的”翻译及其他.北京:中国社会科学出版社, 2007.<br /> <br /> [7]曹丹红. “本雅明《译者的任务》再解读”，中国翻译：2012（5）：5-9<br /> <br /> [8]德曼.“结论”:瓦尔特.本雅明的“翻译者的任务&quot;. 郭军译.郭军、曹雷雨编.2003:83-112.<br /> <br /> [9]蒋骁华、张景华. “重新解读韦努蒂的异化翻译理论兼与郭建中教授商榷”.中国翻译, 2007 (3): 39-44.<br /> <br /> [10]克拉默.本雅明. 鲁路译. 北京:中国人民大学出版社，2008.<br /> <br /> [11]王颖冲. “再论德里达的 “relevant&quot; translation”. 中国翻译，2011 (5): 11-19.<br /> <br /> [12]魏建刚、孙迎春. “本体论抑或方法论——本雅明《译者的任务》再探”.外语与外语教学，2013(2): 72-76.<br /> <br /> [13]沃尔法思. 一个马克思主义者的“创世纪&quot; . 郭军译. 郭军、曹雷雨编.2003:27-42.<br /> <br /> [14]朱刚. 本原与延异:德里达对本原形而上学的解构.上海:上海人民出版社，2006.<br /> <br /> =Translation Aesthetics=<br /> =='''Study on Gladys’ Translation of ''The Border Town'' from the Perspective of Translation Aesthetics'''==<br /> <br /> '''Abstract:''' As a famous novel, ''The Border Town'' written by Shen Congwen maninly introduces young people’s pursuit of love in Xiangxi as well as the simple folk customs, so the novel has great aesthetic value. It is necessarily of high significance to analyze English versions of ''The Border Town'', which is full of aesthetic features, from the angle of Translation Aesthetics. The paper tries to analyze Gladys Yang’s English translation of the novel from five aspects under Translation Aesthetics: beauty in sound, beauty in lexis, beauty in form, beauty in image and beauty in ideorealm in order to test and measure the practicality and operability of Translation Aesthetics in literary translation.<br /> <br /> '''Key words:''' Translation Aesthetics; ''The Border Town''; Liu Miqing; Lin Yutang <br /> <br /> '''翻译美学视角下《边城》戴乃迭英译本之探究'''<br /> <br /> 作 者：向晓蔚<br /> <br /> （湖南师范大学外国语学院，长沙 410081）<br /> <br /> '''摘 要：'''作为一部名作，沈从文的《边城》以清丽的笔触描绘了湘西地区的青年人对美好爱情的追求以及纯厚朴实的民风，蕴含浓郁的审美价值。对于《边城》这样一部美学价值极高的作品，从翻译美学的角度进行探讨将具有重要意义。因此，本文从翻译美学角度入手，从音韵美、用词美、形式美、意象美和意境美五个方面对小说《边城》戴乃迭的英译本进行分析，旨在验证翻译美学理论在文学翻译中的实践性和可操作性。<br /> <br /> '''关键词：'''翻译美学；《边城》；刘宓庆；林语堂<br /> <br /> Translation, especially literary translation, is a creative activity in nature. Translation is the pursuit of beauty and truth, and it involves philosophical concerns. Aesthetics, the study of beauty, is an eternal theme of Chinese literature. Ever since the emergence of translation, aesthetics and translation have been closely bonded together. Translation Aesthetics is a perfect combination of translation and aesthetics.<br /> <br /> <br /> '''1 About Translation Aesthetics''' <br /> <br /> Translation Aesthetics is to analyze, explain and solve the aesthetic problems emerging in interlingual conversion. Its main contents are aesthetic subjects, aesthetic objects, the aesthetic subject’s experience of aesthetic objects, the methods of representing beauty in translating process, the criteria of translation aesthetics and so forth.<br /> <br /> '''1.1 Development of Translation Aesthetics in China'''<br /> <br /> The traditional translation theory in China originated from the translation of Buddhist scriptures more than 1700 years ago. Chinese translation theory has a close relationship with philosophy and aesthetics. In China, aesthetic thoughts have a long history. Confucius, Mencius, Laozi and other famous ancient thinkers put forward their views on aesthetics. In the process of the formation and development of literary translation, ancient aesthetic thoughts provided the ideological basis for it. Classical aesthetic thoughts made subtle influence on Chinese literary translation theories. The translation theories which contain classical aesthetics are naturally different from other countries' translation theories. Yan Fu, a Chinese scholar, once put forward the theory of faithfulness, expressiveness and elegance, and Qian Zhongshu also put forward the theory of transformation, and so on. All these theories reflect the influence of classical aesthetics on Chinese writers. Reviewing its development, it is not difficult to find that almost all Chinese translation theories have their aesthetic origin. The combination of translation theory and aesthetics is traditional Chinese feature, and Translation Aesthetics carry forward traditional translation theory. With the increasingly close communication between China and other countries, Chinese classical aesthetics and Western aesthetics have developed a certain degree of integration, which is also a special form of mutual learning between China and the West in a sense. This kind of reference promotes the development and application of Translation Aesthetics.<br /> <br /> '''1.2 Lin Yutang’s theory of Translation Aesthetics'''<br /> <br /> In 1933, Lin Yutang put forward three principles for translation: faithfulness, smoothness and beauty in the article of ''On Translation''. The three principles of translation represent three responsibilities respectively: that toward the original author, that toward the reader, and that toward art. Here, fidelity becomes threefold. It is not only the fidelity to the original author, but also fidelity to the target reader and to art. In Lin Yutang’s opinion, translation is a kind of art. The main difference between art and science is that science is guided by the rule, while art is not. As for the standard of beauty in translation, he thought that “Every writing has its beauty in sound, meaning, spirit and style.”[1] The ideal translator should make his work an art. He should love it with the heart of art, be careful with it and regard translation as fine art. Especially when translating literary works, translator should pay more attention to the beauty of words. Lin Yutang believes that the most important thing in literary translation is to embody the style of the original work. That is, “not only what it says, but also how to say it”. From this point of view, Lin Yutang's translation thought is mainly aimed at literary translation. Among his three translation principles (faithfulness, smoothness and beauty), the third principle--beauty is regarded as the most important point in literary translation. Therefore, Lin Yutang's translation thought is also recognized as “translation of aesthetics” by some scholars.<br /> <br /> So in the article of ''On Translation'' written by Lin Yutang, the main content is about the discussion on translation standards, and the core idea of the full text is that translation is an art. The most important thing in literary translation is to express the beauty of the original work, and to embody the original author's “how to say” in the translation. At the same time, Lin Yutang also affirmed that translation is creation. The translation with beauty features can make the original work be loved by the readers in the foreign culture, spread widely to the other countries, and achieve its equivalent effect in the source language environment to the greatest extent, which is the greatest responsibility and loyalty to the original text, the author, the readers and the art.<br /> <br /> '''1.3 Liu Miqing’s theory of Translation Aesthetics'''<br /> <br /> In 1995, Liu Miqing offers a theoretical framework of Translation Aesthetics in detail in his book ''An Introduction to Translation Aesthetics''. “Translation Aesthetics refers to the study on aesthetic object (the source text and the target text), the aesthetic subject (translators and readers) and aesthetic activities in translation, such as aesthetic judgments, aesthetic appreciation, and creative aesthetic representation in translation.”[2] Except for paying attention to the elements of translation, translation aims to find out the ways to produce wonderful works and principles in assessing the quality of translation. Generally speaking, Translation Aesthetics does research on translation theory and practice from the perspective of aesthetics. Its major task is to analyze and elucidate the aesthetic principles, with which we can guide translation practices and assess the literary translation. Moreover, a satisfying version needs some other elements, such as the aesthetic experience of a translator, comprehension of source text, and evaluation and reproduction of beauty.<br /> <br /> “Aesthetic object (AO) refers to the objective matters that human's aesthetic activity targets at.[3] However, not everything in the objective world is aesthetic object. For instance, ''The Book of Songs'' on the bookshelf is not an aesthetic object until translator buys and translate it. In the aesthetic process, the translator appreciate the beauty in sound, beauty in form and beauty in sense in the book. These beauty in various forms is called “aesthetic object”. Translation aesthetic object (TAO) is the source text (ST) which the translator is about to translate. But not every source text can be TAO. For example, if the source text is inconsistent, empty and has no value to translate, it cannot be translation aesthetic object. TAO possesses aesthetic values and is designed to satisfy human's aesthetic needs. It clings to the aesthetic constituents and the aesthetic effects of the ST. If one pursues or analyzes the beauty in translation without adequate consideration of the ST, it equals to fish in the air and yields nothing but vainness. The attribute of TAO is different from the attribute of AO. On the one hand, it is attached to the aesthetic composition of SL. That is to say, translator cannot add something that is not in the aesthetic constituents of ST. If there are no rhymes in the original, translators should not add rhymes. If there is no irony in the original, translator should not add irony. If there is no hyperbole, translator should not add hyperbole, and so on. On the other hand, it has flexibility for aesthetic subject. In some circumstances, we can’t find an appropriate word to translate which is in line with the ST. Under these circumstances, we should translate it in a flexible way.<br /> <br /> According to Liu Miqing, “Aesthetic constituents of source text can be classified into two systems: formal aesthetic constituents and non-formal aesthetic constituents.”[4]. Formal aesthetic system include the scope of phonetics, morphology and syntax. While the non-formal aesthetic system is non-material, non-natural sensible. It is an indefinite, non-quantitative system. So it is also called “fuzzy sets” or “sets of fuzziness”. All kinds of beauty in the two systems are aesthetic objects, which we will experience in translation.<br /> <br /> The aesthetic subject (AS) refers to people who carry out aesthetic appreciation activity on the aesthetic object; and translation aesthetic subject (TAS) refers to the translator. When translating, translator plays a dual role. For one thing, he is the recipient of the SL text who should first decode the aesthetic information in the SL text. In this process, his role is both passive and subjective. For another, he is identified as the creator of the target text. Being so, he undertakes the task of aesthetic representation to the target text readers. Hence he ought to play his dynamic role as the aesthetic subject.<br /> <br /> In aesthetics, aesthetic subject and aesthetic object are two concepts and two categories that cannot be separated. There is a dialectical relationship between them. Therefore, a qualified translator should possess the dual characters as the translation aesthetic subject: objectivity and subjectivity.<br /> <br /> Comparing Lin Yutang’s theory with Liu Miqin’s theory, we can find that their thoughts have something in common. They both agree that Translation Aesthetics plays a significant role in translation, especially literary translation. Lin Yutang believes that literary translation is a creative art with beauty as its soul, so translators should always keep a heart of beauty-pursuit during the process of translating. While Liu Miqing offers a theoretical framework of Translation Aesthetics in detail. He regards source language and target language as aesthetic objects, treats translators as aesthetic subjects, and constructs basic framework of Translation Aesthetics in a dynamic role of subject and object.<br /> <br /> '''2 A case study of The Border Town from the perspective of Translation Aesthetics'''<br /> <br /> ''The Border Town'' is Shen Congwen’s masterpiece, which is also the supporting pillar for him to construct Xiangxi. He adopted a pristine love story to display the pursuit of his ideal life. The love story set in a town of Hunan province which is beside Sichuan province. In the 1930s, it is a quite tranquil place without lots of people in rural area. People there live a simple and honest life. The language of the novel is simple, deep, implicit and subtle, and it is in harmony with the content. It contains rich poetic feelings and produces a beautiful and graceful beauty.<br /> <br /> Literary translation is a very important part in translation studies, and it’s a complicated process that requires many different skills. On the one hand, the aesthetic style and aesthetic feeling are very necessary for the author to compose his work. Therefore, the translator should pick up the literary words to transform the aesthetic sense of the source text in the process of translation. On the other hand, literary translation is the representations of all-round artistic quality which can make the target reader get the similar appreciation of the original beauty in the context of the target language. In this part, a case study is conducted in detail based on Gladys Yang’s English translation of ''The Border Town'' from the perspective of Translation Aesthetics.<br /> <br /> '''2.1 Beauty in sound'''<br /> <br /> Sound is one of the fundamental forms which carries the aesthetic information of language, either in poetry, drama or fiction. Guided by the principle of preserving the beauty on the phonetic beauty as much as possible without hindering readers’ understanding, Gladys Yang not only reproduces the original rhyme but also tries to preserve the original sound effect of the onomatopoeias.<br /> <br /> '''2.1.1 Rhyme'''<br /> <br /> Generally speaking, rhymes are applied into songs and poems. However, it doesn't mean there is no rhyme in fictions. Technical fiction writers also attempt to select word and phrase patterns so as to make their works imbued with a regular beat. In regard to fiction, rhyme refers to the general way in which a passage moves and flows. “Rhythm, the beauty in sound, often takes the form of wave movement in prose”[5]. To be specific, rhyme is a linguistic phenomenon referring to the repetition of the same or similar syllable sounds. It is achieved by the means of repetition, phrase structure, sentence structure and pause. The function of rhyme is mainly of the aesthetic aspect and the semantic meaning. On the one hand, the use of rhyme adds musicality to the literary .On the other hand, it arouses the readers' resonance and satisfaction. Since the rhythmic features contribute greatly to the aesthetic flavor, translators should take them into consideration and try to present the rhyme in the source text.<br /> <br /> Example 1: 无人过渡时，等着祖父又不来，便尽只反复温习这些女孩子的神气，且轻轻的无所谓的唱着：“白鸡关出老虎咬人，不咬别人，团总的小姐派第一……大姐戴副金簪子，二姐戴副银钏子，只有我三妹没得什么戴，耳朵上长年蜜条豆芽菜。”[6]<br /> <br /> Translation: When no one comes she waits for her grandfather, and when he fails to come she compares the looks of the girls and chants softly: The tiger eats the captain’s daughter first; Most girls have gold and silver for their hair; Poor Emerald is the one who comes off worst-No trinkets, nothing but beansprouts to wear![7]<br /> <br /> This folk song sings Cuicui’s heart at that moment. The density of the rhythm contributes a lot to the reflection of Cuicui’s mood. Owing to the poor condition in her family, she could only admire the landlord's daughter's dress and ornaments. The sound / i / and / ai / repeat five times and emerge in different positions of the original text. When singing, people should open and narrow their mouths forming a beautiful rhythmical meter. In Chinese the sound / i / vividly imitates the sound of weeping, and / ai / is like the sound of sighing. So the shift of the rhyme produces a sort of self-mockery effect to the audience, meanwhile arouses deep sympathy toward the pure girl in the readers’ heart.<br /> <br /> '''2.1.2 Onomatopoeia'''<br /> <br /> Onomatopoeia means that an object or something is related to some actions which can be imitated by some vivid words. It is one of the rhetorical devices that are widely used in literary works, which makes great efforts to let speech sound vivid and lifelike. There are plenty of onomatopoeias in English and Chinese, though they have different expression forms, they are all used to imitate the sound. Onomatopoetic words can add interest to the work, which also can create aesthetic effect in literary works.<br /> <br /> The onomatopoeias in ''The Border Town'' demonstrate readers with a lively picture and put them in the scene by themselves. Meanwhile, the use of the onomatopoeias also enhances the aesthetic effect of Shen’s literal expressions. It is fortunate that in many cases English and Chinese onomatopoeias can be inter-translated. However, sometimes it is impossible to achieve. So it is often hard for aesthetic subjects to render the onomatopoeias accurately and appropriately. In some translations, Gladys Yang has selected appropriate onomatopoeias of other appropriate words not only to imitate the sound but also to denote the original meanings. In the end, the description becomes more concrete and vivid, as it is showed in examples.<br /> <br /> Example 2: 那黄狗汪汪的吠着，受了惊似的绕屋乱走，有人过渡时，便随船渡过东岸且跑到那小山头向城里一方面大吠。[8]<br /> <br /> Translation: Barking wildly, he dashes round the house. Next time, passengers are ferried across he follows them up the east bank and races up the hill overlooking town, yapping frantically.[9]<br /> <br /> Example 3: 黄狗为了表示同主人的意见一致，也在翠翠身边汪汪的吠着。[10]<br /> <br /> Translation: To show his agreement, Brownie sets up a furious barking.[11]<br /> <br /> In the two examples, there are three “吠”(fèi, meaning bark)，which is as a modifier of the verb “叫”. In the first translation, Gladys uses “barking wildly” to show the dog’s scare. And the second one is translated into “yapping frantically”, which shows that it’s on duty. And the third one is “furious barking” to show its anger. In Chinese, we can only use different adverbs to modify the same verb. However, the same character in Chinese is translated into three different expressions. In this way, the target readers can understand the original clearly.<br /> <br /> '''2.2 Beauty in lexis'''<br /> <br /> Beauty in lexis is associated with word choice, register, and collocation, and there are many rhetorical devices that contribute to the formal beauty on the lexical level, such as euphemism, zeugma, oxymoron, etc. Shen Congwen, with deep affection to his hometown, writes his fiction in a language as genuine and beautiful as the frontier folk songs in his hometown. His language, which has also enriched the modern vernacularism in China, is imbued with metaphors, local jokes and ballads. As for the aesthetic representation on the lexical level, Yang’s English translation have done a satisfactory job in that she attempts to retain the aesthetic features of original lexis as much as possible, though when it comes to the lexis loaded with heavy cultural connotations, due to the cultural untranslatability, the translator has employed domestication to avoid misunderstanding.<br /> <br /> Example 4: 翠翠在风日里长着，故把皮肤变得黑黑的，触目为青山绿水，故眸子清明如水晶。自然既长养她且教育她，为人天真活泼，处处俨然如一只小怪兽。人又那么乖，如山头黄麂一样，从不想到残忍事情，从不发愁，从不动气。[12]<br /> <br /> Translation: Wind and sun have tanned this growing girl’s skin，her eyes rest on green hills are as clear as crystal. Nature is her mother and teacher, making her innocent, lively and untamed as some small wild creature. She has the gentleness of a fawn and seems not to know the meaning of cruelty, anxiety or anger.[13]<br /> <br /> Shen Congwen's description of Cuicui is based on the perfect combination of a pure little girl and nature. Shen Congwen used “dark black” to describe the natural and healthy skin color of Cuicui. She described the clear and bright eyes of Cuicui as “as clear as crystal”. Only through the description of skin and eyes, the youthful image of Cuicui was vivid. In translation, like “small wild creature” and “fawn”, it shows the lively side of Cuicui. Therefore, whether or not the aesthetic value of the source language image can be reproduced in the translation becomes the key to the reader's ability to understand Cuicui’s character. For example, “dark black” Gladys Yang uses “tanned” to indicate that her skin is a natural and healthy beauty after the sun has shined.<br /> <br /> '''2.3 Beauty in form'''<br /> <br /> Like sound and lexis transmitting beauty, syntax and paragraphs also carry lots of aesthetic information. There are many differences existing in Chinese and English sentence structures. Chinese sentence is like a bamboo that all structures come out from the base, while English sentence is like a grape tree with branches from the stem and twigs from the branches and the clauses are strictly arranged by the grammatical rules. Sentences can express a comprehensive meaning and carries certain aesthetic information. The successful translation is always with a figure, and most works have their own way of using figures of speech to form their own characteristic style. Thus the beauty in form came into being.<br /> <br /> Structural balance and harmony is one of the basic aesthetic principles, and it is obtained with the use of right rhetorical devices. Here the author chooses three typical rhetorical devices: antithesis, parallelism and repetition to express the beauty of sentences in translation. What’s more, the three rhetorical devices have been used in Shen’s ''The Border Town''.<br /> <br /> '''2.3.1 Parallelism'''<br /> <br /> Parallelism is to use repetition in equivalent positions to enhance language expression and pay attention to emphasis, clarity and coherence of opinions. In parallel construction, it is necessary for writers to balance word with word, phrase with phrase, clause with clause, and sentence with sentence. At the same time, importance of grammar should be concerned to strengthen coherence of the sentence. In terms of the syntactic level, parallelism is a sprightly succinct rhetorical device. The identical meaning, structure or tone appeals to the readers’ eyes and ears, and heightens the readers’ aesthetic experience. It is one of the valid ways to satisfy aesthetic demands of language: balance and concordance in structure, while rhythm and harmony in tonality. The aesthetic information in parallelism is largely showed in the reoccurrence of a specific pattern, which carries lots of aesthetic value to make the original more lively and impressive. So it is widely employed in literary works. There’s no exception in ''The'' ''Border Town''. Look at the example:<br /> <br /> Example 5: 这事情在本地人并不希奇，边地俗语说：“火是各处可烧的，水是各处可流的，日月是各处可照的，爱情是可各处可到的。”[14]<br /> <br /> Translation: There is nothing strange in these parts, where folk have a saying, “There is no place on earth where fire cannot spread, water flow, sun and moon shine, or love make its way.”[15]<br /> <br /> In this example, the same concise and symmetric sentence structure reoccurred many times. The repetition “各处可”(meaning everywhere) produces rhythm, making the sentence read like a song. By comparing love to fire, water, the sun and the moon, it vividly depicts the honesty, and straightforwardness of the local people. In Gladys’ version, she transforms the original parallel structure into a simple sentence and an attributive clause. Concise as it is, it isn’t in line with the writer’s intention and obviously disobeys the style of the original. Although it has transmitted the meaning of the original sentences, it fails to render the aesthetic features of this local saying.<br /> <br /> '''2.3.2 Antithesis'''<br /> <br /> Antithesis, a rhetoric technique with symmetric form and harmonious tonality, is designed to illustrate different things or aspects of the identical thing by comparison, and the symmetric components can replenish and contrast each other. Look at the example below.<br /> <br /> Example 6: 轻轻的自言自语：“每只船要有个码头，每只雀儿得有个巢。”[16]<br /> <br /> Translation: “Boats have a wharf, birds have a nest.” he murmurs.[17]<br /> <br /> In this sentence, “船”(chuán, meaning boat) and “雀儿”(què ér, meaning bird), “码头”(mǎ tóu, meaning wharf ) and “巢”(cháo, meaning nest) in the Chineses version make an antithesis with each other, and it is well balanced in form. The writer expresses the grandpa’s care to Cuicui. Gladys’s version is structurally well-balanced. However, the utilization of the word “have” in English version fails to show the strong sense of belonging, reducing the aesthetic value of the original. If she use “need” to replace it, I think the aesthetic enjoyment could be realized better.<br /> <br /> '''2.3.3 Repetition'''<br /> <br /> From the word of repetition, we know that the same word can be used several times in one sentence. The main function of this rhetoric is to emphasize some things or information. It may help to produce strong aesthetic effect. In The Border Town, Shen Congwen employs repetition deliberately to achieve his purpose of emotive intensification. The intensive repetition can be used as a powerful thematic device. Here is an example:<br /> <br /> Example 7: 老船夫说：“翠翠我看了个好碾坊，碾盘是新的，水车是新的，屋上稻草也是新的！”[18]<br /> <br /> Translation: “Emerald,” he tells her, “I've just seen a fine mill. Brand-new from the millstone and water-wheel to the thatch on the roof.”[19]<br /> <br /> This sentence vividly reproduces grandfather's psychological state after he has visited the new mill. The repetition of “是新的”(meaning new) for three times echoes each other to highlight how the mill knocks the breath out of grandpa, and strengthen his envy and longing for the mill. Gladys translates it into “Brand-new from... to...” Though it fails to keep the symmetric form of the original, it still succeeds in recreating the particular aesthetic effect of the original text. The inverted sentence pattern, the shifted perspective and the emphatic words make up for the loss of the repetition to great extent. Meanwhile, the concise and paralleled sentence structure represents the aesthetic information of the original more appropriately.<br /> <br /> '''2.4 Beauty in image'''<br /> <br /> Image in the literary text refers to the output of the subjective intrinsic emotion of the author and the extrinsic objective substances or the incarnation of emotion produced out of language narration. It is the unity of finity and infinity, the unity of the latent and the outstanding.<br /> <br /> Example 8: 翠翠温习着两次过节所见所闻的一切，心中很快乐，好像目前有一个东西，同早间在床上闭了眼睛所看到的那种捉摸不定的黄葵花一样，这东西仿佛明朗地在眼前，却看不准，抓不住。[20]<br /> <br /> Translation: Going over two festivals in her mind, happily savoring what she had seen and heard, Emerald has the same sensation as when she closed her eyes in bed in the morning and sees yellow sunflowers just out of reach. Something exciting lies ahead as yet indistinct and intangible, but too lovely to let go.[21]<br /> <br /> This sentence is a psychological description of Cuicui. She recalled the days of last two Dragon Boat Festivals when she encountered Nuosong. Her heart was filled with unnamable expectation. She wished to see Nuosong again. The above sentence describes the sprout of love in Cuicui’s heart which is implicit but brings her sweetness and dream. The image “黄葵花”(huáng kuí huā, meaning yellow sunflower) symbolizes that the love has planted its seed in Cuicui’s heart, and is in full blossoms which brings Cuicui happiness and which she would like to pluck. In the translated versions, Yang makes uses of literal translation by preserving the image of “黄葵花”and puts it into “yellow sunflower”. With the help of the context, it is easy for the target readers to understand the image of “yellow sunflower” and acquire the implicit aesthetic value in it in Yang’s version. It depicts the hope and happiness in Cuicui’s heart and brings the same enjoyment to target readers as it does to the source readers.<br /> <br /> '''2.5 Beauty in ideorealm'''<br /> <br /> Artistic ideorealm is defined as an artistic realm in lyric poetry and other literary works, which is an integration of subjective emotion and objective images and feelings. It is characterized as beautiful and implicit as a traditional Chinese painting, which can evoke readers’ association and imagination, and surpasses the concrete vision and ascends an extensive artistic space.<br /> <br /> Example 9: 由四川过湖南去，靠东有一条官路。这官路将近湘西边境到了一个地方名为‘茶峒’的小山城时，有一小溪，溪边有座白色小塔，塔下住了一户单独的人家。这人家只一个老人，一个女孩子，一只黄狗。[22]<br /> <br /> Translation: The highway running east from Sichuan to Hunan comes, just west of the border, to Chadong, a small town in the hills. Nearby a stream flows past a small pagoda, at the foot of which lives a solitary household: an old man, a girl, and a dog.[23]<br /> <br /> This is the first paragraph of the novel. Like telling a story, it is slow and plain. From what Shen Congwen has described, we can see that he has a special writing style which expresses the beauty of nature. Here, the writer uses seven “一”(yī, meaning one) in all, and every one describes different images. What’s more, “一”represents Shen’s melancholy aesthetic sentiment and creation view. Shen uses the rhetorical device of anadiplosis which means repeating the ending words of the precedent sentence in the following sentence. This kind of discourse progression mode is not only good for the coherence of narrative and understanding of discourse but also full of interest. Gladys thoroughly adverts to the aesthetic connotation and narrative techniques contain in “一” of the original text and strive for “formal similarity” and “spiritual similarity”. In sentence structure, Gladys retains the anadiplosis rhetorical device like “一”. More importantly, the static beauty of the original text has been changed into dynamic beauty by the recreation of the translator. To sum up, the whole translation is simple and fluent which correspond to the intangible and solitary artistic conception in the original text.<br /> <br /> Example 10: 那首歌声音既极柔和，快乐中又微带忧郁，唱完了歌，翠翠觉得心上有一丝儿凄凉。她想起秋末酬神还愿时田坪中的火燎同鼓角。远处鼓声已起来了，她知道绘有朱红长线的龙船这时节已下河了。细雨依然落个不止，溪面一片烟.[24]<br /> <br /> Translation: This gay, haunting melody has an undertone of sadness, making Emerald feel a pang of loneliness. Her thoughts fly to the bonfires and drumming in the fields to welcome the spirits at the end of autumn. Meanwhile drums sound up in the distance. The long crimson dragon boats will soon be staring their race. A light rain falls steadily, the stream is misted over.[25]<br /> <br /> In this example, Gladys’ translation almost reaches the realm of “spirit likeness”. In the wording, she not only carefully uses some expressive words but blends her own aesthetic attitude and aesthetic ideas into translation. Cuicui has stirred her love since she met Nousong two years ago on Dragon Boat Festival. Henceforth, she has a load in her mind, which is nothing to do with her grandfather. Dragon Boat Festival comes again, and Cuicui sits alone on the ferryboat, waiting for her grandfather. Then she go to see the dragon boat race together with him in town, where she may meet Nuosong again. The example above come about after Cuicui chanted a folk song on the ferryboat. The lonely and gloomy scenic description to some degree symbolizes that Cuicui’s love will end in tragedy. The repetition, though merely a few characters, forms an echo which achieves the artistic effect of inexhaustible sadness and sympathy of the readers toward Cuicui.<br /> <br /> '''3 Conclusion'''<br /> <br /> After the research and analysis, the author has found that Translation Aesthetics can be regarded as a criteria to evaluate literary works. The unique aesthetic characteristics in literature indicate that Translation Aesthetics is an effective and practical theory to analyze literature translation. A good literary translation should fully express the literary features and artistic connotations of literary works, embody the aesthetic value of the works, and make the readers realize the infinite charm of oriental art and the great vitality of literary works. On the one hand, it is necessary to reproduce the linguistic features of literary works in a proper and flexible way. On the other hand, it is necessary to take into account the cognitive level and understanding ability of readers in different countries, so as to maximize the aesthetic charm of literary works.<br /> <br /> =Culture Loaded Words=<br /> =='''The Translation of Culture-loaded Words in Chinese-English Communication'''==<br /> '''文化负载词在中英交流中的翻译'''<br /> <br /> '''摘要：'''随着经济全球化的深入发展，各国之间的文化交流日趋频繁。文化信息的成功传递是跨文化交流中的重要一环。文化负载词的翻译一直是译者面临的一大难题。准确传译文化负载词关系到译文质量的提高，跨文化交流活动的顺利进行以及文化的传播。本文将由六个部分组成。第一个部分和第二部分将分别讲述文化负载词的定义以及其翻译的难点。第三部分和第四部分将讲述文化负载词的翻译策略及其不可译性。第五部分和第六部分将分别讲述文化负载词的翻译对口译的影响并对本文进行一个简短的总结。<br /> <br /> '''关键词：'''翻译；文化负载词；文化差异<br /> <br /> '''Abstract:''' With the development of economic globalization, the cultural exchange among different countries becomes more and more frequent. The successful transmission of cultural message is an important link in international exchanges. In translation activities, the translation of culture-loaded words is a great challenge for translators, because the speaker and the audience come from a different linguistic and cultural environment. The accurate translation of culture-loaded words will help improve the quality of translation, enable successful cross-cultural exchanges and promote culture transmission. This paper will be divided into six parts. The first part will tell readers what is culture-loaded words. The second part will concentrate on the difficulties to translate culture-loaded words.The third part will discuss the translation approaches to culture-loaded words. The fourth part will focus on the question of translatability of culture-loaded words. The fifth part will introduce the interpreter’s translation of culture-loaded words. And the last part will briefly draw a conclusion about the paper.<br /> <br /> '''Key words:''' translation; culture-loaded words; cultural differences<br /> <br /> As we all know, translation plays an important role in intercultural communication. A good translator can help to promote the communication between two different cultures. With the process of globalization, intercultural communication is becoming more and more frequent. However, there exist plenty of cultural differences between different cultures, especially between the East and the West. Cultural differences make it hard for translators to translate well. Culture-loaded words belong to one of the differences between different cultures. Therefore, it is of great significance to be aware of the appropriate translation of culture-loaded words. This is because it can help translators translate better and thus make two different cultures communicate better.<br /> <br /> '''1 The Definition of Culture-loaded Words'''<br /> <br /> Before discussing what are culture-loaded words, we should know what is culture first. “Culture, in a broad sense, means the total way of life of a people, including the patterns of belief, customs, objects, institutions, techniques, and language that characterizes the life of the human community. As culture is so inclusive, it permeates virtually every aspect of human life and influences predominantly people’s behavior, including linguistic behavior. In a narrow sense, culture may refer to local or specific practice, beliefs or customs, which can mostly be found in folk culture, enterprise culture or food culture etc.” (Dai Weidong 2002:127) Culture is learned by human beings. A child is born without any certain kind of culture. A child gets its culture through learning. For example, a Chinese kid will speak, act and think like a Chinese if it grows up in China. An American kid will speak, act and think like an American if it is raised in the United States. Meanwhile, if a Chinese kid is raised by an American family in the USA, he will think, act and speak like American people do and vice versa. Culture is owned by all the social members. The special behavior and habit of a single person is not culture because it is not owned by every member of the society. Culture can be transmitted from generation to generation. During the transmission, culture will also develop. “Generally speaking, there are two types of culture: material and spiritual. While material culture, as the term itself suggests, is concrete, substantial and observable. Most of spiritual culture, the products of mind (ideologies, beliefs, values and concepts of time and space, for example), is abstract, ambiguous, and hidden. In contrast with nature in the sense of what is born and grows, culture refers to what has been grown and brought up with, in other words, what can be nurtured. Culture, especially material culture, is reproduced and preserved through the maintaining of beliefs, traditions, education and other institutional mechanisms, meanwhile, it changes slowly with the development of the society.” (Dai Weidong 2002:127-128) <br /> <br /> “Language is one of the most fundamental systems of culture, with the function of storing, describing, expressing and disseminating culture. As the basic unit of language, word is of course the most direct reflection of culture. Culture-loaded words refer to the words, phrases, and idioms only contained in a culture. These words reflect the uniqueness of certain nations. This kind of uniqueness develops from the long historical process.” (Liao Qiyi 2002:232) Culture-loaded words can make a distinction between two different cultures. Culture-loaded words can also reflect a country’s social background, financial base and culture in a certain period of time. During different historical periods, different culture-loaded words occur. Different countries differ from each other because every country has its uniqueness that makes it special. Ordinarily speaking, a literary work, which shows a lot of national characteristics, contains plenty of culture-loaded words. Culture-loaded words make it difficult for translators to translate. <br /> <br /> '''2 Difficulties in the Translation of Culture-loaded Words'''<br /> <br /> Every country has its own cultural origin. And “every nation has its own cultural focus. So its vocabulary always develops according to the cultural focus and becomes more and more detailed and complex.” (Liao Qiyi 2002:232)As we all know, Chinese culture and western culture have different origins. Chinese culture came from the Chinese mainland. There exist two big rivers, the Yellow River and the Huanghe River, across China. So Chinese people fed themselves by fishing, hunting and farming. The vast territory provided Chinese people enough resources to support themselves. The lofty mountains and high ranges, on the one hand, protected ancient China from the invasion of other countries, while on the other hand, also prevented China from communicating with other countries. Therefore, Chinese people is more conservative and emphasize harmony. <br /> <br /> “There is a great difference of the physio geographic condition between China and the western countries, especially the relationship between sea and land. If we say that Chinese civilization came from the land, western civilization came from the sea.”(Huang Yongyuan and Zhang Jing 2011:237) Europe is surrounded by the sea on the west, south and north, and borders on Asia in the east. The whole Europe continent is close to the sea, and the maritime climate is very significant. As the cradle of Western culture, the ancient Greece, was more connected with the sea. Greece was transportation center of the eastern Mediterranean. It had many ports and mountains but had a barren land. This kind of condition forced the ancient Greeks to operate maritime trade very early to support themselves. Therefore, people from western countries are easy to accept foreign cultures.<br /> <br /> China’s national spirit is different from that of the western countries. For example, China’s definition of “dragon” is so far away from that of the western countries. “The dragon, in Chinese myths and legends, is a kind of god . It is a symbol of the Chinese nation. The Chinese all call themselves &quot;the descendants of the dragon&quot;; it is also a symbol of the ancient imperial power, and the emperors of all ages considered themselves to be the true dragon. Each feature of the dragon represents an advantage. The wide forehead represents intelligence, the sword-like eyebrows represent courage, the tiger eyes represent majesty, the lion nose represents prosperity, the horse teeth represent diligence and kindness, the crocodile mouth represents swallowing, the shrimp mustache represents free water absorption , the cattle ears represent the leadership, the antlers represent health and longevity, the fish and clam represent defense, the camel head represents drought resisting, the eagle claws represent the ability to fly, and the snake neck represents the ability of accomplishing a task with ease. The Chinese dragon can be said to be a favorite to Chinese people. In the Western world, the dragon is called Drakon in Greek, Dragon in English, and Draco is in Latin. The dragon is a derogatory term in the West and a symbol of evil. In Western mythology, the dragon is the demon that makes people fear. ''The Bible'' illustrates dragon as a demon, and the devil Satan, who is opposite to God, is called the &quot;great dragon&quot;; the Old Dragon is the Devil, or Satan. In a biological perspective, dragon is a kind of particularly ferocious animal. In many cases, western literature describes the dragon as a monster to be eradicated by the hero.”(Huang Yongyuan and Zhangjing 2011:238) <br /> <br /> Apart from the examples above, there are still many example containing different meanings in different countries because of cultural differences. For example, the color “red” represents happiness, auspiciousness and success. This is because the color red came from the sun. Ancient Chinese people worshiped the sun. Thus, when getting married, Chinese bride’s wedding dress is red. People will hang red lanterns and paste red couplets in Spring festival. However, in western countries, although they have words like, “red-letter day” and “the red carpet”, which contain positive meanings, the color “red” is a kind of taboo. In English, the color “red” is the association of fire and blood. It represents the radical and violent revolutions. So many English phrases containing red have negative meaning, like red-headed, red-light district, red-handed, red ruin, red ink, in the red etc. Similarly, the color “white” contains different meanings in the East and the West. In western countries, white means innocence, honesty, kindness and so on. When getting married, the bride will white wedding dress. Although the color white contains the meaning of purity and innocence, like “白衣天使”(white angel) which represents doctors and nurses in Chinese, white is a kind of taboo color in China. The color white represents death and ill omen. When a family member died, they will hang white cloth inside and outside the house. We can also realize the different meanings of the same word in different countries. For instance, the word “狗”(dog) contains a negative meaning. However, in western countries, dog always contains a positive meaning, like a lucky dog.<br /> <br /> '''3 Approaches to Translate Culture-loaded Words'''<br /> <br /> Under the great progress of globalization, different cultures have more accesses to communicate with each other. According to Eugene Nida, “Translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.” (Nida Eugene A and Charles Taber R 1969:13) “Ordinarily speaking, there are three approaches to translate culture-loaded words, namely foreignization, domestication and translation compensation. The translation of culture-loaded words belongs to the micro aspect of cultural translation. In the context of globalization, the fundamental standpoint of exploring the translation approach is to preserve the unique cultural significance carried by culture-loaded words, which determines that we should use foreignization and translation compensation as the main translation approaches to translation culture-loaded words”.(Wang Xiang 2017:75)<br /> <br /> '''3.1 Foreignization'''<br /> <br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world. The foreignizing method of translating, a strategy Venuti also terms ‘resistancy’ (1995: 305-6), is a non-fluent or estranging translation style designed to make visible the presence of the translator by highlighting the foreign identity of the ST and protecting it from the ideological dominance of the target culture.<br /> Foreignization can preserve the uniqueness of the source language’s culture because respecting the source language culture is starting point. Compared with domestication approach, foreignization considers more about the source language’s cultural background and is more faithful to the source language’s culture. It can keep the exotic flavor of the source language text. However, foreignization is not a perfect translation approach. If the translation doesn’t pay enough attention, the foreignization approach will be abused easily. If the translator misuse the foreignization approach, the target text will be awkward and hard to understand.<br /> <br /> The food culture contains great national characteristics. It shows the creative spirit and unique style of the Chinese nation. The words related to the food culture are rich in Chinese culture. Many examples of using foreignization approach can be found in the translation of traditional Chinese food. Firstly, the translation of traditional Chinese food can be related to Chinese allusions. Let’s take the translation of Yuanxiao or Tang-yuan(glue pudding) as an example. “It’s said that a lady-in-waiting called Yuanxiao during the Han dynasty missed her parents so much that she cried with tears in her face every single day. In order to help her, a minister named Dongfang Shuo lied to Emperor of the Han dynasty that the god of fire with the order of the Jade Emperor would burn Changan(the Capital of China in Han dynasty) on the 15th of the first lunar month. The solution to avoid this disaster was to ask the lady-in-waiting named Yuanxiao to make Tang-yuan, the favorite food of the god of fire, and to ask all the people in Changan to hang lanterns. Emperor Wu approved this plan. Finally, the girl named Yuanxiao met her parents. Thus, the tradition of Lantern Festival ( pronounced Yuanxiao Jie in Chinese, “jie” in Chinese means festival) appeared.” ( Xu Xianling and Li Xiangzhaung 2005:230) Therefore, if we translate the Chinese food “元宵” into Yuanxiao by the foreignization approach instead of translating into the glue pudding, the special Chinese culture in the food can be preserved well.<br /> <br /> Secondly, the translation of Chinese food can be related to Chinese customs. Chinese people eat special traditional food in special Chinese festivals. For instance, people will eat double-ninth cake on the Double Ninth Festival. The Double Ninth Festival is on the 9th day of the 9th lunar month. The translation of double-ninth cake can keep the traditional Chinese culture well. Thirdly，the translation of traditional Chinese food can be related with Chinese people’s appreciation of beauty. For example, “the Chinese cuisine ‘鸟语花香’, can be translated into ‘Singing Birds and Fragrant Flowers(Steamed mandarin fish and bird-shaped shrimps)’’ and ‘青龙过海’ can be translated into ‘Green Dragons Crossing the Sea(Soup with green onion)’”. (Zhang Jiachen 2014:106) By using the foreignization approach, this kind of translation can preserve the beautiful image of these cuisines and the explanatory note can also prevent foreigners from being confused. What’s more, the translation of some Chinese cuisine can be related to the traditional Chinese medical science. For example, “‘八珍食品’ can be translated into ‘Eight Delicacies (Stimulate your baby’s appetite and better his or her growth) and ‘当归生姜羊肉汤’ can be translated into ‘ Angelica Ginger Lamb Soup(Replenish your blood and warm your spleen and stomach)’”. (Zhang Jiachen 2014:106) Translating in this way can pass the traditional Chinese medical culture to readers.<br /> <br /> Although the foreignization approach can be of great help to pass the source language’s culture to the target readers, it requires the translator’s great knowledge between the two cultures. Therefore, translators have to do a good preparation before translating.<br /> <br /> '''3.2 Translation compensation'''<br /> <br /> George Steiner divides the process of translation into four parts and “By ensuring the translation is possible, compensation is the last step in the whole procedure”.(2001: 176) It should be acknowledged that translation compensation occurs and accompanies translation activity as early as cultural difference exists. It possesses a history as long as translation activity does. Scholar Mona Baker holds the view that compensation is a translation skill, which can be applied when “target language is impossible to directly make up for the losses in meaning, language style or emotional force”.(1992: 33) Due to the translation difficulties caused by cultural default and cultural differences, translators have to employ different compensation strategies to make sure their translation outcome can be totally understood by the TL readers. Hervey and Higgins divided translation compensation mainly into four kinds, namely compensation in kind, compensation by splitting, compensation by merging and compensation in place.<br /> <br /> The translation compensation approach can be often used to translate the name of Chinese teas. China is the birthplace of tea culture. The record about tea appeared in the era of Shennong about 4700 years ago. Since ancient times, the tradition of providing to guests has been preserved. There are various kinds of teas in China like Longjing tea from Hangzhou , Oolong tea from Fujian etc. Chinese tea culture are also involved in Chinese Confucianism, Buddhism, Taoism and so on. Chinese tea culture is a treasure in traditional Chinese culture. <br /> <br /> Chinese and English belong to different language systems. There are great differences between the two languages. Due to the different social environment , life style and vocabulary, sometimes it is impossible for translators to achieve complete equivalence. Chinese people’s ways to name teas are various. Sometimes, the Chinese character “茶” (tea in English) doesn’t even exit in the name of a tea. For example, some teas exhibited in the China Tea Museum in Hangzhou, like “羊岩勾青”(Yangyan Gouqing), “庐山云雾”(Lushan Yunwu), the names of these teas don’t contain the character of tea. If translators show the English names of these teas to the target readers without explanation, readers may feel confused. Sometimes, the names of some teas are the same as the names of other stuff. For example, “ ‘茉莉花茶’ is translated into Jasmine Tea. This kind of translation mixes the tea name with the flower name. Actually, ‘茉莉花茶’ is a kind of green tea which has the aroma of jasmine. Some kind of ‘茉莉花茶’ contains jasmine flower, some don’t. Similarly, ‘竹叶青’ is translated into Bamboo Leaf Green and ‘玉露’ is translated into Jade Dew. Although the translation of these names of teas used the literal translation approach and realized the verbal equivalence, translators neglected the features of the teas. This kind of translation will mislead the target reader to think of ‘竹叶青’ as the tea made of bamboo leaves and ‘玉露’ as the tea made of jade and dew, which is totally impossible”. (Cui Shan 2019:125) The translation of tea names is also a part of intercultural communication. It can directly influence the transmission of Chinese culture in the world and can also influence the business result. If a translator doesn’t pay enough attention to the cultural differences, it may lead to bad consequences. For example, a Chinese tea called “龙虎斗” was translated into “The Fighting Between Dragon and Tiger ”. Although the translation kept the verbal meaning of the tea, it violated the western taboo. This is because dragon is referred as a kind of evil and fierce beast. A reader without the knowledge of Chinese culture will have the image of two fierce beasts fighting and killing each other when reading the translation of the tea. The target reader will feel uncomfortable to read the name of the tea, let alone buy and drink it. “珠茶” is a kind of special tea from Shaoxing, Zhejiang Province. It is round and bullet-shaped. So it was translated into “gun power”. This kind of translation can easily make people think about the violent images of war. Therefore, when being sold to India, Indian purchasers strongly asked the seller to change the translation of the tea name.<br /> <br /> Due to cultural differences, sometimes literal translation cannot express the true meaning of the tea name well. During this circumstance, translator should compensate the important information under the verbal meaning of the tea name. This kind of purpose can be achieved through the explanation of connotation under the tea name. Let’s take the tea names we have mentioned in the last paragraph as an example. According to the background information of the tea “玉露”, “ the shape of the tea is round and its color is white like jade. So it’s better to translate ‘玉露’ into ‘Jade-green Tea’ instead of ‘Jade Dew’”. (Cui Shan 2019:126) This kind of translation can show the color and type of the tea. It is more acceptable and less confusing for the target readers. Similarly, “‘茉莉花茶’ can be translated into ‘Jasmine Scented Tea’ instead of ‘Jasmine Tea’ and ‘竹叶青’ can be translated into ‘Bamboo-Leaf-Shaped Green Tea’ instead of ‘Bamboo Leaf ’”. (Cui Shan, 2019:126) “Jasmine Scented Tea” can show the true features of the tea and distinguish the tea from jasmine flower. And “Bamboo-Leaf-Shaped Green Tea” can tell the target readers the type and features of the tea and stop misleading readers to think of it as the tea made of bamboo leaves.<br /> <br /> '''4 Untranslatability of Culture-loaded Words'''<br /> <br /> Catford thought that untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. When translating culture-loaded words, it is hard for translator to translate the culture behind these words in a perfect way. For example, “纸老虎” is translated into “Paper Tiger” in English. But if people don’t have a knowledge of Chinese culture, when they read the phrase “paper tiger”, they will think of it as a kind of artistic work. Similarly, “八股文” is translated into “Eight-part Essay”. When people read this kind of translation, they will only think of it as a kind of article containing eight parts. They cannot understand the moral imprisonment this kind of writing style brought to Chinese people. When the famous sinologist David Hawkes was translating the famous Chinese novel ''A Dream of Red Mansions'', he translated a servant girl in the novel called “紫鹃” into “Nightingale” instead of “cuckoo”. This is because the word “cuckoo” in western countries can be used to refer the woman who cheated in a relationship. In the novel, “紫鹃” is a quite innocent girl. So the word “cuckoo”, although is literally equivalent to “紫鹃”, it was still not chosen by David Hawkes to be the girl’s name. In English, “nightingale” refers to a small brown bird, the male of which has a beautiful song. It can also refer people who can sing beautifully. Although the translator avoided cultural conflict by translating “紫鹃” into “Nightingale”, “nightingale” still cannot show the innocence of that girl. Sometimes, translators will borrow words from other cultures to help themselves translate better. For example, translators translate “a beauty in ancient China named Xi Shi into ‘Chinese Cleopatra’. However, Cleopatra is more like the first and the only female emperor in Chinese history Wu Zetian in Chinese people’s mind to western people. In Chinese phrase ‘蝙蝠迎宾’， the word ‘蝙蝠’ is translated into ‘bird’ in English instead of ‘bat’. This is because bat represents vampires in western culture. This kind of translation avoided the violation of western taboo. But it also doesn’t translate the inner ‘happiness’ behind the phrase in Chinese culture.”(Chen Junming 2013:29)<br /> Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences. Although it is hard to translate culture-loaded words into target language in a perfect way, translators still need to try to discover the translation of culture-loaded words. Translators can also add some explanations after the translated sentences or words to make the meaning and culture behind the source language text be understood by target readers.<br /> <br /> '''5 The Interpreter’s Translation of Culture-loaded Words'''<br /> <br /> Unlike translators, interpreters have much shorter time to translate. Sometimes, it is a great challenge for interpreters to translate in such a short time. As we have discussed above, culture-loaded words make it hard for translators to translate. So during the interpreting, it may be even harder for interpreters to translate utterances with culture-loaded words. An interpreter’s translation can be divided into three steps, namely comprehension, de-verbalization and reformulation. If an interpreter wants to interpret successfully, he should understand what the speaker has said. The interpreter will keep the content of what the speaker just said in his mind. During step two, the interpreter will forget the structure of these linguistic signs which formed what the speaker said and only remembers the ideas these linguistics signs wanted to express. During the last step, the interpreter uses another language to form new utterances to express the speaker’s ideas. The interpreter has to try to express all the information the speaker mentioned as possible and the interpreter also needs to try to make the translated language easy to be understood by target hearers. <br /> The striking feature of interpreting is its timeliness. Since the interpreter’s memory is limited, interpretation is more about translating the overall meaning of the discourse. Sometimes interpreters have to identify the key information of someone’s utterances and discard the unimportant information. The approach we have discussed above can also be used to interpret. For example, the interpreter can use literal translation approach to translate. By using the literal translation approach, “ ‘莫道今年春将尽，明年春色倍欢人。我期待着明年中国和世界都会变得更好’，can be translated into ‘Do not regret that the spring is departing, come next year as it will be twice as enchanting. I really hope to see that next year in China and in the whole world people will be better off.’”(Guo Huiqing 2018:94) It’s worth mentioning that interpreters have to translate in a limited time. So when confronting some special expression that is hard to find the equivalent in the target language. They will try to explain the meaning of these expression. For example, the interpreter can translate “ ‘山重水复疑无路，柳暗花明又一村’ into ‘After encountering all kinds of difficulties and experiencing all kinds of hardships, at the end of the day we will see light at the end of tunnel’”.(Guo Huiqing 2018:95) This expression is from ancient Chinese poet Tao Yuanming’s poem. This sentence just express the scenery of the countryside. But combing the poem with the utterances the speaker has said, the interpreter translates the sentence into the translation above. This kind of explanation approach can be often used in interpreting.<br /> Translation and interpreting share a lot in common like the approaches to translate. But interpreting has the feature of timeliness while translation doesn’t. This feature brings more challenges for interpreters to translate. It requires interpreter to have to quick response and a better sensibility to cultural differences.<br /> <br /> '''6 Conclusion'''<br /> <br /> “Since the knowledge and beliefs that constitute a people’s culture are habitually encoded and transmitted in the language of the people, it is extremely difficult to separate the two. On the one hand, language as an integral part of human being, permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps perpetuate the culture, and the changes in language uses reflect the cultural changes in return.” (Dai Weidong 2002:130) Language and culture are interdependent during the process of evolution. Language belongs to culture. Translators, who translate the information from one language to another, have the responsibility to promote the communication between different countries. A good translator can help the transmission of cultures. The cultural differences among different countries lead to different culture-loaded words in different countries. The reason why we call a culture-loaded word a culture-loaded word is because it contains the special meaning of a culture. It is exactly this kind of uniqueness which makes a culture different from other cultures. Although culture-loaded words make it hard for translators to translate well, translators still have to find strategies to overcome this kind of difficulty. As long as cultural differences exist, culture-loaded words will still be there. As a bridge between two language or even two cultures, translators still have to work hard to discover better approaches to translate culture-loaded words well. If translators can translate better, the cultural communication between two countries will be better.<br /> <br /> '''References'''<br /> <br /> [1] Baker, Mona. ''In Other Words: A Coursebook on Translation.'' London: Routledge, 1992<br /> <br /> [2] Chen, Junming. [陈君铭]. 谈汉语文化负载词的不可译性[J]. 淮南师范学院学报, 2013(4):28-31<br /> <br /> [3] Cui, Shan. [崔姗]. 翻译补偿视角下的中国茶名英译研. 福建茶叶, 2019(2):125-126<br /> <br /> [4] Dai, Weidong. [戴炜栋]. 《新编简明英语语言学教程》. 上海: 上海外语教育出版社, 2002<br /> <br /> [5] Eugene A, Nida and Charles R, Taber.''The Theory and Practice of Translation''. Leiden：E.J.Brill,1969<br /> <br /> [6] Guo, Huqing. [郭卉青]. 释意理论视角下文化负载词的英汉口译策略[J]. 陕西能源学院学报, 2018(2):94-96<br /> <br /> [7] Huang, Yongyuan and Zhang, Jing. [黄永媛, and 张晶]. 中西文化起源对比与研究. 东北农业大学学报(社会科学版). 2011(6):107-109<br /> <br /> [8] Lawrence, Venuti .''The Translator’s Invisibility: A History of Translation''. London and New York: Routledge, 1995<br /> <br /> [9] Liao, Qiyi. [廖七一]. 《当代西方翻译理论探索》. 南京: 译林出版社, 2002<br /> <br /> [10] Steiner, George. ''After Babel: Aspects of Language and Translation''. Oxford: Oxford University Press, 1998<br /> <br /> [11] Wang, Xiang. [王祥]. 全球化语境下文化负载词翻译技巧. 开封教育学院学报. 2017(8):75-76<br /> <br /> [12] Xu, Xianling and Li, Xiangzhuang. [徐先, and李相状]. 中国饮食文化. 北京：中国戏剧出版社, 2005<br /> <br /> Zhang, Jiachen. [张佳琛]. 中国“食”文化的异化翻译. 长沙理工大学学报（社会科学版）, 2014(3):140-107<br /> <br /> =Skopos and Functional Equivalence=<br /> =='''A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories'''==<br /> <br /> '''Abstract：'''This paper first makes a brief introduction of the two very important translation theories, which are Functional Equivalence Theory and Skopos theory, put forward by Eugene Nida and Hans Vermeer respectively. Then the paper analyzes the similarities and differences between the two theories from many different perspectives. Through the analysis of the two theories, the author finally puts forwards its own thoughts on the two translation theories.<br /> <br /> '''Key words：'''Functional Equivalence Theory; Skopos theory; Eugene Nida; Hans Vermeer<br /> <br /> '''摘要：'''本文首先对翻译研究中两种极为重要的翻译理论，即尤金·奈达提出的功能对等翻译理论和汉斯·弗米尔进行了简要介绍，之后从多个不同的方面对这两种理论的相似点和不同之处进行分析。最后，在对两种理论进行分析后，作者提出自己对这两种理论的看法和认识。 <br /> <br /> '''关键词：'''功能对等理论；翻译目的论；尤金·奈达；汉斯·弗米尔<br /> <br /> '''(1)Introduction'''<br /> <br /> '''1.1. Functional Equivalence Theory'''<br /> <br /> In 1964, Eugene Nida, the famous American linguist and ''Bible'' Translator, first put forward the notion of “dynamic equivalence” in his book ''Toward a Science of Translating''. According to Nida, “dynamic equivalence” refers to “ the closest natural equivalence to the source language message(Tan Zaixi, 1984: 10)”. In saying this, Nida means to appeal translators to put emphasis on expressing to the target readers both the messages conveyed in the source language and the forms and styles of the original text. Later, he realizes the name “dynamic equivalence” may confuse some translation learners and they may think he only focuses on translating the content and meaning of the source text and ignores its form and style, he then changes the name of “dynamic equivalence” into “functional equivalence”. Nida thinks that the response made by the target language receptor to the target text should generally be equivalent to the response made by the source language receptor to the source text, so when the translator cannot retain both the form and the content of the original text, he or she should give priority to the content of the original text and change the form of the source text. And in response to questions like how and to what degree the translator can change the form of the original text, Nida then points out that in translation, there are four aspects in dynamic equivalence, namely, lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence respectively. If a translator can convey the language form, the content and the style of the source text in natural target language, and make the target readers give the same response to the target text as the source language made to the original text, then his translation can be said to have achieved the maximal equivalence. On the other hand, if a translation only transmit the content of the original text generally, then the translation can be said to have achieved the minimal equivalence. <br /> <br /> '''1.2. Skopos Theory'''<br /> <br /> Skopos theory was first put forward by Hans Vermeer in his book ''Framework for a General Translation Theory'' in 1978. According to Skopos theory, translation means to “'''produce a text at target setting for a target purpose and target addressee in target circumstances'''”(Liu Junping, 2009: 377). Based on this definition, Vermeer Hans concludes the three rules of Skopos theory, which are skopos rule, coherence rule and loyalty rule.<br /> <br /> Firstly, skopos rule, or purpose principle, is the primary principle to be followed in translation. It holds that the purpose to be achieved of the target text determines the whole process of translation, including the choice of the translator in translation skills and strategies, and that all translation activities are determined by its purpose. Generally speaking, the skopos rule has under its umbrella three types of purposes: the first one is the basic purpose of the translator; the second is the communicative purpose of the translation; and the third is the purpose of specific translation strategies or means. But at most of times, “purpose” refers to the communicative purpose of the translation.<br /> <br /> Secondly, coherence rule, also called intra-textual coherence, means that the translation must be understandable and readable to the receptors, and meaningful in the communicative environment of the target culture and the target text.<br /> <br /> Thirdly, fidelity rule, which means that there should be inter-textual coherence between the source text and the target text. Inter-textual coherence is similar to what is usually called “信” or “be faithful to the original text”. In the traditional translation theory, “faithfulness” is always regarded as the basic translation standard to obey, but in Skopos theory, to what degree the form and style of the target text should be faithful to the original text totally depends on the purpose of the translation and the translator’s understanding of the source text.<br /> <br /> Under Vermeer’ s Skopos theory, the skopos rule is the most important rule among the three rules, the coherence rule the second important, and the fidelity rule the least important. This indicates that in Skopos theory, the end justifies the means(Liu Junping, 2009: 377-378)<br /> <br /> '''II.Similarities and Differences'''<br /> <br /> '''2.1. The Similarities between the Two Theories'''<br /> <br /> '''2.1.1. Both Attach Great Importance to the Target Receptor’s Status'''<br /> <br /> Functional Equivalence Theory is a receptor-oriented theory. As revealed by Nida’s definition of translation, that “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, Functional Equivalence Theory emphasizes that the primary aim of translation is such that the target text should bring the target receptors the similar or same response as the response made by receptors in the source language. Besides, to bring to the readers a similar or same response, Nida even put forward that, if it is necessary, different target texts should be made according to the needs of different receptors. All of the two points reflects that in Functional Equivalence Theory, the target receptor’s status is very important.<br /> <br /> While the Skopos theory, too, put the reader’s needs on a high status. Of the three rules in Skopos theory, the most important one is skopos rule, which includes three purposes, the basic purpose of the translator, the communicative purpose of the translation, and the purpose of specific translation strategies or means. However, to take all the three purposes into consideration, a translator must first know what and who the target text serves, so he or she can immediately know the purpose of the translation task and do a corresponding and qualified translation. This, on the other hand, also means that in Skopos theory, the target reader’s needs indirectly determine the purpose of the translation, so it is also given priority to by the translator.<br /> <br /> '''2.1.2. Both Emphasize the Communicative Function of Translation'''<br /> <br /> Under the Functional Equivalence Theory, the translation should achieve a functional equivalence, bringing the target readers the roughly same experience and making them give the responses as the receptors in the source language culture. In doing this, the translator is in fact trying to achieve the communicative function of the original text by shortening the distance of the source text receptors and the target text receptors, which, on the other hand, means that the process of translation is a communicative process between the original language culture and the culture of the target language.<br /> <br /> In Skopos theory, of the three purposes under the skopos rule, the communicative purpose is regarded as the most important purpose of a target text. Skopos theory holds that translation is a communicative activity with a purpose, and the process of translation is determined by the intended function or purpose of the target text.<br /> <br /> '''2.2 The Differences between the Two Theories'''<br /> <br /> '''2.2.1. Different Status of the Source Language and the Target Language'''<br /> <br /> From the perspective of Functional Equivalence Theory, a good translation achieving the goal of translation not only needs to provide another message similar to the original message conveyed in the source text, but also needs to clearly reflect the meaning and intention of the original text, bringing to the target readers similar or even same effects and making them give a same response. From this point, one can easily see that Functional Equivalence Theory is centered on the original text, which, to some degree, reflects that Functional Equivalence still put the source language on a high status. The status of the target language is secondary to the source language as the choice of the words, sentence structures of the target text still heavily depend on the source text.<br /> <br /> Skopos theory, on the other hand, gets rid of the point of view of the traditional text-centered translation theory, and focuses on the function and purpose of the target text. From the perspective of Skopos theory, a successful translation is not one that places the original text in a sacred and unattainable position. Vermeer further put forward the view of “subverting the source language” in Skopos theory. He stated that “the linguistic and stylistic features of the original text are no longer the only criteria to measure the translation”. All of these reflect that the source text enjoys a relatively low status in Skopos theory compared with its status in Functional Equivalence Theory. Besides, from the three rules of Skopos theory, one can easily know that, the most important one is the skopos rule, then the coherence of the target text, namely the intra-textual coherence and finally the fidelity of the target text to the source text, namely the inter-textual coherence. Therefore, we can see that the status of the source language actually lower than the target language in Skopos theory, which is different from the case in Functional Equivalence Theory. <br /> <br /> '''2.2.2. Different Translation Principles'''<br /> <br /> Nida believes that equivalence is the goal of translation. His translation standard is that the target text should be faithful to the original text in terms of content and style while also being expressive in the eyes of the target readers. As put forward by Nida that, “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, the translation standard of Functional Equivalence Theory include “equivalence”, which is the equivalence of meaning and style, namely be faithful to the meaning and style of the source text. Besides, in front of “equivalence”, there is also a word “natural”, which means the target text should be fluent and be in conformity with the habits of the target culture, namely “expressiveness” in traditional translation theory.<br /> <br /> In Skopos theory, however, “faithfulness” is no longer regarded as the primary translation criteria. As Skopos theory judges the success of a translation by its intended purpose, which reflects the requirements of the target readers. However, as the requirements of the readers are different, Skopos theory advocates the diversification of translation standards. Only when the communicative purpose of the translation requires the translation to have the same communicative function as the original text, equivalence becomes the standard of the translation process. Otherwise, the translation may be very different from the original text in its style and form.<br /> <br /> '''2.2.3. Different Translation Skills and Translation Strategies Used in the Translation Process'''<br /> <br /> In Functional Equivalence Theory, as determined by its definition for translation, the translation skills and strategies used in the translation process are all for one common goal, which is to bring the target readers the roughly same or same response. In order to achieve the aim, some translation skills are frequently used under the Functional Equivalence Theory, including literal translation, liberal translation, domestication and borrowing translation. And among all these translation skills, domestication and borrowing translation are two translation strategies most favorably advocated by Functional Equivalence Theory. Here, I will list the translation of a phrase to briefly explain the reason why the two translation skills are often used in translation process. We all know that to grow like mushrooms is an English phrase which means to rapidly grow or increase in number. It vividly describes the scene that after the incessant rain in London, the explosive growth of the mushrooms. While in China, there is also a similar phrase “雨后春笋”, to describe the scene that after a spring rain, the bamboo shoots sprout overnight in the forest. Therefore, when doing a E-C translation, the translator often uses domestication and translate “to grow like mushrooms” into “雨后春笋”, so as to enable the Chinese readers give a same response as English readers did.<br /> <br /> However, Skopos theory is different. In Skopos theory, the end justifies the means, which means all the translation skills and strategies are determined by the purpose and use of the target text as well as the reader it serves. Therefore, it usually adopts different translation strategies to meet different translation purposes. Translators can freely choose the translation skills he wants to use, whether it is literal translation or liberal translation, domestication or foreignization, transliteration or borrowing translation, even simplifying translation and reduction translation, in consideration of the author's writing intention, the theme of the original text, the translator’s purpose and the needs of the readers. <br /> <br /> Here, I want to firstly compare the difference between Functional Equivalence Theory and Skopos theory in dealing with content with cultural characteristics. As I wrote before, the Functional Equivalence Theory emphasizes the same response between the original readers and the target readers and the presence of a natural text to the target readers, so it prefers to use the existed words, phrases, and cultural images in the target language to replace the expressions in the original text, which explains why domestication and borrowing translation are often use under the theory -- that is because by using the two ways, functional equivalence can be achieved. However, in Skopos theory, the translator enjoys a higher degree of freedom. He can select translation skills flexibly according to the skopos of the text. For example, when it comes to cultural translation, the translator should carefully consider the cultural differences between the two languages and have full understanding of the purpose and usage of the original text. If the purpose of a translated text is to diffuse the language characteristics of the original author, the author’s writing intention, or the language characteristics of the source language culture, then the translator can adopt the strategy of foreignization or the strategy of literal translation with some annotations in the target text to help the target readers better understand a foreign concept. For example, in order to maintain the cultural characteristics of Chinese, the Chinese proverb “谋事在人，成事在天” should be translated as “man proposals, heaven disposes.&quot; instead of “man proposals, God disposes”. This is because the translator wants foreign people to know our beliefs -- we Chinese believe in Heaven rather than God. At the same time, sometimes, to meet the needs of some special readers, simplifying translation and reduction translation are also used in the translation process. For example, there are some publishers in China which publish the simplified version of those foreign classics to meet the the children’s needs in reading. <br /> <br /> '''2.2.4. Different Status of the Translator'''<br /> <br /> In what Nida thinks of, the translator is only a cultural envoy, transmitting the idea of a culture to people in another culture. Nida believes that as the second source of information, the translator’s role is mainly to convey the original author’s intention to the readers. Therefore, the translator must understand what the original author thinks. The translator’s role is mainly to convey the original author’s intention to the readers. In addition, the translator should not introduce any personal ideas into the translation of the original text, no matter whether the original point of view is consistent with his own. “The translator should not intervene in, edit or rewrite the original text even if it has shortcomings and errors, nor should he improve the original text even if he has the ability”(Tan Zaixi, 1984). Of course, we can critically accept Nida’s words. When there are obvious mistakes in the original text (such as the original text not conforming to the facts), we should correct them in the translation.<br /> <br /> Skopos theory improves the position of translator. The translator is the receptor of the original text and transmits the information of the original text to the reader. Skopos theory allows the translator to determine the faithfulness of the translation to the source text and determine the proportion of the faithfulness of the target text to the original text. It adopts the translation strategies such as “modification, abridgement and reduction”, and denies that there is only one “correct or best” translation of the source language. Therefore, the translator has more freedom in the process of translation, and can transfer the original text according to the needs, expectations and knowledge background of the readers, so as to achieve the purpose of a translation task.<br /> <br /> '''2.2.5. Different translation processes'''<br /> <br /> In order to achieve functional equivalence, Nida proposed the famous back translation theory by referring to the concepts of core sentence, non-core sentence and transformation. In Functional Equivalence Theory, translation is a complicated process, which includes four stages: analysis, transfer, reconstruction and test (Tan Zaixi, 1984, 144). Specifically speaking, as far as Nida is concerned, when doing a translation task, the translator needs to transform the original text from the surface structure to the deep structure or pseudo-deep structure on the basis of grammatical and semantic analysis, and then translate the deep structure or pseudo-deep structure of the original text to the deep structure of the target text, and finally from the deep structure of the target text to the surface structure of the target text. After the translation is done, the translator needs to re-examine and test the translation.(Peng Changjiang, 2017: 09)<br /> Skopos theory, however, unlike the Functional Equivalence Theory, it does not put forward specific translation procedures. The Skopos theory does not give detailed guidelines for the translation of words, phrases, paragraphs and texts, but it do gives some guidance to the translator from the macro perspective, giving the translator more autonomy to do translation and enabling them freely translate a text.<br /> <br /> '''III.My Thoughts on the Two Theories''' <br /> <br /> '''3.1. My thought on Functional Equivalence Theory'''<br /> <br /> '''3.1.1. Strengths and Contributions of Functional Equivalence Theory'''<br /> <br /> Firstly, the Functional Equivalence Theory brings modern linguistics, communication studies, information theory, semiotics and aesthetics into the field of translation. From the macro perspective, it breaks through the limitations of the traditional thoughts on translation and provides a new perspective for translation research. It studies translation in a more detailed way from multiple perspectives, applies new thoughts, concepts and methods to translation studies, and provides many new methods for translation research. Besides, it also lays a solid foundation for modern translation studies. <br /> <br /> Secondly, it must be emphasized that, Functional Equivalence Theory has given many constructive suggestions to translators. From a micro perspective, Functional Equivalence Theory has solved the long-standing dispute between literal translation and liberal translation. It requires the translator use the target language to reproduce the meaning of the source language as fully as possible in different language structures, thus both breaking the restrictions of traditional word-for-word translation and limiting the free and random play of the translator. To some extent, Functional Equivalence Theory has greatly promoted the translation of some types of literary works, such as the translation of prose, help avoiding the creation of many pseudo--translation and translationese cases. At the same time, it eases the argument of domestication and foreignization from the perspective of language and culture, and seeks the balance point of domestication and foreignization from the perspective of multiple disciplines.<br /> <br /> Thirdly, Functional Equivalence Theory provides with the target readers a chance to know other country’s culture in their own language. Traditionally, translation is to transform the original language that are different from ours into the familiar language that we use. It can let the people who have not learned a foreign language also understand and appreciate the message under some phrases written in a foreign language. For example, if one has no common sense in English, he will regard “a piece of cake” as “一块蛋糕”. This example reflects the culture gap between the people of two countries. Good translation is one that overcomes these culture gaps and turn them into what the target readers is familiar with. So, it is better for the translator use the Functional Equivalence Theory to translate “a piece of cake” with the well-known Chinese proverb “小菜一碟” . <br /> <br /> '''3.1.2. Deficiency of Functional Equivalence Theory'''<br /> <br /> Although Functional Equivalence Theory has made many contributions to the translation studies, it is not without its deficiencies. Here I list three disadvantages of it.<br /> <br /> First, Nida’s Functional Equivalence Theory is concluded from the translation of the ''Bible''. It is, in fact, cannot be a guideline for all kinds of translation. For example, some texts, including some articles with profound historic significance and cultural characteristics, some scientific articles, some lyrical articles, movie subtitles, government reports, actually need different translation standards. Functional Equivalence Theory can play an important role in appropriate fields, but it is not universal or omnipotent rule. Though, in fact, there is nothing omnipotent and flawless in the world. Functional Equivalence Theory can play an important role in appropriate area. If it is used in the right place, it can help the translator present a more brilliant translation.<br /> Second, the Functional Equivalence Theory requires the target text to be written in a “common language”, which should be understood by the less educated readers and accepted by the readers with high literacy, but this turns out to be very difficult to achieve in practice. It can be said that the requirements of this theory are way too demanding. Although this is a goal worth pursuing, it is nearly impossible to achieve, as even in the same country, different knowledge levels, different regional cultures and even different life experiences will lead to different understanding abilities.<br /> <br /> In addition, Nida also ignores an important thing, that is, culture is very complex. The generation, evolution and creation of each nation and its culture are different from each other. Some cultural images in foreign works may be something the other country’s readers have never seen and cannot understand. In translation process, it is certainly ideal if the translator can find a corresponding cultural object in the target culture. But at most of times, it is in fact very difficult for the translator to find such a substitute. This makes the so called “functional equivalence” very difficult to achieve, and even show its loopholes -- which is also a difficulty in translation process -- it is usually difficult for translators to translate and explain certain words with special cultural meanings. In fact, the differences between different cultures are absolute and inevitable, while the similarities are rare and precious. For example, in order to avoid the danger and inauspicious emotions of the word “red” in western culture, some British translators translate the original title of the book 《红楼梦》 into “''The Story of the Stone''”. This kind of translation, however, fails to transmit the message of a rich, luxurious, dreamy life hidden in the original book name, let alone bring the western readers the same response. <br /> <br /> '''3.1.3. My Point of View towards Functional Equivalence Theory'''<br /> <br /> The great influence of Functional Equivalence Theory on the whole translation field is obvious to all, but it is not a universal theory. The advantages and disadvantages of the theory of functional equivalence should be treated in a dialectical way. Functional Equivalence Theory is the product of a particular historical period, and it may have some inconsistencies with contemporary translation theories. Therefore, we should take a comprehensive view of Nida’s translation theory. On the whole, Nida’s translation thought can be regarded as a bright gem in the treasure house of western translation studies.<br /> <br /> '''3.2. My thoughts on Skopos Theory''' <br /> <br /> '''3.2.1. Strengths and Contributions of Skopos Theory'''<br /> <br /> Skopos theory has many advantages. First of all, as a major breakthrough in the study of contemporary western translation theory, Skopos theory breaks the limitations of Functional Equivalence Theory at the linguistic level and puts forward a translation standard dominated by skopos principle. Skopos theory provides the translator with another perspective in translation practice, which is more conducive to the choice of translation strategies.<br /> <br /> Secondly, Skopos theory focuses on the requirements of the translation client, points out the influence of the client on the translation process, and breaks the limitation of traditional translation theory, which only takes the original author, the translator and the target reader into consideration. From this perspective, Skopos theory can be called a real breakthrough in the history of translation studies.<br /> <br /> Thirdly, Skopos theory emphasizes the initiative and participation of the translator, and holds that the original text mainly plays the role of providing information. Therefore, it shifts the focus of translation from faithful reproducing the source text to the creation of the translation. It overthrows the central position of the original text and establishes the central position of the target text and the translator, which gives all translation learners and researchers a new insight towards translation studies.<br /> <br /> Finally, Skopos theory further studies the development of translation from the perspective of culture. From the perspective of Skopos theory, translation is a kind of cultural comparison and a kind of cross-cultural communication in a certain cultural context, which benefits the target readers a lot.<br /> <br /> '''3.2.2. Deficiency of Skopos Theory'''<br /> <br /> However, all thing is not perfect, Skopos theory is no exception, of course.<br /> <br /> Firstly, Skopos theory allows the translator to rewrite the original text to a certain extent, but it does not indicate the extent to which the translator can rewrite the original text. It gives the translator too much freedom, which may let the translator easily translate the source text out of its context. Besides, the original meaning and usage of the source text may be distorted if the translator unscrupulously use every means in order to achieve the so-called “purpose of translation”. Accordingly, the translator will fall into the whirlpool of random translation, which may violate the intention of the original text.<br /> <br /> Secondly, the Skopos theory overemphasizes the purpose of translation, the purpose of the translator and the purpose of the target language, so that the translator may easily change or omit many stylistic features of the original text in the target text. This makes it not suitable for some styles of text, such as poems. Because if a translator translates a poem into a prose or a descriptive passages out of the purpose of the translation client, he or she may be better said to rewrite or recreate something than translate. After all, translation is based on the original text, otherwise it cannot be called translation.<br /> <br /> Last but not least, there are tens of thousands of readers. To meet the needs of different people, a translation must adopt multiple standards. When there are contradictions among various standards, the translator will be at a loss and the multiple standards will be equal to no standards. For example, if a translator receives the mission of the translation client that he should translate a song faithfully but also retain the beauty of the original text for both the children and adults to appreciate it, then the translator may feel hard to do the translation task with the three contradictory translation requirements. <br /> <br /> '''3.2.3. My Point of View towards Skopos Theory'''<br /> <br /> There are more or less deficiencies in every translation theory, and Skopos theory is no exception. To some extent, the shortcomings of Skopos theory mentioned above are also a major feature of it. It is this distinctive theoretical feature that can make it stand out in many translation theories and attract the attention of many scholars and translation enthusiasts. The author believes that the contribution of Skopos theory to the development of translation theory and its guiding significance in translation practice is far greater than its shortcomings and deficiencies. People should treat it with a more objective and rational attitude and let it play its due role in the field of translation. Generally speaking, the Skopos theory put forward by Hans Vermeer is regarded as a major theoretical breakthrough in the study of western translation theory, and it also plays an important role in guiding the successful translation practice.<br /> <br /> '''IV.Conclusion'''<br /> <br /> Through the above comparison, we find that both Functional Equivalence Theory and Skopos theory have their own advantages and disadvantages, and their differences are greater than their similarities. Functional equivalence pays attention to the equivalence between the form and content of the translation and the original text as well as the reader’s response. Skopos theory can solve some problems that can not be solved by Functional Equivalence Theory and widen the research perspective of translation theory, which is to some extent the inheritance and development of Functional Equivalence Theory. The scope of application of the two is different, but both of them have their own unique excellencies.<br /> <br /> Reference books: 《奈达论翻译》by谭载喜&amp;《西方翻译理论通史》by刘军平<br /> <br /> Bibliography：<br /> <br /> [1] Eugene A. Nida. ''Toward a Science of Translating'' [M]. Leiden: E. J. Brill, 1964.<br /> <br /> [2] Eugene A. Nida, Charles Taber. ''The Theory and Practice of Translation'' [M]. Leiden: the Netherlands, E. J. Brill, 1969.<br /> <br /> [3] Hans Vermeer. ''Framework for a General Translation Theory'' [M] ,1978.<br /> <br /> [4]谭载喜.奈达论翻译 [M].北京：中国对外翻译出版公司,1984.<br /> <br /> [5]刘军平.西方翻译理论通史 [M].武汉：武汉大学出版社,2009.9.<br /> <br /> [6]百度百科：功能对等理论<br /> <br /> [7]百度百科：翻译目的论<br /> <br /> [8]百度百科：目的论的优点与不足<br /> <br /> [9]百度百科：功能对等理论的贡献与局限性<br /> <br /> [10]彭长江.英汉--汉英翻译教程[M].长沙：湖南师范大学出版社，2017.8.<br /> <br /> [11]百度百科：功能对等理论与目的论的比较<br /> <br /> =='''Comparative Study on Functional Equivalence Theory and Skopos Theory'''==<br /> <br /> '''摘 要'''<br /> <br /> 近几十年来，翻译理论层出不穷，翻译理论也带有多元化倾向。奈达从语言学的角度出发，根据翻译的本质，提出了功能对等理论，在这一理论中，他指出“翻译是用最恰当、自然和对等的语言从语义到文体再现源语的信息”。功能主义目的论的代表人物弗米尔认为翻译是一项有目的的活动，并且以实现译文的预期功能和效果为首要原则。<br /> 这两种理论都是具有较大影响力的西方翻译理论。它们在不同的时期由不同流派提出，本文着重分析两大理论在理论基础、翻译标准、文化观等层面上的差异性，并分析其相似性。通过对这两种理论的共性和差异进行比较，旨在加深我们对这两种貌似神离的翻译理论的认识与了解，让我们在不同的领域中能恰当地使用这两种翻译理论,更好地发挥各自的指导作用。<br /> <br /> '''关键词：'''功能对等；目的论；差异性；相似性<br /> <br /> '''Abstract'''<br /> <br /> In recent decades, translation theories have emerged in an endless stream, and translation theories have a tendency to diversify. From the perspective of linguistics, Eugene Nida puts forward the theory of functional equivalence according to the nature of translation. In this theory, he points out that &quot;Translation consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style&quot;. While one of the representatives of functionalist skopos theory, Hans J. Vermeer, considers that translation is a purposeful activity, taking the realization of the target text’s intended function as its first principle.<br /> These two theories have great influence in western translation theories. They are proposed by different schools in different periods. This paper will focus on the differences between these two theories in terms of theoretical basis, translation standards, and cultural direction, and then analyze their similarities. By comparing the differences and similarities between the two theories, it will deepen our understanding of these two translation theories so that we can properly use them in different fields, thus better playing their respective guiding roles. <br /> <br /> '''Key words:''' Functional Equivalence; Skopos Theory; comparison<br /> <br /> '''Introduction'''<br /> <br /> '''Research background'''<br /> <br /> Contemporary western translation theories are flourishing, providing a new perspective for translation studies. In the 1960s, Eugene A. Nida proposed a translation theory based on reader response, namely &quot;functional equivalence theory&quot;. With the development of the times, people have further understanding of the complex phenomenon of translation. The theory of equivalence sets the translation within the scope of the language level. However, the essence of translation is not only the conversion of pure language, but also the communication between different cultures based on language form. In the 1970s, translation studies oriented to the target language culture appeared in the West, breaking the traditional translation theory of textual centralism, which made the translator pay more attention to the translation and the target language receivers, the social and communicative functions of the translation. The German functionalist translation theory got rid of the shackles of the equivalence theory that prevailed at that time, broadened the field of translation theory research.<br /> <br /> '''Significance of the study'''<br /> <br /> By comparing the differences and similarities of these two translation theory, it can deepen our understanding of them. Therefore, when we do translation, we can choose the most appropriate translation theory to guide us to translate according to the specific situation. So it is very necessary to make a comparison between functional equivalence theory and skopos theory.<br /> <br /> '''Layout of this chapter'''<br /> <br /> This thesis will be divided into three chapters. In the first chapter, a brief introduction of functional equivalence will be presented, such as the definition of functional equivalence, and its four criteria: conveying information; conveying the spirit and style of the original work; fluent language; and similar reader response. The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.<br /> <br /> '''1. A brief introduction of Functional equivalence theory'''<br /> <br /> '''1.1 The definition of functional equivalence theory'''<br /> <br /> Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response. He holds that translation should not only ensure the correctness of information exchange and achieve information equivalence in lexical sense, but also take into account the cultural background and behavioral patterns of the target language receiver and achieve information equivalence in style, semantics and other aspects in the process of translation, that is, to achieve functional equivalence of language. In the process of translation, we should not only consider the formal factors such as vocabulary and grammar, but also pay attention to the linguistic factors such as context, culture and social background, which are very important to translation. Nida’s definition of translation indicates that translation is not only equivalence in lexical sense, but also equivalence in semantics, text and style. The information conveyed by translation includes both surface lexical information and deep cultural information. This kind of “dynamic equivalence” includes four aspects: 1. lexical equivalence；2. syntactic equivalence；3. textual equivalence；4. stylistic equivalence. Among these four aspects, Nida believes that “meaning is the most important and form is the second”(张春柏，1998：50).<br /> <br /> '''1.2 The criteria of functional equivalence theory'''<br /> <br /> Nida’s functional equivalence translation theory has four criteria (Nida, 2001:117): <br /> <br /> '''1.2.1 Conveying information'''<br /> <br /> The “information” includes all kinds of information conveyed by the original language: semantics, style, literary image, scene and psychological effect. In the theory of functional equivalence, the criterion of “conveying information” means that the target language information conveyed by the translator to the target language receiver should be basically the same as the original text information conveyed by the original author to the target language receiver. <br /> <br /> Example: “presidential historian...”<br /> <br /> “总统的史学家......”<br /> <br /> It is not clear that the message conveyed by “presidential historian” to Chinese readers is not the same as that conveyed by “presidential historian” to English readers. However, according to Nida’s functional equivalence theory, the translator translates it into “研究总统的历史学家” by adding words, so that Chinese readers can correctly understand the true meaning of “presidential historian” in the original text.<br /> <br /> '''1.2.2 Conveying the spirit and style of the original work'''<br /> <br /> From Nida’s point of view, translation is to reproduce the original text in the most natural way in the target language, first of all, meaning, then spiritual style, so that the receivers of the translated text can produce basically the same psychological response as the receivers of the original text. <br /> <br /> Example:“来吧，朋友!”<br /> <br /> It is a column broadcast by CCTV. If translated into “come on, friends!”, it seems to be close to the original in form, as a column is not solemn enough. And “solemnity” is the style of “来吧，朋友！”in the original Chinese text, which should be reproduced in the translation. Therefore, “A time to make friends” is quite different from the original Chinese in form, but it accurately conveys the spiritual style of the original to the target readers.<br /> <br /> '''1.2.3 Fluent language: fully in line with the norms and conventions of the target language'''<br /> <br /> This criterion means that, on the premise of conveying the information and spiritual style of the original text, the process of translation should not be constrained by the linguistic form and structure of the original text, and should grasp the connotation and spirit of the original text. <br /> <br /> Example：“车来了！”<br /> <br /> “Here comes the car / truck / bus / minibus / lorry / taxi!”<br /> In Chinese, the category word “car” is used to replace any form of vehicle. But this method is not found in English. On the contrary, English is accustomed to using specific vocabulary. Therefore, when translating similar Chinese into English, it is necessary to make clear the means of transportation and to translate the specific means of transportation according to the habits of English expression. If you cross the street, remind your peers to say “车来了！”You should translate it into “Be careful!” according to English expression habits, so that English readers can really understand the meaning of the original text.<br /> <br /> '''1.2.4 Similar reader responses'''<br /> <br /> The first two standards focus on the transmission of linguistic information, content and style, while the latter two focus on the acceptability of the translation to the audience：The relationship between the target reader and the target text should be basically the same as that between the original reader and the target text, so as to achieve the spiritual fit between the translator and the original author, thus enabling the target reader to get the same feelings as the original reader. <br /> Example: “as white as snow.”<br /> <br /> It can sometimes be translated into “very white” because people in the translated culture may not know what snow is. We can also translate “to grow like mushroom” into “如雨后春笋般地成长起来”, because “mushroom” means exactly the same in English as“春笋”in Chinese.<br /> <br /> '''Ⅱ. A brief introduction of Skopos theory'''<br /> <br /> Skopos theory is the core concept of German functionalist theory, which is put forward by Hans. J. Vermeer. Skopos theory holds that the purpose of translation determines the translation methods and strategies that are to be employed. Vermeer thinks that translators should follow three basic rules in the process of their translation, which are respectively skopos theory, coherence theory and fidelity theory. <br /> <br /> '''2.1 The development of Skopos theory'''<br /> <br /> Before the 1970s, the focus of translation studies was equivalence. In fact, this kind of equivalence was hard to achieve because the differences between cultures are hard to eliminate. In order to solve this problem, translation theorists put forward new theories, using functional and communicative methods to study translation. In this context, functionalist skopos theory continues to develop, and boldly shakes off the bondage of equivalence, taking the skopos as the general principle. So translation is examined in the framework of behavioral theory and intercultural communication, which opens a new path for the world translation theories, including the Chinese translation (Li Changshuan, 2009:11). The development of skopos theory has experienced the following four stages:<br /> <br /> The first stage: Katharina Reiss firstly introduced the concept of equivalence into translation criticism, proposing the prototype of functionalist theory. On the one hand, Reiss still insisted on the equivalence theory with the original text as the center, and pointed out that the ideal translation should be equivalent to the original text from the conceptual content, language form and communicative function. She believed that the ideal translation should be comprehensive communicative translation. On the other hand, Reiss also realized that some equivalence is impossible. For example, the translation and the original text have different functions. In this case, Reiss believes that the translator should give priority to the functional characteristics of the translation rather than the equivalence principle (Zhang Jinglan, 2004:1). Reiss's research laid the foundation for skopos theory.<br /> <br /> The second stage: Reiss’s student Hans J. Vermeer proposed skopos theory, taking the skopos of the translation as the paramount principle during the process of translation. Vermeer believed that translation is a kind of human behavior, and any kind of human behavior is purposeful, so the purpose of translation should be determined before the translation begins. Vermeer thinks that translation should be based on the original text, and translation is a purposeful behavior that must be completed by negotiation. In addition, translation must follow three basic rules, of which the skopos rule is the most important. After these three rules are put forward, the criteria for judging the good or bad translation are no longer “equivalence”, but whether the translation fully achieves the expected goal of translation or not.<br /> <br /> The third stage: Based on communication theory and action theory, Holz-Manttari proposed translational action. Translational action views translation as purpose-driven, outcome-oriented human interaction and focuses on the process of translation as message-transmitter compounds involving intercultural transfer (Jeremy Munday, 2001:77). Translation is a communicative process involving a series of roles and players Manttari regards text as a pure tool for achieving communicative function, and believes that its inherent value is completely subordinate to its purpose. The translator only needs to be responsible for the purpose environment, and the target text can be completely independent of the original text, thus further developing the functionalist translation theory. <br /> <br /> The fourth stage: Christane Nord comprehensively summarized and perfected the functionalist theory. Nord proposed the principle of &quot;function plus loyalty&quot;, which systematically elucidates the internal and external factors that need to be considered in text analysis of translation, and how to formulate a translation strategy that is consistent with the purpose of translation based on the original text.<br /> <br /> '''2.2 The definition of skopos'''<br /> <br /> Skopos theory was originally put forward by the German scholar Han J. Vermeer in 1978. “Skopos is a Greek word for 'aim' or 'purpose' and was introduced into translation theory by Vermeer as a technical term for the purpose of a translation and of the action of translating”(Munday, 2001: 78). Translation actions have many purposes, but Vermeer divides them into three categories: translator’s basic purpose, such as make a living; the target text’s communicative purpose, like enlightening the readers; and the purpose realized by selecting some special translation strategies or steps, for example, translating one language word by word aims to show the structure feature of this language. Generally speaking, the skopos theory refers to the communicative purpose of the source text.<br /> <br /> '''2.3 Three basic rules of skopos theory'''<br /> <br /> In this part, a detailed analysis of these rules will be presented with examples.<br /> <br /> '''2.3.1 The skopos rule'''<br /> <br /> In the three rules of Skopos theory, Skopos theory is the prime principle to be followed in any translation. Vermeer explains this rule as follows:<br /> <br /> ''Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.''(Vermeer, 1988:20) <br /> <br /> Therefore, skopos theory believes that any translation action is determined by the purpose of the translation. That is to say, “The ends justify the means” (Reiss &amp;Vermeer, 1984:101) the purpose of translation determines the translation methods and strategies.<br /> <br /> Example: I wear nothing but a few drops of Channel No.5<br /> <br /> 无限芬芳的超脱，点滴即可创造。<br /> <br /> If using the literal translation, this sentence can be translated as “我什么都不穿，除了滴几滴香奈儿五号”. However, this kind of translation extremely lacks of beauty and there is no more elegance. Considering that the ultimate goal of advertisement is to induce consumers to buy the products and services it promotes. This advertisement adopts free translation and combines with Chinese traditional culture, which makes it like a ancient poem with quaint charm. It not only expresses the meaning of the advertisement, but also injects the characteristics of art, thus letting Channel No.s full of magic. It satisfies some people's pursuit high quality of life, and also makes consumers deeply impressed. So it can be called a successful translation.<br /> <br /> '''2.3.2 The coherence rule'''<br /> <br /> Coherence rule is also called intratextual coherence rule. It holds that the translated text must be coherent, readable and acceptable. In other words, the TT receivers can understand the TT according to their cultural and intellectual background. Any text is a provider of information and functions, but the information and functions are not always obvious from a linguistic point of view. The translator selects aspects and components that serve the purpose according to the skopos rule, and then translates the source text through language processing to make the translated text become a new information provider. In the language processing process, translators must be concerned that translation is readable and understandable in the translated language. Only the translation is meaningful in the communicative context of the TL receivers can the culture and information of the source text be effectively transmitted to the target language readers.<br /> <br /> Example: Enchanting medieval house with five acres of delightful gardens.<br /> <br /> 这里是迷人的中世纪住宅，外有五英亩的美丽花园。<br /> <br /> This is a part of the travel propaganda. In order to ensure that translation is smooth and coherent, the original prepositional phrase is changed into a complete sentence with a subject-predicate structure, which doesn’t make the relationship among sentences appear loose. <br /> <br /> '''2.3.3 The fidelity rule'''<br /> <br /> Fidelity rule is also called inter-textual coherence and states that there must be coherence between the ST and the TT. It is similar to the “faithfulness” of Yan Fu’s theory. Fidelity rule maintains the status of the original text and constrains translation actions of different translation purpose. However, the concept of Fidelity rule is relative. The form and degree of faithfulness is determined by the purpose of translation and the translators’ understanding of the original text.<br /> <br /> Example: Free entry into farm, Dogs on lead. <br /> <br /> OPEN DAILY: 1 March--30 November 10:00 am--5:00 pm<br /> <br /> 农场免费进入，宠物狗请带好狗绳。<br /> <br /> 开放时间：3月1日--11月30日 上午10点--下午五点<br /> <br /> The time, place and various precautions in the travel text are very important, because the error of this kind of information will bring unnecessary trouble to the tourists. Therefore, the translation, according to the fidelity rule, faithfully and effectively conveys the original information to the reader for the purpose of facilitating the tourists. <br /> <br /> There exists a hierarchical order of these rules. The skopos rule is the most important one and other two rules are subordinate to it. At the same time, the fidelity rule is also subordinate to the coherence rule.<br /> <br /> '''Ⅲ. Comparative study on Nida's functional equivalence theory and functionalist skopos theory'''<br /> <br /> This chapter will mainly discuss the differences and similarities between functional equivalence theory and skopos theory.<br /> <br /> '''3.1 The differences'''<br /> <br /> '''3.1.1 Different theoretical basis'''<br /> <br /> The early equivalence theory was directly influenced by American structuralist linguistics and human linguistics. Later, Nida combined translation studies with the syntactic structure analysis method, semantic component analysis method and Chomsky's transformational-generative grammar that were popular in the United States in the 1940s and 1950s, took structural analysis of language expressions and translation procedures, and injected fresh blood into translation studies (Chen Gang, 2011: 145). Using communication theory and cross-cultural content as the starting point, Nida revised Chomsky's deep transfermation grammar, paid attention to the psychology of information receivers, and stimulated the potential of information receivers as .much as possible.<br /> <br /> German skopos theory is an emerging school in the late 1970s. It criticizes that the translation theory based on linguistic school pays much attention to form, and is developed on the basis of communication theory, information theory, behavior theory, discourse linguistics, and text theory. Based on the behavior theory, Skopos theory proposes the concept of translation action, which extends translation to a new field. That is to say, translation is a kind of purposeful and conscious intercultural communication action of human. As the name suggests, Skopos theory regards translation activities as a kind of &quot;action&quot;, and any action has its goals or skopos. One of the representatives of the skopos theory, Hans J. Vermeer, summarizes the essence of skopos theory in a concise language: the ends justify the means, that is, the purpose of translation determines the translation process.<br /> <br /> '''3.1.2 Different translation principles and standards'''<br /> <br /> Nida's functional equivalence refers to “the closest natural equivalence to the source language information”. “Natural” here means that the translation must conform to the language and culture of the target language, in line with the context and the requirements of the target receivers. &quot;Equivalence&quot; here, he clearly stated that it is not &quot;equivalence&quot; in mathematics, but &quot;approximation&quot;, that is, the approximation of functional equivalence from varying degrees. From the above Nida’s dynamic equivalence theory, the translator must conform to four criteria in order to achieve &quot;close and natural equivalence&quot;: (1) conveying meaning; (2) conveying the spirit and style of the original work; (3) fluent; (4) similar reader responses. In order to achieve these four standards, there will be contradictions between content and form from time to time. It is either the content giving way to form, or the form giving way to content. The two form a unified whole.<br /> <br /> Skopos theory advocates that translation should follow three rules: the skopos rule, the coherence rule and the fidelity rule, of which the skopos rule is the highest principle. The main purpose is to make the translation achieve the expected function of the target language receivers in the target language environment. In addition to the highest principle, the translation must follow the coherence rule and the fidelity rule. The former requires the translation to be &quot;coherent within the text,&quot; that is, the translation needs to meet the communication context and cultural background of the target language so that the target reader can understand. The latter requires the translation to be coherent between the ST and the TT. That is, the translation should try to imitate the original text, whether it is formal imitation or content imitation is permissible, which depends on the purpose of the translation. The latter two rules are subordinate to the highest rule-- the skopos rule.<br /> <br /> But this also makes the translation theorists produce questions. Is the translator free to do anything for the purpose? Then Nord put forward the theory of “function plus loyalty”. Nord believes that &quot;there is no translation without the original text&quot;, and free rewriting does not belong to translation; &quot;Translators should be responsible for both the original text and the translation environment, and be responsible for both the sender of the original information and the recipient of the translation.&quot; This responsibility of the translator is &quot;loyalty&quot;(Zhang Meifang, 2005:60-65). The principle of &quot;function plus loyalty&quot; avoids the skopos theory to go to extremes, and complements skopos theory, highlighting the responsibility of translators, and limiting the translator's freedom. Because the skopos theory believes that the success of the translation is judged by whether the expected purpose of the source text is realized or not, and the expectation also reflects the requirements of the target language reader. Since the target language readers reflect differently, so the translation standard of the skopos theory is also diversified.<br /> <br /> '''3.1.3 Different cultural directions'''<br /> <br /> Nida tried to overcome the cultural difference and eliminate the cultural atmosphere in the source text. His theory is mainly oriented to the original text. That is, the source language culture, emphasizing the consistency of cultural environment between the source language and the target language. At the same time, Nida is a support of language commonality. His theory reflects the translation thought of structuralist linguistics, that is, the &quot;mirror reflection&quot; of the objective world and the universality of language expression. The translators’ full imitation and the independence of express the value of their culture, especially the cultural consistency of the target language culture and the source language culture.<br /> <br /> Vermeer regards translation as a purposeful action, firstly in its outcome, that is, the target text. The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).<br /> <br /> '''3.2 The Similarities'''<br /> <br /> '''3.2.1 Both are a combination of translation and language function'''<br /> <br /> The skopos theory represented by Hans J. Vermeer and Christane Nord, and the functional equivalence theory of Nida are put forward by different schools in different periods, but there are still many internal connections and intercommunity. There is no doubt that both have their rationality of existence and show progress in their translation activities of their respective periods. Whether it is &quot;skopos theory&quot; or &quot;functional equivalence theory&quot;, both their ultimate goals are to achieve smooth communication between different languages and reduce misunderstandings and conflicts arising from information exchange. In particular, both combine translation with language functions, focusing on the role of language functions in translation. Skopos theorists believe that translation is a purposeful communicative activity, and the translation process is determined by the expected function or purpose of the translation. This purpose is to a great extent influenced by the target receivers and the context and cultural background of the target receivers. Therefore, the translator should decide the choice of the original text information, the use of the translation strategy and the expression of the translation according to the requirements of the clients, combined with the purpose of the translation and the specific situation of the target receivers<br /> <br /> Nida also put forward the translation principle of functional equivalence from the perspective of language function, and also combines translation with language functions. He pointed out that due to the differences in language and culture, it is impossible for translation to obtain the formal equivalence between the source text and the target text, but only functional equivalence. Although the expressions of various languages are different, they have the same expressive power and have the same or similar language functions, that is, expressive, cognitive, interpersonal, informative, imperative, empathetic, sympathetic, empathy and aesthetic function. If the translation of these aspects is basically the same, then the functional equivalence of translation is achieved. According to this, he put forward that &quot;the preservation of the original content must change the form, the degree of change, and must depend on different languages in the distance between language and cultural.&quot; In order to produce efficacy, the adjustment of the translation from form to content is the specific application of functional ideas. However, Nida did not develop further in the direction of functionalism, but still focused on the concept of equivalence. Therefore, his theory is fundamentally different from the views of the German functional translation school.<br /> <br /> '''3.2.2 Both emphasize the role of the readers and the intelligibility of the translation.'''<br /> <br /> Vermeer believes that the recipients of the translation, that is, the readers, as an important part of the translation requirements, is one of the most important factors in determining the purpose of translation; the target language receivers is the recipient or listener of the translated text with the knowledge, expectation and communication needs of his own specific culture world. Translation is the text in the environment of the target language produced for the purpose of the target language and the reader of the target language in the context of the target language. In addition, the coherence rule of skopos theory emphasizes that the translation must meet the criteria of &quot;coherence within the text&quot; that is, only the text is fully understood by the recipient can they make sense. It can be seen that the skopos theory emphasizes the role of the readers and the intelligibility of the translation.<br /> <br /> Nida's functional equivalence theory is also readers-oriented. Nida believes that the research object of translation is the reader; the recipient is not a passive target of language communication, but an active participant in communicative activities. The reader's response is the only criterion for judging the quality of the translation. Therefore, the translation must be fluent and understandable. In order to achieve the intelligibility of the translation, it is even possible to delete parts that the reader cannot understand, such as metaphors.<br /> <br /> '''Conclusion''' <br /> <br /> By comparatively analyzing Eugene Nida's functional equivalence theory and the German functionalist skopos theory, skopos theory critically inherited the rational factors of Nida's functional equivalence theory, and abandoned its irrational part. Skopos theory gets rid of the shackles of equivalence theory, breaking the traditional perspective of single translation studies, turning attention to the study of other relevant factors in translation activities other than language. Skopos theory broke through the framework of equivalence translation theory, and proposed a theoretical system of diversification of translation standards led by the skopos rule. The diversification of translation standards makes the function closer to reality. This is clearly more scientific, more operative and more versatile than Nida's theory that takes functional equivalence as the sole criterion. Moreover, compared with the traditional language translation theory that emphasizes the internal study of translation, Skopos theory denies that translation is a simple language conversion, and pays more attention to the external of translation. Compared with Nida, Skopos theory are more concerned with the humanity and sociality of translation activities. In addition, the Skopos theory shifts the focus of translation from the reproduction of the original text to the more challenging creation of target text, which enhances the active participation of the translator as the main body of the translation, overturning the center status of the original text, and establishing the central status of the target text and the translator. The functionalist skopos theory puts translation in a dynamic cultural context, emphasizing the translator's active intervention. Therefore, it solves some problems that the functional equivalence theory fails to solve, broadens the research perspective of traditional translation theory, is a major breakthrough and important supplement to the functional equivalence theory, and erects a distinctive flag in modern translation theory.<br /> <br /> '''Bibliography'''<br /> <br /> Munday, Jeremy. ''Introducing Translation Studies: Theories and Application''[M], London &amp; New York: Routledge, 2001:77.<br /> <br /> Nida, E.A. ''Language and Culture: Context in Translation'' [M]. Shanghai: Shanghai Foreign Language Education Press, 2001:117. <br /> <br /> Reiss, Katharina &amp; Hans J. Vermeer. ''Groundwork For a General Theory of Translation''[M]. Tubingen: Niemeyet, 1984:101.<br /> <br /> Vermeer, Hans J. ''Didacitics of Translation''[A]. ''Routeledge Encycolopedia of Translation''[C]. London &amp; New York: Rutledge, 1998:20.<br /> <br /> 陈刚．《翻译学入门》[M]．杭州：浙江大学出版社,2011:145.<br /> <br /> 范德瑞.奈达功能对等理论与功能主义目的论比较研究[J].淮海工学院学报(人文社会科学版),2019,17(04):66-69.<br /> <br /> 李长栓.《非文学翻译理论与实践》[M].北京：中国对外翻译出版公司.2009:11<br /> <br /> 张春柏.影视翻译初探[J].中国翻译,1998(2):50-53.<br /> <br /> 张锦兰.目的论与翻译方法[J].《中国科技翻译》2004,17(01):1.<br /> <br /> 张美芳.功能加忠诚--介评克里丝汀·诺德的功能翻译理论[J]．外国语,2005(1):60-65.<br /> <br /> =='''On the Comparison between &quot;Sublimation&quot; an &quot;Functonal Equivalence&quot; Theories'''==<br /> <br /> '''Abstract''': Qian Zhongshu and Eugene Nida are outstanding and renowned translators in the history of Chinese and Western translation respectively. It is believed that Mr.Qian’s “Sublimation” theory and Nida’s “Functional Equivalence” theories have a broad and profound impact on Chinese and Western translation theories and practices. This paper will recognize the theoretical value of these two theories from the dialectical point of view by comparing the similarities and differences between “Sublimation” and “Functional Equivalence”. It aims to better apply translation theory to translation practice, and advocate us to view Chinese and Western translation theories from a historical and contradictory perspective, and thus making Translation Studies become more systematic and scientific.<br /> <br /> '''Key words''': sublimation; functional equivalence; Qian Zhongshu; Eugene Nida<br /> <br /> '''Introduction''':<br /> As a famous master of literature, translation and academy, Qian Zhongshu is considered as “the Kunlun Mountain of culture” by many scholars on account of his remarkable achievements and a wide range of knowledge. His literary masterpieces include “Pipe-awl Chapters” , “Discourses on Art”, “Seven Patches”, “Selected Essays of Qian Zhongshu”, “Fortress Besieged” and so on. What’s more, he proposed “Sublimation” theory in translation field, which does great contribution to traditional Chinese translation theory and make Translation Studies more systematic. As Chinese scholar Chen Fukang said: “He (Qian) has made a great many outstanding achievements in some important fields like literature and academic research. Although the discussion on translation is only a carved railing in his academic palace, it can have a huge impact in the field of translation studies.” (Chen Fukang 2000: 417).<br /> <br /> Eugene Nida is a famous American contemporary linguist and translation theorist. He has been devoted to the translation of the Bible and has summarized a set of translation theories from his own translation practice. The core point of his translation theory is “Functional Equivalence” (initially called “Dynamic Equivalence”). From his point of view, “Functional Equivalence” is to refer to the type of equivalent reflected in a TT which seeks to adapt the function of the original to suit the specific context in and for which it was produced” (Shuttleworth &amp; Cowie, 2004: 64). It requires that the translation should focus on the meaning and spirit of the original text, instead of being constrained by formal correspondence. According to this theory, he deems that the translation must have four criteria: (1) conveying meaning; (2) expressing spirit; (3) natural and smooth wording; (4) similar receptor response. In his book “From one language to another”, he replaced “Dynamic Equivalence” with “Functional Equivalence” and put forward two levels of meaning, say, referential meaning and associative meaning.<br /> <br /> <br /> '''1.The theoretical origin of “Sublimation” and “Functional Equivalence”'''<br /> <br /> '''1.1 The theoretical origin of “Sublimation”'''<br /> <br /> The idea of Qian Zhongshu’s translation theory of “Sublimation” comes from his book “Lin Shu's Translation” written in 1963 and “The Pipe-awl Chapters” published by Zhonghua Book Company in 1979. He proposed that the process of translation is actually a process of employing “enticement”, avoiding “misinformation” and pursuing “sublimation”. Then he pointed out: “The highest ideal of literary translation is ‘sublimation’. When you translate the literary works from one language to another, you can not only avoid the trace of stiffness and awkward expressions resulting from the different habits of language use, but also completely preserve the flavor of the original. Then we can say, that's the realization of ‘Sublimation’ ” (Qian Zhongshu, 2002: 77). According to his explanation, it can be easily seen that the core of his translation theory is “Sublimation”. What’s more, we can extract 3 levels of “Hua” (Sublimation) from his theory, the first is to transform the source text to target text, and then use the domesticating method to make the source language be naturally and smoothly expressed in target language without any transparent feeling of translation caused by the differences of culture and language. Finally, it is the ultimate goal of “Sublimation” that is to say, “the transmigration of souls”, replacing the external shell and retaining the inner spirit and style without the slightest deviation. In other words, a translation should cleave to the original with such fidelity that it would not read like a translation, for a literature work in its own language will never read as though it were through a process of translation (Kao, 1975: 8-9). <br /> <br /> '''1.2 The theoretical origin of “Functional Equivalence”'''<br /> Nida first proposed the concept of dynamic equivalence in the 1964 book “Toward s Science of Translating”. He believed that there were two kinds of equivalence in translation, namely formal equivalence and dynamic equivalence. Specifically, formal equivalence is the “quality of a translation in which the features of the form of the source text have been mechanically reproduced in the receptor language”. On the contrary, dynamic equivalence is the quality which characterizes a translation in which “the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors” (Nida &amp; Taber, 1982: 200-201). Nida’s translation theory has its origin from his own translation practice of the Bible, in which he emphasized the communicative function of translation from the perspective of semantics and information theory. What's more, he regarded translation as interlingual translation, and he stressed the importance of paying attention to the receptors' response, in order to pursue the standard that target readers could have the same response as the original readers. In his book “From one language to another”, he changed the term “Dynamic Equivalence” to “Functional Equivalence” and he emphasized that we should try to achieve formal equivalence on the basis of the accordant information conveyed from the source text to the target language. In addition, he divided the translation process into three steps, say, “analysis, transfer, restructuring and check”. Through these four steps, the original information can be accurately conveyed, the response of the target receptors is also concerned, and the purpose of communication will be well achieved.<br /> <br /> <br /> '''2.Similarities and differences between “Sublimation” and “Functional Equivalence”'''<br /> <br /> '''2.1 Similarities between “Sublimation” and “Functional Equivalence”'''<br /> <br /> (1) The same concern for the translation processes: As we mentioned above, Mr. Qian Zhongshu proposed that the process of translation is actually a process of employing “enticement”, avoiding “misinformation” and pursuing “sublimation”. To put them specifically, “enticement” refers to the role that plays in cultural exchanges by means of translation. In this sense, translation can be regarded as a guide that will lead target readers to understand the original language and culture and to better understand foreign excellent works. This process is of great significance because If the readers have little interest in the source language culture and foreign literature; then the translation works will lose its value. So we can say that translation is not only a conversion of two languages, but also a collision between different cultures and thoughts. The so-called term “Misinformation” refers to the distortion and wrong expression of the translation. Since “Misinformation” is the inevitable shortcoming of translation, no matter how excellent a translator is and no matter how smooth his translations are, he can not avoid making mistakes of one sort or another in one way or another, but he can exhaust every means to reduce misinformation to its minimum (Yu Chengfa,2003: 43). This is due to the gap between different languages, the gap between the translator's understanding, the style of writing and the form of original content, and even the gap between the translator's comprehension and his ability of expression. The final step is called “Hua Jing”; here “Hua” means “Sublimation”,which is the highest ideal of literary translation and also the ultimate goal of translation processes. A translator should try to figure out what the original writer means and ponder over what he imagines so so to immerge oneself with the writer(Luo Xinzhang, 1984: 511). Qian Zhongshu's explanation of the process of translation is the essential condition for the realization of “Sublimation” (Hua). Therefore, when doing translation practice, the translator has to make each step be well prepared, which requires a high standard of the translator's ability and quality. <br /> <br /> Similarly, based on the theory of “functional equivalence”, Nida proposed a “four-step model” of the translation process from the perspective of linguistics, namely, “Analysis, Transfer, Restructuring and Check”. Nida and Taber claim that all languages have between six and a dozen basic kernel structures and “agree far more on the level of kernels than on the level of more elaborate structures” such as word order. First of all, “Analysis” denotes that we have to analyze the surface structure of the source text and then to master the grammatical meaning of the sentence, in other words, the referential meaning and connotative meaning of the source text. In order to convey the original information correctly, the translator must analyze the text from surface structure to the deep structure. Then, “Transfer”, it means that the translator renders the analyzed source text to the target text. This step contains the conversion of two different language symbols and language forms, and it is also an exchange of different thinking modes. Next, “Restructuring” is the re-processing and re-creation of the original text, in which the translator will translate the original text into the target one that conforms to the expression of the target language, getting rid of the constraints of the surface structure of the original text, thus further excavating the meaning of the deep structure. Restructuring is thus defined as forward translation, or in other words the process which is the reverse of back-transformation (Shuttleworth &amp; Cowie, 2004: 145). Last but not least, &quot;Check&quot; refers to the process of comparing the text of the original language with the target language so as to avoid semantic errors in the translation works, and pursue the maximum equivalence between the content of the target text and the content of the original text. Nida and Taber’s own description of the process (1969: 63–9) emphasizes the ‘scientific and practical’ advantages of this method compared to any attempt to draw up a fully comprehensive list of equivalences between specific pairs of SL and TL systems (Jeremy Munday, 2016: 63). <br /> <br /> (2)The same concern for the response of the target readers: Since ancient times, the domestic and foreign translators have different opinions on the criteria of excellent translation. Yan Fu proposed his famous three-character guideline, namely, “Faithfulness, Expressiveness and Elegance” in his translation work “Evolution and Ethics and Other Essays”. Similarly, western translator Alexander Fraser Tytler put forward the “Three principles of translation”. To put it simply, that the translation should give a complete transcript of the ideas of the original work; that the style and manner of writing should be of the same character as that of the original; that the translation should have all the ease of the original composition. From the analysis of Yan Fu’s and Tytler’s description of translation criteria, we can see the fact that the study of the principles and standards of translation is precisely the translator’s emphasis on the target readers, and also reflects the translator’s sense of responsibility for the target culture. Qian Zhongshu's “Sublimation” theory stressed that translators should guide our readers to read foreign literary works or let our readers be attracted by the foreign culture and introduce foreign writers to them. “Sublimation” is not only a standard for translation, but also a reflection of translators’ care for the target readers. Mr. Qian said: “The translation should be faithful to the original work, so that it does not read like a translation work, because the original work will never be read like a translation in the situation of source culture.” A good translation can stimulate the reader's curiosity about the original work and also give the reader the enjoyment of beauty. What’s more, Mr. Qian also commented the three principles proposed by Yan Fu: <br /> <br /> “Faithfulness in translation should include expressiveness and elegance. Expressiveness gives full scope to faithfulness, and elegance is not just to adore expressiveness. To convey the original in the same style---that is faithfulness. ...Many have come to understand that a translation is not supposed to beautify or polish to attain elegance. Yet few have realized that a translation has to give up the words for the spirit. A translation can be intelligible without being faithful to the original, yet can be faithful to the original without being intelligible to the reader.”(Qian Zhongshu, 1986: 1101) <br /> <br /> In the meanwhile, Nida deemed that the accuracy of the translation depends on the extent to which the ordinary readers correctly understand the original text, that is, whether the target reader can obtain similar or identical feelings when reading the translation works. The purpose of “functional equivalence” is to satisfy the communication needs of the readers. In order to achieve this goal, we have to change the form of the original text if it is necessary and consider the reader's acceptance of the translation work. Nida's “Functional Equivalence” requires not only the faithfulness to the original text, but also the accountability to the target readers and the original readers. Nida describes various “scientific approaches to meaning” related to work that had been carried out by theorists in semantics and pragmatics. Central to Nida's work is the move away from the old idea that a word has a fixed meaning and towards a functional definition of meaning in which a word acquires meaning through its context and can produce varying responses according to culture. <br /> <br /> From what we has discussed above, we can see that both Nida’s “Functional Equivalence” and Qian Zhongshu’s “Sublimation” must take the reader’s reaction into consideration. Therefore, as a standard for translation, these theories avoid mechanical textual equivalence and bilingual conversion, which promotes the development of translation practice.<br /> <br /> (3)The Domesticating tendency of the two theories: As we mentioned in the very beginning, Mr. Qian’s “Sublimation”(化) theory has three meanings, namely “Transfer”(转化), “Domesticating”(归化) and “Sublimation”(化境). It can be seen easily that “Domesticating” is a bridge connecting the transformation of source text and the realization of Sublimation in target language. In the book “Seven Patches”, he wrote: “whether the target version is ‘European-oriented’ or ‘Chinese-oriented’, the translation is always based on the language system from the original country to the language system of the target country(2002: 78). Although he did not explicitly state whether the translation should be “domestication-oriented” or “foreignization-oriented”, he compared the translation to the “reincarnation” of the original and regarded that the translation was an “out form” of the original. In addition, he appreciates Lin Shu’s translation works, and comments that he would rather read Lin Shu’s translation than read Haggard’s original text. In this way, Mr. Qian Zhongshu seems to prefer the text of “Chinese-oriented” style, which demonstrates the tendency of “Domestication”. In the theory of “Functional Equivalence”, Nida advocates the use of the expression habits of the target language to transform the original text. He believes that language is the means of communication, and communication is the ultimate goal and an important role of translation, so he pays more attention to the receptors' response to the target text. In order to allow the target readers to accept the translation, it is necessary to make the translation correspond to the cultural traditions and language habits of the target language. At the same time, the translator has to make the translation natural and smooth under the premise of ensuring loyalty. Nida's “Domesticating” translation tendency can be seen from the above view. Please look at the following example:<br /> <br /> S: “white as snow”<br /> <br /> T: “白如木棉花” or “白如鹭毛” or “白如蘑菇”<br /> <br /> From the point of view of traditional translation standards, the above example runs counter to the original information. However, for those who have never seen snow will never know what snow is alike, and therefore he can't understand what &quot;white as snow&quot; means. Through the strategy of “Domestication”, the target readers can have a similar response to the original readers, so as to better achieve the purpose of communication.<br /> <br /> '''2.2 Differences between “Sublimation” and “Functional Equivalence”'''<br /> <br /> (1) Different theoretical basis: Qian Zhongshu's “Sublimation” theory is based on Yan Fu’s criteria of translation “Faithfulness, Expressiveness and Elegance”, which is the development of Chinese traditional translation theory. Qian Zhongshu's “Sublimation” theory has pushed the study of translation to the extreme of art from the category of aesthetics. Eventually, the “Sublimation” theory was included in the course of the development of Chinese translation thought, say, “Case - Seeking faithfulness - Spiritual likeness - the Sublimation”. These four concepts, are independent, but also interconnected. They developed gradually to constitute a whole translation system and this whole system works as an important part of our traditional translation theory (Luo Xinzhang, 2009: 20).<br /> <br /> Nida’s “functional equivalence” was established on the basis of his Bible translation practice. Under the guidance of Chomsky’s transform-generating grammar, Nida’s functional equivalence requires that the translator analyze the given text from the surface structure to the deep structure; then transform it from the deep structure of the original text to the deep structure of the target text, and finally adjust the target language structure to obtain the surface structure of the translated version. From a series of steps, we can see that the hierarchical and theoretical property of translation studies, so Nida put forward his opinion that translation could be considered as a science. Qian Zhongshu thought that the translated works could surpass the original works and sometimes even should be much better than the original; while Nida did not choose the advantageous version between the original and the target text- his more emphasis goes to the equivalence between the two languages and the response of the target receptors thus more priorities were given to the communicative function. <br /> <br /> (2)Different scopes of their application: “Huajing” (Sublimation) was proposed by Mr. Qian Zhongshu for literary translation standards; hence it may be more appropriate for the translation of literary genre. He considered that translator should “break through” the barriers of cultural differences and make the translation “surpass” the original work. However, it seems unreasonable for the translations of applied styles which relates to politics, economics, law, trade, etc. In addition, some scholars believe that Mr. Qian’s “Sublimation” has over-emphasized the mystery of art and has become a vague standard that could be hard to reach (Gao Huali, 2009: 154). The “highest ideal” of the literary translation he described will inevitably produce the problems of “Misinformation”, which would limit the scope of application of “Sublimation”. Despite the fact that scholars and experts of one generation after another have made their fruitful efforts to shed light on “Sublimation” from various aspects, it remains theoretical unexplainable and practical unattainable, like “an attic, in the air” to many people in the translation circle (Yu Chengfa, 2003: 8) <br /> <br /> On the contrary, Nida’s translation of Bible carries religious culture with integrity and solemnity. He preached to people from all walks of life in order to spread the will of God; therefore, his translation must not only meet the needs of the aristocracy, but also the needs of ordinary people who lack knowledge of religious culture. The target readers of the “functional equivalence” theory is the masses from all walks of life in the society, and its range of application is more practical. Nida’s equivalence of translation is derived from the translation practice of the Bible. As we know, western languages have a lot in common in culture and words of expression, so Nida’s “equivalence” is relatively easy to achieve between two European languages. In English-Chinese translation, it may be more difficult to achieve complete “equivalence”, because Chinese and English belong to different language systems, and their cultures are rather divergent. Nida strictly divides the translation steps into four, which can be used as a practical translation method to guide the translation of some scientific and technical articles, announcements, and application articles. For literary genres, such as the translation of poetry and prose, the translator's creativity may be more important. It is difficult to convey the literary nature of the original text by mechanical methods and steps.<br /> <br /> '''3.A Critical Understanding of “Sublimation” and “Functional Equivalence”'''<br /> <br /> '''3.1 Is “Sublimation” faithful ?'''<br /> <br /> According to traditional translation theory, the translator is always regarded as the &quot;servant&quot; of both the original and the translated text. He must be faithful to the original author while concerning the target readers. Xu Jun (2003: 321) wrote in his book “On Translation”: “Three points are often emphasized in traditional translation theory: first of all, translators should not incorporate their own subjective thoughts in translation; then they should not express their individuality in translation; in the end, translators should render the text on the basis of original message, and loyally follow the thoughts of the original writer. From the analysis of Qian Zhongshu’s “Sublimation” theory, it is clear to see that he is more inclined to the translation strategy of “Domestication”, which emphasizes that the target version can surpass the source text. He, himself appreciates Lin Shu’s translation works, because of their common advocacy and similar historical background. From the point of view of historical materialism, “social existence determines social consciousness, and social consciousness has an adverse effect on social existence.” For example, Lin Shu was living in a closed country and at that time , Qing Dynasty was extremely arrogant or even ignorant. His style and characteristics of the translation were naturally influenced by this national sentiment. Therefore, his translation had tendency to “Domestication” or even an unfaithful translation. Qian Zhongshu lived in a period of prosperity in literature and art since the establishment of People's Republic of China and at that time Chairman Mao proposed the policy of “All flowers blossoming and hundreds of schools contending (百花齐放，百家争鸣). So our Chinese people were overflowing high spirit and proud emotion; some translators’ translation works are more inclined to take the advantages of “Domestication” and make the translation work more excellent than the original one. Such a translation strategy will be somewhat “disloyal” to the original text, and will not “sincerely imitate” the original text as Lu Xun advocates from his “Foreignization” method. It is difficult to concretely implement “Sublimation” theory, because it has become an “unattainable” goal. Whether the translation should be “Chinese-oriented” or “European-oriented”; be “faithful” or “creative”, and whether the translator should be “visible” or “invisible” in translation are all difficult standards to measure since these factors are inevitably affected by the subjective and historical objectivity of the translator. Is “Sublimation” really a faithful translation to the original text? Perhaps just as Mr. Qian himself said: “The translator’s ability to use his native language is more flexible and smooth than the original author’s ‘source language’ and that is what always happens in the history of translation.” We can consider that such “disloyal” is “faithful” in a certain sense.<br /> <br /> '''3.2 Problems of Nida’s “Functional Equivalence”''' <br /> <br /> The questions of meaning, equivalence and translatability became a constant theme of translation studies in the 1960s and were tackled by a new ‘scientific’ approach followed by one of the most important figures in translation studies, the American Eugene Nida. Eugene Nida’s theory of translation developed from his own practical work from the 1940s onwards when he was translating and organizing the translation of the Bible, training often inexperienced translators who worked in the field. <br /> As for Nida's “functional equivalence” theory, praise and opposition to his theory are always existing in the translation circle. Some people think that the theory is a representative of the science of translation science and has a good guiding role in translation practice. However, there are also some scholars who disagree with this theory and for example Peter Newmark is one of its critics. He believed that Nida’s equivalence theory takes the reader too seriously, but sometimes sacrifices the actually original thoughts of the writer. It is also doubtful whether “functional equivalence” can be applied to the original texts of various subjects. If the translator partially pursue “functional equivalence”, which will makes it difficult for the target readers to fully understand the original cultural information and it is not conducive to the mutual communication between different countries and cultures. For the above example: if we render “White as snow” as “白如鹭毛”, target readers may understand the meaning of the original author, but they still have no idea of what the word “snow” actually means. This has become a situation where we cannot get two things at the same time, or in Chinese “鱼和熊掌不可兼得”. However, If the original text is literally translated as “white as snow”, then the translator continues to explain what substance a “snow” is and what characteristics it may have and why we say its color is as white as egret’s feathers. In this way, not only can the readers of the translation work have the same response as the readers of the original, but also it is conducive for them to learn to understand new things and new concepts, which will gradually promote the communication of different cultures and the mutual interests of different countries. <br /> <br /> '''4.Conclusion'''<br /> <br /> Mr. Qian Zhongshu’s “Sublimation” theory and Nida’s “Functional Equivalence” respectively represent huge progress in Chinese and Western translation studies, and they played an important role for the reference of translation studies and practice. Their theory is likened a treasure-house that requires more investigation and more exploration. Their theory is likened a treasure-house that requires more investigation and more exploration. Furthermore, we must learn their theories with a critical view, so as to strive for innovation and establishment of a new era for translation studies.<br /> <br /> '''References'''<br /> <br /> [1]Chen Fukang. A History of Chinese Translation Theories in China [M].Shanghai: Shanghai Foreign Language Education Press.2000.<br /> <br /> [2]Gao Huali. A Short History of Translation And Interpretation in China And Other Countries [M].Hangzhou：Zhejiang University Press.2009. <br /> <br /> [3]Kao, Gorge. (trans.) Lin CH'in-nan Revisited [A]. By Qian Zhongshu. Renditions [J], autumn, 1975: 8-21<br /> <br /> [4]Luo Xinzhang.On Translation [M].Beijing：The Commercial Press.1984.<br /> <br /> [5]Mark, Shuttleworth, Moira Cowie. Dictionary of Translation Studies [M]. Shanghai: Shanghai Foreign Language Education Press. 2004.<br /> <br /> [6]Munday, Jeremy. Introducing translation studies: Theories and applications. Routledge, 2013.<br /> <br /> [7]Nida, Eugene A. &amp; Charles R.Taber (1969/1982) The Theory and Practice of Translation, Leiden: E. J. Brill.<br /> <br /> [8]Qian Zhongshu.Pipe-awl Chapters [M].Beijing：Zhonghua Book Company.1986.<br /> <br /> [9]Qian Zhongshu.Seven Patches [M].Beijing：SDX Joint Publishing Company.2002.<br /> <br /> [10]Xu Jun.On Translation[M].Wuhan：Hubei Education Press.2003.<br /> <br /> [11]Yu Chengfa. Interpreting Sublimation [D].Central China Normal University,2003.<br /> <br /> =Theory and Practise=<br /> =='''Translators' Views on Translation Influence Their Translation Behavior'''==<br /> <br /> <br /> '''Abstract:''' A translator plays an essential role in the translation process. Translators’ views on translation is their understanding of translation, embodied in their translation strategies and value orientations, which are different from each other due to their social and cultural context and also their personal experience and philosophy. The translators’ view on translation, as a part of the translators’ ideology, exert a great influence on their translation behavior. For translators, translation is never a individual activity, but a responsibility to the author, the SL culture, the reader, the TL culture and eventually themselves.<br /> <br /> '''Key words:''' translator’s view; translation behavior; translation principles; responsibility<br /> <br /> '''译者翻译观对其翻译行为的影响'''<br /> <br /> '''摘要：'''译者在翻译中处于核心位置。译者的翻译观指译者本身对于翻译的理解，其中包含了译者的翻译策略和价值取向。不同的译者受其社会与文化及个人经历和意识形态的影响，会有不同的翻译观。翻译观作为译者意识形态的一种，对翻译行为有着很大的影响。对于译者来说，翻译从来不是个人行为，而是一种对原作者、原作、读者及译入语文化的责任。<br /> <br /> '''关键词：'''译者；翻译观；翻译行为；翻译原则；责任<br /> <br /> A translator plays an essential role in the translation process. Translators’ views on translation is their understanding of translation, embodied in their translation strategies and value orientations, which are different from each other due to their social and cultural context and also their personal experience and philosophy. And “translation behavior”, in a broad sense, includes the translators’ linguistic translation behavior and the social transcend-translation behavior. In a narrow sense, it only means the translators’ translation as a “pure” translator (Zhou 18). The “translator behavior” in this thesis is a broad one, that is, translators’ translation behavior can be influenced by their social and cultural context, their motivations for translation, their views on translation and the linguistic translatability of the SL and their translation competence (Xu Jun 199-254). Specifically, the translation behavior we will discuss is “what to translate (what works they translated)” and “how to translate (their translation principles)”. According to A. Lefevere, ideology and poetics together dictate the translation strategy and the solution to specific problems (39). The translators’ view on translation, as a part of the translators’ ideology, exert a great influence on their translation behavior. <br /> <br /> So how is translation behavior associated with translator’s views?<br /> <br /> From the very beginning the research of translation was limited in a certain extent, and then there were some scholars starting to study on the relationship between translation and other systems, including Even-Zohar, Bassett, Lefevere and Venuti.<br /> <br /> '''I.Some Previous Studies''' <br /> <br /> A.Even-Zohar’s Polysystem<br /> <br /> According to ''Introducing Translation Studies'':<br /> <br /> “Polysysten theory was developed in the 1970s by the Israeli scholar Itamar Even-Zohar borrowing ideas from the Russian Formalists of the 1920s and the Czech structuralists of the 1930s and 1940s . . . For the Formalists, a literary work was not studied in isolation but as part of a literary system . . . Literature is thus part of the social, cultural, literary and historical framework . . .” (Munday 165). <br /> <br /> In 1978, Even-Zohar in his “The position of translated literature within the literary polysystem”, first gives a new term, the polysystem (Even-Zohar 22), emphasizing the translated literature operates as a system in itself: <br /> <br /> (1)in the way the TL culture selects works for translation;<br /> <br /> (2)in the way translation norms, behavior and policies are influenced by other co-systems (Even-Zohar 22).<br /> <br /> Thus, translation is not isolated, but associated with other systems, for instance, the TL culture. And the ST that chosen by a culture correspond to the organized system rather than arbitrary decisions made by individuals. Also translation works occupies different position in different cultures and has something to do with the position of the national literature.<br /> <br /> B.Bassett and Lefevere<br /> <br /> Later, “Bassett and Lefevere go beyond language and focus on the interaction between translation and culture, on the way in which culture impacts and constrains translation and on ‘the larger issues of context, history and convention (11)’ ” (Munday 192).<br /> <br /> C.Lefevere: Rewriting and Manipulation<br /> <br /> Furthermore, “Lefevere focuses particularly on the examination of ‘very concrete factors’ that systemically govern the reception, acceptance or rejection of literary texts; that is, ‘issues such as power, ideology, institution and manipulation (2)’ . The people involved in such power positions are the ones Lefevere sees as ‘rewriting’ literature and governing its consumption by the general public. The motivation for such rewriting can be ideological (conforming to or rebelling against the dominant ideology) or poetological (conforming to or rebelling against the dominant/preferred poetics)” (Munday 194). And translation is the most obviously recognizable type of rewriting (Lefevere 9). <br /> <br /> Translator’s view on translation, for example, reflecting the translators’ ideology, can conform to or rebel against the social dominant ideology. <br /> For Lefevere, the literary system in which translation functions is controlled by two main factors, which are: (1) professionals within the literary system, who partly determine the dominant poetics; and (2) patronage outside the literary system, which partly determines the ideology.<br /> The “professionals within the literary system” include translators themselves, who decide on the poetics and at times influence the ideology of the translated text (Munday 194).<br /> <br /> Thus, the role of translator is essential and the translator’s ideology have an great influence on the translation text and the text reader. <br /> “For Lefevere, the most important consideration is the ideological one. In this case, it refers to the translator’s ideology or the ideology imposed upon the translator by patronage. The poetological consideration refers to the dominant poetics in the TL culture. Together, ideology and poetics dictate the translation strategy and the solution to specific problems” (Munday 197). <br /> <br /> D.Venuti<br /> <br /> Then Venuti insists that the scope of translation studies needs to be broadened to take account of the value-driven nature of the sociocultural framework.<br /> <br /> “Norms may be in the first instance linguistic or literary, but they will also include a diverse range of domestic values, beliefs, and social representations which carry ideological force in serving the interests of specific groups. And they are always housed in the social institutions where translations are produced and enlisted in cultural and political agendas” (29). <br /> <br /> Munday suggests, the groups and social institutions to which Venuti refers would include the various players in the publishing industry as a whole . . . Each of these players has a particular position and role within the dominant cultural and political agendas of their time and place. The translators themselves are part of that culture, which they can either accept or rebel against (217). <br /> <br /> Therefore, being part of the culture, translators are influenced by the social and patronage ideology, and the poetics. Nevertheless, translators more or less enjoys some autonomy. For example, translators’ views on translation, i.e. the understanding of translation, can be conformed to or rebellious against the culture. And then their views on translation, influence their specific translation behavior such as the works they choose to translate and their translation principles. Next are three examples for us to discuss how the translators’ views on translation immediately influence their translation behaviors. <br /> <br /> To narrow the differences of the social ideology down, three translators in modern period of China (after 1949) will be discussed in this thesis. However, because they are born in different climate and stage of the society, no doubt that they have distinctive world outlook from each other, resulting in their distinctive views on translation. But focus will still be on the influence exerted by their views on their translation behavior. <br /> <br /> II.Three Examples in Modern Period of China<br /> <br /> A.Xu Yuanchong (1921-): Translation is translators’ responsibility. <br /> <br /> For Xu Yuanchong, Chinese translators have a responsibility to translate the foreign masterpieces into Chinese and Chinese excellent works of literature into foreign languages, in order to introduce the advanced ideas to China and also bring the foreigners the splendid culture of China, during which the world will be more culturally rich and diversely civilized.<br /> <br /> In this case, Xu Yuanchong further puts forward that the histories and evolution of the two cultures are very different from each other, with distinct advantages and disadvantages If they can learn the strong points from each other to offset their weakness, they can both be improved. In this respect, translation can be considered as a rivalry between two different cultures. The translation can even surpass the original work. If we make full use of the advantages of one culture to perfect another , the culture of all the humanity will be developed. This is the ultimate goal of the translator (“Surpass” 47). Based on this view, Xu Yuanchong proposed the Rivalry Theory and the Theory of Advantage.<br /> <br /> Therefore, in order to exchange the advantages between cultures, the foreign works Xu Yuanchong had translated are some western masterpieces includes: ''Madame Bovary'', ''Le Rouge et le Noir'', ''Jean Christophe'', etc. And also some Chinese classical works especially the classical Chinese poetry: ''150 Tang Poems'', ''100 Tang and Song Poems'', ''300 Poems Chinois Classiques'', ''Selected Poems of Mao Zedong'', ''The Romance of Western Bower'', ''Earth-shaking Songs'' (the selected poems written by Chinese modern revolutionists), etc. By translating the essence of one culture and ideology into another languages, he demonstrates our advantages and at the same time offers Chinese people the opportunities to enjoy the classics of another culture.<br /> <br /> Xu Yuanchong’s view on translation also influences his translation principles. Take the first sentence of ''Jean Christophe'' as an example:<br /> <br /> Le grondement du fleuve monte derrére la maison. (Jean Christophe)<br /> <br /> From behind the house rises the murmuring of the river. (English)<br /> <br /> 江声浩荡，自屋后上升。(Fu Lei)<br /> <br /> 江流滚滚，声震屋后。(Xu Yuanchong)<br /> <br /> The french word “grondement” means “roaring” or “murmuring” in English. The English translation seems to be coherent in the paragraph and the following content. However, as to the whole work, Xu Yuanchong considers that “浩荡” in Fu Lei’s translation is more powerful and symbolic of the spectacular river cutting through Europe, and some readers even take Fu Lei’s translation as “the classical opening sentence” of the work, which proves it a translation that surpasses the original one.<br /> <br /> And then Xu Yuanchong also translated this sentence (as above), replacing “浩荡” with “滚滚” for its more similar sound to “grondement”. And “声震屋后” is also a symbol of the impact of the great achievement of the musician in the work (Yang et.al 35-38). Here appears another translation principle of Xu Yuanchong: “literary translation is art (''Art 20'')” and “beauty in three aspects”, namely, “beauty in sense, beauty in sound and beauty in form”, having developed Lu Xun as well as Lin Yutang’s theory of beauty. This is the reason why Xu Yuanchong emphasizes the similar sound of “滚滚” to “grondement”. Another example is still a sentence in ''Jean Christophe'': <br /> <br /> Il marchait sur le monde. (''Jean Christophe'')<br /> <br /> 他踏着全世界直立着。（鲁迅）<br /> <br /> 他顶天立地的在世界上走着。（傅雷）<br /> <br /> (qtd. “Re-creation” 222)<br /> <br /> Which translation corresponds to the original best? Lu Xun’s translation is similar in from while Fu Lei’s is in style. In this case, Xu Yuanchong considers there is one solution, that is to change the question as “Which translation is more beautiful and delightful for readers?” He also quotes “Qu’ importe celui qui crée? Il’y a de réel que ce qu’on crée” said by Romain Rolland to indicate that the translator ought to make the translation more of art to give readers an enjoyment of beauty rather than to captiously keep the author’s style. So he is in favor of Fu Lei’s translation.<br /> <br /> The last example goes to the translation of the last sentence of ''Uprising Songs'' (《起义歌》) written by Sun Zhongshan, collected in ''Earth-shaking Songs'':<br /> <br /> 顶天立地奇男子，要把乾坤扭转过来。(''Uprising Songs'')<br /> <br /> Heroes of indomitable spirit, arise! <br /> <br /> Let us transform the old world and reverse the tide! (previous translation)<br /> <br /> Heroes who would move heaven and earth, arise! (Xu Yuanchong)<br /> <br /> Xu Yuanchong suggests that in the previous translation, translating “顶天立地” only into “indomitable spirit” is in want of the image of “天” and “地”. Also, as it were, the readers cannot enjoy the beauty of the SL, which is thus a failure in the rivalry of two cultures. So he translated the sentence as above, keeping the impression of “天地” to have the readers appreciate the beauty of the original work, in other words, to win the rivalry between the ST and TT (“Re-creation” 221-222). <br /> <br /> For Xu Yuanchong the translation is an art, a rivalry between tow cultures, so the classics works of western world and China are chosen and the feeling of beauty in the translation is emphasized. The translation not only should be faithful to the original, but also be powerful and infectious to readers, even giving an much more profound impression than the original work.<br /> <br /> B.Liu Zhongde (1914-): Translation is a way to make foreign masterpieces to serve China. <br /> <br /> In order to make the western masterpieces more popular in China, Liu Zhongde decided to devote himself to a career in translation. By translating the western works into Chinese, as far as he concerns, the advanced thoughts can serve Chinese intellectuals and further improve the whole country. He was the first person who introduced Jane Austin’s ''Emma'' to China. But he were not satisfied with his first translation of ''Emma'' and at last in 1990s he re-translated it and corrected the errors he had made, which reflected his spirit of improving himself constantly and his rigorous scholarship (Ten 178 ).<br /> <br /> Thus, most works Liu Zhongde translated were the western classics such as ''Uncle Tom’s Cabin'', ''Confessions of an English Opium-Eater'', ''Emma'', ''Darwin'', etc. He seldom translated Chinese works into English. <br /> <br /> In order to convey to the Chinese readers the exact ideas and original style and content of the ST, Liu Zhongde puts much emphasis on the “closeness” of the translation. He says the translator should always remember what he is working at is a literacy work written by somebody else and try his utmost to turn his translation into a work of art which is in conformity with the thought, feeling and style of the original. Thus, the translation will be as moving and vivid as the original work and the reader may be aesthetically entertained as well (''Ten'' 122-123). <br /> <br /> Therefore he developed from Yan Fu’s three principles－“信达雅 (faithfulness, expressiveness and elegance)” into “信达切 (faithfulness, expressiveness and closeness)” as a set of principles for translation reference: “The style of your translation must correspond, or at least, be close, to that of the original you are working at . . . the ideological content, linguistic expression and stylistic characteristics of a literary work constitute a unified entity, and the translator should reproduce the three elements as a whole” (''Ten'' 122). <br /> <br /> Being different from Xuyuanchong, Liu Zhongde holds that “literary translation has a double nature. That’s to say, on the one hand, it is a science with its own laws and methods and on the other, it is an art” (''Ten'' 2).<br /> <br /> So how exactly does Liu Zhongde’s views on translation influence his translation principles? There are two examples as follows.<br /> <br /> Here is a translation of “回乡偶书” by Liu Zhongde:<br /> <br /> 回乡偶书 <br /> 少小离家老大回，乡音无改鬓毛衰。<br /> 儿童相见不相识，笑问客从何处来。<br /> (the original poem)<br /> <br /> Homecoming<br /> I left home quite young, and I come back very old.<br /> My accent remains the same, but my hair turns gray.<br /> Kids don’t know me when one another we behold.<br /> “Where do you come from?” with a smile to me they say.<br /> (Liu Zhongde’s translation)<br /> <br /> This translation adapts so well the style and features of TT to the ST that it seems to be an original work written by Liu Zhongde himself. We can appreciate the same meaning and emotion the original work expresses. The TT keeps the the same number of lines just as the ST: each of the sentence has 12 syllables. The rhyme pattern of ST is also kept: the first line rhymes with the third, and the second with the forth. The TT is exactly an expression of sound, form and sense of the ST (Jiang 196-197).<br /> <br /> The next two examples are from Liu Zhongde’s re-translation of ''Emma'':<br /> <br /> (1)The truth is, Harriet, that my playing is Just good enough to be praised, but Jane Fairfax’s is much beyond it.<br /> <br /> 事实是，赫蕊埃特，我的弹奏恰恰好到值得称赞，但简·凡凡可斯的弹奏却是神乎其技了。(Previous translation)<br /> <br /> 事实是，赫蕊埃特，我的弹奏恰恰好到值得称赞，但简·凡凡可斯的弹奏却大大超过我的弹奏。(Liu Zhongde)<br /> <br /> “神乎其技” in the previous translation does not correspond to the plain style of “much beyond it” in ST. It is true that a Chinese four-character-word can embody a complex meaning, but the style it can be applied to is supposed to be formal and academic. In this sentence, the style of “神乎其技” is not appropriate at all, while a simpler word should be used. Thus Liu Zhongde replaced “神乎其技” with “大大超过我的弹奏”.<br /> <br /> (2)“Just as they always do-very vulgar.”<br /> <br /> 还不是像他们平常那样——俗不可耐。(Previous translation)<br /> <br /> 还不是像他们平常那样——很庸俗。(Liu Zhongde) <br /> <br /> (Jiang 278-279)<br /> <br /> The four-character-word “俗不可耐” in the previous translation does not conform to the plain or colloquial style of ST, either, just like “神乎其技” mentioned above. Liu Zhongde changed it into “庸俗” to be in line with the original style. <br /> <br /> For Liu Zhongde, translation is a science, a way for Chinese to learn the advantages of westerners, thus the western masterpieces are selected by him and the “closeness” in translation is underlined to convey the closet meaning and style of the original. <br /> <br /> C.Li Jihong (1980-): Translation after all is one of the material production activities of human beings.<br /> <br /> As to Li Jihong, translation after all is one of the material production activities of human beings. In an article called “The Literary Translation Should Keep Pace with the Times: The Translation Speed and Pay” against the view of another translator, Shi Kangqiang, he says that the pay of translation in the new period is different from that of the old times, mainly because of the translation tools which belonging to the production tools, have already been developed today into computers, digital data, Internet, etc. As a result, the translation speed is supposed to be improved. Therefore, a professional translator nowadays can definitely earn a decent life by translating 1000 words each hour, 8 hours a day. And for every 1000 words they can earn 60 ''yuan''.<br /> <br /> The article aims to oppose to Shi Kangqiang’s opinion that the appalling pay translators receive influence the quality of the translation, but it also reveals Li Lihong’s view on translation from his borrowing lots of economic theories and activities, numbers, calculation of the pay to support his opinion, his favors to the publishers’ increasing reward on the sales of the translation work and his announcement that he have translated ''The Kite Runner'' (written by Khaled Hosseini), 195190 words, for only 10 days, 15 hours a day.<br /> <br /> In this article he also says: “Any responsible translators will not translate for the personal income,” but he adds next, “ In fact, the support for his translation is the letters from readers, in addition to the high income.” Although the total contradiction in his saying is confusing, it still can be inferred that money is an important motivation for his translation, if not the most important one. <br /> <br /> The works Li Jihong translated are foreign classics such as ''Le Petit Prince'', ''The Old Man and the Sea'', ''Animal Farm'', ''The Great Gatsby'', ''Walden'', ''The Moon and Sixpence'', ''Pride and Prejudice'' and ''The Sound and Fury''. However, all those works and the values of them have already been well received in China, with several translations in market. <br /> <br /> To begin with the work that he have translated “for only 10 days, 15 hours a day” as he says, ''The Kite Runner'' written by Khaled Hosseini:<br /> <br /> (1)We left the old man on the steps of that building. I meant to take him up on his offer, come back and see if he’d unearthed any more stories about my mother. But I never saw him again (Hosseini 251).<br /> <br /> 我们离开了坐在那座房子台阶上的老人。我原想带他到他的办公室去，看看他能否想起更多关于我妈妈的事情。但我再也没有见到他 (Li 243)。<br /> <br /> In this text, “take somebody. up on something” means “to accept an offer, an invitation that somebody has made 接受（提议或邀请）” in ''Phrasal Verbs Dictionary'' (438). Also according to the whole context, the old man, a beggar, had been a colleague of “my” mother who I had never met. He told me a story about “my” mother and promised me more details about her: “ The old man smiled. ‘I’ll try to remember and that’s a promise. Come back and find me ’ (Hosseini 250).” It can be inferred that the old man offered the narrator a chance to know more about his mother. Thus, the “offer” means “邀请” instead of “办公室 (office)”. What’s more, It seems like the word “offer” is misread as “office” by the translator. Perhaps the translator is too busy translating as fast as possible to check his translation carefully.<br /> <br /> (2)“Your job today is to pass gas. You do that and we can start feeding you liquids. No fart, no food.” He laughed again (Hosseini 297). <br /> <br /> “你今天的工作是排便。你完成之后我们才能开始喂你吃流食。不见粪便，不给食物。”他又哈哈大笑 (Li 287)。<br /> <br /> The speaker was a staff in hospital, and he was asking the patient who had just come to himself from a surgery “to pass gas”. The relevant meaning of “gas” in ''The New Oxford Illustrated English-Chinese Dictionary'' is “[物理]气体、瓦斯” (726), of “pass” is “通过” (1338). And “fart” as a noun means “放屁 (emit wind from the anus)” (632). In conclusion, “排便” does not correspond to the original meaning of the ST. So the translation can be righted as “你今天的工作是排气。你完成之后我们才能开始喂你吃流食。不放屁，不给食物。” This is also a very small and simple mistake. The translator should be more cautious about translating.<br /> This summer holiday I have read another book translated by Li Jihong: The Moon and Sixpence written by William Somerset Maugham, and also find some odd translation and neglect. Here are two examples:<br /> <br /> (1)“Do you think it’s likely that a man will do any good when he starts at your age? Most men begin painting at eighteen.”<br /> <br /> “I can learn quicker than I could when I was eighteen (Mauguam 48).” <br /> <br /> 你认为一个人从你这个年纪开始学画能学得好吗？大多数人从十八岁就开始画了。”<br /> <br /> “如果我今年十八岁，我可以学得快一些 (Li 54)。” <br /> <br /> The second sentence, a very simple one, means that even if “I” am old now, I can learn even quicker than I could when I was at eighteen. In Chinese it can be translated as, for instance, “我能比我十八岁的时候学得还快.” But Li’s translation “如果我今年十八岁，我可以学得快一些” means “I can learn quicker if I were eighteen,” which has a totally different meaning from the ST. <br /> <br /> (2)...for they felt themselves freemen of a country whose frontiers include them all, the great country of Cockaigne (Mauguam 169).<br /> <br /> 因为他们觉得大家都是自由民，同属于想象中的天堂之国 (Li 203)。<br /> <br /> According to Encyclopedia Britannica, “Cockaigne, also spelled Cockayne, imaginary land of extreme luxury and ease where physical comforts and pleasures are always immediately at hand. References to Cockaigne are especially prominent in medieval European lore. These accounts describe rivers of wine, houses built of cake and barley sugar, streets paved with pastry, and shops that gratuitously give goods to everyone. Roast geese wander about inviting people to eat them, and buttered larks fall from the skies like manna.” Being ignorant of the rich meaning of this word, Li Jihong translated it to “天堂之国” without any explanation. In fact, in this book, Li Jihong adds 206 explanatory notes for the words like “Shakespeare (莎士比亚)”, “Balzac (巴尔扎克)” and “Footnote (生丁)”, however, “Cockaigne” is not included. <br /> <br /> Li Jihong’s translation is popular for his elaborate introduction of the work and explanatory notes, which as he says, can help readers to understand the work easier. And some famous people also recommend his translations for his translation is more understandable than others. However, as far as I am concerned, being understandable is not the essence of a translation. <br /> <br /> From Xu Yuanchong and Liu Zhongde we know there are various translation principles, for instance the former’s “beauty in three aspects: sense, sound and form” and the latter’s “faithfulness, expressiveness and closeness”, nevertheless, the “faithfulness” to the original is emphasized. <br /> <br /> III.Conclusion<br /> <br /> This is how the views of translation influence the translators’ behavior, specifically the translation work choosing and their translation principles demonstrated by the translation examples of the three translators.<br /> <br /> For Xu Yuanchong the translation is an art, a rivalry between tow cultures, so the classics works of western world and China are chosen and the feeling of beauty in the translation is emphasized; while for Liu Zhongde, translation is a science, a way for Chinese to learn the advantages of westerners, thus the western masterpieces are selected and the “closeness” in translation is underlined to convey the closet meaning and style of the original. In fact, for both of them translation should be a responsibility that should be treated serious by translators, while as for Li Jihong, translation is just a production activity, a tool to make money or to gain the population, fame and the sense of superiority. Therefore, the economic effect and the speed is highlighted, the minor mistakes were made, and the translator’s personality was manifested so much that it even overshadowed the style and meaning of the original work. <br /> <br /> For those responsible translators, their translations, imprinted all their individual ideology, experience and reflection, almost like an original work, are supposed to be a special thing. As Thomas C. Foster puts at the end of his How to Read Literature Like a Professor, “My favorite was the apology to the poem itself: ‘Well, little book, you’re not that much but you’re the best I could make you. Now you’ll just have to make your way in the world as best you can. Fare thee well.’” (129), a lot of care and attachment will be taken to the work you made, whatever it is, a poem, a fiction or a translation work. Only if you devote yourself to the translation with painstaking effort, can the translation be respected and appreciated by your readers.<br /> <br /> Fu Lei had ever said, “translation should be based on the knowledge of art: without a sensitive soul, earnest sympathy, appropriate appreciation, relative social experience or sufficient common sense (i.e. broad knowledge), a translator neither will understand the original work thoroughly nor grasp the essence of it” (qtd. Xu Jun 253). Because that translators’ views on translation have a great influence on his translation, he should first be earnest to “translation”, and then be diligent, especially when the translation work is carrying the weight of the original work. For translators, translation is never a individual activity, but a responsibility to the author, the SL culture, the reader, the TL culture and eventually themselves.<br /> <br /> '''Work Cited'''<br /> <br /> 胡塞尼· 卡勒德. (Hosseini, Khaled). 《追风筝的人》 (''The Kite Runner''). 李继宏译 (Tran. Li Jihong). 上海: 上海人民出版社, 2008. <br /> <br /> 蒋坚松 (Jiang Jiansong) 彭利元 (Peng Liyuan), ed. 《刘重德翻译思想及其他》(''Liu Zhongde’s Tanslation Theories and Others''). 长沙(Changsha): 湖南师范大学出版社 (Hunan Normal University Press), 2003. Print.<br /> <br /> 李继宏 (Li Jihong), 《文学翻译也需与时俱进：谈谈翻译速度和稿酬问题》 (“The Literary Translation Should Keep Pace With the Times: The Translation Speed and Pay”). 豆瓣网 (douban). 13 Jan. 2013 &lt;https://site.douban.com/179084/widget/articles/10191245/article/23864139/?dt_dapp=1&gt; <br /> <br /> 刘重德 (Liu Zhongde), ed.《文学翻译十讲》(''Ten Lectures on Literary Translation''). 北京(Beijing): 中国对外翻译出版社 (China Duiwai Translation Press), 2000. Print.<br /> <br /> 毛姆·威廉. (Maugham, William). 《月亮和六便士》 (''The Moon an Sixpence'').李继宏译 (Trans. Li Jihong). 天津 (Tianjin): 天津人民出版社 (Tianjin Renmin Press), 2018. Print. <br /> <br /> 许钧. (Xu Jun).《翻译论》(''Translation Theory''). 武汉 (Wuhan)： 湖北教育出版社 (Hubei Education Press), 2003. Print. <br /> <br /> 许渊冲. (Xu Yuanchong). 《译文能否胜过原文》(“Can the Translation Surpass the Original”). 《教学研究》(''Teaching Method Research''), no. 2 (1982): 39-47.<br /> ---. ed.《再创作与翻译风格》(“Re-creation and Translation Style”). 《文学与翻译》 (''Literature and Translation''). 北京 (Beijing)：北京大学出版社 (Beijing University Press), 2016. 221-229. Print.<br /> <br /> ---.《翻译的艺术》(''The Art of Translation''). 北京 (Beijing): 五洲传播出版社 (Wuzhou Chuanbo Press), 2006. Print.<br /> <br /> 杨绛(Yang Jiang), 李文俊 (Li Wenjun, et al.) 等. 《一本书和一个世界》(''A Book and A World''). 北京 (Beijing): 昆仑出版社 (Kun Lun Press), 2005: 35-38. Print.<br /> 周领顺. (Zhou Lingshun). 《译者行为批评：理论框架》(''A Theoretical Framework for Translator Behavior Criticism''). 北京 (Beijing)：商务印书馆 (The Commercial Press), 2014. Print.<br /> <br /> Bassnett, S. and A. Lefevere. ''Translation History and Culture''. London and New York: Pinter, 1990. Print.<br /> <br /> Cockaigne. ''Encyclopedia Britannica''. 27 Jun. 2013. Web. 17 Nov. 2019 &lt;https://www.britannica.com/topic/Cockaigne &gt;<br /> <br /> Even-Zohar, Itamar. The position of translated literature within the literary polysystem. ''Papers in Historical Poetics''. Tel Aviv: The Porter Institute, 1978. 21-7. Print.<br /> <br /> Fart. ''The New Oxford Illustrated English-Chinese Dictionary''. Beijing: Renmin University of China, 2004. Print. <br /> <br /> Foster. C. Thomas. ''How to Read Literature Like a Professor''. New York: HarperCollins Publishers Inc. 2003. Print. <br /> <br /> Hosseini, Khaled. The Kite Runner. New York: The Berkley Publishing Group, 2003. Print. <br /> <br /> Lefevere, A. ''Translation, Rewriting and the Manipulation of Literary Fame''. London and New York: Routledge, 1992a. Print.<br /> <br /> Maugham, William. ''The Moon an Sixpence''. London: Pan Books Ltd, 1974. Print.<br /> <br /> Munday, Jeremy. ''Introducing Translation Studies''. New York: Routledge, 2012. Print.<br /> <br /> Take sb. up on sth.” ''Phrasal Verbs Dictionary''. 2013. Beijing: Foreign Language Teaching and Research Publishing Co., Ltd, 2017. Print.<br /> <br /> Venuti. L. The Scandals of Translation: ''Towards an Ethics of Difference''. London and New York: Routledge, 1998. Print.<br /> <br /> =Contemporary Translation Studies=<br /> =='''An Analysis of the Book of ''Contemporary Translation Theories'' and ''Introducing Translation Studies: Theories and Applications'''''==<br /> <br /> '''摘要：'''爱德温·根茨勒的《当代翻译理论》和杰米里·芒迪的《介绍翻译理论：理论与实践》被视为翻译史上不可多得的巨作。本文通过对两本巨著的介绍之后，节选了其中有名的翻译理论即尤金·奈达的形式对等理论和功能对等理论以及亚历山大 弗雷泽·泰特勒和严复的翻译原则进行比较，来阐述了翻译的基本准则。通过对比尤金·奈达的形式对等和功能对等理论，找出其优缺点并结合适当的例子，有利于读者把握奈达的翻译思想来更好地指导其翻译实践。同时，通过分析亚历山大 弗雷泽·泰特勒的翻译原则的优缺点再将其与严复的翻译理论做比较，有利于读者理解中西方翻译的差异，来更好地理解在跨文化的语境中如何做好翻译。<br /> <br /> '''关键词：'''爱德温·根茨勒、《当代翻译理论》、杰米里·芒迪、《介绍翻译理论：理论与实践》、尤金·奈达、形式对等、功能对等、亚历山大·弗雷泽·泰特勒、严复、翻译原则 <br /> <br /> '''Abstract:''' ''Edwin'' Gentzler’s ''Contemporary Translation Theories'' and Jeremy Munday’s ''Introducing Translation studies: Theories and Applications'' are both regarded as the masterpieces in the discipline of translation. After giving a brief introduction of these two great works, this paper tends to select the famous translation theories from the book namely Eugene Nida’s formal equivalence and functional equivalence and the translation principles of Alexander Fraser Tytler and Yan Fu to define the basic principles of translation. After analyzing the Nida’s theories of formal equivalence and functional equivalence, it is better for the readers to understand the Nida’s translation ideas to better guide him in the translation practice by combining the concrete examples to illustrate its advantages and disadvantages. In the meantime, by analyzing the advantages and disadvantages of Tytler’s translation principles and the comparison between the translation principles of Tytler and Yan Fu, it’s better for the readers to understand the influence of difference in the eastern and western cultures on translation. In such a way, it’s better for the translators to do the translation practice in the cross-cultural situation.<br /> <br /> '''Key words:''' ''Edwin'' Gentzler; ''Contemporary Translation Theories''; Jeremy Munday; ''Introducing Translation Studies: Theories and Applications''; Eugene Nida; Formal Equivalence; Functional Equivalence; Alexander Fraser Tytler; Yan Fu; Translation Principles<br /> <br /> '''Introduction:'''<br /> <br /> In this essay, it presents the author’s understanding of the two books: ''Contemporary Translation Theories'' and ''Introducing Translation Studies: Theories and Applications''. After a brief introduction of these two books, this paper tends to concentrate on the discussion of four important translation theories. This paper will be divided into three parts. Firstly, after a brief introduction of the great book: ''Contemporary Translation Theories'', and then it will focus on the analyzing of the Eugne Nida’s two famous translation theories namely formal equivalence and dynamic equivalence. By giving out its definition, it’s easier to find the advantage and disadvantage of these two concepts. Then, this paper will go on introducing briefly the Chomsky’s translation studies. And then it will find some commonness and distinction in Nida’s and Chomsky’s opinions in translation. Secondly, it will give a short introduction of the book ''Introducing Translation Studies: Theories and Applications'' and it will fix its attention on the translation principles of Tytler and then make a comparison of Yan Fu’s translation principle “Faithfulness, expressiveness and elegance”. By deeper analyzing these two similar translation theories, we can find some commonness and difference in these two translation theories by taking the culture and thinking modes into consideration. At last, this paper intend to give a brief comparison between these two great books by taking the consideration of writing style and content arrangement. All in all, this paper intends to give the readers a better understanding of these two great books and provoke their reflection about these two books.<br /> <br /> <br /> '''I Analysis of the book ''Contemporary Translation Theories'''''<br /> <br /> Recently, it is a great pleasure to read a very famous book called ''Contemporary Translation Theories'' whose author is called Edwin Gentzler. The second edition of this book has received great success. The publication of this book is significant to the global translation study academia. “Since the mid-19th century, translation theory has maderapid progress, Edwin Gentzler finds out what is useful and rejects what is useless on the translation of today's theories in this book”(Li 2014:111). He also makes a Detailed description in detail several major schools of translation:The North American Translation Workshop, the “Science” of Translation, Early Translation Studies, the Polysystem Translation and Deconstruction. In this book, it presents what is happening in different parts within the discipline. “Gentzler uses his provoke thinking viewpoint to trace the development of literary translation studies from the American translation workshop program, through the polysystems research to deconstruction and postcolonial translation theory and beyond”(Xu and Wang 2000:42). This book not only provides us with a deep way of theorizing the translation but also is effectively a translation practice . At the end of this book, he also points out the future of translation and sends his positive attitude about the translation’s future. The author turns a whole number of the complex theoretical material into accessible language, so that everyone who doesn’t read any books about translation can read this book freely. Apart from that, each chapter in this book is separated so you can read each chapter alone without relying on your understanding of the other chapters. By this way, it is more convenient for us to find the topic of translation that we are interested in to read and find valuable informationfor us. Gentzler’s book provides us with a precise analysis about what the translation school achieved so far and gives his insight into the future of translation. <br /> <br /> “This book stands as a continuing translation textbook with some of the most important theories in the field such as “the same aesthetic experience, dynamic equivalence, corresponding literary function, or the deconstruction theory of Derrida”(Li 2014:112). Despite distinct focus, each theory is completed by a conceptual framework that thinks original existence and an understanding of it in the target society. At present, “all translation theories have kept rigid distinction between original texts and their translations text”(Xu and Wang 2000:43). <br /> <br /> In the chapter 2, this book introduces the American translation workshop. In this chapter, it mainly introduces the A. Richard’s new criticism and translation, Ezra Pound’s theory of luminous details, Frederic Will’s the paradox of translation and Lawrence Venuti’s rethinking translation. In it workshop, “it emphasizes that translation is a marginal activity, not considered as a proper field of study”(Gentzler 2001:5). However, as time goes by, the process of growth and acceptance of translation boost when many translation courses and workshops were being offered at many universities. There appears many works about this translation workshop but it does not have many books about the translation theories. “In this workshop, the personal opinions may offer some help, but it still lacks the consistent theory to support translation”(Gentzler 2001:44). Therefore, it needs urgently a classified theory for the translation and it yields the coming of the “science” of translation. In this book, it mainly introduces Eugene Nida’s formal equivalence and dynamic equivalence and Noam Chomsky’s syntactic structure and generative-transformation grammar. Here, it will illustrate my understanding of these two concepts about formal equivalence and dynamic equivalence. Edwin Gentzler illustrated the concept of dynamic equivalence in his book ''Contemporary Translation Theories'', ''Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style. The relationship between the target language receptor and the target text should generally be equivalent to that between the source language receptor and the source text''(2001:48). <br /> <br /> In the dynamic equivalence, Nida focus on the correspondence of the feeling between the target language and the receptor and the source language and the learner. By his understanding, these two feeling should be the similar. More specifically, “dynamic equivalence considers more about the relationship between the reader and the information, which means that the target reader's response to the target text should be the same as that of the source reader's response to the source text”(Liu 2012:242). “Any foreignness and translationese should be avoided in the target text”(Ju 2000:203). Now, it will <br /> list the advantages of dynamic equivalence. <br /> <br /> “On the one hand, the dynamic equivalence is “somewhat like the free translationwhich emphasizes the translation should achieve the same effect instead of being limitedin the content and form” (Li 2014:112). “It concentrates on the correct way of translating the content of the original text”(Shakernia 2013:2). On the other hand, “it focuses on readers' reaction and analyzes the translation process from the viewpoint of target readers”(Nida 1995:225). In this way, translation is not a single activity, but more social elements are added to make the translation concrete and specific. Moreover, in the dynamic equivalence, due to its classified translation principle it is more suitable to the translation of technology and science essays. The dynamic equivalence provides us a <br /> detailed rule of translation during our process of translation so when we translate, we can find the reasonable principles to rely on. These essays should be more formal and official.<br /> <br /> However, although the dynamic equivalence has gained a lot of praises it still deserves some limitations. Firstly, “it is just a language conversion and ignores the cultural information taken by the language, resulting in cultural domestication”(Liu 2012: 245). In fact, cultural differences are objective and can not be inevitable, and no one can avoid them. If you have to maintain a dynamic equivalent translation, it will definitely have a negative impact on cultural communication. For example, “‘dongfeng’ is a positive image in Chinese culture while in western society it thinks the west wind is goodmorality”( Shakerni 2013:2) Therefore, it is strange that Shelley's singing of the west wind is translated into &quot;ode to the east wind&quot;, because it will hinder the Chinese readers' understanding of the western world. What's more, to judge whether the target readers have similar effects is uncertain and unpractical because they are different in gender, age,educational background and life experience, etc. Strictly speaking, the reader's response is a variable that cannot be regarded as equivalent to the standard effect. Finally, dynamicequivalence information in the text does well, just like the Bible, but it is difficult to realize literary translation, text language is different from general language. Dynamic equivalence, as a concept, puts an .an overly narrow focus on the response of the active hearers, perhaps sometimes at the expense of other factors which are also crucial to adequate translation, such as the accuracy of the message, the uniqueness of the original historical setting. <br /> <br /> Next, it will list the definition of formal equivalence. “Formal equivalence is simple and source-oriented. It is like a word for word literal translation”(Shakernia 2013:2). Formal equivalence concentrates on the message itself, in both form and content. “One is concerned that the message in the receptor language should match asclosely as possible the different elements in the source language”(Shakernia 2013:3).The use of formal equivalents might at times have serious implications in the target text since the translation will not be easily understood by the target readership. For example, “in the translation of the sentence of greet others with a holy kiss, these two different equivalence can have distinctly different translation”(Shakernia 2013:3). In the formal equivalence translation, we need to translate it into the translation of saying hello to others with a holly kiss. But it seems strange to others because what’s the meaning of holy kiss. Then, we need to add one explanation of holy kiss which is in the ''old testament'' the holly kiss is usually treated as a usual way to greet others. However, in the dynamic equivalence, we need not to take the correspondence of the structure into consideration. We only need to pay attention to the reaction of receptorsof language. We can translate it into the translation of shaking hands with others enthusiastically. From the above example, it’s clear to find the focus of these two equivalences is very different therefore the translation can be different. <br /> <br /> Here, it will try to figure out the advantages and disadvantages of formal equivalence. One of the most distinguished advantage of the formal equivalence is that in this translation, “the formal equivalence is keenly oriented towards the source language structure, which exerts strong language influence in determining accuracy and Correctness”(Nida 1995:223). Because the formal equivalence emphasizes the completetranscript of the original text’s content and form so it will have the consistent structure of the original text.Another advantage of formal equivalence is that it put much focus on the accuracy.Because in such translation theory, the target language will try to find a equivalent in the source language. For example, in the sentence of “Please fetch me a glass of water” when translating it into Chinese, we will try to find each word equivalent in Chinese. We will try to find each word such as “please”“fetch”“me” and so on. Then we can find the equivalent in Chinese which can be transliterated into Chinese as “Qing gei wo yi bei shui”. Apart from that, let’s move on to the disadvantages of formal equivalence. One of the obvious disadvantage of the formal equivalence is that sometimes it will neglect the intent of the original text. Because the formal equivalence isreferred as to the literal translation and in such way it may overlook the author’s intent. For example, we often hear Chinese people say:“Ni chi le ma?” In fact, it’s a way to greetpeople in Chinese custom while we cannot translate it into English as “Have you eat your dinner or lunch?”. Instead we should translate it into English as “Hello!”or “Hi!” <br /> <br /> Among these two theories, Nida puts the dynamic equivalence in the first place. It has been viewed as his core contribution to the modern translation filed. “Nida pays attention to readers' response and advocates replacing the expression of foreign culture in the original text with the expression habit of the receiving language, namely, domestication”(Nida 1995:224). By far, “Nida has achieved a lot in translation study. He simplifies Chomsky’s theory and adopts only the later two part of the model in order to validate his science”(Gentzler 2001:52). “He is aware of the nature of a practice-oriented approach, attempts to scientifically validate his methodology and apply it to translation as a whole” (Panou 2013: 1) . In this chapter, it also talks about Noam Chomsky’s contribution to the linguistic and translation. In Chomsky’s opinion, the linguistic is a study of science and we can apply many linguistic principles to translation, therefore, the translation can also be said a study of science. Among the Noam Chomsky’s contribution is his transformational-generative grammar. “It is a theory that talks about why people can talk and how people can learn new sentences. It is a theory about language ability. Chomsky holds his opinion that basics and transformation form grammar” (Zhou 2019:5). The basics form deep structure and deep structure transforms to surface structure. Word’s meaning belongs to deep structure . Besides, “he thinks thatlanguage is a unique human natural constitution. Language ability should be more focused on not rather language behavior”(Zhou 2019:6). “The TG Grammar tries to reveal the unity of particular grammars and universal grammars, to explore the universal rules with the hope of revealing the human cognitive system and the essential nature of human being”(Zhu 2018:241). <br /> <br /> Both Chomsky and Nida believe that deep, coherent and unified entity exists behind whatever manifestation language takes. However, there exists some difference <br /> between their opinions. “Chomsky would not jump to conclusions based on correlations between just two languages, nor assume that a grammar to a particular to one language would work systematically for another” (Li 2011:395). While Nida holds the belief that deep structure and transformatio-nal rules which is divorced from all the problems of translation are similar across languages. All in all, these two great persons all make a big contribution to translation and their theories are still widely used today.<br /> <br /> <br /> '''II Analysis of ''Introducing Translation Studies: Theories and Applications''''' <br /> <br /> As for the second book: ''Introducing Translation Studies: Theories and Applications'' , it is a very populary book which has undergone through the fourth edition. ''Introducing Translation Studies: Theories and Applications'' remains the definitive guide to the theories and concepts that make up the field of translation studies. This fourth edition has been fully revised and continues to provide a balanced and detailed guide to the theoretical landscape. “Each theory is applied to a wide range of languages, including Bengali, Chinese, English, French, German, Italian, Punjabi, Portuguese and Spanish”(Liu and Deng 2010:54). It starts with the definition of translation and then presents us the translation theory before the twentieth century to the modern translation theory. It focus on many important translation theories such as systematic translation theory, polysystem theory translation, functional theories of translation, and so on. There are three reasons why I like this book very much. Firstly, this book is full of content which is arranged carefully and skillfully for the readers to read. It contain an introductory table clearly presenting key terms and ideas, the main text, describing in detail the models and issues under discussion, an illustrative case study, which applies and evaluates the main model of the chapter, suggestions for further reading, a brief evaluative summary of the chapter and a series of discussion and research points to stimulate further thought and research. I am extremely fond of the case study in this book which is also a unique feature of this book. In the case study, it will list a related case about the translation issue in this chapter for readers to think and then this book provide us with a discussion of case studies for us to reflect our thinking. I think it’s a good way for us to relate the knowledge of book into reality which it’s more helpful and useful for us to remember the knowledge in the book. And by applying our knowledge to the real problem in reality, it’s more helpful for us truly understand the essence of translation studies. <br /> <br /> Secondly, there are a large number of charts are cited, and the names of the charts are listed on a special page after the table of contents at the front of the book for easy reference. In this way, it is easier for readers to absorb much information contained in the charts. In the meantime, it is clear for the readers to relate the knowledge with the information in the charts. It is also a good way to sort out the large number of information in an ordered way for the readers to have a quick way to absorb the information. <br /> <br /> Thirdly, the book includes an appendix to the web sites relevant to translation studies before the final notes and index. These include two web sites that publish information about conferences, recent publications and research, six web sites for international translation journals and four web sites for translation organizations that often contain useful links. In this way, it becomes much easier for the readers to search the information on the websites for further reading and studying.<br /> <br /> Now, let’s move on to talk about the content of this book. In the second chapter, this book lists the debate about the word-for-word and sense-for-sense translation which is debate that dominated much of translation theory. “Faithful translation” is an attempt to reach a compromise between the two. Many great translators object to word-for-word translation and they advocate the sense-for-sense translation”(Munday 2013:18). For example, Cicero oppose the word-for-word translation strongly by saying “that I did not hold it necessary to render word for word, but I preserved the general style and force of the language”(Munday 2013:19). “The issues of free and literal translation were for over a thousand years with the translation of the Bible and other religious and philosophical texts”(Munday 2013:22). As for the translation of Bible, there must mention the Martin Luther whose major influence is made by his translation of the ''New Testament'' and later the ''Old Testament''. Martin Luther advocates the revolutionary nature of translation. “At that time, the Bible was only available in Europe in a Latin translation. This meant that the majority of the people had no access to the Bible in their native languages”(Stolt 2014:373). He is concerned with the German readers. “Here, he supports the idea of using of “pure, clear German and the building of new languages in translation. Therefore, he used a non-literal translation in his translation of Bible”(Stolt 2014:373). Also, his use of a regional yet socially broad dialect went a long way to reinforcing that form of the German language as standard. “His aim is to keep communication with readers and listeners, but the audience for his new translation of the scriptures was composed not of scholars but plain speakers of vernacular German”(Stolt 2014:374). And thanks to Martin Luther’s efforts of translating Bible, the Germany people now could read Bible freely. Later, the book talks about the translation principle of Dryden, Dolet and Tytler. Here it will put emphasize on the Tytler’s translation principles. As for Dolet has five translation principles while Tytler proposes his three translation rules. “They are the translation should give a complete transcript of the ideas of the original work. Secondly, the style and manner of writing should be of the same character with that of the original. Thirdly, the translation should have all the ease of the original composition.” (Munday 2013:26) Here, we can see that Tytler pursues the balance between the source language and target language. The translator must have the capacity of employing the exact manner and skill in translating his target language. For example, “there are two sentences which express the same meaning but they are different in their writing style”(Xi 2009:41). One is on Monday morning, the park is usually crowded with too many people. The other is on Monday morning, the park attracts many people. It’s obvious that the first sentence is in a negative mood while the second sentence is in a positive mood. These two sentences all convey the same meaning but they differs each other in the mood and style. To be a good translator, you need to be skillful in bringing the same style of the source language to the target language. <br /> <br /> The advantages of his translation principle are as follows. First of all, “he abandons the traditional translation idea of dichotomies and he tries not to use these controversial term such as literal translation, free translation to give his translation rules a better and clear way to present”(Bie and Huang 2007:164). Here, in his translation principles, we cannot see the mentioning of the literal translation and free translation which can cause misunderstanding in the translation studies. Secondly, “he clarifies and extends people’s understanding of the metaphor that translators are painters. In his opinion, he advocates that the job of a translator is distinct different from the painter” (Bie and Huang 2007: 166). Although the translator does not use the same color as the original, he must give his &quot;picture&quot; the same power and effect. The translator cannot copy the original style, but must use his own style to translate the perfect script. The more he studies a imitation, the less his copy will reflect the ease and spirit of the original. <br /> <br /> Now, let’s move on to talk about the disadvantages of his translation principles. Tytler’s translation thoughts are mainly on the base of his exact experience and subjective observation. “Some people even say that the book just looks like a textbook addressing the translation arts. In the meantime, from his translation theories, we can know that he imitates other translator’s theory, especially Dryden”(Firdaus 2012:285). For example, his first principle “That the translation should give a complete transcript of the ideas of the original work, which is almost same as the Campbell’s accurately reproduce the original meaning”(Firdaus 2012:286). Tytler, “points out that the three principles are in a necessary order. The order arrangement is appropriate, natural and is arranged according to their importance to the translation which cannot change casually”(Firdaus 2012:287). In this way, we can concluded that his idea that if in a case of need to sacrifice a certain principle, the translator should notice the importance of order of translation principle. The translator cannot try to get a beautiful and fluent translation at the expense of the faithful translation of the script. Tytler’s translation has exerted great influence on the later translation studies and left a big influence on the later translators such as our Chinese great translator-Yan Fu. Here, it will list the Yan Fu’s translation theories and then we can have a brief comparison between Yan Fu’s translation principles and Tytler’s translation principles. “Yan Fu is our Chinese great scholar and translator, most famous for introducing western ideas, including Darwin’s natural selection to China in the late 19th century”(Wang 2008:70). Just as Shi Chunrang and Zhao Wei proposed their opinions in their essay ''Thoughts on Yan Fu's “Faithfulness, Expressiveness and Elegance” and Tytler's Three Principles—a Case Study of Comparative Translation'' that Yan Fu proposed three difficulties in translation: faithfulness, expressiveness and elegance in the preface to his translation of ''Evolution and Ethnic''.<br /> <br /> “Faithfulness” means the full and complete conveying or transmission of the original content or thought. It emphasizes the right way of expressing content of the original source. “Expressiveness” demands that the version must be clear and follow without any grammatical mistakes or confused logic and sense. The translation should convey freely the content of the original source. “Elegance” means that the target translation should be similar to the source text in style(2005:96).<br /> <br /> It means that the mood of the target translation should be almost same as the source language. By analyzing carefully, it’s clear to find there are many things in common between these two translation theories. <br /> <br /> Firstly, “the first principle and second principle of Tytler are the same as the saying that translation should be faithful to the source language’s content and mood which is similar to the first principle of Yan Fu that emphasizes on the full and complete conveying of the original content”(Shi and Zhao 2005:97). Secondly, these two translation theories all focus on stressing the conveying the thought and content of the source language. And the translation should be available for people to read. “These two theories all emphasize on the conveying the complete transcript of the source text”(Shi and Zhao 2005:98). <br /> <br /> It’s clear to see many differences between these two translation theories. Firstly, “they are different in thinking mode. Yan Fu does not make a clear and detailed explanation of his translation theory. Instead it relies on others’ explanation of his translation theory”(Xi 2009:41). Just as a saying, “Everything is clear without saying a word”. To better understand Yan Fu’s translation theory, we need to have the associated “relation and reflection about the great thought of our great ancestors. As we all know, “traditional Chinese mode of thinking is perceptual which tends to make the theory obscure and received. However, westerners attach great importance to rational thinking which makes the theory more concrete”(Shi and Zhao 2005:98). The thinking mode of western is putting emphasize on the rational thinking and it emphasizes one’s rational understanding of the objects and people. Also, “it concentrates on the formal explanation of the objects and people”(Shi and Zhao 2005:98). Therefore, the Tytler’s three translation principles all give respect to the object to the original text. And it repeatedly emphasizes on the importance of the original text and treat the original text as it start point. Apart from that, it also gives the literal explanation in a detailed way. In this way, after analyzing the different thinking between the western and eastern, we can say that Yan Fu do not give a literal explanation of his translation principle. Thus, we can say that his translation principle understands tacitly. <br /> <br /> Secondly,“they are distinctly different in the importance. Since the three principles of faithfulness, expressiveness and elegance are presented, the importance of them has not been clearly classified”(Shi and Zhao 2005:99). One of the most important features of Yan Fu’s translation standard is its ambiguous semantic meaning. But in fact, “Yan Fu put emphasizes on the free translation and he proposed the principle of expressiveness to support the principle of faithfulness”(Xi 2009:41). “Since during the process of translation, except adhering to the expressiveness of the original text, the principle of faithfulness is the most difficult task to finish as to the conveying the original text’s mode and style”(Xi 2009:42). Therefore, we can draw a conclusion that principle of expressiveness is vital in his three principles and then is the expressiveness and the last is elegance. We should stick to the general principle of “original meaning”, only then can we have a reasonable logic to give an order on the importance of “faithfulness, expressiveness and elegance”. “While Tytler thinks the order of his three principles is suitable, natural and could not be changed”(Wang 2008:71). Tytler proposes that we can make the conveying the faithful translation of the content at the expense to pursue the beautiful and fluent translation of the original text. “If we must give up one of principles he proposes, he advises that we can give up the least important principle namely the third principle”(Wang 2008:71). In other words, it is the first sacrifice of the original “style and effectiveness”. What's more, the style and mood of the original painting must be conveyed in order to convey a faithful picture of the sense. <br /> <br /> Thirdly, “these two translation theories are different in the aspect of value orientation. The reason of this difference is due to the difference in the academic tradition of the emphasizing on the practice and theory level of the east and west”(Wang 2008:73). As is known to all, traditional Chinese translation paid more attention to practice rather than theory. The idea of translation should guide translation practice and should be of reference value. Yan Fu's “faithfulness, expressiveness and elegance” was originally used to describe the difficulty of translation, not as a translation standard. He summed it up from his own practice and was concerned with practice rather than theory. However, western translator put practice and theory at the same level. Tytler's three principles are three levels of difficulties in detail, from the content loyal to distinct style. The reflected logical form is clear and obvious, which is significantly different from the implicit three translation principles of “faithfulness, expressiveness and elegance”. “Western translation theories focus on detailed analysis, rational abstraction and theoretical deduction, and pay attention to logical organization, hierarchy and clarity of content in language expression”(Wang 2008:73). Influenced by traditional philosophy, western translation theories have a strong sense of subject and object throughout the whole process. Taking “expressiveness” as an example, Yan Fu's “expressiveness” and Tytler's third principle “translation should have all the ease of the original composition” have roughly the same meaning, but it’s obvious that they are different in thinking mode. “The Chinese adopt a thought pattern of intuition and understanding while the Englishmen follow a thought pattern of logic and reason, which makes a profound impact on each language”(Chen 2012:126). To this extent, the difference between understanding and rational thinking, as well as the degree of respect for the original text can be best reflected. At last, “these two translation theories are distinct in their motivation. Yan Fu’s criterion is purposeful which aims to attract the elite’s attention”(Wang 2008:73). The literature works that Yan Fu translated from the western world are mainly the great and famous work in the period of western capitalism. “He fully understand this mode of thinking is difficult for the Chinese intellectuals at that time so in this way, he need to make the translation principles easier for the Chinese intellectuals to absorb”(Chen 2012:127). In this regard, he chose this way of spreading his translation ideas which makes his translation principles purposeful. While Tylter just wants to make the whole translation system more systematic and cover content, form and text these three aspects. “His aim in his translation principle is simply trying to make his translation principle known by people and suggest a reasonable translation principle for translators to follow”(Xi 2009:42). <br /> <br /> <br /> '''III Comparison between the book of ''Contemporary Translation Theories'' and ''Introducing Translation Studies: Theories and Applications''''' <br /> <br /> '''1.From the aspect of arrangement of the content'''<br /> <br /> Both of these two books all take the line of main translation workshops as its main chapter and then list its contribution to illustrate the content. “In the ''contemporary translation studies'', the author compare the translation group’s advantages and weakness and then give out his own understanding of the study of the translation group” (Li :2014 111).” In the ''Introducing Translation Studies: Theories and Applications'' , the author lists the introduction of each translation workshop’s contribution and achievement to translation” (Liu and Deng 2010:54). While these two books’ difference in arrangement is that in the book ''Introducing Translation Studies: Theories and Applications'' adds a case study to extend the readers’ inflection about the translation study listed in the book. Apart from that, this book also adds the discussion of case study, summary, further reading and discussion and research points into the book which are lack in the ''Contemporary Translation Studies''. These added parts to the book ''Introducing Translation Studies: Theories and Applications'' helps extend the readers’ personal study and help the readers relate the theoretical knowledge with the translation practices. <br /> <br /> '''2.From the content of the material'''<br /> <br /> Both of the books all list the major contribution of each translation workshop but they differ in their focus and approach. In the ''contemporary Translation Theories'', the author will “analyze the advantage and weakness of the each translation workshop and then study the interrelationship between these translation workshops and at last describe the importance of each translation theory to the world and then pose its questions to the presupposition of each translation theory”(Li 2014:111). While in the ''Introducing Translation Studies: Theories and Applications'', the author firstly gives a brief introduction of the chapter content and then illustrates the introduction of each translation workshop in a detailed way. To make the book in a more precise way, the author also lists the summary, case study, discussion of study, further reading and discussion and research points in his book to make the readers to have a more comprehensive way of the book. <br /> <br /> Apart from that, these two books all take a method of incorporating the theories and practices into the whole. In these two books, each book all include the material of theories and practices as its contents. For some important parts, the authors all give out their questions in the book. For example, in the ''Contemporary Translation Theories'', the author poses his question about Pound’s translation idea“ Was he talking about intuition, guessing the author’s original intention, or something else?(Gentzler 2001:20) After this question, the author gives out his opinions about Pound’s translation idea emphasizing the translator should both inside a tradition and outside any institutionalized logic. While this point of asking question in the ''Introducing Translation Studies: Theories and Applications'' is more obvious. At the end of each chapter, the author will give several questions in his part of discussion and research points. Some of these questions can find the answers in the textbook while some will require the readers to do some additional researches. <br /> <br /> '''Conclusion:'''<br /> <br /> All in all, after this paper’s careful introduction of these two books and detailed analyzing of the translation theories, it hopes to help the readers to have better understanding of these two books. After the deep analysis of the two theories of Nida’s translation theories and the comparison between Tytler’s three translation principles and Yan Fu’s translation rules, it’s better for the readers to understand the basic rule of translation. And also after analyzing the two big translation theories, it’s clear to draw a conclusion that to be able to be a good translator, the translator should not only be skillful in adapting to two kinds of different language and also he needs to have the solid translation practice experiences. He needs to have the complete transcript of the original text by conveying the content of the original text, but also he should imitate the style and mood of the original text. <br /> <br /> <br /> <br /> <br /> <br /> <br /> '''Works Cited'''<br /> <br /> Gentzler, Edwin. Contemporary Translation Theories. Vol. 21. Multilingual Matters, 2001.<br /> <br /> Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge, 2013.<br /> <br /> Li Jiangchun. “The comment of the second edition of the Contemporary translation theories.” Foreign Language Education. 35.1(Jan. 2014): 111-114. CNKI. Web. 1 Nov. 2019<br /> <br /> Xu Dongping and Wang Dongfeng. “Giving comment about the Edwin’s Contemporary Translation theories.” Foreign Language and Their teaching.12(2000):42-44. CNKI. Web. 1 Nov. 2019 <br /> <br /> Nida, Eugene A. “Dynamic equivalence in translating.” An Encyclopaedia of Translation: Chinese-English English-Chinese [C/Z]. Hong Kong: The Chinese University Press (1995): 223-30.<br /> <br /> Shakernia, Shabnam. “Study of Nida’s (formal and dynamic equivalence) and Newmark’s (semantic and communicative translation) translating theories on two short stories.” Merit Research Journal of Education and Review 2.1 (2013): 001-007.<br /> <br /> Liu Dayan. “Dynamic equivalence and formal correspondence in translation between Chinese and English.” International Journal of Humanities and Social Science 2.12 (2012): 242-247.<br /> <br /> Panou, Despoina. “Equivalence in translation theories: A critical evaluation.” Theory and Practice in Language Studies 3.1 (2013): 1.<br /> <br /> Miao, Ju. “The limitations of ‘equivalent effect.” Perspectives: Studies in Translatology 8.3 (2000): 197-205. CNKI. Web. 3 Nov. 2019<br /> <br /> Zhou Wenmei. “Interpreting the linguistic idea in Chomsky’s generative-transformational grammar construction.”Yinshan Academic Journal. 32.3(Jun 2019):5-10. CNKI. Web. 4 Nov. 2019<br /> <br /> Zhu Enlue. “A brief analysis of Chomsky’s generative-transformational grammar.” Overseas English. (2018):241-242. CNKI. Web. 5 Nov. 2019<br /> <br /> Li Zhiwang. “An analysis of Chomsky’s generative transformational grammar and Nida’s ideas about translation.” Journal of Inner Mongolia Agricultural University. 3(2011):394-396. CNKI. Web. 5 Nov. 2019<br /> <br /> Liu Fang and Deng Jie. “The comment of the new edition of Introducing translation studies: Theories and applications.” Contemporary Foreign Languages Studies. 4.(Apr 2010):54-58. CNKI. Web. 6 Nov. 2019<br /> <br /> Stolt Birgit “Luther’s Translation of the Bible.” Lutheran Quarterly 28.4 (2014): 373-74.<br /> <br /> Shi Chunrang, Zhao Wei. “Thoughts on Yan Fu's “Faithfulness, Expressiveness and Elegance” and Tytler's Three Principles—a Case Study of Comparative Translation.” Foreign Language Research 5 (2005):96-100. CNKI. Web. 5 Nov. 2019<br /> <br /> Xi Yan. “ Faithfulness-Expressiveness-Elegance, Tytler's three principles and Dynamic Equivalence——New Analyses on the Differences and Similarities of the Standard of Translation and the Causes.” Journal of Cangzhou Teachers' College 3 (2009): 40-42. CNKI. Web. 8 Nov. 2019<br /> Bie Fangfang, and Huang Qin. “Dolet’s Translation Principles and Tytler’s Translation Principles: A Comparison.” Foreign Language Education 2007.0 (2007): 30. CNKI. Web. 9 Nov. 2019<br /> <br /> Firdaus, Sonia. “Evolution of translation theories and practice.” The Dialogue (2012):272-294<br /> <br /> Wang Chenjie. “A Systematic Comparison between Yan Fu's Theory of Faithfulness, Fluency, and Expressiveness and Tytler's Three General Rules of Translation.” Journal of Ningbo Institute of Education 1 (2008):70-73. CNKI. Web. 10 Nov. 2019<br /> <br /> Chen Wen,. “On Yan Fu and the Influence of the “Faithfulness, Expressiveness and Elegance.” Journal of Chongqing University of Arts and Sciences (Social Sciences Edition) 6 (2012): 125-129. CNKI. Web. 11 Nov. 2019<br /> <br /> ='''The Emergence of Translation and Interpretation'''=<br /> <br /> <br /> <br /> ==The Influence of Eugene Nida’s Translation Theory on Chinese Translation Development 蒋凤仪 Jiang Fengyi==<br /> <br /> ==An analysis of main factors influencing the choice of translation strategies, the example of Hongloumeng 解帆 Xie Fan==<br /> <br /> ==A Study on the History of Interpretation and the Prospect of Interpretation in China 雷旷溪 Lei Kuangxi==<br /> <br /> ==Reflections on the Development of Chinese Cultural Self-confidence in Translation from the Perspective of Chinese Translation History 郑华君 Zheng Huajun==<br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''Four translation climaxes in Chinese translation History'''===<br /> <br /> ==='''The expression and development of Chinese cultural self-confidence in the four translation climaxes'''===<br /> <br /> ==='''The characteristics of Chinese cultural self-confidence in Chinese translation History'''===<br /> <br /> ==='''Discussion'''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Bibliography'''===<br /> <br /> --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:23, 30 October 2020 (UTC)<br /> <br /> == Analysis of Skills Strategies in Interpretation: Starting from The Interpretive Theory of Translation (ITT) 肖双玲 Xiao Shuangling==<br /> <br /> ='''Western Translation Theories'''=<br /> <br /> <br /> ==An Analysis of Untranslatability and Equivalence from the perspective of Catford,Nida and Newmark’s Translation theories 文晓艺 Wen Xiaoyi==<br /> <br /> ==Cultural differences on English interpretation and the coping strategies 陶冶 Tao Ye==<br /> <br /> ==On Lefevere's manipulating theory 孔亚楠 Kong Yanan==<br /> ===Abstract===<br /> <br /> ===摘要===<br /> <br /> 20世纪80年代，翻译研究的研究对象从文本本身转向文化，将文化因素纳入翻译研究之中。安德烈勒弗菲尔作为文化转换的奠基人提出了著名的操纵理论及其三要素—诗学、意识形态和赞助人。他认为翻译不是一件简单的语言间的转换，译者的翻译活动受到意识形态、诗学和赞助人等社会因素的影响和制约。他指出翻译是改写文本的一种形式，是对原文的“操纵”，使其与目的语文本所在的文化背景相容。论文主体主要分为三部分，分别通过展示不同的译本，探究诗学、意识形态和赞助人在翻译活动中造成的改写现象。<br /> <br /> '''关键词:'''Poetics; Ideology; Patronage; Manipulate<br /> <br /> ===Introduction===<br /> <br /> 0.1 Research Background<br /> <br /> 0.2 Andre Alphons Lefevere <br /> <br /> 0.3 Mnipulating Theory<br /> <br /> ===Three Elements of Lefevere's manipulation Theory===<br /> <br /> ===Chapter One Poetics===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Roger T.Bell’s Special Outlook on Translation Studies 陈江宁 Chen Jiangning==<br /> <br /> ==A Brief Introduction to the Translation Theories of Catford and Eugene Nida 杨晨婷 Yang Chenting==<br /> <br /> ==On the differences of Nida's and Newmark's theory 康灵凤 Kang Lingfeng==<br /> <br /> ==Impacts of Western Translation Theories on The Translator’s Guide to Chinglish 赵茜 Zhao Xi==<br /> <br /> ='''Chinese Translation Theories'''=<br /> <br /> <br /> ==A Comparison between Chinese and Western translation theories—based on A brief history of Western countries and The draft of Chinese translation theories 杨逸 Yang Yi==<br /> <br /> ==Ji Xianlin’s view on translation 马淑雅 Ma Shuya==<br /> <br /> ==Translation Thoughts and Theories in China 雷方圆 Lei Fangyuan==<br /> <br /> ==Comparison between the History of Chinese and western Translation 张佩闻 Zhang Peiwen==<br /> <br /> ==Reflections of Translation Theory Books 李丽琴 Li Liqin==<br /> <br /> ==A Brief Introduction to Lu Xun's Translation Theories 张瑜 Zhang Yu==<br /> <br /> '''Abstract'''<br /> <br /> '''Key Words'''<br /> <br /> '''摘要'''<br /> <br /> '''关键词'''<br /> <br /> '''1.Introduction'''<br /> <br /> '''2.Lu Xun's Translation Theories'''<br /> <br /> '''3.The Formation and Development of Lu Xun's Translaton Theories'''<br /> <br /> '''4.The Application of the Translation Theories'''<br /> <br /> '''5.Conclusion'''<br /> <br /> '''Bibliography'''<br /> <br /> ==Comparison of two books “Translation the basics” and A Contrastive Study of English and Chinese and English Translation 姚诚 Yao Cheng==<br /> <br /> ==Comparison of two books “Translation and Translating: Theory and Practice” by ROGER T. BELL and “Descriptive Translation Studies and Beyond by Gideon Toury 谢子熠 Xie Ziyi==<br /> <br /> ='''Translation Theories'''=<br /> <br /> <br /> ==A Brief Analysis of Bell's Translation Process Model and Schema Theory 曾芳缘 Zeng Fangyuan==<br /> <br /> ==A study on a History of Translation Theory 李梦 Li Meng==<br /> <br /> ==A Comparative Study of Translation Theory between Bell and Liu Zhongde 林鑫 Lin Xin==<br /> <br /> ==A Comparative Study of Nida's Theory and Jin Di's Theory 罗维嘉 Luo Weijia==<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键字'''===<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''key words'''===<br /> <br /> ===Jin Di's Translation Theory of Equivalent Effect===<br /> <br /> ===Nida's Translation Theory of Dynamic Equivalence===<br /> <br /> ===Difference Between Jin's Theory and Nida's Theory===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Translation , Translating and interpreting 漆凯 Qi Kai==<br /> <br /> == Study on the English Translation from the Perspective of Error Analysis Theory 张琪 Zhang Qi ==<br /> <br /> ==Introduction to Translation Theories 郭露 Guo Lu==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''key words'''===<br /> <br /> Ezra Pound, ''Cathay'', Chinese classical poems of departure, Translation aesthetics<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键字'''===<br /> <br /> ===Chinese Translation Theories===<br /> <br /> ===Early Western Translation Theories===<br /> <br /> ===Modern Western Translation Theories===<br /> <br /> ===Discussion===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==The Influence of Cultural Differences on Translation Methods 张宇星 Zhang Yuxing==<br /> <br /> ='''Comparison of Translation Theories'''=<br /> <br /> <br /> ==Comparison Of Translation Theory Between Yan Fu And Tytler 陈涵 Chen Han==<br /> <br /> '''Abstract''': <br /> <br /> '''摘要'''：泰特勒的“翻译三原则”与严复的“信达雅”分别是中西翻译史上最重要的翻译理论之一。严复与泰特勒二人虽处于不同的时代，但他们的翻译理论却十分相似，从而引起许多争议。本文将系统阐述二人的翻译理论，从这两种理论产生的历史文化背景等方面比较二者的相似点和不同点，并探究产生异同的原因，旨在理清两个理论之间的关系，正确对待中西翻译理论异同，从而推动中国翻译的发展。<br /> <br /> '''关键词'''：泰特勒；翻译三原则；严复；信达雅<br /> <br /> '''I. Introduction'''--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 12:56, 1 November 2020 (UTC)<br /> <br /> ==Comparison of Chinese and Western Feminist Translation Theories-- a case study of Simon and Eileen Chang's translation Theories 纪甜甜 Ji Tiantian==<br /> <br /> ==Comparison Nida-Newmark 李丽丽 Li Lili==<br /> <br /> ==A study on the division of western translation theories 刘柳 Liu Liu==<br /> <br /> ==A comparative study on the translation theory of Eugene. A. Nida and J. C. Catford 陈莎 Chen Sha==<br /> <br /> ==Comparison of translation theories--a case study of Liu Zhongde's translation theory(faithfulness,expressiveness and closeness) and skopos theory 肖伊宁 Xiao Yining==<br /> <br /> ='''Theories'''=<br /> <br /> <br /> ==Passive and hypotaxis- Chinese Culture and CE translation 杨海容 Yang Hairong==<br /> ===1.Concepts of Passive in Chinese and English===<br /> <br /> ==On metaphors 游雨婷 You Yuting==<br /> <br /> ==The Brief Introduction of Linguistic School and its Representatives 王源 Wang Yuan==<br /> <br /> ==Polysystem and Cultural Turn 吴琪 WuQi==<br /> <br /> ==A Brief Introduction to Deconstruction and Venuti's Translation Strategy of Foreignization 徐佳 Xu Jia==<br /> <br /> ='''Translation Aesthetics'''=<br /> <br /> <br /> ==Aesthetic Representation of Two Versions of Wang Wei's Niao Ming Jian from the Perspective of Translation Aesthetics 凌子瑾 Ling Zijin==<br /> <br /> ==Aesthetic Representation of Ezra Pound's Four Poems of Departure in ''Cathay'' from the Perspective of Translation Aesthetics 石迪文 Shi Diwen==<br /> <br /> ==='''Abstract'''===<br /> <br /> At the dawn of the 21st century, Ezra Pound, intrigued by Chinese classical poetry, gave fresh impetus to the American New Poetry Movement. One of his works in this period, ''Cathay'', involves nineteen Chinese poems selected and translated from Ernest Fenollosa’s notes, with contents spanning a thousand years from the Spring and Autumn period (770B.C.-476B.C.) to the Tang Dynasty (618-907), in which Chinese classic poetry reaches its acme and Confucian philosophy of poetry education attains prosperity and dominates. It not only rose against the exaggerative and mannered expression of Victorian style to boost the development of Western poetry but also set one of the important achievements in the history of Sino-Western cultural exchanges. The study is focused on its Four Poems of Departure, all originally written by Li Bai （李白）, including &quot;Separation on the River Kiang&quot;, &quot;Taking Leave of a Friend&quot;, &quot;Leave-taking near Shoku&quot; and &quot;The City of Choan&quot;. What's more, it puts Pound's version in comparison with Li Bai's original one and intends to explore the aesthetic values of translation by virtue of Confucian aesthetic philosophy and Qian zhongshu's Hua Jing.<br /> <br /> ==='''Key Words'''===<br /> <br /> Ezra Pound, ''Cathay'', Chinese classical poems of departure, Confucian aesthetic philosophy, Hua Jing<br /> <br /> ==='''摘要'''===<br /> <br /> 二十一世纪初，伊兹拉·庞德所领导的新诗运动从中国古典诗歌中寻找推动力，他在此期间所创译的《华夏集》从费诺罗萨笔记中选取了19首中国古典诗，横跨历史千年，从孔子编纂《诗经》的春秋时期(公元前770-公元前476年)到李白诗歌十二首的盛世唐朝(618年-907年)，这段时期中国古典诗达到艺术巅峰, 孔子所提出的诗教观兴盛,成为古代中国主流诗教观。这部作品既反维多利亚式夸大其词、矫揉造作的文风，推动了西方诗歌发展，又成为了中西文化交流史上的重要成果。本篇论文将聚焦于四首诗人挑选成章的离别诗，其均来自李白，分别是《黄鹤楼送孟浩然之广陵》、《送友人》、《送友人入蜀》以及《登金陵凤凰台》。论文通过将庞德译文与原文进行对比，试图借用儒家美学观点和钱钟书先生的化境论对四首离别诗进行翻译美学价值的探索。<br /> <br /> ==='''关键词'''===<br /> <br /> 伊兹拉 · 庞德，《华夏集》，中国古典离别诗, 儒家美学，化境论<br /> <br /> ==='''Introduction'''===<br /> Ezra Pound (1885-1972), one of the most influential and controversial figures in American literature, has received floods of praises and condemnation since the first appearance of his ''Cathay'', a collection of nineteen poems, which introduces Confucian principles of poetry to American Imagist Movement. Cathay was published in 1915 when the Western countries suffered an alarming death toll in the First World War. Most of literary men were so drown in the darkness of terror and suspicion that they felt lost and trapped in despair while during this period Pound found his muse in Chinese classic poetry. It not only rose against the exaggerative and mannered expression of Victorian style to boost the development of Western poetry but also set one of the important achievements in the history of Sino-Western cultural exchanges. The work involves nineteen Chinese poems selected and translated from Ernest Fenollosa’s notes, with contents spanning a thousand years from the Spring and Autumn period (770B.C.-476B.C.) to the Tang Dynasty (618-907), in which Chinese classic poetry reaches its acme and Confucian philosophy of poetry education attains prosperity and dominates. <br /> The article puts Pound's version in comparison with Li Bai's original one and intends to explore the aesthetic values of translation by virtue of Confucian aesthetic philosophy and Qian Zhongshu's &quot;Hua jing&quot;. The former (Confucian aesthetic thoughts) mainly involves two aspects: one is the neutralization beauty of &quot;gentleness&quot; and &quot;sincerity“ (温柔敦厚）; the other is the imagery beauty of Chinese classical images. More precisely, Confucius advocates that the personal emotions expressed in poems should not be observed directly or thoroughly but be clouded, or to say, recorded emotional experiences of the real or imagined world should be presented in a roundabout and implicit way and brim with a beauty of moderation in content, i.e. “joyous but not indecent, mournful but not distressing, without resentment and slander” (乐而不淫, 哀而不伤, 怨而不谤). On the other hand, a variety of images are employed to help moderate poets' powerful emotions like homesickness, lovesickness and grief of parting, and all of them echo the neutralization beauty in poetic content. The latter (&quot;Hua Jing&quot;) proposed by Qian Zhongshu, who is one of Chinese great writers and translation theorists, is a well-known translation theory that contains Chinese classical qualities and inherits the traditional aesthetic thought. Firstly, &quot;Hua&quot; means the transmigration of souls in texts, by Qian which is considered as the top pursuit of literary translation. It requires that literary translators naturally and ingeniously convert texts of one language into words of another while at the same time the elusive charm of the original and its natures can be well preserved. In other words, language serves in a text just like man's flesh and blood and thus what translation can change only is the language but not the soul of the original. In this way, its immortal spirit can transmigrate to another language and reborn.<br /> The study concentrates on Four Poems of Departure in Cathay, including &quot;Separation on the River Kiang&quot; (《黄鹤楼送孟浩然之广陵》), &quot;Taking Leave of a Friend&quot; (《送友人》), &quot;Leave-taking near Shoku&quot; (《送友人入蜀》) and &quot;The City of Choan&quot; (《登金陵凤凰台》), all of which originally written by Li Bai, who was born in the most glorious age of Tang Dynasty. By virtue of Confucian philosophy and Qian's thoughts, the four poems can be well interpreted from the perspective of translation aesthetics, and by this way the essay helps enlarge the scope of translation study into Cathay and deepen the learning of Chinese classical aesthetics.<br /> <br /> ==='''Aesthetic Representation of &quot;Separation on the River Kiang&quot;'''===<br /> <br /> <br /> &quot;Separation on the River Kiang&quot; is the first poem in Four poems of Departure and tell a story of waving farewell to a friend along the River Kiang. The first two lines of the original poem is &quot;故人西辞黄鹤楼，烟花三月下扬州“, which Pound translates into &quot;KO-JIN goes west from Ko-kaku-ro,/ The smoke-flowers are blurred over the river.&quot; Literally, the translator mistranslates &quot;故人“，”黄鹤楼“ and exactly he simply transliterates the Japanese version of the two nouns (&quot;こじん&quot; and “こうかくろう”) into English one （KO-JIN and Ko-kaku-ro). Furthermore, Pound maybe not a good Japanese learner because &quot;こじん&quot;(KO-JIN) refers to a dead person but not &quot;故人&quot; (an old friend).<br /> <br /> ==='''Aesthetic Representation of &quot;Taking Leave of a Friend&quot;'''===<br /> ==='''Aesthetic Representation of &quot;Leave-taking near Shoku&quot;'''===<br /> ==='''Aesthetic Representation of &quot;The City of Choan&quot;'''===<br /> ==='''Conclusion'''===<br /> ==='''Bibliography'''===<br /> <br /> ==A Study on the Four Levels of Translation Based on Newmark’s Theory 张玲 Zhang Ling==<br /> <br /> ===18.3.1 Abstract===<br /> ===18.3.2 Key Words===<br /> ===18.3.3 摘要===<br /> ===18.3.4 关键词===<br /> <br /> ==A Study on Translatability and Untranslatability of English and Chinese Puns and Corresponding Strategies of Translation 曾心媛 Zeng Xinyuan==<br /> <br /> ==A Study on Untranslatability and Compensations 朱旭 Zhu Xu==<br /> <br /> ===Abstract===<br /> <br /> ===Key words===<br /> <br /> ===摘要===<br /> <br /> ===关键词===<br /> <br /> ===Introduction===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Study on translations of Vanity Fair from the perspective of poetics 许鹏飞 Xu Pengfei==<br /> ==='''Abstract:'''This article aims to explore poetic values in translations of Vanity Fair from the perspective of poetics.===<br /> ==='''摘要：'''===<br /> ==='''Key words:'''Literary translation;''Vanity Fair''=== <br /> ==='''关键词：'''文学翻译；名利场===<br /> <br /> ==='''1.Introduction'''===<br /> <br /> ==A Study of the Chinese Prose Translation from the Perspective of Translation Aesthetics 赵晓燕 Zhao Xiaoyan==<br /> <br /> ='''Culture Loaded Words'''=<br /> <br /> <br /> ==Foreignizing Translation of Culture-loaded Words in Chinese Food Culture 全美欣 Quan Meixin==<br /> <br /> ==Translation of Cultural words Based on Interpretive Theory 何长琦 He Changqi==<br /> <br /> ==Study on the translation of culture-loaded words from the view of cultural self-confidence. 刘博 Liu Bo==<br /> <br /> ==='''Abstract'''===<br /> <br /> Today, China's growing international influence is inseparable from cultural development. Without a high degree of cultural self-confidence, no country or nation can flourish. Language is an important carrier of cultural inheritance, development and prosperity, so in the context of cultural self-confidence, the translation of culture- loaded words is of great significance to the spread of Chinese traditional culture.<br /> <br /> ==='''Key words'''===<br /> <br /> culture-loaded words, cultural self-confidence, translation strategy<br /> <br /> ==='''摘要'''===<br /> <br /> 如今中国的国际影响力日益提升，离不开文化的发展。没有高度的文化自信，便没有一个国家和民族的兴盛。而语言又是文化传承、发展、繁荣的重要载体,因此在文化自信的语境下，文化负载词的翻译对中国传统文化的传播具有重要的意义。<br /> <br /> ==='''关键词'''===<br /> <br /> 文化负载词，文化自信，翻译策略<br /> <br /> ==='''Introduction'''===<br /> <br /> China is a major cultural nation, and its long cultural history gives it reason to be confident in its own culture. As Xi Jinping said, &quot;In today's world, if any political party, country or nation can be confident, the Communist Party of China, the People's Republic of China and the Chinese nation have the best reason to be so. With the courage to 'live a life of 200 years with confidence, we will be able to face all difficulties and challenges without fear, and we will be able to open up new horizons and create new miracles with unswerving determination. However, in the course of China's development, we have also absorbed Western culture while neglecting the development of Chinese culture. This phenomenon is still going on today. As China's economic development has entered a new stage, and reform has also entered a critical period, social values have become complex and diverse. The mainstream and the non-mainstream co-exist, and the advanced and the backward are intertwined, presenting a pluralistic and changeable character. Therefore, China needs a force to unite the complex and diverse social consciousness, and the importance of traditional Chinese culture is once again highlighted. Therefore, the Communist Party of China (CPC) has proposed the concept of &quot;firm cultural confidence&quot;, which has been widely accepted by the Chinese people. Against this backdrop, English language learners should take on the task of communicating the cultural loaded words of Chinese culture to the world, so that the world can learn more about Chinese culture through language, and thus increase China's international influence.<br /> <br /> ==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory 刘金惺琦 liu Jinxingqi==<br /> ==Translation Strategies of Words under the Guidance of Translation Methodology 肖婷 Xiao Ting==<br /> <br /> == Analysis of the Translation of Culture-loaded Words in Vanity Fair 常慧月 Chang Huiyue==<br /> <br /> ='''Skopos and Functional Equivalence'''=<br /> <br /> <br /> <br /> ==On the Relationship among Translation Theories, Strategies and Techniques ——From the Perspective of Skopos Theory 谌孙福 Chen Sunfu==<br /> <br /> ==='''Abstract'''===<br /> One fact known to be exist in the learning of translation is students’ ignorance of the discrepancy between translation studies and translation practice. Bluntly speaking, central to translation studies are diverse translation theories. However, some strategies, methods and skills accordingly applied are at the core of translation practice during the process of translation. Given the fact that translation theories, strategies, methods and skills are always misunderstood as concepts in the same level, this paper aims to expound the relationship among them on the basis of Hans Vermeer’s Skopos Theory as well as the exhaustive analysis of examples of pragmatic translation. With the citation of several examples of pragmatic translation, including those of tourism translation, literary translation and business translation, this paper elucidates the principal points vividly.<br /> <br /> ==='''Key words'''===<br /> translation theories; translation strategies; translation techniques; Skopos theory; pragmatic translation<br /> <br /> ==='''摘要'''===<br /> 学生翻译学习过程中普遍存在的一个现象是混淆翻译学研究和翻译实践的区别。简言之，翻译学研究的核心是形形色色的翻译理论。相比之下，翻译实践关注的重点则是翻译过程中运用的翻译策略、方法和技巧。鉴于翻译理论、策略、方法和技巧常被误认为是同一层面的概念，基于汉斯•弗米尔的功能目的论和对实用文本译例的详尽分析，本论文旨在阐明翻译理论、策略、方法和技巧之间的关系。文中出现的实用文本译例清楚展现了论文要点，如旅游文本、文学类文本以及商务文本的翻译等。<br /> <br /> ==='''关键词'''===<br /> 翻译理论；翻译策略；翻译技巧；目的论；实用类文本翻译<br /> <br /> ==='''Introduction'''===<br /> <br /> ===='''Skopos theory '''====<br /> Skopos theory, one of the most profound contributions made by German Functionalist School, is basically put forward by Hans Vermeer as a new way to deal with translation, especially the relationship between ST (the source text) and TT (the target text). Here, the original German word “Skopos” refers to “purpose” in English, indicating that Skopos theory can be also interpreted as “the principle of purposes”. According to Vermeer, there are mainly three rules to be abided by, namely skopos rule, coherence rule and fidelity rule, among which the skopos rule is of overriding importance. Now an exhaustive explanation will be given in the following text with regard to those rules.<br /> <br /> The first one to be illustrated is the overwhelmingly significant skopos rule. In the eyes of Hans Vermeer, “each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follow: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.” (Nord, 2001:29). Seeing from his remarks, what matters most in the process of translation is not so much the equivalence between ST and TT as the manifold purposes. These purposes encompass those of the translator and the text, the latter one of which is greatly highlighted. That is to say, the translator need not obstinately stick to the form and style of ST but rather give top priority to what the TT actually wants to convey and transfer to TT readers. Hence, the adoption of pertinent translation strategies and techniques is by no means haphazard but in accordance to the skopos rule. Moreover, the skopos theory also provides translators an efficacious way to free themselves from the restraint of ST. Their obligation lies in tailoring TT rendered by them to the ultimate goals of the translation activity, such as informing TT readers about something new, persuading them or so.<br /> <br /> Then, here comes the second rule, coherence rule, also dubbed as the intra-lingual rule. It has been widely held that this rule lays much emphasis on the readability and acceptability of TT for TT readers. Imaging there are two translation version of a text, one of which is transparent and intelligible whereas another one of which is rigid and eccentric for people to understand, then which one will be the ideal version for TT readers. The answer is definitely the latter one. The case is that readers are more prone to reader TT which conforms to their expressive habits and conventions. This is why the translation strategy, domestication have been frequently adopted when translating some exotic or foreign texts, with a view to catering to TT readers knowledge.<br /> <br /> The last but not least one rule to be demonstrated is the fidelity rule, or the well-known inter-lingual rule. Here, the loyalty of TT to ST cannot be overstated any more. Bearing a resemblance to Yan Fu’s “faithfulness” or Nida’s Functional Equivalence Theory, TT must be rendered in conformity with ST. Quite different from Yan Fu and Nida’s standpoints, such a kind of fidelity, however, is determined or constrained by the purposes of TT and the translator’s comprehension of ST to a great extent.<br /> <br /> To conclude, in spite of the respective roles played by the above-mentioned three rules in translation practice, the coherence rule and the fidelity rule are outshined by the skopos rule for purposes of TT and translators are the most crucial elements to be considered when we view translation practice from the unique perspective of skopos theory.<br /> <br /> ===='''Translation theories,strategies and techniques '''====<br /> <br /> ===='''The relationship among translation theories, strategies and techniques '''====<br /> <br /> ==='''Case Analysis'''===<br /> <br /> ===='''The translation of tourism texts '''====<br /> <br /> ===='''The Translation of literary prose '''====<br /> <br /> ===='''The Translation of business advertisement '''====<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Bibliography'''===<br /> <br /> ==Contemporary Study on Nida's Functional Equivalence and Skopos Theory 聂晓楼 Nie Xiaolou==<br /> <br /> ==On the concept of equivalence in translation 彭娟 Peng Juan==<br /> <br /> ==The Application of Functional Equivalence to Translation of Rhetorical Devices in The Nightingale and the Rose 彭小玲 Peng Xiaoling==<br /> <br /> ==Exploration of Translation Studies and Comparison Between Skopos Theory and Nida’s Functional Theory 彭育志 Peng Yuzhi==<br /> <br /> ==On Evan King's written Ending of Lotus Xiangzi from Vermeer's Skopos Theory 徐梦蝶 Xu Mengdie==<br /> ==='''Abstract'''===<br /> Skopos theory was introduced into China in 1987 and it is warmly welcomed by Chinese scholars in solving intercultural problems in translation. This paper will analyze the problem in purpose-oriented translation, as well as “fidelity” problem of translators, with Evan King’s written ending part of Luotuo Xiangzi as an example.<br /> <br /> ==='''Key words'''===<br /> Vermeer; Skopos theory; Luotuo Xiangzi; Evan King<br /> <br /> ==='''摘要'''===<br /> 1987年,目的论进入中国，该理论在解决翻译中的跨文化问题方面，受到了中国学者的热烈欢迎。本文以埃文·金英译版《骆驼祥子》中的结尾部分为例，来分析目的性翻译中存在的问题，以及译者的“忠实”问题。<br /> <br /> ==='''关键词'''===<br /> 弗米尔；目的论；骆驼祥子；埃文·金<br /> <br /> ==='''I.Introduction'''===<br /> <br /> ==='''II.Literature Review'''===<br /> <br /> ==='''III.Methodology'''===<br /> <br /> ==='''IV.Discussion '''===<br /> <br /> ==='''V.Reference'''===<br /> <br /> ='''Functional Equivalence'''=<br /> <br /> <br /> == On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''key words'''===<br /> <br /> functional equivalence, formal equivalence, translation<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键字'''===<br /> <br /> ==='''Introduction'''===<br /> <br /> ===Functional Equivalence===<br /> <br /> ===Formal equivalence===<br /> <br /> ===Application of functional equivalence and functional equivalence in translation===<br /> <br /> ===Discussion===<br /> <br /> ===Conclusion===<br /> <br /> == My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==<br /> <br /> == Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==<br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''Introduction'''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Bibliography'''===<br /> <br /> ='''Applicaton of Translation Theories'''=<br /> ==Study of Application of Interpretive Theory in Escort Interpretation 韩宛真 Han Wanzhen==<br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''I.Introduction'''===<br /> <br /> ==The Skopos Theory Becomes Stronger When Translation Equivalence is Failing 刘怡瑜 Liu Yiyu==<br /> <br /> ='''Theory and Practise'''=<br /> <br /> <br /> ==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures 陈佳欣 Chen Jiaxin==<br /> <br /> ==Translation, History and Culture: A Sourcebook VS Comparative Study on Chinese and western translation 成于思 Cheng Yusi==<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> ==The development and future trend of translation Theory 张慧 Zhang Hui==<br /> <br /> ==A Cultural Critique of Foreignization and Domestication 吴子佳 Wu Zijia==<br /> <br /> ='''Contemporary Translation Studies'''=<br /> <br /> <br /> ==On the Influence of Linguistics on the Construction of Translatology 孔祥慧 Kong Xianghui==<br /> <br /> ==Translation, History and Culture and Introducing Interpreting Studies 李璐伊 Li Luyi==<br /> <br /> ==Reflection on the Learning of Translation Studies in China 许晶 Xu Jing==<br /> <br /> ==The influence of translator's cultural identity on translation 周玉娟 Zhou Yujuan==<br /> <br /> ==The Application of Domestication and Foreignization in Howard Goldblatt’s Translation of Mo Yan's works 邹鑫雨 Zou Xinyu==<br /> <br /> ==Yan Fu from descriptive translation studies 曹润鑫 Cao Runxin==<br /> <br /> <br /> ='''Translation Thoughts'''=<br /> <br /> <br /> ==An Analysis of Translator’s Subjectivity from the Western Metaphorical Perception of Translation 李玉 Li Yu==<br /> <br /> ==On the study and analysis of three kinds of beauty and transformation in the mid autumn festival prelude to water melody under the guidance of functional equivalence 林敏 Lin Min==<br /> <br /> ==Lexical Gap between English and Chinese and its translation strategies 孟莹 Meng Ying==<br /> <br /> ==On Form and Spirit in Translation 文偲荇 Wen Sixing==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> translation methods，form，sprit<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> 翻译方法，翻译的形与神<br /> <br /> ===The form of translation===<br /> <br /> ===The sprit of translation===<br /> <br /> ===Discussion===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Comparison of Nida's and Newmark's Translation Theories——Taking &quot;2017 APEC Speech&quot; as sample 周诗卿 Zhou Shiqing==<br /> <br /> ='''Translation Strategies'''=<br /> <br /> <br /> ==The Study on the Translation Strategies, Translation Methods and Translation Techniques in Seeking Happiness for People: 70 Years 朱素瑶 Zhu Suyao==<br /> <br /> ==A Brief Analysis of Translation Strategies for Chinese and English Proverbs 管钦清 Guan Qinqing==<br /> <br /> ==Translator's invisibility vs. Translation Studies 胡百辉 Hu Baihui==<br /> <br /> ==On E-C Translation of Newspapers from the Perspective of Verities and Translation 胡瑾 Hu Jin==<br /> <br /> ==The translator's invisibility 张毓婕 Zhang Yujie==<br /> <br /> ==Study of Domestication and foreignization in Cross-cultural Translation 顾东方 Gu Dongfang==<br /> <br /> ='''Translation Appreciation'''=<br /> <br /> <br /> ==Appreciation of Translation from the Stylistic Perspective - Use Walden as a Case Study 袁诗琦 Yuan Shiqi==<br /> <br /> ==A Comparison Beteewn the Translation Systems Proposed by Tan Zai and Yi Jing 石海瑶 Shi Haiyao==<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation. 王美玲 Wang Meiling==<br /> <br /> ==Comparison between Communicative Translation and Semantic Translation and practices in tourism texts translation 康浩宇 Kang Haoyu==<br /> Abstract<br /> Since the launching of the Reform and Opening Up, China’s has opened its door wider to the outside world. More and more tourists from the rest of the world choose to take a trip to China for pleasure. In intercultural communication, translation plays a significant role in this industry. However, quiet a few of those tourism texts translations are poor in quality, which may lead to the misunderstanding of the foreign tourists towards the scenic spot. Therefore, it’s necessary to have a study on these tourism texts and conclude proper strategies on tourism texts translation. Peter Newmark is one of the most famous translation theorists and educators in the world. He raised two famous translation , semantic translation and communicative translation.<br /> <br /> ==The Discussion of Literal and Free Translation from the Perspective of Linguistic Value 龚钰冕 Gong Yumian==<br /> <br /> == Appreciation of Translation from the Stylistic Perspective - Use Walden as a Case Study 王轩 Wang Xuan==<br /> <br /> ='''Machine Translation'''=<br /> <br /> <br /> ==On the C-E Translation of Traditional Chinese Medicine Instructions from the Perspective of Adaptation Theory - A Case Study of Yulin Pharmaceutical Company 陈永相 Chen Yongxiang==<br /> '''Abstract'''<br /> <br /> Traditional Chinese Medicine (hereinafter referred to as TCM), the precious property of Chinese medicine culture, boasts the favorable curative effect and a good reputation across the world. With the smooth development of “The Belt and Road Initiative” and national economy, TCM has been playing an increasingly significant role in international trade, attracting more attention of foreign medical experts and consumers. As the essential attachment of a medicine, medicine instructions belong to the genre of practical writing, characterized by the unique language structure and stylistic features, guiding doctors and patients to learn and understand the medicines, such as usage and dosage, actions and indications, contraindication, etc. The translation of TCM instructions is a significant part of TCM translation, the quality of which determines whether the Chinese medicines could be understood and used properly by doctors and patients, as well as the prosperity of TCM in international trade. Due to the inevitable differences in language and culture between English and Chinese, however, plenty of problems appear on the C-E translation of TCM instructions. <br /> <br /> According to Adaptation Theory proposed by the Belgian pragmatist Jef Verschueren, language use is a dynamic process of continuous choice-making and adaptation. Translation is a cross-cultural communication activity, which involves language usage and requires translators to make choices of words, translation strategies and so on between source language and target language, and to adapt with different contexts, mentalities, cultures, etc. so as to achieve the ideal goal, from which the Adaptation Theory can be applied exactly into the study of translation. This paper will apply Adaptation Theory, therefore, as the theoretical framework, to study the C-E translation of TCM instructions of Yulin Pharmaceutical Company. Employing the core concepts and investigating aspects of Adaptation Theory, the author tries to further discuss how to better translate TCM instructions. <br /> <br /> '''Key words:''' Traditional Chinese Medicine instruction translation, Adaptation Theory, Yulin Pharmaceutical Company <br /> <br /> '''摘要'''<br /> <br /> 中药是我国医药文化的瑰宝，有着良好的疗效和口碑。随着“一带一路倡议”的稳步推进和中国经济的平稳发展，中药药品在国际贸易中所占比重日益增加，得到了国外许多医疗专家和消费者的关注。药品说明书作为药品的重要附件，是一种实用文体，有其自身的语言结构和文体特点，能够指导医生与患者了解和熟悉药品作用、用法用量、适应症和禁忌等。而中医药品说明书英译作为中医英译的一个重要组成部分，其英译质量决定了药品能否被医生和患者正确理解和使用，以及中医药产品的国际贸易繁荣。然而，由于英语和汉语之间存在着不可避免的语言和文化差异，中医药品说明书英译依然存在着较大问题。<br /> <br /> 比利时语用学家维索尔伦提出的语言顺应论认为，语言的使用是一个不断作出选择和顺应的动态过程。翻译作为一项跨文化交际活动，需要在源语与目的语之间，就用词、翻译策略等方面进行选择，对不同语境、心理、文化等层面作出顺应。可见顺应论适用于翻译研究。因此本文以顺应论作为理论依据，通过对广西玉林制药公司中医药品说明书英译进行分析研究，运用顺应论的核心概念和研究视角，进一步探讨如何更好地翻译中医药品说明书。<br /> <br /> '''关键词：'''中医药品说明书翻译，顺应论，玉林制药公司<br /> <br /> 1. Introduction <br /> 2. Literature Review <br /> 3. Theoretical Framework <br /> 4. Adaptation Theory Applied in Traditional Chinese Medicine Instruction Translation of Yulin Pharmaceutical Company<br /> 5. Conclusion <br /> References <br /> Acknowledgemen<br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:41, 31 October 2020 (UTC)<br /> <br /> ==Will Machine Translation Replace Human Translation or not? 莫玲 Mo Ling==<br /> <br /> Abstract<br /> <br /> Key Words:<br /> <br /> <br /> 摘要<br /> <br /> <br /> 关键词<br /> <br /> <br /> <br /> Introduction<br /> <br /> ==A Brief Analysis of the Chinese-English Public Sign Translation 袁天翼 Yuan Tianyi==<br /> <br /> Abstract: In this economic globalization, political polarization, cultural globalization, technological modernization and informative sharing age, the global economy is deeply developing, and the human community with a shared future is coming into shape day by day. The relations among people and among countries are increasing day by day. At this time, the problems of Chinese-English public sign translation become the topic of us. Though the number of Chinese-English public sign translators in China grows daily, the problems of Chinese-English public sign translation emerge endlessly. This passage offers a brief analysis of the definition of Chinese-English public sign, points out some typical problems in Chinese-English public sign translation we see in daily life, analyzes some methods and strategies of Chinese-English public sign translation, and gives some outlooks on the future of Chinese-English public sign translation. <br /> <br /> Key Words: Chinese-English translation; public sign; translation strategies<br /> <br /> 摘 要：在这个经济全球化、政治多极化、文化全球化、科技现代化、信息共享化的时代，全球经济纵深发展，人类命运共同体日趋形成，人与人、国家与国家间的联系日益密切，这时，汉语公示语的英译问题便被提上了议程。尽管中国汉语公示语的英译翻译员越来越多，但是汉语公示语的英译问题层出不穷。本文简析了汉语公示语定义，例举了生活中常见的一些汉语公示语的英译典型问题，并针对此给出了一些翻译方法与策略，并进行了未来展望。<br /> <br /> 关键词：汉英翻译；公示语；翻译策略<br /> <br /> I.Introduction<br /> <br /> The public sign is a specially applied literary form that was formed in modern times, which has a long history. It is used in public places and seen by the masses thus realizing unique communicative purposes. The public sign has become a crucial link in the communication between China and other countries in the international community. In the meantime, there are increasingly more experts and scholars paying attention to the translation of Chinese public signs into English. (Reiss, 2004). <br /> <br /> As an important tool for international communication, Chinese-English public sign translation plays an extremely important role in foreign friends’ understanding of Chinese culture（Wang Huili, 2019）. Its applied range is so wide that nearly covers every aspect of our daily life, including: Introductions of tourism trips, propaganda languages, warning languages, road signs, shop signs and advertising boards. It is mostly used on public infrastructure: Subway, airport, taxi, pier, tourist spot, park, street, community, shop, supermarket, restaurant, bank, hotel, cinema, hospital and etc. It uses simple words or sentences, or pictures only, or combines words and pictures to pass useful information to the masses, which not only serves Chinese people, but also is shown to the foreigners, which can help foreigners in China study, work and live.<br /> <br /> ='''Foreignization and Domestication'''=<br /> <br /> <br /> ==Comparison between domestication and foreignizing translation 汤蓓 Tang Bei==<br /> <br /> ==The Application of Domestication and Foreignization in Howard Goldblatt’s Translation of Mo Yan’s Works 欧蓉 Ou Rong==<br />  <br /> 摘要：一直以来，中国文学的独特风格在世界文学中备受瞩目，在流向海外的过程中，翻译成为了跨文化沟通的桥梁与传播的媒介。莫言是中国著名代表作家，2012年获得诺贝尔文学奖，外国对其作品的翻译研究从未断过。葛浩文是美国著名中国当代文学翻译家，莫言所有作品的英译本都来自于他。本文旨在通过分析葛浩文在翻译莫言作品过程中体现的归化和异化，从而指出其过人之处，从而思考中国文学作品被英译时应注意的事项，加强与提高不同文化之间交流的理解度与流畅度。<br />  <br /> <br /> 关键词：归化；异化；葛浩文；莫言的作品<br />  <br /> <br /> Abstract: For a long time, owing to the unique style, Chinese literature has attracted much attention among world literature. In the process of flowing overseas, translation has become a bridge of cross-cultural communication and a medium of transmission. Mo Yan is a well-known representative Chinese writer, who won the Nobel Prize in Literature in 2012. The study on his works about translation abroad has never stopped. Howard Goldblatt is a famous American  translator specializing in contemporary Chinese literature, and all English versions of Mo Yan's works are from him. Through analyzing the domestication and foreignization that reflects in the translated version of Mo Yan's works by Howard Goldblatt, the thesis aims to point out the extraordinary of this application and consider the matters that should be paid attention to when translating Chinese literary works into English to strengthen the understanding and improve the fluency of the exchange between different cultures.<br />  <br /> <br /> Key words: Domestication; Foreignization; Howard Goldblatt; Mo Yan’s works<br />  <br /> <br /> 1.Introduction<br /> <br /> 2. Domestication and Foreignization<br /> <br /> 2.1. The Definition of Domestication<br /> <br /> 2.2 The Definition of Foreignization<br /> <br /> 3. Howard Goldblatt’s Translation Strategies on Chinese Literary Works<br /> <br /> 4. The Embodiment of Domestication and Foreignization in Mo Yan’s works<br /> <br /> 5. The Enlightenment under the Application for Translation<br /> <br /> 6.Conclusion<br /> <br /> Bibliography--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 15:39, 6 November 2020 (UTC)Ou Rong<br /> <br /> ==Domestication and Foreignization in the Course of Translation Under the Direction of Skopostheorie 谭星越 Tan Xingyue==<br /> <br /> ==Study of domestication and foreignization in cross cultural translation 周罗平 Zhou Luoping==<br /> Abstract<br /> Language is the carrier of culture and the medium of communication between cultures. Language and culture are closely connected. Nowadays, cultural exchanges are becoming increasingly frequent; hence, it’s particularly important to use translation to convey information between different cultures. Translation is a process not only about transforming one language into another, but also about noticing the history and cultural tradition behind languages. Therefore, in cross-cultural translation, translators should master two methods to deal with culture: domestication and foreignization. This article will introduce the two translation methods of domestication and foreignization and explore how to reasonably use them in cross-cultural translation.<br /> <br /> Key words: Domestication Foreignization Cross-cultural Translation <br /> <br /> 摘要<br /> 语言是文化的载体，是文化间传播和交流的媒介。语言和文化之间密不可分。在文化交流日益频繁的今天，用翻译去传递不同文化之间的信息就显得格外重要。翻译不仅仅是将一种语言转化为另一种语言，更要关注不同语言背后所承载的历史背景和文化传统，故在跨文化翻译中，译者应掌握处理文化的两种翻译方法：归化和异化。本文将系统地介绍归化和异化这两种翻译方法，并探究在跨文化翻译中如何选择这两种翻译方法。<br /> <br /> 关键词：归化 异化 跨文化翻译--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 00:55, 1 November 2020 (UTC)<br /> <br /> = '''Title Translation''' =<br /> <br /> <br /> ==A Study on the Translation of Movie Titles 陈惠 Chen Hui==<br /> <br /> ==A study of Translation of Movie Titles in the Light of Venuti's and Nida's theory 罗雨晴 Luo Yuqing==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''I.Introduction'''===<br /> <br /> ==A Study on Film Subtitle Translation from the Perspective of Skopos Theory 杨悦 Yang Yue==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''I.Introduction'''===<br /> <br /> ='''Translation of Cultural Words'''=<br /> <br /> <br /> ==Translation of Cultural Words Based on Scopos Theory 周思庆 Zhou Siqing==<br /> ===31.1.1 '''Abstract'''===<br /> ===31.1.2 '''Key words'''===<br /> ===31.1.3 '''摘要'''===<br /> ===31.1.4 '''关键词'''===<br /> ===31.1.5 '''Introduction of Scopos theory'''===<br /> ===31.1.6 '''Introduction of cultural words'''===<br /> ===31.1.7 '''The application of Scopos theory in the translation of cultrural words'''===<br /> ===31.1.8 '''Discussion'''===<br /> ===31.1.9 '''Conclusion'''===<br /> ===31.9.10 '''Bibliography'''===<br /> <br /> ==A Communicative Translation Approach to Idioms Translation in Volume One of A Dream of Red Mansions--A Case Study of Yang Xianyi and Gladys Yang’s Version 蒋淇玮 Jiang Qiwei==<br /> <br /> ==How to keep &quot;Chineseness &quot; in Idiom Translation from Chinese to English 瞿淼 Qu Miao==<br /> <br /> 摘要：俗语是流传在人民群众口头上的，结构相对稳定的通俗语句，一般包括谚语、歇后语、惯用语和俗成语。汉语俗语承载着中国语言文化特色，蕴含着丰富的文化信息。在汉英俗语翻译中，因为汉语和英语属于不同的语言系统，并且文化差异较大，所以常常出现译文丢失了中国特色的情况。本文从归化和异化的角度，对比了分别使用归化和异化翻译方法的译文的效果，讨论汉英俗语翻译保持中国特色的方法，得出结论，在汉语俗语英译过程中应该采取异化为主，归化为辅，并结合注释的方法，以此来最大限度地保持俗语的中国特色。<br /> Abstract<br /> <br /> ==Translation of English Proverbs from the Perspective of Culture 韩海洋 Han Haiyang==<br /> ===31.4.1 '''Abstract'''===<br /> <br /> ==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory 刘金惺琦 liu jinxingqi==<br /> <br /> ='''Translation of Dish Names'''=<br /> <br /> <br /> ==On the C-E translation of Chinese dish names:From a Functional Equivalence Perspective 刘洋诺 Liu Yangnuo==<br /> <br /> '''Abstract'''<br /> <br /> With increasing global influence, the task of cultural communication is a formidable project. Translation as a media plays a important role in cultural communication. A Bite of China, a TV program to introduce Chinese dishes, has gained popularity at home and abroad, thus broadcasting Chinese dishes. But difficulties in translating Chinese dishes are evitable considering abundant culture-loaded expressions and complex cooking skills. The essay discusses theoretical and practical significance of researching Chinese dish names. We summarize some point of views from other scholars. Also, we analyze the difficulties in translating Chinese cuisines from a functional equivalence perspective. Combined with translation examples, we discuss three strategies for translating Chinese dish names.<br /> <br /> '''Keywords'''<br /> <br /> Chinese-English translation; Chinese dish names; functional equivalence<br /> <br /> '''摘要''' 中国国际影响力不断提高，文化交流的使命更加艰巨。翻译作为文化交流媒介，其重要性也不容忽视。中国饮食文化节目《舌尖上的中国》在海内外热播也进一步推动了中国特色饮食文化的传播，但是其丰富的文化内涵和多样的烹饪技巧也给译者带来不少困难。本文探讨研究中国菜名翻译的理论和实践意义，总结中国菜名翻译目前的研究成果。从功能对等理论出发，分析中国菜名翻译的困难，同时也结合翻译实例，提出三个中国菜名翻译的策略。<br /> <br /> '''关键词''' 中译英；中国菜名；功能对等<br /> <br /> '''I.Introduction'''<br /> <br /> As the old Chinese saying goes, food is the God of the people. In other words, we regard food as the primary need. Chinese cuisine has a firm connection between our daily life and Chinese culture. But when it comes to Chinese cuisine, there are many aspects left for us to consider, such as the etiquette of dining table, dietary structure or habits, the art of dietary decorations and cultural connotation. In the essay, we will mainly focus on Chinese dish names. From semantic linguistic point of view, there are two structure in a language. The surface structure is Chinese dish names themselves, but the deep structure is the meaning behind these dish names. It’s not surprising that we will discuss the relationship between some Chinese dish names and their cultural connotation in the later part of this essay. Chinese dish names are endowed with Chinese culture through culture-loaded expressions or idioms. When we dive into our research, it’s easy to find out that behind some dish names from historical stories and anecdotes are layer upon layer of meanings. Although the majority of us understand the importance of translating Chinese dish names, good translations still remain in the dark. The reasons abound, ranging from a great variety of Chinese dishes and difficulty in fully understanding of cultural connotation behind Chinese dishes.<br /> <br /> The essay takes functional equivalence coined by Eugene Nida as a theoretical basis. In the first part, we discuss the importance and significance of researches on Chinese-English translation of Chinese dish names. In the second part, we look back on functional equivalence theory and summarize current results on this topic. At the same time, we try to discuss difficulties in translating Chinese dish names in terms of basic information and cultural backgrounds. In the last part, we turn to discuss the possibility of applying the theory into translation practice on Chinese dish names in order to improve C-E translation of Chinese cuisine. We consolidate commonly used strategies into three combined with translation examples in reality. The last part is to summarize what we have discussed before and to point out limitations of this essay. The purpose of our research is to have a better understanding of our own culture and transmitting Chinese culture to foreigners. Apart from cultural aspect, cultural communication interconnects with economic and political aspect, which is one of reasons why China attaching much importance to cross-cultural communication and transmission. <br /> <br />  <br /> '''II.Literature Review'''<br /> <br /> 2.1 Previous Studies on the C-E translation of Chinese Dish Names<br /> <br /> There are some scholars who have paved the way for our further researches. Some of them describe strategies for C-E translation of Chinese dish names based on several translation theories. Others Zhang Tingli (2015) summarized six characteristics of Chinese dish names based on A Bite of China, a popular TV program in China. Below are six characteristics: place names plus ingredients, personal names plus ingredients, main ingredients plus supplementary ingredients, cooking procedures, various flavors and cultural elements. Li Weiwei (2017) wrote a report on Chinese-English cuisine interpretation under the guidance of Skopos Theory, including the Skopos rule, the coherence rule, the fidelity rule and the loyalty rule. Che Yimo (2019) summarize three principles to analyze the menu translation quality of a Chinese restaurant based on cross-cultural communication theories. The three principles include semantic proximity, cultural communication and aesthetics. Xue Jingnan (2015) involves an analysis of the translation of Chineseness by Chinese-Candians in food discourse from a cultural perspective, which providing a glimpse into Chinese culinary identity. Similiarly, Lee Yi Yan (2016) mainly focus on cultural and sociological phenomenon behind Chinese food. His research is based on two types of popular Chinese food narratives: Ang Lee's Eat Drink Man Woman published in 1994 with a televisual documentary series A Bite of China released in 2012. Under the guidance of their papers, we are able to explore more in this infinite sphere. We pay tributed to great efforts they have paid. While researches on the C-E transllation of Chinese dish names have spread into most sectors, researches from a functional equivalence theory are few because previous scholars mainly apply Skopos theory and cross-cultural theory into their researches. In the paper, we will discuss the C-E translation of Chinese dish names coupled with functional equivalence theory. In the next part, we will turn to existing problems in the C-E translation of Chinese dish names.<br /> <br />  <br /> 2.2 Existing Problems<br /> <br /> <br /> 2.2.1 Problems in Transmitting Basic Information of Chinese Dish Names<br /> <br /> Different translation versions of a Chinese dish always make foreigners confused. For example, there are at least three versions of 炮弹鱼, including Shell fish, bullet mackerel and trigger fish. We often blur the lines between scientific name and general name in our translation. Also, sometimes we seem to ignore distinct difference between two things by using the same name to define them. For example, some translators use bamboo fungus and edible tree fungus to stand for竹笋 and 木耳 respectively, but in reality 竹笋is completely different from 木耳. There are some subtle differences among Chinese dishes. As Mo Chuanxia and Yue Lin (2020) mentioned in their essay, 水米籺is cooked rice pounded into paste with stuffing inside for worship or diet. 籺is a defining food for South China, especially in Guangdong provinces. It is totally different from cake or pastry in Western culture. The best way to translate it is to use explanatory words. Below are some C-E translations related to Chinese dishes: 黄馍馍(yellow steamed bun), 肉夹馍(the marinated meat in baked bun), 榴莲酥(crispy durian cake) and蒿子粑粑(crown daisy rice cake). Everyone who has ever eaten these four kinds of food will have an inkling of knowledge about the different flavor and shape between 黄馍馍and肉夹馍. Likewise, the word “sausage” is insufficient to translate 血肠, 腊肠 and 香肠. For some well-known Chinese food such as tofu, it’s unnecessary to translate it into bean curd as in 油豆腐(fried bean curd puff). It seems to be nonessential part in translating Chinese dish names because we often are encouraged to create our own translation. But for long-term effects, chaos will lead to negative impact on economic benefits of those Chinese dishes and cross-cultural communication. <br /> <br /> Judging from a great variety of cooking techniques in many Chinese dish names, they bring a lot difficulties in the rendering of Chinese cuisine. In Chinese, there are a lot of verbs to describe how to cook. I list some common verbs below: 炒, 煮, 炖, 炸, 煎, 煲, 蒸, 烧, 焖 and 拌. But when it comes to C-E translation, we translators seem to ignore these verbs and use the same &quot;with&quot; structure to translate all of them as in 莴笋炒火腿(Stir-fried ham with asparagus lettuce), 莲藕炖排骨(Stewed ribs with lotus root) and 虾子焖茭白(Shrimp roe stewed with cane shoots). On top of these commonly used verbs, some verbs are really difficult to understand for native speakers who are unfamiliar with cooking, let alone for foreigners. The four words list below is a case in point: 煸, 焙, 焗 and 烩. The reason behind this phenomenon lies in lacking language about cooking techniques. The word list in this paragraph is more about the duration and degree of heating while cooking Chinese cuisine. As a translator, we should not only know general translation skills that can applied to a large number of texts, but also should have the inkling of other fields. Without background knowledge on cooking procedures, they will be stumbling blocks for translators striving for concise and accurate renderings.<br /> <br /> After discussing cooking techniques in Chinese dish names, we will turn to the different flavor of Chinese cuisine. When burying myself into oceans of Chinese dishes, I divide all sorts of flavors into two categories. In the first category, word list includes 酸辣, 三鲜, 川味, 麻辣, 卤味, 家常, 酱香, 五香, 香辣 and 酥. In the second category, 孜然, 铁板, 鼓汁, 姜汁, 泡椒, 糖醋 and 蒜泥 will put in a group because these nouns mainly derived from ingredients and cooking utensils rather than the flavor itself. Beautifying function aesthetic beauty<br /> <br /> <br /> 2.2.2 Problems in Considering Different Cultural Backgrounds<br /> <br /> Culture-loaded Chinese dish names <br /> <br /> <br /> '''III.Functional Equivalence Theory'''<br /> <br /> <br /> Functional Equivalence put forward by Eugene. A. Nida, a renowned American linguist and translation theorist. Functional equivalence theory developed from dynamic equivalence. He defined dynamic equivalence as &quot;the quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors. Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida, 1969). In the later works, he thought that the adequacy of a translation depended on “the reliability of the text itself, the discourse type, the intended audience, the manner in which the translated text is to be used, and the purpose for which the translation has been made” (Nida, 1993, p.127). Under the influence of Eugene. A. Nida, other subsequent scholars also put forward their own understanding of functional equivalence. In the views of Christian Nord, the translator recreates the text in target language by keeping some source-text information or linguistic elements invariant and adapting the rest to the receivers’ background knowledge, expectations and communicative needs or to such factors as medium-restrictions and deixis requirements (Nord, 2001). The term the closest natural equivalent implies that the rendering must be readable (related to the language form) and understandable (related to the content) to the target receptors, since different languages have different features of grammar and lexicon. Functional-equivalence requires the highest degree of proximity (Zhang Qing &amp; Wang Jiaqi,2010: 880-888). The translation is a reproduction process of source text in target language, observing the target culture. The target language features in terms of contents, sentence structure and lexis should be considered as criteria to adapt the source text before translating. The source text elements that do not fit in target culture should be revised or even neglected in translating so as to transfer the flavor of source text while not violating target culture. (Yue Siwei, 2013: 61-68)<br /> <br />  <br /> '''IV. Application of Functional Equivalence Theory in the C-E translation of Chinese Cuisine'''<br /> <br /> <br /> 4.1 Princples of C-E translation of Chinese Cuisine<br /> <br /> 4.2 Strategies for C-E translation of Chinese Cuisine<br /> <br /> (1)Literal translation：<br /> <br />  <br /> (2)Transliteration<br /> <br />  <br /> (3)Free translation<br /> <br /> <br /> '''V. Conclusion'''<br /> <br /> What I discussed in the essay is only a panoramic view of Chinese dish names. There are eight classifications of Chinese famous cuisines ranging from Lu Cuisine and Chuan Cuisine, Yue Cuisine and Min Cuisine, Su Cuisine and Zhe Cuisine, Xiang Cuisine and Hui Cuisine. Under these eight Chinese cuisines, there are distinct difference in dish names considering region and ethnic group. As we know, one size can’t fit all. Aside from researches on Chinese dish names, cultural elements behind idioms related to Chinese dishes deserve more attention. <br />  <br /> Bibliography<br /> <br /> ==The Untranslatability and Loss of Meaning in Chinese Dish Names Translation 袁雨晨 Yuan Yuchen==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''Introduction'''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Bibliography'''===<br /> <br /> ==A Study of English Translation of Chinese Dish Names from the Perspective of Domestication and Foreignization -- Taking Hunan Dish Names an Example 邬香 Wu Xiang==<br /> <br /> ='''Translation Studies'''=<br /> <br /> <br /> ==A Review and Reflection of Holmes and Toury’s Descriptive Translation Studies 曾雁湖 Zeng Yanhu==<br /> <br /> ==Foreignizing Tanslation and National Culture Development 邓锦霞 Deng Jinxia==<br /> <br /> ==='''Abstract'''===<br /> Today, in the globalization era, cultural exchanges between various nations are becoming more frequent. In the wave of opening up, the trend of cultural globalization has gradually formed. in this process, cross-cultural communication is inseparable from translation. How to make the translation achieve the goal of promoting the development of national culture has become a new topic of discussion. Foreignizing translation takes the source language as its destination, which can retain the cultural characteristics of the source language to the greatest extent.In cultural exchanges, it has gradually become the first choice of translation strategies for translators.Combined with specific translation cases, this article attempts to explore the relationship between foreignizing translation and national culture development based on Venuti's foreignizing translation theory,<br /> <br /> ==='''Key words'''===<br /> foreignizing translation; national culture<br /> <br /> ==='''摘要'''===<br /> 今天，在全球化时代的背景下，各民族之间的文化交流日益频繁。在开放的浪潮中，文化全球化的趋势也逐渐形成。跨文化的交流离不开翻译。如何使译文达到促进民族文化发展的目的成为新的讨论话题。异化翻译以源语言为归宿，能够最大限度地保留源语言文化特色，逐步成为文化交流中译者翻译策略的首选。本文试图从韦努蒂的异化翻译观出发，结合具体翻译案例，探论异化翻译与民族文化发展的关系。<br /> <br /> ==='''关键词'''===<br /> 异化翻译：民族文化<br /> <br /> ==='''Introduction'''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Bibliography'''===<br /> <br /> == Analysis on the Key problems in Chinese-English Translation and Corresponding Solutions ----- Based on Contrastive English-Chinese Studies and Chinese-English Translation 姜好 Jiang Hao==<br /> <br /> ==Comparisons of Translation in China and Western Countries from Different Historical Perspectivesr 彭丹 Peng Dan==<br /> <br /> ==On Subtitle Translation of Why Women Kill from the Perspective of Functional Equivalence Theory 唐铭 Tang Ming==<br /> <br /> ==The Breakthrough and Innovation of Dong Qiusi’s Translation Thoughts 娄灿灿 Lou Cancan==<br /> <br /> <br /> ='''Translation Criticism'''=<br /> <br /> <br /> ==On Translation Criticism-based on back-translationTranslation 丁代凤 Ding Daifeng==<br /> <br /> ==The analysis of translation methods and their application 司妤 Si Yu==<br /> <br /> ==Analysis of Liang Shiqiu's domestication and Foreignization translation strategies on the Shakespeare's plays. 苏琳 Su Lin==<br /> <br /> ==A Brief Introduction to Deconstruction and Venuti's Translation Strategy of Foreignization 徐佳 Xu Jia==<br /> <br /> ==Contrast between literal translation and free translation 刘艺 Liu Yi==<br /> <br /> ==On Chinese-English Translaiton of Brand Names in Hunan From the Perspective of Skopos Theory 吴一露 Wu Yilu==<br /> <br /> ='''Cultural Differences'''=<br /> <br /> <br /> ==The Translation of English and Chinese Idioms from the Perspective of Cultural Differences 李凌月 Li Lingyue==<br /> <br /> ==Cultural differences on English interpretation and the coping strategies 马娟 Ma Juan==<br /> Abstract: English interpretation as a cross-cultural social activity refers to the cultural differences between English and Chinese. Because of cultural differences in these asapects such as historical background , customs, religion and the way of thinking, English interpretation is necessary to take all of these influences into consideration and the interpreter must have a penetrating mind of the cultural differences.When the interpreter does English interpretation, he must know the coping strategies to grapple with these problems caused by cultural differnences so as to transmit the proper,correct and decent information to the target audiences.<br /> <br /> Key words: Cultural differences; English interpratation; Coping strategies;--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 08:15, 31 October 2020 (UTC)<br /> <br /> ==Polysystem Theory and Cultural Turn 吴琪 Wu Qi==<br /> <br /> ==The influence of cultural differences on translation methods 姚佳 Yao Jia==<br /> <br /> ==Study of Domestication and Foreignization in Cross—Culture Translation 李海泉 Li Haiquan==<br /> <br /> ==Characteristics of Cultural Differences in Interpreting and Corresponding 吴琼 Wu Qiong==<br /> <br /> ==The Translation of Cultural Elements in Tourism Promotional Materials Under Skopos Theory 杨子泠 Yang Ziling==<br /> <br /> ='''Functional Equivalence'''=<br /> <br /> <br /> ==On the study and analysis of three kinds of beauty and transformation in the mid autumn festival prelude to water melody under the guidance of functional equivalence 林敏 Lin Min==<br /> <br /> ==A Comparative Study of Functional Equivalence - Theory and Skopostheorie 高明珠 Gao Mingzhu==<br /> <br /> Abstract:The Functional Equivalence put forward by Eugene Nida and the Scopos theory originating from the German school of functionalist translation are two major western translation theories, both of which have great impact on the development of western translation theories. The two theories have similarities as well as differences. Both of them take the functions of languages and the reaction of readers into consideration which created a new perspective in translation study, while they are different in theory basis, the status of the original text and the translator, translation standards, attitude towards cultural factors and the scope of application. In this paper, I will introduce the two theories and make a comparision between them on above-mentioned aspects to analyze their strengthes and weaknesses respectively for the purpose of helping translators choose the best translation method according to different circumstances. <br /> <br /> Key words: Functional Equivalence Scopos theory Comparison<br /> <br /> ==Research on C-E Translation of Corporate Publicity Texts from the Perspective of Functional Equivalence 彭锐宏 Peng Ruihong==<br /> <br /> 摘 要：随着全球经济一体化进程的不断发展，越来越多的中国企业开始走向全球市场，企业外宣文本的英译文本成为了国内企业与国外客户联系的桥梁。查阅我国企业外宣文本的英译本，其中不乏大量优秀译作；但同时,也有不少企业外宣英译文本的质量有待提高。在翻译企业外宣文本实践中，奈达的功能对等理论能够很好地指导企业外宣资料的翻译。因此本文将中外外宣文本进行对比，并对中外企业外宣文本的英译做深入的分析探讨。<br /> <br /> 关键词：功能对等理论；企业外宣文本；翻译方法<br /> <br /> Abstract: With the further deepening of global economic integration, more and more Chinese enterprises are going to the global market and the English translation of enterprise publicity text becomes the bridge between domestic enterprises and foreign customers. The English translation of the publicity texts of Chinese enterprises includes a large number of excellent translations; But at the same time, there are many enterprises publicity English translation with bad quality. In the practice of translation of publicity texts of enterprises, Nida’s functional equivalence theory can well guide the translation of publicity materials of enterprises. Therefore, this paper compares China’s corporate publicity texts with foreign corporate publicity texts and makes deep discussion and exploration in C-E translation of corporate publicity texts.<br /> <br /> Key Words: corporate promotional materials; Functional equivalence; translation methods--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 03:12, 30 October 2020 (UTC)<br /> <br /> ==A study of Functional Equivalence in Translating the Prose——A Case Study on Cong Cong 汤伊然 Tang Yiran==<br /> <br /> ==Functional Equivalence Theory and Functional Translation in Translation Studies 阳慧 Yang Hui==<br /> <br /> ==A Study of Functional Equivalence in Translating Children's Literature---A Case Study on ''Lion King'' 刘智伟 Liu Zhiwei==<br /> 摘要：儿童期是人生发育最重要的阶段，而儿童文学对于儿童的教育影响处于前位且是第一性的。儿童文学特别要求通俗易懂，生动活泼，这也就要求儿童文学翻译作品应根据儿童心理发展特点、基于功能对等翻译理调整翻译策略。本文主要是通过儿童特点、儿童文学特点，同时结合《狮子王》翻译策略与方法，对翻译对等理论进行更加深刻的解析。<br /> <br /> Abstract: Childhood is the most important stage of life development, and the influence of children's literature on children's education is in the first place. Children's literature is particularly required to be vivid and easy to understand, which requires that translation strategies should be adjusted according to the characteristics of children's psychological development and on the basis of functional equivalence translation theory. Based on the characteristics of children and children's literature, and combined with the translation strategies and methods of ''Lion King'', the thesis makes a more profound analysis of translation equivalence theory.<br /> <br /> Key Words: Children's Psychological Characters, Children's Literature, Equivalence Theory --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 01:59, 1 November 2020 (UTC)<br /> <br /> ='''History of Translation'''=<br /> ==Quality evaluation of translation 谭鑫洁 Tan Xinjie==<br /> <br /> ==='''Abstract'''===<br /> <br /> == Abstract: ==<br /> This article mainly discusses the history of Chinese translation from the Eastern Han Dynasty to the founding of New China to the present, and then discusses the history of Western translation from the fourth century BCto the seventeenth century to the present, and then compares the similarities and differences of Chinese and Western translations from the time of development of Chinese and Western translations and their origins.<br /> <br /> ==='''key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键字'''===<br /> <br /> ===Complete transcript of the content of the original work ===<br /> <br /> ===Same style and manner of writing===<br /> <br /> ===Equivalent effect===<br /> <br /> ===Discussion===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==A Comparative Study on the Translation History in Western Countries and China 王煜 Wang Yu==<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> <br /> ==Translation manipulated by ideology 许静 Xu Jing==<br /> <br /> ==Comparison between the History of Chinese and Western Translation 周书尧 Zhou Shuyao==<br /> <br /> ='''Literal and Free Translation'''=<br /> <br /> <br /> ==Rethink Literal and Free Translation 彭永亮 Peng Yongliang==<br /> <br /> ==Examine the display of translators’ subjectivity in literary translation from the translation outlook of cognitive linguistics 宋建茹 Song Jianru==<br /> <br /> ==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization 韦洪朗 Wei Honglang==<br /> <br /> ==Peter Newmark’s Improved Views on Literal Translation and Free Translation 魏亚菲 Wei Yafei==<br /> <br /> ==Contrast between Literal Translation and Free Translation 张雪仪 Zhang Xueyi==<br /> '''Abstract'''<br /> The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.<br /> Key words: Translation strategies, Literal translation,Free translation <br /> <br /> '''摘要'''<br /> 直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。<br /> 关键词：翻译策略，直译，意译<br /> <br /> ==Dialectical thinking in arguments between literal translation and free translation 甘奉玉 Gan Fengyu==<br /> <br /> ===Abstract===<br /> ===Key words===<br /> ===摘要===<br /> ===关键字===<br /> ===1.Word-for-word translation===<br /> '''41.3.1 Abstract<br /> 41.3.2 Key words<br /> 41.3.3 摘要<br /> 41.3.4 关键词<br /> 41.3.5 The background and meaning of English Translation of Chinese Cultural Classics<br /> 42.3.6 The present situation of English Translation of Chinese Cultural Classics<br /> 42.3.7 What we can improve in English Translation of Chinese Cultural Classics<br /> 42.3.8 Conclusion<br /> 42.3.9 Bibliography'''<br /> <br /> ===2.Over free translation===<br /> ===3.Eclectic translation===<br /> ===4.Contradiction and unity in the process===<br /> ===5.Conclusion===<br /> ===Bibliography===<br /> <br /> ='''Document Translation'''=<br /> <br /> <br /> ==On translation of official documents of CangNan County 吴恺 Wu Kai==<br /> <br /> ==The Translation Process and Methods of Translating English Long Sentences 周艺文 Zhou Yiwen==<br /> <br /> <br /> ===Abstract===<br /> ===Key words===<br /> ===摘要===<br /> ===关键词===<br /> ===Introduction===<br /> <br /> ===Conclusion===<br /> ===Bibliography===<br /> <br /> ==On Translation of Official Documents 杨子泠 Yang Ziling==<br /> <br /> ==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory 张维虹 Zhang Weihong==<br /> <br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''key words'''===<br /> <br /> News headlines; Skopos theory; translation<br /> <br /> ==='''摘要'''===<br /> 社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。<br /> <br /> ==='''关键字'''===<br /> <br /> ===Introduction===<br /> <br /> ===Skopos Theory===<br /> <br /> ===Features of News Headlines===<br /> <br /> ===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ='''Comparative Studies'''=<br /> <br /> ==Comparison of Modes of Expression and Ways of Thinking between English and Chinese Language in Cultural Perspective 易欢 Yi Huan==<br /> <br /> ==Comparison of Functional Equivalence and Faithfulness, Expressiveness and Elegance 曾良 Zeng Liang==<br /> <br /> ==A Comparative Study on Nida’s Functional Equivalence and Skop 义子楚 Yi Zichu==<br /> <br /> ==Comparison between domestication and foreinizing translation 周园曲 Zhou Yuanqu==<br /> <br /> ==A Simple Comparison between Nida and Catford’s Translation Theory of Equivalence 欧阳玲 Ouyang Ling==<br /> <br /> '''Abstract:''' Nida and Cartford shared the same period of translation studies but carried on their studies from different perspective. Nida put forward two types of equivalence as two methods to achieve his ideal equivalent response of receptors(芒迪，42). His equivalence theory was built on his ideas about nature of translation, which was the process of reproducing in the receptor language the message of source language(奈达，12). The nature and task of translation in Nida’s opinion formed a theoretical basis to set the equivalence theory in a comprehensive and systematic way. Cartford, in another way, held a idea that any theory of translation must draw upon a general linguistic theory and therefore proposed the equivalence at different linguistic levels between source language and target language(Cartford,1). The paper intends to develop a comparative study upon Nida and Cartford’s theory of equivalence and my thoughts on their application in translation practices.<br /> <br /> '''Key words:''' Nida, Cartford, equivalence theory, nature of translation<br /> <br /> '''摘要：'''<br /> <br /> '''关键词：'''<br /> <br /> '''1.Introduction'''<br /> <br /> '''1.1.Nida’s Theory of Equivalence'''<br /> <br /> Nida’s translation theories were formed along with the process of his translating the Bible. Through the reflection upon these translation practices, he defined the nature of translation and pointed the task of translators. Afterwards, he discarded the old term such as “literal”, “free” and “faithful” translation by putting forward the theory of equivalence(芒迪，42) . The equivalence in Nida’s theory can be achieved at two levels: formal equivalence and dynamic equivalence and he saw the two approaches to realize his ideal translation that equivalent effect between source language receptors and target language receptors. By bringing the two concepts up, Nida provided two directions when working on a translation work as well as standards of evaluating the work after it was done. Specifically, formal equivalence in Nida’s definition is the status of translation being equivalent with the source text in both contents and forms. To achieve this status, translators should be oriented towards the source text’s message and structure(芒迪，42). And dynamic, or functional equivalence, turned further to a new focus on the response of receptor. If the target language receptors react to the translation in the same way as source language receptors do to the source text, the success of a translation is then achieved in Nida’s functional equivalence theory. His theory put forward a new trend of translation studies at that time. Nida’s equivalence theory directed people to evaluate a translation by judging and comparing the response of receptors in stead of considering the correctness and accuracy of translation or comparing the formal and stylistic features between source language and target language. In a comprehensive and systematic way, Nida’s equivalence theory elaborated the approaches and the ideal status of translation based on his understanding on the nature of translation, and this equivalence theory has always been praised as his greatest achievement in translation studies.<br /> <br /> '''1.2.Cartford’s Theory of Equivalence'''<br /> <br /> Cartford’s translation theories were built on the discipline of linguistics, and his equivalence theory was included of course. Cartford stated in his book A Linguistic Theory of Translation the theory of translation is concerned with a certain type of relation between languages and is consequently a branch of Comparative Linguistics(Cartford, 20). His theory of equivalence was also originated his definition of the nature of translation, which is the replacement of textual material in one language by equivalent textual material in another language( Cartford, 20). His definition, in other words, portrayed the task for translators. In his opinion, in the process of translation, translators are supposed to replace every grammatical and lexical items in the source language with equivalents in the target language. So in this way, the equivalence in Cardford’s theory can be graded into different levels according to the extent of the replacement, and then he put forward the distinction of full translation and partial translation. Moreover, he raised another pair of concepts: textual equivalence and formal corresponding, and it may give a clearer picture for us to understand his theory. If the target language text can be judged by bilinguals or linguists equivalent with the source language text in any given discourse or occasion, the textual equivalence is achieved. As regards the formal corresponding, Cartford defined it as an approximate status when any target language category occupies, as nearly as possible, in the same place in the structure of the target language as the given source language category occupies in the source language. This pair of concepts presented two different degrees of equivalence and have become a valuable source in translation studies. <br /> <br /> '''2.Similarities and Differences'''<br /> <br /> 2.1.The Similarities between the Two Theories<br /> <br /> 2.2.The Differences between the Two Theories<br /> <br /> 3.My Thoughts on the Two Theories<br /> <br /> 4.Conclusion<br /> <br /> ==Comparision between the traslation systems proposed by Tan Zaixi and Yi Jing 石海瑶 Shi Haiyao==<br /> <br /> ==Comparison of translation theories by Eugene nida and Susan Bassnett 胡慧芳 Hu Huifang==<br /> <br /> ='''Art of Translation'''=<br /> <br /> <br /> ==The Art and Science of Translation --Take the Literary Translation as an Example 桂一枝 Gui Yizhi==<br /> <br /> ==Study on the English Translation of Hunan Scenic Spots Names from the View of Culture Translation 刘欧 Liu Ou==<br /> <br /> ==A study of English Translation of Chinese Cultural Classics from the Perspective of Communication 余妮 Yu Ni==<br /> ===41.3.1 Abstract===<br /> ===41.3.2 Key words===<br /> ===41.3.3 摘要===<br /> ===41.3.4 关键词===<br /> ===41.3.5 The background and meaning of English Translation of Chinese Cultural Classics===<br /> ===42.3.6 The present situation of English Translation of Chinese Cultural Classics===<br /> ===42.3.7 What we can improve in English Translation of Chinese Cultural Classics===<br /> ===42.3.8 Conclusion===<br /> ===42.3.9 Bibliography===<br /> <br /> ==The Visible Images and Invisible Hands: An Analysis of Lefevere’s ManipulationTheory and Venuti’s Deconstruction of The Translator’s Invisibility 祝美梅 Zhu Meimei==<br /> <br /> ==Cultural differences on English interpretation and the coping strategies 谭媛媛 Tan Yuanyuan==<br /> <br /> ==On Translation Strategies of Different Style, Taking English Journalistic Style and English Literary Style as an Example 张银柳 Zhang Yinliu==<br /> ==Translation Manipulated by Ideology 李泳珊 Li Yongshan==</div>

Qu Miao https://bou.de/u/index.php?title=20201102_cult&diff=103394 2020-11-06T09:20:40Z

<p>Qu Miao: /* Mo Ling 莫玲 */</p> <hr /> <div>==Alsied, Saffana==<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> ==Chen Han 陈涵==<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> 1. 因为建筑源于人类的需求和愿望，所以它可以清楚地传达文化价值。在所有的视觉艺术中，建筑最直接地影响了我们的生活，因为它在很多方面决定了我们生存的环境特征。<br /> <br /> Because architecture grows out of human needs and aspirations, it clearly communicate cultural values. Of all the visual arts, architecture affects our lives most directly for it determines the character of the human environment in major ways.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:02, 6 November 2020 (UTC)<br /> <br /> 2. 石头和假山是中国南方园林的特色。奇形怪状的石头常带有引人注目的波纹线条和水孔。硕大的石头可自成一景，而较小的石块则堆积成假山，为园林增添无比魅力。<br /> <br /> Rocks and rockeries are special features of southern Chinese gardens. Stones of grotesque forms are often attractive with undulated lines and water holes. Some large stones form scenery of their own, while smaller ones are put together to form artificial hills to add to the fantastic attractiveness of the garden.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:02, 6 November 2020 (UTC)<br /> <br /> 3.中华人民共和国成立后，几经修缮，颐和园陆续复建了四大部洲、苏州街、景明楼、澹宁堂、文昌院、耕织图等重要景区。<br /> <br /> Since the founding of the People’s Republic of China, the Summer Palace has undergone several major renovations. Its major attractions such as the Four Great Regions, Suzhou Street, the Pavilion of Bright Scenery, the Hall of Serenity, the Wenchang Galleries and the Plowing and Weaving Scenery Area have been successively restored.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:02, 6 November 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 1:修建在崇山峻岭之上、蜿蜒万里的长城，是人类建筑史上的奇迹。<br /> Built on the high mounytains and winding thousands of miles, the Great Wall is a miracle in the history of architecture,--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:56, 5 November 2020 (UTC)<br /> <br /> The Great Wall, built on the steep mountains and winding for miles and miles, is a miracle in the history of human architecture.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:14, 6 November 2020 (UTC)<br /> <br /> The Great Wall,built on the lofty mountains and winding thousands of miles, is a miracle in the history of architecture.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:48, 5 November 2020 (UTC)Mo Ling<br /> <br /> 2：在古典园林中，中国园林有皇家园林、私家园林、寺观园林、风景园林；西方古典园林有规则式园林与自然风致园。<br /> Thg Chinese classical garden is classified into loyal garden, private garden,temple garden and landscape garden, while the western garden into regular style and natural style one.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:56, 5 November 2020 (UTC)<br /> <br /> In classical gardens, Chinese gardens include royal gardens, private gardens, monastery gardens, and landscape gardens; Western classical gardens include regular gardens and naturalistic gardens.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:14, 6 November 2020 (UTC)<br /> <br /> 3：颐和园是晚清最高统治者在紫禁城之外最重要的政治和外交活动中心，是中国近代历史的重要见证与诸多重大历史事件的发生地。<br /> <br /> Besides the Forbbiden City, the Summer Palace was also the most important political and diplomatic activity center for the supreme ruler of the late Qing dynasty,as well as a significant witness of modern Chinese history and the site of important historical events.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:56, 5 November 2020 (UTC)<br /> <br /> The Summer Palace was the most important center of political and diplomatic activities of the late Qing rulers outside the Forbidden City, and is an important witness to China's modern history and the site of many important historical events.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:14, 6 November 2020 (UTC)<br /> <br /> The Summer Palace was the most important center of political and diplomatic activities outside the Forbidden City by the supreme ruler of the late Qing Dynasty. It was an important witness of modern Chinese history and the place where many major historical events occurred--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:03, 6 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> <br /> ==Grosheva, Anna==<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> ==Guan Qinqing 管钦清==<br /> 1.1949年中华人民共和国建立后，中国建筑进入新的历史时期，大规模、有计划的国民经济建设，推动了建筑业的蓬勃发展。中国现代建筑在数量、规模、类型、地区分布及现代化水平上都突破近代的局限，展现出崭新的姿态。<br /> <br /> After the founding of the People’s Republic of China in 1949,Chinese architecture came into a new era. National economy with planned strategy and a large scale has promoted the development of architecture. Now, whether in quantity, scale, form, regional distribution or in level of modernization ,modern Chinese architecture has broken through those of the limitations in modern times, taking on a new look.<br /> <br /> 2.中国的园林建筑在世界园林史上享有盛名。在3000多年前的周朝，中国就有了最早的宫廷园林。此后，中国的都城和地方著名城市无不建造园林,在世界三大园林体系中，中国园林历史悠久、内涵丰富，被誉为世界造园史上的渊源之一。<br /> <br /> Chinese garden architecture enjoys a high reputation in the history of Landscape Architecture of the world. Early over 3,000 years ago in the Zhou Dynasty,there were imperial gardens in China.From then on,gardens existed in the capital cities and in the regional famous ones. Of the world’s three major garden systems, the Chinese classical garden is hailed as one of the origins of the world’s garden due to its long history and abundant connotations.<br /> <br /> 3.颐和园位于北京市西北部的海淀区，距北京市中心15公里。它是中国最大、保存最完好的皇家园林。颐和园有著名的自然风景和人文景观 ,因此它也一直被公认为是“皇家园林博物馆”。顾和园始建于1750年，作为一座豪华的皇家花园供皇室成员休息和娱乐。清朝末期，颐 和园成为了皇家成员的主要居住地。它位列世界遗产目录，也是中国第一批国家5A级旅游景区之一。<br /> <br /> The Summer Palace is situated in the Haidian District,northwest of Beijing City,15 kilometers from central Beijing.It is the largest and most well-preserved royal park in China.It also has long been recognizcd as “the Museum of Royal Gardens”with famous natural view and cultural landscape.The construction started in 1750 as a luxurious royal garden for royal families to rest and entertain.It became the main residence of royal members in the end of the Qing Dynasty.It not only ranks amongst the World Heritage Sites but also is one of the first national AAAAA tourist spots in China.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 05:21, 6 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> ==Guo Lu 郭露==<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> ==He Changqi 何长琦==<br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> ==Hu Jin 胡瑾==<br /> 1. 中国古代建筑历史悠久，可以追溯到商朝(公元前16世纪-公元前771年)。它有自己的结构和布局原则。经过长期的发展，聪明的中国劳动人民创造了许多建筑奇迹。<br /> <br /> 1. Ancient Chinese architecture has a long history which can be traced back to the Shang Dynasty(16th century BC-771BC). It has its own principles of structure and layout. Through the long development, many architectural wonders have created by clever Chinese labouring people.<br /> <br /> 2. 中国的私家园林是中国园林文化的杰作，它的贡献甚至超过皇家园林--它们都受中国传统哲学文化思想的影响并将人、自然个建筑结合在一起。<br /> <br /> 2. China's private garden is a masterpiece of Chinese garden culture, the contribution of its even more than the royal garden- they are all influenced by Chinese traditional philosophical culture ideas and combine people, nature and architecture.<br /> <br /> 3. 颐和园的英文名称&quot;Summer Palace&quot;, 意思是这里是皇帝在夏大的居住之地—一个离城不远、位与乡村的、供帝王后妃们逍遥游乐的紫禁城。<br /> <br /> 3. As its name implies，the Summer Palace was used as a summer residence by China's imperial rulers--as a retreat from the main imperial palace now known as the Palace Museum or Forbidden City-a pleasureground in the countryside，yet near to the city.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 03:11, 6 November 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> 1.故宫外朝，建筑气势雄伟、豪华壮丽，是中国古代建筑艺术的精华。<br /> <br /> The Palace Museum faces outwards, its buildings are majestic, luxurious and magnificent, which is the essence of ancient Chinese architectural art.<br /> <br /> The Imperial Palace, solemn and magnificent, facing towards the outside, is famed as the quintessence of ancient Chinese architecture art.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:29, 5 November 2020 (UTC)<br /> <br /> The Imperial Palace facing outwards are majestic, luxurious and magnificent, which is the essence of ancient Chinese architectural art.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:06, 6 November 2020 (UTC)<br /> <br /> 2.园林建筑是园林景观中必不可少的要素,满足不同群体休憩、游览、集会等功能需求。古典园林建筑有成熟的营造理论和审美情趣,承载着多彩的民族文化和精神内涵。<br /> <br /> Garden architecture is an indispensable element in the garden landscape, meeting the functional needs of different groups such as rest, tour, and assembly. Classical garden architecture has mature construction theory and aesthetic taste, and carries colorful national culture and spiritual connotation.<br /> <br /> Garden architecture, as an indispensable of garden landscapes, meets the functional needs of different groups including rest, sightseeing, and gathering and so on. Classical garden architecture, with mature construction theory and aesthetic taste, carries abundant national cultures and spiritual connotations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:25, 5 November 2020 (UTC)<br /> <br /> Garden architecture is an essential element in landscape, to meet the needs of different groups of rest, tour, assembly and other functions. Classical garden architecture has a mature construction theory and aesthetic taste, bearing a colorful national culture and spiritual connotation. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:52, 6 November 2020 (UTC)<br /> <br /> 3.颐和园，中国清朝时期皇家园林，前身为清漪园，坐落在北京西郊，距城区15公里，占地约290公顷（2.9平方千米），与圆明园毗邻。<br /> <br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, formerly known as Qingyi Garden, is located in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of about 290 hectares (2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:53, 4 November 2020 (UTC)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:53, 4 November 2020 (UTC)<br /> <br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, originally named Qingyi Yuan, is located in the western suburbs of Beijing. Covering about 290 hectares (2.9 square kilometers), it's 15 kilometers away from the city, adjacent to the Old Summer Palace.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:39, 6 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> ==Li Lili 李丽丽==<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1.中国传统建筑不仅重自然的山林风水，也重人工的山林风水，让人工的与自然的协调，院内的与院外的衔接，造成“天上人间”之境，使人产生“此中有真意，欲辨已忘言”的心旷神怡之感。<br /> <br /> 2.苏州古典园林所蕴涵的中华哲学、历史、人文习俗是江南人文历史传统、地方风俗的一种象征和浓缩，展现了中国文化的精华，在世界造园史上具有独特的历史地位和重大的艺术价值。<br /> <br /> 3.颐和园是晚清最高统治者在紫禁城之外最重要的政治和外交活动中心，是中国近代历史的重要见证与诸多重大历史事件的发生地。<br /> <br /> 4.慈禧太后是中国历史的帝制时代中少数长期当政的女性，其政治手腕堪称干练，尤其擅长操弄亲贵朝臣之间的权力平衡以维系自身的绝对权威。清朝因为她的能力而续命数十年。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:17, 6 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ==Liu Yi 刘艺==<br /> 1、庭院是建筑的基本单位，它既是封闭的，又是开放的；既是人工的，又是自然的，可以俯植花草树木，仰观风云日月，成为古人“天人合一”观念的又一表现，也体现了中国人既含蓄内向，又开拓进取的民族性格。<br /> <br /> The courtyard is the basic unit of architecture, it is both closed and open; both artificial and natural, can overlooking flowers and trees, look up to the wind, clouds, sun and moon, has become the ancients &quot;unity of nature and man&quot; concept is another performance, but also reflects the Chinese are both subtle and introverted, and pioneering national character.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:10, 6 November 2020 (UTC)<br /> <br /> Courtyard is the basic unit of architecture, which is both closed and open, both artificial and natural. Standing on it, people can overlook flowers and trees and look up to the wind, clouds, sun and moon, which is another manifestation of the ancient people's concept of &quot;harmony between man and nature&quot;. It also reflects the national character of Chinese people, which is both introverted and enterprising.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:33, 6 November 2020 (UTC)<br /> <br /> 2、其次，要考虑到植物的色彩和组合的形式美。花园中常利用花坛、花台、花缘和花丛以集中表现观赏植物的丰富多彩，以及植株姿态和叶形的对比调和。要重视草坪和地被植物的种植，避免露土。<br /> <br /> Secondly, it is important to consider the beauty of the color and form of the plant combinations. Flower beds, pedestals, rims and clusters are often used in gardens to focus on the variety of ornamental plants, as well as the contrast and harmony of plant postures and leaf shapes. Emphasis should be placed on planting lawns and groundcovers and avoiding open soil.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:10, 6 November 2020 (UTC)<br /> <br /> Secondly, we should consider the color of plants and the formal beauty of plant combinations. In gardens, flower beds, pedestals, rims and clusters are often used to show the richness of ornamental plants, as well as the contrast and harmony of plant postures and leaf shapes. Attention should be paid to the planting of lawns and ground cover plants so as to avoid soil exposure.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:33, 6 November 2020 (UTC)<br /> <br /> 3、颐和园鼎盛时期，规模宏大，占地面积2.97平方公里（293公顷），主要由万寿山和昆明湖两部分组成，其中水面占四分之三（大约220公顷）。园内建筑以佛香阁为中心，园中有景点建筑物百余座、大小院落20余处。<br /> <br /> In Summer Palace's heyday, the Summer Palace was on a grand scale, covering an area of 2.97 square kilometers (293 hectares), consisting mainly of two parts, Wanshou Mountain and Kunming Lake, of which three-fourths (about 220 hectares) is water. The architecture of the garden is centered on the Buddha Fragrance Pavilion, and there are more than a hundred attractions and buildings, and more than 20 large and small courtyards in the garden.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:10, 6 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.园中花窗、虚虚实实、漏而不尽、诱人探幽。<br /> <br /> The floral windows in the garden show a faint silhouette.Some parts of them are exposed yet not the all,which entices visitors to explore the hidden world behind that.<br /> <br /> 2. 颐和园古式建筑走廊，它遮荫蔽雨、休息、联系交通，组织景观、分隔空间、增加风景层次。<br /> <br /> In the Summer Palace,there are numerous classical corridors.They are not only desirable places of shelter and rest,but also act as pivots of roads in different directions and connectors of different scenic spots.In addition,they can serve as space dividers,which is able to amplify the levels of scenery.<br /> <br /> 3. 比较重要的建筑都安置在纵轴线上，次要房屋安置在它左右两侧的横轴线上，北京故宫的组群布局和北方的四合院是最能体现庭院式布局原则的典型实例。<br /> <br /> On the vertical axis array the more important buildings and on each side array the subordinate houses on the horizontal axis . The group layout of the Forbidden City in Beijing and the quardrangle dwellings in the North China are typical examples of courtyard layout principle.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:43, 5 November 2020 (UTC)Mo Ling<br /> <br /> On the vertical axis array the more important buildings and on horizontal axis array the subordinate houses. The group layout of the Forbidden City in Beijing and the quardrangle dwellings in the North China are typical examples of courtyard layout principle.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:20, 6 November 2020 (UTC)<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> ==Phyo, Su Kyi==<br /> 1-中国古代著名建筑- 紫禁城,天坛,钱陵,古城墙,大雁塔。<br /> <br /> Famous Ancient Chinese Buildings-The Forbidden City,Temple of Heaven,Qian Mausoleum,Ancient City Wall,Big Wild Goose Pagoda.<br /> <br /> 2-中日花园的主要区别在于，与日式花园相比，中式花园往往更为大胆，充满异国情调，具有观赏性，并且在整个公园般的环境中具有更多的建筑和结构，而日式花园则总体上较为柔和，朴素和简约。<br /> <br /> The main difference between Chinese and Japanese gardens is that Chinese gardens tend to be more bold, exotic, ornamental, and have more architecture and structures throughout a park-like setting, compared to Japanese gardens which tend to be more subdued, austere and minimalist overall.<br /> <br /> 3-1888年，颐和园获得了现今的中文名称，即颐和园，并作为慈禧太后的避暑胜地。 1900年，它被八国联军摧毁。 1912年，它被重建为清朝（1644-1912）的最后一幕。<br /> <br /> In 1888, the Summer Palace was given its present-day Chinese name, Yihe Yuan, and served as a summer resort for the Empress Dowager Cixi. In 1900, it was destroyed by the Allied Forces of the Eight Powers. In 1912, it was rebuilt as one of the final acts of the Qing Dynasty (1644–1912).<br /> <br /> 4-凯瑟琳·卡尔（Katharine Carl）是美国肖像画家和作家。她在美国，欧洲和亚洲创作了著名的皇家人物的画作。<br /> Katharine Carl was an American portrait painter and author. She made paintings of notable and royal people in the United States, Europe and Asia.<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ==Qu Miao 瞿淼==<br /> 1.中国自古地大物博，建筑艺术源远流长。不同地域其建筑艺术风格等各有差异，但其传统建筑的组群布局、空间、结构、建筑材料及装饰艺术等方面却有着共同的特点，区别于西方，享誉全球。<br /> <br /> China, a country vast in territory and rich in resources, boasts a long history of architecture art. Architectures in different regions are different in artistic style, but have something in common in complex arrangement, space, structure, building material and decorative art. Distinguished from western architecture, Chinese architecture is well-known around the world.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> 2.中国传统园林集色、香、韵于一身，自古以来便给人们提供了一个休闲纳凉的好去处，对中国文化传承具有重要意义。<br /> <br /> Chinese traditional garden combines pleasing colors with fragrance and charm. It offers a good place for people to take leisure activities and enjoy the cool, and is significant for Chinese traditional cultural inheritance.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> 3.颐和园位于北京市西北部海淀区,距市中心约15公里,原为清代的行宫花园,其名为“颐养太和”之义。园中的长廊、石舫、佛香阁、宝云阁、大戏楼、十七孔桥、玉带桥等建筑堪称世界建筑文化中的珍品。<br /> <br /> The Summer Palace is located in Haidian District, northwest of Beijing, and it’s about 15 kilometers away from downtown. As a former palace garden of the Qing dynasty, it’s name means “keep supreme harmony”. Many buildings in the garden, including the Long Corridor，Marble Boat，Pavilion of the Fragrance of Buddha, Tower of Precious Cloud, Grand Opera Tower, Seventeen Arch Bridge and Jade Belt Bridge, can be called as world architecture art treasures.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> 4.美国女画家凯瑟琳·卡尔（1858——1938），中文译作柯(克姑娘)。20世纪初曾创了两项空前绝后的世界性纪录：她是惟一在中国官廷之内一连呆了很长时间的外国人，又是惟一替尚健在的中国后妃画过肖像的人。<br /> <br /> American female painter Katharine Carl(1858-1938), whose Chinese name was Ke( Miss Ke), had set up two world records: she was the only foreigner who stayed in the palace for a very long time, and also the only one who pained portraits for Chinese imperial concubines who were still alive at that time.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ==Seydou, Sagara==<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> ==Si Yu 司妤==<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> 1. 故宫前部宫殿，当时建筑造型要求宏伟壮丽，庭院明朗开阔，象征封建政权至高无上，太和殿坐落在紫禁城对角线的中心，四角上各有十只吉祥瑞兽。<br /> At that time, the front palace of the Forbidden City required a magnificent architectural style, its courtyard should be bright and wide, to symbolize the supremacy of the feudal regime. The Hall of Supreme Harmony was located in the center of the diagonal line of the Forbidden City, with ten auspicious beasts on each corner.<br /> <br /> 2. 苏州园林博物馆以造园工具、陈设家具、建筑构建等实物为主要载体展示园林的传统造园工艺，并运用了现代科技手段展示古典园林的艺术魅力。<br /> The Suzhou Garden Museum uses garden tools, furnishings, architectural construction and other physical objects as the main carrier to display the traditional gardening crafts of the garden, and uses modern technology to show the artistic charm of classical gardens.<br /> <br /> 3. 颐和园是晚清最高统治者在紫禁城之外最重要的政治和外交活动中心，是中国近代历史的重要见证与诸多重大历史事件的发生地。<br /> The Summer Palace was the most important center of political and diplomatic activities outside the Forbidden City by the supreme ruler of the late Qing Dynasty. It was an important witness of modern Chinese history and the place where many major historical events occurred.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:51, 5 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> ==Xie Fan 解帆==<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> ==Xu Jing 许静==<br /> 1. 中国建筑艺术，讲究大门、大窗、大进深、大屋檐，视野开阔，直通自然，充分体现“天人合一”的思想。四角飞檐翘起，或扑朔欲飞，或耸立欲飘，让凝固显得欲动。<br /> <br /> Chinese architectural art emphasizes large gates, large windows, great depths, and large eaves, with a wide field of vision and direct access to nature, fully reflecting the idea of &quot;unity of nature and man&quot;. The four corners of the eaves are raised, or fluttering to fly, or towering to float, appearing to be dynamic in a static state.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:35, 6 November 2020 (UTC)<br /> <br /> 2. 中国园林艺术着重意境的塑造，园林中的山水、植被、建筑以及其组成空间关系，不仅是一种物质环境，而且创造了一种精神氛围。<br /> <br /> Chinese garden art focuses on the shaping of the mood. The landscape, vegetation, architecture and spacial arrangement in the garden constitute not only to a physical environment, but also to a spiritual atmosphere.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:35, 6 November 2020 (UTC)<br /> <br /> 3. 颐和园整体布局以万寿山、昆明湖为主体，湖光山色中亭台楼阁、廊榭舫桥、庙堂殿宇等人文建筑与自然山水艺术地融为一体，恢弘大气、富丽堂皇，在世界园林史上独树一帜。<br /> <br /> Wanshou Mountain, Kunming Lake are the main body of the Summer Palace. Amid natural landscape are the pavilions, galleries, bridges, temples and other humanistic architecture. They mix together to be magnificent and splendid, unique in the history of the world's gardens.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:35, 6 November 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> 1、中国建筑体系是以木结构为特色的建筑艺术。传统建筑叫种屋顶造型、飞檐翼角、斗拱彩画、朱柱金顶、内外装修门及园林景物等，充分体现出中国建筑艺术的纯熟和感染力。<br /> <br /> Chinese architecture is an independent art featuring wooden structures. It consists of various roof molding, upturned eaves and wings, dougong with paintings, vermillion pillars and golden roofs, ornament gates and gardening. All of these embody the maturity and artistic appeal of Chinese architecture.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:54, 5 November 2020 (UTC)<br /> <br /> 2、中国园林是建筑艺术的一种形式，它在本质上旨在通过所谓的园林四要素组织富于性情与乐趣并充满意境的环境，这种环境包括假山、河流、建筑和植物，也包括有机组成部分，比如道路、室内环境。<br /> <br /> Chinese garden is one of the important types of architectural art. It is essentially aimed at organizing an environment rich in temperament and interest and full of the beauty of artistic conception through the so-called four gardening elements including mountains, rivers, structures and plants, as well as the organic components such as roads, interior settings.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:54, 5 November 2020 (UTC)<br /> <br /> 3、颐和园主景区由万寿山、昆明湖组成，全园占地2.9平方公里，水面约占四分之三。<br /> <br /> The Summer Palace, dominated mainly by Longevity Hill and Kunming Lake, covers an area of 2.9 square kilometers, three quarters of which is under water.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:54, 5 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> ==You Yuting 游雨婷==<br /> 1.古建筑是一座城市的记忆，是城市历史的见证者，它承载着这座城市的文化积淀。一旦损毁，文物本体及其承载的历史文化信息都将不复存在。<br /> <br /> The ancient building is the memory of a city and the witness of its history. It bears the cultural accumulation of the city. Once damaged, the cultural relic itself and the historical and cultural information it carries will no longer exist.<br /> <br /> 2.中国园林建筑大体分为私家园林建筑,皇家园林建筑和寺庙园林建筑。以苏州和扬州为代表，两者相比,苏州园林更具文人气质,而扬州的园林则偏于工商和贵气。<br /> <br /> In general,Chinese garden architecture is divided into private garden architecture, royal garden architecture and temple garden architecture. With Suzhou and Yangzhou as the representative, the Suzhou gardens bear the style of literati, while the Yangzhou gardens tend to be commercial and noble.<br /> <br /> <br /> 3.颐和园占地面积达293公顷，主要由万寿山和昆明湖两部 分组成。各种形式的宫殿园林建筑3000余间，大致可分为行政、生活、游览三个部分。<br /> <br /> The Summer Palace covers an area of 293 hectares,mainly composed of Longevity Hill and Kunming Lake. There are more than 3000 palaces and gardens of various forms, which can be roughly divided into three parts: administration, life and tour.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:21, 5 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> 说到中国文化，不得不提到长城。从公元前7世纪到公元16世纪，在大约2200年的时间里，先后有19个朝代修建过长城，所修的长城长达10千米以上。主要的长城修建工程是在秦代、汉代和明代完成的。<br /> <br /> We must refer to the Great Wall when it comes to Chinese culture. Through about 2200 years from the 7th century B.C. to the 16th century A.D., it was built in 19 dynasties successively, reaching over 10 kilometers in length. Main construction project was carried out in the Qin Dynasty, Han Dynasty and Ming Dynasty.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:26, 5 November 2020 (UTC)<br /> <br /> 1961年3月4日，颐和园被公布为第一批全国重点文物保护单位，与同时公布的承德避暑山庄、拙政园、留园并称为中国四大名园，1998年11月被列入《世界遗产名录》。2007年5月8日，颐和园经国家旅游局正式批准为国家5A级旅游景区。 2009年，颐和园入选中国世界纪录协会中国现存最大的皇家园林。<br /> <br /> On March 4th, 1961, the Summer Palace was announced as one of the first batch of National Priority Cultural Relic Protection Sites, famed as “ Four Great Palaces of China” with Chengde Mountain Resort, Humble Administrator Garden,Lingering Garden simultaneously. The Summer Palace was listed into ''World Heritage List'' in November 1998, and on May 8th, 2007, it was officially ratified as National 5A Scenic Spots by National Tourism Administration. In 2009, the Summer Palace, under the acknowledgement of China World Record Association, was selected as the largest extant royal garden of China.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:26, 5 November 2020 (UTC)<br /> <br /> 中国古典园林艺术是指以江南私家园林和北方皇家园林为代表的中国山水园林形式。在中国传统建筑中，古典园林是独树一帜有重大成就的建筑。它被举世公认为世界园林之母，世界艺术之奇观，人类文明的重要遗产。其造园手法已被西方国家所推崇和摹仿，在西方国家掀起了一股“中国园林热”。<br /> <br /> Chinese classical garden art mainly refers to Jiangnan private gardens and North royal gardens. Among all the Chinese traditional buildings, classic gardens boasts unique achievement, which is widely acknowledged as the Mother of the World Gardens, a miracle of the art of the world, and significant heritage of human civilization. The construction technique of Chinese gardens has been adored and imitated by western countries, ushering in “Chinese garden craze” in the occidental world.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:26, 5 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> 世界上大多数伟大的建筑都是石料建筑，因为石料建筑不仅外形漂亮、持久耐用，而且石头到处可见。在过去，整个城市的建筑物都是从艰苦的石块切割和堆砌发展起来的。<br /> Much of the world’s great architecture has been constructed of stone because of its beauty, permanence, and availability. In the past, whole cities grew from the arduous task of cutting and pilling stone upon.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:33, 6 November 2020 (UTC)<br /> <br /> 最好的园林远不止是将各种美丽的花草树木种在一起。成功的园林都代表了各种要素经过精心组合成的一个整体，这些要素从纯粹的装饰到具有严格的功能不等。<br /> The best gardens are much more than an assortment of beautiful plants.Successful gardens generally represent a careful integration of diverse elements,ranging from the purely ornamental to the strictly functional.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:33, 6 November 2020 (UTC)<br /> <br /> 颐和园主景区由万寿山、昆明湖组成，全员占地2.9平方公里，水面约占四分之三。园内现存各式宫殿、园林古建7万平方米，并以珍贵的文物藏品闻名于世，是第一批全国重点文物保护单位。<br /> The Summer Palace,dominated mainly by Longevity Hill and Kunming Lake, covers an area of 29 square kilometers, three quarters of which is under water. Its 70,000 square meters of building space features a varity of palaces, gardens and other ancient-style architectural structures.Well-known for its large and priceless collection of cultural relics, it was among the first group of historical and cultural heritage sites in China to be placed under special state protection.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:33, 6 November 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> ==Zhang Hui 张慧==<br /> 1.中国传统建筑正是中国历史悠久的传统文化和民族特色的最精彩、最直观的传承载体和表现形式。<br /> Chinese traditional architecture is the most wonderful and intuitive transmission carrier and expression form of China's long-standing traditional culture and national characteristics.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> Chinese traditional architecture is the most splendid and intuitive transmission carrier and expression form of Chinese traditional culture with a long history and national characteristics.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:23, 5 November 2020 (UTC)<br /> <br /> Chinese traditional architecture is the most wonderful and intuitive transmission carrier and expression form for Chinese long-standing traditional culture and national characteristics.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> 2.中国园林区别于世界上其他园林体系的最大特点，在于它不以创造呈现在人们眼前的具体园林形象为最终目的，它追求的是意境。<br /> The biggest feature of Chinese gardens that distinguishes it from other garden systems in the world is that it does not take the creation of a concrete garden image that is presented to people as its ultimate goal.It pursues artistic conception.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> The biggest feature that distinguishes Chinese gardens from other garden systems in the world is that it does not take the creation of a specific garden image in front of people as its ultimate goal, but rather the pursuit of the mood.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> 3.颐和园集传统造园艺术之大成，借景周围的山水环境，既有皇家园林恢弘富丽的气势，又充满了自然之趣，高度体现了中国园林“虽由人作，宛自天开”的造园准则。<br /> The Summer Palace is a monument to classical Chinese architecture, in terms of both garden design and construction. Borrowing scenes from surrounding landscapes, it radiates not only the grandeur of an imperial garden but also the beauty of nature in a seamless combination that best illustrates the guiding principle of traditional Chinese garden design: &quot;The works of men should match the works of Heaven&quot;.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> <br /> 假山和石花园是中国园林建筑的重要组成部分。<br /> The artificial mountain and rock garden is the integral element of Chinese classical gardens.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:02, 5 November 2020 (UTC)<br /> <br /> The artificial mountain and rock garden are the integral elements of Chinese classical gardens.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:09, 5 November 2020 (UTC)<br /> <br /> The artificial mountains and gardens of stone are important parts of Chinese classical gardens.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:05, 6 November 2020 (UTC)<br /> <br /> 中国园林善于和借景，不会死板地将景观以对称的方式排列，而是会将大大小小的景观不守成规精妙地排列。<br /> The Chinese garden architecture characterized by taking advantages of the environment and shun symmetry along axis and adopt an irregular and complicated layout with plenty of large and small spaces.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:02, 5 November 2020 (UTC)<br /> <br /> The Chinese garden architecture is characterized by taking advantages of the scenes. It arrangs different landscapes in an irregular but exquisite form rather than rigid and symmetrical one.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:09, 5 November 2020 (UTC)<br /> <br /> <br /> 颐和园是世界上最广阔的皇家园林之一，园区主要有万寿山，昆明湖两大景区组成。颐和园是“三山五园”之一，也是中国最后一座皇家林园。<br /> The Summer Palace is the royal garden covering the largest area in the world. It is mainly composed of Longevity Hill and Kunming Lake. It is one of the three mountains and five gardens and the last royal garden in China.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:02, 5 November 2020 (UTC)<br /> <br /> The Summer Palace is one of the most spacious royal gardens in the world, which is mainly composd of Longevity Hill and Kunming Lake. It is one of &quot;the three mountains and five gardens&quot; and the last royal garden in China.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:09, 5 November 2020 (UTC)<br /> <br /> The Summer Palace, one of the most spacious royal gardens in the world, is mainly composed of Longevity Hill and Kunming Lake. It is one of &quot;Three Hills and Five Gardens&quot; , as well as the last royal garden in China.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:05, 6 November 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 1.中国传统建筑以木结构建筑为主，西方的传统建筑以砖石结构为主, 现代的建筑则是以钢筋混凝土为主。<br /> <br /> Chinese traditional architecture is mainly wood structure, while western traditional architecture is mainly brick structure. Modern architecture is mainly reinforced concrete.<br /> <br /> 2.在设计屋顶花园的同时要考虑屋顶的承重和防水、渗水设计。任何屋顶的承重力度均在建筑设计规范中，无论什么形式的绿化园艺园林设计前要考虑进去。<br /> <br /> In the design of roof garden, we should consider the load-bearing, waterproof and seepage design of the roof. The load-bearing strength of any roof is in the architectural design code, which should be taken into account before any form of greening, horticulture and landscape design.<br /> <br /> 3.<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.古建筑是科学发展的标志，构成了中华民族古代文明的一部分。<br /> <br /> Ancient architecture, as the symbol of scientific development, constitutes one part of ancient Chinese civilizations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:13, 5 November 2020 (UTC)<br /> <br /> Ancient architecture is the symbol of scientific development, which constitutes one part of the ancient civilization of the Chinese nation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:59, 5 November 2020 (UTC)<br /> <br /> 2.在中国艺术史上，文学艺术与园林艺术相辅相成，彼此促进，交相辉映。<br /> <br /> In the history of Chinese art, the arts of literature and garden mutually reinforce, promote and enhance each other's beauty.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:13, 5 November 2020 (UTC)<br /> <br /> 3.北京颐和园作为中国现存规模最大、保存最完整的皇家园林,被誉为皇家园林博物馆。<br /> <br /> The Summer Palace in Beijing, as the largest and the best-preserved imperial garden in China, was honored as the Museum of Imperial Gardens.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:13, 5 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> ==Zhao Xi 赵茜==<br /> 1.中国传统建筑艺术是中华传统文化中的一部分，在长期的历史发展过程中，尤其在儒家思想影响下，中国古代建筑逐步形成了自己的体系和特点。<br /> <br /> Traditional Chinese architecture art is part of traditional Chinese culture. During the long-term cause of history development, especially under the influence of Confucianism, the ancient Chinese architecture gradually has formed its own systems and characteristics. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:47, 6 November 2020 (UTC)<br /> <br /> 2.中国古典园林艺术是指以江南私家园林和北方皇家园林为代表的中国山水园林形式。<br /> <br /> Classical Chinese garden art refers to the Chinese landscape garden form represented by Jiangnan's private garden and the northern royal garden.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:47, 6 November 2020 (UTC)<br /> <br /> 3.颐和园，是中国清朝时期的皇家园林，前身为清漪园，坐落在北京西郊，占地约290公顷，与圆明园毗邻，以昆明湖为基址，以杭州西湖为蓝本，汲取江南园林的设计手法建成的一座大型山水园林。<br /> <br /> The Summer Palace, formerly known as the Qing Dynasty Royal Garden, is located in the western suburbs of Beijing, covering an area of about 290 hectares. It is a large landscape garden, adjacent to the Yuanmingyuan, with Kunming Lake as the base site, Hangzhou West Lake as the model, drawing on the design techniques of Jiangnan Garden.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:47, 6 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 1.中国不同地域其建筑艺术风格等各有差异，但其传统建筑的组群布局、空间、结构、建筑材料及装饰艺术等方面却有着共同的特点，区别于西方，享誉全球。<br /> <br /> Different regions have different architectural styles in China, but their traditional buildings have common characteristics in terms of group layout, space, structure, building materials and decorative arts, which are different from the West and enjoy a worldwide reputation.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:23, 5 November 2020 (UTC)<br /> <br /> Different regions of China have different architectural styles, but their traditional buildings have common characteristics in terms of group layout, space, structure, building materials and decorative arts, which are different from the West and enjoy a worldwide reputation.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:30, 5 November 2020 (UTC)<br /> <br /> 2.中国传统园林集色、香、韵于一身，自古以来便给人们提供了一个休闲纳凉的好去处，对中国文化传承具有重要意义。<br /> <br /> Traditional Chinese gardens combine color, fragrance and rhyme. Since ancient times, they have provided people with a good place to relax and enjoy the cool. It is of great significance to the inheritance of Chinese culture.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:23, 5 November 2020 (UTC)<br /> <br /> Chinese traditional gardens, integrating color, fragrance and charm, have provided people with a good place to relax and enjoy the cool since ancient times, which is of great significance to the inheritance of Chinese culture.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:30, 5 November 2020 (UTC)<br /> <br /> 3.颐和园，中国清朝时期皇家园林，前身为清漪园，坐落在北京西郊，距城区15公里，占地约290公顷（2.9平方千米），与圆明园毗邻。<br /> <br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, formerly known as Qingyi Garden, is located in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of about 290 hectares (2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:23, 5 November 2020 (UTC)<br /> <br /> The Summer Palace, a Chinese imperial garden during the Qing Dynasty, formerly known as the Garden of Clear Ripples, is located in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of about 290 hectares (2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:30, 5 November 2020 (UTC)<br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, formerly Known as the Garden of Clear Ripples, is situated in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of 290 hectares(2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:11, 5 November 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> 7月16日至30日，在四川美术学院美术馆展出的《“见微知著方寸之间”中国建筑艺术之美》展览让人印象深刻。中国唐宋明清时期建筑的绝代风华，梁思成、陈从周等建筑大师的心血之作尽收眼底。<br /> <br /> From July 16th to 30th, the exhibition &quot; From 'pars pro toto' to See the Beauty of Chinese Architectural Art&quot; at the Art Museum of Sichuan Academy of Fine Arts was impressive. We can appreciate the unparalleled beauty of architectures in China's Tang, Song, Ming and Qing dynasties, and the painstaking works of architects such as Liang Sicheng and Chen Congzhou.<br /> <br /> 中国人建造园林有两千多年的历史，在漫长的时间里，形成了皇家园林、寺观园林、私家园林三足鼎立的格局。<br /> Chinese garden building history is more than two thousand years. Over a long period of time, three pillars which are imperial gardens, temple gardens, and private gardens have been formed.<br /> Chinese garden building has a long history of over 2000 years, during which a tripartite structure of royal gardens, temple gardens and private gardens has been formed.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 03:22, 6 November 2020 (UTC)<br /> <br /> 颐和园坐落在北京西郊,主要由昆明湖和万寿山两部分组成,占地面积约290公顷。它既是一座极具江南风情的大型山水园林,又是我国保存最完整的一座皇家行宫御苑,1998年被列入《世界遗产名录》。<br /> The Summer Palace is located in the western suburbs of Beijing, mainly composed of Kunming Lake and Longevity Mountain, covering an area of about 290 hectares. It is not only a large-scale landscape garden with great Jiangnan characteristics, but also the most intactly preserved imperial palace garden in my country. It was included in the &quot;World Heritage List&quot; in 1998.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 07:44, 5 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> ==Zubareva, Ekaterina==</div>

Qu Miao https://bou.de/u/index.php?title=20201102_cult&diff=103393 2020-11-06T09:10:17Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Alsied, Saffana==<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> ==Chen Han 陈涵==<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> 1. 因为建筑源于人类的需求和愿望，所以它可以清楚地传达文化价值。在所有的视觉艺术中，建筑最直接地影响了我们的生活，因为它在很多方面决定了我们生存的环境特征。<br /> <br /> Because architecture grows out of human needs and aspirations, it clearly communicate cultural values. Of all the visual arts, architecture affects our lives most directly for it determines the character of the human environment in major ways.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:02, 6 November 2020 (UTC)<br /> <br /> 2. 石头和假山是中国南方园林的特色。奇形怪状的石头常带有引人注目的波纹线条和水孔。硕大的石头可自成一景，而较小的石块则堆积成假山，为园林增添无比魅力。<br /> <br /> Rocks and rockeries are special features of southern Chinese gardens. Stones of grotesque forms are often attractive with undulated lines and water holes. Some large stones form scenery of their own, while smaller ones are put together to form artificial hills to add to the fantastic attractiveness of the garden.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:02, 6 November 2020 (UTC)<br /> <br /> 3.中华人民共和国成立后，几经修缮，颐和园陆续复建了四大部洲、苏州街、景明楼、澹宁堂、文昌院、耕织图等重要景区。<br /> <br /> Since the founding of the People’s Republic of China, the Summer Palace has undergone several major renovations. Its major attractions such as the Four Great Regions, Suzhou Street, the Pavilion of Bright Scenery, the Hall of Serenity, the Wenchang Galleries and the Plowing and Weaving Scenery Area have been successively restored.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:02, 6 November 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 1:修建在崇山峻岭之上、蜿蜒万里的长城，是人类建筑史上的奇迹。<br /> Built on the high mounytains and winding thousands of miles, the Great Wall is a miracle in the history of architecture,--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:56, 5 November 2020 (UTC)<br /> <br /> The Great Wall, built on the steep mountains and winding for miles and miles, is a miracle in the history of human architecture.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:14, 6 November 2020 (UTC)<br /> <br /> The Great Wall,built on the lofty mountains and winding thousands of miles, is a miracle in the history of architecture.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:48, 5 November 2020 (UTC)Mo Ling<br /> <br /> 2：在古典园林中，中国园林有皇家园林、私家园林、寺观园林、风景园林；西方古典园林有规则式园林与自然风致园。<br /> Thg Chinese classical garden is classified into loyal garden, private garden,temple garden and landscape garden, while the western garden into regular style and natural style one.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:56, 5 November 2020 (UTC)<br /> <br /> In classical gardens, Chinese gardens include royal gardens, private gardens, monastery gardens, and landscape gardens; Western classical gardens include regular gardens and naturalistic gardens.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:14, 6 November 2020 (UTC)<br /> <br /> 3：颐和园是晚清最高统治者在紫禁城之外最重要的政治和外交活动中心，是中国近代历史的重要见证与诸多重大历史事件的发生地。<br /> <br /> Besides the Forbbiden City, the Summer Palace was also the most important political and diplomatic activity center for the supreme ruler of the late Qing dynasty,as well as a significant witness of modern Chinese history and the site of important historical events.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:56, 5 November 2020 (UTC)<br /> <br /> The Summer Palace was the most important center of political and diplomatic activities of the late Qing rulers outside the Forbidden City, and is an important witness to China's modern history and the site of many important historical events.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:14, 6 November 2020 (UTC)<br /> <br /> The Summer Palace was the most important center of political and diplomatic activities outside the Forbidden City by the supreme ruler of the late Qing Dynasty. It was an important witness of modern Chinese history and the place where many major historical events occurred--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:03, 6 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> <br /> ==Grosheva, Anna==<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> ==Guan Qinqing 管钦清==<br /> 1.1949年中华人民共和国建立后，中国建筑进入新的历史时期，大规模、有计划的国民经济建设，推动了建筑业的蓬勃发展。中国现代建筑在数量、规模、类型、地区分布及现代化水平上都突破近代的局限，展现出崭新的姿态。<br /> <br /> After the founding of the People’s Republic of China in 1949,Chinese architecture came into a new era. National economy with planned strategy and a large scale has promoted the development of architecture. Now, whether in quantity, scale, form, regional distribution or in level of modernization ,modern Chinese architecture has broken through those of the limitations in modern times, taking on a new look.<br /> <br /> 2.中国的园林建筑在世界园林史上享有盛名。在3000多年前的周朝，中国就有了最早的宫廷园林。此后，中国的都城和地方著名城市无不建造园林,在世界三大园林体系中，中国园林历史悠久、内涵丰富，被誉为世界造园史上的渊源之一。<br /> <br /> Chinese garden architecture enjoys a high reputation in the history of Landscape Architecture of the world. Early over 3,000 years ago in the Zhou Dynasty,there were imperial gardens in China.From then on,gardens existed in the capital cities and in the regional famous ones. Of the world’s three major garden systems, the Chinese classical garden is hailed as one of the origins of the world’s garden due to its long history and abundant connotations.<br /> <br /> 3.颐和园位于北京市西北部的海淀区，距北京市中心15公里。它是中国最大、保存最完好的皇家园林。颐和园有著名的自然风景和人文景观 ,因此它也一直被公认为是“皇家园林博物馆”。顾和园始建于1750年，作为一座豪华的皇家花园供皇室成员休息和娱乐。清朝末期，颐 和园成为了皇家成员的主要居住地。它位列世界遗产目录，也是中国第一批国家5A级旅游景区之一。<br /> <br /> The Summer Palace is situated in the Haidian District,northwest of Beijing City,15 kilometers from central Beijing.It is the largest and most well-preserved royal park in China.It also has long been recognizcd as “the Museum of Royal Gardens”with famous natural view and cultural landscape.The construction started in 1750 as a luxurious royal garden for royal families to rest and entertain.It became the main residence of royal members in the end of the Qing Dynasty.It not only ranks amongst the World Heritage Sites but also is one of the first national AAAAA tourist spots in China.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 05:21, 6 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> ==Guo Lu 郭露==<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> ==He Changqi 何长琦==<br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> ==Hu Jin 胡瑾==<br /> 1. 中国古代建筑历史悠久，可以追溯到商朝(公元前16世纪-公元前771年)。它有自己的结构和布局原则。经过长期的发展，聪明的中国劳动人民创造了许多建筑奇迹。<br /> <br /> 1. Ancient Chinese architecture has a long history which can be traced back to the Shang Dynasty(16th century BC-771BC). It has its own principles of structure and layout. Through the long development, many architectural wonders have created by clever Chinese labouring people.<br /> <br /> 2. 中国的私家园林是中国园林文化的杰作，它的贡献甚至超过皇家园林--它们都受中国传统哲学文化思想的影响并将人、自然个建筑结合在一起。<br /> <br /> 2. China's private garden is a masterpiece of Chinese garden culture, the contribution of its even more than the royal garden- they are all influenced by Chinese traditional philosophical culture ideas and combine people, nature and architecture.<br /> <br /> 3. 颐和园的英文名称&quot;Summer Palace&quot;, 意思是这里是皇帝在夏大的居住之地—一个离城不远、位与乡村的、供帝王后妃们逍遥游乐的紫禁城。<br /> <br /> 3. As its name implies，the Summer Palace was used as a summer residence by China's imperial rulers--as a retreat from the main imperial palace now known as the Palace Museum or Forbidden City-a pleasureground in the countryside，yet near to the city.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 03:11, 6 November 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> 1.故宫外朝，建筑气势雄伟、豪华壮丽，是中国古代建筑艺术的精华。<br /> <br /> The Palace Museum faces outwards, its buildings are majestic, luxurious and magnificent, which is the essence of ancient Chinese architectural art.<br /> <br /> The Imperial Palace, solemn and magnificent, facing towards the outside, is famed as the quintessence of ancient Chinese architecture art.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:29, 5 November 2020 (UTC)<br /> <br /> The Imperial Palace facing outwards are majestic, luxurious and magnificent, which is the essence of ancient Chinese architectural art.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:06, 6 November 2020 (UTC)<br /> <br /> 2.园林建筑是园林景观中必不可少的要素,满足不同群体休憩、游览、集会等功能需求。古典园林建筑有成熟的营造理论和审美情趣,承载着多彩的民族文化和精神内涵。<br /> <br /> Garden architecture is an indispensable element in the garden landscape, meeting the functional needs of different groups such as rest, tour, and assembly. Classical garden architecture has mature construction theory and aesthetic taste, and carries colorful national culture and spiritual connotation.<br /> <br /> Garden architecture, as an indispensable of garden landscapes, meets the functional needs of different groups including rest, sightseeing, and gathering and so on. Classical garden architecture, with mature construction theory and aesthetic taste, carries abundant national cultures and spiritual connotations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:25, 5 November 2020 (UTC)<br /> <br /> Garden architecture is an essential element in landscape, to meet the needs of different groups of rest, tour, assembly and other functions. Classical garden architecture has a mature construction theory and aesthetic taste, bearing a colorful national culture and spiritual connotation. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:52, 6 November 2020 (UTC)<br /> <br /> 3.颐和园，中国清朝时期皇家园林，前身为清漪园，坐落在北京西郊，距城区15公里，占地约290公顷（2.9平方千米），与圆明园毗邻。<br /> <br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, formerly known as Qingyi Garden, is located in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of about 290 hectares (2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:53, 4 November 2020 (UTC)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:53, 4 November 2020 (UTC)<br /> <br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, originally named Qingyi Yuan, is located in the western suburbs of Beijing. Covering about 290 hectares (2.9 square kilometers), it's 15 kilometers away from the city, adjacent to the Old Summer Palace.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:39, 6 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> ==Li Lili 李丽丽==<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1.中国传统建筑不仅重自然的山林风水，也重人工的山林风水，让人工的与自然的协调，院内的与院外的衔接，造成“天上人间”之境，使人产生“此中有真意，欲辨已忘言”的心旷神怡之感。<br /> <br /> 2.苏州古典园林所蕴涵的中华哲学、历史、人文习俗是江南人文历史传统、地方风俗的一种象征和浓缩，展现了中国文化的精华，在世界造园史上具有独特的历史地位和重大的艺术价值。<br /> <br /> 3.颐和园是晚清最高统治者在紫禁城之外最重要的政治和外交活动中心，是中国近代历史的重要见证与诸多重大历史事件的发生地。<br /> <br /> 4.慈禧太后是中国历史的帝制时代中少数长期当政的女性，其政治手腕堪称干练，尤其擅长操弄亲贵朝臣之间的权力平衡以维系自身的绝对权威。清朝因为她的能力而续命数十年。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:17, 6 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ==Liu Yi 刘艺==<br /> 1、庭院是建筑的基本单位，它既是封闭的，又是开放的；既是人工的，又是自然的，可以俯植花草树木，仰观风云日月，成为古人“天人合一”观念的又一表现，也体现了中国人既含蓄内向，又开拓进取的民族性格。<br /> <br /> The courtyard is the basic unit of architecture, it is both closed and open; both artificial and natural, can overlooking flowers and trees, look up to the wind, clouds, sun and moon, has become the ancients &quot;unity of nature and man&quot; concept is another performance, but also reflects the Chinese are both subtle and introverted, and pioneering national character.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:10, 6 November 2020 (UTC)<br /> <br /> Courtyard is the basic unit of architecture, which is both closed and open, both artificial and natural. Standing on it, people can overlook flowers and trees and look up to the wind, clouds, sun and moon, which is another manifestation of the ancient people's concept of &quot;harmony between man and nature&quot;. It also reflects the national character of Chinese people, which is both introverted and enterprising.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:33, 6 November 2020 (UTC)<br /> <br /> 2、其次，要考虑到植物的色彩和组合的形式美。花园中常利用花坛、花台、花缘和花丛以集中表现观赏植物的丰富多彩，以及植株姿态和叶形的对比调和。要重视草坪和地被植物的种植，避免露土。<br /> <br /> Secondly, it is important to consider the beauty of the color and form of the plant combinations. Flower beds, pedestals, rims and clusters are often used in gardens to focus on the variety of ornamental plants, as well as the contrast and harmony of plant postures and leaf shapes. Emphasis should be placed on planting lawns and groundcovers and avoiding open soil.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:10, 6 November 2020 (UTC)<br /> <br /> Secondly, we should consider the color of plants and the formal beauty of plant combinations. In gardens, flower beds, pedestals, rims and clusters are often used to show the richness of ornamental plants, as well as the contrast and harmony of plant postures and leaf shapes. Attention should be paid to the planting of lawns and ground cover plants so as to avoid soil exposure.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:33, 6 November 2020 (UTC)<br /> <br /> 3、颐和园鼎盛时期，规模宏大，占地面积2.97平方公里（293公顷），主要由万寿山和昆明湖两部分组成，其中水面占四分之三（大约220公顷）。园内建筑以佛香阁为中心，园中有景点建筑物百余座、大小院落20余处。<br /> <br /> In Summer Palace's heyday, the Summer Palace was on a grand scale, covering an area of 2.97 square kilometers (293 hectares), consisting mainly of two parts, Wanshou Mountain and Kunming Lake, of which three-fourths (about 220 hectares) is water. The architecture of the garden is centered on the Buddha Fragrance Pavilion, and there are more than a hundred attractions and buildings, and more than 20 large and small courtyards in the garden.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:10, 6 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.园中花窗、虚虚实实、漏而不尽、诱人探幽。<br /> <br /> The floral windows in the garden show a faint silhouette.Some parts of them are exposed yet not the all,which entices visitors to explore the hidden world behind that.<br /> <br /> 2. 颐和园古式建筑走廊，它遮荫蔽雨、休息、联系交通，组织景观、分隔空间、增加风景层次。<br /> <br /> In the Summer Palace,there are numerous classical corridors.They are not only desirable places of shelter and rest,but also act as pivots of roads in different directions and connectors of different scenic spots.In addition,they can serve as space dividers,which is able to amplify the levels of scenery.<br /> <br /> 3. 比较重要的建筑都安置在纵轴线上，次要房屋安置在它左右两侧的横轴线上，北京故宫的组群布局和北方的四合院是最能体现庭院式布局原则的典型实例。<br /> <br /> On the vertical axis array the more important buildings and on each side array the subordinate houses on the horizontal axis . The group layout of the Forbidden City in Beijing and the quardrangle dwellings in the North China are typical examples of courtyard layout principle.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:43, 5 November 2020 (UTC)Mo Ling<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> ==Phyo, Su Kyi==<br /> 1-中国古代著名建筑- 紫禁城,天坛,钱陵,古城墙,大雁塔。<br /> <br /> Famous Ancient Chinese Buildings-The Forbidden City,Temple of Heaven,Qian Mausoleum,Ancient City Wall,Big Wild Goose Pagoda.<br /> <br /> 2-中日花园的主要区别在于，与日式花园相比，中式花园往往更为大胆，充满异国情调，具有观赏性，并且在整个公园般的环境中具有更多的建筑和结构，而日式花园则总体上较为柔和，朴素和简约。<br /> <br /> The main difference between Chinese and Japanese gardens is that Chinese gardens tend to be more bold, exotic, ornamental, and have more architecture and structures throughout a park-like setting, compared to Japanese gardens which tend to be more subdued, austere and minimalist overall.<br /> <br /> 3-1888年，颐和园获得了现今的中文名称，即颐和园，并作为慈禧太后的避暑胜地。 1900年，它被八国联军摧毁。 1912年，它被重建为清朝（1644-1912）的最后一幕。<br /> <br /> In 1888, the Summer Palace was given its present-day Chinese name, Yihe Yuan, and served as a summer resort for the Empress Dowager Cixi. In 1900, it was destroyed by the Allied Forces of the Eight Powers. In 1912, it was rebuilt as one of the final acts of the Qing Dynasty (1644–1912).<br /> <br /> 4-凯瑟琳·卡尔（Katharine Carl）是美国肖像画家和作家。她在美国，欧洲和亚洲创作了著名的皇家人物的画作。<br /> Katharine Carl was an American portrait painter and author. She made paintings of notable and royal people in the United States, Europe and Asia.<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ==Qu Miao 瞿淼==<br /> 1.中国自古地大物博，建筑艺术源远流长。不同地域其建筑艺术风格等各有差异，但其传统建筑的组群布局、空间、结构、建筑材料及装饰艺术等方面却有着共同的特点，区别于西方，享誉全球。<br /> <br /> China, a country vast in territory and rich in resources, boasts a long history of architecture art. Architectures in different regions are different in artistic style, but have something in common in complex arrangement, space, structure, building material and decorative art. Distinguished from western architecture, Chinese architecture is well-known around the world.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> 2.中国传统园林集色、香、韵于一身，自古以来便给人们提供了一个休闲纳凉的好去处，对中国文化传承具有重要意义。<br /> <br /> Chinese traditional garden combines pleasing colors with fragrance and charm. It offers a good place for people to take leisure activities and enjoy the cool, and is significant for Chinese traditional cultural inheritance.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> 3.颐和园位于北京市西北部海淀区,距市中心约15公里,原为清代的行宫花园,其名为“颐养太和”之义。园中的长廊、石舫、佛香阁、宝云阁、大戏楼、十七孔桥、玉带桥等建筑堪称世界建筑文化中的珍品。<br /> <br /> The Summer Palace is located in Haidian District, northwest of Beijing, and it’s about 15 kilometers away from downtown. As a former palace garden of the Qing dynasty, it’s name means “keep supreme harmony”. Many buildings in the garden, including the Long Corridor，Marble Boat，Pavilion of the Fragrance of Buddha, Tower of Precious Cloud, Grand Opera Tower, Seventeen Arch Bridge and Jade Belt Bridge, can be called as world architecture art treasures.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> 4.美国女画家凯瑟琳·卡尔（1858——1938），中文译作柯(克姑娘)。20世纪初曾创了两项空前绝后的世界性纪录：她是惟一在中国官廷之内一连呆了很长时间的外国人，又是惟一替尚健在的中国后妃画过肖像的人。<br /> <br /> American female painter Katharine Carl(1858-1938), whose Chinese name was Ke( Miss Ke), had set up two world records: she was the only foreigner who stayed in the palace for a very long time, and also the only one who pained portraits for Chinese imperial concubines who were still alive at that time.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ==Seydou, Sagara==<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> ==Si Yu 司妤==<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> 1. 故宫前部宫殿，当时建筑造型要求宏伟壮丽，庭院明朗开阔，象征封建政权至高无上，太和殿坐落在紫禁城对角线的中心，四角上各有十只吉祥瑞兽。<br /> At that time, the front palace of the Forbidden City required a magnificent architectural style, its courtyard should be bright and wide, to symbolize the supremacy of the feudal regime. The Hall of Supreme Harmony was located in the center of the diagonal line of the Forbidden City, with ten auspicious beasts on each corner.<br /> <br /> 2. 苏州园林博物馆以造园工具、陈设家具、建筑构建等实物为主要载体展示园林的传统造园工艺，并运用了现代科技手段展示古典园林的艺术魅力。<br /> The Suzhou Garden Museum uses garden tools, furnishings, architectural construction and other physical objects as the main carrier to display the traditional gardening crafts of the garden, and uses modern technology to show the artistic charm of classical gardens.<br /> <br /> 3. 颐和园是晚清最高统治者在紫禁城之外最重要的政治和外交活动中心，是中国近代历史的重要见证与诸多重大历史事件的发生地。<br /> The Summer Palace was the most important center of political and diplomatic activities outside the Forbidden City by the supreme ruler of the late Qing Dynasty. It was an important witness of modern Chinese history and the place where many major historical events occurred.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:51, 5 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> ==Xie Fan 解帆==<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> ==Xu Jing 许静==<br /> 1. 中国建筑艺术，讲究大门、大窗、大进深、大屋檐，视野开阔，直通自然，充分体现“天人合一”的思想。四角飞檐翘起，或扑朔欲飞，或耸立欲飘，让凝固显得欲动。<br /> <br /> Chinese architectural art emphasizes large gates, large windows, great depths, and large eaves, with a wide field of vision and direct access to nature, fully reflecting the idea of &quot;unity of nature and man&quot;. The four corners of the eaves are raised, or fluttering to fly, or towering to float, appearing to be dynamic in a static state.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:35, 6 November 2020 (UTC)<br /> <br /> 2. 中国园林艺术着重意境的塑造，园林中的山水、植被、建筑以及其组成空间关系，不仅是一种物质环境，而且创造了一种精神氛围。<br /> <br /> Chinese garden art focuses on the shaping of the mood. The landscape, vegetation, architecture and spacial arrangement in the garden constitute not only to a physical environment, but also to a spiritual atmosphere.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:35, 6 November 2020 (UTC)<br /> <br /> 3. 颐和园整体布局以万寿山、昆明湖为主体，湖光山色中亭台楼阁、廊榭舫桥、庙堂殿宇等人文建筑与自然山水艺术地融为一体，恢弘大气、富丽堂皇，在世界园林史上独树一帜。<br /> <br /> Wanshou Mountain, Kunming Lake are the main body of the Summer Palace. Amid natural landscape are the pavilions, galleries, bridges, temples and other humanistic architecture. They mix together to be magnificent and splendid, unique in the history of the world's gardens.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:35, 6 November 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> 1、中国建筑体系是以木结构为特色的建筑艺术。传统建筑叫种屋顶造型、飞檐翼角、斗拱彩画、朱柱金顶、内外装修门及园林景物等，充分体现出中国建筑艺术的纯熟和感染力。<br /> <br /> Chinese architecture is an independent art featuring wooden structures. It consists of various roof molding, upturned eaves and wings, dougong with paintings, vermillion pillars and golden roofs, ornament gates and gardening. All of these embody the maturity and artistic appeal of Chinese architecture.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:54, 5 November 2020 (UTC)<br /> <br /> 2、中国园林是建筑艺术的一种形式，它在本质上旨在通过所谓的园林四要素组织富于性情与乐趣并充满意境的环境，这种环境包括假山、河流、建筑和植物，也包括有机组成部分，比如道路、室内环境。<br /> <br /> Chinese garden is one of the important types of architectural art. It is essentially aimed at organizing an environment rich in temperament and interest and full of the beauty of artistic conception through the so-called four gardening elements including mountains, rivers, structures and plants, as well as the organic components such as roads, interior settings.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:54, 5 November 2020 (UTC)<br /> <br /> 3、颐和园主景区由万寿山、昆明湖组成，全园占地2.9平方公里，水面约占四分之三。<br /> <br /> The Summer Palace, dominated mainly by Longevity Hill and Kunming Lake, covers an area of 2.9 square kilometers, three quarters of which is under water.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:54, 5 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> ==You Yuting 游雨婷==<br /> 1.古建筑是一座城市的记忆，是城市历史的见证者，它承载着这座城市的文化积淀。一旦损毁，文物本体及其承载的历史文化信息都将不复存在。<br /> <br /> The ancient building is the memory of a city and the witness of its history. It bears the cultural accumulation of the city. Once damaged, the cultural relic itself and the historical and cultural information it carries will no longer exist.<br /> <br /> 2.中国园林建筑大体分为私家园林建筑,皇家园林建筑和寺庙园林建筑。以苏州和扬州为代表，两者相比,苏州园林更具文人气质,而扬州的园林则偏于工商和贵气。<br /> <br /> In general,Chinese garden architecture is divided into private garden architecture, royal garden architecture and temple garden architecture. With Suzhou and Yangzhou as the representative, the Suzhou gardens bear the style of literati, while the Yangzhou gardens tend to be commercial and noble.<br /> <br /> <br /> 3.颐和园占地面积达293公顷，主要由万寿山和昆明湖两部 分组成。各种形式的宫殿园林建筑3000余间，大致可分为行政、生活、游览三个部分。<br /> <br /> The Summer Palace covers an area of 293 hectares,mainly composed of Longevity Hill and Kunming Lake. There are more than 3000 palaces and gardens of various forms, which can be roughly divided into three parts: administration, life and tour.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:21, 5 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> 说到中国文化，不得不提到长城。从公元前7世纪到公元16世纪，在大约2200年的时间里，先后有19个朝代修建过长城，所修的长城长达10千米以上。主要的长城修建工程是在秦代、汉代和明代完成的。<br /> <br /> We must refer to the Great Wall when it comes to Chinese culture. Through about 2200 years from the 7th century B.C. to the 16th century A.D., it was built in 19 dynasties successively, reaching over 10 kilometers in length. Main construction project was carried out in the Qin Dynasty, Han Dynasty and Ming Dynasty.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:26, 5 November 2020 (UTC)<br /> <br /> 1961年3月4日，颐和园被公布为第一批全国重点文物保护单位，与同时公布的承德避暑山庄、拙政园、留园并称为中国四大名园，1998年11月被列入《世界遗产名录》。2007年5月8日，颐和园经国家旅游局正式批准为国家5A级旅游景区。 2009年，颐和园入选中国世界纪录协会中国现存最大的皇家园林。<br /> <br /> On March 4th, 1961, the Summer Palace was announced as one of the first batch of National Priority Cultural Relic Protection Sites, famed as “ Four Great Palaces of China” with Chengde Mountain Resort, Humble Administrator Garden,Lingering Garden simultaneously. The Summer Palace was listed into ''World Heritage List'' in November 1998, and on May 8th, 2007, it was officially ratified as National 5A Scenic Spots by National Tourism Administration. In 2009, the Summer Palace, under the acknowledgement of China World Record Association, was selected as the largest extant royal garden of China.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:26, 5 November 2020 (UTC)<br /> <br /> 中国古典园林艺术是指以江南私家园林和北方皇家园林为代表的中国山水园林形式。在中国传统建筑中，古典园林是独树一帜有重大成就的建筑。它被举世公认为世界园林之母，世界艺术之奇观，人类文明的重要遗产。其造园手法已被西方国家所推崇和摹仿，在西方国家掀起了一股“中国园林热”。<br /> <br /> Chinese classical garden art mainly refers to Jiangnan private gardens and North royal gardens. Among all the Chinese traditional buildings, classic gardens boasts unique achievement, which is widely acknowledged as the Mother of the World Gardens, a miracle of the art of the world, and significant heritage of human civilization. The construction technique of Chinese gardens has been adored and imitated by western countries, ushering in “Chinese garden craze” in the occidental world.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:26, 5 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> 世界上大多数伟大的建筑都是石料建筑，因为石料建筑不仅外形漂亮、持久耐用，而且石头到处可见。在过去，整个城市的建筑物都是从艰苦的石块切割和堆砌发展起来的。<br /> Much of the world’s great architecture has been constructed of stone because of its beauty, permanence, and availability. In the past, whole cities grew from the arduous task of cutting and pilling stone upon.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:33, 6 November 2020 (UTC)<br /> <br /> 最好的园林远不止是将各种美丽的花草树木种在一起。成功的园林都代表了各种要素经过精心组合成的一个整体，这些要素从纯粹的装饰到具有严格的功能不等。<br /> The best gardens are much more than an assortment of beautiful plants.Successful gardens generally represent a careful integration of diverse elements,ranging from the purely ornamental to the strictly functional.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:33, 6 November 2020 (UTC)<br /> <br /> 颐和园主景区由万寿山、昆明湖组成，全员占地2.9平方公里，水面约占四分之三。园内现存各式宫殿、园林古建7万平方米，并以珍贵的文物藏品闻名于世，是第一批全国重点文物保护单位。<br /> The Summer Palace,dominated mainly by Longevity Hill and Kunming Lake, covers an area of 29 square kilometers, three quarters of which is under water. Its 70,000 square meters of building space features a varity of palaces, gardens and other ancient-style architectural structures.Well-known for its large and priceless collection of cultural relics, it was among the first group of historical and cultural heritage sites in China to be placed under special state protection.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:33, 6 November 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> ==Zhang Hui 张慧==<br /> 1.中国传统建筑正是中国历史悠久的传统文化和民族特色的最精彩、最直观的传承载体和表现形式。<br /> Chinese traditional architecture is the most wonderful and intuitive transmission carrier and expression form of China's long-standing traditional culture and national characteristics.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> Chinese traditional architecture is the most splendid and intuitive transmission carrier and expression form of Chinese traditional culture with a long history and national characteristics.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:23, 5 November 2020 (UTC)<br /> <br /> Chinese traditional architecture is the most wonderful and intuitive transmission carrier and expression form for Chinese long-standing traditional culture and national characteristics.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> 2.中国园林区别于世界上其他园林体系的最大特点，在于它不以创造呈现在人们眼前的具体园林形象为最终目的，它追求的是意境。<br /> The biggest feature of Chinese gardens that distinguishes it from other garden systems in the world is that it does not take the creation of a concrete garden image that is presented to people as its ultimate goal.It pursues artistic conception.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> The biggest feature that distinguishes Chinese gardens from other garden systems in the world is that it does not take the creation of a specific garden image in front of people as its ultimate goal, but rather the pursuit of the mood.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> 3.颐和园集传统造园艺术之大成，借景周围的山水环境，既有皇家园林恢弘富丽的气势，又充满了自然之趣，高度体现了中国园林“虽由人作，宛自天开”的造园准则。<br /> The Summer Palace is a monument to classical Chinese architecture, in terms of both garden design and construction. Borrowing scenes from surrounding landscapes, it radiates not only the grandeur of an imperial garden but also the beauty of nature in a seamless combination that best illustrates the guiding principle of traditional Chinese garden design: &quot;The works of men should match the works of Heaven&quot;.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> <br /> 假山和石花园是中国园林建筑的重要组成部分。<br /> The artificial mountain and rock garden is the integral element of Chinese classical gardens.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:02, 5 November 2020 (UTC)<br /> <br /> The artificial mountain and rock garden are the integral elements of Chinese classical gardens.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:09, 5 November 2020 (UTC)<br /> <br /> The artificial mountains and gardens of stone are important parts of Chinese classical gardens.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:05, 6 November 2020 (UTC)<br /> <br /> 中国园林善于和借景，不会死板地将景观以对称的方式排列，而是会将大大小小的景观不守成规精妙地排列。<br /> The Chinese garden architecture characterized by taking advantages of the environment and shun symmetry along axis and adopt an irregular and complicated layout with plenty of large and small spaces.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:02, 5 November 2020 (UTC)<br /> <br /> The Chinese garden architecture is characterized by taking advantages of the scenes. It arrangs different landscapes in an irregular but exquisite form rather than rigid and symmetrical one.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:09, 5 November 2020 (UTC)<br /> <br /> <br /> 颐和园是世界上最广阔的皇家园林之一，园区主要有万寿山，昆明湖两大景区组成。颐和园是“三山五园”之一，也是中国最后一座皇家林园。<br /> The Summer Palace is the royal garden covering the largest area in the world. It is mainly composed of Longevity Hill and Kunming Lake. It is one of the three mountains and five gardens and the last royal garden in China.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:02, 5 November 2020 (UTC)<br /> <br /> The Summer Palace is one of the most spacious royal gardens in the world, which is mainly composd of Longevity Hill and Kunming Lake. It is one of &quot;the three mountains and five gardens&quot; and the last royal garden in China.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:09, 5 November 2020 (UTC)<br /> <br /> The Summer Palace, one of the most spacious royal gardens in the world, is mainly composed of Longevity Hill and Kunming Lake. It is one of &quot;Three Hills and Five Gardens&quot; , as well as the last royal garden in China.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:05, 6 November 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 1.中国传统建筑以木结构建筑为主，西方的传统建筑以砖石结构为主, 现代的建筑则是以钢筋混凝土为主。<br /> <br /> Chinese traditional architecture is mainly wood structure, while western traditional architecture is mainly brick structure. Modern architecture is mainly reinforced concrete.<br /> <br /> 2.在设计屋顶花园的同时要考虑屋顶的承重和防水、渗水设计。任何屋顶的承重力度均在建筑设计规范中，无论什么形式的绿化园艺园林设计前要考虑进去。<br /> <br /> In the design of roof garden, we should consider the load-bearing, waterproof and seepage design of the roof. The load-bearing strength of any roof is in the architectural design code, which should be taken into account before any form of greening, horticulture and landscape design.<br /> <br /> 3.<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.古建筑是科学发展的标志，构成了中华民族古代文明的一部分。<br /> <br /> Ancient architecture, as the symbol of scientific development, constitutes one part of ancient Chinese civilizations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:13, 5 November 2020 (UTC)<br /> <br /> Ancient architecture is the symbol of scientific development, which constitutes one part of the ancient civilization of the Chinese nation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:59, 5 November 2020 (UTC)<br /> <br /> 2.在中国艺术史上，文学艺术与园林艺术相辅相成，彼此促进，交相辉映。<br /> <br /> In the history of Chinese art, the arts of literature and garden mutually reinforce, promote and enhance each other's beauty.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:13, 5 November 2020 (UTC)<br /> <br /> 3.北京颐和园作为中国现存规模最大、保存最完整的皇家园林,被誉为皇家园林博物馆。<br /> <br /> The Summer Palace in Beijing, as the largest and the best-preserved imperial garden in China, was honored as the Museum of Imperial Gardens.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:13, 5 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> ==Zhao Xi 赵茜==<br /> 1.中国传统建筑艺术是中华传统文化中的一部分，在长期的历史发展过程中，尤其在儒家思想影响下，中国古代建筑逐步形成了自己的体系和特点。<br /> <br /> Traditional Chinese architecture art is part of traditional Chinese culture. During the long-term cause of history development, especially under the influence of Confucianism, the ancient Chinese architecture gradually has formed its own systems and characteristics. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:47, 6 November 2020 (UTC)<br /> <br /> 2.中国古典园林艺术是指以江南私家园林和北方皇家园林为代表的中国山水园林形式。<br /> <br /> Classical Chinese garden art refers to the Chinese landscape garden form represented by Jiangnan's private garden and the northern royal garden.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:47, 6 November 2020 (UTC)<br /> <br /> 3.颐和园，是中国清朝时期的皇家园林，前身为清漪园，坐落在北京西郊，占地约290公顷，与圆明园毗邻，以昆明湖为基址，以杭州西湖为蓝本，汲取江南园林的设计手法建成的一座大型山水园林。<br /> <br /> The Summer Palace, formerly known as the Qing Dynasty Royal Garden, is located in the western suburbs of Beijing, covering an area of about 290 hectares. It is a large landscape garden, adjacent to the Yuanmingyuan, with Kunming Lake as the base site, Hangzhou West Lake as the model, drawing on the design techniques of Jiangnan Garden.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:47, 6 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 1.中国不同地域其建筑艺术风格等各有差异，但其传统建筑的组群布局、空间、结构、建筑材料及装饰艺术等方面却有着共同的特点，区别于西方，享誉全球。<br /> <br /> Different regions have different architectural styles in China, but their traditional buildings have common characteristics in terms of group layout, space, structure, building materials and decorative arts, which are different from the West and enjoy a worldwide reputation.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:23, 5 November 2020 (UTC)<br /> <br /> Different regions of China have different architectural styles, but their traditional buildings have common characteristics in terms of group layout, space, structure, building materials and decorative arts, which are different from the West and enjoy a worldwide reputation.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:30, 5 November 2020 (UTC)<br /> <br /> 2.中国传统园林集色、香、韵于一身，自古以来便给人们提供了一个休闲纳凉的好去处，对中国文化传承具有重要意义。<br /> <br /> Traditional Chinese gardens combine color, fragrance and rhyme. Since ancient times, they have provided people with a good place to relax and enjoy the cool. It is of great significance to the inheritance of Chinese culture.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:23, 5 November 2020 (UTC)<br /> <br /> Chinese traditional gardens, integrating color, fragrance and charm, have provided people with a good place to relax and enjoy the cool since ancient times, which is of great significance to the inheritance of Chinese culture.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:30, 5 November 2020 (UTC)<br /> <br /> 3.颐和园，中国清朝时期皇家园林，前身为清漪园，坐落在北京西郊，距城区15公里，占地约290公顷（2.9平方千米），与圆明园毗邻。<br /> <br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, formerly known as Qingyi Garden, is located in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of about 290 hectares (2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:23, 5 November 2020 (UTC)<br /> <br /> The Summer Palace, a Chinese imperial garden during the Qing Dynasty, formerly known as the Garden of Clear Ripples, is located in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of about 290 hectares (2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:30, 5 November 2020 (UTC)<br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, formerly Known as the Garden of Clear Ripples, is situated in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of 290 hectares(2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:11, 5 November 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> 7月16日至30日，在四川美术学院美术馆展出的《“见微知著方寸之间”中国建筑艺术之美》展览让人印象深刻。中国唐宋明清时期建筑的绝代风华，梁思成、陈从周等建筑大师的心血之作尽收眼底。<br /> <br /> From July 16th to 30th, the exhibition &quot; From 'pars pro toto' to See the Beauty of Chinese Architectural Art&quot; at the Art Museum of Sichuan Academy of Fine Arts was impressive. We can appreciate the unparalleled beauty of architectures in China's Tang, Song, Ming and Qing dynasties, and the painstaking works of architects such as Liang Sicheng and Chen Congzhou.<br /> <br /> 中国人建造园林有两千多年的历史，在漫长的时间里，形成了皇家园林、寺观园林、私家园林三足鼎立的格局。<br /> Chinese garden building history is more than two thousand years. Over a long period of time, three pillars which are imperial gardens, temple gardens, and private gardens have been formed.<br /> Chinese garden building has a long history of over 2000 years, during which a tripartite structure of royal gardens, temple gardens and private gardens has been formed.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 03:22, 6 November 2020 (UTC)<br /> <br /> 颐和园坐落在北京西郊,主要由昆明湖和万寿山两部分组成,占地面积约290公顷。它既是一座极具江南风情的大型山水园林,又是我国保存最完整的一座皇家行宫御苑,1998年被列入《世界遗产名录》。<br /> The Summer Palace is located in the western suburbs of Beijing, mainly composed of Kunming Lake and Longevity Mountain, covering an area of about 290 hectares. It is not only a large-scale landscape garden with great Jiangnan characteristics, but also the most intactly preserved imperial palace garden in my country. It was included in the &quot;World Heritage List&quot; in 1998.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 07:44, 5 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> ==Zubareva, Ekaterina==</div>

Qu Miao https://bou.de/u/index.php?title=20201102_cult&diff=103392 2020-11-06T09:07:43Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Alsied, Saffana==<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> ==Chen Han 陈涵==<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> 1. 因为建筑源于人类的需求和愿望，所以它可以清楚地传达文化价值。在所有的视觉艺术中，建筑最直接地影响了我们的生活，因为它在很多方面决定了我们生存的环境特征。<br /> <br /> Because architecture grows out of human needs and aspirations, it clearly communicate cultural values. Of all the visual arts, architecture affects our lives most directly for it determines the character of the human environment in major ways.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:02, 6 November 2020 (UTC)<br /> <br /> 2. 石头和假山是中国南方园林的特色。奇形怪状的石头常带有引人注目的波纹线条和水孔。硕大的石头可自成一景，而较小的石块则堆积成假山，为园林增添无比魅力。<br /> <br /> Rocks and rockeries are special features of southern Chinese gardens. Stones of grotesque forms are often attractive with undulated lines and water holes. Some large stones form scenery of their own, while smaller ones are put together to form artificial hills to add to the fantastic attractiveness of the garden.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:02, 6 November 2020 (UTC)<br /> <br /> 3.中华人民共和国成立后，几经修缮，颐和园陆续复建了四大部洲、苏州街、景明楼、澹宁堂、文昌院、耕织图等重要景区。<br /> <br /> Since the founding of the People’s Republic of China, the Summer Palace has undergone several major renovations. Its major attractions such as the Four Great Regions, Suzhou Street, the Pavilion of Bright Scenery, the Hall of Serenity, the Wenchang Galleries and the Plowing and Weaving Scenery Area have been successively restored.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:02, 6 November 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 1:修建在崇山峻岭之上、蜿蜒万里的长城，是人类建筑史上的奇迹。<br /> Built on the high mounytains and winding thousands of miles, the Great Wall is a miracle in the history of architecture,--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:56, 5 November 2020 (UTC)<br /> <br /> The Great Wall, built on the steep mountains and winding for miles and miles, is a miracle in the history of human architecture.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:14, 6 November 2020 (UTC)<br /> <br /> The Great Wall,built on the lofty mountains and winding thousands of miles, is a miracle in the history of architecture.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:48, 5 November 2020 (UTC)Mo Ling<br /> <br /> 2：在古典园林中，中国园林有皇家园林、私家园林、寺观园林、风景园林；西方古典园林有规则式园林与自然风致园。<br /> Thg Chinese classical garden is classified into loyal garden, private garden,temple garden and landscape garden, while the western garden into regular style and natural style one.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:56, 5 November 2020 (UTC)<br /> <br /> In classical gardens, Chinese gardens include royal gardens, private gardens, monastery gardens, and landscape gardens; Western classical gardens include regular gardens and naturalistic gardens.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:14, 6 November 2020 (UTC)<br /> <br /> 3：颐和园是晚清最高统治者在紫禁城之外最重要的政治和外交活动中心，是中国近代历史的重要见证与诸多重大历史事件的发生地。<br /> <br /> Besides the Forbbiden City, the Summer Palace was also the most important political and diplomatic activity center for the supreme ruler of the late Qing dynasty,as well as a significant witness of modern Chinese history and the site of important historical events.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:56, 5 November 2020 (UTC)<br /> <br /> The Summer Palace was the most important center of political and diplomatic activities of the late Qing rulers outside the Forbidden City, and is an important witness to China's modern history and the site of many important historical events.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:14, 6 November 2020 (UTC)<br /> <br /> The Summer Palace was the most important center of political and diplomatic activities outside the Forbidden City by the supreme ruler of the late Qing Dynasty. It was an important witness of modern Chinese history and the place where many major historical events occurred--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:03, 6 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> <br /> ==Grosheva, Anna==<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> ==Guan Qinqing 管钦清==<br /> 1.1949年中华人民共和国建立后，中国建筑进入新的历史时期，大规模、有计划的国民经济建设，推动了建筑业的蓬勃发展。中国现代建筑在数量、规模、类型、地区分布及现代化水平上都突破近代的局限，展现出崭新的姿态。<br /> <br /> After the founding of the People’s Republic of China in 1949,Chinese architecture came into a new era. National economy with planned strategy and a large scale has promoted the development of architecture. Now, whether in quantity, scale, form, regional distribution or in level of modernization ,modern Chinese architecture has broken through those of the limitations in modern times, taking on a new look.<br /> <br /> 2.中国的园林建筑在世界园林史上享有盛名。在3000多年前的周朝，中国就有了最早的宫廷园林。此后，中国的都城和地方著名城市无不建造园林,在世界三大园林体系中，中国园林历史悠久、内涵丰富，被誉为世界造园史上的渊源之一。<br /> <br /> Chinese garden architecture enjoys a high reputation in the history of Landscape Architecture of the world. Early over 3,000 years ago in the Zhou Dynasty,there were imperial gardens in China.From then on,gardens existed in the capital cities and in the regional famous ones. Of the world’s three major garden systems, the Chinese classical garden is hailed as one of the origins of the world’s garden due to its long history and abundant connotations.<br /> <br /> 3.颐和园位于北京市西北部的海淀区，距北京市中心15公里。它是中国最大、保存最完好的皇家园林。颐和园有著名的自然风景和人文景观 ,因此它也一直被公认为是“皇家园林博物馆”。顾和园始建于1750年，作为一座豪华的皇家花园供皇室成员休息和娱乐。清朝末期，颐 和园成为了皇家成员的主要居住地。它位列世界遗产目录，也是中国第一批国家5A级旅游景区之一。<br /> <br /> The Summer Palace is situated in the Haidian District,northwest of Beijing City,15 kilometers from central Beijing.It is the largest and most well-preserved royal park in China.It also has long been recognizcd as “the Museum of Royal Gardens”with famous natural view and cultural landscape.The construction started in 1750 as a luxurious royal garden for royal families to rest and entertain.It became the main residence of royal members in the end of the Qing Dynasty.It not only ranks amongst the World Heritage Sites but also is one of the first national AAAAA tourist spots in China.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 05:21, 6 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> ==Guo Lu 郭露==<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> ==He Changqi 何长琦==<br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> ==Hu Jin 胡瑾==<br /> 1. 中国古代建筑历史悠久，可以追溯到商朝(公元前16世纪-公元前771年)。它有自己的结构和布局原则。经过长期的发展，聪明的中国劳动人民创造了许多建筑奇迹。<br /> <br /> 1. Ancient Chinese architecture has a long history which can be traced back to the Shang Dynasty(16th century BC-771BC). It has its own principles of structure and layout. Through the long development, many architectural wonders have created by clever Chinese labouring people.<br /> <br /> 2. 中国的私家园林是中国园林文化的杰作，它的贡献甚至超过皇家园林--它们都受中国传统哲学文化思想的影响并将人、自然个建筑结合在一起。<br /> <br /> 2. China's private garden is a masterpiece of Chinese garden culture, the contribution of its even more than the royal garden- they are all influenced by Chinese traditional philosophical culture ideas and combine people, nature and architecture.<br /> <br /> 3. 颐和园的英文名称&quot;Summer Palace&quot;, 意思是这里是皇帝在夏大的居住之地—一个离城不远、位与乡村的、供帝王后妃们逍遥游乐的紫禁城。<br /> <br /> 3. As its name implies，the Summer Palace was used as a summer residence by China's imperial rulers--as a retreat from the main imperial palace now known as the Palace Museum or Forbidden City-a pleasureground in the countryside，yet near to the city.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 03:11, 6 November 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> 1.故宫外朝，建筑气势雄伟、豪华壮丽，是中国古代建筑艺术的精华。<br /> <br /> The Palace Museum faces outwards, its buildings are majestic, luxurious and magnificent, which is the essence of ancient Chinese architectural art.<br /> <br /> The Imperial Palace, solemn and magnificent, facing towards the outside, is famed as the quintessence of ancient Chinese architecture art.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:29, 5 November 2020 (UTC)<br /> <br /> The Imperial Palace facing outwards are majestic, luxurious and magnificent, which is the essence of ancient Chinese architectural art.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:06, 6 November 2020 (UTC)<br /> <br /> 2.园林建筑是园林景观中必不可少的要素,满足不同群体休憩、游览、集会等功能需求。古典园林建筑有成熟的营造理论和审美情趣,承载着多彩的民族文化和精神内涵。<br /> <br /> Garden architecture is an indispensable element in the garden landscape, meeting the functional needs of different groups such as rest, tour, and assembly. Classical garden architecture has mature construction theory and aesthetic taste, and carries colorful national culture and spiritual connotation.<br /> <br /> Garden architecture, as an indispensable of garden landscapes, meets the functional needs of different groups including rest, sightseeing, and gathering and so on. Classical garden architecture, with mature construction theory and aesthetic taste, carries abundant national cultures and spiritual connotations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:25, 5 November 2020 (UTC)<br /> <br /> Garden architecture is an essential element in landscape, to meet the needs of different groups of rest, tour, assembly and other functions. Classical garden architecture has a mature construction theory and aesthetic taste, bearing a colorful national culture and spiritual connotation. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:52, 6 November 2020 (UTC)<br /> <br /> 3.颐和园，中国清朝时期皇家园林，前身为清漪园，坐落在北京西郊，距城区15公里，占地约290公顷（2.9平方千米），与圆明园毗邻。<br /> <br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, formerly known as Qingyi Garden, is located in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of about 290 hectares (2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:53, 4 November 2020 (UTC)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:53, 4 November 2020 (UTC)<br /> <br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, originally named Qingyi Yuan, is located in the western suburbs of Beijing. Covering about 290 hectares (2.9 square kilometers), it's 15 kilometers away from the city, adjacent to the Old Summer Palace.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:39, 6 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> ==Li Lili 李丽丽==<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1.中国传统建筑不仅重自然的山林风水，也重人工的山林风水，让人工的与自然的协调，院内的与院外的衔接，造成“天上人间”之境，使人产生“此中有真意，欲辨已忘言”的心旷神怡之感。<br /> <br /> 2.苏州古典园林所蕴涵的中华哲学、历史、人文习俗是江南人文历史传统、地方风俗的一种象征和浓缩，展现了中国文化的精华，在世界造园史上具有独特的历史地位和重大的艺术价值。<br /> <br /> 3.颐和园是晚清最高统治者在紫禁城之外最重要的政治和外交活动中心，是中国近代历史的重要见证与诸多重大历史事件的发生地。<br /> <br /> 4.慈禧太后是中国历史的帝制时代中少数长期当政的女性，其政治手腕堪称干练，尤其擅长操弄亲贵朝臣之间的权力平衡以维系自身的绝对权威。清朝因为她的能力而续命数十年。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:17, 6 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ==Liu Yi 刘艺==<br /> 1、庭院是建筑的基本单位，它既是封闭的，又是开放的；既是人工的，又是自然的，可以俯植花草树木，仰观风云日月，成为古人“天人合一”观念的又一表现，也体现了中国人既含蓄内向，又开拓进取的民族性格。<br /> <br /> The courtyard is the basic unit of architecture, it is both closed and open; both artificial and natural, can overlooking flowers and trees, look up to the wind, clouds, sun and moon, has become the ancients &quot;unity of nature and man&quot; concept is another performance, but also reflects the Chinese are both subtle and introverted, and pioneering national character.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:10, 6 November 2020 (UTC)<br /> <br /> Courtyard is the basic unit of architecture, which is both closed and open, both artificial and natural. Standing on it, people can overlook flowers and trees and look up to the wind, clouds, sun and moon, which is another manifestation of the ancient people's concept of &quot;harmony between man and nature&quot;. It also reflects the national character of Chinese people, which is both introverted and enterprising.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:33, 6 November 2020 (UTC)<br /> <br /> 2、其次，要考虑到植物的色彩和组合的形式美。花园中常利用花坛、花台、花缘和花丛以集中表现观赏植物的丰富多彩，以及植株姿态和叶形的对比调和。要重视草坪和地被植物的种植，避免露土。<br /> <br /> Secondly, it is important to consider the beauty of the color and form of the plant combinations. Flower beds, pedestals, rims and clusters are often used in gardens to focus on the variety of ornamental plants, as well as the contrast and harmony of plant postures and leaf shapes. Emphasis should be placed on planting lawns and groundcovers and avoiding open soil.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:10, 6 November 2020 (UTC)<br /> <br /> Secondly, we should consider the color of plants and the formal beauty of plant combinations. In gardens, flower beds, pedestals, rims and clusters are often used to show the richness of ornamental plants, as well as the contrast and harmony of plant postures and leaf shapes. Attention should be paid to the planting of lawns and ground cover plants so as to avoid soil exposure.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:33, 6 November 2020 (UTC)<br /> <br /> 3、颐和园鼎盛时期，规模宏大，占地面积2.97平方公里（293公顷），主要由万寿山和昆明湖两部分组成，其中水面占四分之三（大约220公顷）。园内建筑以佛香阁为中心，园中有景点建筑物百余座、大小院落20余处。<br /> <br /> In Summer Palace's heyday, the Summer Palace was on a grand scale, covering an area of 2.97 square kilometers (293 hectares), consisting mainly of two parts, Wanshou Mountain and Kunming Lake, of which three-fourths (about 220 hectares) is water. The architecture of the garden is centered on the Buddha Fragrance Pavilion, and there are more than a hundred attractions and buildings, and more than 20 large and small courtyards in the garden.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:10, 6 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.园中花窗、虚虚实实、漏而不尽、诱人探幽。<br /> <br /> The floral windows in the garden show a faint silhouette.Some parts of them are exposed yet not the all,which entices visitors to explore the hidden world behind that.<br /> <br /> 2. 颐和园古式建筑走廊，它遮荫蔽雨、休息、联系交通，组织景观、分隔空间、增加风景层次。<br /> <br /> In the Summer Palace,there are numerous classical corridors.They are not only desirable places of shelter and rest,but also act as pivots of roads in different directions and connectors of different scenic spots.In addition,they can serve as space dividers,which is able to amplify the levels of scenery.<br /> <br /> 3. 比较重要的建筑都安置在纵轴线上，次要房屋安置在它左右两侧的横轴线上，北京故宫的组群布局和北方的四合院是最能体现庭院式布局原则的典型实例。<br /> <br /> On the vertical axis array the more important buildings and on each side array the subordinate houses on the horizontal axis . The group layout of the Forbidden City in Beijing and the quardrangle dwellings in the North China are typical examples of courtyard layout principle.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:43, 5 November 2020 (UTC)Mo Ling<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> ==Phyo, Su Kyi==<br /> 1-中国古代著名建筑- 紫禁城,天坛,钱陵,古城墙,大雁塔。<br /> <br /> Famous Ancient Chinese Buildings-The Forbidden City,Temple of Heaven,Qian Mausoleum,Ancient City Wall,Big Wild Goose Pagoda.<br /> <br /> 2-中日花园的主要区别在于，与日式花园相比，中式花园往往更为大胆，充满异国情调，具有观赏性，并且在整个公园般的环境中具有更多的建筑和结构，而日式花园则总体上较为柔和，朴素和简约。<br /> <br /> The main difference between Chinese and Japanese gardens is that Chinese gardens tend to be more bold, exotic, ornamental, and have more architecture and structures throughout a park-like setting, compared to Japanese gardens which tend to be more subdued, austere and minimalist overall.<br /> <br /> 3-1888年，颐和园获得了现今的中文名称，即颐和园，并作为慈禧太后的避暑胜地。 1900年，它被八国联军摧毁。 1912年，它被重建为清朝（1644-1912）的最后一幕。<br /> <br /> In 1888, the Summer Palace was given its present-day Chinese name, Yihe Yuan, and served as a summer resort for the Empress Dowager Cixi. In 1900, it was destroyed by the Allied Forces of the Eight Powers. In 1912, it was rebuilt as one of the final acts of the Qing Dynasty (1644–1912).<br /> <br /> 4-凯瑟琳·卡尔（Katharine Carl）是美国肖像画家和作家。她在美国，欧洲和亚洲创作了著名的皇家人物的画作。<br /> Katharine Carl was an American portrait painter and author. She made paintings of notable and royal people in the United States, Europe and Asia.<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ==Qu Miao 瞿淼==<br /> 1.中国自古地大物博，建筑艺术源远流长。不同地域其建筑艺术风格等各有差异，但其传统建筑的组群布局、空间、结构、建筑材料及装饰艺术等方面却有着共同的特点，区别于西方，享誉全球。<br /> <br /> China, a country vast in territory and rich in resources, boasts a long history of architecture art. Architectures in different regions are different in artistic style, but have something in common in complex arrangement, space, structure, building material and decorative art. Distinguished from western architecture, Chinese architecture is well-known around the world.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> 2.中国传统园林集色、香、韵于一身，自古以来便给人们提供了一个休闲纳凉的好去处，对中国文化传承具有重要意义。<br /> <br /> Chinese traditional garden combines pleasing colors with fragrance and charm. It offers a good place for people to take leisure activities and enjoy th cool, and is significant for Chinese traditional cultural inheritance.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> 3.颐和园位于北京市西北部海淀区,距市中心约15公里,原为清代的行宫花园,其名为“颐养太和”之义。园中的长廊、石舫、佛香阁、宝云阁、大戏楼、十七孔桥、玉带桥等建筑堪称世界建筑文化中的珍品。<br /> <br /> The Summer Palace is located in Haidian District, northwest of Beijing, and it’s about 15 kilometers away from downtown. Asa a former palace garden of the Qing dynasty, it’s name means “keep supreme harmony”. Many buildings in the garden, including the Long Corridor，Marble Boat，Pavilion of the Fragrance of Buddha, Tower of Precious Cloud, Grand Opera Tower, Seventeen Arch Bridge and Jade Belt Bridge, can be called as world architecture art treasures.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> 4.美国女画家凯瑟琳·卡尔（1858——1938），中文译作柯(克姑娘)。20世纪初曾创了两项空前绝后的世界性纪录：她是惟一在中国官廷之内一连呆了很长时间的外国人，又是惟一替尚健在的中国后妃画过肖像的人。<br /> <br /> American female painter Katharine Carl(1858-1938), whose Chinese name was Ke( Miss Ke), had set up two world records: she was the only foreigner who stayed in the palace for a very long time, and also the only one who pained portraits for Chinese imperial concubine who were still alive atthat time.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ==Seydou, Sagara==<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> ==Si Yu 司妤==<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> 1. 故宫前部宫殿，当时建筑造型要求宏伟壮丽，庭院明朗开阔，象征封建政权至高无上，太和殿坐落在紫禁城对角线的中心，四角上各有十只吉祥瑞兽。<br /> At that time, the front palace of the Forbidden City required a magnificent architectural style, its courtyard should be bright and wide, to symbolize the supremacy of the feudal regime. The Hall of Supreme Harmony was located in the center of the diagonal line of the Forbidden City, with ten auspicious beasts on each corner.<br /> <br /> 2. 苏州园林博物馆以造园工具、陈设家具、建筑构建等实物为主要载体展示园林的传统造园工艺，并运用了现代科技手段展示古典园林的艺术魅力。<br /> The Suzhou Garden Museum uses garden tools, furnishings, architectural construction and other physical objects as the main carrier to display the traditional gardening crafts of the garden, and uses modern technology to show the artistic charm of classical gardens.<br /> <br /> 3. 颐和园是晚清最高统治者在紫禁城之外最重要的政治和外交活动中心，是中国近代历史的重要见证与诸多重大历史事件的发生地。<br /> The Summer Palace was the most important center of political and diplomatic activities outside the Forbidden City by the supreme ruler of the late Qing Dynasty. It was an important witness of modern Chinese history and the place where many major historical events occurred.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:51, 5 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> ==Xie Fan 解帆==<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> ==Xu Jing 许静==<br /> 1. 中国建筑艺术，讲究大门、大窗、大进深、大屋檐，视野开阔，直通自然，充分体现“天人合一”的思想。四角飞檐翘起，或扑朔欲飞，或耸立欲飘，让凝固显得欲动。<br /> <br /> Chinese architectural art emphasizes large gates, large windows, great depths, and large eaves, with a wide field of vision and direct access to nature, fully reflecting the idea of &quot;unity of nature and man&quot;. The four corners of the eaves are raised, or fluttering to fly, or towering to float, appearing to be dynamic in a static state.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:35, 6 November 2020 (UTC)<br /> <br /> 2. 中国园林艺术着重意境的塑造，园林中的山水、植被、建筑以及其组成空间关系，不仅是一种物质环境，而且创造了一种精神氛围。<br /> <br /> Chinese garden art focuses on the shaping of the mood. The landscape, vegetation, architecture and spacial arrangement in the garden constitute not only to a physical environment, but also to a spiritual atmosphere.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:35, 6 November 2020 (UTC)<br /> <br /> 3. 颐和园整体布局以万寿山、昆明湖为主体，湖光山色中亭台楼阁、廊榭舫桥、庙堂殿宇等人文建筑与自然山水艺术地融为一体，恢弘大气、富丽堂皇，在世界园林史上独树一帜。<br /> <br /> Wanshou Mountain, Kunming Lake are the main body of the Summer Palace. Amid natural landscape are the pavilions, galleries, bridges, temples and other humanistic architecture. They mix together to be magnificent and splendid, unique in the history of the world's gardens.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:35, 6 November 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> 1、中国建筑体系是以木结构为特色的建筑艺术。传统建筑叫种屋顶造型、飞檐翼角、斗拱彩画、朱柱金顶、内外装修门及园林景物等，充分体现出中国建筑艺术的纯熟和感染力。<br /> <br /> Chinese architecture is an independent art featuring wooden structures. It consists of various roof molding, upturned eaves and wings, dougong with paintings, vermillion pillars and golden roofs, ornament gates and gardening. All of these embody the maturity and artistic appeal of Chinese architecture.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:54, 5 November 2020 (UTC)<br /> <br /> 2、中国园林是建筑艺术的一种形式，它在本质上旨在通过所谓的园林四要素组织富于性情与乐趣并充满意境的环境，这种环境包括假山、河流、建筑和植物，也包括有机组成部分，比如道路、室内环境。<br /> <br /> Chinese garden is one of the important types of architectural art. It is essentially aimed at organizing an environment rich in temperament and interest and full of the beauty of artistic conception through the so-called four gardening elements including mountains, rivers, structures and plants, as well as the organic components such as roads, interior settings.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:54, 5 November 2020 (UTC)<br /> <br /> 3、颐和园主景区由万寿山、昆明湖组成，全园占地2.9平方公里，水面约占四分之三。<br /> <br /> The Summer Palace, dominated mainly by Longevity Hill and Kunming Lake, covers an area of 2.9 square kilometers, three quarters of which is under water.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:54, 5 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> ==You Yuting 游雨婷==<br /> 1.古建筑是一座城市的记忆，是城市历史的见证者，它承载着这座城市的文化积淀。一旦损毁，文物本体及其承载的历史文化信息都将不复存在。<br /> <br /> The ancient building is the memory of a city and the witness of its history. It bears the cultural accumulation of the city. Once damaged, the cultural relic itself and the historical and cultural information it carries will no longer exist.<br /> <br /> 2.中国园林建筑大体分为私家园林建筑,皇家园林建筑和寺庙园林建筑。以苏州和扬州为代表，两者相比,苏州园林更具文人气质,而扬州的园林则偏于工商和贵气。<br /> <br /> In general,Chinese garden architecture is divided into private garden architecture, royal garden architecture and temple garden architecture. With Suzhou and Yangzhou as the representative, the Suzhou gardens bear the style of literati, while the Yangzhou gardens tend to be commercial and noble.<br /> <br /> <br /> 3.颐和园占地面积达293公顷，主要由万寿山和昆明湖两部 分组成。各种形式的宫殿园林建筑3000余间，大致可分为行政、生活、游览三个部分。<br /> <br /> The Summer Palace covers an area of 293 hectares,mainly composed of Longevity Hill and Kunming Lake. There are more than 3000 palaces and gardens of various forms, which can be roughly divided into three parts: administration, life and tour.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:21, 5 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> 说到中国文化，不得不提到长城。从公元前7世纪到公元16世纪，在大约2200年的时间里，先后有19个朝代修建过长城，所修的长城长达10千米以上。主要的长城修建工程是在秦代、汉代和明代完成的。<br /> <br /> We must refer to the Great Wall when it comes to Chinese culture. Through about 2200 years from the 7th century B.C. to the 16th century A.D., it was built in 19 dynasties successively, reaching over 10 kilometers in length. Main construction project was carried out in the Qin Dynasty, Han Dynasty and Ming Dynasty.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:26, 5 November 2020 (UTC)<br /> <br /> 1961年3月4日，颐和园被公布为第一批全国重点文物保护单位，与同时公布的承德避暑山庄、拙政园、留园并称为中国四大名园，1998年11月被列入《世界遗产名录》。2007年5月8日，颐和园经国家旅游局正式批准为国家5A级旅游景区。 2009年，颐和园入选中国世界纪录协会中国现存最大的皇家园林。<br /> <br /> On March 4th, 1961, the Summer Palace was announced as one of the first batch of National Priority Cultural Relic Protection Sites, famed as “ Four Great Palaces of China” with Chengde Mountain Resort, Humble Administrator Garden,Lingering Garden simultaneously. The Summer Palace was listed into ''World Heritage List'' in November 1998, and on May 8th, 2007, it was officially ratified as National 5A Scenic Spots by National Tourism Administration. In 2009, the Summer Palace, under the acknowledgement of China World Record Association, was selected as the largest extant royal garden of China.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:26, 5 November 2020 (UTC)<br /> <br /> 中国古典园林艺术是指以江南私家园林和北方皇家园林为代表的中国山水园林形式。在中国传统建筑中，古典园林是独树一帜有重大成就的建筑。它被举世公认为世界园林之母，世界艺术之奇观，人类文明的重要遗产。其造园手法已被西方国家所推崇和摹仿，在西方国家掀起了一股“中国园林热”。<br /> <br /> Chinese classical garden art mainly refers to Jiangnan private gardens and North royal gardens. Among all the Chinese traditional buildings, classic gardens boasts unique achievement, which is widely acknowledged as the Mother of the World Gardens, a miracle of the art of the world, and significant heritage of human civilization. The construction technique of Chinese gardens has been adored and imitated by western countries, ushering in “Chinese garden craze” in the occidental world.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:26, 5 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> 世界上大多数伟大的建筑都是石料建筑，因为石料建筑不仅外形漂亮、持久耐用，而且石头到处可见。在过去，整个城市的建筑物都是从艰苦的石块切割和堆砌发展起来的。<br /> Much of the world’s great architecture has been constructed of stone because of its beauty, permanence, and availability. In the past, whole cities grew from the arduous task of cutting and pilling stone upon.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:33, 6 November 2020 (UTC)<br /> <br /> 最好的园林远不止是将各种美丽的花草树木种在一起。成功的园林都代表了各种要素经过精心组合成的一个整体，这些要素从纯粹的装饰到具有严格的功能不等。<br /> The best gardens are much more than an assortment of beautiful plants.Successful gardens generally represent a careful integration of diverse elements,ranging from the purely ornamental to the strictly functional.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:33, 6 November 2020 (UTC)<br /> <br /> 颐和园主景区由万寿山、昆明湖组成，全员占地2.9平方公里，水面约占四分之三。园内现存各式宫殿、园林古建7万平方米，并以珍贵的文物藏品闻名于世，是第一批全国重点文物保护单位。<br /> The Summer Palace,dominated mainly by Longevity Hill and Kunming Lake, covers an area of 29 square kilometers, three quarters of which is under water. Its 70,000 square meters of building space features a varity of palaces, gardens and other ancient-style architectural structures.Well-known for its large and priceless collection of cultural relics, it was among the first group of historical and cultural heritage sites in China to be placed under special state protection.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:33, 6 November 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> ==Zhang Hui 张慧==<br /> 1.中国传统建筑正是中国历史悠久的传统文化和民族特色的最精彩、最直观的传承载体和表现形式。<br /> Chinese traditional architecture is the most wonderful and intuitive transmission carrier and expression form of China's long-standing traditional culture and national characteristics.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> Chinese traditional architecture is the most splendid and intuitive transmission carrier and expression form of Chinese traditional culture with a long history and national characteristics.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:23, 5 November 2020 (UTC)<br /> <br /> Chinese traditional architecture is the most wonderful and intuitive transmission carrier and expression form for Chinese long-standing traditional culture and national characteristics.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> 2.中国园林区别于世界上其他园林体系的最大特点，在于它不以创造呈现在人们眼前的具体园林形象为最终目的，它追求的是意境。<br /> The biggest feature of Chinese gardens that distinguishes it from other garden systems in the world is that it does not take the creation of a concrete garden image that is presented to people as its ultimate goal.It pursues artistic conception.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> The biggest feature that distinguishes Chinese gardens from other garden systems in the world is that it does not take the creation of a specific garden image in front of people as its ultimate goal, but rather the pursuit of the mood.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> 3.颐和园集传统造园艺术之大成，借景周围的山水环境，既有皇家园林恢弘富丽的气势，又充满了自然之趣，高度体现了中国园林“虽由人作，宛自天开”的造园准则。<br /> The Summer Palace is a monument to classical Chinese architecture, in terms of both garden design and construction. Borrowing scenes from surrounding landscapes, it radiates not only the grandeur of an imperial garden but also the beauty of nature in a seamless combination that best illustrates the guiding principle of traditional Chinese garden design: &quot;The works of men should match the works of Heaven&quot;.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> <br /> 假山和石花园是中国园林建筑的重要组成部分。<br /> The artificial mountain and rock garden is the integral element of Chinese classical gardens.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:02, 5 November 2020 (UTC)<br /> <br /> The artificial mountain and rock garden are the integral elements of Chinese classical gardens.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:09, 5 November 2020 (UTC)<br /> <br /> The artificial mountains and gardens of stone are important parts of Chinese classical gardens.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:05, 6 November 2020 (UTC)<br /> <br /> 中国园林善于和借景，不会死板地将景观以对称的方式排列，而是会将大大小小的景观不守成规精妙地排列。<br /> The Chinese garden architecture characterized by taking advantages of the environment and shun symmetry along axis and adopt an irregular and complicated layout with plenty of large and small spaces.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:02, 5 November 2020 (UTC)<br /> <br /> The Chinese garden architecture is characterized by taking advantages of the scenes. It arrangs different landscapes in an irregular but exquisite form rather than rigid and symmetrical one.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:09, 5 November 2020 (UTC)<br /> <br /> <br /> 颐和园是世界上最广阔的皇家园林之一，园区主要有万寿山，昆明湖两大景区组成。颐和园是“三山五园”之一，也是中国最后一座皇家林园。<br /> The Summer Palace is the royal garden covering the largest area in the world. It is mainly composed of Longevity Hill and Kunming Lake. It is one of the three mountains and five gardens and the last royal garden in China.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:02, 5 November 2020 (UTC)<br /> <br /> The Summer Palace is one of the most spacious royal gardens in the world, which is mainly composd of Longevity Hill and Kunming Lake. It is one of &quot;the three mountains and five gardens&quot; and the last royal garden in China.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:09, 5 November 2020 (UTC)<br /> <br /> The Summer Palace, one of the most spacious royal gardens in the world, is mainly composed of Longevity Hill and Kunming Lake. It is one of &quot;Three Hills and Five Gardens&quot; , as well as the last royal garden in China.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:05, 6 November 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 1.中国传统建筑以木结构建筑为主，西方的传统建筑以砖石结构为主, 现代的建筑则是以钢筋混凝土为主。<br /> <br /> Chinese traditional architecture is mainly wood structure, while western traditional architecture is mainly brick structure. Modern architecture is mainly reinforced concrete.<br /> <br /> 2.在设计屋顶花园的同时要考虑屋顶的承重和防水、渗水设计。任何屋顶的承重力度均在建筑设计规范中，无论什么形式的绿化园艺园林设计前要考虑进去。<br /> <br /> In the design of roof garden, we should consider the load-bearing, waterproof and seepage design of the roof. The load-bearing strength of any roof is in the architectural design code, which should be taken into account before any form of greening, horticulture and landscape design.<br /> <br /> 3.<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.古建筑是科学发展的标志，构成了中华民族古代文明的一部分。<br /> <br /> Ancient architecture, as the symbol of scientific development, constitutes one part of ancient Chinese civilizations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:13, 5 November 2020 (UTC)<br /> <br /> Ancient architecture is the symbol of scientific development, which constitutes one part of the ancient civilization of the Chinese nation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:59, 5 November 2020 (UTC)<br /> <br /> 2.在中国艺术史上，文学艺术与园林艺术相辅相成，彼此促进，交相辉映。<br /> <br /> In the history of Chinese art, the arts of literature and garden mutually reinforce, promote and enhance each other's beauty.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:13, 5 November 2020 (UTC)<br /> <br /> 3.北京颐和园作为中国现存规模最大、保存最完整的皇家园林,被誉为皇家园林博物馆。<br /> <br /> The Summer Palace in Beijing, as the largest and the best-preserved imperial garden in China, was honored as the Museum of Imperial Gardens.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:13, 5 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> ==Zhao Xi 赵茜==<br /> 1.中国传统建筑艺术是中华传统文化中的一部分，在长期的历史发展过程中，尤其在儒家思想影响下，中国古代建筑逐步形成了自己的体系和特点。<br /> <br /> Traditional Chinese architecture art is part of traditional Chinese culture. During the long-term cause of history development, especially under the influence of Confucianism, the ancient Chinese architecture gradually has formed its own systems and characteristics. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:47, 6 November 2020 (UTC)<br /> <br /> 2.中国古典园林艺术是指以江南私家园林和北方皇家园林为代表的中国山水园林形式。<br /> <br /> Classical Chinese garden art refers to the Chinese landscape garden form represented by Jiangnan's private garden and the northern royal garden.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:47, 6 November 2020 (UTC)<br /> <br /> 3.颐和园，是中国清朝时期的皇家园林，前身为清漪园，坐落在北京西郊，占地约290公顷，与圆明园毗邻，以昆明湖为基址，以杭州西湖为蓝本，汲取江南园林的设计手法建成的一座大型山水园林。<br /> <br /> The Summer Palace, formerly known as the Qing Dynasty Royal Garden, is located in the western suburbs of Beijing, covering an area of about 290 hectares. It is a large landscape garden, adjacent to the Yuanmingyuan, with Kunming Lake as the base site, Hangzhou West Lake as the model, drawing on the design techniques of Jiangnan Garden.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:47, 6 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 1.中国不同地域其建筑艺术风格等各有差异，但其传统建筑的组群布局、空间、结构、建筑材料及装饰艺术等方面却有着共同的特点，区别于西方，享誉全球。<br /> <br /> Different regions have different architectural styles in China, but their traditional buildings have common characteristics in terms of group layout, space, structure, building materials and decorative arts, which are different from the West and enjoy a worldwide reputation.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:23, 5 November 2020 (UTC)<br /> <br /> Different regions of China have different architectural styles, but their traditional buildings have common characteristics in terms of group layout, space, structure, building materials and decorative arts, which are different from the West and enjoy a worldwide reputation.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:30, 5 November 2020 (UTC)<br /> <br /> 2.中国传统园林集色、香、韵于一身，自古以来便给人们提供了一个休闲纳凉的好去处，对中国文化传承具有重要意义。<br /> <br /> Traditional Chinese gardens combine color, fragrance and rhyme. Since ancient times, they have provided people with a good place to relax and enjoy the cool. It is of great significance to the inheritance of Chinese culture.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:23, 5 November 2020 (UTC)<br /> <br /> Chinese traditional gardens, integrating color, fragrance and charm, have provided people with a good place to relax and enjoy the cool since ancient times, which is of great significance to the inheritance of Chinese culture.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:30, 5 November 2020 (UTC)<br /> <br /> 3.颐和园，中国清朝时期皇家园林，前身为清漪园，坐落在北京西郊，距城区15公里，占地约290公顷（2.9平方千米），与圆明园毗邻。<br /> <br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, formerly known as Qingyi Garden, is located in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of about 290 hectares (2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:23, 5 November 2020 (UTC)<br /> <br /> The Summer Palace, a Chinese imperial garden during the Qing Dynasty, formerly known as the Garden of Clear Ripples, is located in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of about 290 hectares (2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:30, 5 November 2020 (UTC)<br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, formerly Known as the Garden of Clear Ripples, is situated in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of 290 hectares(2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:11, 5 November 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> 7月16日至30日，在四川美术学院美术馆展出的《“见微知著方寸之间”中国建筑艺术之美》展览让人印象深刻。中国唐宋明清时期建筑的绝代风华，梁思成、陈从周等建筑大师的心血之作尽收眼底。<br /> <br /> From July 16th to 30th, the exhibition &quot; From 'pars pro toto' to See the Beauty of Chinese Architectural Art&quot; at the Art Museum of Sichuan Academy of Fine Arts was impressive. We can appreciate the unparalleled beauty of architectures in China's Tang, Song, Ming and Qing dynasties, and the painstaking works of architects such as Liang Sicheng and Chen Congzhou.<br /> <br /> 中国人建造园林有两千多年的历史，在漫长的时间里，形成了皇家园林、寺观园林、私家园林三足鼎立的格局。<br /> Chinese garden building history is more than two thousand years. Over a long period of time, three pillars which are imperial gardens, temple gardens, and private gardens have been formed.<br /> Chinese garden building has a long history of over 2000 years, during which a tripartite structure of royal gardens, temple gardens and private gardens has been formed.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 03:22, 6 November 2020 (UTC)<br /> <br /> 颐和园坐落在北京西郊,主要由昆明湖和万寿山两部分组成,占地面积约290公顷。它既是一座极具江南风情的大型山水园林,又是我国保存最完整的一座皇家行宫御苑,1998年被列入《世界遗产名录》。<br /> The Summer Palace is located in the western suburbs of Beijing, mainly composed of Kunming Lake and Longevity Mountain, covering an area of about 290 hectares. It is not only a large-scale landscape garden with great Jiangnan characteristics, but also the most intactly preserved imperial palace garden in my country. It was included in the &quot;World Heritage List&quot; in 1998.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 07:44, 5 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> ==Zubareva, Ekaterina==</div>

Qu Miao https://bou.de/u/index.php?title=20201102_cult&diff=103391 2020-11-06T09:06:51Z

<p>Qu Miao: /* Qu Miao 瞿淼 */</p> <hr /> <div>==Alsied, Saffana==<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> ==Chen Han 陈涵==<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> ==Dashkin, Gennadii==<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> 1. 因为建筑源于人类的需求和愿望，所以它可以清楚地传达文化价值。在所有的视觉艺术中，建筑最直接地影响了我们的生活，因为它在很多方面决定了我们生存的环境特征。<br /> <br /> Because architecture grows out of human needs and aspirations, it clearly communicate cultural values. Of all the visual arts, architecture affects our lives most directly for it determines the character of the human environment in major ways.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:02, 6 November 2020 (UTC)<br /> <br /> 2. 石头和假山是中国南方园林的特色。奇形怪状的石头常带有引人注目的波纹线条和水孔。硕大的石头可自成一景，而较小的石块则堆积成假山，为园林增添无比魅力。<br /> <br /> Rocks and rockeries are special features of southern Chinese gardens. Stones of grotesque forms are often attractive with undulated lines and water holes. Some large stones form scenery of their own, while smaller ones are put together to form artificial hills to add to the fantastic attractiveness of the garden.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:02, 6 November 2020 (UTC)<br /> <br /> 3.中华人民共和国成立后，几经修缮，颐和园陆续复建了四大部洲、苏州街、景明楼、澹宁堂、文昌院、耕织图等重要景区。<br /> <br /> Since the founding of the People’s Republic of China, the Summer Palace has undergone several major renovations. Its major attractions such as the Four Great Regions, Suzhou Street, the Pavilion of Bright Scenery, the Hall of Serenity, the Wenchang Galleries and the Plowing and Weaving Scenery Area have been successively restored.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:02, 6 November 2020 (UTC)<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 1:修建在崇山峻岭之上、蜿蜒万里的长城，是人类建筑史上的奇迹。<br /> Built on the high mounytains and winding thousands of miles, the Great Wall is a miracle in the history of architecture,--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:56, 5 November 2020 (UTC)<br /> <br /> The Great Wall, built on the steep mountains and winding for miles and miles, is a miracle in the history of human architecture.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:14, 6 November 2020 (UTC)<br /> <br /> The Great Wall,built on the lofty mountains and winding thousands of miles, is a miracle in the history of architecture.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:48, 5 November 2020 (UTC)Mo Ling<br /> <br /> 2：在古典园林中，中国园林有皇家园林、私家园林、寺观园林、风景园林；西方古典园林有规则式园林与自然风致园。<br /> Thg Chinese classical garden is classified into loyal garden, private garden,temple garden and landscape garden, while the western garden into regular style and natural style one.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:56, 5 November 2020 (UTC)<br /> <br /> In classical gardens, Chinese gardens include royal gardens, private gardens, monastery gardens, and landscape gardens; Western classical gardens include regular gardens and naturalistic gardens.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:14, 6 November 2020 (UTC)<br /> <br /> 3：颐和园是晚清最高统治者在紫禁城之外最重要的政治和外交活动中心，是中国近代历史的重要见证与诸多重大历史事件的发生地。<br /> <br /> Besides the Forbbiden City, the Summer Palace was also the most important political and diplomatic activity center for the supreme ruler of the late Qing dynasty,as well as a significant witness of modern Chinese history and the site of important historical events.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:56, 5 November 2020 (UTC)<br /> <br /> The Summer Palace was the most important center of political and diplomatic activities of the late Qing rulers outside the Forbidden City, and is an important witness to China's modern history and the site of many important historical events.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:14, 6 November 2020 (UTC)<br /> <br /> The Summer Palace was the most important center of political and diplomatic activities outside the Forbidden City by the supreme ruler of the late Qing Dynasty. It was an important witness of modern Chinese history and the place where many major historical events occurred--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:03, 6 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> <br /> ==Grosheva, Anna==<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> ==Guan Qinqing 管钦清==<br /> 1.1949年中华人民共和国建立后，中国建筑进入新的历史时期，大规模、有计划的国民经济建设，推动了建筑业的蓬勃发展。中国现代建筑在数量、规模、类型、地区分布及现代化水平上都突破近代的局限，展现出崭新的姿态。<br /> <br /> After the founding of the People’s Republic of China in 1949,Chinese architecture came into a new era. National economy with planned strategy and a large scale has promoted the development of architecture. Now, whether in quantity, scale, form, regional distribution or in level of modernization ,modern Chinese architecture has broken through those of the limitations in modern times, taking on a new look.<br /> <br /> 2.中国的园林建筑在世界园林史上享有盛名。在3000多年前的周朝，中国就有了最早的宫廷园林。此后，中国的都城和地方著名城市无不建造园林,在世界三大园林体系中，中国园林历史悠久、内涵丰富，被誉为世界造园史上的渊源之一。<br /> <br /> Chinese garden architecture enjoys a high reputation in the history of Landscape Architecture of the world. Early over 3,000 years ago in the Zhou Dynasty,there were imperial gardens in China.From then on,gardens existed in the capital cities and in the regional famous ones. Of the world’s three major garden systems, the Chinese classical garden is hailed as one of the origins of the world’s garden due to its long history and abundant connotations.<br /> <br /> 3.颐和园位于北京市西北部的海淀区，距北京市中心15公里。它是中国最大、保存最完好的皇家园林。颐和园有著名的自然风景和人文景观 ,因此它也一直被公认为是“皇家园林博物馆”。顾和园始建于1750年，作为一座豪华的皇家花园供皇室成员休息和娱乐。清朝末期，颐 和园成为了皇家成员的主要居住地。它位列世界遗产目录，也是中国第一批国家5A级旅游景区之一。<br /> <br /> The Summer Palace is situated in the Haidian District,northwest of Beijing City,15 kilometers from central Beijing.It is the largest and most well-preserved royal park in China.It also has long been recognizcd as “the Museum of Royal Gardens”with famous natural view and cultural landscape.The construction started in 1750 as a luxurious royal garden for royal families to rest and entertain.It became the main residence of royal members in the end of the Qing Dynasty.It not only ranks amongst the World Heritage Sites but also is one of the first national AAAAA tourist spots in China.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 05:21, 6 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> ==Guirou, Barthelemy==<br /> <br /> ==Guo Lu 郭露==<br /> <br /> ==Ha, Thi Thu Hang==<br /> <br /> ==He Changqi 何长琦==<br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> ==Hu Jin 胡瑾==<br /> 1. 中国古代建筑历史悠久，可以追溯到商朝(公元前16世纪-公元前771年)。它有自己的结构和布局原则。经过长期的发展，聪明的中国劳动人民创造了许多建筑奇迹。<br /> <br /> 1. Ancient Chinese architecture has a long history which can be traced back to the Shang Dynasty(16th century BC-771BC). It has its own principles of structure and layout. Through the long development, many architectural wonders have created by clever Chinese labouring people.<br /> <br /> 2. 中国的私家园林是中国园林文化的杰作，它的贡献甚至超过皇家园林--它们都受中国传统哲学文化思想的影响并将人、自然个建筑结合在一起。<br /> <br /> 2. China's private garden is a masterpiece of Chinese garden culture, the contribution of its even more than the royal garden- they are all influenced by Chinese traditional philosophical culture ideas and combine people, nature and architecture.<br /> <br /> 3. 颐和园的英文名称&quot;Summer Palace&quot;, 意思是这里是皇帝在夏大的居住之地—一个离城不远、位与乡村的、供帝王后妃们逍遥游乐的紫禁城。<br /> <br /> 3. As its name implies，the Summer Palace was used as a summer residence by China's imperial rulers--as a retreat from the main imperial palace now known as the Palace Museum or Forbidden City-a pleasureground in the countryside，yet near to the city.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 03:11, 6 November 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> 1.故宫外朝，建筑气势雄伟、豪华壮丽，是中国古代建筑艺术的精华。<br /> <br /> The Palace Museum faces outwards, its buildings are majestic, luxurious and magnificent, which is the essence of ancient Chinese architectural art.<br /> <br /> The Imperial Palace, solemn and magnificent, facing towards the outside, is famed as the quintessence of ancient Chinese architecture art.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:29, 5 November 2020 (UTC)<br /> <br /> The Imperial Palace facing outwards are majestic, luxurious and magnificent, which is the essence of ancient Chinese architectural art.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:06, 6 November 2020 (UTC)<br /> <br /> 2.园林建筑是园林景观中必不可少的要素,满足不同群体休憩、游览、集会等功能需求。古典园林建筑有成熟的营造理论和审美情趣,承载着多彩的民族文化和精神内涵。<br /> <br /> Garden architecture is an indispensable element in the garden landscape, meeting the functional needs of different groups such as rest, tour, and assembly. Classical garden architecture has mature construction theory and aesthetic taste, and carries colorful national culture and spiritual connotation.<br /> <br /> Garden architecture, as an indispensable of garden landscapes, meets the functional needs of different groups including rest, sightseeing, and gathering and so on. Classical garden architecture, with mature construction theory and aesthetic taste, carries abundant national cultures and spiritual connotations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:25, 5 November 2020 (UTC)<br /> <br /> Garden architecture is an essential element in landscape, to meet the needs of different groups of rest, tour, assembly and other functions. Classical garden architecture has a mature construction theory and aesthetic taste, bearing a colorful national culture and spiritual connotation. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:52, 6 November 2020 (UTC)<br /> <br /> 3.颐和园，中国清朝时期皇家园林，前身为清漪园，坐落在北京西郊，距城区15公里，占地约290公顷（2.9平方千米），与圆明园毗邻。<br /> <br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, formerly known as Qingyi Garden, is located in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of about 290 hectares (2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:53, 4 November 2020 (UTC)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:53, 4 November 2020 (UTC)<br /> <br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, originally named Qingyi Yuan, is located in the western suburbs of Beijing. Covering about 290 hectares (2.9 square kilometers), it's 15 kilometers away from the city, adjacent to the Old Summer Palace.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:39, 6 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> ==Li Lili 李丽丽==<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> 1.中国传统建筑不仅重自然的山林风水，也重人工的山林风水，让人工的与自然的协调，院内的与院外的衔接，造成“天上人间”之境，使人产生“此中有真意，欲辨已忘言”的心旷神怡之感。<br /> <br /> 2.苏州古典园林所蕴涵的中华哲学、历史、人文习俗是江南人文历史传统、地方风俗的一种象征和浓缩，展现了中国文化的精华，在世界造园史上具有独特的历史地位和重大的艺术价值。<br /> <br /> 3.颐和园是晚清最高统治者在紫禁城之外最重要的政治和外交活动中心，是中国近代历史的重要见证与诸多重大历史事件的发生地。<br /> <br /> 4.慈禧太后是中国历史的帝制时代中少数长期当政的女性，其政治手腕堪称干练，尤其擅长操弄亲贵朝臣之间的权力平衡以维系自身的绝对权威。清朝因为她的能力而续命数十年。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:17, 6 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> ==Liu Yi 刘艺==<br /> 1、庭院是建筑的基本单位，它既是封闭的，又是开放的；既是人工的，又是自然的，可以俯植花草树木，仰观风云日月，成为古人“天人合一”观念的又一表现，也体现了中国人既含蓄内向，又开拓进取的民族性格。<br /> <br /> The courtyard is the basic unit of architecture, it is both closed and open; both artificial and natural, can overlooking flowers and trees, look up to the wind, clouds, sun and moon, has become the ancients &quot;unity of nature and man&quot; concept is another performance, but also reflects the Chinese are both subtle and introverted, and pioneering national character.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:10, 6 November 2020 (UTC)<br /> <br /> Courtyard is the basic unit of architecture, which is both closed and open, both artificial and natural. Standing on it, people can overlook flowers and trees and look up to the wind, clouds, sun and moon, which is another manifestation of the ancient people's concept of &quot;harmony between man and nature&quot;. It also reflects the national character of Chinese people, which is both introverted and enterprising.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:33, 6 November 2020 (UTC)<br /> <br /> 2、其次，要考虑到植物的色彩和组合的形式美。花园中常利用花坛、花台、花缘和花丛以集中表现观赏植物的丰富多彩，以及植株姿态和叶形的对比调和。要重视草坪和地被植物的种植，避免露土。<br /> <br /> Secondly, it is important to consider the beauty of the color and form of the plant combinations. Flower beds, pedestals, rims and clusters are often used in gardens to focus on the variety of ornamental plants, as well as the contrast and harmony of plant postures and leaf shapes. Emphasis should be placed on planting lawns and groundcovers and avoiding open soil.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:10, 6 November 2020 (UTC)<br /> <br /> Secondly, we should consider the color of plants and the formal beauty of plant combinations. In gardens, flower beds, pedestals, rims and clusters are often used to show the richness of ornamental plants, as well as the contrast and harmony of plant postures and leaf shapes. Attention should be paid to the planting of lawns and ground cover plants so as to avoid soil exposure.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:33, 6 November 2020 (UTC)<br /> <br /> 3、颐和园鼎盛时期，规模宏大，占地面积2.97平方公里（293公顷），主要由万寿山和昆明湖两部分组成，其中水面占四分之三（大约220公顷）。园内建筑以佛香阁为中心，园中有景点建筑物百余座、大小院落20余处。<br /> <br /> In Summer Palace's heyday, the Summer Palace was on a grand scale, covering an area of 2.97 square kilometers (293 hectares), consisting mainly of two parts, Wanshou Mountain and Kunming Lake, of which three-fourths (about 220 hectares) is water. The architecture of the garden is centered on the Buddha Fragrance Pavilion, and there are more than a hundred attractions and buildings, and more than 20 large and small courtyards in the garden.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:10, 6 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> ==Lo, Minh Thao==<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 1.园中花窗、虚虚实实、漏而不尽、诱人探幽。<br /> <br /> The floral windows in the garden show a faint silhouette.Some parts of them are exposed yet not the all,which entices visitors to explore the hidden world behind that.<br /> <br /> 2. 颐和园古式建筑走廊，它遮荫蔽雨、休息、联系交通，组织景观、分隔空间、增加风景层次。<br /> <br /> In the Summer Palace,there are numerous classical corridors.They are not only desirable places of shelter and rest,but also act as pivots of roads in different directions and connectors of different scenic spots.In addition,they can serve as space dividers,which is able to amplify the levels of scenery.<br /> <br /> 3. 比较重要的建筑都安置在纵轴线上，次要房屋安置在它左右两侧的横轴线上，北京故宫的组群布局和北方的四合院是最能体现庭院式布局原则的典型实例。<br /> <br /> On the vertical axis array the more important buildings and on each side array the subordinate houses on the horizontal axis . The group layout of the Forbidden City in Beijing and the quardrangle dwellings in the North China are typical examples of courtyard layout principle.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:43, 5 November 2020 (UTC)Mo Ling<br /> <br /> ==Ngo, Thi Minh Huong==<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> ==Phyo, Su Kyi==<br /> 1-中国古代著名建筑- 紫禁城,天坛,钱陵,古城墙,大雁塔。<br /> <br /> Famous Ancient Chinese Buildings-The Forbidden City,Temple of Heaven,Qian Mausoleum,Ancient City Wall,Big Wild Goose Pagoda.<br /> <br /> 2-中日花园的主要区别在于，与日式花园相比，中式花园往往更为大胆，充满异国情调，具有观赏性，并且在整个公园般的环境中具有更多的建筑和结构，而日式花园则总体上较为柔和，朴素和简约。<br /> <br /> The main difference between Chinese and Japanese gardens is that Chinese gardens tend to be more bold, exotic, ornamental, and have more architecture and structures throughout a park-like setting, compared to Japanese gardens which tend to be more subdued, austere and minimalist overall.<br /> <br /> 3-1888年，颐和园获得了现今的中文名称，即颐和园，并作为慈禧太后的避暑胜地。 1900年，它被八国联军摧毁。 1912年，它被重建为清朝（1644-1912）的最后一幕。<br /> <br /> In 1888, the Summer Palace was given its present-day Chinese name, Yihe Yuan, and served as a summer resort for the Empress Dowager Cixi. In 1900, it was destroyed by the Allied Forces of the Eight Powers. In 1912, it was rebuilt as one of the final acts of the Qing Dynasty (1644–1912).<br /> <br /> 4-凯瑟琳·卡尔（Katharine Carl）是美国肖像画家和作家。她在美国，欧洲和亚洲创作了著名的皇家人物的画作。<br /> Katharine Carl was an American portrait painter and author. She made paintings of notable and royal people in the United States, Europe and Asia.<br /> <br /> ==Pingki, Tanchangya==<br /> <br /> ==Qu Miao 瞿淼==<br /> 1.中国自古地大物博，建筑艺术源远流长。不同地域其建筑艺术风格等各有差异，但其传统建筑的组群布局、空间、结构、建筑材料及装饰艺术等方面却有着共同的特点，区别于西方，享誉全球。<br /> China, a country vast in territory and rich in resources, boasts a long history of architecture art. Architectures in different regions are different in artistic style, but have something in common in complex arrangement, space, structure, building material and decorative art. Distinguished from western architecture, Chinese architecture is well-known around the world.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> 2.中国传统园林集色、香、韵于一身，自古以来便给人们提供了一个休闲纳凉的好去处，对中国文化传承具有重要意义。<br /> Chinese traditional garden combines pleasing colors with fragrance and charm. It offers a good place for people to take leisure activities and enjoy th cool, and is significant for Chinese traditional cultural inheritance.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> 3.颐和园位于北京市西北部海淀区,距市中心约15公里,原为清代的行宫花园,其名为“颐养太和”之义。园中的长廊、石舫、佛香阁、宝云阁、大戏楼、十七孔桥、玉带桥等建筑堪称世界建筑文化中的珍品。<br /> The Summer Palace is located in Haidian District, northwest of Beijing, and it’s about 15 kilometers away from downtown. Asa a former palace garden of the Qing dynasty, it’s name means “keep supreme harmony”. Many buildings in the garden, including the Long Corridor，Marble Boat，Pavilion of the Fragrance of Buddha, Tower of Precious Cloud, Grand Opera Tower, Seventeen Arch Bridge and Jade Belt Bridge, can be called as world architecture art treasures.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> 4.美国女画家凯瑟琳·卡尔（1858——1938），中文译作柯(克姑娘)。20世纪初曾创了两项空前绝后的世界性纪录：她是惟一在中国官廷之内一连呆了很长时间的外国人，又是惟一替尚健在的中国后妃画过肖像的人。<br /> American female painter Katharine Carl(1858-1938), whose Chinese name was Ke( Miss Ke), had set up two world records: she was the only foreigner who stayed in the palace for a very long time, and also the only one who pained portraits for Chinese imperial concubine who were still alive atthat time.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:06, 6 November 2020 (UTC)<br /> <br /> ==Rajabov, Anushervon==<br /> <br /> ==Seydou, Sagara==<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> ==Si Yu 司妤==<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> 1. 故宫前部宫殿，当时建筑造型要求宏伟壮丽，庭院明朗开阔，象征封建政权至高无上，太和殿坐落在紫禁城对角线的中心，四角上各有十只吉祥瑞兽。<br /> At that time, the front palace of the Forbidden City required a magnificent architectural style, its courtyard should be bright and wide, to symbolize the supremacy of the feudal regime. The Hall of Supreme Harmony was located in the center of the diagonal line of the Forbidden City, with ten auspicious beasts on each corner.<br /> <br /> 2. 苏州园林博物馆以造园工具、陈设家具、建筑构建等实物为主要载体展示园林的传统造园工艺，并运用了现代科技手段展示古典园林的艺术魅力。<br /> The Suzhou Garden Museum uses garden tools, furnishings, architectural construction and other physical objects as the main carrier to display the traditional gardening crafts of the garden, and uses modern technology to show the artistic charm of classical gardens.<br /> <br /> 3. 颐和园是晚清最高统治者在紫禁城之外最重要的政治和外交活动中心，是中国近代历史的重要见证与诸多重大历史事件的发生地。<br /> The Summer Palace was the most important center of political and diplomatic activities outside the Forbidden City by the supreme ruler of the late Qing Dynasty. It was an important witness of modern Chinese history and the place where many major historical events occurred.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:51, 5 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> ==Xie Fan 解帆==<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> ==Xu Jing 许静==<br /> 1. 中国建筑艺术，讲究大门、大窗、大进深、大屋檐，视野开阔，直通自然，充分体现“天人合一”的思想。四角飞檐翘起，或扑朔欲飞，或耸立欲飘，让凝固显得欲动。<br /> <br /> Chinese architectural art emphasizes large gates, large windows, great depths, and large eaves, with a wide field of vision and direct access to nature, fully reflecting the idea of &quot;unity of nature and man&quot;. The four corners of the eaves are raised, or fluttering to fly, or towering to float, appearing to be dynamic in a static state.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:35, 6 November 2020 (UTC)<br /> <br /> 2. 中国园林艺术着重意境的塑造，园林中的山水、植被、建筑以及其组成空间关系，不仅是一种物质环境，而且创造了一种精神氛围。<br /> <br /> Chinese garden art focuses on the shaping of the mood. The landscape, vegetation, architecture and spacial arrangement in the garden constitute not only to a physical environment, but also to a spiritual atmosphere.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:35, 6 November 2020 (UTC)<br /> <br /> 3. 颐和园整体布局以万寿山、昆明湖为主体，湖光山色中亭台楼阁、廊榭舫桥、庙堂殿宇等人文建筑与自然山水艺术地融为一体，恢弘大气、富丽堂皇，在世界园林史上独树一帜。<br /> <br /> Wanshou Mountain, Kunming Lake are the main body of the Summer Palace. Amid natural landscape are the pavilions, galleries, bridges, temples and other humanistic architecture. They mix together to be magnificent and splendid, unique in the history of the world's gardens.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:35, 6 November 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> 1、中国建筑体系是以木结构为特色的建筑艺术。传统建筑叫种屋顶造型、飞檐翼角、斗拱彩画、朱柱金顶、内外装修门及园林景物等，充分体现出中国建筑艺术的纯熟和感染力。<br /> <br /> Chinese architecture is an independent art featuring wooden structures. It consists of various roof molding, upturned eaves and wings, dougong with paintings, vermillion pillars and golden roofs, ornament gates and gardening. All of these embody the maturity and artistic appeal of Chinese architecture.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:54, 5 November 2020 (UTC)<br /> <br /> 2、中国园林是建筑艺术的一种形式，它在本质上旨在通过所谓的园林四要素组织富于性情与乐趣并充满意境的环境，这种环境包括假山、河流、建筑和植物，也包括有机组成部分，比如道路、室内环境。<br /> <br /> Chinese garden is one of the important types of architectural art. It is essentially aimed at organizing an environment rich in temperament and interest and full of the beauty of artistic conception through the so-called four gardening elements including mountains, rivers, structures and plants, as well as the organic components such as roads, interior settings.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:54, 5 November 2020 (UTC)<br /> <br /> 3、颐和园主景区由万寿山、昆明湖组成，全园占地2.9平方公里，水面约占四分之三。<br /> <br /> The Summer Palace, dominated mainly by Longevity Hill and Kunming Lake, covers an area of 2.9 square kilometers, three quarters of which is under water.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:54, 5 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> ==You Yuting 游雨婷==<br /> 1.古建筑是一座城市的记忆，是城市历史的见证者，它承载着这座城市的文化积淀。一旦损毁，文物本体及其承载的历史文化信息都将不复存在。<br /> <br /> The ancient building is the memory of a city and the witness of its history. It bears the cultural accumulation of the city. Once damaged, the cultural relic itself and the historical and cultural information it carries will no longer exist.<br /> <br /> 2.中国园林建筑大体分为私家园林建筑,皇家园林建筑和寺庙园林建筑。以苏州和扬州为代表，两者相比,苏州园林更具文人气质,而扬州的园林则偏于工商和贵气。<br /> <br /> In general,Chinese garden architecture is divided into private garden architecture, royal garden architecture and temple garden architecture. With Suzhou and Yangzhou as the representative, the Suzhou gardens bear the style of literati, while the Yangzhou gardens tend to be commercial and noble.<br /> <br /> <br /> 3.颐和园占地面积达293公顷，主要由万寿山和昆明湖两部 分组成。各种形式的宫殿园林建筑3000余间，大致可分为行政、生活、游览三个部分。<br /> <br /> The Summer Palace covers an area of 293 hectares,mainly composed of Longevity Hill and Kunming Lake. There are more than 3000 palaces and gardens of various forms, which can be roughly divided into three parts: administration, life and tour.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:21, 5 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> 说到中国文化，不得不提到长城。从公元前7世纪到公元16世纪，在大约2200年的时间里，先后有19个朝代修建过长城，所修的长城长达10千米以上。主要的长城修建工程是在秦代、汉代和明代完成的。<br /> <br /> We must refer to the Great Wall when it comes to Chinese culture. Through about 2200 years from the 7th century B.C. to the 16th century A.D., it was built in 19 dynasties successively, reaching over 10 kilometers in length. Main construction project was carried out in the Qin Dynasty, Han Dynasty and Ming Dynasty.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:26, 5 November 2020 (UTC)<br /> <br /> 1961年3月4日，颐和园被公布为第一批全国重点文物保护单位，与同时公布的承德避暑山庄、拙政园、留园并称为中国四大名园，1998年11月被列入《世界遗产名录》。2007年5月8日，颐和园经国家旅游局正式批准为国家5A级旅游景区。 2009年，颐和园入选中国世界纪录协会中国现存最大的皇家园林。<br /> <br /> On March 4th, 1961, the Summer Palace was announced as one of the first batch of National Priority Cultural Relic Protection Sites, famed as “ Four Great Palaces of China” with Chengde Mountain Resort, Humble Administrator Garden,Lingering Garden simultaneously. The Summer Palace was listed into ''World Heritage List'' in November 1998, and on May 8th, 2007, it was officially ratified as National 5A Scenic Spots by National Tourism Administration. In 2009, the Summer Palace, under the acknowledgement of China World Record Association, was selected as the largest extant royal garden of China.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:26, 5 November 2020 (UTC)<br /> <br /> 中国古典园林艺术是指以江南私家园林和北方皇家园林为代表的中国山水园林形式。在中国传统建筑中，古典园林是独树一帜有重大成就的建筑。它被举世公认为世界园林之母，世界艺术之奇观，人类文明的重要遗产。其造园手法已被西方国家所推崇和摹仿，在西方国家掀起了一股“中国园林热”。<br /> <br /> Chinese classical garden art mainly refers to Jiangnan private gardens and North royal gardens. Among all the Chinese traditional buildings, classic gardens boasts unique achievement, which is widely acknowledged as the Mother of the World Gardens, a miracle of the art of the world, and significant heritage of human civilization. The construction technique of Chinese gardens has been adored and imitated by western countries, ushering in “Chinese garden craze” in the occidental world.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:26, 5 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> 世界上大多数伟大的建筑都是石料建筑，因为石料建筑不仅外形漂亮、持久耐用，而且石头到处可见。在过去，整个城市的建筑物都是从艰苦的石块切割和堆砌发展起来的。<br /> Much of the world’s great architecture has been constructed of stone because of its beauty, permanence, and availability. In the past, whole cities grew from the arduous task of cutting and pilling stone upon.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:33, 6 November 2020 (UTC)<br /> <br /> 最好的园林远不止是将各种美丽的花草树木种在一起。成功的园林都代表了各种要素经过精心组合成的一个整体，这些要素从纯粹的装饰到具有严格的功能不等。<br /> The best gardens are much more than an assortment of beautiful plants.Successful gardens generally represent a careful integration of diverse elements,ranging from the purely ornamental to the strictly functional.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:33, 6 November 2020 (UTC)<br /> <br /> 颐和园主景区由万寿山、昆明湖组成，全员占地2.9平方公里，水面约占四分之三。园内现存各式宫殿、园林古建7万平方米，并以珍贵的文物藏品闻名于世，是第一批全国重点文物保护单位。<br /> The Summer Palace,dominated mainly by Longevity Hill and Kunming Lake, covers an area of 29 square kilometers, three quarters of which is under water. Its 70,000 square meters of building space features a varity of palaces, gardens and other ancient-style architectural structures.Well-known for its large and priceless collection of cultural relics, it was among the first group of historical and cultural heritage sites in China to be placed under special state protection.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:33, 6 November 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> ==Zhang Hui 张慧==<br /> 1.中国传统建筑正是中国历史悠久的传统文化和民族特色的最精彩、最直观的传承载体和表现形式。<br /> Chinese traditional architecture is the most wonderful and intuitive transmission carrier and expression form of China's long-standing traditional culture and national characteristics.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> Chinese traditional architecture is the most splendid and intuitive transmission carrier and expression form of Chinese traditional culture with a long history and national characteristics.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:23, 5 November 2020 (UTC)<br /> <br /> Chinese traditional architecture is the most wonderful and intuitive transmission carrier and expression form for Chinese long-standing traditional culture and national characteristics.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> 2.中国园林区别于世界上其他园林体系的最大特点，在于它不以创造呈现在人们眼前的具体园林形象为最终目的，它追求的是意境。<br /> The biggest feature of Chinese gardens that distinguishes it from other garden systems in the world is that it does not take the creation of a concrete garden image that is presented to people as its ultimate goal.It pursues artistic conception.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> The biggest feature that distinguishes Chinese gardens from other garden systems in the world is that it does not take the creation of a specific garden image in front of people as its ultimate goal, but rather the pursuit of the mood.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> 3.颐和园集传统造园艺术之大成，借景周围的山水环境，既有皇家园林恢弘富丽的气势，又充满了自然之趣，高度体现了中国园林“虽由人作，宛自天开”的造园准则。<br /> The Summer Palace is a monument to classical Chinese architecture, in terms of both garden design and construction. Borrowing scenes from surrounding landscapes, it radiates not only the grandeur of an imperial garden but also the beauty of nature in a seamless combination that best illustrates the guiding principle of traditional Chinese garden design: &quot;The works of men should match the works of Heaven&quot;.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:31, 5 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> <br /> 假山和石花园是中国园林建筑的重要组成部分。<br /> The artificial mountain and rock garden is the integral element of Chinese classical gardens.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:02, 5 November 2020 (UTC)<br /> <br /> The artificial mountain and rock garden are the integral elements of Chinese classical gardens.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:09, 5 November 2020 (UTC)<br /> <br /> The artificial mountains and gardens of stone are important parts of Chinese classical gardens.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:05, 6 November 2020 (UTC)<br /> <br /> 中国园林善于和借景，不会死板地将景观以对称的方式排列，而是会将大大小小的景观不守成规精妙地排列。<br /> The Chinese garden architecture characterized by taking advantages of the environment and shun symmetry along axis and adopt an irregular and complicated layout with plenty of large and small spaces.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:02, 5 November 2020 (UTC)<br /> <br /> The Chinese garden architecture is characterized by taking advantages of the scenes. It arrangs different landscapes in an irregular but exquisite form rather than rigid and symmetrical one.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:09, 5 November 2020 (UTC)<br /> <br /> <br /> 颐和园是世界上最广阔的皇家园林之一，园区主要有万寿山，昆明湖两大景区组成。颐和园是“三山五园”之一，也是中国最后一座皇家林园。<br /> The Summer Palace is the royal garden covering the largest area in the world. It is mainly composed of Longevity Hill and Kunming Lake. It is one of the three mountains and five gardens and the last royal garden in China.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:02, 5 November 2020 (UTC)<br /> <br /> The Summer Palace is one of the most spacious royal gardens in the world, which is mainly composd of Longevity Hill and Kunming Lake. It is one of &quot;the three mountains and five gardens&quot; and the last royal garden in China.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:09, 5 November 2020 (UTC)<br /> <br /> The Summer Palace, one of the most spacious royal gardens in the world, is mainly composed of Longevity Hill and Kunming Lake. It is one of &quot;Three Hills and Five Gardens&quot; , as well as the last royal garden in China.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:05, 6 November 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 1.中国传统建筑以木结构建筑为主，西方的传统建筑以砖石结构为主, 现代的建筑则是以钢筋混凝土为主。<br /> <br /> Chinese traditional architecture is mainly wood structure, while western traditional architecture is mainly brick structure. Modern architecture is mainly reinforced concrete.<br /> <br /> 2.在设计屋顶花园的同时要考虑屋顶的承重和防水、渗水设计。任何屋顶的承重力度均在建筑设计规范中，无论什么形式的绿化园艺园林设计前要考虑进去。<br /> <br /> In the design of roof garden, we should consider the load-bearing, waterproof and seepage design of the roof. The load-bearing strength of any roof is in the architectural design code, which should be taken into account before any form of greening, horticulture and landscape design.<br /> <br /> 3.<br /> <br /> ==Zhang Yu 张瑜==<br /> 1.古建筑是科学发展的标志，构成了中华民族古代文明的一部分。<br /> <br /> Ancient architecture, as the symbol of scientific development, constitutes one part of ancient Chinese civilizations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:13, 5 November 2020 (UTC)<br /> <br /> Ancient architecture is the symbol of scientific development, which constitutes one part of the ancient civilization of the Chinese nation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:59, 5 November 2020 (UTC)<br /> <br /> 2.在中国艺术史上，文学艺术与园林艺术相辅相成，彼此促进，交相辉映。<br /> <br /> In the history of Chinese art, the arts of literature and garden mutually reinforce, promote and enhance each other's beauty.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:13, 5 November 2020 (UTC)<br /> <br /> 3.北京颐和园作为中国现存规模最大、保存最完整的皇家园林,被誉为皇家园林博物馆。<br /> <br /> The Summer Palace in Beijing, as the largest and the best-preserved imperial garden in China, was honored as the Museum of Imperial Gardens.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:13, 5 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> ==Zhao Xi 赵茜==<br /> 1.中国传统建筑艺术是中华传统文化中的一部分，在长期的历史发展过程中，尤其在儒家思想影响下，中国古代建筑逐步形成了自己的体系和特点。<br /> <br /> Traditional Chinese architecture art is part of traditional Chinese culture. During the long-term cause of history development, especially under the influence of Confucianism, the ancient Chinese architecture gradually has formed its own systems and characteristics. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:47, 6 November 2020 (UTC)<br /> <br /> 2.中国古典园林艺术是指以江南私家园林和北方皇家园林为代表的中国山水园林形式。<br /> <br /> Classical Chinese garden art refers to the Chinese landscape garden form represented by Jiangnan's private garden and the northern royal garden.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:47, 6 November 2020 (UTC)<br /> <br /> 3.颐和园，是中国清朝时期的皇家园林，前身为清漪园，坐落在北京西郊，占地约290公顷，与圆明园毗邻，以昆明湖为基址，以杭州西湖为蓝本，汲取江南园林的设计手法建成的一座大型山水园林。<br /> <br /> The Summer Palace, formerly known as the Qing Dynasty Royal Garden, is located in the western suburbs of Beijing, covering an area of about 290 hectares. It is a large landscape garden, adjacent to the Yuanmingyuan, with Kunming Lake as the base site, Hangzhou West Lake as the model, drawing on the design techniques of Jiangnan Garden.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:47, 6 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 1.中国不同地域其建筑艺术风格等各有差异，但其传统建筑的组群布局、空间、结构、建筑材料及装饰艺术等方面却有着共同的特点，区别于西方，享誉全球。<br /> <br /> Different regions have different architectural styles in China, but their traditional buildings have common characteristics in terms of group layout, space, structure, building materials and decorative arts, which are different from the West and enjoy a worldwide reputation.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:23, 5 November 2020 (UTC)<br /> <br /> Different regions of China have different architectural styles, but their traditional buildings have common characteristics in terms of group layout, space, structure, building materials and decorative arts, which are different from the West and enjoy a worldwide reputation.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:30, 5 November 2020 (UTC)<br /> <br /> 2.中国传统园林集色、香、韵于一身，自古以来便给人们提供了一个休闲纳凉的好去处，对中国文化传承具有重要意义。<br /> <br /> Traditional Chinese gardens combine color, fragrance and rhyme. Since ancient times, they have provided people with a good place to relax and enjoy the cool. It is of great significance to the inheritance of Chinese culture.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:23, 5 November 2020 (UTC)<br /> <br /> Chinese traditional gardens, integrating color, fragrance and charm, have provided people with a good place to relax and enjoy the cool since ancient times, which is of great significance to the inheritance of Chinese culture.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:30, 5 November 2020 (UTC)<br /> <br /> 3.颐和园，中国清朝时期皇家园林，前身为清漪园，坐落在北京西郊，距城区15公里，占地约290公顷（2.9平方千米），与圆明园毗邻。<br /> <br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, formerly known as Qingyi Garden, is located in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of about 290 hectares (2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 08:23, 5 November 2020 (UTC)<br /> <br /> The Summer Palace, a Chinese imperial garden during the Qing Dynasty, formerly known as the Garden of Clear Ripples, is located in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of about 290 hectares (2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 08:30, 5 November 2020 (UTC)<br /> The Summer Palace, an imperial garden during the Qing Dynasty in China, formerly Known as the Garden of Clear Ripples, is situated in the western suburbs of Beijing, 15 kilometers away from the city, covering an area of 290 hectares(2.9 square kilometers), adjacent to the Old Summer Palace.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:11, 5 November 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> 7月16日至30日，在四川美术学院美术馆展出的《“见微知著方寸之间”中国建筑艺术之美》展览让人印象深刻。中国唐宋明清时期建筑的绝代风华，梁思成、陈从周等建筑大师的心血之作尽收眼底。<br /> <br /> From July 16th to 30th, the exhibition &quot; From 'pars pro toto' to See the Beauty of Chinese Architectural Art&quot; at the Art Museum of Sichuan Academy of Fine Arts was impressive. We can appreciate the unparalleled beauty of architectures in China's Tang, Song, Ming and Qing dynasties, and the painstaking works of architects such as Liang Sicheng and Chen Congzhou.<br /> <br /> 中国人建造园林有两千多年的历史，在漫长的时间里，形成了皇家园林、寺观园林、私家园林三足鼎立的格局。<br /> Chinese garden building history is more than two thousand years. Over a long period of time, three pillars which are imperial gardens, temple gardens, and private gardens have been formed.<br /> Chinese garden building has a long history of over 2000 years, during which a tripartite structure of royal gardens, temple gardens and private gardens has been formed.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 03:22, 6 November 2020 (UTC)<br /> <br /> 颐和园坐落在北京西郊,主要由昆明湖和万寿山两部分组成,占地面积约290公顷。它既是一座极具江南风情的大型山水园林,又是我国保存最完整的一座皇家行宫御苑,1998年被列入《世界遗产名录》。<br /> The Summer Palace is located in the western suburbs of Beijing, mainly composed of Kunming Lake and Longevity Mountain, covering an area of about 290 hectares. It is not only a large-scale landscape garden with great Jiangnan characteristics, but also the most intactly preserved imperial palace garden in my country. It was included in the &quot;World Heritage List&quot; in 1998.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 07:44, 5 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> ==Zubareva, Ekaterina==</div>

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